We make use of 60 Canon EOS 600D camera’s.

Lens EF-S 18-55mm f3.5-5.6
Chip 22,3 mm x 14,9 mm CMOS
Effective pixels Ca. 18 Megapixel
Highest resolution 5184 x 3456 pixels
Ratio 3:2

Manual 600D (PDF)

The camera movement in the shot depends of the fysical layout of the rig. We currently have 60 cameras, so each shot will have 60 frames. The closer the cameras are together, the more fluid the shot will become. The minimal distance between cameras is 16cm in landscape and 12cm in portrait mode. With 60 camera’s this equals to a track of 9.60/7.20m length. A big advantage of a 360° rig is that the shot can be looped. The bigger the diameter of the circle, the wider the shot. Please note that with an arc over 120° the rig will be in frame. A possibility is to hide the camera behind a decor, but you will still see the lens holes. An other solutions is to choose for a really low or high point of view.

Rig DesignerRig Designer
To get insight in the possibilities of an arced or circle shape rig you can make use of Rig Designer,

Build up
On location we need several hours building/connecting/callibrating time depending on the installation. In general we do this with 2 persons. May time be an issue, we can take care of extra hands.

Calibration / Stabilizing
The cameras are targeted to the same point, but this is far from  enough for a smooth shot. For this, we make a shot of a reference object beforehand and analyze the resulting photos. With this data new incoming shots can be stabilized digitally on the fly for smooth preview. Since we need some margin on the edges, about 10% of resolution is lost for stabilizing.

Zoom and focus have to be set manually on each camera, but settings like exposure, aperture, whitebalance, etc. can be set centrally by laptop,

Directly after taking the shot, the images are downloaded to a central laptop and can be played.The time of the download can range from a couple of seconds for low resolution images up to 3-4 minutes for high resolution raw shots. In the latter case one shot will contain about 1500mb of data. Meanwhile new pictures ca be taken. Recovery time for the cameras is about 2 seconds. External monitors can be attached by HDMI

The cameras can be triggered manually with a central button, or automatically by sensor or timer. Technically, the art of array photography is about reducing the variance in response time. If we make an exposure of a fast moving subject, it is crucial that all cameras fire at the same time, otherwise it will show up as motion jitter: The movement of the subject is in one frame a little further or behind than the next frame. We managed to reduce this variance within 1ms (1/1000 second), which make it possible to shoot fast moving subjects with continuous light. Often we also make use of flash light, It is practical and perfect motion freeze is quaranteed.

Dynamic delay
We can also fire the cameras shortly after each other in order to capture movement of the subject. The delay between cameras can be set within milliseconds and is dynamic;  movement can slow down into a freeze or vice versa. See example below.

We supply the final material stabilized in any format and/or as a After Effects project. The high resolution of photos is a great advantage. HD video (1920×1080) fits about 2.5 times is the highest photo resolution (5182×3456). This is a joy in compositing, because it enables a zoom in up to 2,5 times without loss of quality. The raw format is superior over the jpg format in colour depth and richness of detail

Dynamic delay eample:


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