تويت
التصوير الفوتوغرافي الحديث
صنع صور متحركة للتلفزيون
تحويل الصور الثابتة إلى أفلام
TURNING STILL PICTURES INTO MOVIES
Almost every picture has within it many other pictures . This fact makes it possible to make motion pictures from still pictures . A professional photographer would place his camera on an animation stand to allow him to make minute to sweeping adjustments to get just the effect he wanted with each shot . However , anyone can accomplish the same effects if they have an upright camera stand and a movie camera with reflex viewing and a single frame exposure button . On pages 40 and 41 , a simple shooting script worked up from the establishing shot above shows a boy falling from the rope into the water . Photo by G. Maling .
The television producer is always looking for new and interesting ways to present his material . This is true whether the material is a dramatic play , a news shot or a commercial . If , in addition , the new method of presentation costs less to produce , he is doubly happy .
Turning still pictures into movies meets both criteria . It can be used in the following ways : as a new approach to an old subject , as a means of saving money , as a technique for introducing action where none exists , and finally as a means of
filming something which has already happened and cannot be repeated . Because of the many uses to which this technique can be put , we will discuss it here in some detail .
The basic idea of this technique is simple . Since the still photograph cannot move , let the camera do the moving . It is surprising how much movement can be introduced by getting close enough to a photograph so that only part of it is in the camera's field of view and then panning across it until the center of interest is reached and finally zooming up close to this center of interest . There are endless variations to the simplest camera movements and only the ingenuity of the photographer restricts him . He can start by showing the complete picture and zoom in to any detail , or he can reverse the procedure by coming in so close that the detail is unidentifiable and zooming back until it becomes clear and the picture emerges . He can start with a badly out of focus image and gradually correct the focus until maximum sharpness is obtained . He can put the still photograph on a turn table and rotate it either slowly or rapidly . He can start with the table at rest and end with a rapidly rotating table or he can reverse this order . He can combine any of these ideas to whatever degree he desires . Highly successful programs have been made in which most of the action was created with this technique . A fertile imagination in the use of the moving camera and a fine script can result in an outstanding presentation .
It is not often that camera man is call to make an entire production on the idea of converting stills to movies . There are , however , many occasions when this technique becomes necessary as part of a regular program . One of these is in news reporting .
The news commentator , when dispensing the news , is on the TV screen a good part of the time , but he switches to a short film sequence of important news occasionally to provide a change of pace and keep the audience interested . There are many occasions when only a still photograph is available . A movie photographer may not have been available at the time , or the event didn't seem important enough so that only a still photographer was sent , or it occurred in another city and only a wire service photo is available . It is a simple matter to add motion to the still by the techniques discussed above , thus giving it greater . impact . As a matter of fact , this method of presentation is used far more frequently than most people realize . Panning across a picture or zooming in on it gives so realistic a feeling of motion that only close attention will show that people within the picture are actually motionless and that the motion is supplied by the camera .
The movies - from - stills technique is often used in commercials to good effect . A very carefully planned still photograph may be made to show the product to best advantage , and the camera zoomed in until the product occupies the entire screen in extreme close - up . The manufacturer's slogan or a short but hard punching selling message may be superimposed over the product to drive the story home .
Another idea is to impart humor to a commercial by simulating the old fashioned jerky movies . A short sequence of still pictures is made showing an actor responding to the virtues of the product . Each picture in the sequence should follow its predecessor in a logical time sequence , much in the manner of
Shooting script for short movie se quence made from still on page 38 . No. 1 MS Boy looks at rope leading to ship tied up at pier .
No. 2 CU Boy starts climbing up rope .
No. 3MCU Boy's hand starts slipping .
No. 4 CU Boy's head as he starts falling .
No. 5 - CU Boy's feet slip from rope .
MS Boy falling into water with a big splash . The " splash " was borrowed from another . No. 8 picture to carry thru the story line .
No. 6 - LS - Woman on ship watches as boy falls into water .
No. 7 - MS- Other boy on pier watches as boy falls .
MLS - Boy swims back to pier . No. 9
individual movie frames , except that the time interval between stills is considerably greater . This series of stills is then lined up exactly and a few frames . are exposed for each still . When the movie sequence is projected , the actor seems to be moving , but in a very jerky , exaggerated way . The effect is enhanced if the actor is instructed to mug his actions in a very exaggerated fashion so that the result will be a burlesque on old time movies .
There are quite a number of variants to this approach . The idea of tempo editing may be introduced by gradually reducing the number of frames exposed for each still so that action starts rather slowly and ends in a rush . The subject or subjects may be made to speak by showing their comments in balloons as used in the daily comic strips . There are countless ways of adding variety , and if you run out of ideas you can go to the comic strips or old still movies for others .
When making a sequence of stills specifically for conversion to motion , they should be printed somewhat differently than normal . The best prints for this use are somewhat light with less than normal contrast . The television process tends to block shadows so they should be kept open with plenty of detail in the prints . The prints should all be uniform in density and contrast since noticeable changes in either density or contrast will be quite obvious when the stills are shown in rapid sequence on the screen . To permit easier handling , the prints should be on double weight paper or mounted on thin cardboard stock . 11 x 14 prints . generally give better quality TV screen images than 8 x 10's , but it is a good idea to check with the station on this point . They may have equipment designed to take 8 x 10's only .
For best professional results , it is advisable to turn the actual filming of the still prints over to a production laboratory equipped with animation stands and all the accessories required for this type of work . Give them detailed instructions on exactly what you want or , if possible , direct the work yourself . However , you may be able to shoot the simpler jobs yourself and if you want to try it , here are some suggestions which will help you .
1. Use a camera with reflex viewing so that you can see exactly what you get on each frame .
2. Be sure the camera is solidly supported so that it cannot shift or wobble while pictures are taken . It is best to use something like a professional copy bench such as the one shown in Assignment 14 , but you can use a tripod if it is of the rock - steady professional type .
3. Be careful not to show any border around the print . This is a dead giveaway .
4. The lighting must be absolutely uniform over the entire face of the print and the lights must be angled so that no reflections can get into the camera . In other words , use good copying techniques as explained in detail in Assignment 14 .
5. If the camera is on a tripod , use a spirit level to make sure it isn't tilted in any direction . Do the same for the easel on which the prints are held for copying . Use a medium speed or slow film with good exposure latitude to cover up any errors in exposure . Don't forget that you cannot bracket your shots so that each must be perfect .
6. Rehearse each shot carefully if you do any panning or zooming , so that you get the action you want within the length of time you want . This is particularly important if you are shooting to a prepared script and the narration has already been written or recorded .
صنع صور متحركة للتلفزيون
تحويل الصور الثابتة إلى أفلام
TURNING STILL PICTURES INTO MOVIES
Almost every picture has within it many other pictures . This fact makes it possible to make motion pictures from still pictures . A professional photographer would place his camera on an animation stand to allow him to make minute to sweeping adjustments to get just the effect he wanted with each shot . However , anyone can accomplish the same effects if they have an upright camera stand and a movie camera with reflex viewing and a single frame exposure button . On pages 40 and 41 , a simple shooting script worked up from the establishing shot above shows a boy falling from the rope into the water . Photo by G. Maling .
The television producer is always looking for new and interesting ways to present his material . This is true whether the material is a dramatic play , a news shot or a commercial . If , in addition , the new method of presentation costs less to produce , he is doubly happy .
Turning still pictures into movies meets both criteria . It can be used in the following ways : as a new approach to an old subject , as a means of saving money , as a technique for introducing action where none exists , and finally as a means of
filming something which has already happened and cannot be repeated . Because of the many uses to which this technique can be put , we will discuss it here in some detail .
The basic idea of this technique is simple . Since the still photograph cannot move , let the camera do the moving . It is surprising how much movement can be introduced by getting close enough to a photograph so that only part of it is in the camera's field of view and then panning across it until the center of interest is reached and finally zooming up close to this center of interest . There are endless variations to the simplest camera movements and only the ingenuity of the photographer restricts him . He can start by showing the complete picture and zoom in to any detail , or he can reverse the procedure by coming in so close that the detail is unidentifiable and zooming back until it becomes clear and the picture emerges . He can start with a badly out of focus image and gradually correct the focus until maximum sharpness is obtained . He can put the still photograph on a turn table and rotate it either slowly or rapidly . He can start with the table at rest and end with a rapidly rotating table or he can reverse this order . He can combine any of these ideas to whatever degree he desires . Highly successful programs have been made in which most of the action was created with this technique . A fertile imagination in the use of the moving camera and a fine script can result in an outstanding presentation .
It is not often that camera man is call to make an entire production on the idea of converting stills to movies . There are , however , many occasions when this technique becomes necessary as part of a regular program . One of these is in news reporting .
The news commentator , when dispensing the news , is on the TV screen a good part of the time , but he switches to a short film sequence of important news occasionally to provide a change of pace and keep the audience interested . There are many occasions when only a still photograph is available . A movie photographer may not have been available at the time , or the event didn't seem important enough so that only a still photographer was sent , or it occurred in another city and only a wire service photo is available . It is a simple matter to add motion to the still by the techniques discussed above , thus giving it greater . impact . As a matter of fact , this method of presentation is used far more frequently than most people realize . Panning across a picture or zooming in on it gives so realistic a feeling of motion that only close attention will show that people within the picture are actually motionless and that the motion is supplied by the camera .
The movies - from - stills technique is often used in commercials to good effect . A very carefully planned still photograph may be made to show the product to best advantage , and the camera zoomed in until the product occupies the entire screen in extreme close - up . The manufacturer's slogan or a short but hard punching selling message may be superimposed over the product to drive the story home .
Another idea is to impart humor to a commercial by simulating the old fashioned jerky movies . A short sequence of still pictures is made showing an actor responding to the virtues of the product . Each picture in the sequence should follow its predecessor in a logical time sequence , much in the manner of
Shooting script for short movie se quence made from still on page 38 . No. 1 MS Boy looks at rope leading to ship tied up at pier .
No. 2 CU Boy starts climbing up rope .
No. 3MCU Boy's hand starts slipping .
No. 4 CU Boy's head as he starts falling .
No. 5 - CU Boy's feet slip from rope .
MS Boy falling into water with a big splash . The " splash " was borrowed from another . No. 8 picture to carry thru the story line .
No. 6 - LS - Woman on ship watches as boy falls into water .
No. 7 - MS- Other boy on pier watches as boy falls .
MLS - Boy swims back to pier . No. 9
individual movie frames , except that the time interval between stills is considerably greater . This series of stills is then lined up exactly and a few frames . are exposed for each still . When the movie sequence is projected , the actor seems to be moving , but in a very jerky , exaggerated way . The effect is enhanced if the actor is instructed to mug his actions in a very exaggerated fashion so that the result will be a burlesque on old time movies .
There are quite a number of variants to this approach . The idea of tempo editing may be introduced by gradually reducing the number of frames exposed for each still so that action starts rather slowly and ends in a rush . The subject or subjects may be made to speak by showing their comments in balloons as used in the daily comic strips . There are countless ways of adding variety , and if you run out of ideas you can go to the comic strips or old still movies for others .
When making a sequence of stills specifically for conversion to motion , they should be printed somewhat differently than normal . The best prints for this use are somewhat light with less than normal contrast . The television process tends to block shadows so they should be kept open with plenty of detail in the prints . The prints should all be uniform in density and contrast since noticeable changes in either density or contrast will be quite obvious when the stills are shown in rapid sequence on the screen . To permit easier handling , the prints should be on double weight paper or mounted on thin cardboard stock . 11 x 14 prints . generally give better quality TV screen images than 8 x 10's , but it is a good idea to check with the station on this point . They may have equipment designed to take 8 x 10's only .
For best professional results , it is advisable to turn the actual filming of the still prints over to a production laboratory equipped with animation stands and all the accessories required for this type of work . Give them detailed instructions on exactly what you want or , if possible , direct the work yourself . However , you may be able to shoot the simpler jobs yourself and if you want to try it , here are some suggestions which will help you .
1. Use a camera with reflex viewing so that you can see exactly what you get on each frame .
2. Be sure the camera is solidly supported so that it cannot shift or wobble while pictures are taken . It is best to use something like a professional copy bench such as the one shown in Assignment 14 , but you can use a tripod if it is of the rock - steady professional type .
3. Be careful not to show any border around the print . This is a dead giveaway .
4. The lighting must be absolutely uniform over the entire face of the print and the lights must be angled so that no reflections can get into the camera . In other words , use good copying techniques as explained in detail in Assignment 14 .
5. If the camera is on a tripod , use a spirit level to make sure it isn't tilted in any direction . Do the same for the easel on which the prints are held for copying . Use a medium speed or slow film with good exposure latitude to cover up any errors in exposure . Don't forget that you cannot bracket your shots so that each must be perfect .
6. Rehearse each shot carefully if you do any panning or zooming , so that you get the action you want within the length of time you want . This is particularly important if you are shooting to a prepared script and the narration has already been written or recorded .
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