Thanks for sharing the test. But keep in mind that LED panels receiving cards, LED Processors, Processing Phase offset, and Genlock tunning (with Evertz 5600MSC) is also part of the equation & solutions. Overall, thanks again for sharing the test.
it wold have been nice if you guys could have gotten your hands on an Ursa Mini Pro 12k OLPF/Rawlite OLPF camera. I'm pretty sure BMD would have shipped you out one if you couldn't get your hands on one near you. Hopefully next time.
Unfortunately, RUclips compression is showing up in the Venice low light and the Arri 35 bright scene. Hard to tell what they’re doing without seeing it in person. And yeah, the Ursa 12K has much better performance shooting volumes.
@RemedyFilms I would be interested in more budget cameras being tested (such as the Panasonic LUMIX BS1H) in a follow-up video, for Indie setups either renting access to LED Volumes, or who have a low-latency LED 4K projector.
From my post on REDUser about a Part 2: Now, here's the question for a Part 2, how would other global shutter cameras like the Sony F55, Zcam FS6, and older URSA Mini 4K perform by comparison? Also, other cameras they need to test include URSA 12K, new 8K mirrorless cameras, Kinefinity series, and slow motion Phantom cameras. This also could include new surprises and releases at NAB this year. Virtual Production is quite an interesting development and I'm glad groups like this are helping to show all the potential pitfalls and considerations with the format. Never thought high end RED and Arri cameras would be deemed effectively useless for this but here we are.
With these LED panels, I suspect the issue instead only lies with the ms readout speed differences between models. A render script could likely be written to dial in and mimic the same rolling shutter characteristics (ms) of a given camera for the render itself allowing just about any camera with genlock to work.
I wonder how adjusting the frame sync offset in the cameras would affect these results? I also wonder if the different results are mostly a factor of sensor readout speed.
To call it best camera for LED volume based on global shutter advantage is silly, look at the colours on that clips Komodo vs Alexa LF Mini...I can only see 2 mushy colours on Komodo in that test. If it was to be judged for filming live sports coverage , sure, but for narrative not so much. They must be silly in Hollywood for shooting Barbie and Mandolorian on Alexas, I am sure they had access to Venice. If the global shutter is the only deciding factor, then we should all film on old used BMCC 4K and Ursa Mini 4k for less than $1000. ICVFX is done in camera and colour grading is also done in camera in real time, there is only so much you can do later on, for this reason, when colours fall apart between real world and background game is over...Another words one should judge latitude of the camera rather than just some fast panning/tilting advantage.
Thanks for sharing the test. But keep in mind that LED panels receiving cards, LED Processors, Processing Phase offset, and Genlock tunning (with Evertz 5600MSC) is also part of the equation & solutions.
Overall, thanks again for sharing the test.
it wold have been nice if you guys could have gotten your hands on an Ursa Mini Pro 12k OLPF/Rawlite OLPF camera.
I'm pretty sure BMD would have shipped you out one if you couldn't get your hands on one near you.
Hopefully next time.
Interesting test. Nice to see Komodo is a top pick for virtual production.
I know! Thanks for checking it out.
I wished they tested the Blackmagic 12k instead.
Unfortunately, RUclips compression is showing up in the Venice low light and the Arri 35 bright scene.
Hard to tell what they’re doing without seeing it in person.
And yeah, the Ursa 12K has much better performance shooting volumes.
Would love to see the FX9 vs Komodo test in ICVFX.
@RemedyFilms I would be interested in more budget cameras being tested (such as the Panasonic LUMIX BS1H) in a follow-up video, for Indie setups either renting access to LED Volumes, or who have a low-latency LED 4K projector.
From my post on REDUser about a Part 2: Now, here's the question for a Part 2, how would other global shutter cameras like the Sony F55, Zcam FS6, and older URSA Mini 4K perform by comparison? Also, other cameras they need to test include URSA 12K, new 8K mirrorless cameras, Kinefinity series, and slow motion Phantom cameras. This also could include new surprises and releases at NAB this year. Virtual Production is quite an interesting development and I'm glad groups like this are helping to show all the potential pitfalls and considerations with the format. Never thought high end RED and Arri cameras would be deemed effectively useless for this but here we are.
With these LED panels, I suspect the issue instead only lies with the ms readout speed differences between models.
A render script could likely be written to dial in and mimic the same rolling shutter characteristics (ms) of a given camera for the render itself allowing just about any camera with genlock to work.
sooooo valuable!!!!!🥰🥰🥰🥰🥰
Would love to know the pixel pitch of the indoor curved led volume, could it be P2.6mm?
Wonderful comparisons on the genlock cameras. 😊
Yes it is a Unilumin 2.6mm pixel pitch.
@@RemedyFilms What is the scanrate/multiplex of the panels?
it seems you missed the upper corner left, there is a lot of visual twitch on the sony venice too !!!
my bad i was watching in 360P !
This is great!
I wonder how adjusting the frame sync offset in the cameras would affect these results? I also wonder if the different results are mostly a factor of sensor readout speed.
Possibly for the cameras that offer that. And yes the sensor readout I’m sure impacts how it interprets the LED pixels
Yellobrik was set to 25hz?
To call it best camera for LED volume based on global shutter advantage is silly, look at the colours on that clips Komodo vs Alexa LF Mini...I can only see 2 mushy colours on Komodo in that test.
If it was to be judged for filming live sports coverage , sure, but for narrative not so much.
They must be silly in Hollywood for shooting Barbie and Mandolorian on Alexas, I am sure they had access to Venice.
If the global shutter is the only deciding factor, then we should all film on old used BMCC 4K and Ursa Mini 4k for less than $1000.
ICVFX is done in camera and colour grading is also done in camera in real time, there is only so much you can do later on, for this reason, when colours fall apart between real world and background game is over...Another words one should judge latitude of the camera rather than just some fast panning/tilting advantage.
What size is your LED Wall??
Why aren't you trying to use Genlock?
Any slim chances of using a Sony Z150? 😂
Alexa just worked fine on $1.5 B film...guys, go back to film school...