# Office Hours 2024-12-20

**John:** [00:00:00] Good morning. Elliot, good morning. Oh, good to see you. Are you feeling any better? I know your voice was not feeling great yesterday. I mean, not really. 

**Eliot:** Oh, but whatever, right? You know, this is just, this is just where it's, where it's at day three of the cold. So I sound like, you know, a frog ran over me, but that's all right.

**John:** Yeah, yeah, yeah. Or, like, a bass singer in a jazz lounge. I don't know if career is something you've considered. 

**Eliot:** Only if they didn't mind me coughing all over the, you know, the rest of the band. That would be an optimal, optimal solution. Um, all right, let's, uh, let's get your, um, let's get your CINI system up and running.

That'd be huge. Tell me, can you, can you show me kind of where you're at? And you have the other weapon. 

**John:** Let me, um, so one thing, I, I feel like I have [00:01:00] every piece, but I don't have a tentacle. Is that going to be a huge issue? 

**Eliot:** Um, you can get by without it, um, if you use the digital slate. We honestly recommend it, um, hang on, I've got a little, little, here, let me give you this one.

We all are sick here, so he's home from school, so. Sounds good. Hello, it's good to have assistance.

We strongly recommend it because there's like 10 different ways that is extremely useful. Okay. One of the ways that it's useful is, uh, you can synchronize. Using the digital slate. That was our original synchronization method. Sure. And it works, it's just susceptible to on onsite onset lighting interference.

So if you have the iPad angle at a funny angle, um. You know, you have to have to put it in front of the camera so both the cameras can see it, and there's, it's just another layer, I mean, [00:02:00] the digital slate is just a great thing to have because then it burns in a recognition of this is the take on this, this Cine, Cine, uh, you know, this Cine shot.

It just, it burns it into the Cine footage. I highly recommend, even if you're using a tentacle, it's still highly recommended just because it provides ground truth. You know, without a doubt that it's, you know, this, this footage, you can do an optical, you know, just look, read it, read the, uh, the hex ID and then find it.

Um, so we strongly recommend it and we can get you up and running without it. We just are going to strongly recommend that you 

**John:** use 

**Eliot:** it. Yeah. 

**John:** So yeah, the running theme for today's setup is the, the good enough, you know, I've just gotten enough pieces to be able to test and hopefully get it running. I've borrowed my friend's iPad.

So, um, doing what we can, but let me show you what we're working with. So I have a Sony a seven S three that I have kind of amount for the iPad up here. Yep. Have the Axiom pro HDMI coming out [00:03:00] and USB C for the iPad on this side. And, got a battery and everything, and that's just my phone. And so, that's, that's kind of the, the limit of the setup, I suppose.

**Eliot:** Uh, and, oh, and so we're tracking with the iPad? Okay, that should be fine. 

**John:** Yes, tracking with the iPad, I've already signed in, and um, I've uploaded two models that I've like dropped kind of scene locators on. Um, and I can get those to work just fine. with the iPad and maybe if it's helpful to kind of explain how far I've gotten.

I have Opshot downloaded on my laptop. I have gotten to the step where I'm comparing both angles in the app and Did like a series of eight images where it was identifying the consistent markers. And then I just kind of had trouble after that, getting it connected to the computer and kind of, you know, I was looking for the, [00:04:00] um, what's the, the internet code, um, that it was generating the.

Oh, the IP address. The IP address. And I was finding it and, oh, thanks so much. Um, and so that's, that's kind of thus far where I've gotten. That, that sounds fine. Maybe we should just start there. 

**Eliot:** Perfect. And, uh, you want to, what we can do is, is, uh, we can, uh, if you fire up the, the, uh, the iPad. I mean, the iPad was mounted while you took the shots.

Um, one other thing, did you have image statements, Sebi? Hang on, let me, uh, tell you what, I'll uh, if you want to set up your screen share, I may go get some alternative entertainment for it. Sounds 

**John:** good. 

**Eliot:** Sounds good. Yeah, I can do that.[00:05:00] 

**John:** Alright.

**Eliot:** There we go. And, uh, and just to check, did, did you, I, I don't remember if you said this, do you have image stabilization turned off on the 

**John:** Sony? Let me turn that off right now. Do I need to do that on the iPad too, or just the DSLR? Just the [00:06:00] DSLR. 

**Eliot:** And in fact, if you had image stabilization on, we're actually gonna need to recapture, uh, we're going to put a warning, uh, about image stabilization or calibration process.

Uh, but that will really break the, uh, the, uh, calibration system because it, it has a. A set of mirrors that are actually moving the sensor plane all over the camera. And, you know, the, the iPhone has no idea that that's going on. So it, it breaks the, that's, that's a, that's a biggie. And we need to have a giant like blinking label when you're doing calibration up to turn that one off, which we will, we will add in the next, uh, UI rev, uh, of, uh, 

**John:** or calibration.

Sounds good. I will turn that off right now. And, actually, while I'm, while I'm thinking about it, um, Do I need the Axiom app? 

**Eliot:** It's, um, it's useful to, to verify that your firmware is up to date. Uh, that's what we typically recommend is, is, uh, making sure that the firmware is up to date. Okay. And so, what we can do [00:07:00] is, I mean, go ahead and, and, uh, and install the Axiom app.

And let's just make sure you're up to date, you know, let's, let's get all this together. And then what we'll do is we'll go through another calibration. Uh, it should be pretty quick and then, uh, I'm glad we caught the image stabilization before we spent any time trying to do a solve because it would, the solve would break.

**John:** Definitely. Um, so, okay, question for you. I, um, the first time that I did this, I did test it with the ActSoon app. This time I, um, I downloaded all the apps that I thought, and let me text my friend for his, his Apple, um, ID. So I actually don't know if I can download the action app right now. Well, in that case, I mean, we 

**Eliot:** can go through the calibration process.

That's, that's, that's fine. If it worked before it's, it's going to work again. 

**John:** Yeah. Yeah. Yeah. I did it last week. I did it last week. I just, I do have one question though, if I can ask about that. So when I did it last time, the pro has a limit on 4k. Like it can only [00:08:00] do 1080p and it wasn't able to see the camera or anything like that until I set the camera filming to 1080 as well as the HDMI output to 1080.

Is that a limit? Like, will we be able to still do 4k eventually or. 

**Eliot:** Yeah, the calibration process is, once we do the solves, um, uh, then, you know, then, then, I mean, you can disconnect the Axiom at this, at that point. Now, later on, we want to actually be compositing the Cine feed in the phone, um, and, uh, um, and we, you may run into things.

I, I know the, um, the, the Axiom 4K can take a 4K feed and then we just downsample it when we are doing, doing the calibration. So. The, what you're running into is that the, uh, the CMO pro can only take 1080p footage. Uh, yeah. So that, that's, uh, but that's the only, you know, that's calibration is, is, is basically lens parameters [00:09:00] and, and offset.

So it doesn't care whether it's 4k or, you know, whatever. Uh, as long as the sensor back is the same, same size. Um, 

**John:** Sounds good. Well, I've, um, set all of the settings to 1080, so we shouldn't have any trouble. Okay. And let me, let me do something where. 

**Eliot:** We can actually kind of walk you through. Um, let me do this real quick.

I'm gonna put up a, uh, QR code. There we go. And you can go ahead and exit Jetset. Uh, and then point, um, point your normal iOS camera app at, uh, at this. Share. Uh, there we go. There we go. And so what that'll do is, um, 

**John:** Should I stop screen sharing? 

**Eliot:** You know, we, we will, we'll be back and doing it later. What we're, you can stop for now.

Alright. What this will do is it'll turn on a, uh, a screen share system inside Jetset [00:10:00] so you can hit a button and it'll let you screen share your UI over our servers so I can actually see what your, you know, you know, see what your UI is doing and watch. Okay. That way you on here. Yeah, yeah, yeah. This is excellent.

Useful. And then I'll, I'll, uh, put up a, um, a screen share so you can see what I'm doing. Uh, so let me know after you clear the iOS camera app, you know, and go ahead and open up Jetset. And, uh, it'll probably, it'll give you a yellow button that says open up Jetset. It'll ask you if it's okay to screen record.

It's not actually screen recording. It's just the nag app it makes us put. Sure. It's just pushing the pixels over the server.

Yeah, we're all ready. Okay, let's see. So, let me try toggling, uh, go ahead and, so what did it ask you about for screen recording? Um, when 

**John:** I shared my screen, what, sorry, on what device? Oh, uh, on the eye, on the iPad. [00:11:00] Nothing yet. 

**Eliot:** Oh yeah. So let's, let's try that again. Go ahead and exit Jetset on the iPad. Open up the normal iOS camera app.

All right. I'm there. And then point it at this QR code. It should bring up a yellow button. 

**John:** Oh, I'm not seeing a QR code. 

**Eliot:** Oh, um, let's see. Let me reshare it. Share. 

**John:** Going 

**Eliot:** link. 

**John:** There we go. How's that? Ah, beautiful. Open in Jetset. There we go.

**Eliot:** Fantastic. Alright, so let me share my screen so you see what I'm, what I'm seeing. Share.

Alright. There we go. Okay. So this lets me kind of see what you're what's going on in your UI. So we can actually kind of walk through the process together. So calibration, uh, uh, we, you know, we, we need to have, um, have set an origin, but it doesn't really [00:12:00] matter where. Um, so, um, What we typically want to do is pick out something that has a lot of detail in it and we're going to capture, you know, as you know, eight or 10 or 12 or whatever, uh, different image, uh, captures of that image working around it and roughly like a hemisphere, right?

We're basically doing a little, uh, a little short photogrammetry. Uh, and that will let us resolve the, uh, the distances between all the, all the different things. So this is fine. Kitchen is fine. Uh, or the room you're in is fine. Um, so we can just click, um, let's go ahead and click reset and we're going to set our, uh, we have to set our origin, our tracking origin.

Okay. And, uh, let's go ahead and click, uh, origin in the upper left hand corner. 

**John:** Okay. And actually, I have one question about this. I was, I was playing around with the overlays and how do I turn this street mode off? 

**Eliot:** Street mode. Oh, the, the, uh, the 3D 

**John:** model. Um. Yeah. Because when I put the, uh, like one of the ones [00:13:00] that I've imported, it just puts it on top of this one.

**Eliot:** That's interesting. Uh, you can go to the main menu and go to model and then, uh, clear model. There we go. And, oh, that must be a 2D image. So let's go to the 2D panel. And go ahead and click, uh, hide. Yeah. This is one of these areas that we're going to be going to be doing some work on. Okay. And you can click.

Okay. And then your model should be clear. Okay. So let's go ahead and click out origin in the upper left hand corner. There we go. And click a reset because we're just going to reset our tracking, uh, And, uh, also in the upper left hand corner. There we go. And let's start a new map. And what this is doing is it's detecting a bunch of little points in the scene that it uses for basically tracking points.

And it'll detect horizontal planes. And right now it's detecting the floor. And you can just tap anywhere on the floor. That's fine. Okay. Yeah, for calibration, it doesn't really matter [00:14:00] where. And now you can click OK. Alright, and so then we're going to go click on the main menu again. And And we're going to go ahead and click, uh, under recording.

We can click, um, there we go. And we can click a Sydney calibration and we can click new. There we go. And we can go, and I see a ready under Sydney one. So you have footage coming in so we can just click start.

Let's see, there we go. All right. Oh, beautiful. There we go. And so we, the carpet has lots of detail, you know, you have plenty of, plenty of detail in it, so what we just want to pick is something where both the top and the bottom are seeing a lot of detail. 

**John:** Okay, here I can do a little more of a larger half circle, um, but move some things around.

Let me brighten up that image [00:15:00] too. 

**Eliot:** Sure. There we go. Yeah, it's seeing lots of, lots of features. Yeah, this is, I always like this because it's, it works with whatever happens to be around. You don't need like calibration targets or anything like that. I 

**John:** love that. 

**Eliot:** This is, you know, what sooner or later happens is you're shooting and somebody rocks up with a completely unplanned for set of lenses that are the DP's favorites.

And it's like, well, I guess we're shooting with that right now. And you've got about 20 minutes to go through and calibrate stuff before you're shooting. And it's that's on the high side of an estimate. Yeah. All right. All right. So let's go ahead and we're going to, uh, just kind of, uh, try to get the images stable as you can.

Um, and you have image stabilization turned off, right? Just double checking. 

**John:** Yep. I do on the camera. 

**Eliot:** Oh, yeah. Okay. So go ahead and click, uh, test frame.

There we go. [00:16:00] And that looks great. Lots of, lots of feature matches. So you can click keep frame, keep frame. There we go. And now you're going to move over about a foot and just kind of keep the same, same images. Okay. Uh, the same kind of basic pieces in, in, in your line of sight, um, and just click test frame.

All right.

**John:** And keep? 

**Eliot:** Yep. There we go. And then move over about a foot and, you know, click test frame again.

There we go. 

**John:** I'll keep it? 

**Eliot:** Yeah, I think so. Uh, there we go. It looks like it's, so the, the, the matches on, on the top left are the, the match between the cine camera and the, uh, and the, uh, and the, uh, iPhone camera and the ones on the right are the match between the first and the current, uh, Cine, [00:17:00] um, Cine footage.

So we're getting good matches between both the, um, iPhone camera and the, the Cine, uh, you know, Cine 1 to Cine 4, uh, shots. Okay. Let me just click, uh, test frame working our way around.

Yeah. 

**John:** All right. I'm keeping it. 

**Eliot:** Yep. Those look great. Plenty of matches. 

**John:** Elliot, thanks so much. This is a lifesaver. 

**Eliot:** Not at all. Not at all. This is the part of it that we're actually going to be reworking the UI on, uh, in a decent amount just to make it more straightforward to go through it. It's straightforward once you see it done.

You're like, oh, that's it. It's just, you know. Hovering. Up front, it's kind of hard to see it just from a tutorial.

There we go.

Is that a high enough number? [00:18:00] Uh, it's actually not. The one on the right isn't actually showing through for me. How much, how many is it? 

**John:** It says, um, 101. 

**Eliot:** Oh, yeah, that's fine. That, that's plenty. If you had like six, then that's, that's more of a problem. sounds good. And 

**John:** then I'm on my seventh take. Should I, let's go 

**Eliot:** to 10 and that way we'll get a, just keep moving around it and, um, snap an image.

Sure. All right.

There we go. Just move over a little bit and we the, and we're the, by moving around. Essential, you know, a central spot, we're giving the algorithm a lot of parallax, uh, you know, cause it needs to see the objects, object from multiple different points of view to really solve, solve for it. So one of the things that people run into is they'll stand in the middle of the room.

And it rotate, and that's actually the one thing that will break the algorithm. So another thing we have to, we're going to put in the UI to kind [00:19:00] of give the users hints that you want to do it this way. Uh, and then, then, then everything works. All right, you're referring to like a nodal pan. Yeah. Yeah, that'll break that break some Uh, basically the photogrammetry algorithms.

They none of them can handle it. Uh, that makes 

**John:** sense. That makes sense Okay on this most recent one number nine. I got 35 

**Eliot:** matches Yep, and we're we're getting further and further away from the original So we're going to get a thinner number of matches. We're still getting a huge number So I'm, I'm not too worried about it.

So let's, let's do a one or two more captures or, I mean, you can go, go to the other side of the room as well. That's, that's fine too. Uh, Oh, I can break the arc. Oh yeah. Yeah. You can go kind of anywhere. Uh, and we just recommend you kind of go for. You want to basically be at roughly and you want to actually keep the same things in view like the, so for example, earlier on you had that, um, yeah, that the same kind of stuff in view.

So if you wanted to step back into a hallway or something and take a shot from there, so you still have the same [00:20:00] things in view. That's, that's what you really want to do is, is just have, be kind of be shooting the same thing from a bunch of different perspective points. There you go. 

**John:** So this is similar to maybe position one, but I've just taken several steps back.

Is that helpful?

**Eliot:** Yep, because you're, you're translating. That's the key thing is you're translating for forward and backward or left to right. You just need a decent amount of translation. I see. I mean, I mean, if I, it might do something weird if you did nothing, but forward and backwards, I actually have never tried that.

But, uh, uh, you know, a little combination of things is going to be fine.

The algorithm isn't all that sensitive to, you know, um,

as long as you're translating, it's pretty good. Sure. That sounds good. So let's go ahead and let's, uh, keep the frame and, um, and we can click save. All right. [00:21:00] And, uh, just like maybe delete the, uh, or like put the name of the focal length that you're calibrating. Uh, okay.

The 

**John:** five.

Yeah.

**Eliot:** Sounds great. And then we can go exit. There we go. And just, that's going to. Kind of start up again and it's going to show there you go tap on the grid Someone needs to have an origin again. So go ahead and just click on that and click ok And we should see kind of a red reticule. Yep. There we go. So there is the red reticule of the um, That's the kind of the pixel map of where I saw the Cine, it's basically trying to show the coverage of the Cine lens mapped onto the iPhone.

And this is kind of an imperfect approach. It's a range, it's basically a range finder approach. And over time we're going to be moving toward, you know, directly feeding the Cine [00:22:00] camera into the iPhone, but this is, you know, it's just where we're at now. Uh, so let's go ahead and, That red reticule means that it had, doesn't it's got a, a 2d solve, but it doesn't have a 3d solve.

So that's, um, share screen or if you want to share your screen and we'll go through the auto shot side, uh, and it's pretty simple. We're gonna just, uh, I'll stop my share. 

**John:** Perfect. And so in my first attempt, this was as far as I had gone. Um, and, uh, the train went off the tracks pretty quickly after this.

So I'm glad there's a pilot this time. 

**Eliot:** Hey, no worries. No worries. It's, it is a little weird because we, we capture all the stuff on the phone and then we have auto shot in the middle of it to kind of pull stuff off, off the phone and push it back. And we do that right now because it's heavy number crunching and we'd probably lock up the phone for 20 minutes if we tried to crunch that on the phone.

So, yeah, but this is ideally someday we solve it on the phone, but you know. One thing at a time. [00:23:00] Exactly. We're making our way there. Yeah. Yeah. Yeah. Once, once you see it, it's, it's pretty straightforward. Um, okay. So let's pull up auto shot. All right. And we'll go to the calibration tab. There we go. And you're going to want to punch in the sensor with, Oh yeah, there we go.

Uh, okay. So it's seeing. Uh, and it sees, it's, there's your calibration. So it has your calibration loaded. Um, that's fine. Whoa, it didn't 

**John:** do 

**Eliot:** that, it 

**John:** didn't do that the first 

**Eliot:** time. Um, yeah, it's probably, it's probably because I'm here. Everything worked fine. There we go. Need to have you around more often, Elliot.

Hey, no worries, no worries. It's what office hours are for. It's, it's, it's Otherwise, this stuff is intractable on forums and email and stuff, it's just, you can't get there. Um, you're gonna want to, um, put in the sensor width for the, um, yeah, was it an A7S? 

**John:** A7S3. I believe it's [00:24:00] 36. Let me verify that.

Okay, 35. 6. 

**Eliot:** Okay, so put in 35. 6 into the sensor width, and at some point we're gonna add a dropdown of all the commonly used VFX cameras, although, because the Reds especially are nuts. They have like 15 different sensor widths, but the areas are also pretty wild. Um, alright, so now we can click, uh, calibrate.

This is going to pull the data down.

There we go. Got crunched for a while.[00:25:00] 

**John:** Incredible. Elliot, quick question for you, uh, in the tutorials that I've seen, once we kind of complete the process, it packages the data in like several types of files, one for cinema 4d for blender for unreal synth eyes. Is there any chance that you're going to make one for PF track? 

**Eliot:** Oh, that's actually a great question.

Um, there we go. Uh, all right. So let's, so crunched. And so it has, uh, it looks great. It got diverged with a low, low, uh, pixel error. Um, it said the calibration pushed to Jetset. So if you open up Jetset, you're going to have a yellow aiming reticule now. Lo and behold, I sure do. Yep. So that means you have a, have a 3D solve and load it in.

And if you, uh, if you shot something, uh, then, and, uh, we, we try something if you want to, want to test process it. 

**John:** Yeah. Oh, that would be incredible. [00:26:00] 

**Eliot:** Okay. Did 

**John:** I, did I share the screen again, or? Yep, let me uh, 

**Eliot:** find where my zoom 

**John:** control panel went. Okay, I'll stop my share so I can see it share 

**Eliot:** There we go.

Okay, there we go. So that's running. All right, so Okay, there we go. And uh The other thing you're going to want is the digital slate, um, okay, look into that. So let's, uh, let's go get that guy up and running. Uh, and the easy way, I mean, you can use the laptop as your digital slate. That's just fine. Perfect.

Yeah. So, uh, on the laptop, I can just, you can just do, uh, you can just click open webpage. Um, it's on the, in the auto shot. Um, it's actually on all of the tabs, uh, it's right next to the IP address. So if you have Jetset on the same local IP, uh, network, it'll, it'll detect it. And then you just click the open web page and it'll [00:27:00] open, open a web page.

Uh, there it is address. There we go. So this is what it looks like. There we go. And let's just, uh, make sure we've got both of the, uh, uh, both the cine camera and, uh, and the Jetset, uh, you know, reticule can, can see it. Uh, actually anywhere, the Jetset will, we're, we're, we're capturing the, we're capturing the entire field of view of the Jetset camera.

Uh, so even if they, um, it's nice to have it in the reticule, but we actually don't need to have the, um, uh, the QR code in the reticule for it to recognize fine. It's, that's a minor detail. Um, okay, so the way it works is you're going to roll your cine camera and then you're going to roll Jetset. 

**John:** Okay. 

**Eliot:** Oh, yeah.

Before I forget, go ahead and let's do a quick scan because scan, scan is key and key that we're, that we're going to add a, I don't know if you're, if is [00:28:00] your iPad a pro version with a lighter scanner? 

**John:** I thought that was the requirement. 

**Eliot:** Oh yeah, okay, great. Yeah, and it's lighter. Let's go ahead and click set.

**John:** Okay. 

**Eliot:** And, there we go, and go under scan, just click start. Sure. There we go. And so it's going to start scanning the, uh, the room pretty quick. There we go. And you just, uh, we'll just, uh, map out, you know, need to scan, go crazy, if this is just to kind of give, give you enough, uh, information to, uh, to be able to post track if you need it.

There we go. That's, that's pretty good. Um, And I'd actually split it up instead of trying to scan the entire place with Jetset. I would just scan the chunk around where you're shooting, right, and then, uh, and then sometimes do a deeper scan with, you know, like, Polycam or something. Jetset only captures the geometry.

It doesn't capture texture. There we go. You can just click stop on the scan. There we go. It's thinking. [00:29:00] All right. And, uh, there we go. It looks like it's, it's locked into a reasonable degree. Um, and then you can just click hide. Oh, I'm sorry. Click instead of you can click solid and then, uh, then hide. There we go.

And that way the scan is there, but we don't need to see it. Okay. I can click. Okay. All right. And, uh, then we can record something. There we go. So we'll just hit record on the, uh, On the scene camera first, and then, uh, 

**John:** roll Jetset. Okay. And, um, do I need to worry about frame rate on Jetset? Because I'm at 24 on the dot for my DSLR.

That's 

**Eliot:** fine. That's fine. Okay. We're going to automatically detect that in Autoshot in post. And, uh, reconvert the, uh, the Jetset data. Oh, 

**John:** incredible. Alright, rolling the DSLR, and I'm tapping record on the iPad. Here we go. 

**Eliot:** All right, and then, uh, you [00:30:00] can just kind of move around, and, oh, wait, yeah, there we go, it flashed, uh, some markers, sorry, my screen went blank for a second, it flashed some markers.

**John:** I didn't see that. 

**Eliot:** Okay, great, so now I can move around, and, uh,

there we go. 

**John:** So, I'm probably just going to put like, a blend of these, you know.

**Eliot:** All right. 

**John:** All right. Sounds good. 

**Eliot:** Yeah, let's just recorder test 

**John:** off camera first and then Jetset? 

**Eliot:** Yeah, camera first and Jetset. That way you have tracking data all the way to the end of the shot. All right. That sounds good. And, uh, let me go over to, uh, you can share your screen, and we'll just, uh, pull the takes over, and the cine footage, and we'll run a take.

All right. Sounds good.[00:31:00] 

All right, and we're back. All right. Uh, and Bernard, uh, I see, I see your, you see your question. Uh, if you, if you could, can you, uh, post the link to the tutorial? Uh, because that way I can, I can see exactly what they're, what they're doing. Um, all right, so let's see. We've got this. So let's go ahead and you've got a, I see you've got the, you know, project folder.

That's kind of a default. That's fine. Um, and. What we can do is you can see the, um, grab my annotator. There we go. So, uh, this tells you which days of data you're gonna, you're going to synchronize. Okay. And which is fine. This is the current day. And, uh, and this tells you where it's going to synchronize to.

Um, you know, it's going to go, it's going to put, put data here, which is fine. Uh, so you can just click synchronize or [00:32:00] sync. It's gonna pull, pull the, take information over from, um, over, from your, your network. Now here's the point where, uh, if you, uh, if you have slow wifi, you're going to, going to start wanting, start wanting to get a, uh, uh, A-U-S-B-C to, um, uh, USBC, to gig ethernet adapter.

Uh, because okay, that's a. Uh, because Wi Fi can frequently be not fast, especially when you start transferring a day's worth of files, of shoot, shoot files, uh, it's, it's fine for this, but, but when you start hitting production stuff, then, then, uh, it's, they're, they're like 20 bucks and, uh, they're, then, then it's gigabit, right?

Then it's a very high speed file transfer, especially because you have an iPad pro, um, and it has the USB C interface. If you were the old ones with lightning, it's only a hundred base T. It's, it's not much faster than Wi Fi, but the new ones with USB C are, are much, much faster. So, uh, why we usually recommend an iPhone [00:33:00] 15 or 16 pro.

Right. There we go. So, okay. So, so we've got, we pulled in the Jetset Take. We need to tell it, we need to point it toward, um, the, uh, Cine source footage. So, uh, what, what do you typically do? Do you just pull out the drive of the Sony A7 or do you, how do you typically get, copy your files over to your desktop?

**John:** So I'm by, I have an SD card reader on my laptop. 

**Eliot:** Oh, great. Okay. 

**John:** Yeah, just go ahead. 

**Eliot:** Could I pop that out? Yep, just go ahead and plug in the, uh, plug in the SD card reader. That'll be fine.

**John:** Okay. There we

**Eliot:** go. All right. So, [00:34:00] uh, what we're gonna want to do is point, uh, this line to that file, to that directory. Uh, we're gonna, 

**John:** that's the CineSource directory. Okay. Should I, should I put this on my desktop? 

**Eliot:** You can. I mean, it's, it's a, if it's a fast, if it's a fast data transfer thing, you know, it doesn't matter that much.

Um, but it certainly, it certainly can help. And we're done. Very great. Okay. So then let's point your CineSource, uh, at the desktop. Okay. There's a button to the right of, like, right there. The, 

**John:** the, 

**Eliot:** oh, sorry. Browse. Yeah, some of our wonky on this. We've got a lot of it. Autoshot is not a pretty piece of software.

**John:** But you know what? It does the 

**Eliot:** job. Yes. 

**John:** Okay, 

**Eliot:** uh, so then you just click, uh, choose. That's fine. Alright. And then we're gonna click, uh, scan. And it's gonna look through, um, there we go. [00:35:00] And it's going to start. It's looking that, right now it's looking Ruko markers. Um, and if, uh, if you have a bunch of other files in the directory, it's going to go, uh, video files in that directory, it's going to go look, look through all of them.

So I don't think 

**John:** I have too many. 

**Eliot:** Okay. That's fine. I don't think he recognizes the ARI. Uh, not yet. We're working on it. It sounds good. It sounds good. That's that's next week. Yeah. Yeah. Yeah. That's a, we're, we're implementing support for all the raw formats, ARI, raw and red and R3D, R3D and Canon, uh, C raw, and just kind of doing them all in one shot.

Uh, totally get them all right. 

**John:** So that'll 

**Eliot:** be fun. 

**John:** Very exciting. Very exciting Um, it seems like this might take a second to load bernard. I don't want to take all of the time I don't know if you have a question if there's a little bit of time for that I'm, just waiting right now. 

**Eliot:** Let me go look at this real quick.

**Bernard:** Yeah, uh, sorry morning everyone. Um, Yeah, [00:36:00] i'm I had gotten stuck on the same uh step but and I apologize I I actually um You I had to return my, my Axune. Uh, so I'm waiting on the new one to arrive today so I can jump back into this process. But luckily you kind of went through it from start to finish.

One question I did have, I also have a Mac and on my auto shot, that command, uh, window on the right there, my command window is like super skinny. How do I resize that? Ah, let's 

**Eliot:** see. Um, I think, oh boy, I'm always, always fuzzy on this. The, um,

that is actually a really interesting question. The UI toolkit that we built this with is primitive, um, to be gentle about it. Um, [00:37:00] I think you might be able to increase your resolution on the Mac, but I actually don't know. I mean, what we could do is, uh, if you wanted to load it up and we can try a couple of things, um, And I, I am, I am weaker on the Mac, uh, so this will be a learning experience for me as well.

Okay, let's see. Failed finding Cine Camera Offset. And that's kind of interesting, so Oh, wait a second. Did, did that Okay, Cine Eruko Marker. So wait a second. Found matching Cine Video for Cine Camera Offset. Interesting. I wonder, did we get all the flash frames? Um, I wonder if our flash frames had some, had a problem.

Let's take a quick look. Um, all right. Let's go ahead and click, um, open on the, um, this. I want to see if I, because the, the screen went blank when I, when the, the, uh, the markers flashes [00:38:00] were going off. 

**John:** And I'm tapping record. 

**Eliot:** Oh, okay. That's

okay. Okay. That's probably a problem. So it's, it's pretty out of focus. Um, would that do it? Yeah, that'll, that'll, that'll get us. This is the right here. This is why we, we, uh, we are, are usually recommending the tentacle sink when you hit production. Cause it's just so easy to get something a little bit off on the opticals, but.

All right. But we can do this manually, right? Maybe it's like shift into four wheel drive here. All right. Let's, uh, you have, do you have resolve, uh, on, on the machine? Oh, my gosh. I can show you how to do it in other software. What's, 

**John:** what's your editor of choice? Oh, I do. Okay. I use it rarely. Right now Premiere is typically my editor.

Okay, okay. 

**Eliot:** Um, let's do this in Resolve first, because that's when I have, like, memory of exactly what to do. 

**John:** Perfect. I'm glad I got 

**Eliot:** it. Yeah, yeah, yeah. Yep, this is, this is the manual, [00:39:00] manual fallback. First case scenario. Oh, I mean, this is, this is going to be a fantastic, um, office hours to, for people to kind of see the, the whole process going through from beginning to end.

Including all the, you know, you want to know about the gotchas, you know. 

**John:** Yeah, totally, totally. If it worked, I feel like, one, that'd be awesome, but two, like, now we're really learning how to do it. Yeah, yeah. All right, 

**Eliot:** so let's, let's open up, uh, make a new project, and,

and we're going to drag and drop, um, the Cine footage first. Okay. Into that, because we want to set the project, and then, in timelines and stuff, to the Cine footage, um, the Cine footage, um, frame rate.

Yeah, go ahead and change that. All right, because now the project says [00:40:00] is that the correct frame, right? So then we can just drag that. Um, You can make it just to make a timeline with that clip from you know, right click and make a timeline in it There we go. All right There we go. And let's just make sure that timeline is the correct frame rate.

Um, All right. So let's go ahead and um, can we jump to the editor panel instead of the cuts panel? Just because i'm i'm more familiar with that one Absolutely. Oh, the timeline's at, uh, 23. 9. Oh, okay, yeah, there we go. Let's cancel, let's delete that timeline. This is one of these areas where we gotta be, we gotta be careful.

Let's go ahead and delete that timeline. Okay. Wait, now, is the footage, I thought the footage was 24. 0, or is it, is it 23. 0? Yeah, that's what I recorded it at. That's kind of weird. Um, go ahead and, let's see, let's um, click on the inspector. The inspector. Yep. And then, [00:41:00] um, let's click over, let's click on the, um, uh, media, whatever that page is, media pool.

There we go. And it's cool for that, that MP4 file. Um, yeah, 

**John:** it thinks it's 23, 23, nine, eight. Let me, let me double check that on, on the camera itself with that problem. If it ended up actually being, um, 

**Eliot:** well, auto shot will automatically, um, you know, it's, it's, what it does is it reads the, at the actual clip, the You know, each clip has a specification, you know, in the metadata embedded in the clip of the framerate, so the players know what framerate to play it at.

Sure. So that's where, we're pulling from the same data that Resolve is pulling from, so. Uh, Yeah, sometimes some of these cameras they'll say 24 and it's actually 23. 98, you know. Yeah, that's what happened. 

**John:** I'm on 24 right now, but this, this is the reality I suppose. Yeah, 

**Eliot:** right, right. This is, this is, you know, this is the standard thing.

Okay. All right, so that's, that's good to know. So go ahead and go [00:42:00] ahead and cancel because that's that, that, that we are on 23. 98. Okay, so let's go to the, uh, edit tab. Um, this guy, um, this guy. Oh, here we are. So I've got my chicken scratches everywhere. Okay. Now we're going to, um, you know, what we want to do is scroll forward into the very first frame of where that, where that, um, marker fires.

Sure.

There we go. And then, one, there we go. That's it. It's the very first frame it shows up. That's good. Okay. And then, uh, highlight the, highlight the clip in the timeline and hit M for marker. Okay. There we go. And then, uh, let's drag and drop in the, um, uh, the Jetset footage, um, into, uh, VideoTrack 2. It'll, it'll create a VideoTrack for it.

**John:** Oh, whoa, do I access that in Autoshot? 

**Eliot:** Uh, yeah, you can actually go, let's see. Uh, you can click [00:43:00] open. And so what it created in the project file was there's three, the three folders, it creates assets, footage, and sequences, footage, footage, and sequences is when you run stuff in auto shot, it puts it into the sequences folder.

So we're going to click footage and go to takes and there's the date. There's camera a go to videos. There we go. And then just a drag and drop the, uh, the camera originals is fine. No, that's that the comp. Uh, yeah, go ahead. Yeah, go ahead. ZL cam is what you want And then we're just gonna drag that one into uh into resolve into the timeline and put it, you know Video track two or whatnot.

There we go. Okay, and we're gonna do the same thing We're gonna play forward until you see the very first, uh, very first marker on that one Actually, it'll go back a little bit. Oh, man There you go. Just uh, and uh, and you can actually just uh, right arrow through it. Yeah, [00:44:00] because uh, The um, there we go.

Yeah, that's it. Uh, and let's go go back a couple. Um, Let's see if that's the first. Okay. There we go. Forward a little bit. There we go. Okay. And then just highlight this guy, uh, the, the Jetset clip, and hit M for a marker. Alright. And then you're gonna slide this, this top clip over until the markers line up.

So what we've just now is, is we've aligned those in time, and so you can, you can, Man, excuse me. So just to see how this spool is gonna look, And to verify that image stabilization is off, go ahead and click, um, uh, I think it's, it's an inspector. Um, go ahead and click inspector. Okay. And while you've got this top one highlighted, we can drop our opacity down and we can see one of them on top of the other, there we go.

And so then if you, [00:45:00] if you kind of play forward in the footage, um, in the timeline, that's kind of weird. Why are they, why are they moving with respect to each other?

Did we get them exact? Oh, no, something's not, something's not right. They're not time aligned. Um, oh, those should be like locked in time. Um, let's look at that. I wonder if there's an extra that I started early. Can we switch the, um, something's kind of weird. Can we, uh, take a look at the, um, Let's switch our opacity back to full on this one.

And what we could do is we can pick, I'm wondering if we lost part of that frame, uh, on the beginning. Um, let's switch our opacity back to full. I want to understand how this thing is thinking. Sure. So, then let's um, [00:46:00] yep, that's good. Then let's um, let's uh, let's zoom in a little bit. I want to look at a how our um, Because the way the timing mechanism works is there it'll flash three slow And then a bunch really fast and the three slow are the take id Okay.

All right. So Let's go all the way back to the beginning of that Jetset clip Uh of this this guy There we go. And let's, can we, uh, play, uh, yeah, that's, that's the beginning of the clip. So

**John:** I wonder if I only caught the tail end of it. 

**Eliot:** Yeah, that's, that's what, what kind of worries me. Cause that's, but that's, that's our problem. Um, there's one, where's the other, the other two.

**John:** Hmm. Cause we got all three here. Let me, I'm going to turn the opacity all the way down and check the, [00:47:00] the Sony. 

**Eliot:** It got all three on the Sony. Um, so two, three.

Yeah. So this is, you know, this is optical, optical stuff. Um, okay. I think there's, there's, uh, there's a problem with the Jetset take where actually we didn't get the full, we didn't get the full take on that. Um, all right, we can still fix it. Um, but we're just going to line it up with the first double, uh, or the last of the, uh, the last of the big ones.

That's fine too. I mean, it, it actually, you can line it up with a. You know, a clapper, right? As long as you have a reference between the two of them, you just need one reference and they'll take it. It'll work fine. 

**John:** Sure. So just as I'm lining up, it seems like there's a couple of frames before it comes to full opacity.

Should I just use this one? I think that's, that's fine. 

**Eliot:** That's, that's the first [00:48:00] frame they would have, it would have detected. So go ahead and add a marker to that, to the clip. 

**John:** I actually believe that is the marker that we've set. Oh, okay. Bummer. I lost the marker on the first one.

Perfect. Okay. Marker now, let's see. Ah, I think we're synced. 

**Eliot:** Okay. Yeah, let's um Let's run a half opacity and script to the timeline and those two should be I mean There are different points of fields of view But in time ways those things should be it should be locked together pretty well This is always a great check to do this.

And there we go. That's more like it So as we move around and let's move, you know farther into the clip, but that's that's more like it There we go. Yep. Okay. So that, that's, that's, that's, that's reasonable. Now, now we're, now [00:49:00] we're in a, in a, you know, timing sync. So the next thing we have to do is we have to do a little, do a little math.

So go ahead and put the, um, go ahead and put the, um, uh, timeline, time, uh, sorry. Um, time on the playhead, uh, at the beginning of, of this clip. There we go. Of the first one? Uh, actually of this guy. Sorry, let me get rid of my chicken scratch drawings. There we go. There we go And what we're going to look at is this number and we have to calculate the the offset in seconds So we've we've offset them in time correctly and what the cd offset is is just this it's the the difference in seconds between the the start points Of the the two cliffs to have them align up in in in time.

So What we're going to do is There we go. And it's, uh, the, the multiplication is just going to be, you know, three seconds time is 23. 98 frames per second. 

**John:** One more 

**Eliot:** [00:50:00] time. Could you say that? Sure. It's just going to be, and so we've got, this is the, the, the seconds. So it's, uh, the offset is, is, uh, is 3. 23. Yeah.

Uh, well, we gotta be super careful with this one. It's going to be three seconds. This is frames. So the frame separate than seconds. Yeah, yeah. This is, this is, uh, Oh, video. Yes, indeed. We love our frames. All right. So three times, and we need to do three seconds times 23. 98 frames. Uh, yes. Get an exact 98.

There we go. And then, uh, so that tells us how many frames that we're going to add. Plus that comes out to 71 point something. Yep. And then plus 23. Um, so we've calculated the total number of frames for the seconds, and then we're going to add 23 frames to that. Plus 23. Okay. There we go. And then we're going to divide, uh, by, uh, [00:51:00] 23.

976 or 23. 98. Divide 

**John:** by 23. 98. All right. I have 

**Eliot:** a number. Alright. And, uh, what's it, what's it come out to? 

**John:** It comes out to 

**Eliot:** 3.959. Yeah. So if you look at this, that, that passes the sniff test because you're on a 23.976, uh, you know, timeline. Mm-hmm . And you know, like three, it's gonna be three seconds, right?

Three point something. Mm-hmm. And then 23 out of 24 is pretty close to, you know, 95% or whatever of it. So it just passed the like, okay, we did our, did our math. Right. Okay. So you got that written down. 

**John:** Mm hmm. I'll just 

**Eliot:** type in here as well. Just a multiplicity.

Perfect. There we go. And we're going to go to Autoshot and we're going to enter that into the cine camera time offset. Uh huh. All right.[00:52:00] 

All right. And that sounds good. And, uh, are you is, is, uh, are you using mostly Blender or what's your, what's your 3D, uh, weapon of choice? Blender is, is my, my weapon of choice. Yeah. Excellent. All right. So let's go ahead and pick out the executable if you've, uh, if you've already done that. Uh, we're just gonna point it at, uh, whatever Builder Blender you have running.

**John:** Okay. 

**Eliot:** I, um, is that, does that download the zip? Uh, no, no. This is Because I've done that already, I believe. Okay. So, um, this, in this case, what we're just gonna do is we're gonna point it at your installation of Blender on your system. Okay. Because otherwise it does, doesn't know where, where it's at. Uh, so let's go ahead and do that.

Oh, you already, okay, you already got it. Okay. That's, that's fine. So, uh, that's all right. Should I, should I hit okay? Uh, yeah, I think you can hit okay. Should do it. There we go. Um, all right. And then, um, what we can do is, uh, we can just do [00:53:00] for, for right now, we'll just make an empty, uh, you switch this to an empty comp starter.

You can do all sorts of clever things with blend, blender files. Um, and we'll just, uh, start with a simple sort of thing. Sure. Um, and, um, well, we want to set your, uh, your gamma and color. What, what were you shooting? Were it, was it, um, log or so S log or what's your? 

**John:** For this one, it was just, um, 

**Eliot:** no picture profile.

Okay. So, uh, just, uh, 7 0 9. Okay. Yeah, that's fine. So, we'll, we'll just leave this as, as none. And, uh, to avoid, you know, generating a ton of, of frames, just, uh, we can pick an in and out point, maybe 500, 600, you know, something we we're generating. Uh, you want the, uh, let's, let's do the in frame, uh, to be like, I don't know, 500 or 400 or something like that.

Oh, the in 

**John:** frame to be 500. 

**Eliot:** Yeah, yeah. And, you know, somewhere, anywhere in there. So we get, you know, 400 to 500 or 500 to 600. Something where we're getting about 100 frames. And [00:54:00] that'll go pretty quick. There we go. All right. Anyways. All right. Let's, uh, and, um, let's make sure, let's go into Blender and make sure, did you install the add on?

I did, but let's verify. Sure. It's bouncing 

**John:** to Blender.

And what is it called again? It is called Autoshot. A U T O. Autoshot. 

**Eliot:** Uh, 

**John:** I think I, let me, I know I've downloaded it, so let me try that. Yeah, install from disk. There we go.

Huh. 

**Eliot:** Uh. 

**John:** Let's say it's on this last 

**Eliot:** week. Maybe it's in downloads. And you can type in, uh, A U T O in the search. Oh, I see it. I'm a shell blender. 

**John:** Uh [00:55:00] huh. 

**Eliot:** Here we are. All right. Great. Let's make sure it's up to date.

Blender add on. Yeah. Okay. Actually, there's an updated one, uh, under, uh, called 116, so let's, let's go ahead and get the updated one. Oh, incredible. Should I uninstall this one then? Um, give me a second to think about that for a second, because I know some of these things. Um, yeah, uh, you can go ahead and uninstall it, that's fine.

Alright. And, um, let's go ahead and download the new one. And, um, is that just on the website? Yep, under, uh, let's see, resources, downloads.

**John:** 116? Yep, that's the one. Incredible. Now, I'm gonna, uh, Save this with the rest. Over the years, I've accumulated [00:56:00] a library of plugins. I just needed to be more organized in where I put them. No worries.

**Eliot:** No, Blender was the very first, uh, 3d program we implemented. So really? Yes. It's our eternal weapon of choice. I don't like this stuff. Um, Eric, and I think it's wildly under, Oh, there's, there's something you'll, you'll, you'll like to see after we get this done, which is that we built a, uh, an auto import. A batch importer for Megascans into Blender.

Yeah. Yeah. So this is, yeah, I'll just send you the link. Cause I, I just uploaded the tutorial in the, in the. The add on yesterday. 

**John:** Oh my gosh, wait, so you're referring to all of the drama about whether Quixel was going to stay or whether it was going to go and how to download them all. Is that what you're talking about?

**Eliot:** Yeah, well, when you download it from fab. com and you download the FBX, [00:57:00] it unzips and you get a bunch of folders that have a bunch of textures. Like a yes. And then like there, the 3D ones will have an FBX file and watch textures. No materials, like no, no, nothing. And so we thought that was kind of goofy.

And so we built a, an automatic batch importer you just pointed at the top level folder. Folder and goes rr. And it brings it in as blender assets. 'cause we like the blender assets system and then it works. Drag, drag and drop. So here, you know, let me um, put this in the, in the chat 'cause you'll, you're gonna love that.

Oh my gosh. I, yes. Definitely. All right, so we got the, got that one in, in 116 in there. Okay, so we can just actually exit Blender now. And uh, because Autoshot kind of recreated a new Blend file when we, when we run it. 

**John:** I think I need to save Blender to save the import. So I just created a dummy file. There we go.

**Eliot:** Okay, so we got Blender set up. We're going into an empty comp starter, doing all these, [00:58:00] these different pieces. Now we can just click save and run. Wow. And so we, cause we set the time offset. We have that correct. It's going to crunch through, it's going to pull frames and DXRs. Um, and what's it doing? Give it a second.

Stop. Um, let me see if there is a more recent build. Uh, yeah, that's shut back. Okay. We got 148. Yeah. We were about to update this. Go ahead and hit cancel on this. I wonder what's going on with that. And let's see. [00:59:00] Can you go ahead? Uh, yeah, go ahead and click cancel. Let's see if it's going to cancel on us.

It's not, I 

**John:** don't think I can right now. 

**Eliot:** Oh, okay. Um, what's going on there? All right. Let me take a snapshot.

If we do run into something, it is good timing because we're about to release a bunch of new things. Um, all right. Oh, very cool. Let me capture a screen grab. Eww.

Let me remove my chicken scratches. Alright.

**John:** When it says connection refused, is [01:00:00] it the connection to Blender? 

**Eliot:** Um, no, this is before that. This is pulling from FF, uh, because we use FFmpeg to boot or frame extractions. Uh, and so it's pulling, it, it should link up to FFmpeg and extract the data. Oh, something happened. 

**John:** Oh, did something happen? Return code from FFmpeg.

Uh, oh, let me, uh, let me 

**Eliot:** go to the screen. What do we have going on here? Oh, error, no incoming connection. That's, alright, let me, let me snap that. Let me, uh, do another snap of that.[01:01:00] 

And,

alright, and let's also do something. Let's, let's do it. Let me do it. Let's do a take zip and then you can send it to me. Alright. Because I want to try it on my, on my Mac system as well. Um. Sounds good. Where do I take the zip? All right. So, uh, take zip is [01:02:00] under you go under a file, uh, auto shot, um, file menu and you go export, take zip, and what it's going to do is that it, uh, generates.

And that's a temp is fine. Um, Oh, we'll be able to get it from there or. Yeah. What, what it's going to do is it's just going to write out a, a, a zip file. Uh, and that had what it contains is the tracking data from the Jetset metadata, Jetset video files, you know, like all the stuff from the Jetset take along with the Cine, Cine footage.

So it'll be kind of a bigger file. But that means when I open it over here, it's a one to one replication of everything that you, that you have. Sure. That way I can, I can test it to see if it's running the same thing on mine. So yeah, go ahead and click save. Okay, 

**John:** or should I save it somewhere where I know I can find it?

That's 

**Eliot:** fine, too. I mean, I can show the quick shortcut to where if you're curious where things are going. Um, 

**John:** Oh, 

**Eliot:** yeah, yeah. So this is, uh, I'll cancel that [01:03:00] then. I'd love to, I'd love to hear that. That shortcut. Go ahead and do it. Take zip. And, uh, yeah, that's fine. There we go. I mean, go ahead and click, um, next to the take, you can just click open and it'll go to, this is a good way to kind of see how the file structures are set up.

So go to open and, uh, this is how, um, Uh, this is how we, we structure the, you know, the data. So this is, and the sequences, uh, you know, subdirectories and that we have, um, each, you know, shooting date has, then we go into the, the take and then underneath the take is actually the processing directory. So go to temp, there's our zip file.

So it's set up on a per take basis. If you just click the open button next to the selected take, it goes to this folder. Yeah. So this is, this is how we kind of keep things very sort of systematic, uh, on the organizational front. Uh, yeah, is it okay if you send that to me because I want to look at it and see Absolutely.

Um is 

**John:** email. All right [01:04:00] 

**Eliot:** Uh, it's gonna be too big for email. Do you have a dropbox or google drive or anything like that? Google drive is great. Yeah, that'll work.

This is good to go through this I wonder if that is

and I want to I want to um, Let's go ahead and get that uploading and then I want to try one more time Uh, let's open up, let's open up Autoshot and uh, let's try to rerun it. I just, I want to sort of try to catch that one 

**John:** in. Sounds good. It says it's got four minutes left. I'll, um, I'll get the Autoshot re going though.

**Eliot:** No, thank you. Thanks for your patience. This is invaluable to find this kind of stuff. 

**John:** Oh my gosh, even more so on my end. 

**Eliot:** Yeah. All right, so let's go ahead, let's go ahead and exit, uh, exit Autoshot and we're going to come back to it. [01:05:00] I'm not quite sure what's, what it's doing with that, but let's go find out.

And we can just stir it up. There we go. Okay, there's our same data. Basically all the same data is, is the same. All right, so we can click, uh, And actually just to check on something, can we go ahead and click, uh, open? There's my annotation. Uh, yeah, this one. Yeah. Clicker or take directory open. Can you open up CineCam VXR?

Cause this is where it would have extracted FMPEG files too. Okay. So there's nothing in there. Okay. So it didn't, it didn't ever get to extraction. Okay. Let's go back to Autoshot. Um, and okay. We're so running from a clean start. So let's go ahead and click save and run. See if, see what happens here.

**John:** Oh, there we go. Oh, okay. Actually, maybe I should, I should [01:06:00] wait. No, 

**Eliot:** it already, uh, it already extracted the files. Um, Autoshot would like to access the documents. Yep, that's fine. And There we go. Oh my word. 

**John:** There's a win. Oh my goodness. This is magic.

And this is the, this is the cine camera. 

**Eliot:** Yep. That's the cine camera footage. So if we go, go over, uh, yeah, then that's the, then things should be lined up decently well. Um, and it's, you know, and, and just as, as, uh, uh, your, your questions in PF tracker spot on, uh, because the tracking is good. It's not so pixel, you know, just, I mean, you know, you know, the deal with, with tracking, et cetera.

Um, but yeah, I've, I've seen your 

**John:** synthesized tutorial. 

**Eliot:** So that, that's huge. Yeah, no, that was, that was to my mind. That was the point where we went over, then we were finally became a production tool if we didn't [01:07:00] have, didn't have the ability to hit a sub pixel fast, you know, and post refinement and I was.

Basically overjoyed to discover that, you know, drop onto mesh that, that, that's not, you can't even find that on the internet, right? It's, it's like a one line thing and there's no documentation of how it's used. And I, I found a person who was like, no, do it this way. I went, Oh, that's a lucky, lucky, lucky find.

Um, so, so PF track is your guy is your, uh, typical, typical, uh, tracker choice. 

**John:** Yeah, I've just found that there's been projects that I've worked on that it has done absolute wonders on. And I've like, there's this one project I was working on over the summer where I think I tried every tracker on the market, synth eyes included, and You know, I'm not, this is not sponsor segment for Pftrack, but it solved, it solved my problem for sure.

There you 

**Eliot:** go. There you go. No, there's, there's like three, right? And so we, over time we need to support all three and, and you know, the equalizer just came up, you know, last week. [01:08:00] So I'll have to start looking at that. Um, do you know anyone at Pftrack? Um, I, I need to go figure out development stuff and, and things like that.

Um, do they, do they have a scripting language? I think they probably do. 

**John:** You know, I do, I mean, there's a couple of, like, service tickets that I was kind of in chats with over, you know, maybe the last couple months or so, so I, like, have a contact there. I could, I could potentially reach out. 

**Eliot:** I mean, I'll, I'll go track it down.

Uh, this is, what I, what I'm curious about is, again, all these things. Have different ways of doing stuff and what I'll be fascinated to see and you know, and it's very specific So I'll be very curious to see how they do, you know, kind of seeding the Seeding the data how they deal with survey data, you know, just it's it'll it'll get yeah, it'll get involved But it's it's it's time to you know time to start in I once we start in and a couple months from now that we'll start to have something [01:09:00] that makes sense 

**John:** Totally.

I, and I, I do know that PF track has quite a bit of photogrammetry and kind of mesh support. Um, I think they even generate meshes, like that's kind of how the software works, it generates, you know, a mesh from footage, but I think there's also ways that you can bring in your own data. So, I mean, that's, that's what we're doing here.

So part of me would want to think that apart from finding the buttons, That it wouldn't be 

**Eliot:** too 

**John:** crazy. Yeah, 

**Eliot:** it's a tracker. I mean, I'm sure we can, we can figure it out. They have ways of doing survey data. Um, if they didn't have something that's the equivalent of, of project on the mesh, I'm sure they can add it, you know.

It's, it's, these are the details to start to, start to figure out. And, uh, and to, to dive in with it. Certainly. But, uh, no, this is, this is good. Uh, except for that weird thing where it ran, didn't run the first time, it ran the second time. That's, that's kind of weird. So we'll have to, we'll have to chase that one down.

Okay. But yeah, this is, uh, 

**John:** uh, I think that's, that's [01:10:00] basically huge. If I could ask one final question, um, for when we were doing the math earlier to calculate the frame rate, I was just kind of doing in everything, but generally, like, what are the things I'm just going to write it in plain English, like what, what, what say that I need to do this again, what do I need to do?

Right. What you're trying to do is just 

**Eliot:** calculate the offset in seconds. Cause you have the, the cine cine frame footage at butted up at zero on the timeline. That's, that's your ground truth, right? Sure. And then we, then we're going to slide and then we're going to, you know, align both of those to the same spot in time, but the, uh, the Jetset footage and the cine footage with our markers, et cetera, pick the same spot moment in both takes and a lot of them.

And then we, what all the, the cine footage offset is. It's just the time and seconds between zero, you know, basically between the time where the, uh, the cine camera started recording and where the Jetset camera started recording, that's it. And so we're, all we're doing is we're just [01:11:00] calculating that offset and I'm looking at the resolved time

timeline, which, uh, shows the current play head in a combination of seconds and frames. And I mean, maybe there's a way to show it in pure frames. I haven't figured it out. Um, and then what we just do is we multiply the seconds by the frame rate. And then we, uh, because we, we need to know how many frames total of the offset is.

Um, so we multiply the, you know, the seconds value in that timeline by the frame rate. Then we add the frame frame values. So we have a total number of frames between the beginning and the, you know, between zero and the start of the Sydney footage. Then we just divide them by the, um, the frame rate and that gives us seconds.

**John:** Add frame value. And then finally divide by. Frame rate? Yep.

And the frame value, what value is that again? [01:12:00] 

**Eliot:** The frame value is just the, the, the number of frames. So in Resolve, we saw that the time we put the, you know, the play head at a certain point and it showed 3, 2023. So the value of three, it's, it's just time code, you know, it's, it's a time code as, as hours, minutes, seconds, and then frames.

So, the timecode value of the 3 is 3 seconds, and then the timecode value of the frames is frames. So, we just add, we combine those to, uh, get a total number of frames for the offset, and then divide it by the frame rate, and we get seconds. Incredible sounds good. And it's you know, again, this is uh, This is basically a pain in the butt, you know, don't get me wrong Like you you can always you can always like, you know manual it if you have to it I wanted it was good to show you it.

But yeah, um, I mean, you know, this is this is uh, And it'll be better at the point where we have the cine camera going live into the phone. It'll be easier It's because then you you see whether or not it's in focus and all those kinds of kinds of stuff. Um, You [01:13:00] But, uh, yeah, that's, that's, that'll, that'll be some time.

Um, but 

**John:** that's the future where we're 

**Eliot:** headed. Yeah, absolutely. Like that's, that's just what everybody wants. You know, the, the, um, uh, the range finder method was an okay way to start. Uh, because it's going to, it took, it's going to take another year of engineering to get us to the point where I could comp a footage in the phone.

Uh, so a lot, a lot of work to do all that. And we're, we're building up, we're about to have a pretty major Jetset UI release. Uh, which kind of, I mean, it's going to work about the same way. It just collapses a bunch of the different buttons on top into a menu. Um, and it redoes the 3d garbage manning system is that the original one is not great.

I didn't even bother, uh, doing a tutorial for it. Cause I, you know, we thought we were being clever by having to do a, you know, very careful machine vision calculation of the outlines. And we were not being clever. We out clevered ourself. What you want is a very simple quad. Sure. Quad to it and then you [01:14:00] just drag and drop little balls to Yeah.

Things to adjust the corners of the quad done. Uh, and so that's what is in the new one. So we got much simpler . 

**John:** Yes, indeed, indeed. Well, Elliot, this has been absolutely incredible. 

**Eliot:** Oh, no, no worries. This is, this is really, it was actually fantastic. Go to go through this and I, I should, uh, I'll, uh, um, I'll, I'll put this up on the, on the office hours, but this has actually been fantastic to go at.

You know, straight shot through it, uh, especially on a Mac, you know, cause we don't have enough things on, on the Mac and find, you know, all the, all the things that cause problems and, uh, and, and to end a diagnosis, I'm like, Oh, this is why, this is why I broke. Okay. This one was blurry. Okay. How to then, and also we, we actually had a genuine jet site bug where it, it started recording too late.

Um, and I, I want to, I'm going to send that to Greg as well to take a look. You think 

**John:** that's what happened with us today? 

**Eliot:** Well, there was the. There was two things that [01:15:00] happened. Um, one is the cine footage was a little blurry, but yeah, we can handle, you know, we can add a little bit of blur blur on the markers.

I think the, uh, the thing that was a bigger killer was the, um, uh, the, the Jetset. Um, uh, the, the, it didn't, it didn't have the three markers and I'm still, I still don't understand that, but you're going to send me the take so we can look at it. Yeah. Uh, uh, actually, did, did you send it or Lemme let 

**John:** me, let me do that right now.

**Eliot:** Yeah, lemme do, look, take a look at that. 'cause I want to track those guys down. 

**John:** Yeah, certainly. And, um, what is a, a good email for me to send it to? Uh, you can send it to, uh, support 

**Eliot:** at Light Craft Pro.

There we go.

**John:** Or at Light Craft Pro. 

**Eliot:** Yep.[01:16:00] 

And Bernard, I wouldn't be surprised. Uh. If that tutorial, uh, may predate, we, we redid our lens calibration system. Um, I don't know, a couple of months back and, uh, the initial one did not have the interactive calibration. Um, and, uh, it just depended on it, on it, on it being solved later on. And I know, uh, I mean, the, the, I know the McCreery twins, they were, they had to be the first people, uh, out of the gate to do music videos and stuff.

They were, you know, Munga Akili and his brother were like, Boom! They were going fast. So that may have been done with the very, very early version of Jetset City. That may be the difference there. But I can look at it more closely. 

**Bernard:** Okay, understood. Yeah, I joined their Patreon. Just trying to get like more, more understanding.

But I just want to make sure I can get the video from today's office hours and I'll follow through everything you guys did today. [01:17:00] And I should be able to get it because literally where he got stuck is exactly where I got stuck. I'm going to make sure my HDMI feed is turned off. I'm going to make sure my focus is sharp and I'm going to, I'm going to try it again, following the steps from today's, uh, office hours.

Fantastic. Yeah. On, 

**Eliot:** on all of these, uh, on most of the office hours, I, um, all of, I'll put it into Descript and then like, you know, um, what do you call it? I'm great to transcript. Yeah. To make the transcript. Sorry. My, my words are not doing great. Um, the, uh, makes the transcript and then I put it on the, uh, office hours, uh, page.

And so you can see all the history of them. I need to put a search function in there. So you can search for, you know, lens calibration and see all the ones where we would go through lens calibration. This, this was actually ideal, uh, to go through it. Um, go through the whole, whole, whole shot. Cause this is, it's so helpful to see it, you know, done not in like, you know, the tutorial I did is one thing, but.

Like the real, a real, you [01:18:00] know, as someone who's actually using it out in the field, cause everything's a little bit different and you always want to, want to, want 

**John:** to, you know, later, you know, on set next week or next month, you know, it was like, ah, finally, you know, you 

**Bernard:** can't stop a YouTube video. So it's just super great.

And we can be like, wait, wait, mine didn't do the same thing. 

**Eliot:** Right. Right. And then, and of course, like there's things, things that, that, uh, on, on my tutorial video. That are, I didn't, I didn't go over it very well. Like, you know, arcing around the, uh, the room to, to, to get a decent amount of parallax, um, we, we need to actually, that's happened, that's been several people.

So we're going to actually add warnings in the UI as well as a top down view, you know, you know, helping you know, that you're, you want to bring the camera around a central, a central area. Uh, sure. But yeah, it looked like it looked like it worked and, uh, It's satisfying to see the shot come in the mesh lineup.

Oh, oh my gosh, [01:19:00] forget the mesh all the time We're actually adding a A warning sign right on the record button. It's got a little mesh icon of an exclamation point. If you haven't scanned, because if you, that mesh is a bacon saver in post production, because you can, you know, you saw the synth I stuff, we can reproject points and we can, you know, the track blew up our way through it.

Then ain't no problem. Like we can, we can retract that. Uh, and, uh, uh, it's such a bacon saver and, uh, and it's so easy to miss. It's so easy to miss. It's so invaluable to have that scan. Like crazy 

**John:** valuable to have that scan. Definitely. And I'm so glad you pointed that out because I would have missed it. I almost missed 

**Eliot:** it.

And I'm walking you through it. Like this is, this is quite, when you find yourself doing that, you're like, we need to fix, put that into UI. 

**John:** Yeah. Yeah. Yeah. Yeah. And I noticed also in auto shot, there were like a couple of ticks about including the the lidar it seems like those are just automatically checked 

**Eliot:** yeah those are those are checked by default [01:20:00] if there was lidar uh in a shot and then you can also upload external lidar if you have an external sometimes people will be scanning with a big you know faro or something like that they have a short crazy dense or if you scanned the um the the suggested process is you know jetson is great for Scanning a quick thing right around where you're shooting.

So you can get a fast, um, doesn't actually help you that much. If you go around and try to scan the whole, whole, whole room, it doesn't actually help you. Um, what is, and it's not that great for it. Um, what you usually want to do is, is combine Jetset with something like, you know, Polycam or something like that to go scan areas that has textures and then, you know, Jetset is like, okay, we set our center origin.

10 seconds, you know, scan it. Mm-hmm . Okay, great. And then, then you 

**John:** just drag 

**Eliot:** the poly cam one on and, and do, yeah. Yeah. Yeah. And you, you need to do a couple things in poly cam to, to match the origin to Jetset. You know, this is, this is one of the things where the, the floor markers are a [01:21:00] super win. I don't know if you've, uh, hit run into that, but, um, to set, uh, to set the origin rapidly in production, we have.

Uh, uh, like, uh, floor markers that you can, you know, download and print out that are both letter size and a big one. Uh, and then if you're in the origin tab and you point it down, it'll machine vision, detect those, hit a button and it locks the origin to it. And so there's a floor one and a vertical one, and these are just production stuff.

Right. 

**John:** Yeah, 

**Eliot:** to where, you know, like, okay, we, we shot a bunch of shots. Now the origin slid a little bit because it does, it's a tracking system, things slide a little bit. I mean, you can't go back without going like this in the, in the UI, you need to be able to do it really fast and also remote control. Uh, so the, the digital slate, if you go on the, the, um, the, the back left last page of the, uh, the digital slate, it says, uh, video and that's both a video feed and, uh, our remote control system.[01:22:00] 

So right now it's relatively simple. We can, uh, I think we can trigger, um, we can trigger origin detection and change scene locators and things like that. But over time, we're going to be adding more, adding 

**John:** more to that. Sure. Sure. If I could ask another question or, sorry, if you have another question, I want to make sure there's time for both of us.

**Bernard:** Um, my only other question was involved with, um, Setting the setting the scene in Jetset when, when you set your scene locators, um, I had like a, it was a virtual stage for, for an event and I had a marker or my scene locator set back at the edge of the stage in the center. But then when I opened up the USDZ, like in the, the green screen studio, I felt like it was too close.

Like, How do I zoom out or is there a better way that I should be setting up my scenes in the phone so that when I project them in in [01:23:00] real life, they're not so close and I'm not finding myself having to take 20 steps back to see the environment. 

**Eliot:** The way to think about scene locators is what they what they are is a way to pin some part of your 3D scene to part of your live action scene.

And, um, and so for example, and it's mostly based around what, what are you shooting? So if you're shooting somebody who's sitting in a, you know, sitting on a bench, they're going to be driving a vehicle. You'd actually put the scene locator on the seat of the vehicle then. And so then when they sit on, sit on the seat, you pin the origin to the seat and they look like they're driving along in the vehicle.

Um, and, uh, and so you typically will want to pick something, you know, that's, that's, um, on the, it's on the set. That's going to be. That you want to match to the 3D world, to the, uh, your virtual environment. Uh, you know, set your origin there and then just put a scene locator in wherever you want that to snap it, snap it too.

Uh, I mean, we can do this interactively as well. Like if, uh, I got to actually have a call in a couple of minutes, but, um, if you, if you want to [01:24:00] join up on, uh, you saw what we did, we, uh, uh, you know, held up a QR code so his, we can see his, his screen and we can do the same thing for your, your screen as well.

And I can just walk you through it, you know, and like, this is, this is This is how scene locators, uh, kind of, how, if you, if it was here for this, this one and you're running into problems with it, how to move it around in Blender or whatnot to have it, you know, make more sense. Okay. Awesome. Awesome. Um, yeah, whenever, whenever you have the time, that'd be amazing.

That sounds great. Um, I think I'm doing, I'm going to be doing these, uh, I'm going to be doing one on, I think on Monday. I mean, uh, it'll, sometimes things change a little bit just because it's a holiday week. So everything gets crazy. Totally.

Excuse me. Give you some time to recover as well. Yeah, yeah, yeah, I need it. Alright, very good to talk to you all. And this is, thank you, this was an excellent, excellent session. [01:25:00] 

**John:** Yeah, thanks Elliot. Can we confirm real quick if the email went through? 

**Eliot:** Yeah, let me check on 

**John:** that.

**Eliot:** Alright, there's Google Drive, let me see if I can download it. Download, download anyway.

Alright.

All right, I'm downloading let's see if it let me double check make sure it opens Does all the things?

All right, that looks good got a project I got a [01:26:00] cine video let me uh, all right I will I will check that out and on the back and uh, uh, but maybe Maybe i'm not quite sure why it didn't run the first time. That's a little weird, but we'll go look at it Sounds good. Awesome guys Alright, see y'all soon.

Merry Christmas, thanks guys. Alright, you too. Bye. Bye 

**John:** bye.