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CINEOSIS · hybrid pilot
Six signs, six real archive clips: the dummies fitted by hand into each plate's camera, light and occlusion, from a lamplit desk to a moving raft.
Production notes · CINEOSIS hybrid pilot: validation record
Each passage puts the crash-lab dummies into the real example clip for that sign on the cineosis-lab periodic table. There are six signs, chosen to test the hardest integration cases. Two fresh critics reviewed the work, one per round. Neither had seen it made, and both judged the frames at 24 fps, not still images.
The six plates
Here it is in order. Click a frame and the film plays from there.
- Sign
- 38 Peaks of the present
- Plate
- Hotel and Restaurant Workers: a laid dining table, static, black and white
- Case it tests
- Occlusion through a rattan chair, and a real glass passing between media
frame strip A strip of frames from one passage, read left to right, to check the motion over time.
camera fit grid The plate with the fitted camera's floor grid drawn over it.- Sign
- 28 Strong destiny
- Plate
- Singing Wires: two men at a desk with an oil lamp
- Case it tests
- Light: the lamp is turned down and the whole plate is relit
frame strip A strip of frames from one passage, read left to right, to check the motion over time.
camera fit grid The plate with the fitted camera's floor grid drawn over it.- Sign
- 2 Liquid perception
- Plate
- National Wildlife Refuges of Alaska: a raft drifting midstream
- Case it tests
- Riders on a moving support, with a floating camera
0:45 the start of this part, just after its card
camera fit grid The plate with the fitted camera's floor grid drawn over it.- Sign
- 42 Bodies of gest
- Plate
- Mission of Apollo/Soyuz: a row of dignitaries, handheld
- Case it tests
- Shared floor and scale beside real people
0:58 the start of this part, just after its card
working sheet A working sheet from this stage.
frame strip A strip of frames from one passage, read left to right, to check the motion over time.- Sign
- 29 Weak destiny
- Plate
- Cabeza Prieta: a ranger on a desert track, camera rising
- Case it tests
- A moving camera, and occlusion behind a walking person
1:06 the start of this part, just after its card
frame strip A strip of frames from one passage, read left to right, to check the motion over time.
camera fit grid The plate with the fitted camera's floor grid drawn over it.- Sign
- 39 Sheets of the past
- Plate
- Court to Court: a palace corridor, gliding camera
- Case it tests
- A moving camera, with past copies planted on the floor
How each passage is made
How one passage is put together, step by step.
- Plate: a segment with no cuts, at 24 fps.
- Camera: a pinhole camera fitted to the plate.
- Camera moves: tracked per frame:
- raft: template matching and ECC alignment
- row: phase correlation
- desert and corridor: floor-feature homographies
- Animation: the crash-lab rig, authored in a world laid out to the plate and checked by the lab checker.
- Dummy layers: rendered per actor as transparent layers from the plate camera's direction, then mapped into the plate.
- Shadows: projected along the plate's light onto walls, desk, cargo and ground.
- Occlusion mattes:
- the rattan chair, keyed on a clean plate
- polygons for the table, lamp and cargo heap, carried by the track
- an ISNet matte for the ranger
- Look:
- grade matched to the plate (mono or colour)
- shading toward the light
- passed through the plate's native 320×240 resolution, so the softness matches
- grain
- Sound: the plate's own track, or ambience where the plate is looped, with foley placed from foot contacts.
critic sheet Critic overview, sign 38
critic sheet Critic overview, sign 28
critic sheet Critic overview, sign 2
critic sheet Critic overview, sign 42Rig checker (lab metrics)
- Five worlds are clean.
- Five worlds are clean.
- In 2 Lq, Bola's loss of balance is flagged as unbalanced, which is intended.
- In 2 Lq, Dot overreaches for 6 frames.
Critic verdicts
This is where the blind reviews come in.
| Sign | Round 1 | Round 2 (after fixes) | Largest failure still visible |
|---|---|---|---|
| 39 Sp | Weak | Meets the bar | Copies are barely translucent. Bola only peeks in during the opening tilt. |
| 38 Pp | Weak | Weak | The lifted glass reads as a white smear, not a glass. The patch where it stood has a hard rectangular edge. |
| 42 Bg | Misses | Weak | Toe-down feet at rest. Footsteps stop before the steps do. |
| 28 Sd | Weak | Weak | The knob turn is not visible, so the dim seems to come before her hand. She casts no hard lamp shadow. Her toon scale breaks the size rule. |
| 2 Lq | Misses | Misses | The fall, the catch and the sit do not read. The dummies tower over the crew. The cargo matte is a rectangle. |
| 29 Wd | Misses | Misses | Her feet are not on his ground line at the right scale, so she floats or looks too big. Her reveal from behind him leaks. Her shadow is weak. |
What the critics confirmed works
- Tracking holds dummies to moving plates within about 2 px (39).
- Wall shadows agree with the plate's own shadows (38).
- The rattan-chair occlusion holds (38).
- The plate dims with the lamp in linear light (28).
- Sound lands on events (38, 28).
Pipeline fixes needed before the other 39 signs
What broke, and what was changed because of it.
- One scale-and-contact solve per plate, with an automatic gate. - Use the horizon or ground plane and a person in shot. - Reject the render if Bola's foot line and head height disagree with her depth or with the 85%-of-a-man rule. - Fix one Bola look and grade it per plate.
- Proper occlusion and contact. - Roto or keyed mattes instead of rectangles. - Flat planted feet with contact shadows. - Cast-shadow direction and hardness taken from the plate's key light.
- A legibility gate on the action before rendering. - The beat must actually be animated, at a scale where it reads. - Cause must come before effect. - Any real prop gets its own clean element. - Footsteps come from the contacts the animation actually produces.
Changes from round 1 to round 2
What broke, and what was changed because of it.
| Sign | Changes |
|---|---|
| 38 | Chair matte keyed to the rattan strokes only. Glass patch feathered. Toast moved toward Bola. |
| 28 | Push-in on the desk. Toon scale enlarged. Globe now dims with the room. Stronger lamp-side shading. |
| 2 | Tighter following crop. Larger toons. Softer, less saturated grade. Bigger stumble and a held catch. |
| 42 | Bola moved to the end of the row, so she is no longer cut up between the men. Soft overhead contact shadow. |
| 29 | Scale measured against the ranger and corrected. Path moved toward the rut. Starts hidden behind him. |
| 39 | Copies made Bola-yellow at 50%. Stronger reflections. |
Limits
- The crowd plate for 5 Dividual was tried and dropped.
- The crowd plate for 5 Dividual was tried and dropped. Neither human-segmentation model could separate a dense crowd at 320×240, so it is not in the pilot.
- Looped plates (38, 42) cannot carry their own sound past 3.4 s, so they use ambience.
- Dummies have no motion blur.
- Camera tracks are 2D homographies. Parallax off the ground plane is not modelled.
More from CINEOSIS
CINEOSIS · in the crash labThe family performs all 45 signs over 59 measured worlds, each sign its own shot list of cameras, cuts, mirrors and time maps.
CINEOSIS · hybrid atlas84 passages across all 45 signs: an automatic pipeline picks two archive clips per sign, finds the ground, and walks Bola into each one.
CINEOSIS · handmadeEvery sign authored by hand over unaltered archive clips, two passages per sign, each reviewed blind by a fresh critic.
CINEOSIS · Hand ButterThe making-of, performed in a screening room by the film's own cast: Bola and Shim show their work, and a blindfolded Critic judges the pictures without knowing what was meant.