That's working better for me, Derby, and the presentation is very good. The pacing is about right I think.
However streaming is still falling behind so it halts on me every 5 images or so. Minor thing: you have the video frame sized for 16:9 but none of the images are HD aspect ratio so there's always letter-boxing. You might consider doing a close-up crop every few images to fill that frame. It's unfortunate that HD is not a great format for exhibiting photographs. SLR landscape format images (3:2) don't fill the frame, and they become very small in portrait orientation. Idea: pair two complementary portraits side-by-side now and then and double the pause time before the transition. Keep up the great work. I'm very interested to see how this all works out. On Tue, Jan 8, 2013 at 3:50 AM, Derby Chang <[email protected]> wrote: > > This is one of the best advice posts on PDML I've had. So true. I was > concentrating on the delivery vehicle, and missed working on the payload. > Going with the gut is how it should be. > > Not perfect yet, and I won't pollute the list with future iterations, but > here is my current cut > > http://members.iinet.net.au/~derbyc/13/01/intimate_show/index.html > > Cheers, Cotty > D > > > > > > On 5/01/2013 9:59 PM, Steve Cottrell wrote: >> >> On 4/1/13, Derby Chang, discombobulated, unleashed: >> >>> Retinstated files up now. Durrr, I realised VLC does OGG encoding - all >>> this time I thought it was just a player >>> >>> http://members.iinet.net.au/~derbyc/13/01/intimate_show/index.html >> >> If I may. >> >> Rather than selecting a constant value in seconds between each mix >> (picture mix - dissolve if you like) why not select the transition point >> by feel. This is very hard to do because sometimes one gets so close to >> it one loses the plot. the trick is to go with gut reaction then leave >> it and look later. My gut reaction is that the individual stills are far >> too short. Four seconds is simply not enough time to see the still. If >> this means only including the strongest pictures to maintain overall >> length, that can be a good thing. >> >> Actual transition length should also come from the heart. And it is >> quite possible that some images will mix through in shorter duration, >> some even longer - depends on the images. When I use a mix, I look to >> where my eye goes first as it leaves the outgoing shot. >> >> As for estimating length of a shot and how long the transition takes to >> the next - I do it by feel. That is, I will watch a shot in real time >> (obviously my shots are usually moving and not still, but not always so) >> and then as I feel the transition point approaching, where I would like >> the mix to happen, I close my eyes slightly, almost like squinting (as >> if that is the transition happening) for the duration of the transition >> - eg say a 3 second mix. With my finger hovering over the stop button I >> pause it. (most editing software is known as 'JKL' because the K key is >> stop, the 'J' key is backwards at X1 [eg real time] and the 'L' key is >> forwards at X1 speed [real time] and the more you press J and L the >> faster you go in each direction. So I can alternate between J K and L to >> go forward, stop, then if I'm not certain I go backwards a bit, stop, >> then forwards again to have another 'imaginary transition'. This is just >> as you would do it on a film editing Steenbeck machine. >> >> Once the transition is visualised in the mind, it's just a case of >> finding the middle of it. I do this in real time, eyes dimmed, and smack >> the K key (although I always go back 2 frames as I've discovered over >> the years that from the moment your brain tells your finger to stop the >> player and actually hits the button to do it, it always seems to be 2 >> frames further on than thought. So in filming terms the hand is 2 frames >> late ;-) >> >> This system works for cuts also - in fact cuts especially. And to music. >> >> As an editor I always say to people that there is no rule it - the true >> test is that if it looks right then it is right. And always go for your >> gut reaction to anything. You will put two shots next to each other and >> watch them in juxtaposition, feel it's not quite right but leave it >> anyway for now, arse about moving the in points and out points about, >> then screw about with this and that, think it will do fine. Then much >> later when you look through again and it will be startlingly obvious >> that it doesn't work at all and you end up redoing the lot! Go with your >> heart ;-) >> >> BTW the audio, in this case the music, is much better - and as you have >> discovered is crucial to the look and feel. I think it works well. Just >> need a little longer on the pics :) >> >> HTH >> >> >> > > > -- > 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. -- -bmw -- 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.
