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Effective Uses of Motion Control
VISUAL EFFECTS SHOTS
Scaling live action into miniature sets - or combining various scaled objects - within the same camera move. E.g. placing an actor in a dolls house on a tracking shot, or placing miniature buildings into a full scale location
Combining (compositing) various elements shot on greenscreen, e.g. having an explosion detonate beside an actor, shot on separate passes.
Dissolving between different backgrounds on the same camera move, e.g. an actor appears to walk from an exterior to an interior or from day to night, or the view from a studio set window is a real exterior.
Combining live action shot at different camera speeds (time lapse and/or slow motion in the same shot), e.g. an actor runs in slow motion on a beach, and the sea is a time-lapsed blur.
Varying the camera speed on a live action sequence within a constant speed camera move, e.g. during a slow constant camera pan, an actor changes gradually from slow motion to time-lapsed high speed - this could also be a physical effect, like rain or fire
Changing the horizon, or the orientation, of certain elements in a scene, e.g. making water flow up the wall of a room. Tech note: Motion control software works like 3D CG software - you can twist a camera move on any 3D axis and maintain the same relative motion.
Placing the same actor in the scene a number of times
Moving through set walls/windows. Tech note: a programmed move can be run in any combination of sections, both forward and reverse, and will stop accurately on a frame. All sections join back up perfectly, having been shot at any frame rate.
OTHER APPLICATIONS
Camera moves in extreme close-up, using macro lenses, can be precisely controlled so that every take is in perfect focus with perfect framing. Timings can be altered precisely, particularly useful for commercial pack-shot applications. This also saves hugely on film stock.
Similarly, borescope and periscope lenses can be 'flown' through a complex set with precise framing and timing control.
'Model Movers' - motorized turntables, lighting rigs, winches, column lifts, etc, can be programmed to move in perfect synchronization with the camera and crane. The only limits to size and design are the ability to use a stepper or servo motor for the final drive. Anything from a pea on a pin to a truck on a turntable. The movement is obviously repeatable, for additional effects. A common use is for a DOP to have a light interact within a pack shot at a precise moment.
'Output triggers' - the software can also be used to trigger almost any device through electrical relays. These triggers are frame accurate, and the potential uses are endless. They have mainly been used for rigging mechanical effects within a frame, particularly when elements have to be combined (eg. An explosion, particles, smoke, a reaction on hair and clothing)
'Input triggers' - in a similar way, external events can be used to start a camera move (or a section of the move) which has been programmed. Anything that can be designed to cause a 'contact closure' in an electrical circuit could be used. In this way a move could be made to follow a live action event precisely (eg. A door opening, a car passing a particular mark, two objects colliding, etc etc)
'Timecode triggers' - yet another variation on triggering, which is essential more music video effects. A timecode reader can output a 'GPI' (a circuit closure/electronic switch) on a precise frame of video or music track playback. The GPI will automatically start a programmed move (with a built-in delay if necessary). In this way, for example, a singer (or musician) can appear/disappear or be multiplied in a scene, always performing in sync. This effect can be used with off-speed (slo-mo/high speed/multiple speed) scenes as well.
Time lapse. Using motion control software, both the camera and the crane can be programmed to take single frames, with variable time delay. The camera can be run
1. very slowly and continuously (down to about 8 frames per minute)
2. stop frame, with motion blur (the camera moves during the take)
3. stop frame, no motion blur (camera takes a static frame at a mid point of the movement)
Background plates shot with method a) or b) will match seamlessly with live action takes of the same shot.
'Mimic' learning - All axes of a motion control crane can be operated 'freehand', using a joystick, or handwheels, or other 'input' device. In this way it's possible to use the crane in an 'immediate' way, without programming, to follow a live action sequence. All the movements are recorded by the software and can be replayed (if necessary) either forward or in reverse, at any speed within the crane's operational limits. The same applies to focus, zoom and iris controls on the camera lens. It's also possible to combine programmed axes (like a constant speed track, for example) with 'hand operated' ones. Complex movements can be built 'axis-by-axis'; adding in stages to a movement saved by the software.
It is also fair to say that a motion control rig, although designed with VFX work in mind, can be extremely effective as a multi purpose shooting platform. On the right production it could be used for most, if not all of the shots. Set-up time depends ultimately on the complexity of the shot; the crane can be moved very quickly into awkward 'static frame' positions like rolled-over overhead shots; simple movements can be programmed in seconds. The camera can be made to 'dolly in' in a straight line from almost any angle, in a minute or so (this type of shot would take much longer on any other type of camera support system). As mentioned above, the crane can become a 'hand-operated' system at any time.
With some sensible pre-production planning, motion control can become extremely cost effective, and add production value in many ways.
Scaling live action into miniature sets - or combining various scaled objects - within the same camera move. E.g. placing an actor in a dolls house on a tracking shot, or placing miniature buildings into a full scale location
Combining (compositing) various elements shot on greenscreen, e.g. having an explosion detonate beside an actor, shot on separate passes.
Dissolving between different backgrounds on the same camera move, e.g. an actor appears to walk from an exterior to an interior or from day to night, or the view from a studio set window is a real exterior.
Combining live action shot at different camera speeds (time lapse and/or slow motion in the same shot), e.g. an actor runs in slow motion on a beach, and the sea is a time-lapsed blur.
Varying the camera speed on a live action sequence within a constant speed camera move, e.g. during a slow constant camera pan, an actor changes gradually from slow motion to time-lapsed high speed - this could also be a physical effect, like rain or fire
Changing the horizon, or the orientation, of certain elements in a scene, e.g. making water flow up the wall of a room. Tech note: Motion control software works like 3D CG software - you can twist a camera move on any 3D axis and maintain the same relative motion.
Placing the same actor in the scene a number of times
Moving through set walls/windows. Tech note: a programmed move can be run in any combination of sections, both forward and reverse, and will stop accurately on a frame. All sections join back up perfectly, having been shot at any frame rate.
OTHER APPLICATIONS
Camera moves in extreme close-up, using macro lenses, can be precisely controlled so that every take is in perfect focus with perfect framing. Timings can be altered precisely, particularly useful for commercial pack-shot applications. This also saves hugely on film stock.
Similarly, borescope and periscope lenses can be 'flown' through a complex set with precise framing and timing control.
'Model Movers' - motorized turntables, lighting rigs, winches, column lifts, etc, can be programmed to move in perfect synchronization with the camera and crane. The only limits to size and design are the ability to use a stepper or servo motor for the final drive. Anything from a pea on a pin to a truck on a turntable. The movement is obviously repeatable, for additional effects. A common use is for a DOP to have a light interact within a pack shot at a precise moment.
'Output triggers' - the software can also be used to trigger almost any device through electrical relays. These triggers are frame accurate, and the potential uses are endless. They have mainly been used for rigging mechanical effects within a frame, particularly when elements have to be combined (eg. An explosion, particles, smoke, a reaction on hair and clothing)
'Input triggers' - in a similar way, external events can be used to start a camera move (or a section of the move) which has been programmed. Anything that can be designed to cause a 'contact closure' in an electrical circuit could be used. In this way a move could be made to follow a live action event precisely (eg. A door opening, a car passing a particular mark, two objects colliding, etc etc)
'Timecode triggers' - yet another variation on triggering, which is essential more music video effects. A timecode reader can output a 'GPI' (a circuit closure/electronic switch) on a precise frame of video or music track playback. The GPI will automatically start a programmed move (with a built-in delay if necessary). In this way, for example, a singer (or musician) can appear/disappear or be multiplied in a scene, always performing in sync. This effect can be used with off-speed (slo-mo/high speed/multiple speed) scenes as well.
Time lapse. Using motion control software, both the camera and the crane can be programmed to take single frames, with variable time delay. The camera can be run
1. very slowly and continuously (down to about 8 frames per minute)
2. stop frame, with motion blur (the camera moves during the take)
3. stop frame, no motion blur (camera takes a static frame at a mid point of the movement)
Background plates shot with method a) or b) will match seamlessly with live action takes of the same shot.
'Mimic' learning - All axes of a motion control crane can be operated 'freehand', using a joystick, or handwheels, or other 'input' device. In this way it's possible to use the crane in an 'immediate' way, without programming, to follow a live action sequence. All the movements are recorded by the software and can be replayed (if necessary) either forward or in reverse, at any speed within the crane's operational limits. The same applies to focus, zoom and iris controls on the camera lens. It's also possible to combine programmed axes (like a constant speed track, for example) with 'hand operated' ones. Complex movements can be built 'axis-by-axis'; adding in stages to a movement saved by the software.
It is also fair to say that a motion control rig, although designed with VFX work in mind, can be extremely effective as a multi purpose shooting platform. On the right production it could be used for most, if not all of the shots. Set-up time depends ultimately on the complexity of the shot; the crane can be moved very quickly into awkward 'static frame' positions like rolled-over overhead shots; simple movements can be programmed in seconds. The camera can be made to 'dolly in' in a straight line from almost any angle, in a minute or so (this type of shot would take much longer on any other type of camera support system). As mentioned above, the crane can become a 'hand-operated' system at any time.
With some sensible pre-production planning, motion control can become extremely cost effective, and add production value in many ways.