ProRes is the lossy video footage that allows for greater adjustments in the editing process. One interesting nugget is that Fei didn’t shoot in ProRes with the iPhone 14 Pro. Getting a close-up low shot of shoe details. Every director in the past has praised the iPhone’s compact design as a way to capture from new angles and Fei is no different. Just because the iPhone has a bag full of camera tricks and features doesn’t mean the story or cinematography requires using all of them.Īs Jobs famously said: “It is in Apple’s DNA that technology alone is not enough - it’s technology married with liberal arts, married with the humanities, that yields us the results that make our heart sing.” Unique camera anglesĮasily my favorite thing about these Lunar New Year films is the behind-the-scenes look at how the scenes were captured. But as Fei demonstrates in “Through the Five Passes,” using such a mode with subtleness is key. Almost everyone in the tech press mocked the iPhone 13’s Cinematic mode, which allows users to “rack focus” between two subjects. The iPhone 14 Pro is a very capable video camera, but it still has constraints. This is now an invaluable tool that we’re going to be using on all projects moving forward.The biggest misunderstanding people have with making films using an iPhone’s camera is not accepting its limitations. Knowing that our final files were accurate saved us the cost of spending money to rent out a facility to check the files, which in all honesty we didn’t have time to do because of the tight turnaround. As our final deliverables were EXR files, we had the range to see past the maximum brightness of a standard iMac display. It essentially meant that we now had a reference monitor in the studio.Īs a smaller studio without £30k to drop on a monitor, it’s allowed us to see exactly what the final deliverable looked like as it was intended to go to the client. It enabled us to deliver something we were truly confident in. It provided us with a phenomenally accurate visual representation of the content we were making. But the new Pro Display XDR gave us an ability that we previously didn’t have in the studio. When using the new Apple hardware to create the Jumanji project, the Mac Pro helped us to avoid a few technical difficulties and do all aspects faster. The only other option would be to render the whole thing out, but we were sending updates daily, so this wasn’t an option. This became more of an issue for us when sending the client updates to approve. However this is fine for working with the scene, but because clamping the textures is across the entire scene it meant that our 8K Jumanji map became a much lower resolution. Sure enough, we can clamp the resolution of the textures in the scene and the problem goes away. One constant issue we would run into if working on the iMac Pro is this all too familiar error, illustrated in the video on the right. One of the immediate things we noticed as soon as we began the animation stage on an iMac Pro, is that we were struggling to get all of the assets into a scene with all of their high resolution texture maps without running out of Graphics RAM. Not only is two minutes a long time, but 28 high resolution photorealistic objects - each with a lot of high resolution textures and geometry - can start to cause issues.
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