Outdoors real-time light-painting - Tube Stories 134

Just going out. We're still in Montreal. France right there. We have our nice, lovely spot where we love to test new things. And tonight it's about Virtual Inversion 2. First time going out with it. So we have a lot of gear for probably only 30 minutes of shooting. Yeah, that was a bit noisy. This was not planned at all. But last year, we went outdoors with the whole team. And it was exactly on this day. Oh, I thought it was like above. No, it was this day. Wow. So, it's pretty cool. And what's new? They're just so much more powerful, better user interface. So a few tweaks here and there to make everything better. And more flexible with the triggering. So on my remote, I have three buttons. I wish I had a fourth one, but I have three buttons. So one is to start and stop the recording. One is to reset the light painting. And the last one is to put the light painting on pause. So you can move with the light and it stops accumulating the light. It's a good moment now because the light is great. We have about 20 minutes, I guess, before we can start. So we have to find a spot and hope nobody is having a barbecue. Because we're hungry. Is that exotic enough? Yeah. I'm using two computers tonight, but I need only one. The second one is going to be a monitor so we can see what we're doing. And normally we could use only this one, but I want to have a second one facing behind. So I can film one monitor, two cameras, and the whole scene. Just for the behind the scenes. It doesn't add anything to what we're doing. I have these two new clamps that I can put on my stand. And the computers are going to go right up inside of that. So I have one facing us so I can see what I'm doing. And this one here is going to show you guys the point of view with the city in the background. Look at that sunset. Next thing, I need two cameras to do that kind of thing with virtual ink. So one tripod. I also have this pair of EOS R that are going to be used for virtual ink. So I put these two on the tripod. Full of electronic components. So I have two HDMI converters that are going from the camera to the computer. So this is to get the HDMI feed from the cameras. This is how we get everything in real time too. And I have this USB hub. And also my dongle for my PowerPoint presenter is going to be the remote for tonight. So I'm connecting this one to the computer. And this right here is the PowerPoint presenter. This is what we use for all of our software to trigger the cameras. And what I like about this one is that I can fit it on my finger. So I always have my two hands free for the light painting. Okay, so we're going to start with the Klairs because it's our most powerful flashlight. And with the white tooth black vinyl in the back. And with the extender that is our new addition. So it's our new prototype extender. Let's call it that way. Glow cap and rainbow tiny tooth. Is it rainbow? Yes. So it's rainbow but it's not what he wanted. I put the white one? Yeah, white or mirror. You just want to start with a neutral one? Yeah. So we're going to start with a neutral white tiny tooth with a glow cap on top. To have more light bouncing back. More light bouncing back. Can you turn it on? Yeah. And the switch will become really handy. Because Eric will have to manipulate the trigger for the virtual link app. And it will turn on and off the flashlight as well. Yeah. So this on my finger. This one on my finger. And then this one in my hand. It's a bit too early. And we have this camera here that is getting the light only. And this one here is for the ambience. And then we are mixing both here to get the visual. And then I can reset the light on the fly. Okay. Anything to add? What do you want to eat now?