Bullet time (also known as freezing moments , big freezing , dead time , motion flow or time slice ) is a visual effect or visual impression to release camera time and space (or viewer) from a visible subject. This is a simulation of the increased depth of variable speed action and performance found in movies, broadcast ads, and realtime graphics in video games and other specialized media. This is marked both by extreme time transformations (slow enough to indicate normally unseen and unbreakable events, such as flying bullets) and space (with the ability of a camera angle - the viewing angle of the viewer - to move around the scene at a temporary normal rate event slowed). This is almost impossible with conventional slow motion, because the physical camera must move very quickly; this concept implies that only "virtual cameras", often described in the boundaries of computer-generated environments such as virtual worlds or virtual realities, will be able to "film" the types of bullet-time moments. The technical and historical variations of this effect have been referred to as time slicing, morphing, temps mortgage (France: "dead time") and virtual cinematography.
The term "bullet time" is a registered trademark of Warner Bros., which was officially established in March 2005, in connection with the video game The Matrix Online. The term was first used in the original 1999 film The Matrix, and then refers to the slow motion effect in the 2001 video game Max Payne . In the years since the introduction of the term during the film The Matrix has become a common expression applied in popular culture.
Video Bullet time
Histori
The technique of using a group of still cameras to freeze movement occurs prior to the discovery of the cinema itself. It dates back to a 19th century experiment by Eadweard Muybridge. In Sallie Gardner in a Gallop (1878), Muybridge analyzed the galloping motion of horses by using a camera line to photograph the animal as it ran past it. Eadweard Muybridge used a silent camera stationed along the racetrack, and each camera was moved by a tightrope stretched across the track; when the horse ran past it, the camera window cover snapped, taking one frame at a time. The initial intention was to resolve the debate that Leland Stanford was involved in, whether the four legs of the animal would leave the ground while galloping. Muybridge then collects the pictures into an imperfect animation, placing them on a glass disk that he turns in front of a light source. His Zoopraxiscope may be an inspiration for Thomas Edison to explore the idea of ​​moving movies.
His first known predecessor of bullet time was the famous dive sequence of Leni Riefenstahl from his Olympic documentary film Olympia in 1936. Riefenstahl used a single slow-motion camera tracking technique to achieve the same effect.
Muybridge also takes action photos from various angles at the same time in time, to learn how the human body goes up the stairs, for example. As a result, however, Muybridge has achieved an aesthetic that contradicts the modern timetable of bullets, because his studies have no dimension of subsequent developments. Debts can also be paid to MIT Doc Edgerton professors, who, in the 1940s, captured the bullet photographs that are now being used using strobe xenon lights to "freeze" movement.
The first application of the bullet time was depicted in a scene from the 1962 film Zotz! where Professor Jonathan Jones used a magical amulet and shouted 'Zotz!' to slow the fast-moving bullets.
Bullet-time as a concept often developed in cel animation. One of the earliest examples is the shooting at the end of the title sequence for the Japanese anime series 1966 Speed ​​Racer: when Speed ​​jumps from Mach Five, he freezes in mid-jump, and then the camera shoots bow from front to side.
In 1980, Tim Macmillan began producing pioneering films and then, video, in this field while studying for BA at the Bath Arts Academy (later named) using a 16mm film compiled in a progressive circular arrangement of pinhole cameras. They are the first iterations of Motion-Picture Array Cameras' 'Time-Slice' which he developed in the early 1990s when camera-cameras for arrays capable of producing high image quality for broadcast and movie applications became available. In 1997 he founded Time-Slice Films Ltd. (English). He applied this technique to his artistic training in a video projection, titled Dead Horse in an ironic reference to Muybridge, exhibited at the London Electronic Arts Gallery in 1998 and nominated for Citibank Award in 2000. for photography.
The first music video to use the bullet-time aspect was "Midnight Mover", a video received in 1985. In the 1990s, morphing-based variations in time-slicing were employed by director Michel Gondry and the visual effects of BUF Compagnie companies in music videos for The Rolling Stones "and" Like A Rolling Stone ", and in the 1996 Smirnoff advertisement the effect is used to describe slow motion bullets avoided.The same time-slice effect is also shown in the ad for The Gap (directed by M.Rolston and produced again by BUF) , and in feature films such as Lost in Space (1998) and Buffalo '66 (1998), and the television program Human Body
It is well-established for feature films' scenes to be depicted using slow motion footage, such as a shootout in The Wild Bunch (directed by Sam Peckinpah) and heroic blood spill movies from John Woo. Furthermore, the 1998 film Blade shows scenes that use computer-generated bullets and slow-motion recording to portray reflexes avoiding super-human characters. The 1999 film The Matrix combines these elements (shooting action scenes, super bullet evasion, and time slice effects), popularizing both the effects and the term "bullet time". Matrix Version of the effects created by John Gaeta and Manex Visual Effects. The silent camera rig is formed in a pattern determined by the simulation, and then shot simultaneously (produces effects similar to the previous time slice scene) or sequentially (which adds temporal elements to the effect). Interpolation effects, digital compositing, and computer-generated "virtual" views are used to improve the fluidity of real camera movements. Gaeta said about The Matrix ' s the use of its effect:
For artistic inspiration for bullet time, I will praise Otomo Katsuhiro, who co-wrote and directed Akira , which must have surprised me, along with director Michel Gondry. The music video experimented with a different type of technique called display-morphing and that's only part of the beginning revealing a creative approach to the use of still cameras for special effects. Our technique differs significantly as we build it to move around moving objects, and we are also able to create slow motion events that 'virtual cameras' can move - rather than static action in Gondry music videos with limited mobile cameras.
Following The Matrix , bullet time and other slow motion effects are shown as the main game mechanism in various video games. While some games such as Cyclone Studios' Requiem: Avenging Angel , released in March 1999, featured a slow-motion effect, the 2001 Remedy Entertainment video game Max Payne is considered the first implementation true effect of bullet time allowing players to add restricted controls (such as aiming and firing) during slow-motion mechanics; This mechanic is explicitly called "Bullet Time" in the game. Another early effort was the crystal-clock on the Catacomb Adventure Series first seen in 1992 with Catacomb Abyss . This mechanics is also used extensively in the series F.E.A.R. , combining it with a squad-based enemy design that encourages players to use bullet time to avoid being overwhelmed.
Bullet time was used for the first time in a live music environment in October 2009 for Creed Live DVD .
Maps Bullet time
Technology
The effect of bullet time was initially achieved photographically by a set of cameras that surrounded the subject. The camera is fired sequentially, or all at the same time, depending on the desired effect. The single frame of each camera is then arranged and displayed sequentially to produce an orbiting angle of action that is frozen in time or as a slow-hyper motion. This technique shows the infinite perspective and variable image frequency possible with virtual cameras. However, if the array process is still done with a real camera, it is often limited to the specified path.
In The Matrix , the camera path has been pre-designed using computer-generated visualizations as a guide. The camera is arranged, behind a green or blue screen, on a track and parallel through a laser targeting system, forming complex curves through space. The cameras are then triggered at very close intervals, so the action continues to unfold, in extreme slow motion, while the viewing angle moves. In addition, individual frames are scanned for computer processing. By using advanced interpolation software, extra frames can be inserted to slow down further action and increase movement fluidity (especially picture frame rate); frames can also be lowered to speed up action. This approach provides greater flexibility than pure photography. The same effect can also be simulated using pure CGI, motion capture and other approaches.
Bullet Time evolved further through the series of The Matrix (1999-2003) with the introduction of high-definition computer approaches such as Virtual Cinematography and Universal Capture. Universal Capture, a machine vision guidance system, is the first ever deployment of images from a high definition camera array focusing on the common human subject (actor, Neo) to create volumetric photography. Like the Bullet Time concept, subjects can be viewed from any angle, at the same time, depth-based media can be recompiled as well as spatially integrated in computer-generated construction. It moves past the virtual camera's visual concept to become an actual virtual camera. The virtual elements in Matrix Trilogy use an image-based rendering computer technique pioneered in 1997's Disney Debevec movie The Campanile and custom evolved to The Matrix by George Borshukov, Debevec's early collaborator. Regardless of the inspiration side, the virtual camera methodology pioneered in the Matrix Trilogy is often credited as a fundamental contribution to capturing the necessary approaches to emerging virtual reality and other immersive experience platforms.
Over the years, it is possible to use computer vision techniques to capture scenes and create a new enough viewing angle for bullet time type effects. More recently, this has been formalized into what is known as free-view television (FTV). At The Matrix , FTV is not a fully mature technology. FTV is effectively a live action version of bullet time, with no slow motion.
See also
- Time-lapse photography
References
Source of the article : Wikipedia
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