Time Lapse Photography is a technique in which the frequency at which the frame of the film is taken (the frame rate) is much lower than that used to view the sequence. When played at normal speeds, time seems to move faster and thus decreases. For example, a scene image can be taken every second, then played back at 30 frames per second; The result is a 30-fold speed increase. In the same way, films can also be played at a much lower level than captured, slowing down fast action, as slow motion or high-speed photography.
Processes that normally appear fine to the human eye, such as the movement of the sun and stars in the sky or plant growth, become very noticeable. Time lapse is an extreme version of the undercranking cinematography technique. Stop motion animation is a comparable technique; subjects that do not really move, such as puppets, can be repeatedly moved manually at small distances and photographed; the photos can be played back as a movie, showing the subject that appears to move.
Video Time-lapse photography
History
Some of the classic subjects of time lapse photography include:
- Landscape and space motion
- crops grow and flowers open
- rotted and expired fruit
- the evolution of the construction project
- people in the city
This technique has been used to shoot crowds, traffic, and even television. The effect of photographing a subject that changes without feeling slowly, creating a subtle impression of motion. A rapidly changing subject turns into an activity attack.
The first use of time-lapse photography in feature films is in the film Georges MÃÆ'Ã… © liÃÆ'¨s' Carrefour De L'Opera (1897).
F. Percy Smith pioneered the use of time lapse in natural photography with his 1910 film The Birth of a Flower .
The first use of Lapse-Time to record interest movements took place in Yosemite at the end of 1911-1912 by Arthur C. Pillsbury, who built a special camera for this purpose and recorded interest movements through his life cycle. Pillsbury has a Three Arrow Studio in the Valley and applies techniques to solve the problem of ensuring the survival of the rapidly shrinking varieties in the meadows. The United States cavalry, in charge of Yosemite, is mowing the grass to produce food for their horses.
Pillsbury showed his first film to the Inspector for the National Parks during a conference held for them in Yosemite from 14-16 October 1912. The result was a unanimous agreement by the Superintendent to stop the grassroots cutting and begin preservation. Pillsbury made a time-lapse film for 500 of the 1,500 varieties of wildflowers in Yosemite over the next few years.
His films were featured during his lecture, which was first scheduled at a park club around California and later in most major universities across the country. Pillsbury also shows his films and teaches at city hall forums and the National Geographic Society.
In 1926, he was asked to present his timeless pictures and his newly discovered microscopic film to President Calvin Coolidge at a dinner given on March 15 in honorary President at the Willard Hotel in Washington DC. Pillsbury was invited to present the films by Herbert Interior Secretary of Employment.
The use of photography in this form to obtain the preservation of natural resources was the first and followed by the use of films to make the first recorded nature film, shown to tourists in Yosemite in the spring of 1909.
The time-lapse photography of biological phenomena was pioneered by Jean Comandon in collaboration with PathÃÆ'Â © FrÃÆ'¨res from 1909, by F. Percy Smith in 1910 and Roman Vishniac from 1915 to 1918. Time-lapse photography was spearheaded further in the 1920s, through a series of feature films called Bergfilme (the movie Mountain) by Arnold Fanck, including Das WolkenphÃÆ'¤nomen in Maloja (1924) and The Holy Mountain > (1926).
From 1929 to 1931, RR Rife shocked journalists with a high-time early enlargement demonstration of cine-micrography but no filmmaker could be credited for popularizing over time. John Ott, whose life is documented in the DVD-movie Explore the Spectrum .
Ott's early "days-of-work" career was a banker, with time-lapse film photography, mostly from plants, originally just a hobby. Beginning in the 1930s, Ott bought and built more time-lapse equipment, eventually building a huge greenhouse full of plants, cameras, and even homemade automated motion control systems to move the camera to keep up with the growth of plants as they were developed. He wastes time throughout the greenhouse plants and cameras as they work - the virtual symphony of the time lapse movement. His work featured on the late 1950s episode of the TV show of the request, You Asked For It .
Ott found that the movement of the plant can be manipulated by varying the amount of water provided by plants, and varying the color temperature of the lamps in the studio. Some colors cause flowering plants, and other colors cause the plant to bear fruit. Ott found a way to change the sex of plants only by varying the color temperature of the light source.
Using these techniques, animation plants over time Ott "danced" up and down in sync with pre-recorded music tracks.
His cinematography of flowers blossomed in a classic documentary like Walt Disney Secrets of Life (1956), pioneered the modern use of time laps in film and television. Ott wrote several books on his time-time adventure history, My Ivory Cellar (1958), Health and Light (1979), and documentary Explore the Spectrum > (DVD 2008).
The Oxford Scientific Film Institute in Oxford, England specializes in slow-moving and time-lapse systems, and has developed camera systems that can enter (and move through) small places. Their recordings have appeared in documentaries and TV movies.
The NOVA PBS series aired a full-length episode about photography and the time-lapse (and slow-motion) system in 1981 titled Moving Still . The essentials of Oxford's work are the slow-motion shots of a dog that shakes water from itself, with droplets of droplets crashing into a bee from a flower, as well as a time lapse of the decay of a dead mouse.
The first major use of the time lapse in feature films is Koyaanisqatsi (1983). The non-narrative film, directed by Godfrey Reggio, contains a time lag of clouds, hustle and towns filmed by cinematographer Ron Fricke. Years later, Ron Fricke created a solo project called Chronos recorded on IMAX cameras, which are still played on Discovery HD. Fricke used this technique extensively in the Baraka documentary (1992) she portrayed in the movie Todd-AO (70 mm). The latest films, all made in time-lapse photography include Nate North films, Silicon Valley Timelapse, which holds the distinction of being the first long film to be filmed almost entirely in 3 high dynamic range frames, as well as three features of Peter Bo Rappmund - a long documentary, Psychohydrography (2010), Tectonics (2012), and Topophilia (2015).
Countless movies, commercials, TV shows, and other presentations that have included time-lapse.
For example, the movie Peter Greenaway A Zed & amp; Two Noughts feature sub-plots involving period photography of decomposing animals and includes a composition called "Time Lapse" written for the film by Michael Nyman. More recently, Adam Zoghlin's time-lapse cinematography was featured in the CBS TV series Early Edition, depicting the adventures of a character who received the paper tomorrow today. The 1995 series David Attenborough, The Private Life of Plants , also uses this technique extensively. Maps Time-lapse photography
Terminology
The speed of the time-lapse photographic frame of the film can be varied to almost any level, from levels approaching the normal frame rate (between 24 and 30 frames per second) to just one frame a day, a week, or longer depending on the subject.
The term "time lapse" may also apply to how long the camera's shutter is open during the exposure of each movie frame (or video), and has also been applied for long-term use. shutter-open is used in silent photography in some older photographic circles. In film, both types of time lapse can be used together, depending on the sophistication of the camera system used. Night photos move when the Earth spins requires both shapes. The exposure of the length of each frame is required to allow the star's dim glow to register in the film. The time interval between frames provides fast movement when the movie is viewed at normal speed.
As the time-frame rate approaches the normal image frequency, this "light" time interval is sometimes referred to simply as fast motion or (in the video) fast forward . This time-lapse boundary type resembles a VCR in fast forward ("scan") mode. A man riding a bike will show off an angry pumping leg as he passes through the city streets at the speed of a race car. Longer exposure levels for each frame can also produce blur in male leg movement, increasing the illusion of speed.
Two examples of these two techniques are the sequence of running in Terry Gilliam's Baron Munchausen (1989) where Eric Idle outperforms fast-moving bullets, and short and long animated short films of Los Angeles animator Mike Jittlov in 1980 , both titled The Wizard of Speed ​​and Time , was released to theaters in 1987 and for video in 1989. When used in movies and on television, fast movements can serve one from several destinations. One popular use is for comic effects. Comic style slapstick scenes may be played in a fast motion with the accompanying music. (This particular form of effect is often used in silent film comedies in the early days of the cinema, see also liquid electricity).
Another use of fast motion is to accelerate the slow segment of TV programs that will take up too much time allocated to TV shows. This allows, for example, a slow scene in a house that rearranges the furniture being moved (or replaced with other furniture) to be compressed in less time while still allowing viewers to see what happens.
The opposite of fast motion is slow motion. Cinematographers refer to the fast motion as undercranking because at first this is achieved by swinging the handcranked camera more slowly than usual. Overcranking produces slow-motion effects.
How time-lapse works
Movies are often projected at 24 frames/s, which means 24 images appear on the screen every second. Under normal circumstances, movie camera will record images at 24 frames/s. Because the projection speed and recording speed are the same.
Even if the film camera is set to record at a slower speed, it will still be projected at 24 frames/s. Thus the image on the screen will appear to move faster.
Perubahan kecepatan gambar pada layar dapat dihitung dengan membagi kecepatan proyeksi dengan kecepatan kamera.
So a movie recorded at 12 frames per second will appear to move twice as fast. Shooting at a camera speed of between 8 and 22 frames per second usually falls into an undercranked fast motion category, with images photographed at slower speeds falling closer into the time-lapse area, although this terminology difference is not yet fully established in all films production circle.
The same principle applies to video and other digital photography techniques. However, until recently, video cameras have not been able to record at variable frame rates.
Time lag can be achieved with some normal film cameras by only manually shooting individual frames. But greater accuracy in increasing time and consistency in consecutive frame rate exposure is better achieved through devices connected to the camera's shutter system (designing the camera allows) is called the intervalometer. The intervalometer adjusts the camera's motion according to a certain time interval between frames. Today, many consumer-grade digital cameras, including even some point-and-shoot cameras have hardware or software intervalometers available. Some intervalometers can be connected to a motion control system that moves the camera on a number of axes as time lapse photography is reached, making tilts, pans, tracks and truck shots when the film is played at normal frame rate. Ron Fricke is the main developer of the system, which can be seen in his short film Chronos 1985 and his movies Baraka (1992, released to video in 2001) and > Samsara (2011).
Short and long intervals
As mentioned above, in addition to modifying the speed of the camera, it is important to consider the relationship between the frame interval and the time of exposure. This relationship controls the number of blur available in each frame and, in principle, is exactly the same as adjusting the shutter angle of the film camera. This is known as "drag the shutter".
Film cameras usually record images at 24 frames per second. For every 1/24 of a second, the film is completely exposed to light for about half the time. The rest of the time, it's hidden behind the shutter. Thus the exposure time for a movie film is typically calculated to be 48 seconds (1/48 sec, often rounded to 1/50 sec). Adjust the shutter angle of the film camera (if the design allows), can increase or decrease the number of motion blur by changing the amount of time when the film frame is completely exposed to light.
In time lapse photography, the camera shoots images at certain slow intervals such as one frame every thirty seconds (1/30 frame/s). The shutter will be open for some parts of that time. In a short period of time, films are exposed to light for normal lighting times during abnormal frame intervals. For example, the camera will be set to expose the frame to 1/50 second every 30 seconds. Such an arrangement creates a very tight shutter angle effect resulting in a movie that stops the animation or claymation quality.
Within a long exposure time, the exposure time approaches the normal shutter effect. Usually, this means the lighting time should be half of the frame interval. Thus a 30-second frame interval must be accompanied by a 15-second exposure time to simulate a normal shutter. The resulting movie will look seamless.
Waktu pencahayaan dapat dihitung berdasarkan pada efek sudut bidik yang diinginkan dan interval bingkai dengan persamaan:
Long time deviations are less common because it is often difficult to expose the film properly over a long period, especially in daytime situations. A film frame exposed for 15 seconds will receive 750 times more light than 1/50 of the second pair. (Thus it will be more than 9 stops above normal exposure.) A scientific class neutral density filter can be used to compensate for over-exposure.
Time-lapse camera movement
Some of the most amazing time-lapse images made by moving the camera during shooting. The time-lapse camera can be mounted to a moving car for example to create the idea of ​​extreme speed.
However, to achieve a simple shooting effect, you need to use motion controls to move the camera. A motion control rig can be set to dolly or shift the camera at glacial slow speeds. When the image is projected it can appear that the camera is moving at a normal speed while the world around it is at intervals. This alignment can greatly increase the illusion of time lapse.
Kecepatan yang harus dipindahkan oleh kamera untuk membuat gerakan kamera normal yang dirasakan dapat dihitung dengan membalikkan persamaan waktu-selang:
Baraka is one of the first films to use this effect to the extreme. Directed and cinematographer Ron Fricke designed his own motion control equipment that uses stepper motors to shift, tilt, and swing the camera.
Short film A Year Along the Abandoned Road shows a year gone by in the Norwegian BÃÆ'¸rfjord at 50,000 times the normal speed in just 12 minutes. The cameras are moved, manually, a little every day, and the movie gives viewers the impression of smooth travel around the fjord as the year goes on, each day being compressed into a few seconds.
Panning time intervals can be achieved easily and inexpensively using the widely available Equatorial telescope axis with Right ascension motors (* 360 degree samples using this method). Two axis axes can be achieved as well, with contemporary motorized telescope mounts.
This variation is a rig that moves the camera during the exposure of each movie frame, blurring the entire image. Under controlled conditions, usually with computers carefully making movements during and between individual frames, some interesting artistic and visual effects can be achieved, especially when the camera is mounted on a tracking system that allows its own movement through space.
The most classic example of this is the opening of the scanned slots of the sequence stargate at the end of Stanley Kubrick's 2001: A Space Odyssey (1968)), made by Douglas Trumbull.
Related Techniques
- Bullet time
- Hyperlapse
- Motion control photography
- Long lighting photography
High-dynamic-range_.28HDR.29_time-lapse "> Dynamic high - range (HDR) time-lapse
Time lags can be combined with techniques such as dynamic-distance imaging. One method to achieve HDR involves bracketing for each frame. Three photos are taken at separate exposure values ​​(capturing them in order) to produce a bunch of images for each frame representing highlights, mid-tones, and shadows. Closed groups are consolidated into individual frames. The frames are then sequenced into video.
Day to Night transition
The day-to-night transition is one of the most demanding scenes in time-lapse photography and the method used to handle such transitions is often referred to as the "Holy Grail" technique. In remote areas that are not exposed to light pollution, the night sky is about ten million times darker than the sky on a sunny day, which corresponds to 23 exposure values. In analog age mixing techniques have been used to handle this difference: One shot taken during the day and the other at night from the exact same camera angle.
The real day-to-night transition, is the domain of the digital age. There are currently many ways to handle day-to-day transitions, such as auto exposure and ISO, Bulb Lean and some software solutions to operate the camera from a computer or smartphone.
Note
References
- ICP Library Photographer. Roman Vishniac . Publisher Grossman, New York. 1974.
- Roman Vishniac . The current biography (1967).
- Ott, John (1958). My Ivory Warehouse . ISBN: 9781176862326.
- Ott, John (1979). Health and Light . ISBNÃ, 0-671-80537-1.
- Explore the Spectrum John Ott. (1973, 2008) DVD-movie version available since 2008.
External links
- A collection of 55 timelapse video clips from the BBC's natural history archive
- Time for BBC hello photography tutorial
- Time-lapse Photography Document produced by Oregon Field Guide
Source of the article : Wikipedia
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