Subject:
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Re: FW: original trilogy in stop-motion Lego.
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Newsgroups:
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lugnet.starwars
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Date:
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Sat, 14 Oct 2000 07:33:17 GMT
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Viewed:
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1140 times
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In lugnet.starwars, Rick Hallman writes:
> In lugnet.starwars, Gary Blessing writes:
> > I have no experiance in stop-motion filming(don't kow exactly what it is!)
>
> It is where you move the model JUST A BIT then take a frame, move it just a
> bit, take a frame..etc.
I thought maybe I should elaborate a little bit. It'll still be quite glossed
over in the name of brevity, but at least I might be able to pass along some
basics...
It's certainly true that you move your character, click a picture, move it a
bit, click a pic, move, pic and so on ad nauseum.
But, your framerate is an enormous part of the equation. You can't really
create convincing stop-motion without knowing the framerate to which you're
working.
Typical film productions are run at 24 frames per second, or FPS. NTSC video
runs at 30FPS. I'm not certain, (maybe someone in the know can correct or
confirm), but I believe PAL video runs at 25FPS. My Sony digital still camera
can record highly compressed MPEG video, and that runs at 15FPS. Anyway, the
point of this paragraph is that you have to know your target FPS before you can
create good stopmotion... say for example an AT-AT's leg takes 4 seconds to
complete a stride (just a guess). You would then need 60 frames at 15FPS, 96
frames at 24FPS, and so on.
You're probably better off shooting at a higher FPS (like 24 or 30) for better
smoother results than you'd get going straight to 15FPS.
Of course, that's one heck of a lot of pictures. With a lot of things,
particularly those that move slowly, you can get away with "shooting on two's",
or taking two pictures for every move of your character, cutting the framecount
in half. You run the risk though of getting a "strobing" effect, where the
movement seems jerky - this particularly shows itself in quicker movements,
where the distance moved between pictures is too great. In these cases you're
better off cutting the distance down and increasing the number of pictures.
More definitively, you could probably get away with shooting most of your work
on two's, but when something quick is to happen (like a character dodging a
bullet), ramp up to shooting on one's just for that short sequence.
Of course, with stopmotion you start to run into the issue of motion blur, or
more accurately the _lack_ thereof.
But that's where it starts getting a bit more finicky and technical than is
within the scope of this ... um.. lecture, for lack of a better word. :)
Then you get into the whole realm of acceleration and deceleration, takes,
windups, follow-through, and so on and so on. But perhaps that's for another
lesson.
Class dismissed. ;^P
Kevin.
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