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Height and Reach

Axis Speeds

Software
The flair software which controls both the Milo and Cyclops is extremely powerful, yet simple to use. Flair will control all aspects of the rig movement and camera functions including camera fps, fdx, zoom and focus. The system can also trigger and receive triggers from external devices such as dat machines and lighting mixers . To complement standard move input, Flair has several advanced functions which can be used individually or combined to create stunning effects. An overview of these functions are detailed below.
 



MIMIC MODE


Mimic allows the movement of any axis(s) to be input using hand controllers. For example, a move could be built using all axis but pan and tilt assigned to mimic mode, this would allow any manual input via the pan/tilt hand controllers to be recorded with the original move for playback. The pan/tilt mimic move for each take could then be saved for shooting repeat background plates.
This technique makes it possible to shoot repeat passes on unpredictable subjects like children and animals or to give a more natural/random feel to the camera move.



CAMERA VARI-SPEED


Vari-speed allows the camera shutter speed to be changed during a move. This function has two modes, the first allows the move to run normally with the camera fps varying between 0.01 - 125 fps, this would give the effect of the move and the action within the move to be ramping up and down as per the programmed ramp speeds.
The second mode is similar to the first but only the action within the move would change speed. This is achieved by locking the camera speed and move speed together so that as the camera fps increases or de-creases the move speed would increase or de-crease proportionally. This would give the effect of a constant speed move but the action within the move to be varying.


 

CGI INTERFACE

Advanced features which allow moves generated within flair or digital domains to be imported/exported between enviroments.



SCALING


For combining shots of different sized objects into the same perspective using the same move. For example, a move is built around an actor within a blue screen enviroment then the same move could be scaled down to shoot a miniature room set, then the two scenes composited.

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