Although the system is solid, there are a lot of variables in play that I like to do full testing for to make sure everything is good to go before any filming. Over time, I’ve developed the preference of having a full set-up day to do prep shots with lighting, camera registration, and any troubleshooting that might be needed. Set up time varies a little bit but usually ranges between four and six hours. We couldn’t leave the rig set up permanently for testing so we had to set up and break down the rig each time we did a test session. I now owe him an eternal life debt for letting us test and develop there over the course of many months.
#TIMESLICE RIG TRIAL#
As a result, there was a lot of trial and error testing sessions in our one team member’s basement.
#TIMESLICE RIG HOW TO#
I have several trusses for the system but the most common light painting support is approximately 15′ diameter.Ĭamera registration was a huge hurdle to jump – especially since there’s no published methods that I could find on how to get 48 cameras to line up. There are a total of 154 cables which handle all camera triggering, power, setting control, and data retrieval. MM ∇ For the light painting set up with the time slice rig, I currently use 48 DSLR cameras on the 360 degree rig. Exactly how many cameras, how much space does the entire set up take, how on earth do you get them all lined up. LPP ∇ Its incredibly cool, can you tell me more about the technical side of things. It’s also amazingly fun and cool every time I work with the rig, I’m smiling and laughing with everyone that’s in the session. The light painting video we created with the rig was multi-purposed in addition to showing people the possibilities of visuals that could be created with the system, I wanted to create some great art, explore new techniques and try things out that I’ve never done.
I was at a point in my career where I really want to push to do something new and exciting unlike anything I had ever done before (and as much as possible, unlike anything I had ever seen). MM ∇ The time slice rig was kind of like a Field of Dreams “if you build it, they will come” type of thing. LPP ∇ Is the Time Slice Light Painting for something specific or is it more of an example to show the capabilities of the camera array? Light painting was a very exciting aspect of visuals to create long exposure visuals and integrate motion to see how everything looked from all angles in a 360 degree camera motion would be a wonderful merger of both worlds (still imagery and motion imagery) that is pretty much unattainable any other way. The three-dimensionality of the time slice rig opened a whole new world of possibilities of imagery that could be captured and created. In 2013, I decided to put together the time slice rig and started dreaming up all of the visuals that simply couldn’t be done any other way. Since the majority of my work deals with motion imagery, cinematographers don’t have the opportunity to really do any long exposure imagery without it being a still photo, time lapse work, motion control, or stop motion animation. MM ∇ My light painting experiences directly correlate with the time slice camera array. LPP ∇ How did you get into light painting?
Creating imagery is truly my passion and I film and photograph all the time whether I’m “working” or enjoying a day off. I’ve been in the arts in some form since 1993 – starting with music and graphic design then finally finding my way to the camera in 2003. MM ∇ By trade, I’m a cinematographer and director of photography for film and video shoots. LPP ∇ Hi Mitch awesome work on this project! Can you tell me a little more about yourself and your photography background?
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