Image Processing Reference
In-Depth Information
roll” frames 9, 10, and 11 three times (i.e., frames 8, 9, 10, 11, 10, 9, 10,
11, 10, 9, 10, 11, 10, 9, 10, 11, 12). Once you have completed this, move
into the movement frames. You have 15 forward movements, including
eases shot on “twos.” Move into those frames and remove the two frames
from the fourth movement forward, the sixth movement forward, the
eighth movement forward, the ninth movement forward, the eleventh
movement forward, and finally the thirteenth movement forward.
Remember that you need to remove two frames for each of these
movements, because you shot on “twos.” Finally, make sure you remove
any unwanted gaps between frames by right-clicking on the gap in Final
Cut. Once you have completed this, render the footage and export it as a
Quicktime movie.
When you compare the two Quicktime movies (the original and edited
footage), you will see the effect of the rock and roll hold extension and
the ability to change the animation dynamically in editing. This type of
edit manipulation goes all the way back to the Cinemagician, Georges
Melies.
Impossible Perfection
There is no perfect solution to any one film. Rather, the imperfection gives
each piece its unique character, yet we, as artists, have a tendency to keep
refining our artistic expression until we run out of time. Each film is a learning
experience, even for the more advanced filmmaker, and it is important to take
the lessons of each film, close the topic on the old film, and move on. This
liberating approach allows you to continue to grow and experiment, and that
is the essence of this kind of filmmaking. Having said this, you can do much
more to refine each filmic experience in the edit.
If you have been shooting with a dslr still camera, the chances are that
your images are large enough to scale up in size without losing resolution,
even for high definition playback. This means that you can simulate simple
camera moves in postproduction either in After Effects or a similar program
or in Final Cut. I prefer actual camera moves to simulated moves, because
real camera moves give you a genuine perspective change in the image that
the postproduction move does not. The postproduction move just moves
across the surface of the image, it does not penetrate it like a real camera
move. Sometimes, a postproduction simulated move can be effective; for
example, if you want a handheld camera feel or are shooting flat images like
photographs and you want to push in (and there would be no perspective
change anyway), or if you just want to keep a scene alive with a subtle
track. A digital move can augment a real physical move but generally
postproduction moves done in these programs are effective if they are
extreme or subtle but less successful in the ground between.
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