This setup is bringing in the camera video on SDI3, compositing it live with the CG animation in unreal and then unreal outputs the video to HDMI1 where my Ninja V recorder to record it. You could also record the output from your video card's HDMI output but the Blackmagic card supports more high quality video formats than most video cards do. I have tested bringing camera video in through the HDMI which also works. I'm not sure about what comes out the HDMI output port in this setup, I will have to try it. My guess is that you can't input and output at the same time, or that the output is just a copy of the input.

Sorry for being late to reply. I have heard some other people complain about a similar problem with camera alignment but I haven't had time to test it yet. I changed my camera setup around and have to get everything recalibrated so I can try it myself.

No special plugins are required, all the stuff you need is included with Unreal except for the aruco tag asset I built and made available through my github (linked in the description). As far as vcam, sorry I don't know if there is a way to do this, I haven't looked into it.

@@DdawgRealFX I think it is. I have been owing an iPhone XS Max which works till it overheats. Getting a phone cooler will fis thar

Understood. Was facial calibration required in metahuman identity or was that pretty much outta the box from capture? Ty.

@@DdawgRealFX if you use mha you need to create a metahuman identity four face but you can keep using that identy unless the actor being captured changes

Awesome. Thanks very much.

Amazing demo. Freeze frame can even decipher the difference. Nice work.

There have been a few updates since this video but I haven't tested them yet, I'm planning to do that soon. The main pro is that it is very easy to put on, take off and wear. You can literally do mocap anyplace using just Mocopi and your phone. The main disadvantage is that it only has six tracking points so it doesn't get finger, ankle or wrist motion, you have to add that after. Also you still have to use it with a phone, it doesn't connect directly to a PC. You can do live mocap and send it directly to the PC, but the phone always has to be running. For a while I was having problem with disconnections during use but found out that was being caused by using a metal phone stand. This stand had never caused problems before but with Mocopi it was. I switched to a plastic stand and the problem went away.

If you go to the content browser and search for "Axis" it should be there. But it's in "engine content", you don't have to load starter content to see it. If it doesn't show up, go to the settings in the upper right of the content browser and make sure "show engine content" is checked, then it should show up.

@@GregCorson Yep - that did it! Thanks GC

If the screen and floor are both backlit, it could work for floors. In general though, spill seems to be an issue with either green or white light. When it works, it does seem to make keying a bit easier because of the reduction of shadows and increased green saturation, it helps to make the green a more pure color. Also it can allow you to drop the brightness of the green screen to help it reduce spill. Front lighting with green is not a good idea if the floor is visible, but back lighting could work. Many people said this would make spill way worse even when you were not using a green floor. From this test it doesn't seem to change the amount of spill at all. This was just an initial test, I'll be doing some more in the future. I've built a test "linear/bank" light using aluminum channel and green LED strips. This seems to work pretty good so far and gives a pretty even light. I'll be doing a follow up on this once I get the full setup built. These lights can be made with either green or white LEDs of course.

@GregCorson If done right, yes, a more pure green would help the key, but even back lighting the floor, if green, will be much more of a direct green spill issue than the more natural and forgivable white light. When it comes to bounce spill light, green on green shouldn't make for any more of a spill issue than white light - however, the reality is there is often some direct spill coming from the lights themselves if not controlled perfectly, and if that light is green, then yes, your green spill issue is going to be worse. If you really wanted to be picky, the ideal green screen would likely be a green, opaque material that is evenly back lit with green LEDs on a dimmer. Or a LED volume with a floating/tracked green. However, it would be expensive to make very large and, even then, you still would want a practical set for the floor.

I think the best solution in the end is diffuse green material backlit by green LEDs. This is better than bounce lighting the green-screen (with any color light) for several reasons. The biggest one being that with a lightbox about a foot deep you can get a very evenly lit green screen which can be hard to do with bounce lights. The other big advantage is that a backlit green screen will work at a lower brightness level. So it generates less spill. In any case though, it is still something that will have to be tested. This is not something that people can accept or dismiss out of intuition. I have run into a number of professionals who have actually used green light for various situations and say it works, it's just not for everything.

@GregCorson Love testing things rather than working off of assumptions. At the same time, the green screen is a multidecade technique. These questions have most likely been explored. Nevertheless, sometimes, if the best quality solution is rarely used, it might be for good reason - but still relevant to some. In your pursuit of knowing the best quality technique, I would say the screen material not only needs to be uniform while back lit but also not to the point that it's reflective on the side of the camera and other lights. This material and/or technique is likely riding a fine line.

This is a pretty old video, you may want to check the more recent ones, there are a lot of them about nodal offset and tracking.

Hi, I haven't used Echo since upgrading to UE5 because Epic took a long time updating her. According to the current marketplace listing she is only supported for 5.0-5.2 which might be the reason she doesn't work in 5.4. Kind of a shame because I liked this character's style. Sometimes you can use a model on an unsupported engine, but since echo is fairly complicated and there have been a lot of updates to control rig, animation and other things, I don't think you can count on it. It looks like for now at least metahumans are your best bet for detailed, rigged characters.

@@GregCorson Ah, I see. Well I guess that makes sense. Thanks for the response, appreciate it.

Not sure if this will help, the "Slay" example in the marketplace is listed as 5.4 compatible and contains Echo. Don't know if this is an updated version or not but you might give it a look. Let me know what you find out.

@@GregCorson Yeah, I tried that recently. Seems to only have fk rig available as opposed to the Control Rig. Still figuring this stuff out. Thanks for the heads up :)

I use an A7R4. When you are putting in the sensor size/resolution you want to use the size of the sensor that is active. If the sensor gets cropped to create a 16:9 image, then you want that cropped size. Most full frame 35mm cameras just remove some from the top and bottom and use the full width of the sensor. So you can usually get the right numbers by dividing 35mm by the aspect ratio you are shooting in. Not all cameras are the same though, so check your manuals to see how much of the sensor is active in the shooting mode you are using.

Hi, I use bliss with a greenscreen setup and like it very much, I know others are using it with LED wall. Since I worked with the RETracker folks to create it, they gave me a full license. I understand the main difference with the Indie license is the lack of hands on video chat support. The only real issue I can think of with LED wall is that REtracker requires something stationary to track, so if you have a large wall, ceiling and floor that moves or uses a very large frustrum you might have minor issues. Usually RETracker can track whatever stationary practical elements you have in your set. It's also possible to point it at the ceiling, floor or to the side if facing directly towards the LED wall has issues. You can also place tracking markers (pieces of paper with high contrast patterns printed on them) in places the Bliss can see but that are out of shot for your main camera. For example at the top of the background screen or on the ceiling or floor.

@@GregCorson Thanks for the response Greg!, thanks for all the information, it is very valuable to have the opinion of someone who uses it and real cases. Could you give me the contact of someone who uses it with an LED screen? to ask you some questions

I can't think of anyone specific that is using REtracker with LED screen, suggest you ask Marwan Rassi at www.retracker.co/ for some references near you.

I'm not certain, but I know there will be problems with the Aruco calibrators if the lens calibration plugin wasn't enabled on before you imported my pre-made arucos into the project. I'm reworking my sample projects right now for 5.3 and 5.4, I'll let you know if I find anything weird.

Hi, I'm not really sure about this, I haven't been doing virtual production for a bit (I'm starting back up now) and there have been a number of incremental changes Epic made in Unreal 5.0-5.4 that have changed small things about the way things work. I'll try to follow up on this as I update my tutorials for 5.4

Cool, thanks! Love the tutorials, looking forward to it!

@@JMY1000 Hi, I saw this issue as well. I noticed there was a message under "Lens Component" talking about how there wasn't a lens component assigned to feed those values. I did some poking around and added a lens component to this CineCameraActor that we're working with and that seemed to solve it. I selected the "CineCameraActor" in the Outliner, hit "Add" at the top of the "Details" panel, typed "Lens", selected the custom "Lens", and then assigned the "MyLens" file (that we built in this tutorial) under the "Lens File" setting. Hope this helps you!

@@MDLabStudios1 Thanks! I'm not working on this project at the moment, but if I do get back to working on it I'll give it a try and see if that fixes things.

Hi, this tutorial is one of the older ones, you might want to look at my newer tutorials for 5.x unreal. The way livelink works has changed a bit and the setup for everything is simpler. It pretty much runs all the time without pressing play now.

I can't be much help with Unity because I've never used it. Sorry.

For virtual production it isn't important to know the offset from the pan/tilt axis of the tripod. What you need is the offset from the lens nodal point to the center of tracking on your tracker device. For example the tripod screw on a VIVE. In a VP project Unreal gets the position of your tracker, the offset to the lens nodal point allows UE to place the nodal point of it's camera in the same place as your real world camera. Without the offset the UE camera would be where the tracker is, which would be wrong and cause slipping. The correct lens nodal to tracker offset works for any kind of camera mount including handheld.

Working on some new stuff now, a lot going on here in the last month, I'll post an update soon.

Nope, it's not Angelina.

Actually, that clipping only happens because only the head is being animated here. If the whole character was being animated the shirt wouldn't clip, it would follow the head.

If you have some kind of camera tracking, this should work for moving cameras. If you don't it will only work for a static camera.