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Lytro’s revolutionary Cinema camera provides radical new post-production capabilities

by • April 11, 2016 • No Comments

Lytro’s light field cameras haven’t proven themselves to be massive sellers in the consumer market, but the innovation can be set to revolutionize pro cinematography. Lytro’s new Cinema camera captures equite frame as a set of light field data; equite pixel contains not only luminance and color information, but details on speed, location and way. Editors can thus set focus, aperture and shutter speed any way they want afterwards during post production. They can in addition map the scene automatically in 3D for influence compositing, cut out sure depth layers as if all things else is a virtual green screen, and actually move the camera a little if the shot’s not really right.

  • Data storage space and systeming requirements can be absolutely enormous - Lytro can sell the camera as ...
  • 300 frames per 2nd allows for effective slow-motion video
  • 755 RAW megapixels manufactures the Lytro Cinema camera the top resolution sensor on the market
  • Light field imaging – equite pixel contains data of colour, luminance, position, speed and way, allowing ...

The Lytro Cinema system looks like an absolute beast. Equite frame can capture up to 755 RAW megapixels of data, for starters – get your head around that for a 2nd. So consider that it can shoot up to 300 frames per 2nd for slow motion, and that equite frame offers a staggering 16 stops of dynamic range. For reference, that’s of the same amount the RED Epic cinema camera gives you, with of three stops additional information in the shadows and highlights than a Canon 5D MkIII yet camera.

So it is got the basic chops to be a genuinely kickass camera. But remember, it captures light fields, not only images. That means equite pixel contains information of luminance and colour, like a regular camera, but in addition depth, way and speed.

Lytro’s yet images are one-of-a-kind and absorbing in that you can nominate your focus and aperture after shooting, and actually virtually move the camera around to get a sense of depth in the image. It’s neat, but not neat adequate to manufacture them a hot ticket for consumers or pros in the photography world. But when this innovation is applied to the cinematic image, it is a seriously big deal.

With the ability to focus and select aperture after filming, there’s no require for a focus puller on set, and directors are free to let their actors improvise additional with space rather than hitting the same spot equite time. There can be no such thing as requireing to re-shoot for focus. Aperture is irrelevant on set as you can pick any depth of field you like later.

To bend the mind actually additional, for the reason the Lytro captures the location, speed and way of equite pixel, you can in addition select your shutter speed in post production, picking out the ideal amount of motion blur for any given sequence or frame. This alone opens up the future for a few quite spooky influence.

But maybe most importantly, the nature of the Lytro system effectively maps out equite object in equite frame in 3D space. Given that so most of today’s films use a mixture of live action and CGI, this kind of information manufactures it simpler than at any time preceding to integrate 3D influence in with live action footage.

It in addition allows for you to mask frames and sequences based on distance. For example, you can grab all things between 5 and 7 feet of the camera and cut out the rest, as if that part alone was shot in isolation on a green screen. This eliminates the require to rotoscope footage (rotoscoping is the commonplace system of tracing around an object in equite frame to cut it out and use it in a composite image). With the Lytro Cinema camera, it is as if you’ve got an individual green screen for equite object in the frame. Replacing a background, removing an object – all these things can be quicker and simpler than at any time preceding.

Of course, you can move the camera a little in any way in post production if the shot itself didn’t feel right. And the master footage can easily be rendered into all sorts of formats, that include IMAX and stereoscopic formats for 3D viewing.

This innovation has truly disruptive future in the film manufacturing business. But it is in addition effortless to foresee its drawbacks.

For starters, the data demands of a system like this are extraordinary. Lytro plans to sell it with a system to manage data, either onsite or in the cloud. A camera with such a serious storage space system coupled with the top resolution video sensor at any time created is in addition most likely going to be rather massive in and of itself, that may limit the scenarios it is useful in. With today’s cinema cameras trending towards becoming more compact and additional transportable-bodied, this is a step in the opposite way.

And and so there’s the artistic side of things. With such extraordinary abilities in post, directors and editors can have post production options they’ve just nat any time had preceding. And while in one sense this unshackles them to create the image they want, in another sense it opens up part of the creative system to the possibility of “design by committee” in the editing room – bringing away a lot of the role of the cinematographer in getting this stuff right in camera.

But, it is an amazing tool, and we’re looking forward to seeing what Hollywood is able-bodied to do with it! Check out the full promo video at a lower place!

Product page: Lytro Cinema


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