Ditto the use of shutter speeds beyond 180 degrees.
Rinse, repeat.Įvery student of film will get taught the special panning speed to avoid juddery images – then forget it. Of course, clever engineers realised that if you showed every frame TWICE, so the lamp illuminated each frame through a revolving bow-tie cunningly pressed into service as a shutter, then hauled the loop of film (due to mass, intertia, etc – tug the whole reel and you’d snap it) down one frame and give that a double flash. So your movie had smooth movement at 24 or 25 frames per second, but it still flashed a bit. Whilst motion could be recorded at or above 20 frames per second, there was a problem in that the human eye’s persistence of vision (that eye-blink time where a ghost of a bright image dances upon your retina) means you can perceive flicker up to about 40 frames per second. ‘The Flicks’ were just that – flickering images in a dark room, destined to cause many a strained eye. The world of moving pictures has gone by a number of pet names, one of which describes one of the pitfalls of having to pay for your recording medium by the half-cubit or ‘foot’ as some would say. Cinematographers at the vanguard of their industry, disenchanted with the timelessness of film, are now looking to achieve that elusive ‘live’ look – video! Throughout the last 9 decades of cinema, Directors have been stuck with the same tired look forced upon them by the constraints of their technology.
0 kommentar(er)
