133:
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384:. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that 'virtual cameras' could move around – rather than the static action in Gondry's music videos with limited camera moves.
483:, the camera path was pre-designed using computer-generated visualizations as a guide. Cameras were arranged, behind a green or blue screen, on a track and aligned through a laser targeting system, forming a complex curve through space. The cameras were then triggered at extremely close intervals, so the action continued to unfold, in extreme slow-motion, while the viewpoint moved. Additionally, the individual frames were scanned for computer processing. Using sophisticated
1485:
511:. Like the concept of bullet time, the subject could be viewed from any angle yet, at the same time, the depth based media could be recomposed as well as spatially integrated within computer-generated constructs. It moved past a visual concept of a virtual camera to becoming an actual virtual camera. Virtual elements within the Matrix Trilogy utilized state-of-the-art image-based computer rendering techniques pioneered in
251:'Time-Slice' Motion-Picture Array Cameras" which he developed in the early 1990s when still cameras for the array capable of high image quality for broadcast and movie applications became available. In 1997 he founded Time-Slice Films Ltd. (UK). He applied the technique to his artistic practice in a video projection, titled
266:
mounted thirteen 16mm film cameras on a specially constructed hexagonal rig that encircled the performers. The resulting footage was meticulously edited to create the illusion of the band members spinning in place while moving in real time. In the 1990s, a morphing-based variation on time-slicing was
416:
is considered to be the first true implementation of a bullet-time effect that enables the player to have added limited control (such as aiming and shooting) during the slow-motion mechanic; this mechanic was explicitly called "Bullet Time" in the game. The mechanic is also used extensively in the
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series with the introduction of high-definition computer-generated approaches like virtual cinematography and universal capture. Universal capture, a machine vision guided system, was the first ever motion picture deployment of an array of high definition cameras focused on a common human subject
469:
surrounding the subject. The cameras are fired sequentially, or all at the same time, depending on the desired effect. Single frames from each camera are then arranged and displayed consecutively to produce an orbiting viewpoint of an action frozen in time or as
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placed along a racetrack, and each camera was actuated by a taut string stretched across the track; as the horse galloped past, the camera shutters snapped, taking one frame at a time. Muybridge later assembled the pictures into a rudimentary
355:. Rigs of still cameras were set up in patterns determined by simulations, and then shot either simultaneously (producing an effect similar to previous time-slice scenes) or sequentially (which added a temporal element to the effect).
474:. This technique suggests the limitless perspectives and variable frame rates possible with a virtual camera. However, if the still array process is done with real cameras, it is often limited to assigned paths.
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When pressed into a tight spot, Max can activate Bullet Time, which will slow the action around him, while allowing him to aim his weapons in real-time. This ... even allows Max to dodge oncoming bullets.
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of the images); frames could also be dropped to speed up the action. This approach provides greater flexibility than a purely photographic one. The same effect can also be simulated using pure
195:. In 1878–1879, Muybridge made dozens of studies of foreshortenings of horses and athletes with five cameras capturing the same moment from different positions. For his studies with the
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techniques to capture scenes and render images of novel viewpoints sufficient for bullet time type effects. More recently, these have been formalized into what is becoming known as
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and other special media. It is characterized by its extreme transformation of both time (slow enough to show normally imperceptible and unfilmable events, such as flying
1022:
255:
in an ironic reference to
Muybridge, that was exhibited at the London Electronic Arts Gallery in 1998 and in 2000 was nominated for the Citibank Prize for photography.
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trilogy have been often credited as fundamentally contributing to capture approaches required for emergent virtual reality and other immersive experience platforms.
449:, used high speed camera techniques to examine everyday occurrences and singular talents, including breaking glass, bullet trajectories and their impact effects.
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Like with The
Rolling Stones' video for "Like a Rolling Stone", which is already ten years old. I used morphing in a different way than it was used at the time.
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combined these elements (gunfight action scenes, superhuman bullet-dodging, and time-slice effects), popularizing both the effect and the term "bullet-time".
174:(1878), Muybridge analyzed the motion of a galloping horse by using a line of cameras to photograph the animal as it ran past. Eadweard Muybridge used still
93:, would be capable of "filming" bullet-time types of moments. Technical and historical variations of this effect have been referred to as time slicing, view
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featured a scene that used computer-generated bullets and slow-motion footage to illustrate characters' superhuman bullet-dodging reflexes. The 1999 film
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effects, digital compositing, and computer-generated "virtual" scenery were used to improve the fluidity of the apparent camera motion. Gaeta said of
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Animal locomotion : an electro-photographic investigation of consecutive phases of animal movements : prospectus and catalogue of plates
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commercial the effect was used to depict slow-motion bullets being dodged. Similar time-slice effects were also featured in commercials for
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The technique of using a group of still cameras to freeze motion occurred before the invention of cinema itself with preliminary work by
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49:
or visual impression of detaching the time and space of a camera (or viewer) from that of its visible subject. It is a depth enhanced
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In 1980, Tim
Macmillan started producing pioneering film and later, video, in this field while studying for a BA at the (then named)
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software, extra frames could be inserted to slow down the action further and improve the fluidity of the movement (especially the
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It is well-established for feature films' action scenes to be depicted using slow-motion footage, for example the gunfights in
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by George
Borshukov, an early collaborator of Debevec. Inspiration aside, virtual camera methodologies pioneered within the
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205:(1887), Muybridge also took photos from six angles at the same instant, as well as series of 12 phases from three angles.
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series, combining it with squad-based enemy design encouraging the player to use bullet time to avoid being overwhelmed.
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using 16mm film arranged in a progressing circular arrangement of pinhole cameras. They were the first iteration of the
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77:—to move around the scene at a normal speed while events are slowed). This is almost impossible with conventional
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183:, by having them traced onto a glass disk, rotating in a type of magic lantern with a stroboscopic shutter. This
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216:, who, in the 1940s, captured now-iconic photos of bullets using xenon strobe lights to "freeze" motion.
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A 97, jumping; B 98, hand-spring; C 98, somersault; D 99, Somersault; E 99, spring over man's back
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81:, as the physical camera would have to move implausibly fast; the concept implies that only a "
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Galloway, Alexander R. 2014. "Polygraphic
Photography and the Origins of 3-D Animation". In
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291:(which was directed by M. Rolston and again produced by BUF), and in feature films such as
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223:. One of the earliest examples is the shot at the end of the title sequence for the 1966
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Animal
Locomotion. Plate 172. Model 12. Stepping up on a trestle; jumping down, turning
85:", often illustrated within the confines of a computer-generated environment such as a
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546:. FTV is effectively the live action version of bullet time, without the slow motion.
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703:. Cornell University Library. Philadelphia : Printed by J.B. Lippincott company.
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The bullet time effect was originally achieved photographically by a set of
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Another precursor of the bullet-time technique was "Midnight Mover", a 1985
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817:, edited by Karen Beckman, p.67, n.17. Durham, NC: Duke University Press.
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Rehak, B. (2007). "The migration of forms: Bullet time as microgenre".
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The
British Journal of Photography (Archive: 1860–2005), 145(7283), 4.
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films it has become a commonly applied expression in popular culture.
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The term "bullet time" was first used with reference to the 1999 film
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video. In this video, Academy Award winning special effects director
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654:. The Game World: Bullet Time. PC CD ROM version. 2001. p. 19.
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A row of small cameras set up to film a "bullet time" effect
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120:. In the years since the introduction of the term via the
584:"Frozen f/x still in action: There's less love for morph"
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For artistic inspiration for bullet time, I would credit
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406:, released in March 1999, featured slow-motion effects,
1046:"The Remarkable Achievements Of A Game Called F.E.A.R."
856:"'How My Brain Works': An Interview with Michel Gondry"
721:. Berkeley, California: University of California Press.
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380:, which definitely blew me away, along with director
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Bullet-time as a concept was frequently developed in
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53:of variable-speed action and performance found in
933:"200 Things That Rocked Our World: Bullet Time".
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652:Max Payne: Official Police Dossier (game manual)
837:"Accept Remembered – Discography – Metal Heart"
737:Library of Congress, Washington, D.C. 20540 USA
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69:), and of space (by way of the ability of the
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426:Bullet time was used for the first time in a
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759:. Edgerton Digital Collections. 2009-11-28.
530:For many years, it has been possible to use
1013:"15 things you didn't know about Max Payne"
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443:The popular science television program,
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992:from the original on September 1, 2012
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632:from the original on December 23, 2019
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1025:from the original on January 10, 2018
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347:version of the effect was created by
1057:from the original on 3 December 2016
966:from the original on 16 October 2016
956:"A videogame history of bullet-time"
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502:Bullet time evolved further through
1083:. November 24, 2009. Archived from
582:Argy, Stephanie (21 January 2001).
13:
1555:Max Payne 2: The Fall of Max Payne
782:Tim Macmillan Early Work 1980–1994
507:(actor, Neo) in order to create a
303:(1998) and the television program
14:
1680:
954:Porter, Will (1 September 2010).
594:from the original on 3 April 2012
187:may have been an inspiration for
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1011:Loveridge, Sam (July 23, 2016).
986:"Requiem: Avenging Angel Review"
430:environment in October 2009 for
57:, broadcast advertisements, and
1077:"Creed Announce First Live DVD"
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866:from the original on 2013-01-22
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271:and the visual effects company
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1044:Burford, GB (5 January 2013).
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719:The Edison Motion Picture Myth
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330:. Subsequently, the 1998 film
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988:. Gamespot. April 25, 1999.
620:Green, Dave (June 5, 1999).
374:, who co-wrote and directed
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1462:The Official Matrix Exhibit
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208:A debt may also be owed to
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236:: as Speed leaps from the
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101:(French: "dead time") and
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396:. While some games like
519:and custom evolved for
403:Requiem: Avenging Angel
275:in the music video for
191:to explore the idea of
1664:The Matrix (franchise)
1355:Red pill and blue pill
1190:The Matrix Revolutions
556:Time-lapse photography
542:, FTV was not a fully
538:(FTV). At the time of
509:volumetric photography
499:and other approaches.
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103:virtual cinematography
943:: 136. February 2006.
815:Animating Film Theory
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267:employed by director
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135:
1236:The Matrix Revisited
1087:on January 10, 2010.
922:on January 18, 2013.
843:on 15 February 2002.
408:Remedy Entertainment
353:Manex Visual Effects
281:Like A Rolling Stone
1170:The Matrix Reloaded
757:"High Speed Camera"
410:'s 2001 video game
366:use of the effect:
264:Zbigniew Rybczynski
245:Bath Academy of Art
171:The Horse in Motion
21:Bullet Time (novel)
19:For the novel, see
1259:Fictional universe
787:2010-01-25 at the
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277:The Rolling Stones
162:Eadweard Muybridge
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142:(1887) Plate 522.
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1447:The Matrix Comics
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733:"Horses. Running"
715:Hendricks, Gordon
622:"Better than SFX"
544:mature technology
283:", and in a 1996
202:Animal Locomotion
166:chronophotography
139:Animal Locomotion
59:realtime graphics
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1381:Enter the Matrix
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1623:Bullet time
1593:Other media
1562:Max Payne 3
1470:MultiVersus
1454:The Meatrix
1397:Path of Neo
1373:Video games
1338:Bullet time
1018:Digital Spy
669:"Max Payne"
588:Variety.com
472:slow-motion
394:video games
300:Buffalo '66
297:(1998) and
233:Speed Racer
79:slow motion
63:video games
39:flow motion
27:Bullet time
1638:Categories
1572:Characters
1312:Persephone
1267:Characters
1202:soundtrack
1182:soundtrack
1162:soundtrack
1150:The Matrix
1127:The Matrix
1061:2 December
1029:January 9,
970:2 December
960:GamesRadar
870:2012-07-30
767:2009-11-28
742:2022-08-11
683:2014-07-28
628:. London.
562:References
540:The Matrix
521:The Matrix
504:The Matrix
489:frame rate
480:The Matrix
453:Technology
437:Creed Live
428:live music
390:The Matrix
388:Following
361:The Matrix
349:John Gaeta
342:The Matrix
338:The Matrix
322:) and the
253:Dead Horse
212:professor
153:Muybridge
136:Muybridge
111:The Matrix
99:temps mort
51:simulation
43:time slice
1579:Max Payne
1548:Max Payne
1532:Max Payne
1436:Matrixism
1423:Accolades
780:Video of
446:Time Warp
413:Max Payne
326:films of
238:Mach Five
181:animation
117:Max Payne
35:dead time
1584:Mona Sax
1489:Category
1331:Features
1292:Morpheus
1287:Keymaker
1055:Archived
1023:Archived
990:Archived
964:Archived
864:Archived
791:on Vimeo
785:Archived
761:Archived
717:(1961).
677:Archived
630:Archived
592:Archived
550:See also
420:F.E.A.R.
328:John Woo
285:Smirnoff
225:Japanese
95:morphing
1616:Related
1431:defense
1416:Related
1405:Awakens
1317:Trinity
1213:(2021)
1193:(2003)
1173:(2003)
1153:(1999)
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939:(200).
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289:The Gap
230:series
176:cameras
128:History
67:bullets
61:within
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1465:(2003)
1457:(2003)
1429:Matrix
1408:(2021)
1400:(2005)
1392:(2005)
1389:Online
1384:(2003)
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1275:Agents
1247:(2003)
1239:(2001)
1050:Kotaku
936:Empire
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470:hyper-
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260:Accept
122:Matrix
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1280:Smith
1228:Other
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1197:score
1177:score
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432:Creed
377:Akira
333:Blade
228:anime
168:. In
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1600:Film
1360:Zion
1142:Main
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972:2016
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