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000055_owner-lightwave-l _Mon Apr 3 17:19:34 1995.msg
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From: <ALANL%wpmail@sppd.stpaul.gov> (Alan J. Lloyd )
To: <LIGHTWAVE-L@netcom.com>
Subject: Camera Dollying (was Re: Suggestion)
Date: Mon Apr 3 09:35:24 1995
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>After reading through all the "dollying" posts...
A thought here: Would this be more readily accomplished by a
feature (yes, another suggested feature!) of "relative" versus
"absolute" X. Y, Z-axis positioning? By "relative" I mean a move
along the _camera's_ Z-axis, not the universal Z-axis. Rather
than dollying as a _specific_ function, this would allow a much
greater degree of camera movement flexibility.
Advantages: Easy implementation in the interface (one additional
button in the "Move" area); application in Object and Light menus
as well; doesn't require parenting or targeting.
Disadvantages: LW 4.0 is soon coming out...added features will be
a pain (patch?) at a late date; the math functions would be a
pain due to needing to keep track of "relative" data for all
objects, lights, and the camera.
BTW, even if it was just the camera, relative vs. absolute
positioning would be a nice feature. I don't think I'd want to
_trade_ one for the other, but the ability to switch between the
two would be quite useful. A match to real-world motion-cotrol
systems would then be very easy to do as well.
For those non-camera people out there, here are the terms:
Pan: Movement around the camera's Y-axis
Tilt: Movement around the camera's X-axis (or Z, then called
"Dutch" tilt)
Zoom: Just what the name implies; stay put & go to a longer or
shorter focal length
Crane: Move the entire camera up or down (Y-axis)
Dolly: Move the entire camera along X or Z axes
Of course, many of these are able to be used in combination, and
can create some spectacular shots if carefully done. My
apologies to those who are experienced camera folks, admittedly
this is a bit elementary. I also left a few out, for brevity's
sake, as well as to avoid duplication (e.g. "column" for the
older TV style peds) but this can be easily found out.
For a truly great illustration of almost all possible camera
moves, the opening shot of Robert Altman's "The Player" is about
as good an example as can be found in contemporary movies. An
almost 8-minute single take, with continuous ovement, a truly
wonderful piece of cinematic choreography, IMO.
Alan Lloyd
alan.lloyd@stpaul.gov