View allAll Photos Tagged hyperlapse
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rohitmakarla: #hyperlapse #addict
crdrcrr: Well of course
My first attempt at hyperlapse,not very good but better idea for next time. 574 photos and over 3 hours in the making.
This very-short art film uses travelling time-lapse in a novel way to obtain an "impossible" view of the landscape across Western Canada (Ontario to BC). On one level it's an expressionist portrait using motion as a medium to bring out regional differences in a new way. On a second level it conveys the ambivalence of human domination of the land contrasted with our ephemeral buzzing around it. On a third level it's the union of observer and observed, the landscape inseparable from our view of it. The artist's body becomes the land's motion, so that in the off-road section the flowing, hopping, and vibration of the landscape is simply due to the height of my body, or a couple of my strides. It's an intimate relativity as you realize that you have become an integral part of the landscape in the act of creating a perception of it.
"It's strange what the distant-vision focal point centering on the mountain does to our perception of the mountains, which become surreal. The film changes the point of reference for the sound as we go along—from human to earthbeats—also surreal. To make a simple sound structure using heartbeats, which used at first level might seem corny, works so well in this context. Simple. Elegant. Even funny. I laughed out loud when I saw it. Short and sweet. " -- Marcy Page, Animation Producer, National Film Board of Canada.
TECHNIQUE: Camera and environment are animated together as "point-of-view animation" or "landscape pixilation" of still photographs. The film was made by shooting still images with a 35mm Pentax with a telephoto lens, taking one frame every four seconds. Around 500 photos were scanned and then painstakingly brought back into motion in Adobe After Effects. However, rather than merely making still pictures move, a new technique was adopted. Each shot is given an anchor point, so there's a spot on the landscape that is always in the same place. The framing is moving around afterwards to follow that part of the land, not of the screen. The background is fixed, and the foreground is going crazy, but it's watchable because you have a reference point.
THEMES: (a) An attempt to abstract, or express, fundamental differences of the regions across Western Canada by the use of movement as the method of portrayal. (b) Bart Testa, in "Spirit in the Landscape," evaluates earlier Canadian avant-garde landscape films in terms of the Canadian landscape-painting tradition and its accompanying "garrison mentality" — a refuge from the vast, threatening landscape. It seems a good time for this experimental animation of the landscape because we may be at a pivotal point in the garrison mentality, where it is now the landscape that is threatened by the garrison. Vision Point visually poses the question (in a humorous way): which dominates, the land or us?
Credits: Animation, photography, and sound by Stephen Arthur. Copyright © 1999 Stephen Arthur
The Tilikum Crossing Bridge was opened in 2015, and is one of the most unique bridges in the United States. It is not open to private vehicles. The middle lanes of the bridge are reserved for trains, streetcars, and buses while the outer lanes are dedicated to bikes and pedestrians.
We were living in Portland while it was being built. It was super cool to watch. When it opened, it provided me and my boys with an amazingly convenient way to get to school and work. I’ve ridden across that bridge hundreds of times, either on my bike or on the train.
The bridge’s lighting effects are based on the Willamette River’s speed, depth, and water temperature. It was designed by installation artists Anna Valentina Murch and Doug Hollis and uses 178 LED modules to illuminate the cables, towers, and underside of the deck. USGS environmental data is translated by specialized software to a processor that issues cues programmed for each of the changing conditions. The base color is determined by the water's temperature. The timing and intensity of the base color's changes, moving the light across the bridge, are determined by the river's speed. A secondary color pattern is determined by the river's depth, that changes on the two towers and the suspension cables.
In addition to being unique in what sort of vehicle is allowed to cross it, the Tilikum is a Cable Stayed Bridge and is the first bridge in the U.S. to use the Freyssinet multi-tube saddle design, which allows each cable to run continuously from the deck, through the top of the tower and back down to the other side. 3.5 miles (5.6 km) of cables run continuously through the tower saddle, instead of terminating in each tower.