![]() To make things even more interesting: Our cameras had no shutter. After testing and a lot of math, we landed on four 2400w strobes. Especially since I wanted to shoot in a black-painted studio to create a disconnected and high-contrast feeling. This meant that, in order to create enough light to make an image without a long exposure, we needed a lot of power. So we needed to freeze just a single moment, in order to make a legible 360 degree skate photo. However, that doesn’t work with skateboarding, since a long exposure would just make a blur. ![]() The reason: it’s effectively a lens with a very small aperture, meaning that you need a ton of light to make an image. What were the technical challenges that setup created and how did you mitigate those?Ī pinhole camera is usually exposed with a long exposure, in daylight. We wanted our FOV to be as wide as possible, so each camera resulted in a panoramic 12-perf frame on 35mm. Then he and Nico de Miranda made the plans, and actually made the damn thing! It resulted in 104 pinhole cameras in a seven foot diameter, and 21 foot circumference. Who took the reins in creating the camera setup?Įric Schleicher, the DP, took the reins to figure out a wide-angle pinhole camera, something we hadn’t seen before, that would feel like a new take on the familiar lensing for skateboarding photography. So in the end, we were certainly not the first to ever play with this technique, and built on the backs of other great artists, like Macmillian and Bison. I thought up this concept: bullet time, exposed along a single strip of film.Īs we went further down the road to figuring out our process and toward production, we found further projects that had also been built on Tim’s ideas, like Bison’s video for London Grammar’s Wasting My Young Years. He was the innovator whose work and ideas inspired and led to bullet time being used in the Matrix films, etc. And I soon discovered that this technique had been pioneered in the 1980s by an artist named Tim Macmillan, in a series called Time-Slice, and was awed by what he accomplished. But of course, in 2021, just about everything has been done before. I was really excited after I first ‘invented’ the pinhole idea as a way to freeze skating, and started trying to figure out how exactly it would be possible. Muybridge’s work was an inspiration for the look and feel, as was the Nine Inch Nails’ video Closer by Romanek, its raw feel.Īfter thinking up a unique concept like this, what are the next steps in bringing it to life? So I’d been playing around with other ideas to explore this frozen analog world with skating a little more when I thought up this concept: bullet time, exposed along a single strip of film. I’ve experimented before with analog bullet time using a bunch of camcorders of various tape formats, as well as a few different styles of freezing time with skateboarding from multiple angles. A paradox! The effect is also known as ‘temps mort’ (dead time) & ‘virtual camera’, with various companies advertising under names such as ‘Timetrack’, ‘Multicam’ & ‘Big Freeze’.Where did the idea for a bullet time infused skateboarding video come from? The profound revelation was that while the viewer experienced a move through space, time was frozen. The result was a tracking shot through a space. ![]() A simple shutter over the magnetic tape then provided the means of exposure. The first camera involved a length of 16mm film negative, clear Perspex spacers providing a focal length and a strip of opaque 16mm cine magnetic tape with a pinhole drilled into each frame. The multiple camera concept then made a lateral leap to being applied to cine film. Initially using hand-made photographic emulsions and photo grams, he went on to create a series of cameras creating multiple viewpoints of a space which were then collaged together. Originally a painter, Macmillan was interested in combining Cubist theory with contemporary technology. The ‘Time-Slice’ camera was first devised in 1980 by Tim Macmillan at Bath Academy of Art during his BA.
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