Editing 2628: Motion Blur
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==Explanation== | ==Explanation== | ||
| + | {{incomplete|Created by a bBboOotTt - Please change this comment when editing this page. Do NOT delete this tag too soon.}} | ||
[[White Hat]] is recording a video while rotating (''panning'') the camera. [[Cueball]] notices that the camera's shutter speed is too fast, which could cause the result to look unnatural or like a sequence of still images instead of like smooth motion when turning the camera. Cueball decides to solve this problem by making himself blurrier than normal, counteracting the problems of the high shutter speed. | [[White Hat]] is recording a video while rotating (''panning'') the camera. [[Cueball]] notices that the camera's shutter speed is too fast, which could cause the result to look unnatural or like a sequence of still images instead of like smooth motion when turning the camera. Cueball decides to solve this problem by making himself blurrier than normal, counteracting the problems of the high shutter speed. | ||
| − | + | The title text refers to the fact that only ''one'' object - in this case, Cueball - appearing blurred while everything else in the frame is sharp would probably look even more unnatural. | |
| − | + | This is similar to a trick actually 'used' by {{w|Flash (DC Comics character)#Jay_Garrick|some fictional characters}} who have the power to make themselves unclear to observers or cameras alike. In real-life it is the difference between stop motion and go motion tricks. | |
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When light hits a human's retina, it is perceived for a short while even after the light has ceased. This means that objects moving across a human's field of vision at a sufficient speed will naturally appear blurry – in our perception, the light arriving right now from the trailing part of the object will mix with the light that arrived a moment earlier, from the leading part of the object. | When light hits a human's retina, it is perceived for a short while even after the light has ceased. This means that objects moving across a human's field of vision at a sufficient speed will naturally appear blurry – in our perception, the light arriving right now from the trailing part of the object will mix with the light that arrived a moment earlier, from the leading part of the object. | ||
| − | A camera's shutter speed is the amount of time that the shutter is open for each frame, allowing the image sensor to capture light. If the shutter speed is too high ( | + | A camera's shutter speed is the amount of time that the shutter is open for each frame, allowing the image sensor to capture light. If the shutter speed is too high (relatively to the framerate), this blurring will not occur, and the motion will look unnaturally crisp – if something is too small and/or too quick, the illusion of motion may disappear altogether; the object instead will appear as a brief flash of multiple objects standing still, like in the case of a fast-moving mouse cursor on a screen. See for instance this [https://www.youtube.com/watch?v=i9bv00ZA-ao Videography - Slow Shutter Speed vs. Fast Shutter Speed Comparison]. |
| − | In cinema, the shutter speed is generally set to double the | + | In cinema, the shutter speed is generally set to double the framerate, e.g. 1/48 s for footage shot at 24 fps (one of the standard framerates, a remnant from the age of mechanical motion picture cameras and film projectors). |
An opposing problem is that of a camera not sufficiently matching the relative motion of a moving object, with a shutter speed that is too slow (and may need to be, given the choice of aperture and lighting conditions). Sports photographers must learn how to scan-and-pan their subjects (runners, horses, vehicles, etc) with enough synchronicity to capture them sharply, and possibly seemingly hanging frozen in mid-air against an artistically-blurred background. | An opposing problem is that of a camera not sufficiently matching the relative motion of a moving object, with a shutter speed that is too slow (and may need to be, given the choice of aperture and lighting conditions). Sports photographers must learn how to scan-and-pan their subjects (runners, horses, vehicles, etc) with enough synchronicity to capture them sharply, and possibly seemingly hanging frozen in mid-air against an artistically-blurred background. | ||
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==Transcript== | ==Transcript== | ||
| − | :[White Hat is holding a camera up to his face looking to the left away from Cueball and Ponytail standing to his right. Cueball is holding one hand, with a balled up fist, up | + | :[White Hat is holding a camera up to his face looking to the left away from Cueball and Ponytail standing to his right. Cueball is holding one hand, with a balled up fist, up towars White Hat] |
:White Hat: Okay, I'm going to pan around. | :White Hat: Okay, I'm going to pan around. | ||
:Cueball: No, wait, your shutter speed is too fast, it will look choppy if— | :Cueball: No, wait, your shutter speed is too fast, it will look choppy if— | ||
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:Cueball: <big>''Hnnnnngh''</big> | :Cueball: <big>''Hnnnnngh''</big> | ||
| − | :[White Hat has turned | + | :[White Hat has turned arond and is now pointing the camera towards Cueball and Ponytail. Cueball now appears blurry while Ponytail looks normal.] |
:[Caption below panel:] | :[Caption below panel:] | ||
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[[Category:Comics featuring Cueball]] | [[Category:Comics featuring Cueball]] | ||
[[Category:Comics featuring Ponytail]] | [[Category:Comics featuring Ponytail]] | ||
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