On 15/6/10, Derby Chang, discombobulated, unleashed: >I wrote a little love letter to Sydney > >http://members.iinet.net.au/~derbyc/10/10_06/10_06_bathurst/01.htm
Very nice Derbs. That's a lot of shots. May i make a suggestion to anyone doing a slideshow with music that effectively locks in the viewer to the presentation? Rather than set a simple time limit on each pic of (say) 3 seconds and go for quantity - start from a different perspective. By this I mean, cull the shots and show the best ones, but let them breathe - and do the mixes (dissolves) manually. This takes a long time to do but the rewards can be greater. So for Derby's slideshow, I would have started with less music length - 3 to 4 minutes max. In that time we can get in maybe 10 or 12 shots a minute instead of 20! Then you have to 'feel' the transition points rather than set a numerical value. You do this by watching the edit in real time (1X speed) and 'feel' the transition coming and think about what you want to see next. For a presentation such as this, each picture arguably has a natural length to view but they are not all the same. It's not something I can easily explain - but it comes from the heart - knowing how long is just right. For some pics, 3 seconds is okay, but for most it's too short. Legs need time :-) When I look for a point to mix from one shot to another, the mix duration becomes a factor. A one second mix means that the half-way point is half-a second into/out of the mix - so the midpoint is the point I aim at imagining as I watch in real time. I play, have my finger ready over the pause button (JKL - anyone who's ever edited video will be intimate with these keys in any system = J is -1X, K is stop, L is +1X speed) and as you imagine the mix happening, you hit stop in the middle of it. Tricky with 12 and 18 frame mixes, and even more tricky with 4 second mixes, but can be done. Get a feel for it. Easier with still shots - try it with moving video :-) The outgoing and incoming shots sometimes don't mix (dissolve) well - crucial here to look at where the eye is going at the end of the outgoing shot because this is also where the eye will be in the incoming shot. Some shots will jar, so change the choice of incoming. Experience will benefit here. Practice. Nothing wrong with Derby's slideshow, but we strive to improve, right? This could be so much better - if the desire is there to move it on into something stellar. Hope you don't mind the words Derbs. Cheers .02 (frames ;) -- Cheers, Cotty ___/\__ || (O) | People, Places, Pastiche ---------- http://www.cottysnaps.com _____________________________ -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
