You’ve Got the Moves, We’ve Got the Motion – Understanding and Designing for Cinematographic Camera Motion Control

Optimised coordinate generation for Arduino-based focus and motion control system for deployment in time-lapse photography

“…Access to FMCS' would remain exclusive to only the largest Hollywood production houses due to the exorbitant cost, complexity and sheer bulk of the complex tools needed to facilitate control and movement of the camera [11]. This would remain the status quo until the emergence of digital single lens reflex (DSLR) cameras that were capable of recording video shortly after the arrival of the 21 st Century [15].…”

“…Examples  Optimised coordinate generation for Arduino-based focus and … (Johannes Jacobus Myburgh) 433 like the camera stabilizer by Bryan and Murray [22] or the motorized zoom control of Bagri and Flotov [23] do have potential artistic applications in photography, but these academic exploits are only rudimentary "proof of concept" papers that form part of undergraduate studies, with the projects never being refined to completion. The most definitive academic exploration in the application of SoCs like Arduino for creative application in photography is the works of Hoesl in collaboration with [11], [10], [24] which do mention the importance and impact of acceleration and deceleration during motion control for photography but do not offer insight into the process for facilitating this requirement.…”

“…The initial acceleration from a static position referred to as "ease-in", and the deceleration at the end of travel, referred to as "ease-out", fulfil the purpose of making focus adjustment and motion more subtle and less jarring to the viewer [10] as well as decreasing the mechanical forces on the drive system that can cause motion and vibration to become visible in the finale resultant. The speed, acceleration and deceleration of the motors facilitating change also offer the photographer control over the emotional and psychological reaction of the viewer to the resultant footage having a tremendous artistic impact on the footage [11]. This process of calculating the movement and its necessary vector changes is further complicated as multiple motors have to be deployed synchronously to facilitate the required motion and focus shift, with some motions needing to be continuous and linear while others will accelerate and decelerate to reach specific coordinates along the required travel path.…”

“…The non-linear acceleration and deceleration are required to render the resultant media with smooth transitions in focus or movement, which renders it more aesthetically pleasing and less jarring to the viewer [10]. S-curved, non-linear acceleration and deceleration are required for the FMCS to be deemed to perform at an adequate level to serve as a replacement for current commercial offerings [11].…”