Time Lapse Video ##TOP##

Time-lapse photography is a technique in which the frequency at which film frames are captured (the frame rate) is much lower than the frequency used to view the sequence. When played at normal speed, time appears to be moving faster and thus lapsing. For example, an image of a scene may be captured at 1 frame per second but then played back at 30 frames per second; the result is an apparent 30 times speed increase. Similarly, film can also be played at a much lower rate than at which it was captured, which slows down an otherwise fast action, as in slow motion or high-speed photography.

Processes that would normally appear subtle and slow to the human eye, such as the motion of the sun and stars in the sky or the growth of a plant, become very pronounced. Time-lapse is the extreme version of the cinematography technique of undercranking. Stop motion animation is a comparable technique; a subject that does not actually move, such as a puppet, can repeatedly be moved manually by a small distance and photographed. Then, the photographs can be played back as a film at a speed that shows the subject appearing to move.

Time Lapse Video

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The inception of time-lapse photography occurred in 1872 when Leland Stanford hired Eadweard Muybridge to prove whether or not race horses hooves ever are simultaneously in the air when running. The experiments progressed for 6 years until 1878 when Muybridge set up a series of cameras for every few feet of a track which had tripwires the horses triggered as they ran. The photos taken from the multiple cameras were then compiled into a collection of images that recorded the horses running.[2]

Time-lapse photography of biological phenomena was pioneered by Jean Comandon[6][7] in collaboration with Path Frres from 1909, by F. Percy Smith in 1910 and Roman Vishniac from 1915 to 1918. Time-lapse photography was further pioneered in the 1920s via a series of feature films called Bergfilme (Mountain films) by Arnold Fanck, including Das Wolkenphnomen in Maloja (1924) and The Holy Mountain (1926).

From 1929 to 1931, R. R. Rife astonished journalists with early demonstrations of high magnification time-lapse cine-micrography.[8][9] but no filmmaker can be credited for popularizing time-lapse more[citation needed] than John Ott, whose life-work is documented in the DVD-film Exploring the Spectrum.

Ott discovered that the movement of plants could be manipulated by varying the amount of water the plants were given, and varying the color-temperature of the lights in the studio. Some colors caused the plants to flower, and other colors caused the plants to bear fruit. Ott discovered ways to change the sex of plants merely by varying the light source color-temperature.By using these techniques, Ott time-lapse animated plants "dancing" up and down in synch to pre-recorded music tracks.His cinematography of flowers blooming in such classic documentaries as Walt Disney's Secrets of Life (1956), pioneered the modern use of time-lapse on film and television.[citation needed] Ott wrote several books on the history of his time-lapse adventures, My Ivory Cellar (1958), Health and Light (1979), and the film documentary Exploring the Spectrum (DVD 2008).

The Oxford Scientific Film Institute in Oxford, United Kingdom specializes in time-lapse and slow-motion systems, and has developed camera systems that can go into (and move through) small places.[citation needed] Their footage has appeared in TV documentaries and movies.

PBS's NOVA series aired a full episode on time-lapse (and slow motion) photography and systems in 1981 titled Moving Still. Highlights of Oxford's work are slow-motion shots of a dog shaking water off himself, with close ups of drops knocking a bee off a flower, as well as time-lapse of the decay of a dead mouse.

The non-narrative feature film Koyaanisqatsi (1983) contained time-lapse of clouds, crowds, and cities filmed by cinematographer Ron Fricke. Years later, Ron Fricke produced a solo project called Chronos shot on IMAX cameras. Fricke used the technique extensively in the documentary Baraka (1992) which he photographed on Todd-AO (70 mm) film.

For example, Peter Greenaway's film A Zed & Two Noughts featured a sub-plot involving time-lapse photography of decomposing animals and included a composition called "Time-lapse" written for the film by Michael Nyman. In the late 1990s, Adam Zoghlin's time-lapse cinematography was featured in the CBS television series Early Edition, depicting the adventures of a character that receives tomorrow's newspaper today. David Attenborough's 1995 series, The Private Life of Plants, also utilised the technique extensively.

The frame rate of time-lapse movie photography can be varied to virtually any degree, from a rate approaching a normal frame rate (between 24 and 30 frames per second) to only one frame a day, a week, or longer, depending on subject.

The term "time-lapse" can also apply to how long the shutter of the camera is open during the exposure of each frame of film (or video), and has also been applied to the use of long-shutter openings used in still photography in some older photography circles. In movies, both kinds of time-lapse can be used together, depending on the sophistication of the camera system being used. A night shot of stars moving as the Earth rotates requires both forms. A long exposure of each frame is necessary to enable the dim light of the stars to register on the film. Lapses in time between frames provide the rapid movement when the film is viewed at normal speed.

As the frame rate of time-lapse approaches normal frame rates, these "mild" forms of time-lapse are sometimes referred to simply as fast motion or (in video) fast forward. This type of borderline time-lapse resembles a VCR in a fast forward ("scan") mode. A man riding a bicycle will display legs pumping furiously while he flashes through city streets at the speed of a racing car. Longer exposure rates for each frame can also produce blurs in the man's leg movements, heightening the illusion of speed.

Another use of fast motion is to speed up slow segments of a TV program that would otherwise take up too much of the time allotted a TV show. This allows, for example, a slow scene in a house redecorating show of furniture being moved around (or replaced with other furniture) to be compressed in a smaller allotment of time while still allowing the viewer to see what took place.

So a film recorded at 12 frames per second will appear to move twice as fast. Shooting at camera speeds between 8 and 22 frames per second usually falls into the undercranked fast motion category, with images shot at slower speeds more closely falling into the realm of time-lapse, although these distinctions of terminology have not been entirely established in all movie production circles.

Time-lapse can be achieved with some normal movie cameras by simply shooting individual frames manually. But greater accuracy in time-increments and consistency in exposure rates of successive frames are better achieved through a device that connects to the camera's shutter system (camera design permitting) called an intervalometer. The intervalometer regulates the motion of the camera according to a specific interval of time between frames. Today, many consumer grade digital cameras, including even some point-and-shoot cameras have hardware or software intervalometers available. Some intervalometers can be connected to motion control systems that move the camera on any number of axes as the time-lapse photography is achieved, creating tilts, pans, tracks, and trucking shots when the movie is played at normal frame rate. Ron Fricke is the primary developer of such systems, which can be seen in his short film Chronos (1985) and his feature films Baraka (1992, released to video in 2001) and Samsara (2011).

As mentioned above, in addition to modifying the speed of the camera, it is important to consider the relationship between the frame interval and the exposure time. This relationship controls the amount of motion blur present in each frame and is, in principle, exactly the same as adjusting the shutter angle on a movie camera. This is known as "dragging the shutter".

In long exposure time-lapse, the exposure time will approximate the effects of a normal shutter angle. Normally, this means the exposure time should be half of the frame interval. Thus a 30-second frame interval should be accompanied by a 15-second exposure time to simulate a normal shutter. The resulting film will appear smooth.

However, to achieve the effect of a simple tracking shot, it is necessary to use motion control to move the camera. A motion control rig can be set to dolly or pan the camera at a glacially slow pace. When the image is projected it could appear that the camera is moving at a normal speed while the world around it is in time lapse. This juxtaposition can greatly heighten the time-lapse illusion.

The short film A Year Along the Abandoned Road shows a whole year passing by in Norway's Brfjord at 50,000 times the normal speed in just 12 minutes. The camera was moved, manually, slightly each day, and so the film gives the viewer the impression of seamlessly travelling around the fjord as the year goes along, each day compressed into a few seconds.

A panning time-lapse can be easily and inexpensively achieved by using a widely available equatorial telescope mount with a right ascension motor.[10] Two axis pans can be achieved as well, with contemporary motorized telescope mounts.

Time-lapse can be combined with techniques such as high-dynamic-range imaging. One method to achieve HDR involves bracketing for each frame. Three photographs are taken at separate exposure values (capturing the three in immediate succession) to produce a group of pictures for each frame representing the highlights, mid-tones, and shadows. The bracketed groups are consolidated into individual frames. Those frames are then sequenced into video. ff782bc1db