Please email if you require more details of the projects mentioned.
Live action capture of 16 cameras shooting through backing at 22.5" spaceing on 360" blue backing.
The backing was a 360" drum 7 metres high and 35 metres in diameter.
The talent was placed on a 2 metre by 3 metre treadmill matching the blue of the backing. The treadmill was placed at the centre of the drum and lit to match the relevant scene in the game.
Each camera was recorded to a separate recorder using a "BLOOP" light for later syncing.
The result created was a circular Muybridge effect.
Project to provide large underwater screen for "Harry Potter and the Goblet of Fire."
The screen was 40 metres long by 7 metres deep to cover three sides and the full depth of the tank. At the time this was the largest underwater screen and tank created.
The screen was constructed of water resistant vinyl colour matched to give the best colour difference to provide the high quality composites visible in the film. The vinyl was made into a single piece by the use of unique welds created to avoid visible seams.
Task, to provide Cinerama style display for the Imperial Science Museum South Kensington. The display filled three screens placed side by side with no image overlap.
Three cameras fixed to a rig so that the frames touch but do not overlap providing a wide panoramic view, in which the live action is seen passing between each cameras frame.
Each camera's output is fed to its own Ultimatte to key in the relevant piece of background and the live action when it appears in their frame.
To encourage the use of Ultimatte by demonstrating its superiority over live software keying systems with emphasise on its ability to reproduce shadows and a full 3D look to the Foreground live action.
To encourage the use of Ultimatte in non Virtual productions including the use of live action backgrounds.
Use of Ultimatte to generate corrected Foreground and Key to create Ultimatte quality composites in real time post production. This is a very cost and time effecient form of production.
To develop a 4K (UHD) capable soft backing, using a combination of a colour matched high gain soft material made up showing the minimum of seams and a matching hard wearing floor.
When paired with a specified light source provides the optimum colour difference signals from the camera output to provide quality composites.
Plus solutions to minimise the effect of seams and coves.
Encourage producers and creatives to recognise the potential of Ultimatte to provide a variety of virtual environments.
Advice on integration of Ultimatte into the studio environment to maximise access to all the power of the unit and provide the most ergonomic operation position to allow speedy set up of composites.
Matte integration, set up Ultimatte to take advantage of all four matte inputs.
Backing design to optimise backing on a cost and effectiveness basis.
To develop a stand alone hardware based deviceto provide defocused BGs in a live key venvironment with particular emphasis on Virtual Studios.
The range of defocus will be set either manualy or by data from the camera lens, allowing a full range of tracked defocus to match the relevant FG shot.
One of the advantages of using this device to generate progressive defocus in the Virtual Studio environment is to remove extra overhead from already overstretched C.G.I.engines.
To encourage the use of alternative images to the rather cliched C.G.I. images that dominate the News and Sport based Virtual Studios around the world.
There is a potential for the C.G.I. BGs to be designed by the technicians who will operate the system on air, to guarantee they run without any issues. The result can be a lack of originality and fresh design ideas.
This situation has made it difficult for designers with creativity to make a contribution.
To develop a hardware device to allow pan, scan and zoom within a live action frame without loss of resolution To achieve this the original BG image needs to be a higher resolution than the production result i.e. UHD to HD.
The BG image movement can be driven either manualy or by data from the camera lens and head.
This is a cost and time efficient method of production for final composites or line ups for use in post production.