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I did ask them about that, and unfortunately it seems they have no plan to sell the periprobe lens separately as an ‘upgrade’ option to those who might have already purchased the straight lens version. I think they want people to buy the more expensive kit that includes both lens options that are bundled with a single body. There shouldn’t be a technical reason why they couldn’t sell the lenses separately, as the bayonet fitting should be identical…it must be an economic decision that they have made. They did tell me that they are in development of a new probe product that falls into line with what Laowa currently offer, a kit with interchangeable probe lenses that I think offer different degree orientation options to the lens head.

@@InCameraTV Laowa Pro2b is supercool but it's a used car in price. 😎 Superthanks for your detailed answer!

@@jpahlstrom indeed!…let’s hope that AstrHori plan to offer a similar option or range of options similar to the Pro2be range at a lower price.

Thank you!

Yes, the first thing I noticed before animating was that the support arms came out with different degrees of warping after curing (being too thin). Next time I’d just model a recessed registration key shape into the figure - so that a separate/stronger aluminium bar or rod would give consistent support without bend or warp. But it was only a test, so that is where best to learn these things :)

Oh, 3D printing a gif is a great idea!…I guess laser engraving each frame onto boards would also work ;)

Thanks Joe!

Glad you like them!

In my test example, yes - incredibly wasteful and impractical. But if employed into a animation feature or short film as a way of recycling looped motion for a character's running or walking / repetitive action, then it could become quite an efficient method to transition to, from the regular stop motion work either side of it . It would be super crazy to employ replacement animation for every frame of unique animation, but for moments of prolonged loops or cycles of repeated motion it could be a good solution....as you are literally recycling the use of your 3D printed assets. It works best for unpainted or simplistic coloured subjects - as accurately matching paint jobs between 3D prints would quickly become a nightmare to hold continuity...but for some things, it could work. For example, if you were to make a stop motion remake of 'Run Lola Run' - you might want to invest in making good quality replacement animation 3D prints for the run cycle - as 80% of your movie will be showing your main character running through locations in medium/ wide shots. Then you can revert back to regular armature based puppet for all other scenes and actions.

Hahahaha....Great! 😂

@@InCameraTV seriously though, thanks for this JP. You are opening my eyes to some bery cool and useful things.

I really got inspired watching your model making skills on Splashback, loved how you used your Laser cutter on that and combined with scratch build and 3D printed parts. Yeah, I have some ideas now ;)

@@InCameraTV I follow both of you because I'm really hands on and both of you have inspired me about possibilities on my next film. My current one Paradox was just released to streamers and I'm seeing a world of ideas for VFXs--practical and CGI--to do on the next one. Thanks!

I think nowadays companies know that a lot of product instructions and frequently asked questions are covered in RUclips videos and online forums…even if they don’t directly generate the content themselves. But yeah, maybe it’s quite expensive to roll out quality print these days, compared to generating video and online guides. It also doesn’t help that I’m getting older and find it harder to focus on small print and images!

​@@InCameraTV I think it might be fraught as well when you can't be sure how things will work down the line with firmware and such, but how a piece of kit is built should be pretty reliable so maybe they just wanna save on that cost like you say

Many thanks for the kind comment. Yes, I think that at some point we are going to do some kind of video that explains how we ended up doing what we do, as we sometimes get asked how to get into the industry or what educational routes might be advantageous to go down.

@@InCameraTV Thank you. Cheers to your continued success.

@@midwestdocumentarycenterin1680 I wonder if in your company it’s also a hodgepodge of experience and education. I fell into special effects and through that visual effects because I was a performing mentalist and the show wanted me to perform in this show called the next Uri Geller. Now I had to suggest I had paranormal or special powers, which morally didn’t sit right with me, because in my show I always claimed I obtained the successes by manipulating the odds, setting and the parameters, plus misguiding your expectations and a little white lie here and there. But in then they asked me to coach and create some of my (mainly electronic) effects for the show. Suddenly I’m asked to consult for several shows. And I happened to work at a place where they just shot their first feature. And I spoke to the German vfx supervisor. Since I have a background in electronics and computer graphics I was interested - and thought they’d just coded the comps. He then told me about the “new” product called Nuke. And I basically sacrificed every Friday to go there and be taught compositing and digital mattepainting (which is easy if you don’t actual painting). And if you can code it in C++ which I did for solar telescope and medical MRI/CT viewers its easy to do it in anime. And after 6 months I started doing gigs in my own. Mainly commercials, then TV shows. Suddenly I get a call from that same supervisor it I could help him on this shot for a massive blockbuster. Which turned out to be the aerial shot of the capsized boat in Dunkirk. Where he needed some custom software and the technical directors of DNEG that hired him weren’t available. That led me to bid of Masters of the Skies and do what these lads here did of Dresden in practical in CGI back in 2017-took forever for that show to be streamed; and I still haven’t seen it 😂 Now I mainly go indie productions, small documentaries and thesis films. Because the money and the hours are bad in bigger productions. I earn more with better hours in doing my IT freelance jobs. So I only bid on the “cool projects”. And I was just contacted last week to do the second indie film of an American filmmaker whom I did VfX for his first film and we won best fx at NJ Film Fest as well as best film. And now the budget is 5 times almost nothing 😂 So that’s how I fell into it, by chance. And because of my EE/CS background.