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Thanks, Karl and Herschel. The capture frequency was dictated by feedback from the work site which was monitored, remotely, on a daily basis and set, again remotely, anywhere from 1/hr to 1/min.
Site-specific time-lapses were generated from a stationary tripod radio triggered by me when taking stills. As an example, see last frame of this short time-lapse: http://www.lle.rochester.edu/images/movies/GCCtableLarge.swf The outdoor images were from a fixed location, mostly from a telephone pole; the indoor images were captured at a height of about 12 feet (approx. 3.6 m). Although I was able to migrate a hand full of on-site takes into several shorts, the problem lay in eliminating all those images taken over night. I procrastinated with the 203,000 images until I learned of and
-op (and we use many of them here) from a real job (working with optics) who utilized a specific algorithm to generate the final movies within a week. eugene P.S., for those of you in NYC who might require a talented indie cinematographer and with whom you can easily get along, the aforementioned RIT co-op, John Arthur Kelly, BFA Film & Animation, took the big jump on his own and can be found at http://www.johnarthurkelly.com/ On 22 Feb 2010, "Herschel@herschelmair" wrote:
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