Installing and Using Trackside Cameras Revised November 2008

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1 Installing and Using Trackside Cameras Revised November 2008 Trackside cameras are a useful and creative way to add visual interest to your route. Rather than just look out the windshield of the locomotive or follow it down the track, cameras give you the option to view your trains from pre-selected locations as the train passes. You can opt to place single cameras at important points of interest or string a number of cameras together to give the user a continuous panorama of the countryside. In this tutorial we ll discuss the types of cameras, how to place and move them, and how to vary the placement of your cameras for maximum visual effect. Types of Cameras There are two types of cameras: Static and Tracking. As the name implies, a static camera is one that shows the same field of view all the time. A tracking camera, on the other hand, is a camera that pans to follow the current train as it moves down the track. Cameras are activated when you select them from the Driver menu, by clicking on the icon or pressing the number 3 key. Once you ve done that, the display will switch to the camera when the train gets to it. For a static camera, all you have to do is enter its field of view. For a tracking camera, the display will switch when the loco gets to within 200 meters or 650 feet, from any direction. Once a train enters this detection radius, the display will switch to the camera and will remain with the camera until the train leaves the detection radius. Installing cameras We install a camera in Surveyor by selecting the Tools menu or pressing the F5 key. The red-highlighted section is where we deal with cameras. The left icon creates a new camera. The middle icon allows you to move an existing camera. The right icon will let you delete an existing camera. The left and right arrows let you to select between static and tracking cameras. Creating a Static Camera Now let s place our first camera. Note the window is set to static then select the left, create icon. Once we do, the display will switch to the camera s field of view, as shown on the next page.

2 When you see this display, you are actually looking through the camera lens and the field of view you see here is what the camera will display in driver. How that actually works depends on the type of camera. If this is a static camera, the camera s view is fixed on exactly this view. If it s a tracking camera, the camera will automatically turn to face the train from whichever direction it is approaching. Once you re looking through the lens, you can change the field of view by moving your mouse, and by using the arrow keys. The mouse moves the camera from side to side and forward and backward. The arrow keys rotate the camera left and right and raise it up and down. A scroll mouse will zoom in/out when you roll the wheel. It s actually pretty straightforward, and after you ve done it a few times you ll get the idea. Once you ve got the camera where you want it, press the escape <esc> key or click on any other button on the tools menu to leave the camera create mode. Once you ve done that, moving the mouse backward a little will let you see the actual camera.

3 As you could see above, the camera is red in color, indicating it s a static camera. If it were a tracking camera, it would be green instead. If you decide you need to move the camera, select the middle button on the tools menu, then click on the camera itself. The display will switch back to the camera lens view and you can move the camera again to get the view you need. The static cameras are limited in their field of view, so most of the time you ll be using tracking cameras, but static cameras can be useful for special locations, such as the entrance to a tunnel. Note the static camera in the picture below. When the F7 enters the camera s field of view, the display switches to the camera:

4 The display remains fixed until the engine disappears into the tunnel. When the train is coming from inside the tunnel, the display will switch to the camera just before the train comes into view and stays on until the train exits detection radius of the camera. Understanding tracking cameras You install a tracking camera the same way to do a static camera; the only difference is you have to choose tracking rather than static in the tools menu. You can then place, move or delete it the same way. When you place a tracking camera, the exact lens view is less important than with a static camera. That s because the tracking camera has the ability to rotate in any direction. As soon as the train enters the camera s detection radius, 200m/650, the camera will turn to face it and follow it until the loco leaves the camera s range. With that in mind, the most important thing is where you put the camera and not the viewfinder picture. The challenge with tracking cameras comes when you want to install a number of overlapping cameras that switch from one to the next as the train moves down the track. Suppose I were to ask, If the detection radius of the camera is 200m, what is the total distance the train will be in view from a single camera? You might be temped to reply, 400m, or twice the detection radius. 200m as the train approaches the camera and 200m as the train travels away from the camera. That answer sounds logical, but it is only correct if the camera is placed directly on the track. If the camera is to one side of the track, and/or high in the air, the train will have to be closer before it will be detected. The following drawing may help:

5 Let s say we have a camera placed on the track at point A. The detection radius of this camera is 200m or 650 in all directions, including points B and point C. If the current train enters the track between B and C, the display will switch to the camera. Now let s assume the camera is placed off to one side, at location D. The detection radius is still the same, 200m/650, but since the camera is not on the track the train will not be detected until it reaches either point E or point F. Get the idea? Now you might be thinking, So what? There s not much difference. That s true. If we were placing a single, standalone camera, it wouldn t matter. But the difference in this case is about 30m/100 on each end. If you are planning to place cameras in sequence along the route, that difference is enough that the display will switch from camera A, back to the default, and then to camera D, instead of switching directly from A to D. Furthermore, if the camera is lifted above the ground, you have to take that into account as well. If camera D is 30m/100 in the air, you d have to move it closer to the track to keep the train in view for the same amount of time. That would even apply to camera A. If we lift it above the track any substantial distance, it will decrease the effective detection radius and a train would have to be closer to point A before it would be detected. As we said, if you re placing a single, standalone camera, it doesn t matter much, but if you use multiple cameras you have to take that slant distance into account. We ll talk more about this concept shortly. Here s an example that might help: Suppose we place camera at location B. Then we use the ruler tool to measure a line 200m long in both directions to where it touches the track at A and C. In the drawing above, locations A and C are the maximum distance Camera B can see the train. If it s on the track between A and C, camera B will switch the display to the camera. To place our second camera, we measure a line 200m from point C in any direction we wish, as represented by the green line in the drawing below, and place the camera at D.

6 In this case, camera D is closer to the track, but as long as D is no further than 200m from point C, the coverage of both cameras will overlap, and they will switch directly from one to the other as the train moves down the track. Let s measure another line, the red one, from D to E. Now we have the maximum visual range for camera D. If the train is between C and E, camera D can see it. Let s do one more, as shown below. We measure the cyan-colored line 200m from point E, to place our third camera at location F. Because camera F is considerably further from the track, the amount of time a train will be in range is considerably reduced compared to a camera that s located near the track. In fact, let s check those distances on the next page:

7 Camera B D F View A-C C-E E-G Distance train is in view 247m/ m/ m/731 As you can see, camera D, because it s closer to the track, can see the train for a considerably longer time. That doesn t necessarily mean all the cameras should be close to the track. The key to having a great-looking camera setup is to vary the camera locations, so the user is treated to a variety of nice-looking pictures. [Edit: 30 November As you ve read through the material above, you may have thought, That s a lot of measuring. Isn t there an easier way? Well, since this tutorial was originally published I ve learned of some tools by Martinvk that should make it easier for you to place your cameras. They are: Guide camera sphere Guide camera static <kuid:70337:23049> <kuid:70337:23050> These tools can be used in Surveyor to plot the coverage area of your cameras without having to use the ruler tool. Here s an example: The Guide Camera Sphere is a large bubble, extending outward 200m in all directions from a point in the center. One way to use it is to place the sphere over an existing camera. Once you ve done that, the sphere shows you the maximum distance the camera can see in all directions. In other words, no measuring is required; you can visually see the camera s range. Let s see how we might use the sphere to place two cameras so their coverage overlaps. Check out the drawing on the next page.

8 In the drawing above, I ve placed a tracking camera near the track. Then I placed a guide sphere, with the blue center of the sphere directly aligned with the camera. The height of the sphere is also adjustable, allowing me to raise the center point to the same height as the camera. Once that s done, the sphere represents the detection radius of the camera, and if the current train enters the sphere, the camera can see it and will switch the display. In working with the camera and the sphere, I found that it s much easier to move the sphere than the camera, so in this case you might want to consider placing the camera first. Now let s add our second camera. To do that, I placed a second sphere approximately where I want the new camera to be, making sure it overlaps the first sphere, as shown below:

9 As you can see, the two spheres overlap, permitting the two cameras to switch directly between each other as the train passes through the overlap area. In the drawing below, I placed my second camera, and as you can see, I ll didn t get it directly over the sphere center. It s an easy fix, you can either move the camera or move the sphere, but since the sphere is easier to move, I ll do that and lift it to the correct height. Now the sphere is aligned with the camera, so I ll go back and make sure the two spheres are still overlapping. If they are, I m good to go. If not, a small adjustment will fix it. In this case, though, it worked fine, even with a relatively small overlap. As you work with your tracking cameras, you might try both methods, using the ruler tool and using the guide camera sphere, to see which one you like best. Now let s take a look at the guide for static cameras:

10 As you might suspect for a static camera, the guide is a cone, with its top where the camera is to be located, and extending out to 200m, it s detection radius. If the current train enters the cone, the display will switch to the camera. Like the guide sphere, the height of the cone is adjustable to where the camera is placed, as you see below. Above is the tunnel entrance we saw earlier, now with the guide in place. With it, it s easy to see the tunnel entrance is within range of the camera. In addition, you can also tilt the guide cone, by holding down the shift key while you use the rotate tool to aim the cone right at the tunnel entrance. Now let s return to the original tutorial and discuss how to place cameras for the best effect. [End of Edit]

11 Placing Cameras Effectively In one of my more foolish moments, I decided to place cameras along my entire Midwest Central mainline more than 50 miles! At the rate of 4-5 cameras per mile, you can imagine how many cameras I used. ;-) Here s the thing, though. If you re going to place a string of cameras along your mainline, the pictures they take should be different from camera to camera. Of course, if you have a large number of cameras, the pictures can t all be unique, but using different angles can keep your pictures interesting. In the rest of this tutorial, I want to show you some of the some placements I used, and the pictures I got from each location. My intention is to encourage you to experiment on your own route. If you re going to go to the trouble of installing cameras, let s make em look great. To the left is a tracking camera, installed near a bridge. Notice how the camera is right on ground, giving you a low angle as the train passes. Below is the view from that camera. It starts fairly wide, but as the train gets to the camera then view is really close, then widening again as the train moves away. The close-up doesn t look all that impressive here, but it s really looks pretty cool in action. Try it yourself on your own route.

12 To the left is the next camera down the line, located on the other side of the bridge. The farther arrow points to the previous camera. As you can see below, this second camera shows the train crossing the bridge and entering a wooded area, where the camera is partially blocked. That s okay, provided it s brief. Our third camera is located up high on hill just past the trees. Notice that camera is not pointed toward the bridge, but when the camera detects the train coming toward it, it turns to face the train. The camera will do the same thing if the train approaches from the other direction. The camera s sequence is shown below:

13 One more sequence in this group. After the train leaves the camera above, it enters the range of a static camera shooting the entrance to Ox Mountain tunnel: And because the camera is static, the camera view doesn t change as the train moves past it, as you see below: And here s what the same camera gives us when the train comes from the other direction. The interesting thing you see here is the camera does not switch back to the default view just because the locomotive has left the picture on the right. As long as the loco stays within the detection radius, the camera is active. All right, let s stop here for a moment and consider what you ve just seen. We ve used four different cameras, varying in height and distance from the track. The first camera was right beside the track, the second was on the other side of the track and further away. The third was way up high and the forth was a static. The operative word here is: Variety. Mix up your camera locations, and heights.

14 Now to finish up this tutorial, here are some more pictures, showing some of the places I put cameras. Keep these in mind as you work on your own route. This location is one of my favorites, placing the camera between the tracks on a double-track mainline. This camera gives the following sequence, left to right, top to bottom This sequence goes by in a hurry since the train is moving at 75mph. The loco grows rapidly larger as it approaches, then flashes by the camera. As the loco moves away, the passenger cars pass in almost a blur. Very cool. Another thing I like to do is place a camera behind a hill or some other obstruction, so when the display switches to the camera, the train is initially out of sight, as shown below:

15 In this case, the camera is at track level, but there is a small hill between it and the train, which gives us the sequence below. Notice how the train is behind the hill when we first switch to the camera. The key to making this technique work is that the train must come into view shortly meaning within a second or two after we switch to the camera. Any more delay leaves the viewer wondering, Where s the train? Staying with the low angle concept for a moment, another place I like to put a camera is on the inside of a curve. The look of the sequence is similar to where the camera s in the middle of the track, but I really like how the train grows large in the picture, then recedes into the distance. It s a nice alternative to a endless string of panorama shots, as you ll see in the pictures on the next page.

16 This time the camera is actually sitting below the level of the track, a great option when the mainline is on the side of a hill. As the sequence below illustrates, this is another nice variation. Notice in the second picture how the view is partially blocked by the tree. That s fine, as long as it s brief, and the presence of the foreground object helps to give the picture depth.

17 The two pictures below are both of the same camera, which I think is in a particularly good place. The left picture is looking westbound and down a 2% grade. The right picture is looking eastbound, toward the Wingate logging entrance and crossover. The branch track and signals add interest to the picture and contribute toward the variety I mentioned earlier. Here and on the next page is the picture sequence for an eastbound train:

18 Now here s the same camera, but with a westbound train: We don t see a Union Pacific Big Boy very often on Midwest Central tracks, but this one just happened to pass through, and the engineer was kind enough to slow down a bit so we could get pictures. ;-) If you get the idea that I love the low-angle cameras, you are correct. They add to a sensation of speed and power as the train passes by. Before we wrap this us, though, let s take a look at a couple more, to show some other camera placements. Scenic locations on your route are a good place for wide-angle cameras. Once such location on my route is the Picata Canyon High Bridge. Inspired by the famous Pecos River High Bridge in Texas, it is 1100 /335m long and 165 /50m high.

19 This camera is located at the east end of the bridge, near the entrance to the East Mountain tunnel, and shows the sequence below. In placing cameras on your route, look for unusual places like this, where you can use the camera to best effect. This location is a variation of the camera in the middle of the tracks. Instead of the camera on the ground, it is lifted into the air a bit, so the train will pass beneath it, as you can see below:

20 Well, okay, that s enough. As we ve said, the big idea is variety. You can t make every camera location show a different type of picture, but if you re stringing cameras together, try not to use the same camera angle in adjacent locations. One final thought. I prefer not to use cameras around stations and in yards or industries. In those places you frequently want to look at something else, such as the passengers loading or the cars you re about to couple or load, and having the ability to drag the view around with your mouse or keyboard is a big help. That s it. We re done. I hope you found some ideas you can use on your route. Chuck Brite November 2008

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