Image Processing Reference
In-Depth Information
mount your tripod on a rug because the “give” in the rug could move
your camera. Put a simple light on your saltshaker and start moving it
around, bit by bit, frame by frame. Shoot two pictures for every move
(“on twos”). Capture about 3 seconds of this. Now, find a piece of live-
action film of a person who is very nervous or any other kind of dramatic
emotional state. This reference film should be a Quicktime movie, so
you can look at it frame by frame. Notice and analyze how the person
is moving frame to frame. Once you understand the action on a single
frame basis, transpose this movement onto that saltshaker. Try to be
as true to the reference film as possible, and even try exaggerating that
movement. If you do this successfully, then you will understand the power
of controlled animated movement in everyday objects.
If you want to add another layer to this experiment, then try to find a
saltshaker that comes in three different sizes. You can substitute the
salt shakers, one for another, to get a breathing effect, expanding and
contracting.
Fig 3.16
Setup for the saltshaker experiment.
The Moving Camera
It would be a mistake not to talk about the ability of the camera to be
animated. So far, I stressed the importance of “locking down” your camera so
there are no unnecessary bumps or jarring movements. Yet, we discovered
that artists like Blu intentionally move the camera every frame for certain
aesthetic and often practical reasons. Until recent years, most filmmakers shot
in film and the film cameras were heavy and cumbersome. This was especially
true of 35 mm cameras, like the Mitchell, that can weigh over 40 pounds.
To produce animated shots with camera moves that simulate live-action
camera movements, these heavy Mitchells require large, heavy motion-
control units controlled by a computer and power drivers. Many of these
units are custom-made and many are produced, but all are very expensive
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