With the launch of cameras like the GoPro HERO10 Black, it’s now easier than ever to shoot footage at high frame rates. While there’s a time and a place for the tech – like slow-mo or sports – filmmaker Mark Bone explains why our eyes gravitate to the more cinematic look of lower frame rates like 23.98 or 29.97 fps.
Back in the 1980s, the demoscene was all about creating cool motion visuals and music using the computers of the day. Engineer Matthias Kramm figured out a way to create an old-school demo without a computer by hacking the output of an old Commodore 1541 floppy drive into a video signal. More details on his blog.
Fractal images are generally made with math algorithms on a computer. But it turns out that there was a way to create fractal images in the 1930s using multiple cameras and projectors. CodeParade explains how these analog patterns would have worked, and how to simulate them with a webcam and a monitor.
Bitluni’s Lab continues to upgrade his DIY video wall project by supersizing it to 1920 ping pong ball pixels, each illuminated by an RGBW LED. With its latest circuit, it can stream live video at up to 74fps. Unlike the prior versions, he didn’t have to drill tons of holes, and it’s made up of multiple small panels instead of one big one.
South Korea-based creative studio d’strict created this cool public art display that uses a series of wrap-around screens to make it look like ocean waves contained in a giant box. Of course it helped that they had a massive set of ultra high-def LED displays built by Samsung at Seoul’s equivalent of Times Square.
It doesn’t matter if you’ve got the most expensive display you can buy, gradients of color in dark scenes often look like a blocky mess. Tom Scott offers a great explanation of the technological limitations that cause these issues, and the visual mechanisms that make them less noticeable in brighter scenes.
This fascinating clip by video artist Yuge Zhou and sound designer Stephen Farrell was created from hundreds of video clips shot in NYC’s subway stations, then assembled together into concentric squares. It was designed for a top-down projection mapping installation, but it’s just as intriguing flattened.