Is it true this is how it all started!!

08/18/2007 06:34:54 AM · #1

Is it true this is why photography started! To catch if all four limbs of a horse leave of the ground at the same time

quiet_observation

Canon EF 70-200mm f/2.8L IS USM

08/18/2007 06:40:25 AM · #2

No, not true.

08/18/2007 06:48:22 AM · #3

timeline

1877: Eadweard Muybridge, born in England as Edward Muggridge, settles "do a horse's four hooves ever leave the ground at once" bet among rich San Franciscans by time-sequenced photography of Leland Stanford's horse.

08/18/2007 06:52:52 AM · #4

Originally posted by quiet_observation:

No, not true.

Ohhh â�¦. Sorry I meant cinematography

08/18/2007 06:54:41 AM · #5

cinematography, possibly.

bdenny

Sony DSC-H5

08/18/2007 08:48:46 AM · #6

This is what I found here. This page is a very detailed history of photography and cinematography.

1872
EADWEARD JAMES MUYBRIDGE (1830 - 1904)
Muybridge uses a battery of 24 cameras to photograph a race horse owned by California Governor Leland Stanford. The resulting 24 pictures taken as the trotting horse raced past, was the beginning of what would become known as stop-action series photography. Muybridge would continue the study of motion and the theory of locomotion using animals, and later, humans. Muybridge's investigations into the gate of a horse at the Sacramento race track were inconclusive.

bdenny

Sony DSC-H5

08/18/2007 08:50:43 AM · #7

more...

1877-1878
EADWEARD JAMES MUYBRIDGE (1830 - 1904)
Stanford and Muybridge had discussed the idea of a horse's legs being off the ground or not, when trotting. To prove conclusively the truth, Muybridge rigged his cameras to photograph in stop-action, a series of pictures which showed that in fact, the four hooves did leave the ground at one point, at the same time. The cameras had been set along the track on the outer rim, with triggered shutters set at appropriate intervals. The horse was 40 feet from the camera and the exposure was 1/1000 of a second. The exposure was triggered electro-magnetically using wires across the track. This event has gone down in history as one of the most important moments in the story of moving picture development. The series was published later in 1881 under the title 'Attitudes of Animals in Motion'. A patent was granted for this method of stop-action series photography in 1897.

08/18/2007 09:24:07 AM · #8

the concept of the persistence of vision had been around for a time before muybridge. flip books, zoetropes , and thaumatropes, amognst many others, all predate muybridge. those would have contributed equally to the development of movies.

Message edited by author 2007-08-18 09:32:11.

Canon 12x IS USM (S3 IS built-in Lens) -- 36-432mm (35mm EQ)

08/18/2007 12:07:56 PM · #9

Originally posted by bdenny:

24 Twenty four. So that is from where we have 24 frames/second in movies. So, if he had used 26 cameras we would have 26 f/s now. hmmm!!

GeneralE

Canon PowerShot S3 IS

08/18/2007 12:42:29 PM · #10

Eadweard Muybridge archives at U. of Pennsylvania.

08/18/2007 12:59:49 PM · #11

Originally posted by HighNooner:

...24 Twenty four. So that is from where we have 24 frames/second in movies. So, if he had used 26 cameras we would have 26 f/s now. hmmm!!

that may have had something to do with it, but there are other factors at play. i'm pretty sure muybridge did some experimemtning first. see below

Film systems
Through experience in the early days of film innovation, it was determined that a frame rate of less than 16 frames per second (fps) caused the mind to see flashing images. Audiences still interpret motion at rates as low as ten frames per second or slower (as in a flipbook), but the flicker caused by the shutter of a film projector is distracting below the 16-frame threshold.

Modern theatrical film runs at 24 frames a second. This is the case for both physical film and digital film systems.

It is important to distinguish between the frame rate and the flicker rate, which are not necessarily the same. In physical film systems, it is necessary to pull down the film frame, and this pulling-down needs to be obscured by a shutter to avoid the appearance of blurring; therefore, there needs to be at least one flicker per frame in film. To reduce the appearance of flicker, virtually all modern projector shutters are designed to add additional flicker periods, typically doubling the flicker rate to 48 Hz (single-bladed shutters make two rotations per frame - double-bladed shutters make one rotation per frame), which is less visible. (Some three-bladed projector shutters even triple it to 72 Hz.)

In digital film systems, the scan rate may be decoupled from the image update rate. In some systems, such as the Digital Light Processing (DLP) system, there is no flying spot or raster scan at all, so there is no flicker other than that generated by the temporal aliasing of the film image capture.

The new film system MaxiVision 48 films at 48 frames per second, which, according to film critic Roger Ebert, offers even a strobeless tracking shot past picket fences. The lack of strobe (as opposed to flicker) is due to the higher sampling rate of the camera relative to the speed of movement of the image across the film plane. This ultra-smooth imaging is called High motion. It is critical for sports and motion simulation, but unpopular for drama.

08/19/2007 05:11:40 AM · #12

xianart You seem to know so much here!! what about video filming? If you have information.
Thanks