Tag Archive for 'motion control'

Loco 2nd Generation, stable and shipped

soi_3g_timelapse

So we shipped out our 2nd generation LEGO rig to a studio in Germany, who’ll be working with it for the next year on a combination stop-motion/CG project.  Above is a quick timelapse test I did this morning – the camera is running through the middle of people, dogs, movement, and general unrest in my squeaky wood floored studio.  The rig got a bit pushed on occasion, but the move came out incredibly stable – what you see above is directly from the camera.

All of pictures you see below are with the top mount.  There is also a 1.5 meter bottom mount to hang the camera.  Notice how the rig transitions to black – this is some laborious hours sanding, washing, and spraying the rails and base plate.  For the next rig, we’ll try to hire someone else to cover some of these areas.

I’ve also implemented the iCommand NXT library, a command (not VM) based project of leJOS.  I’m having much better luck with setting rotation limits, and stepping down the power as we approach the actual rotation target.  I’ve also implemented some parity compensation, as well as gear lag, in the software package, and the data structures are a bit cleaner.  It looks as though I’ll be writing a keyframe interface as well in the next month.

I’ll be flying down to Germany on Sunday to set up and test the rig on the set there.  If I can (I’m not sure about the NDA restrictions), I’ll post some pictures.

As for the future – are you can see, parts of the rig are still Mindstorms driven, and LEGO built.  There are benefits (modular construction, easy to refactor), and some looming disadvantages (plastic parts on top of that list), and at some point, not the next generation, nor, probably the one after, we’ll consider looking into other microprocessor boards and sensors, and designing the rig in a slightly different way.  I think LEGO will continue to play a big part in the development, and certainly the feedback sensors, which is our biggest focus for the next version(s), will continue to be in the design and prototype process.

The LEGO rig on set

Goutte d’Or is now running with the LEGO rig daily on set.  Here are some images around the ship and of the new lift.  Above is one of the latest camera moves.

New modules and Goutte d’Or

goutte_d_or

Above is a test clip we shot yesterday for Goutte d’Or, a stop motion film by my friend Christophe Peladan, which is using the LEGO rig.  I’m rebuilding the lift, and using a more modular construction for it.  I’ve also organized a large part of the LEGO collection, which you can see below.

There have been some great replies on the nxstasy forum to my questions about minimizing slop in the gear train for our rig.  With any luck, this new version will add some more stability and user friendliness.

The software has also been updated to deal with both the Canon EOS 40D and the Canon EOS 400D.

LEGO Motion Control v2

soi_proto9_pan_stabilized0125

soi_proto9_lift_stabilized0149

We’re building the next major iteration of the motion control system, and are thinking of supplementing the LEGO with some more stable parts – the major part is the baseplate of the rig, which we’ll use MDF to start with, and see how much stability it brings.

Tomorrow, the 1st iteration rig also starts getting use on La Goutte D’or, a stop motion puppet film in production in one of the other buildings here.  With the new seek algorithm, I’ve sped up the incremental moves by 300%, which means we can shoot about 8-12 seconds automated per hour.

The movies above represent moves run with the new software.  I’ve started consulting my handy American Cinematographers Manual to look at the pan and lift speeds.  Both moves are processed with the “smoothcam” node in Shake.  As far as I can tell, the amount of pixel shifting that happens when smoothing has a minimal effect on the plate – I don’t see much introduced blur, especially since our processing happens at 4K (roughly), and then gets downsized to 2K.  I haven’t yet tracked a “smoothed” shot, so I might discover some issues there.  The jitter in the original plate is also pretty minimal, and hopefully with the next iteration of the rig, we can bring it even further down.

Below are some images of the 1st iteration.

Proto6

ma_rnd_proto6_bg

So we’ve gone back and forth with various modifications on the rig.  We added some boogie wheels and then realized that dynamic distribution of weight actually adds another factor of unpredictability to the motion.  The new rig is, however, more stable than the previous couple, and we’ve also attached a small Manfrotto head mount to the bottom of the lift.  Now the camera is much easier to mount.  The first movie below is the actual test, while the second is a stabilized version, taken through Shake.  The movie above is roughly color corrected, stabilized, and the background replaced.  The reflections in the mirror are Benny and I moving around as the move is running.

original:

stabilized:

Proto4 test shoot2

ma_rnd_proto4_test3_hi

This a clip from a rough shoot of one of our buildings.  In total we’ll have about 9 buildings, many of which we’ll be interchanging parts in order to add variation.

Our lift stopped working in the middle of the shot – a gear driving another gear on one of the four track gears slipped out of place, but because of the differential (which aligns the four rack gears), I didn’t notice the problem until too far in.  Our next version should deal with some of the workflow complications we noticed through this shoot.

I’ve added some different coloring to one of the front walls in this shot – just to see how that might look.  In order to do that, I first applied a lens undistort (you can see the distortion at the edges of the frame), then color-corrected the plate, with a traveling matte that followed the camera move, and then redistorted the plate.  This way, I can create a matte for the wall that has straight lines, and then, when I redistort, get the lens barrelling back into the image.

Below are some shots of the buildings and the shoot in progress.

Proto4 test shoot

So we shot some footage on our miniature set which is being built about 400 km away.  Over the next few days, I’ll be adding some more shots.  Above is one of the clips (the flicker is from the large sunlight in the workspace – we’ll be shooting in an closed off studio for the actual film shoot), with some work done in Shake to average the bluescreen, replace the background, and add the foreground flicker to the background (with a multiplier).

This is shot on our new set of rails (which are 2 meters long).  The rig will need some modification, since the rails are a bit tighter.  The lift is also a bit unstable (still), but we think we’re on the right track – using 3 differentials driving 4 24-tooth gears along 4 rack gears.  We should, hopefully be able to stabilize the motion completely.

Below are some of the photos of the shoot.

Proto2 testing

Here’s a first test from the Proto2 rig.  As you can see, there’s a fair bit of work here isolating the shake.  The actual gear motion is relatively accurate, but the lift on the rig introduces some instabilities.  We’ll take a look at these in the next couple of days.

The second test is an overlay of the camera move we set in 3D (with a stand-in object) and the actual footage.  The general motion is fine, but it’s easy to see the stability problems.  Because we’ll be shooting closeup on the miniatures, I expect to have a lot of parallax in the shots – what that means is that fixing stability in post (eg. re-projecting the plates on 3D objects and creating baked texture maps, and semi-stabilized plates) is a complex problem.  So we’ll need to solve the stability issues at the rig level.

Prototype 2

So this is our second prototype rig.  That’s Benny Bondesgaard in the picture, who’s doing most of the building.  We’re shooting tests this weekend in preparation for doing a test shoot with the miniatures next week.  Our process goes a bit like this:

  1. Set a move in Autodesk Maya using a 3D version of the LEGO rig – built to scale, and with moving parts.
  2. Export the move in .move format (ascii format, where each axis is a column, and frames are line separated)
  3. Set the rig to a default position (we’re working on a gear release, so that we can manually move the lift/rotation).
  4. Start Processing and EOS Utility (we’re using a Canon EOS 40D).
  5. Run our sketch.

I found a way to trigger the remote shoot on the EOS Utility using a simple Applescript which sorts through UI elements and finds the right button.  Not even close to a good long term solution, but one that works fine for the moment.  I spent some time mucking around with gphoto and a few other utilities (as well as trying to wrap my head around the Canon ED-SDK), and this is definitely the easiest to implement.  This way, we can create a minimal UI for the actual Processing application and be able to use all of the functions Canon has built into the EOS Utility.

In the Processing sketch, we set each incremental move by setting a motorForwardLimit (which is based on the rotation of the servo).  Often enough, the motor overshoots the limit, so I set an adjustment move based on a threshold of error.  This gets us closer – still not quite exact, but we’re working on it.  I may end up going back to just turning on the motor, and gradually lowering the speed as I approach the right rotation count.  Or perhaps setting a limit for the first step, and then gradually working with the speed for the adjustment step.

After the camera trigger clicks, I also run a loop that goes for five seconds (it tests against the millis() function in Processing, which is a millisecond count from when the sketch was initialized).  This is so that the Applescript has enough time to open and click on the release button in the EOS Utility.

Images from the shoot

Thanks to all for the shoot. Here’s a quick comp of one of the motion control moves (click on image for movie):

sh015_test_mid.jpg

and another one:

sh002_test_mid.jpg

Both of these movies need a fair bit of comp work (dust busting, stabilizing, flicker removal, etc). At the moment, they’re also comped at 8bit, but I’ll soon be moving over to our 16bit pipeline (thanks to RAW format that we shot on).

Some images (I’ll put up a few more images on this post in the next couple of days):

comp.jpg comp1.jpg img_0003_1.jpg




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