Re: Download Usb Production Tool V1 34 Rar
Yanira Conlon
The new HAPT is now equipped with advanced technologies, such as capacity to deal with large datasets and offline module, as well as analysis module with reporting capabilities, updates to SHA 2011 framework, improved data collection and mapping functionality.
The aim of this document is to detail on the full set of functionalities offered by the tool, provide step-by-step guidance for performing certain operations, and to engage users in using the HAPT tool by answering to the key questions.
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I recently shot my first Covid-Era commercial. The creative, any other year, would have been fairly straightforward; a family with a newborn, enjoys the benefits of an integrated Baby Monitor App while at home. The challenge; how do I pull this off on a tight budget and guarantee safety to the family, my team, and success for the client?
Deep in lock-down, I utilized my time to begin prep on an Indy Feature I wrote. I was in the process of doing director sketches for a couple complex action sequences. My background has been documentary and commercials, so navigating communications with large departments of VFX artists, Stunt teams and Production Design is not my day-to-day rhythm.
My close friend, W Jay Moore, had been researching VR production and knew that I was working on my film. He shot me a note saying, "you have to try out the PreVis App." He was so right. I was instantly hooked, glued to my iPad, syncing scenes with my script, creating frames and pushing those shots out to the VFX team for feedback. This was exciting stuff and so powerful. Having the ability as a writer/director to spit out what was in my head and then discuss those sequences with my team enabled us to not only strategize but budget complex sequences. As an indy filmmaker, it helped me prep for conversations with financiers about our approach. Here's how it works...
PreVis allows you to build a virtual world. The App (when upgraded for a fee) offers a variety of character "looks", facial expressions, physical postures and poses as well as a small variety of key props, objects, structures and vehicles. Essentially, you make a digital "sketch" or "model" of your world. More talented people than I can probably make this world pretty detailed in but I tend to keep it fairly simple. (PreVis tutorials here)
The beauty, once you build your world or scene (and scenes can be synced with your script), you have the ability to fly a camera around, choose different lenses, T-stop, add lights, literally "shoot" the scene. Each shot can be exported as a frame (think storyboard) and you can cover or grab as many frames as you might need to tell your story. One can imagine, for a big action sequence, this is a phenomenal tool. What I didn't expect is how useful it would be for our much smaller budget commercial.
First, shoot using a skeleton crew that would all be Covid tested and cleared, right before the shoot, along with a real family. Second, utilize the family's own home (as I didn't want to scout, cast a house, import an outside family into a new zone that needed to be cleaned, etc). Third, to minimize Covid risk, only my team could be there and we'd need to capture all the coverage in one day. Let's call it, a stylized documentary approach.
Now, one key thing - I had an extremely supportive client, open to this unique approach and excited to find positive solutions. So, huge props to the team at Owlet Baby Care and my producer Angela. I'm so grateful for their trust in me and the process. But I do think PreVis helped.
The benefit of PreVis was that I essentially pre-cut the spot, using music, VO, temp graphics with my PreVis Frames weeks before our shoot. We'll call it an Animatic. This Animatic was shared with my producer and client, initiating conversations about coverage, script, do's and don'ts - - those things we take for granted when client has a monitor on-set and can say, you know, that really needs to be like this -- or like that.
PreVis allowed us to sort through all these discussions long in advance. Furthermore, the user friendly nature of the platform allowed me to do the work myself. So any changes or conversations about adjustments, I could execute (almost in real-time as my environments were built). I would go into my PreVis project, change whatever the note needed, frame a new shot and export that Frame. Then, instantly import the new Frames into Premiere Pro and adjust my sequence. Export a new .mov and post for client feedback (I used Hightail for posting and client feedback but we have also used Frame.IO).
Once we were signed off, I was able to take this Animatic and the Frames along with my location photos and plan photography with my fantastic gaffer, Jerry Mundy. Together, we essentially did a virtual tech scout, developed our plan and schedule for the day and I relayed all of that to the cast.
On our shoot day, of course, some things changed. The baby had trouble sleeping and we had to be fluid with our day. But hey, that's production. Knowing that we had a great plan gave me the confidence to take it on with about 85% less physical support. It wasn't easy, but I was proud we could still accomplish the work in an extremely safe environment.
So, as we all move forward cautiously, hopefully some of these ideas will help streamline your next shoot, or inspire your Brand to keep creating the content you need. Production is never easy, throw on top the stress and logistics of keeping a safe and healthy work environment, I think it's worth using every tool in the bag. I know there are a few story-board based tools. I'd highly recommend checking out PreVis. The base App is free and everyone likes free.
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When creating the event, you will see a Broadcast method dropdown menu. Open it, select Stream with your browser, then complete the event setup steps to enter the web-based production tool page.
In the middle of the page is a large preview player, which upon landing will include your webcam and microphone by default (make sure you allow your browser to access your webcam and microphone if prompted). This player shows the currently selected scene; scenes are located at the bottom center of the screen.
We recommend building all of your scenes ahead of time in the order in which they will appear, like a visual agenda, so by the time you are live, you can proceed through each scene and show each element in the order you've planned. Learn more about creating and using scenes.
When all of the production elements you plan to use for your event are added and configured here, you then add them to scenes so that users can see that content and/or the graphics overlays associated with it.
In addition to these, you can add other lower thirds for individual scenes, such as pre-determined questions asked to a guest, or identifying the name and location of your event. Note that additional lower thirds will also need to be added to the desired scene in order to display it. Learn more.
If your event will include a Q&A session, allowing your viewers to ask and vote on questions, you can open that here. Note that this option is not available if your production mode is set to Recording only.
The right area of the web-based production tool page is where you can find the chat modules. By default, the Speaker chat will be open. This is an internal chat for your team and guest speakers to communicate before and during your event. Your audience will not see the messages here.
To enable and moderate the audience chat, click the Audience tab on the right side of the web-based production tool page. This will switch from the internal speakers chat to the public-facing audience chat, which is disabled by default.
In the upper right area of the web-based production tool page is the stream output, which will display what your audience is actively seeing in the stream after you go live. Click the link icon in the upper right corner of the output window to copy a link to your public-facing event page.
You can monitor whether your stream is stable or unstable by checking the indicator bars at the top right corner above the stream output window, next to the stream timer. The network indicator will turn yellow or red, if the connection gets worse. It will be hidden if the connection quality is good.
The Camera and Display Plugin is a software plug-in for Unreal Engine that allows productions to identify and solve common virtual production workflow issues. For example, as individual cameras and LED walls have different color characteristics, one of the most common workflow issues in virtual production is that the Virtual Art Department (VAD) is unable to anticipate the actual color performance of specific cameras.
Sony's new Camera and Display Plugin solves this common problem and others. When installed in Unreal Engine, the Virtual VENICE in the Camera and Display Plugin allows productions to reproduce the settings of the VENICE, VENICE 2, and Crystal LED display. This allows the VAD to create assets using the VENICE's color pipeline during pre-production before expensive crews are on set. The Virtual VENICE feature in the Camera and Display Plugin can also uniquely simulate the camera's exposure index and Neutral Density (ND) filters to recreate shallow depth of field and help productions identify lens choices during pre-production. This plug-in also displays a custom moir alert, depending on the pixel pitch and other specifications of the wall, to help productions make changes to the camera position and camera movement during the pre-production process to save time on set.