Since the necessary frames were never photographed, new frames must be fabricated. The effect is similar to overcranking as the actual motion occurs over a longer time. This type of slow motion is achieved by inserting new frames in between frames that have actually been photographed. This is known as time-stretching or digital slow motion. The second type of slow motion is achieved during post production. įrames marked with an X must be fabricated. Overcranking įor purposes of making the above illustration readable, a projection speed of 10 frames per second ( fps) has been selected (the 24 fps film standard makes slow overcranking rare but nevertheless available on professional equipment). A projector refers to a classical film projector in a movie theater, but the same basic rules apply to a television screen and any other device that displays consecutive images at a constant frame rate. There are two ways in which slow motion can be achieved in modern cinematography. The concept of slow motion may have existed before the invention of the motion picture: the Japanese theatrical form Noh employs very slow movements. Extreme fast motion is known as time lapse photography a frame of, say, a growing plant is taken every few hours when the frames are played back at normal speed, the plant is seen to grow before the viewer's eyes. It is often used for comic, or occasional stylistic effect. Cinematographers refer to fast motion as undercranking since it was originally achieved by cranking a handcranked camera slower than normal. The opposite of slow motion is fast motion. The technique is especially associated with explosion effect shots and underwater footage. American director Sam Peckinpah was another classic lover of the use of slow motion. Japanese director Akira Kurosawa was a pioneer using this technique in his 1954 movie Seven Samurai. The Matrix made a distinct success in applying the effect into action scenes through the use of multiple cameras, as well as mixing slow-motion with live action in other scenes. Another example is Face/Off, in which John Woo used the same technique in the movements of a flock of flying pigeons. Vsevolod Pudovkin, for instance, used slow motion in a suicide scene in his 1933 film The Deserter, in which a man jumping into a river seems sucked down by the slowly splashing waves. Slow motion can also be used for artistic effect, to create a romantic or suspenseful aura or to stress a moment in time. Natural phenomena, such as a drop of water hitting a glass.To recapture a key moment in an athletic game, typically shown as a replay.Athletic activities of all kinds, to demonstrate skill and style.Some classic subjects of slow-motion include: It is used by a diverse range of directors to achieve diverse effects. Slow motion is ubiquitous in modern filmmaking. The traditional method for achieving super-slow motion is through high-speed photography, a more sophisticated technique that uses specialized equipment to record fast phenomena, usually for scientific applications. Motion can be slowed further by combining techniques, such as for example by interpolating between overcranked frames. A third technique uses computer software post-processing to fabricate digitally interpolated frames between the frames that were shot. This technique is more often applied to video subjected to instant replay than to film. Slow motion can also be achieved by playing normally recorded footage at a slower speed. A term for creating slow motion film is overcranking which refers to hand cranking an early camera at a faster rate than normal (i.e. When replayed at normal speed, time appears to be moving more slowly. Typically this style is achieved when each film frame is captured at a rate much faster than it will be played back. This can be accomplished through the use of high-speed cameras and then playing the footage produced by such cameras at a normal rate like 30 fps, or in post production through the use of software. It was invented by the Austrian priest August Musger in the early 20th century. Slow motion (commonly abbreviated as slo-mo or slow-mo) is an effect in film-making whereby time appears to be slowed down. Effect in film-making Slow motion video of a glass cup smashing on a concrete floor
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