Image Processing Reference
In-Depth Information
Shooting outdoors presents many unique conditions that must be
addressed to make the most of the frame-by-frame approach. It is important
to know the effects of these elements so that you can attain the effect that
you seek. The single most important element, as mentioned previously,
is the sun or lack of it. If you use the sun as your key light, then you must
utilize the constant movement of light and shadow that naturally occurs.
A partly cloudy day has the sun disappearing and reappearing, creating
large fluctuations in your exposures. If you shoot over a long period
of time, like 2 hours or more, then the lighting changes dramatically
from the beginning of the shot to the end. There is nothing wrong with
these changes, as long as you are aware of them. As we stated, Blu is not
concerned about the light changing because he wants the viewer's focus
to be on the dominant drawn figure in the frame. He likes the peripheral
movement and distractions, which help focus the eye on the subject. On the
other hand, PES shot Roof Sex only on bright, sunny blue-sky days to keep
a consistent overall look to all of his exterior shots. In a 2007 Sony Bravia
advertisement, called Play-Doh , animation director Darren Walsh directed
his animators to move replacement, hopping, model rabbits at exactly every
90 seconds, in Foley Square in New York City. This way the natural shadows,
cast by all of the tall buildings surrounding the square, slowly and evenly
moved across the frame in an intentional and nondistracting manner. Over
30 animators were equipped with walkie-talkies and given a signal to begin
animating with a constant second countdown so they knew when they had
to complete their animation and get out of frame to keep that constant
90-second interval shooting pace.
FIG 6.6 this is an example of even shadow movement over parked cars as the result of an even shutter-exposure interval from a dslr
camera on park Street in Bristol, United Kingdom.
Another important issue that must be addressed is the stability of the
camera. We mentioned this before, but it is critical that no unwanted camera
movement occurs. When setting up a camera on a tripod, it is important to
lock down all the pan/tilt options that may be available on the tripod head.
Tape the legs to the floor if you are in a studio, or use sand bags to weight
down the tripod if there is no even, hard floor. Tripods with mid-leg spreaders
offer more stability. It may be convenient to use small pan/tilt heads and
lighter tripods, but if you are shooting outside, the wind and other elements,
like human traffic, can threaten that critical stability. You may even consider
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