Motion control photography

<h2 id="history">History</h2>
<p><a href="/facts/Miniatures_and_Models_for_Motion_Pictures/ySoCY0Mf">Modelmaking</a> for scenery has long been used in the film industry, but when a model is too small it often loses its illusion and becomes "obviously a model". Solving this by building a larger model introduces a dilemma: larger models are more difficult to build and often too fragile to move smoothly. The solution is to move the camera, rather than the model, and the advent of compact lightweight 35mm cameras has made machine-controlled motion control feasible. Motion-control also requires control over other photographic elements, such as frame rates, focus, and shutter speeds. By changing the frame rates and the <a href="/facts/Depth_of_field/xWo3J8b0">depth of field</a>, models can seem to be much larger than they actually are, and the speed of the camera motion can be increased or decreased accordingly.
</p><p>Early attempts at motion control came about when <a href="/facts/John_Whitney_(animator)/akHKkePX">John Whitney</a> pioneered several motion techniques using old anti-aircraft <a href="/facts/Analog_computer/3NhYoCML">analog computers</a> (<a href="/facts/Kerrison_Predictor/vINIrKbf">Kerrison Predictor</a>) connected to <a href="/facts/Servomechanism/lS3l6sY2">servos</a> to control the motion of lights and lit targets. His film <i>Catalog</i> (1961) and his brother <a href="/facts/James_Whitney_(filmmaker)/zgXEjRVr">James Whitney</a>'s film <i>Lapis</i> (1966) were both achieved with John's pioneering motion control system.  The 1968 film <i><a href="/facts/2001:_A_Space_Odyssey_(film)/yUhFQY8W">2001: A Space Odyssey</a></i> pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled <a href="/facts/Slit-scan/W3eBnAzM">slit-scan</a> photography, which required precise camera motion control during the exposure of single frames. 
</p><p>The first large-scale application of motion control was in <i><a href="/facts/Star_Wars_(film)/J4eECtTN">Star Wars</a></i> (1977), where a digitally controlled camera known as the <a href="/facts/Dykstraflex/fqLCGUrQ">Dykstraflex</a> performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error. The development of the Dykstraflex was led by <a href="/facts/John_Dykstra/tmDycDv8">John Dykstra</a>, who had numerous contributors, including Alvah J. Miller and Jerry Jeffress. In 1978, Dykstra, Miller, and Jeffress won the <a href="/facts/Academy_Award_for_Best_Visual_Effects/GgtNDdtQ">Academy Award for Best Visual Effects</a>.
</p><p>In the UK The Moving Picture Company had the first practical motion control rig. Designed and built in-house in 1981, it used the IMC operating system to control its various axes of movement. Peter Truckel, MPC's first in-house VFX supervisor, operated it for several years before leaving to pursue a career as a successful commercials director.
</p><p>The simultaneous increase in power and affordability of computer-generated imagery in the 21st century, and the ability for <a href="/facts/Computer-generated_imagery/ThJ2gh1X">Computer-generated imagery (CGI)</a> specialists to duplicate even hand-held camera motion (see <a href="/facts/Match_moving/BXCmYkd3">Match moving</a>), initially made the use of motion control photography less common.  However film producers and directors have come to realise the cost-saving benefit of using motion control to achieve the effects in a reliable and realistic way. CGI still struggles to be 100% photorealistic, and the time and cost to achieve photo-realistic shots far exceeds the cost of shooting the live action itself.
</p><p>With the resurgence of 3D as a medium motion control has also an important role to play, especially in the production of 3D background plates on scaled-sets. Using high resolution still cameras, backgrounds can be easily shot for further use with live action and CGI character animation.
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<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Dykstraflex/fqLCGUrQ">Dykstraflex</a></li>
<li><a href="/facts/Motion_capture/vy5ab34S">Motion capture</a>, the process of recording movement</li>
<li>Milo Motion Control Rig</li></ul>
<h2 id="notes">Notes</h2>

<h2 id="references">References</h2>

<ol>
<li id="fn:1"><p>Shermis, Boyd. "FXTC Motion Control". Archived from the original on 2018-03-28. Retrieved 2009-10-08. <a href="https://web.archive.org/web/20180328041219/http://www.fxtc.net/MoCo.html" target="_blank">https://web.archive.org/web/20180328041219/http://www.fxtc.net/MoCo.html</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li>
<li id="fn:2"><p>"Move 'n Shoot GmbH - film & photo camera rig systems". Retrieved 2009-10-08. <a href="http://www.move-n-shoot.com/au_rig_inventory_motorig1.html" target="_blank">http://www.move-n-shoot.com/au_rig_inventory_motorig1.html</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li>
</ol>

Motion control photography open-in-new

Motion control photography