تويت
التصوير الفوتوغرافي الحديث
صنع صور متحركة للتلفزيون
تحقيق تأثيرات خاصة
الحركة العكسية
خلق تأثيرات ليلية
محاكاة الثلج والمطر
استخدام صندوق غير لامع
REVERSING MOTION
Reversing motion is a very obvious trick and it was used to excess for comic effects in the early days of motion pictures . It has become so hackneyed that it is very seldom used in professional photography . However , reverse action does have an important use in professional photography and it is employed far more often than most people realize .
Let us assume you are photographing an educational film on the subject of careful driving . As a horrible example of how not to drive , you want to show a short scene in which a man drives a car rapidly along a highway , passes a turn sign without paying any attention to it and suddenly comes right up against a sharp drop off where he stops with only inches to spare . Obviously , it is dangerous to film this sequence exactly as you want to show it on the screen . If the driver misjudges his distance by only a few inches , he may go over the embankment and be seriously hurt .
This problem can be solved very easily by reversing the motion . The car is first placed just at the point where it is supposed to have stopped . The camera is then held upside down and the car backed away rapidly while the scene is being shot . After the film is processed , this sequence is cut out and spliced back in reverse so that it is no longer upside down . When making the splice , be sure that the emulsion side of the film is not reversed , as well as its direction . The emulsion must always face the screen , otherwise the picture will be reversed from left to right . This in itself may not be too noticeable , but any printed material in the picture will also be reversed and this will be very noticeable . When the scene is shown on the screen , the car apparently rushes up to the embankment and stops suddenly just in time to avert disaster .
This method of reversing action will work only with film which has sprocket holes on both sides . All 8mm film and some 16mm film intended for use with sound have sprocket holes on one side only . This type of film cannot be reversed because this puts the sprocket holes on the wrong side so that it won't go through the projector . Therefore , this film cannot be used for this technique .
CREATING NIGHT EFFECTS
The technique for creating night effects during the day is quite different for black - and - white photography than for color photography . When shooting with black - and - white film , use a red filter and underexpose . The degree of under exposure depends upon the effect wanted and the type of film used , so experiment until you get what you want . Any clouds in the sky will generally photograph pure white and this will destroy the feeling of night , so try to shoot under a clear sky . Sometimes , however , if the clouds are quite deep rather than light and fleecy , they will photograph dark enough to simulate moonlight and will give you some rather interesting effects . These effects are enhanced if you shoot early in the morning or late in the afternoon when you can get long deep shadows .
When shooting in color , use a blue filter with daylight film or no conversion filter at all with tungsten film . In either case , underexpose slightly . The resultant deep blue overcast will simulate moonlight .
SIMULATING SNOW AND RAIN
The movie cameraman working on a TV production is generally up against a fairly close deadline . There will be occasions when the script calls for snow or rain and the weather will not oblige . With a little ingenuity , however , you can produce your own weather if you find yourself in that situation .
For snow scenes , the actors should wear heavy winter clothing to set the key . Sprinkle them with artificial snow , but don't overdo it , and shoot them as much as possible in close - up so that the camera won't pick up any of the outdoor background without snow . If it isn't possible to exclude the background entirely , set up some pine branches and sprinkle them with artificial snow . Quite a satisfactory snow scene can be created in this way , particularly if you work with large lens apertures and keep the background out of focus .
For rain scenes , an ordinary garden hose can be used to produce very natural looking rain with these added advantages : it is much more convenient , it can be controlled quite accurately , and there is much less likelihood the actors , not to speak of your equipment , getting wet . As in making snow scenes , the actors should wear appropriate clothing to set the stage . Most people are not very observant , so that if they see a scene in which the actors are dressed in rain gear , particularly if it is wet , they assume that it is raining and very little more is needed . However , it isn't safe to stop at this point . Use the hose to sprinkle the ground and anything else in the background that might show in the picture . A few puddles here and there will greatly improve the effect .
It is difficult to shoot rain or snow scenes outdoors so professional studios have created facilities to reproduce almost any weather condition indoors . Here only the actors are getting wet . The production crew and their expensive equipment are located in completely dry areas .
Courtesy of Wilding , Inc.
If the script actually calls for the rain to be falling , point the hose upwards just out of the field of view of the camera and aim it so that water will be falling in the field of view . You can get some very realistic rain in this simple fashion . If the sky is clear and the sun is shining , find a spot in the shade and keep the sky . out of the picture . A shadow running across the scene or a blue sky will strike a wrong note and somebody is sure to spot this false note .
USING A MATTE BOX
A matte box is a very useful accessory for the movie photographer and we show it in Figure 9. Essentially it is a box which is placed in front of the camera lens which has provisions for holding masks of various kinds and shades in front of the camera lens so that part of the film is covered while the remainder is being exposed . This makes it possible to create quite a number of trick effects . Perhaps the simplest of these is splitting the image .
Let us assume that the script calls for a boy talking to his girl on the telephone . You can do this by taking a shot of the boy talking on the phone and cut away to another shot of the girl on the other end of the phone line . However , if you want to show both simultaneously , you can do it quite easily with a matte box . The camera must have a very accurate footage counter or , better still , a frame counter and provisions for winding back the film . Proceed as follows :
Set up the camera with the matte box and then insert a mask in the box so that exactly half the width of the frame is covered . Let's assume this is the left side of the frame . Pose the boy so that he is properly framed in the right side of the picture and looking toward the left . Note the reading of the frame counter and start shooting . When you have exposed the necessary footage , stop the camera and wind the film back to the starting point . Now switch the mask to the right side of the matte box and this time expose an equal footage of the girl on the other half of the film . If you cue your action properly , the boy and girl will seem to be talking to each other .
Figure 9 A pro fessional 16mm movie camera with a three lens turret and matte box . The matte box not only serves as a sunshade , but it holds any size filter and any type of mask needed for special effects .
Courtesy of Arriflex Corp. of America
This type of scene is called a split - image scene . The one we have described here is quite simple , but much more complicated split - image effects can be produced . For example , a man may be shown asleep and the split - image technique used to show his dream in a small area in the upper part of the frame . This type of split - image work is not very practical for television because the image is too small to be seen properly on a television screen , but we mention it here to show the possibilities of this technique .
صنع صور متحركة للتلفزيون
تحقيق تأثيرات خاصة
الحركة العكسية
خلق تأثيرات ليلية
محاكاة الثلج والمطر
استخدام صندوق غير لامع
REVERSING MOTION
Reversing motion is a very obvious trick and it was used to excess for comic effects in the early days of motion pictures . It has become so hackneyed that it is very seldom used in professional photography . However , reverse action does have an important use in professional photography and it is employed far more often than most people realize .
Let us assume you are photographing an educational film on the subject of careful driving . As a horrible example of how not to drive , you want to show a short scene in which a man drives a car rapidly along a highway , passes a turn sign without paying any attention to it and suddenly comes right up against a sharp drop off where he stops with only inches to spare . Obviously , it is dangerous to film this sequence exactly as you want to show it on the screen . If the driver misjudges his distance by only a few inches , he may go over the embankment and be seriously hurt .
This problem can be solved very easily by reversing the motion . The car is first placed just at the point where it is supposed to have stopped . The camera is then held upside down and the car backed away rapidly while the scene is being shot . After the film is processed , this sequence is cut out and spliced back in reverse so that it is no longer upside down . When making the splice , be sure that the emulsion side of the film is not reversed , as well as its direction . The emulsion must always face the screen , otherwise the picture will be reversed from left to right . This in itself may not be too noticeable , but any printed material in the picture will also be reversed and this will be very noticeable . When the scene is shown on the screen , the car apparently rushes up to the embankment and stops suddenly just in time to avert disaster .
This method of reversing action will work only with film which has sprocket holes on both sides . All 8mm film and some 16mm film intended for use with sound have sprocket holes on one side only . This type of film cannot be reversed because this puts the sprocket holes on the wrong side so that it won't go through the projector . Therefore , this film cannot be used for this technique .
CREATING NIGHT EFFECTS
The technique for creating night effects during the day is quite different for black - and - white photography than for color photography . When shooting with black - and - white film , use a red filter and underexpose . The degree of under exposure depends upon the effect wanted and the type of film used , so experiment until you get what you want . Any clouds in the sky will generally photograph pure white and this will destroy the feeling of night , so try to shoot under a clear sky . Sometimes , however , if the clouds are quite deep rather than light and fleecy , they will photograph dark enough to simulate moonlight and will give you some rather interesting effects . These effects are enhanced if you shoot early in the morning or late in the afternoon when you can get long deep shadows .
When shooting in color , use a blue filter with daylight film or no conversion filter at all with tungsten film . In either case , underexpose slightly . The resultant deep blue overcast will simulate moonlight .
SIMULATING SNOW AND RAIN
The movie cameraman working on a TV production is generally up against a fairly close deadline . There will be occasions when the script calls for snow or rain and the weather will not oblige . With a little ingenuity , however , you can produce your own weather if you find yourself in that situation .
For snow scenes , the actors should wear heavy winter clothing to set the key . Sprinkle them with artificial snow , but don't overdo it , and shoot them as much as possible in close - up so that the camera won't pick up any of the outdoor background without snow . If it isn't possible to exclude the background entirely , set up some pine branches and sprinkle them with artificial snow . Quite a satisfactory snow scene can be created in this way , particularly if you work with large lens apertures and keep the background out of focus .
For rain scenes , an ordinary garden hose can be used to produce very natural looking rain with these added advantages : it is much more convenient , it can be controlled quite accurately , and there is much less likelihood the actors , not to speak of your equipment , getting wet . As in making snow scenes , the actors should wear appropriate clothing to set the stage . Most people are not very observant , so that if they see a scene in which the actors are dressed in rain gear , particularly if it is wet , they assume that it is raining and very little more is needed . However , it isn't safe to stop at this point . Use the hose to sprinkle the ground and anything else in the background that might show in the picture . A few puddles here and there will greatly improve the effect .
It is difficult to shoot rain or snow scenes outdoors so professional studios have created facilities to reproduce almost any weather condition indoors . Here only the actors are getting wet . The production crew and their expensive equipment are located in completely dry areas .
Courtesy of Wilding , Inc.
If the script actually calls for the rain to be falling , point the hose upwards just out of the field of view of the camera and aim it so that water will be falling in the field of view . You can get some very realistic rain in this simple fashion . If the sky is clear and the sun is shining , find a spot in the shade and keep the sky . out of the picture . A shadow running across the scene or a blue sky will strike a wrong note and somebody is sure to spot this false note .
USING A MATTE BOX
A matte box is a very useful accessory for the movie photographer and we show it in Figure 9. Essentially it is a box which is placed in front of the camera lens which has provisions for holding masks of various kinds and shades in front of the camera lens so that part of the film is covered while the remainder is being exposed . This makes it possible to create quite a number of trick effects . Perhaps the simplest of these is splitting the image .
Let us assume that the script calls for a boy talking to his girl on the telephone . You can do this by taking a shot of the boy talking on the phone and cut away to another shot of the girl on the other end of the phone line . However , if you want to show both simultaneously , you can do it quite easily with a matte box . The camera must have a very accurate footage counter or , better still , a frame counter and provisions for winding back the film . Proceed as follows :
Set up the camera with the matte box and then insert a mask in the box so that exactly half the width of the frame is covered . Let's assume this is the left side of the frame . Pose the boy so that he is properly framed in the right side of the picture and looking toward the left . Note the reading of the frame counter and start shooting . When you have exposed the necessary footage , stop the camera and wind the film back to the starting point . Now switch the mask to the right side of the matte box and this time expose an equal footage of the girl on the other half of the film . If you cue your action properly , the boy and girl will seem to be talking to each other .
Figure 9 A pro fessional 16mm movie camera with a three lens turret and matte box . The matte box not only serves as a sunshade , but it holds any size filter and any type of mask needed for special effects .
Courtesy of Arriflex Corp. of America
This type of scene is called a split - image scene . The one we have described here is quite simple , but much more complicated split - image effects can be produced . For example , a man may be shown asleep and the split - image technique used to show his dream in a small area in the upper part of the frame . This type of split - image work is not very practical for television because the image is too small to be seen properly on a television screen , but we mention it here to show the possibilities of this technique .
تعليق