by Tim Fok | 6th February 2017
Starslider is a multi-axis motion-controlled slider with a pan/tilt cradle. Powered by a V-lock brain and an intuitive app, Starslider boasts an easy-to-setup and quick-to-use design, so check out their Kickstarter campaign. The Starslider system is built around a 32″ slider with height-adjustable feet, and a belted carriage with motor entry points on both sides. The heart of the motion control system is a V-lock-powered brain that connects to a series of Ethernet-connected motors, all controlled by an iOS or Android App. Whacking a motor onto your slider (via the brain) gives you mode 1 (or Starslider Linear). You then have options to upgrade your package into dual and tri (triple, treble? insert correct adjective for 3) modes in the Monolite package. All sounds pretty standard and familiar, right? There are plenty of these sorts of systems out there for filmmakers – multi-axis motion control machines with intuitive controller apps. So, what sets this one apart? I find that, generally, a drawback for these systems is ease of operation; the easiest-to-use systems are usually the most refined and expensive. Starslider seems to have aimed for that sweet spot in the market where affordability, refinement and ease of operation are at one. Take a look at the motors. Starslider has gone for a clever bolt-less bolt-on method attaching their motors via magnets. There are also multiple entry points for versatility throughout the system; the slider has a motor point on both ends (that you can mount on the top or the bottom) and the pan/tilt motors can connect from both sides of their respective plates. The app seems to operate as one would hope: set your start and your end points, add keyframes where you want and input duration/intervals/speed to suit: You have the ability to apply bezier curves for smoother moves, loop, save for repeatability, and bulb ramping. The Starslider is suited for both timelapse and live action, with its Stealth Mode for a silent motor aiding the latter. The Control Unit (or brain) is designed with versatility in mind, with power being provided via DC input V-lock, and motor connections happening via Ethernet. The decision to shy away from proprietary cabling or batteries is a huge plus in my opinion. Furthermore, the system features a shutter release port for camera control in timelapse mode, and 12v, 7.4v and 5V outputs for powering various accessories. Some useful spec info: Starslider (5:1 motor/14:1 motor) Horizontal payload: 50/>50kg Vertical payload: 6kg/16kg Upside Down 20kg/>20kg Min Speed 1m99h Max Speed 1m6s/1m21s Resolution 26000 step/m / 88000 step/m Monolite (5:1 motor/14:1 motor) Max Torque 4.5Nm/9Nm Angular Resolution 0.06°/0.02° Min Speed 360°99h Max Speed 360°1.4s/360°3.8s Backlash Gearbox <=1° There’s a few added extras available, such as a flywheel for smooth manual operation of the slider, optional extended slide length, magnetic feet for car-mount use, and the promise of a 4th axis in the future. The packages are priced relatively competitively, and as mentioned I feel this sits in spot where competitive pricing meets ease of use. Prices change according to when you place your pledge, so check out the Kickstarter page for more. As a guide, the Linear Bundle starts at €799.Read more
by Sebastian Wöber | 8th May 2011
I just got off the phone with BBC freelance cameraman and HDSLR expert Johnnie Behiri who recently did some tests on the CineStyle picture profile. I told him I had already had a hard time understanding the whole log, lut, linear stuff with the Arri in Januar and he said something like: “What? Come on, it’s very simple.” Ok, I was good in maths but this stuff took some time to settle in my brain. If you’re like me and all this is a bit confusing I’ll try to sum it up once more and real quick: LOG (logarhitmic) capture modes, such as the new CineStyle by Technicolor for the Canon 5D mark 2 (also works for other DSLR cameras) are designed to preserve image information rather than look good as is. In other words a LOG capture mode uses the whole dynamic range of your sensor and stores the info in the most efficient way (which is logarhitmic), no matter how ugly that result might be. We DSLR filmmakers don’t care about that “flat” look as long as we get as much as possible out of (or into) the 40mbits of H.264 compression of our cameras. In professional filmmaking on so called digital cinema cameras they have been using these LOG modes from the start in order to get best results. Also analogue film captures logarhitmically if you care to know, so it seems to make sense to go through all this. To make our lives easier in post production we apply a LUT curve to our unnaturally flat looking “raw” material. Basically it’s an inverted curve to your CineStyle curve, to make the curve linear again. So this converts our logarhitmically recorded footage into a more natural looking linear image again. Histograms: histograms via unem.de If I still got something wrong, you’re welcome to correct me in the comments. Test by Johnnie: Many members of this board have tested, compared and evaluated the new Technicolor picture style. The best way to sum it it up is probably: It works. You can follow the discussion here. Here’s another test Johnnie Behiri did this week. We had very nice weather in Vienna so he had bright sunlight which was good for the test. “The idea was to see first hand how the new picture profile is helping the camera to cope with highlights/shadow + how skin tones look before and after utilizing the LUT.” Plain CineStyle without LUT (logarhitmic image): CineStyle with LUT (linear image): Side by Side: You can DOWNLOAD THE TECHNICOLOR CINESTYLE HERE Here are more C5D articles on the Technicolor Picture Syle: New: CineStyle LUT now compatible with Apple Color First tests: Technicolor CineStyle Technicolor Picture Profile / StyleRead more
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