All right. Morning. 

Good morning. 

They just did this calibration 20 seconds ago. They will be joining this call with the setup active. 

Yay. All right. Let's, then, then we can just go through it and, uh, and, and run a, run a closed loop test. And then I can, I can patch in on Zoom. Let me get a, lemme get my Zoom stuff already. 'cause then we can just walk, walk ourselves through it.

All. All, all right. Let me.

Hey, we're ready for you guys to pull into the Zoom when you're ready.

I got you.

Soon you guys jump in, we can start troubleshooting.

All right guys,

so yeah, we, we find, 

there we go. Always good record calibration. 'cause it's, this is, this is one of the things that gets people over and over. Okay. So, uh, there we go. That's all right. Um, okay. Um, maybe just tap Okay. On, on your, uh, on your phone. Or wherever that's coming. Okay, so it says ready. So it's seeing a feed coming in from the C camera.

So you can just click start in the upper left hand corner. There we go. And then you can just click Okay. There. All right. Okay. So first thing I see is that your syn camera's extremely dark. So let's, uh, double check our exposure on the syn camera. 

I had an MD filter on because I just did this outside when I was pulling points, and it was really bright out.

Oh, got it. All right. There we go. 

We might have to do that again. 

I'm gonna have to because oh, the points I use to pull these points were on my front, on my front porch. 

Okay, that sounds great. Is if that's all right to do, uh, that's that sounds like that. Yeah, definitely. Good plan. Yeah. Exterior light.

Great. More points, more light. 

I'd rather use natural light than artificial light. 'cause it's more natural. 

Yeah. And there's always more points in the exterior. You know, interiors are actually notoriously kind of synthetic and they don't have a lot of feature points. 

Exactly. 

All. Can you get the 

door 

please, max?

Yeah, we went from, I think it was what, 85 to 130. 

Okay. Oh, okay. You're using long focal lengths that Okay. We, we may run into some, no, I mean the 

points. 

Oh, the points, okay. From going from 

inside to outside, 

that was the difference. 

Okay. So now let's see on the, now the city feed, uh, something's a little funny.

It looks 

right. Hang on, I gotta dust my screen off a little bit. I can't see you guys. Sorry. 

Yeah.

This laptop. It's the first time it's been unplugged from my studio in about six months. 

Yeah, no worries, no worries.

All right. I'm going to Max bring my little stool up here real quick, please, if you would, and set it right here so I can put this laptop on it.

All right. Now that I got that up, now we can start and I can show you where I was pulling my points from. 

Oh, great. 

There I have a, I have a table full of bones. 

Yeah. Works as you 

can see. 

Yeah, that sounds great. Hey, do you 

have a lud on? 

Nope, I'm just in log. 

Oh, that's interesting. Okay. For the calibration purposes, is it possible that to set your, um, set your, your HTMI feed on your black magic to, uh, straight rest 7 0 9?

Um, 'cause it's, it's gonna be, it's gonna try to match points, but, um, with in log format it's the, the video's just gonna look different. Um, we don't need it for shooting, but just for calibration, if it's possible to set that to 7 0 9. 

One second. 

Um, 

noted.

So just basically ProRes? 

Yeah, I mean the, actually the recording format doesn't matter. It's just the HDMI output that's going to the accident cmo. Um, yeah, I, I forget exactly how Black Magic does it, whether you, whether you can, you said 

four Two. Two, 

yeah. 4, 2, 4, 7, 

9, 

and yeah. 7 0 9. 

Okay. 

Because it looks really gray right now.

So I think, I think the output, the HDMI output is set at, at, uh, at log format. 

Yeah, and I should have just, yeah, bear with me one second. I'm trying to get you No 

worries. 

Just, 

if we can't get it, I think we can probably calibrate it along. It'll just give us a little bit of a assist if we can get all the, um, the, 'cause what it's gonna be doing is matching between the, the iPhone camera and the Black Magic camera.

And so we're just trying to get the, you know, the. Imaging color, aluminum stuff to be reasonably close. Doesn't need to be perfect, but you know, as close as we can get it.

All right, I'm, 

this is actually very valuable. I would've never known that that's what his camera feed looked like.

This isn't that kind of neat to see my camera feed. 

Yeah. Oh, this is why I love this, this feature is it means that like wherever people are in the world, we just patch in and, and we can walk through, walk through the calibration piece. And I think this is gonna be, I think what you're gonna see over time is as these shoots get more prevalent, is people get real good at, at being the kind of VFX supervisor on it, and they just patch in the remote to a feed and like help people like tweet the little dials and stuff.

Yep. Exactly. Exactly. That's exactly how this is. It's gonna work. And there's just a million settings, so it's just like.

Can I get this out of log

now? Let's see, what's the shooting format are you on? Uh, 

that's interesting

because I shouldn't be having this much of a. There we go.

That's a little better. 

It's looking closer. And so you'll notice if you look in the, in the viewfinder, so the, the bones and stuff are getting, giving features and the chair legs are giving us features. The snow behind you is, doesn't have any features in it, whereas there's a tasty looking brick wall to your right that should have a lot of features in it.

So I'm wondering if we can kind come around and, 'cause what you're gonna, what you're gonna wanna do is you're gonna pick out an object and we're gonna be swinging in roughly, well, we just pulled 

A1 42 frames off that. 

Yeah, there we go. So if, yeah, what if that, that'll work fine. And then what we can do is you're gonna be working your way around to like 180 degree hemisphere around whatever object you picked.

So you're just gonna move over maybe a foot and just, you know, keep it, keep the same object in frame. And we're just gonna be going around in a, in a roughly 180 degree circular on that. And yep, there we go. And just move over. Do lots 

going the other way. 

Okay. You can keep going. The other, you can go the other way.

That's fine. Yeah, just, just stop frame up on the same objects. Um, and hold camera still. There we go. And move over and frame up. I just 

pulled 180 frames on that. Or A1. 80 points on that one. 

Yeah. Now remember we're gonna wanna keep almost the same objects in frame on the whole, on the whole time. And that way we can have a shot to shot suit.

'cause like right now what we did is we went around to a whole separate part of this, but you have almost no matches between your, your did I go too 

far around? 

Because we're, the way this is work works is it, it's gonna take, you wanna take a bunch of images of basically the same set of objects, the same, you know, future points from a bunch of different angles.

Uh, and, and then that, that'll give us our, our, our data. There we go. So, yeah. 

So, John. John. John. Yeah. John. So you're only looking at the 2 0 3. The screen right beside that is telling you how many actually matched. 

Okay. 

Yeah. 

That screen to the side of us only said like 60. 

Yeah. So it is a little tricky. And this is one of the, oh, there we go.

See that? There we go. Now we're, now we're getting several hundred, the hundred matches between the, the jet set, the, uh, iPhone, and, uh, the, the one on the right is, is testing your first cine frame to your current c. You wanna have matches on both of those. All right. Okay. And just can, you know, let's move over a little bit.

Keep all those, use those things in in frame.

There we go. There we go. Here's some matches. 

Well, so on 37 points now I see what you're talking about. 

Yeah. Yeah. It falls off when you get pretty far on around the hemisphere, but you wanna, you wanna, the, the hemisphere was what buys you the parallax between the, the different images. And that's how we can back out the 3D geometry of the scene.

And that's how we back out the 3D geometry of where the lenses are is, is with, is with this kind of, kind of data. Um, Joe, 

Joe here. I 

hear it. 

Slow down, bro. Slow down. Let your camera focus 

now. There we go. Come 

down. Oh, it was, it was in focus. It was just showing 52 frames on that one set. Everything's red in focus, bro.

Yep. All right. I'm gonna hold the camera still and when Capture the test frame. There we go. Woo. All right. That's a lot of points. 

There you go. 

There we go. And then let's just move, move to the side just a little bit, um, and, uh, you know, laterally and, and, uh, and capture a few more frames, and I think we're gonna be good to go.

It's those, those careful horizontal kind of shifts of motion that are gonna bias the parallax, uh, that, that solves the, solves the pieces of this. There we go. All right. I think that should, that should do us for, for frames. So let's go ahead and, and save this. 

Okay, 

and let's try running a solve and yeah, let's just give it the day.

And then, then the millimeter that we were shooting at,

oh wait, it's two, two up, back up. 26, 24 mil.

We can 

exit now. Right. Okay. Yeah. So that is saved 

and you can see. 

Let's go ahead and exit, and it's gonna take a second to kind to come back, initializing the AR session. There we go. And then, then you kind of just point down at the ground somewhere and, and, and just tap on the grid and it'll, it'll set your, uh, set your origin.

Uh, let's, there we go. Let's just aim down a little bit. Okay. There we go. Yeah.

All right. You can just move, uh, camera to side to side a little bit. There we go. And click. Okay. Alright, so now we've got a red ridicule, which means we've got a 2D solve, but we need to make it a 3D solve. So now if you wanna share your laptop screen, let's, uh, take a look at, uh, what the laptop, how laptop solves.

I think we should get a reasonable solve. 

All right. Where's, uh, 

we may get bit by the ones that are the laptop 

reflection 

way on the other side. Yeah, let's share your laptop screen. That way we can watch the solve. We may get by bit by the ones that I got, get the laptop coming out. Okay. Fantastic. And this is absolutely one of these areas where we need to, uh, we're gonna be doing a bunch of things on the Jet Set user interface over the next few months that are going to improve this whole process.

Right now, I would say it's, 

now I'm back 

functional, but marginal. 

Now, let me download, let me get Zoom downloaded on this computer real quick.

I actually

all right now, um, to share my screen on this one. I'm on the laptop right now. 

Yep. You just log in on Zoom and or uh, yeah. 

Light Craft 

Zoom. 

Yep. You just go to Light Craft Pro Office hours. And that's our Zoom link. Yep. Laptop can just come in under that. We're gonna start echoing as soon as you come in, so just get ready with your microphone.

That's right. I'll, I'll kill the mic on one of them.

Morning in progress.

All right. Audio's killed on my main one, and let me get into. Elliot, would you please refresh me on how to screen share? I've been on Zoom in a long time. 

And Zoom is on the bottom of the window. Generally, uh, there's a little sheer button. A little button with an up arrow. 

Yep. There it is. There. It's.

All. So do we have it? They have not taken Josh's course yet. Uh, once we get the calibration, they're gonna be going through the course so they can get a little bit better. Up to speed.

All right. Fantastic. Uh, now start screen share. Let's see.

All right. It says I am screen sharing. 

Oh, oh, you know what? There, there, let's see. There's, I, there's iPhone and then

I'm not seeing your screen yet. 

Not seeing your screen yet. 

It says Jonathan has started screen sharing. Double clicked. Uh, 

it just kicked me off on the interwebs on this side. 

Oh, okay. 

Uh, zoom. Quit on me real quick on the other laptop.

Now we're back up. 

Now we're back. Now we're back.

There we go. All right, so then, uh, let's, uh, and you 

should be seeing it now. 

Yep. I'm seeing it. Let's, uh, go ahead and type in our sensor width for your black magic camera. I dunno what the, what your sensor width is, but 

34 

1. There you go. Looks like a plan. Let's hit calibrate.

Oh, wait a second. Oh, wait a second. Some reason the calibration is, it says VM 24, and I thought, I thought that was a different calibration. Loaded. I think we named it some, something different. So we will do this. We can, um, just let it calibrate for a second, but we might be doing the wrong calibration. 

I, I renamed the calibration to this one.

On the last one I just did. 

Oh, okay. Okay.

And that's where,

okay, take a look.

I think the calibration's gonna break, but I think I know why. And then we will, uh, we'll do a quick refresh and then we'll re recalibrate then we'll just rerun this. But let's, let's see how, what it does for first. 

No, I got good vibes, Elliot. 

Yeah. Yeah, I think, I think right now it's loaded. 

The vibes are flowing today 

because right now I see that his calibration loaded in here is, uh, BM 24, and I think that's the old calibration.

So when I go to the screen share on the iPhone screen, uh, the calibration loaded is BM Zeros two, uh, 2 2 26, 24. 

Oh, 

that's right. Yeah. Yeah. So I think probably we needed to hit a refresh in the, in the iPhone shave. That's all right. We'll, uh, let's let this cook and, uh, I think it, I think it's gonna have the same, same problem though.

And then, then, then I'm live, bro. Refresh. We'll get the right one. And I think, we'll, that one's gonna 

work. I, I'll come chat with you in a second.

I see what you're saying though, Elliot. Uh, 

yeah, because I did change that new calibration and it's trying to pick on the old one. 

No worries. No worries. We'll get there. 

Thank you very much for taking your time with, for, to help us do this. 

Oh, this is, this is my thing. Like this is the, this is how we figure out the parts of the system that need to get better.

Right. And calibrations. It, it, you can tell is one of the parts of the system. That's a, that's a little bit, you know, it's a little sideways here. It should not, yeah. It shouldn't be this hard. Right. So there's all these, you know, it works but barely. And there's just pieces like this that are brittle, um, that we need to go back and make better and we know how to do it.

It just, some of these things, you do the first pass and it takes you a few weeks and you come back and do it, re-engineer it again. It's gonna take a month and a half to get it right. Um, but Gotcha. It's how you do it. 

So I'm guessing we're the first team to kind of do stuff like this around this area.

You know, um, probably in your area. Yeah. It, it's real interesting to see where there's jet set teams running like all over the world. Uh, and this is why we have the Zoom system is 'cause I found myself having to patch in Hyderabad

and then, then over in the northern UK and then in France and then, you know, like all over the place. So, uh, so that's, that's, uh, it's, it's been been, we, I said what? We better get a Zoom system in here real quick. 

Yep. Okay. 

Could you 

imagine that house call? 

I mean, I don't have to imagine that we did that right On the original system flyer 

Miles.

Oh, I was on every frequent fire flyer thing. You can imagine that original systems were huge and they fit in a rack and we had to haul 'em everywhere. And it was a, that was a mess. It's just a total mess. Oh man. It was brutal. 

Like a 

server 

rack. 

Oh yeah. So I had a, a set of ramps to, to, to, I had my little like, you know, a little Honda.

Uh, and so I had a set of ramps in it. So what I do in the parking lot when I'm doing a shoot is I get a running start so I can shoot the super rack again, 200 pe just like picture this, this 200 pounds of super rack on wheels and like a running star shooting in the back of the Honda. And it was about three inches of clearance.

So, oh, yeah, yeah. Uh, when I, when I realized we could fit all this stuff in the iPhone, I was like, we're there, we're so there. Uh oh. No, I'm, I'm sure. I'm sure if anyone had been videotaping that would've, Instagram wasn't around back then, but they, that would've been, you know, all over the place. It was, it was exactly a clown car kind of.

Okay. We 

finally finished. 

So lemme go 

back. 

No, just go ahead and click refresh. Uh, there's a refresh button up here, so let's click that guy. 

That one? 

Yeah. Let's click refresh. 

Okay, now we've got the right 

calibration 

loaders. 

Yep. And then let's, let's redo your sensor sensor width, uh, because that Yep.

Sensor width. There we go.

And then calibrate. Correct? 

Yep. Let's calibrate. Let's see. Finally, 

let's get this mojo working. 

Let I told you we got chemistry, man. 

And if anything breaks, I think it's gonna be the, the ones that we took on the other side that are, that there weren't, there weren't any feature matches. So that's all right.

But we, we can, we'll get it. We'll go back. It 

seems to be working a lot slower this time. 

It's cooking through it. 

You took eight, 10 takes I to read things.

Heck yeah.

Now it's interesting. This is, you're running this on, on CPU, right? Uh, is this the laptop we we had to set up to run on CPU instead of Yes. Okay, I gotcha. Okay. Yeah, it's gonna be about a factor of eight 10 slower than, uh, a GPU one, but that's all right. We, we will get there. Yeah, 

I just, yeah, I just, I've been running a MacBook and, um.

I finally, I did it about two years ago. I got into this project I wanted to do, where I wanted to compare an iPhone, uh, 15 promax with a, uh, Samsung S 23 Ultra. 

Mm-hmm. 

And I did a two year comparison of side to side from video and all access from a cinematographer. 

Oh, 

interesting. 

And then, so I've got two complete ecosystems.

From Apple to Samsung all the way through, 

uh, it'll be, it's, it's always interesting to kinda kind of see how the different systems work. There we go. We're trying to 

build a creator shoulder rig with, with black magic camera lines. 

Oh yeah. 

And we're involving jet set to make it virtual production 

done.

All right. So just calibrate, ah, 

calibration. Push the jet set. Yes. 

Yep. There we go. And think you got a, what color is your 

box? 

So let's take a look at the iPhone screen. Yep. There's your, there's your screen. All right. So it looks like we've got a calibration and we can actually check, uh, we can actually check to see if things are reasonably aligned.

Um, we can actually, uh, uh, on the iPhone we can actually, uh, if you move the iPhone around, um, we can actually slide the, uh. Let's see. There we go. And let's slide your go slider. Go sliders on the left hand side. Let's slide your go slider down. Let's kind of see the, the, the environment real quick. Uh, that we're in 

on.

Go slider. Slide. Slide. 

Maybe 

it doesn't wanna slide. 

Doesn't wanna slide. 

Let's open a map. Let's 

open map.

Victory. This is the type of victories we need on Mondays. 

Hey Taz, what's the best map to load right now?

Oh, wow. You gonna flex? 

Yeah, I'm gonna flex. Yeah, I'm gonna flex, 

uh, SkyBridge.

Yeah, I wanna flex for a second. I'm kind of proud of this, man.

I'm sorry. I kind of gotta flex a second on 

this. 

We're proud of this. All good, all good, all good. I totally, I'm right there with you. Hey. All right. And City Bridge. Oh, fantastic. So that, that is, shows your aiming ridicule. Now you can also tagle to hit the, uh, cinematic, uh, compositing button, which is the, uh, double rings up on the up upper, uh, upper part.

And that'll, uh, that, yep. Now that's your black magic feed coming in and being real time composited. So that's your actual, oh, how are y'all 

seeing this? 

Yeah, that's, there's, if you put your hand in front of that, then that, that's the actual feed. That 

is cool 

coming in from the black magic. 

So that's the 24 end.

So basically I just need to redo that for my other two lenses. 

Yep, yep. And then you can toggle, you know, once you've done that, and as long as you don't move the phone off, off the rig, et cetera, then you can just like pick your, pick your calibrations and go back to the previous calibration. 

Well, and if you notice how I have my rigs set, I have this, no matter what I do with my iPhone cage, it goes right to the same spot.

Oh, perfect, perfect. Yep. You've got, you've got a create a rig going on there. 

Nice little ring, huh? 

Little. Yeah. Go ahead and switch 

the scene, bro. I think you're at the bottom. Location. Switch the scene. 

What? What? 

You're good. You're good. I didn't realize which one you put in 

and Yeah, I put in City Bridge.

We need to set the, the floor, like the origin on the floor. Uh, the origin may have just randomly picked it, picked itself out on, yeah, I think, 

I think, okay. So reset origin. Refresh me. Refresh me. 

Yeah. So up in the upper left hand corner is the main menu. Uh, and I'm just gonna go tag that and go down to origin and then we'll, let's just set your origin deliberately.

So let's click reset.

Yeah. Reset upper. Yeah, that, whoop. There we go. Let's go back to your, uh, let's go back to your origin screen. This is one of the things we're gonna be fixing in the, the ui. Yep. 

Sir. 

Make this a little bit easier to like, make this a little bit easier to deal with. There we go. And let's tap our, the reset button.

There we go. Start a new map. That's fine 'cause we're outside. All right. And then, and then what you're gonna wanna do is let's, uh, aim the camera down a little bit, um, and to kind of see the floor grid. There we go. So when it sees a horizontal surface, it's gonna make a floor grid there and you can move the camera around, back and forth, get yourself a nice set of points to it to work with.

Um, and then you can just tap anywhere on that, on that floor area. It'll set your origin. I just, you know, tap on the, on the blue grid. Yep. There you go. See if you, you pan to the right and you can kinda see the, the origin. So now you should be roughly, uh, that, that will have set you at your floor level. So you're gonna be, it looks like you're under the bridge somewhere.

Yep, I'm right under the, right under the bridge. Well, 

fantastic. Alright, 

so I have had them print off the floor markers and the edge markers. Can you explain that to them real quick? Because his assistant. Is gonna be the one that sets those. 

Okay. So the, the floor marker lets you automatically snap. I'm gonna hand this, 

I'm gonna hand this to Max.

This is my assistant. 

Hey, max. All right. So the, the way the floor markers work is that, uh, now did you print out the, the, the eight and a half by 11 or did you, uh, get the, uh, the 16 by 24 ones printed? Uh, 'cause the. Both, both will work. It's just you gotta be a lot closer to the eight and a half by elevens firm to, to detect.

'cause the way it will work, 

I got eight and half. I got the eight and a half by elevens. Okay. I can go to, um, I go to FedEx print and have 'em print off bigger ones. That's not a problem. 

Let's start off with eight and a half by elevens, and then you'll see why we usually like the, the bigger ones, they'll total the eight and a half by elevens will totally get us running.

So you can see how it works. Okay? But what they do is they let you put them down on the ground and then you can, and when you're in origin mode, you point the camera at, you know, the iPhone at that, you know, with the rig on it, and it'll detect that and you hit a button. And, uh, so if do, do you have the piece of paper with the, the, the floor origin on it?

Um, we can go through this real quick. 

I think that, is that still the studio in the lens in the other case, max? 

I think 

so. Yeah. Yeah. It's, it's at the studio in my accessory case. 

Yeah. No worries. I'll just tell you, tell you how it works. Then we can go, go through it. And I've got instructions on this here.

I'll show you. There's, there's, uh, let me give you the, the, the, uh, tutorial on the jet set piece that goes through all these. 

It's so cool. So like you set it at the corner of your green screen and then you set it on the wall of the other one and it maps everything for you. Oh, that's cool. 

Yeah, it's, it makes for a really quick way to, to lock the, the origin to a specific spot on your stage.

Yeah. And uh, base slide is, you can put down on the ground, probably tape in place, whatever. And then while you're in origin mode, the same place we were at earlier, um, yeah, you can just point the camera down at it and it, and if it's close enough, again, with the eight and a half by elevens, you're gonna have to be fairly close with a 16 by 20 fours, you can be, you know, nor normal tripod height.

Yeah. Um, and it'll detect, it, it, you'll see a little square kind of appear around it and the button that says like, aligned to origin, just tap that and it'll go and stick the origin right there. Now you even easier. Oh, yeah, yeah. You, you have to have already, you know, set the floor plane just like we did, you know?

Mm-hmm. You gotta pick your floor plane when you, you, you're originally scanning, but after that, it's because what you, what you will see is, you know, it is, this is what's called a monocular tracker, which is like, got one lens, which is the iPhone lens, and it means as you move it around, it's gonna drift a little bit off the origin so you can come back, like reset the origin and the, uh, and the origin.

Um, target is just a way to speed that, that process up instead of having to sit there and like, you know. Dink with the, uh, the little, little buttons 

because when we get the 

Yeah. 

Oh my bad. I was, when we get the things that we're interacting with on set, those can't move and the, the scene can't move either.

Okay. So all that BS that Kel has sitting on the sound stage will stay exactly where it's at. 

No, I'll have my day right now. We got the calibration. 

Okay. Please. Thank you. 'cause you understand what I'm saying about that. It's.

It's all good. 

I took one look and started of shaking 

my head and started laughing. Makes actors, they feel more involved in the scene. You know, 

there there was one of the funnier, like, like advertises for a kaing system that I've seen in a long time, which is, you know, says, yeah, most green screen tutorials like show you a key, like, and there's this like, nah, pretty girl, like the perfectly even green screen behind them.

Just like, like fall over, hit a key, it's gonna work. He is like, then you actually get the footage of what it really looks like, guy in a green suit playing a shining green electric guitar that's reflecting. He's just going all over the place. And I just like, I got whipped laughing at this because if I find it, I'll send along to, to, and, and, uh, oh 

my gosh.

Oh yeah, that's, that's, that's the world. So, uh, we 

got a human key frame. 

Yeah. That's. Um, this, this is great. You know, I mean, do you guys want to I would say, um, I would say do it a test, test shoot, you know, make sure you get, make sure with all these things, make sure you get your scans, you know, go through the, 

so we have our, our shoot, our trailer shoot is next, uh, Friday and Saturday, I believe.

Um, are you available during office hours on Friday? Still? 

Yeah, should be, I should be there on office hours. Um, take a look. 

Is I my, if you don't mind, I might zoom, uh, in with you while I'm on set real quick sounds and show you what kind of, what we're messing with. 

And I'd, I'd strongly recommend, um, because I'd run, run through the whole process.

'cause right now you're already set to calibrate. I would like set your origin, do a scan, shoot a couple quick takes, and just go through the whole process until it's like, you know, kind of instinctive. 'cause it's, it's not that complicated, but there's a fair number. There's a decent number of steps and you wanna have that loaded into your head.

Days before you're actually out there and the pressure's on and people are like looking at all this kind of stuff. It's just, you just wanna have that, have it loaded. So it's it's muscle memory. Yep. And, and you've got five days to, to, to just run reps. And I can, I can patch in and fix whatever you run into.

Perfect. 

It's just hard on the day. 

Our next step right now is going to be getting the files from you to me. Or to even Elliot so we can diagnose what's next. 

Oh, let me show you something. This is, this is gonna be a huge help. Okay. So there is a way, uh, you're gonna wanna, again, set up to shoot Ace take and you're gonna wanna test run it, but we have a way.

What's called zipping up a take. So once you have the, you know, take match, et cetera, and you wanna send it to someone else, you can send a shot, a take at a time that has all the tracking data, all the information includes the syn take, you know, uh, all zipped up. And so Ddrick can, can just pull it down and hit and hit a button.

Okay. And work with it. And so this, I'm gonna send you that, that link. Uh, okay. And then I got actually have to run to a call. So lemme send you this link. 'cause that is how, this is how internally, whenever somebody has a take that's busted, I'm like, send me a zip take. And this is the, uh. This is our universal way we do this.

So here we go. Jet sit takes debugging. I'm gonna put this in the, um, I'm gonna put this in the chat and make sure you Perfect. Make sure you get the guys, get this. 

I'm glad I had you on today during the, uh, calibration. 'cause that was one thing we were having an issue with, was trying to get that handshake going.

Yeah, yeah, yeah. There's, there's, there's a bunch of little gotchas in there that we need to smooth out. Um, but I mean, I can, I can walk you through some of it, but I, yeah, you're not alone. This is the, the calibration is the part where, you know, the first time you do it, it's, it's just a little bit opaque and we need to make it better.

Um, and, uh, but yeah, once you, once you go through the process a couple times, you go, oh, okay. Now I can motor. 

I just can't believe something simple as a brick wall in my front yard. Worked better than something with a lot of detail in it. 'cause I would've thought something with a lot, with a lot of detail like that would've pulled more points than just like a brick wall.

You know, it, it all kind of depends on, you know, you'll see it detecting all those little red squares. Yeah. And those are basically natural feature details. So, uh, natural objects work, work really well, like stuff that makes complete 

sense. 

Uh, one thing to watch out for is trees will get you abu a bunch of points, but they're not very good points.

'cause the leaves aren't, like, they have, they have a bunch of edges, but they don't match very well. So seems 

like a rock is a good point because it's solid and it's not gonna move. You know, 

bricks, work great, 

has a lot of porous in and stuff like that, so it has a lot of reflecting and a lot of points out of it.

You got, if you got a wall with a bunch of like drawings taped on it, that'll work great. 'cause well the drawings, I have unique feature points. Um, all these sorts of things work great. What, what kills you is, and see 

this helps me out a lot because I thought earlier I'd have to 360 all around the shot.

Like I used to have to calibrate some of my older stuff, you know, back in the day. 

Right, right. No, you just kind of pick out a, a chunk of, you know, something that has a lot of detail and just move yourself in a hemisphere around it and that that'll map the points really, really clean. 

Perfect. Well, Ellie, I appreciate you.

I've got the, uh, introduction downloaded and the debugging downloaded. I do have your, uh, course that I've purchased that I'm gonna be going through as well. 

Yeah, Josh's course is great. It's great 

Josh's course to go through that, sir. Fantastic. I wanna thank you so much for today. 

Hey, no worries. No worries.

Uh, okay if I put this up on office hours, so, so it's, it's so useful for people of course, to see the process of going through it. Uh, it's just so useful. Of course, 

of 

Oh, excellent, excellent. 

It's not the 

first time I've 

been on a camera. 

Fantastic. Hey guys, have a great one. See you Friday. 

All right, thanks guys.

Hey, Elliot. 

Oh yeah. 

In about a month from now, I would like to talk to you about a sponsorship. 

Excellent. Excellent. Let's make some cool stuff. Alright guys, this looks great. Can't wait to see it.