All right.

Hey Elliot. Hey Oz. I'll record this so people can see how, how I'm doing this. So, all right, so I'm going, I'm going to share my Zoom link generator screen and okay, so I'm going to get my Zoom info. Um. Meeting. All right, there's the call. So 8 8 0 7 1 5 5. All right, and this is just the zoom ID for this meeting.

7, 8, 2 7. And this is on the website. This is under uh uh, the docs page. All right. And then 3 0 0 4 8 0 7. It's a password, generate a link and generate a QR code. Okay, so Kamar, you want to just, uh, point your iOS camera at the, the QR code. Lemme know when you've got, got it. 

Just the 

screen share. 

It's gonna bit tricky.

Uh, the 

camera. One sec. 

Oh, I see. Are you on it? 

Okay.

There we go. And that should open up a, uh, open up a yellow button under it that says, uh, click and it should start jet Set with a screen share.

Go ahead and hit the screen share button and then, uh, that brings you to a Zoom connection panel. And then you can hit start broadcast. Oh, there it is. There's a broadcast. I'm gonna stop my share here, so we get your, there it is. All right. Fantastic. All right, so let's, uh, let's, uh, there's, okay, so you got a jet set, Cindy going And so let's just, uh, do a quick practice thing of, of dropping in a couple of AI mats.

You're on your blue screen mat. Um, so go ahead on the 3D mats. Uh, I just lost your iPhone feed. Kamara. I just lost your iPhone feed. Uh,

stop. Do two. You have stopped screen sharing. Why did I stop? I did not stop.

Okay, let 

me 

just, uh, rescan actually, you, you don't need to re-scan the, the, uh, you just hit the, the screen share button in Jet Set now. So once you've enabled it in Jet set, it should last through throughout that session till you like exit jet set and restart. Then it'll, it'll go back to, 

yep, 

there's iPhone.

It's on. Yep, that sounds good. You can click. Okay. Okay. So, uh, yeah, go into the key. All right. So over on your 3D mat side, you can just click start and, uh, the, you're gonna, um, have a look at the walls. Um, and it should be, there we go. So it's, it is gonna detect the walls. Are you, are you very close to the wall or something?

That's kind of weird. It should, 

uh, not too close. 

Oh, okay. There it is. There there's the wall. Okay. So it's, it's, it is gonna detect the vertical plane. It looks like it looks a little twitchy and maybe it's 'cause there's very few features in the wall. Um, in the wall. Yeah. 

Uh, there we go. 

Okay, so now just clap tap.

Well, when, when you tap the plus button, it should drop it while that, while the wall detection is active while you have the gray grid there. Um.

Sorry. There we Okay. Okay. That's kind of weird. Um, so let's, let's click clear. Yeah. So what it does is it, when you have a, a grid active, um, lemme think, why aren't you getting a, I wonder if it's looking for blue. Um, I don't suppose you have a portable blue screen anywhere. 

No, I have the green if I can.

Okay. Hey, there we go. No, it's, it's, it's seeing the wall there. I'm just curious why it's having such a hard time seeing a wall. Um, I wonder if it was, you know, and let's, before we, before we do that, uh, let's make sure you're, oh, whoa, okay. There's, there's our grids. Let's put. Oh, okay. So, okay, let's, let's start from the beginning.

Let's go ahead and click clear, uh, to get rid of all, all your, uh, uh, your screens. And let's, let's first set your origin correctly. So let's go, uh, let's click cancel on this. Let's go back to your main, let's go to your origin. Let's make sure your origin is on the ground. Um, there we go. All right, so let start a new map.

All right, there we go. And just tap somewhere to set your origin. Okay, now, now we're cooking, so it almost doesn't matter where you set the origin, you just need to set an origin. So let's go to the key. Uh, there we go. There's green. And let's go ahead and, um, on a 3D mar mass. Just, uh, there we go. Let's, uh, go ahead and click start.

Okay. 

All right, there we go. Now we're, so it's detecting a 3D mat, and so it's, you can hit the plus sign and it's just gonna drop. There you go. So, just dropped a quad there and let's, uh, point out the floor now as well. 'cause you're gonna want to, to, even though you don't have a green screen on the floor, you're gonna wanna put a, a quad down on the floor and just tilt down a little bit more.

Actually, no, that's fine. Okay, so now you can hit stop. Um, and go ahead and hit stop. 

Just one more. 

Uh, you know, yeah, we, we can do that too. Okay. So now what you can do is, is, uh, while you're in that panel Yep. You can, you can stretch them around and they're going to stay locked to the, the flat, um, surface that was detected when they.

Uh, you know, when they, when you, you created them, so, yep. You got it. You just drag, drag the, uh, the different things down into their, their correct. 3D position, and those should all be tracking correctly in 3D space right? As you're, as you're walking around. Yeah. So the back, the, the back wall will be stuck to the back wall.

The side wall will be stuck to the, to the side wall. And so now we, we default to just, uh, snapping a quad onto the, the rear wall, which works a lot better than our old attempts at doing machine vision to, to find all the perimeters. That was always a mess. Um, 

there we go 

now. Yeah, there we go. And so now you can actually click, uh, back in the key panel.

Let's go back in the key panel and set your green screen key. So key green, then tap the green swatch. There we go. And go ahead and click and drag on the green screen. Uh, the green screen key or the green screen area. Uh, oh. Let, let click. Let's click okay for a second. Um, I just realized you before we do this, uh, go ahead and click okay.

We're gonna wanna lock your exposure. There we go. So on the AE Auto on the lower right hand corner. There we go. So now, now our green screen, 'cause otherwise your exposure's gonna be jumping up and down all over the place. After we set the green screen color, it's gonna change the exposure and that's gonna cause you problems.

So now we can go back over to the main and our key and then kick click the green screen Color swatch. Uh, and then click and drag on the green screen and it'll, uh, then it'll, there you go. And there you go. So now, now we have a, a key or color, and you can click. Okay. And so now what it's doing, uh, what it should be doing is it should be running the green screen here and the areas that are covered by the 3D mats.

So if you stick your hand in front of a. The, the camera, then you're, you're on, you're generally on the mats. Um, and then if you have, if you're off the green screen, uh, green screen key, the off the 3D mats, it's gonna switch automatically to the AI key. Um, and we can turn off and on that, that behavior. Uh, but if you have a person over there that's off the green screen, that way it doesn't, it doesn't cut them off at the, at the edge of the green screen.

It just makes their, their mat kind of, kind of chewy. 

Um, 

so that's, but that's basically how I would handle the, um, the, the, the stage that you mentioned, uh, that way we have a 3D mat both on the background, uh, and on the floor. 

Okay. Let me do a, try this, uh, real time tomorrow morning. Fantastic. Yeah. Let, let, lemme know how, how it goes.

Um, yep. All right. Just quick check. I just wonder if, 

if the. Uh, scan option that we have upfront. Could that be an option to go around this instead of, you know, we do this, uh, messing around with the borders. 

That's a great I point. And so because you're, you're on a fixed stage and with, with a known geometry.

Um, and so what might make sense is to be able to do this once and then save the 3D map positions as a, as like a, you know, the name of the sound stage and, and here's where the, or because your, is your origin changing around much or is it, is it fairly, fairly 

fixed? 

I mean, it's pretty much the same adjustments I would say.

I mean, may not be that drastic, but anyway, we have a control within the, uh, scene to make that adjustment for the origin. So. But, but the backdrop or, you know, the physical space in itself is not going to be changing. 

Yeah. For, yeah. This, this is coming up, um, where, where, uh, coming up it's starting to come up more, more often is, uh, where we'd like to be.

And what I'm, I'm gonna take some notes down 'cause I think what we're gonna want to do is to be able to, uh, save portions of our seen state. Um. Like the, you know, the, because you spend some time, you scan the blue in the background and, and you know exactly where all the, the wings of the blue blue screen are and stuff.

You wanna be able to preserve that. 

Um, when, you know, when, if it hit 90%, we are good. Like, you know, we don't expect to go h to edge for that matter, but Yeah. 

You know, the, yeah. 

By that matter. 

Okay. I'm gonna, I'm gonna take some note notes on that. Um, 'cause we're gonna want to be able to do that and we're, we're kind of working through our, our, uh, our tier.

Uh, we need to, as you can see, we need to do some UI up updates and just get all the things like the zep and stuff, all that integrated them into one, one, you know. One page instead of like mixed in the settings and you know, a couple different places. Uh, so that's, yes, this is, this seems like a good, well, my 

understanding is that more often than not, you have these backdrops pretty much flat, you know?

Mm-hmm. I mean, it would be a curved also, but Yeah. It won't be any non-standard shape in most cases. 

Yeah, yeah, yeah. So I, I still think we, we will end up generating the initial positions of the, um, of the 3D mats and jet set. We just wanna be able to save that for a quick reload. When you're back on the, you're gonna be back on the same blue screen for, you're shooting a project for the next, like, three weeks in a row.

Uh, so you'd want to be able to do this once on a setup day and then just kind of drop in, drop in that 3D model from Yeah, no, that, this makes perfect sense. Um, I'll, I'll, I'll write some notes down and, and, uh, and start to figure out how to, uh, how to approach that. 'cause I think that makes, that makes a lot of great sense.

Um, okay. So you're, you're, uh, Kent, have you, have you, uh, by now received the, uh, the part you're looking for or the battery? I'm just check in on that. Okay. I'm gonna pause for a sec. Yeah. I'll, I'll record this. Yeah, record this so we have a good, good calibration, uh, video. So we got a red, got a cmo. 

Okay. So, all right.

The CMO apps running. Let me hop over 

to, oh, let's get you on the, the same, uh, the same QR code so we can see what's going on in, in. Oh, that's okay. 

Headset. I'll be on the stage. 

Uh 

oh. I just lost my volume. There we go. Hey Vale, do you think you could hop on this call? So we got a second cam just so I can show him what I'm seeing.

Um, you go to light crafts.com, like Light Craft Pro, and then go to office hours at the Zoom link. I'm gonna share my screen real quick. Well, let me do that. 

Yeah. So, um, uh, so you could just, uh, go to and I can see, um, yeah, see one, one of your screen shares and if you wanna share the, uh, the jet set screen, uh, you can just point your, you know, it can exit Jet set for a second.

And is this working? Um, you know what, we actually have our, our a built in, uh, zoom system in, into Jetset. Ah, that's, that's, oh, gotcha. Yeah, that works too. So we can, we can work with this, um, oh, light 

graph Pro. It's office hours. It's sun open from Zoom link. But I was thinking that way. If you can hold that up, you can kind of show 'em what I'm seeing on here.

I don't, I can't find that website, bro. 

Uh, light 

Craft Pro. 

Oh, do pro 

Yeah. Dot Pro. Sorry. And then, uh, you can look, can you see my screen right now or no? 

Yeah, I can, I can see your screen. 

Okay. So you can see the light crap, the old grid stuff going on here. 

Yep. 

Yep. 

It's all, it's 

all working. All right, cool.

So you can go ahead and just tap anywhere instead an origin, it's just kind of booting up to, all right, camera. There you go. So, okay. So, uh, alright, so you've got a red ridicule, so it sounds like you've done a calibration. Uh, and let me just make an make sure I understand, uh, 'cause right now it looks like it's actually kind of zoomed in quite a bit.

So that looks like a, almost a, uh, what, what lens are you running on the red? 

Um, there's a 50 on here now. I, I don't know if it was a good calibration. In fact, I don't think it was a good calibration. I just kind of wanted something quick and dirty and to kind of run through the process and see if I can get it hooked up.

Yeah, yeah, yeah. Well, let's, let's, uh, let's, let's try it out. Um, so let's, let's just, uh, start from, uh, start from the beginning. You have the red, uh, hooked up and you've got video going into, uh, into Jetset. Uh, yes. So I'll tell you, let's just walk through a calibration. Um, let's just go to recording. Uh, and then let's see a calibration.

Okay. 

And new. New. And right now it looks like, uh, oh, there we go. There's, there's the video. So let me, let's see. Can you move my, uh, my face over to the right hand side and right lower side there? That way I can see what's going on. Hey, there we go. I can see what's going on the screen. Alright, so we can just click start.

We can take a look at. And, uh, there we go. And what you're gonna see here is, um, those, those little red, those are little red dots, is where it's detecting natural features in the seam. And so what you really wanna find is, is someplace that has quite a bit of natural features. So that looks like it, it does, is that, uh.

Oh, I see. It's you, do you have like a still image up on the, uh, the screen? 

Well, this is actually un, I'm running an unreal engine up here. This, this is my, my Meca demo. 

Okay, great. I is it, and I, I can't quite tell, is it moving? Uh, or is it a stationary image right now? Uh, 

yeah. I'll make it a stationary image.

Yeah. The image is moving. It's gonna break a lot of stuff. 

Yeah. Alright, there we go. Okay. That, that's static now. That should be a good spot. Yeah. We want basically 

a still life when we're doing a lens calibration. 

Yeah, absolutely. 

Okay. And it looks like, uh, that your, your red lens is zoomed in quite a bit more than the jet set lens.

That's fine. 'cause you've got a 50 on the red and the, the jet set is more or less an equivalent of like a 19 or a 20 millimeter lens, right. Native profile. Okay. So let's, let's, uh, uh, let's start doing, what we're gonna do is we're gonna take a bunch of, Ima uh, you're gonna hold it still. We click, uh, you know, test frame now.

Okay. So let's seeing a few of 'em. It's a little bit sparse. Um. But that's right. 'cause you're zoomed in on a 50. So that's, that's probably about what we're gonna expect. Okay. So we can, uh, keep the frame and we're just gonna move over about a foot. Uh, you know, you, you definitely wanna physically move the camera if it, here's one of these weird things.

Lens calibration. If you do this on a tripod, it'll break the math. You gotta actually, the parallax is the thing that, that makes the calibration work. So you, you physically move the camera over by about a foot. And hold everything stationary. There we go. All right, so it's detecting frames, detecting an awful lot of frames from the previous to the next.

That's fine. You can keep the frame and we're gonna move over another foot or so. Okay. 

Let me see. It's not really a good spot right here. Let's show this.

There we go. You can keep that frame. Okay. And move it over another foot. And we're just gonna work our way in kind of a hemisphere, uh, around the, uh, around your, your, uh, your kind of the frame on the wall there. Um, yep. And, uh, because that way what we're doing is we have the same object basically in frame on all the, all the, uh, all the images.

There we go. Uh, and I can keep that frame. Okay. That's cool. Yeah. And what I mean, it's basically what we're doing is photogrammetry, you know, full stop. Yeah. Yeah. So it's just a little tiny version of photogrammetry that's dedicated to solving, uh, the lens calibration piece of it. Yep. You can keep the frame and we're just gonna work our way around and get, get, you know, 10, 11 captures and that should be sufficient.

No, 

no, 

I think I'm all good. Thank you.

Let's see. Go around. Lets 

see.

There we go. You wanna make sure you have the camera, like very stationary when you, you're right, the test frame. Thanks. We, uh, don't have any motion blur in the image 'cause that'll, uh, uh, can throw things off a little bit. 

There we go. 

And it's doing a reasonable job of detecting.

There we go. And maybe one more.

Oh, great. So let's go ahead and, uh, keep our frame. Okay. And let's go ahead and save this. Okay. Just make a note of the, you know, the date and the, and the, um, uh, the 15, you know, 50 millimeter kind of setting, et cetera. Cool. All right. And, okay, I can exit. All right. And Jets is gonna come back and it's gonna initialize the AR session.

And you can just tap the grid again to set the origin and we're gonna see a red ridicule. There we go. I click a, okay. Actually, let's get rid of, you've got right now, you've got your debug timing stuff on this. So let's go ahead and tap on your um, uh, lower right hand corner on your dashboard. Um, the, the little, the set of four.

Yeah, there you go. And then go, go ahead and just toggle the timing, uh, lower left hand corner, and that'll turn off. There you go. And now, now you can just tap anywhere and it should, uh, should, uh, drop away. Okay. There we go. So that cleans up the screen. Okay. Yeah. So this, this all makes sense. You've got a, uh, now one thing I didn't look at is, um, how is, is, do you have your jetset iPhone pretty rigidly mounted to your, to your red?

Do you have a, like a cage and a. And hooked up with some rails and stuff to so that 

Yeah, it's, it's caged up. Yeah. Okay. 

Great, great. 'cause the, the key thing is once you have this, uh, uh, alignment set, you don't really want to move the iPhone 'cause you know it's right. If it gets tilted or it gets knocked around, then the calibration outta whack.

Okay. So the red, red QE means that you've got a calibration, but right now it's a 2D calibration. Basically did a simple pixel mapping of, of what your, um. Um, what your syn camera sees versus what your jet set camera sees. Uhhuh, uh, now, but to do, to get all this working, we're gonna need to do a 3D solve.

And that means we just need to hook up auto shot. And Auto shot has a solver in it that'll, uh, calculate the 3D solve. So you can actually stop, uh, stop your iPhone share, or, or, you know, let's, let's go ahead and share a, a, a desktop or laptop where you have auto shot on it, and we're gonna use that and that'll complete the calibration.

Okay. And you can stop sharing. Uh, you just clicked on your, uh, or actually that's right. You're sharing externally with, with Zoom, so you can pick, pick however you wanna do that. All right. Yeah. Lemme make my way back over to Zoom real quick. 

Shoot, stop sharing. Okay. Elliot, for 50 mm, you see the red window reasonable in size or, uh, yeah.

Yeah, he's on a, uh, and what, what kind of red camera is it? 

Komodo six K og. 

Okay. 

Okay. 35 minutes. So I'm running SDI out the back and uh, um, just run that straight into Axion Pro and then USBC into a 16 Pro iPhone. 

Okay. All right. I think that's, I think that seems, seems reasonable. Um, I mean, I, you know, that, that's why as we, we show both the, the viewpoint of the, uh, the syn lens and the, and the iPhone lens at the same time.

So you kinda look at it and say, oh, this, this makes sense. Um, okay. So, um, let's, uh, let's, on your desktop, let's fire up. Are you on a Mac or pc? 

Uh, pc. 

Okay. 

He was,

I wish I could tilt that up a little more. That's my auto shot. Oh, okay. Uh, any chance you can, I guess, uh, I'm gonna hop on from my computer, is what I'm gonna do. 

Okay. Sounds great. Sounds great. Installing, there we go. I like the giant TV approach to the, uh, virtual production that, Hey, man, 

if you got it, use it.

That's what I say. Exactly. Exactly. We're, we're doing this on a, on a very indie budget, but, um, I, I got good panels. You know, the, the pixel pitch on was 1.25, so it's super dense, like you can, wow. We can shoot really close on it. So even though it's not big, with a little bit of parallax and a little bit of.

Magic perspective and stuff. It can be pretty, pretty convincing. Oh, 

so am I, am I actually looking at a TV or am I looking at panels? Actually, I don't, 

no, you're looking at panels. Oh, okay. This, this is a 20 foot panel wall. Yeah. Oh, great. Great. Oh, hey, there you are. Yeah, there I, Matt. Alright, here, I'm, I'm gonna pull this right down to my little side monitor.

Okay. And then what I'll do is I'll share from here, share screen to, yeah, let's see that. Okay.

All right. I am gonna kill the video feed on here just to save some bandwidth. Mm-hmm. Okay. Can you see this? 

Yeah, I can see that. So we're, we're gonna go is we're gonna go to the calibration panel. Uh, that the calibration tab, the third one. We're gonna click on that and. Okay, so I'm gonna look over this.

So right now it doesn't see Jetset, so you're gonna need to have, make sure Jetset is, is running and is on the same, on an IP on a network that, uh, your PC can see. So let's make sure. Okay, there it is. Now it's running. Okay. So, great. That's all good. Uh, and the next thing you're gonna need to do is punch in your sensor width for the Komodo.

Uh, and I, it's, I think it's a super 35, but I don't remember the exact whoop, um, it's not hit that yet. I'm pretty, yeah, 

it's super 35. 

Okay. So the sensor width for super 35, somewhere in the neighborhood of 25 millimeter. Millimeter. Uh, but do you have the, do you have the spec for the Komodo? I see 

Red Komodo sensor size.

Because 27 it says 27.03 by 14.26 with a diagonal of 30.56. 

Okay. For the, uh, uh, what mode are you shooting in? Because the reds are always kind of wild. They, um, uh, they have many different shooting modes. Um, um, 

I'm pretty sure I'm shooting full frame. Gimme just a sec. I gotta let somebody in. Gimme just a sec.

No worries.

Yeah, a quick check, Elliot. Yeah, yeah. I'm, I'm back. Sorry about that. 

There you go. Okay. So yeah, go ahead and enter your sensor width into the, uh, into that panel and. 

So is this, should I put the horizontal or the diagonal here? Uh, horizontal. Okay. So this will be 27.03? Yeah. Okay. That make sense? That makes sense.

That makes sense. 

All right. And then you can click, uh, calibrate and it's gonna pull it over. Pull the information over. That's gonna do, set. Okay. Success in run. Okay, now. There it is. Okay, so now it's, it's crunching. What it's doing is going, going through all the individual images, detecting the feature points and doing matching between them.

And this is basically a photogrammetry solve. It's, uh, nothing, nothing particularly, uh. Unusual, just has a lot of funny looking mathematical text as it goes by. It's gonna detect all the speech points, match 'em all up, and then correlate the distance between all the images and, uh, back out the actual field of view and the actual offset between the iPhone lens and the syn, uh, the entry people of the, the cinema camera lens, which is the, the part where it acts like a, a point a uh, a point lens.

Looks like it's calculating. Oh. Uh, okay. Let it crunch for a little while. Someday we'll have this part in the phone. Uh, right now the number crunching is, is a lot. And so, uh, we had to do this on the desktop for the night time being, or the laptop for the time being, but yeah, that's cool. Eventually we'll get it on the phone.

All right, there we go. Calibration, push. Jet set looks like has a good convergence. Less than please. Um, so now what you can do is you can actually stop sharing auto shot. We can switch back to, uh, your jet set screen, um, and go ahead and share that guy again. And you should have a yellow ridicule. And the yellow ridicule means that it is, it is solved in 3D space.

Uh, and then you've got, then we are mostly off to the races. I'd say what I'm gonna have to get off at 10 30, but for what we can do on the remainder of this is make sure that you're getting, oh, it's yellow 

now. 

There you go. Yellow ridicule. So now you have a correct 3D salt, um, for your, and I'm, I am a little bit curious 'cause I, that does seem like a little small for a 15 millimeter lens.

Um, I'm, I'm scratching my head on that one a little bit 'cause I don't, I don't quite know what's going on with that. Like, the only thing I can think of is, is on the red and this is something to check. 

I'm gonna take a look right now. 

Because we're on the SBI field, is there any sort of weird setting on the red where it, like it says I'm 

at, I'm at six K, super 35?

Yep. All formats. 17 by nine. So that, that should be like full gate 

On your STI monitor out. Is there any sort of weird setting on the red where it zoom it pun it, zooms in. So you can do like detailed and inspection or something like that. Let's 

take a look. 'cause that would be interesting if that is what's started off.

Here's case, 

we gotta redo our calibration. I didn't even think of that but, but I'm just looking at that tiny rede kind of going really, you know, that's. 

Elliot, do you wanna have a check with the GUI of the can? I think because 

of how close I am to the screen, maybe it's, it's plausible. I've got my monitor setting up an SDI, let's see, resolution 10 80, um, 

because it'd be on the red menu for the SDI outputs, like I, I, I don't 

C6 guides, magnify, magnifies off.

The overlay is on. Um, nothing, nothing that should be punched in though. Okay. Or 

lay liaison 

and, and the feed is accurate. Like it, it's the 50 millimeter feed. Oh, okay. I'm, I'm just like, I'm, I'm six feet away, but this is a pretty good sized wall, so I, I think maybe it's like, 

okay. Okay. Well we can, uh, we, we'll go through it and, and it'll, it'll accurately calibrate, uh, you know, basically what, what it's seeing, um, from the feed.

Yeah. It looked like the feed was, you know, coming in. I mean, it's, it's gonna, it's gonna match what it sees. So let's, we will just go through this. Um, so now what we can do is, uh, we're going to want to, uh, set, uh, actually, we, we'll go, we're gonna go back on your laptop for, uh, a second here. Okay. Uh, or your desktop for a second here.

You can keep sharing this screen and you can share the, uh, the desktop at the same time. Sounds good. Um, and I'll show you how to, how to make sure that the data is going to your desktop. Uh, so we have, you have live data going into, uh, going into Unreal. Yeah. I just wanna make sure you get, we close that loop so you can do some experiments, uh, before we run out.

Absolutely. Yeah. Appreciate it our 

time. Then we, we can pick it up again, uh, you know, later, but I just wanna make sure you have got this, this part of it down and then, then, uh, then we can experiment with the next phase.

All right. So you want me to stream up, um, my desktop? Yeah, let's, 

let's go ahead and screen, uh, screen my desktop. Here we go. Share. Okay. There we go. So, okay, so we're on the desktop, so we can actually go back over, uh, to the, you can just click the open webpage. Uh, yeah. Make sure jet Set is is on, uh, so we can actually see it on the network.

Because it looks like you might have turned off 

set. Sorry, I, I had a, I had a phone come through. 

Yeah, no worries. There we go. Okay, then go ahead and click uh, open webpage. Okay. And it's gonna open up. There you go. So that is the Jetset digital Slate. And it's, it's basically, Jetset is, has a built-in web browser system in it, Uhhuh and the digital slate.

All it is, is you're just pointing to, uh, the IP address of Jetset. So if you look at the, the IP address, it's like 1 9 2, 1 68, 1, you know, whatever. Um. The local ip, uh, IP address of jet set. So we can actually go, um, to settings. Okay. And there we go. Look at your, and can you, uh, expand that page out a little bit?

'cause it's, uh, let's look at this closely. Yeah. You 

want it upscale, 

like, okay. There we go. Ah, great. Now, now I can see a little bit better. That's good. That's good. Okay, so now what we can do is you have your external tracking protocol as low net. So, and you need to, since we, we have to tell the packets where to go, like they're coming from in jets set.

We have to tell the packets where to go. Uhhuh. So for external tracking destination, just click set to this PC and uh, are you shooting 25 frames a second? 

No, I'm, I'm shooting 30. 

Okay, go ahead and then click 30 and end 30. And click set to this pc. There we go. All right, now, and go ahead and copy and paste that external tracking destination.

'cause it, it, you're gonna probably want that a little bit later. All right. Copy that and then click save. All right. And now, now the tracking data is going to, uh, going to your, your pc. So if you fire up Unreal. If you have Unreal up and running. Yep. Um, and you have low net installed, we should be able to.

Set up a live link. Uh, so you have live tracking data coming into Unreal.

That's my, uh, 

there. It's, yeah, there's Live link. And go ahead and paste the IP address and that guy. There we go. Okay. All right. So let's see. Where is the V camp actor? So there's receiving. Now I usually, there usually used to be, can you stretch out that window a little bit? There usually is like a little green mark next to it that says I'm getting live data correctly.

Um, there's this one,

okay, source.

Let me actually look up my.

I may look at my, my old tutorial. It has been a while since I looked at this guy. So, uh, that two

status says receiving. I don't know if there's any change. What version exists? Fund dream.

I'm just checking my, uh, my old tutorial to make sure I've got all the different pieces right.

Okay. And I'm, I'm not running V cam or anything in the background right now. I mean, I obviously pixel streaming's active, but I don't, I don't have that, that app active, so it shouldn't be overriding anything that we're doing here. 

Okay. Lemme just look through this real quick. I'm just checking something on my old mold reference 

and I, I had a bit of a while, while we were off the call earlier, I was doing some troubleshooting.

When I launched my in display instance, the Unreal V Cam app, the connection drops off. Mm-hmm. So that's telling me that I think, like I'm getting my tracking data in here. Fine. But maybe because either VCA m or pixel streaming is not a game plugin or, or whatever. It's, it, it's not being enabled by default.

So, and again, this is just me kind of spitballing here a little bit with Gemini, but it's like, hey, what if you manually start up pixel streaming after you've al already, already booted up in display? By just going into the engine and running it as a plugin independently, and then maybe that way I'll be able to get the feed in because like literally it boots up in four seconds.

It's amazing how fast it is and it's, it's snappy, it's responsive. It's not perfect, but in, in my mind, there's a future where I snap my phone on the top. I press a button, four seconds, boom, we're in and we shoot. Because literally, like, I, I think the tech is there. I just think unreal is the, the software has not quite, like, we gotta just figure that part out, you know?

You're right, 

right, right. I'm just, uh, lemme just check on something on my, I just want to.

Because literally like it, it's, I've been impressed with the performance just of the a, the AR kit. And so I'm like, oh man, if we can stack lens calibration on top of how good the iPhone AR kit and responsiveness already is. Oh, 

right, right. Exactly. Be nuts. 

Because literally you could slap a, because literally it's like, yeah, slap an iPhone on a Komodo and boom, there you go.

You know what I mean? 

Um. That's exactly, uh, that's exactly what we're doing. Now. The part that I'm curious about, now, of course I recorded this tutorial way back in like unreal. Five four. Five three. So the part that I'm curious about, I've played 

around both a little bit. Um, five three and we're in five six right now.

'cause I, I've seen, yeah, I don't know. I guess we were going on the normal, 

lemme quick. The part that's curious about it is when you highlight the low net to live link, um, yeah. You know, actually, lemme, let me just double check to make sure that this is the, uh.

Just 'cause the part that I'm really curious is we've, we made something, and normally when I, you know, when I look at my, my old video, when we have loan net, live link, uh, highlighted, then what shows up under the subject name is there would be a, there would be, you know, like a, a little line that has, uh, you know, Nette.

Um, so let's make sure you're is, and the low net plugin is, is enabled. Let's go take a, let's just double check that under well, and plugin. Sorry. Edit plugins. And then, uh, actually you want plugins on this guy. 

It won't, should show up otherwise, right? 

Uh, yeah. Right now you're in project settings, so you actually want to have, oh, oops.

Going to edit. Edit plugins. Yeah. 'cause it's an external plugin. Uh, yeah, that's fine. Ben. I thought I'd, and I'm gonna send you guys in case I run outta time here 'cause I'm, I'm gonna hit some time constraints. This is the, uh, this is the video I'm referencing. Uh, this is the one I did a year ago, two years ago, something like that.

Okay. So type in L-O-N-E-N-O-N-E-T-L-O-N. Oh, there's your problem. Okay. Okay. So you don't have the low net plugins installed. So, uh, so there, that's, uh, um. And they're not even showing up. So you're gonna Okay. I Okay. And you're in Unreal. Five six. Okay. 

This is, I'm pretty sure I've installed it before, but I don't know if I've enabled it for this.

Okay. Project yet. 

Virtual. Okay. Little add virtual. 'cause I know, I hope they have Unreal. Five, six. I'm gonna, I'm, I'm gonna check their. Uh, I'm gonna check their, 

I'm checking my downloads right now 'cause literally it might, it might still be sitting in my download folder from when I pulled it down because, 'cause I did, I did run through the, um, the tutorial.

You did? Oh, good. Good. Um, let me see. And yeah, and also I don't wanna take up all your time too, because I know it's 10 30. No, you gotta roll. No, this is good. 

I'm gonna, I'm just making sure we got, okay. Actually, so they, they have a five, six version. Uh, so I'm gonna, here's, I'm gonna put. Here is the link to the files, um, the lowed virtual, uh, files for five six.

So just let's, let's make sure you get those, uh, installed and, and down and, uh, downloaded and, and installed. Yeah. And, uh, plug installed. And I think you're almost there. Uh, we've got, we've got calibration. We've got a 3D calibration from jet set. Uh, make, oh, just a little thing. Make sure image stabilization.

I don't think the Komodo has image stabilization. No. Okay. Yeah. No civil. Yeah, because that, that'll, that'll get you. Um, to go ahead and install the plugins and hook that up. And I think you're gonna have live data going in, and if not, then we can nail it on the next, uh, next office hours. Uh, but I gotta, I gotta run all, uh, but I think that's, uh, I think we made good forward progress.

Sounds good. Appreciate you, Elliot. This is a cool product and, and seriously, like, like it's worth the 80 bucks a month just for the tracking data alone, so keep, keep doing what you're doing. Um, fantastic. Fantastic. I totally, I can't wait 

to see the, the live the wall running. This is gonna be awesome. Yeah.

I'm excited. Thank you, man. All right. Have a good one. See you guys next time. Bye. Yep.