Category Archives: Traditional

Rarely i’ll do something away from my computer!

Timelapse Photography – Post Production

After returning back, I was responsible for processing the images while Suzanne was responsible for compositing them in Premiere. Shooting in RAW format with the camera produced both JPEG and CR2 versions of each image;


I opened the CR2 files in the Photoshop RAW editor, then adjusted various settings on the first photo to improve on the current parameters, with minimal quality loss due to the type of format used which essentially retains raw data for the image, such as exposure and colour temperature.


I saved the setting as an .XMP file which was a significant improvement to workflow efficiency – as I could then apply the same settings used for the first image, to all other RAW images in the sequence. I batch exported the images as JPEG files for use in Premiere, and uploaded these to our shared OneDrive (, 2014) folder in order for Suzanne to access them easily. She began to arrange the first batch of images – the tide – in Premiere while I switched to my Linux machine and accessed the sunset images from OneDrive. Using the terminal I installed the ImageMagick (ImageMagick LLC, 2014) package and used the “mogrify -scale” command to resize the images, then after using “identify *.jpg” to confirm the operation, the “mogrify -gravity North -crop” command to crop all the photos, anchored at the top (or North) of the images.


The benefit of using the terminal for this task was solely the speed of the operation; using a wildcard (*.jpg) I was able to crop all the .jpg images present in the folder at once, as well as overwrite the originals simultaneously. Having done this I went back into Windows 8 to use Photoshop, applying an Unsharp Mask filter to all the images to improve contrast. I finished by replacing the unprocessed images on OneDrive with the new cropped and processed ones ready for compositing in Premiere.


Sources: 2014. Microsoft OneDrive. [online] Available at: [Accessed: 25 Mar 2014].

ImageMagick LLC. 2014. ImageMagick: Convert, Edit, Or Compose Bitmap Images. [online] Available at: [Accessed: 25 Mar 2014].


Timelapse Photography – Production Attempt #2

We left for the beach at 6am, armed with a Canon 50D and a tripod. Having done some prior research we were under the impression that despite the thick layer of fog engulfing Bournemouth that the sun might diffuse through (MyKM5D, 2007) it and still provide material for a timelapse, albeit without the effect of the sunrise reflecting through the clouds (as there were none due to the smooth layer of fog). Upon arrival and waiting eagerly until 6:23am (the time estimated for sunrise in Bournemouth) we unfortunately found the sun was not visible, at all, nor any light emitted by it. We decided to walk to the end of the pier and attempt a timelapse of the tide instead, framed by a few jetties along the shore.


Considering the lack of sun and the abundance of grey fog, we changed our tactics and aimed for a much colder atmosphere with the shots of the sea. We achieved this by adjusting the white balance and colour temperature to a much cooler parameter, as well as using a longer shutter speed in order to give a “lazy”, smooth, blended type of appearance to the sea – a slow one, to accompany the dull grey colour overall. We incorporated the rule of thirds both vertically and horizontally using the pier as a subject. The fog produced a nice gradient as it blended with the horizon of the sea, contributing towards the “dreamy” effect of the image.

The final video can be viewed on Suzanne’s YouTube account here:


MyKM5D, 2014. Wunder Blog | Weather Underground. [online] Available at: [Accessed: 25 Mar 2014].

Timelapse Photography – Production #1

In response to the self-initiated design project brief, me and Suzanne Niccolls decided to collaborate on a short 2-day timelapse photography and subsequent image processing project. I was to be responsible for image processing while Suzanne was in charge of compositing the frames in Adobe Premiere. We checked online before leaving and the time of sunset was estimated to be at around 6:08pm. We arrived in time however a lack of proper planning meant our view of the sun was blocked by trees, as well as impaired by fog.


In an effort to solve this the next time we attempted a timelapse shoot we researched where the sun would be, as well as checking the weather in advance. Another issue was the camera being on auto mode, wherein it adjusted the shutter speed and aperture itself – based on how much light the light sensor was receiving. The result of this was the same amount of light in each photo, eventually over exposing the clouds.


We learned from these shortcomings however and applied our new-found knowledge in the next attempt – shooting sunrise the next morning. We continued the shoot however for the experience gained, and shot an image every minute for 30 minutes using the tripod.

The final video can be viewed on Suzanne’s YouTube account here:

Beach Timelapse

Collaboration project!

Suzanne Niccolls

Tom Hawkins and I ( decided to do another time-lapse when we found that the sunrise time-lapse was not possible.  We decided to do a time-lapse of the sea with the tide coming in and out. The weather on this day 14th March was very foggy therefore we had to change the settings on the camera and adjust the focus accordingly.

When we got back Tom cropped the photos and edited them on Photoshop and then sent them over to me over One Drive. I then put the photos together on Premiere pro adjusting the size of the photos to the viewpoint and the speed of each photo in sequence. I went onto to find a track to fit to this beach time-lapse and downloaded it via youtube converter the song I chose for this time-lapse was ODESZA – Sun models (feat. Madelyn Grant). I felt the…

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SpinnerScope Animation task

As part of our media showcase project we explored the concept of animation – and as with anything, it could be argued there is no better way to begin than by putting the discipline into context and looking at how it began.

Having looked at traditional animators and their animations (, 2014), I began to sketch out some basic sequences to understand the basic premise of animation, and to explore how best to illustrate different cycles for realistic playblack – using more dated methods such as a SpinnerScope and a flipbook to play them back. As a result of this, it meant the cycles I created had to be exaggerated to playback with enough clarity to be recognisable, as well as realistic in terms of velocity, direction, and general physics, in order to look right.

The main problem I found when making simple sketches by hand, with no references, was in some cases predicting the path of the object in focus – for example when drawing a cycle of a leaf blowing in the wind it was sometimes difficult to decide how the leaf would warp and rotate in the wind – as well as depicting the wind itself to give some context as to why the leave was moving. Representing the wind visually also was useful in backing-up the movements of the leaf.


I made a more successful short animation of a simple bouncing ball – with a lot of flex when the ball makes contact with the surface to ensure it is made obvious that the ball is falling at speed, contracting, then expanding again and carrying energy into the next bounce. I tried to show a similar effect with my first attempt – a car jumping over a gap – by showing marks where it landed to emphasise how the springs and dampers in the vehicles suspension system would compress to absorb the shock.Image

I made a low quality preview of the bouncing ball in order to demonstrate the fundamentals of animation:


Sources: 2014. The History of Animation. [online] Available at: [Accessed: 25 Mar 2014].

“Alphabet photography” – Taken with Lumia 820

One of our suggested design projects was a brief task involving creative photography in Bournemouth; looking for letter forms in man-made and natural scenes. I used my phone to take a selection of snapshots, as it could be argued the importance of the exercise lay not in the technical production value of the images, but the creativity involved in interpreting different subjects to look as though they are letters. The task helped greatly in terms of learning how to make creative use of the environment and how to shift how one views the opportunities around them in different ways, and utilise them as such in order to become relevant to the problem that needs to be solved. I am not planning to develop this exercise any further than I have in this post as I see it more of an exercise to assist how the given assets in a situation can be creatively utilised, for different purposes; and I have certainly benefitted from it in terms of how the mindset can be applied to various digital environments and disciplines.


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I made a quick composition in Photoshop to illustrate the effect;


In much of a similar fashion to the “Restriction” test pieces I posted minutes before – this accompanies the A2 final projects I completed earlier this year and represents the manipulation of human free will in a sense, and thus are manifested in varying forms within these test pieces from the book shying away delicate, tell-all, private pages away from the cameras, to the road signs and numbers which must be obeyed in the center of the image, to the images representing instructions to be followed and paths to be taken at the end of the image. While few of these test images may not look especially similar or as comprehensive as the final piece to which they relate, I made good use of them as explorations of a concept and how it could be expressed in a visual form, which I used to inform the composition and content of my final piece.

Thanks for reading, and I believe this post will conclude my short series on the work I did at sixth-form!