headshot head movements

[John Dolva]

Applying the principles in this thread to set of frames from another post achieves a high degree of smoothness of movement, except for the sudden wild dip of the limousine as it follows the contours of distortion. (this is just how I explain it to myself)

Edited May 19, 2006 by John Dolva

[John Dolva]

315 is 'later' in relation to 314. (That's what I meant.). I think I disagree about 'when acceleration'. (Will get back on that.)

with this 'correct' alignment, the major 'back', happens at a major direction/speed change. Even then I'm not sure at this point that it's anywhere as much 'back' as the illusion of 'normal' incorrectly aligned, static screen that has been suggested in the past. Jackie leans into the acceleration, widening the gap between herself and Kennedy. I really ned a spread of good frames, say three pefore and 7 or so after the headshot, this first frame is after the headshot.

Edited May 19, 2006 by John Dolva

[John Dolva]

part of explaining it I think

Edited May 19, 2006 by John Dolva

[John Dolva]

I'm wondering if its possible to apply some simple mathematical formula. thw whole thing looks a bit like a logarithmic spiral lika golden ratio. As you zoomin on a smaller and smaller area, you have to keep realigning, but it seems like there is a uniformity of degree across frames. Anyone who understands this please tell what IS going on, the above are just some thoughts that I as a 'no-body' can think of based on no qualifications. As I and no doubt others would be interested, If someone can explain.please do so

[John Dolva]

The z film is a bucking horse. The shifts in perpsectives and blurs make any attempt to average out or align as per road line or whatever fruitless both as a tool to see what happened, and of course any derivation of data except from individual framaes.

This all changes when you move from the couch into the screen to the film and then to where you sit watching the action inside the lens. Now all motion smooths out (you might get a bit queasy when you hit the bumps, but what you will manage to see, which can be enormous amount by making a hundred step transition between frames for example), and you see the seamless transition as the lens sweeps across the landscape. What you will see then is something very different with regards to the head movements.

(see "frame alignment" topic for some steps to check)

Edited September 10, 2006 by John Dolva

[John Dolva]

I was blown away by Chris' gif in shooter. It seems to me to explain or confirm suggestions I pondered on in this topic re how to align frames and how to understand and deal with problems that arise.