Great to have some professional advise! It will be a while before I try anything as ambitious as Derby's, but it's nice to have a starting point of view. Regards, Bob S.
On Tue, Jun 15, 2010 at 6:46 AM, Cotty <[email protected]> wrote: > 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. > -- 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.
