What is there yet to be said about The Shining, let alone the mastermind behind it, Stanley Kubrick? Not much, so I talk instead a little about the technique used creating this animation, which is Camera Mapping (or Camera Projection).
To find a suitable frame for proper Camera Mapping is an art form in itself. Protip: Primarly avoid images containing lens flares, smoke and other particles, reflections / refractions, and overlapping complex geometry, especially when located in near the camera. They will hurt you at some point in the process.
Once the right frame/image has been found, the first challenge is to figure out the dimensions of the given space, and determine the focal length of the camera being used. I personally did not use any additional information concerning the spaces (like blueprints or making-ofs), other than previous and following frames in the film (which helped a lot), so I pretty much relayed on my own perceptual judgment when constructing the geometry.
Finally the overlapping parts must be photoshopped so that in the end everything comes together without any seams or texture repetition. The Content Aware Fill feature found in Photoshop CS5 is a Godsent for this type of work.
The reason why I’m so fascinated by Camera Mapping is the way it enables, in a sense, rebuilding physically long-gone spaces and situations by using relatively simple geometry coupled with a little bit of photoshopping. And the ultimate pay-off that comes with it, if done right, is the possibility for near photorealistic, but more or less limited, interaction. The most obvious interaction, of course, is dollying the camera into the frame, which creates something of an elaborate Ken Burns effect, if you will.
It seems that Stanley Kubrick, even when passed away, continues to push people to do strange things with his work, and mine was partly inspired by Rob Ager’s spatial study of impossible spaces in The Shining (http://tinyurl.com/3tzjwwx). Even though Ager’s points often miss the idea of film-making, in that many seemingly artistic decisions originate out of convenience or necessity, it’s a fascinating illustration of how far and beyond one can go when studying work of an established genius.
So, it’s highly untypical for me to do a piece like this out of my own enjoyment that basically repeats itself in such a fashion, producing a fare amount of monotonous effort as an effect. Granted, it was grinding, even frustrating, at times to get the textures and geometry right. However, I did manage to carry it through with acceptable results, perhaps like Shelley Duvall, because of Stanley.
Uniendo la técnica timelapse y la fotografía astronómica se logra captar la verdadera belleza del paisaje y el cielo nocturno en un mismo vídeo, reproduciendo de forma real pero acelerada el movimiento del cielo. Lo que ocurre en horas o días podemos verlo en segundos. Lo que el ojo no puede ver por falta de luz, lo podemos captar y mostrar en forma de vídeo con unos colores y matices imposibles de captar durante el día.
Todos los vídeos son reales, los paisajes, estrellas, constelaciones, vía láctea etc se han grabado usando técnicas de obtención de imágenes astronómicas y sistemas especiales (grúas y raíles) para lograr el efecto de movimiento del paisaje y cielo en la misma secuencia.
Todas las escenas están grabadas por la noche, la única luz que ilumina el paisaje es el de la Luna y en ocasiones, algunos pequeños focos.
Mi más sincero agradecimiento al Parque Nacional del Teide (Tenerife) por autorizarme a grabar en zonas de acceso restringido y al Instituto de Astrofísica de Canarias en sus Observatorios e instalaciones.
La música usada es el excepcional tema "La Búsqueda de Ianna" de Epic Soul Factory.
El Cielo de Canarias "The Light of Stars" (with making of)
Daniel Lopez elcielodecanarias.com
Uniting timelapse and astronomical photography, we can captures the true beauty of the landscape and the night sky in one video, playing in a real but accelerated movement of the heavens. What happens in hours or days we can see it in seconds. What the eye cannot see because of darkness, we can capture and display as a video with colors and nuances impossible to catch during the day.
All videos are real, landscapes, stars, constellations, Milky Way etc. have been recorded using imaging techniques and astronomical special systems (cranes and rails) to achieve the effect of motion of the landscape and sky in the same sequence.
All scenes are recorded at night, the only light that illuminates the landscape is that of the moon and sometimes a few small foci.
My sincere gratitude to the Parque Nacional del Teide (Tenerife) for permission to filming in restricted areas, and the Instituto de Astrofísica de Canarias in their observatories and telescopes.
The music used is the unique theme "La Búsqueda de Ianna" Epic Soul Factory. jamendo.com/es/track/732520
The scenes was recorded in the Parque Nacional del Teide (Tenerife) and the Observatorio del Roque de los Muchachos (La Palma). Where they join one of the best skies in the world with a unique landscape.
'Make_A_Noise' by KATIE HERZIG is licensed by the Music Bed
29 Ghosts IV
By: Nine Inch Nails
'29 Ghosts IV' is licensed under a Creative Commons Attribution Non-Commercial Share Alike license. ghosts.nin.com/main/faq
Also thanks to Chris Angeles for loaning me his jib!