FAQ

2.1 Actor – multiplication

Duplicating actors or objects in a take using a moving camera.
The most famous examples for this technique are the music videos of George Michael "AS" and Kylie Minogue "Come into My World".

2.2 Extras – multiplication

You are supposed to fill all spectator seats in a theatre or an entire stadium. However, for financial reasons only a few extras are to be used. What now? Motion control provides the option of multiplication. Extras are positioned in the seats block-by-block and recorded as many times it takes to fill all seats. In post-production all layers can be combined. Inexpensive and effective.

2.3 Actors or objects appearing and disappearing

No problem when it's a still! However, these types of shots are really impressive when taken as tracking or pan shots. Motion control to the rescue.

2.4 Changing backgrounds

Take a car that first drives through a large city. You can change the car's environment within the shot, such as turning the large city into a forest or coastal road.
To achieve this effect the shot is repeated three times. Once in the city without car, once in the forest without car. Then the car is filmed in the green or blue screen.

2.5 Variable frame rate

A table in a cosy café. In the background the hectic day-time traffic on the street. Filmed with standard frame rate. Coffee being poured at 40 frames/sec and the rising steam at 32 frames/sec. The mix obtained by combining the frame rates produces a calm coffee pouring process; thus, it appears to be more relaxed.

2.6 Time slice shots

Time slice shots can be produced in a simple way, too: Actors' movements are filmed at 24/25 frames per second. On the other hand, people standing still are run at a very high frame rate.

2.7 Stop motion shots

The classic among tricky techniques is still used with puppets, modelling material or objects. With motion control you can use these trick-techniques in moving settings.

2.8 Time lapse shots

Whether it's a plant opening up its blossom, a dramatic cloud formation or a simple sunset – time-lapse shots are fascinating. Motion control allows for camera moves demonstrating these events in impressive motion.

2.9 Macro- and boroscopic shots

Using conventional means, smooth panning and tracking close-up are nearly impossible. Special lenses such as boroscopes, periscopes or macroscopes are practically predestined for use with precise motion control robotics.

2.10 Vertigo effect

Motion control is ideal for tracking shots in combination with zooming to balance dimensions.

2.11 Light design

Motion control robots allow for light design without compromising: Several tracking shots with identical moves let you compose different lighting conditions. Film lights can be set up within framing, for instance, and can be easily removed during post-production by retouching.

2.12 Precision shots

Complicated camera runs can only be approximated "by hand". A robot delivers the perfect take with reproducible precision. A cost-saving alternative to conventional filming.

2.13 Modelmover

Modelmover facilitates precise movement of objects in conjunction with motion control shots.

2.14 Scaling shots and model takes

With motion control you can create perfect montages of image elements on various scales. Thus, a trip through a model of architectural features filmed with a snorkel lens can be combined with real actors. Based on the scale, the motion control system calculates the same camera motion in the real world.

2.15 Target tracking

With target tracking the system can be programmed so that a specific spatial point is always kept precisely at the centre of the image. In the process, the focus is carried along accurately at any time. Even moving targets are possible.

2.16 Perfect pack shots

By programming all parameters you can take high-precision pack shots that require accurate focus updates all the way into the macro area.

2.17 Stereoscopic shots

When using a stereoscopic rig, a second camera is not absolutely required to produce stereoscopic shots without live action. The motion control rig lets you repeat the camera movement with the required offset.

8.1 Manually programmed move:

The motion control rig is moved into the desired position (start of camera movement). This position along with all parameters are stored as the key frame. The desired end position is detected and stored as well. Finished! Merely connecting these camera positions already defines a simple camera movement. More complexity may be added to the camera movement by inserting additional key frames.

FLAIR motion control software links all key frames in an even curve. Once speed of motion and frame rate are set, the camera run is "ready to shoot".
This kind of programming takes only a few minutes.

8.2 Mimic move:

The Mimic (pan head with encoders) lets you record "hand-made" pans or runs. Just like a digitally programmed move, this motion can be run repeatedly and at variable speeds. Recorded camera movements can be modified and "smoothed" afterwards.
This, too, takes only a few minutes.

8.3 CGI import:

A move programmed in 3DS Max or Maya can be imported directly into the FLAIR motion control software. The motion control rig allows for exact repetitions of even highly complex camera paths.