Still Photography in Motion
At the end of June, we received a ’save the date’ note from our friends at Image Mechanics. Coming on August 29th and 30th, they promised, would be ”The first ever conference for professional photographers and filmmakers interested in working with DSLRs and the new RED ONE™ cinema camera to create moving and still imagery.” And hats off to them, because they went from a conversation in June to a full-fledged conference in August.
For those not familiar with the Collision, here’s one of the origins. In short, Canon received a request to add simple video capability to a digital still camera, allowing photojournalists to shoot some video while covering a story. They stepped up and delivered the flagship Canon 5D Mark II. While the request was for video to be displayed on the web, they incorporated full 30 fps high-definition video. In addition, the camera can shoot high-quality footage in relatively low light. But this ‘little addition’ was so much more. Filmmakers discovered a small HD video camera, with low light capabilities and a motion-picture look, that could be had for only $2,700. Now that’s something. Still photographers now have the ability to shoot and capture motion.
On the other side of the tracks, RED Digital Cinema was already producing their high-end digital motion cameras, providing film-resolution capture for under $20,000. Given the raw, hi-res nature of these files, individual frames could be extracted as stills. Videographers and cinematographers could now provide still photographs from their motion work.
While this is exciting and profound, there are also a number of problematic issues in each scenario. In the case of extracting stills from video, still photographs are typically sharply focused, while an individual frame of moving film or video is blurred, creating smooth motion of the subject. Also, photographs for print and other uses are often in a vertical orientation, on a magazine cover for example, while video is in a horizontal orientation. Pulling a vertical frame from a horizontal capture sacrifices a significant percent of available resolution.
Using a still camera to capture motion poses an even greater variety of challenges. Still lenses are not designed to allow a smooth zoom in or out during ‘filming’. Nor are they designed to support a smooth focus that follows a moving subject. The viewfinders are not suited to the needs of the cinematographer. Photographers, used to shooting hand-held, will have trouble holding a steady shot with long lenses. Smooth panning and tilting require the shift from a typical tripod, to a heavier tripod with a fluid head. The shutter does not capture an entire frame at once, but rather scans from the top line to the bottom. This ‘rolling shutter’ can cause distortions as subjects move across the frame. The chip design can also cause a moire effect on fine lines, stripes and patterns. With motion, we typically record audio as well, and this first round of cameras are limited in this area.
As always, this new revolution is a roller coaster of excitement and disappointment. But the ultimate test is in the hands of creative individuals who express themselves using any tools available, presenting stills and motion that move and inspire.
Next we’ll take a quick look at the Collision Conference held here in Los Angeles on August 29th and 30th, 2009. And after that, my unexpected jump into shooting motion at the Perris Auto Speedway.
