تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي الأساسي للصور المتحركة
تصوير الفيلم
الرسوم المتحركة، لقطات دوللي
استخدام المؤثرات الخاصة
ANIMATION
The animated cartoon , as exemplified by the Walt Disney creations , is known in every corner of the world . While such highly specialized forms of animation require elaborate equipment , many forms of animation are within the ability of anyone who is willing to apply himself . To animate or give motion to any inanimate object , you expose just one frame , move the object a short distance , expose another frame , again move the object an equal distance , expose still another frame , and so on . When the film is projected on the screen , the object will seem to be moving of its own accord .
Animation requires the use of a camera which can expose one frame at a time . Most good cameras are equipped with a single frame exposure button . If your camera is not so equipped , open it when it is empty , look at the lens opening , and see whether or not you can expose just one frame by flicking the exposure button quickly . This may take a little practice with some cameras , but be sure you learn how before you start animation with a loaded camera .
Figure 23 A map showing the route taken on a trip from Chicago to Yosemite National Park is a good subject for animation photography .
Inanimate objects such as toys can come to life through animation as shown at the right . Before each frame is shot , you move each doll slightly . When the movie is shown they appear to be moving .
The simplest and easiest type of animation is that in which a trip is outlined on a map . Let us assume you are planning an auto trip from Chicago to Yosemite National Park . Get a large auto map which shows this section of the country . Set it up in front of your camera as you would if you were photographing it in the normal way . Expose one frame only , then draw a short , heavy line from Chicago leading west along the route you intend following . Expose another frame and extend the line a short distance . Keep this up until you have traced the entire trip ( see Figure 23 ) . The length of the line drawn between frames determines the speed of animation . If you want the line to move rapidly across the screen , increase its length by an appreciable amount between frames ; if you want it to move slowly , draw only a short line between frames .
In animation , it is quite important to expose only one frame at a time . The first frame receives slightly more than normal exposure because it takes a little time for the mechanism to pick up speed . If you expose two frames at a time . instead of one , the first frame will be lighter than the second . When the film is projected , the alternate light and dark frames will result in a very noticeable . flicker .
Executing a dolly shot .
The diagram at the left shows how the dolly - mounted cam era moved from the estab lishing shot ( lower picture ) through the doorway of an art museum to the medium shot shown in the upper right .
DOLLY SHOTS
To the motion picture cameraman , a dolly is a truck or platform with wheels on which a camera can be mounted . With a camera on a dolly , the action can be followed more closely . Dollies are very useful devices , and if you are at all handy . with tools , you can easily build yourself one . A simple , three - wheeled dolly can be made out of three pieces of ordinary 1 x 4 lumber and three rubber tired casters .
THE USE OF SPECIAL EFFECTS
The special effects we have covered here are all quite legitimate and do not attempt to fool or confuse the audience . All can be used to give your films the professional touch . However , they should be used sparingly , or they will only call attention to themselves . Hollywood studios , with their practically unlimited budgets and unbelievably expensive equipment , can produce almost any type of trick shot imagination can conceive . In spite of this , it is very seldom that Hollywood movies make use of any special effects or tricks beyond the few fundamental ones described here , and even they are used with moderation .
التصوير الفوتوغرافي الأساسي للصور المتحركة
تصوير الفيلم
الرسوم المتحركة، لقطات دوللي
استخدام المؤثرات الخاصة
ANIMATION
The animated cartoon , as exemplified by the Walt Disney creations , is known in every corner of the world . While such highly specialized forms of animation require elaborate equipment , many forms of animation are within the ability of anyone who is willing to apply himself . To animate or give motion to any inanimate object , you expose just one frame , move the object a short distance , expose another frame , again move the object an equal distance , expose still another frame , and so on . When the film is projected on the screen , the object will seem to be moving of its own accord .
Animation requires the use of a camera which can expose one frame at a time . Most good cameras are equipped with a single frame exposure button . If your camera is not so equipped , open it when it is empty , look at the lens opening , and see whether or not you can expose just one frame by flicking the exposure button quickly . This may take a little practice with some cameras , but be sure you learn how before you start animation with a loaded camera .
Figure 23 A map showing the route taken on a trip from Chicago to Yosemite National Park is a good subject for animation photography .
Inanimate objects such as toys can come to life through animation as shown at the right . Before each frame is shot , you move each doll slightly . When the movie is shown they appear to be moving .
The simplest and easiest type of animation is that in which a trip is outlined on a map . Let us assume you are planning an auto trip from Chicago to Yosemite National Park . Get a large auto map which shows this section of the country . Set it up in front of your camera as you would if you were photographing it in the normal way . Expose one frame only , then draw a short , heavy line from Chicago leading west along the route you intend following . Expose another frame and extend the line a short distance . Keep this up until you have traced the entire trip ( see Figure 23 ) . The length of the line drawn between frames determines the speed of animation . If you want the line to move rapidly across the screen , increase its length by an appreciable amount between frames ; if you want it to move slowly , draw only a short line between frames .
In animation , it is quite important to expose only one frame at a time . The first frame receives slightly more than normal exposure because it takes a little time for the mechanism to pick up speed . If you expose two frames at a time . instead of one , the first frame will be lighter than the second . When the film is projected , the alternate light and dark frames will result in a very noticeable . flicker .
Executing a dolly shot .
The diagram at the left shows how the dolly - mounted cam era moved from the estab lishing shot ( lower picture ) through the doorway of an art museum to the medium shot shown in the upper right .
DOLLY SHOTS
To the motion picture cameraman , a dolly is a truck or platform with wheels on which a camera can be mounted . With a camera on a dolly , the action can be followed more closely . Dollies are very useful devices , and if you are at all handy . with tools , you can easily build yourself one . A simple , three - wheeled dolly can be made out of three pieces of ordinary 1 x 4 lumber and three rubber tired casters .
THE USE OF SPECIAL EFFECTS
The special effects we have covered here are all quite legitimate and do not attempt to fool or confuse the audience . All can be used to give your films the professional touch . However , they should be used sparingly , or they will only call attention to themselves . Hollywood studios , with their practically unlimited budgets and unbelievably expensive equipment , can produce almost any type of trick shot imagination can conceive . In spite of this , it is very seldom that Hollywood movies make use of any special effects or tricks beyond the few fundamental ones described here , and even they are used with moderation .
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