Light writing is an emerging form of stop motion animation wherein still images captured using the technique known as light painting or light drawing are put in sequence thereby creating the optical illusion of movement for the viewer. [3]
Light writing is an emerging form of stop motion animation wherein still images captured using the technique known as light painting or light drawing are put in sequence thereby creating the optical illusion of movement for the viewer. [3]
By sequencing stills taken with 4–30 second exposure as lights are moved in and through the frame this effect creates the optical illusion that the light is moving. Pans, tilts, and most other motion camera techniques can be applied with standard stop motion approaches. The most common technique is to capture multiple second exposures of light moving from one point to another in the frame. As the sequence is built the beginning and ending points of the lights motion can be moved along a given path. When the pictures are put in sequence the light seems to move with classic stop motion. Most commonly, all of the work is done in camera at practical (real world, not a studio) locations. The stills can be taken with a digital camera or film camera.
Light writing is most akin to another form of stop motion animation known as direct manipulation animation. The technique is also reminiscent of the slitscan process already used in the 1960s.
Though the technique was employed almost one hundred years ago by Pablo Picasso it has only recently been used for mainstream advertisements. [4] Awareness of light writing was raised when Sprint Nextel unveiled an ad campaign featuring the effect in the summer of 2007. [5]
Flickr user, lichtfaktor calls himself a Lightwriter and creates stunning photography by setting his camera to over-expose and ‘painting’ various lights into the shot.
inspiration...comes from a photograph taken of Picasso in 1924.
The spot, shot entirely in-camera, was created from a series of still images linked together to achieve a live action effect.
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Animation is a method in which figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, most animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motion technique to two- and three-dimensional objects like paper cutouts, puppets, or clay figures.
Persistence of vision traditionally refers to the optical illusion that occurs when visual perception of an object does not cease for some time after the rays of light proceeding from it have ceased to enter the eye. The illusion has also been described as "retinal persistence", "persistence of impressions", simply "persistence" and other variations. A very commonly given example of the phenomenon is the appearant fiery trail of a glowing coal or burning stick while it is whirled around in the dark.
Special effects are illusions or visual tricks used in the theatre, film, television, video game, amusement park and simulator industries to simulate the imagined events in a story or virtual world.
Motion blur is the apparent streaking of moving objects in a photograph or a sequence of frames, such as a film or animation. It results when the image being recorded changes during the recording of a single exposure, due to rapid movement or long exposure.
Bullet time is a visual effect or visual impression of detaching the time and space of a camera from those of its visible subject. It is a depth enhanced simulation of variable-speed action and performance found in films, broadcast advertisements, and realtime graphics within video games and other special media. It is characterized by its extreme transformation of both time, and of space. This is almost impossible with conventional slow motion, as the physical camera would have to move implausibly fast; the concept implies that only a "virtual camera", often illustrated within the confines of a computer-generated environment such as a virtual world or virtual reality, would be capable of "filming" bullet-time types of moments. Technical and historical variations of this effect have been referred to as time slicing, view morphing, temps mort and virtual cinematography.
Visual effects is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or CGI elements to create realistic imagery is called VFX.
Motion capture is the process of recording the movement of objects or people. It is used in military, entertainment, sports, medical applications, and for validation of computer vision and robots. In filmmaking and video game development, it refers to recording actions of human actors, and using that information to animate digital character models in 2-D or 3-D computer animation. When it includes face and fingers or captures subtle expressions, it is often referred to as performance capture. In many fields, motion capture is sometimes called motion tracking, but in filmmaking and games, motion tracking usually refers more to match moving.
Traditional animation is an animation technique in which each frame is drawn by hand. The technique was the dominant form of animation in cinema until computer animation.
Computational photography refers to digital image capture and processing techniques that use digital computation instead of optical processes. Computational photography can improve the capabilities of a camera, or introduce features that were not possible at all with film based photography, or reduce the cost or size of camera elements. Examples of computational photography include in-camera computation of digital panoramas, high-dynamic-range images, and light field cameras. Light field cameras use novel optical elements to capture three dimensional scene information which can then be used to produce 3D images, enhanced depth-of-field, and selective de-focusing. Enhanced depth-of-field reduces the need for mechanical focusing systems. All of these features use computational imaging techniques.
The science of photography is the use of chemistry and physics in all aspects of photography. This applies to the camera, its lenses, physical operation of the camera, electronic camera internals, and the process of developing film in order to take and develop pictures properly.
Time-lapse photography is a technique in which the frequency at which film frames are captured is much lower than the frequency used to view the sequence. When played at normal speed, time appears to be moving faster and thus lapsing. For example, an image of a scene may be captured at 1 frame per second but then played back at 30 frames per second; the result is an apparent 30 times speed increase. Similarly, film can also be played at a much lower rate than at which it was captured, which slows down an otherwise fast action, as in slow motion or high-speed photography.
This article contains a list of cinematic techniques that are divided into categories and briefly described.
Virtual cinematography is the set of cinematographic techniques performed in a computer graphics environment. It includes a wide variety of subjects like photographing real objects, often with stereo or multi-camera setup, for the purpose of recreating them as three-dimensional objects and algorithms for the automated creation of real and simulated camera angles. Virtual cinematography can be used to shoot scenes from otherwise impossible camera angles, create the photography of animated films, and manipulate the appearance of computer-generated effects.
The following are common definitions related to the machine vision field.
Light painting, painting with light,light drawing, or light art performance photography are terms that describe photographic techniques of moving a light source while taking a long exposure photograph, either to illuminate a subject or space, or to shine light at the camera to 'draw', or by moving the camera itself during exposure of light sources. Practiced since the 1880s, the technique is used for both scientific and artistic purposes, as well as in commercial photography.
3D rendering is the 3D computer graphics process of converting 3D models into 2D images on a computer. 3D renders may include photorealistic effects or non-photorealistic styles.
In robotics and computer vision, visual odometry is the process of determining the position and orientation of a robot by analyzing the associated camera images. It has been used in a wide variety of robotic applications, such as on the Mars Exploration Rovers.
Articles related to the field of motion pictures include:
In computer vision, rigid motion segmentation is the process of separating regions, features, or trajectories from a video sequence into coherent subsets of space and time. These subsets correspond to independent rigidly moving objects in the scene. The goal of this segmentation is to differentiate and extract the meaningful rigid motion from the background and analyze it. Image segmentation techniques labels the pixels to be a part of pixels with certain characteristics at a particular time. Here, the pixels are segmented depending on its relative movement over a period of time i.e. the time of the video sequence.
Underwater computer vision is a subfield of computer vision. In recent years, with the development of underwater vehicles, the need to be able to record and process huge amounts of information has become increasingly important. Applications range from inspection of underwater structures for the offshore industry to the identification and counting of fishes for biological research. However, no matter how big the impact of this technology can be to industry and research, it still is in a very early stage of development compared to traditional computer vision. One reason for this is that, the moment the camera goes into the water, a whole new set of challenges appear. On one hand, cameras have to be made waterproof, marine corrosion deteriorates materials quickly and access and modifications to experimental setups are costly, both in time and resources. On the other hand, the physical properties of the water make light behave differently, changing the appearance of a same object with variations of depth, organic material, currents, temperature etc.
