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Slit-scan photography - Wikipedia.Golan Levin and Collaborators
From one's movement, the viewer seems as if rebuilt on the screen, permanently atomised and displaced. One dissolves in spirals, pixel, loops, and can, depending upon one's course of motion, for a short time completely disappear, as if one could from place to place 'beam oneself'.
Inevitably one goes into the 'away there play', is equally dismayed as pleased when disappearing and reemerging. The installation, in the context of the exhibition is produced as a video projection.
Another description of the work, from a museum exhibition about Mirrors, reports: "In Bill Spinhoven's installation, a video camera captures visitor's images and movements, and through computer processing, projects distorted manipulations of the same scene wiggled, twisted and contorted.
Eddie Elliott appears to be one of the first people to have researched how slit-scan techniques could be applied to digital video. As early as , he describes a variety of both utilitarian and playful uses of digital slit-scans, which he called "Video Streamers".
Elliott also created playful transformations of Streamers , such as the folding paper box template shown above. According to the Leonardo journal : "Another Time, Another Space consists of multiple video cameras capturing live video images of visitors; these images are then manipulated in different ways by multiple computers.
For example, the images may be manipulated through the scanning of each line in a given number of video frames and altering the time reference, creating time-lapse delays, slow-motion effects and time compression, or through scanning individual horizontal pixel lines within frame stacks and combining these as output. All of these processes could, theoretically, be achieved using traditional film-editing techniques, but not in real time.
Another Time, Another Space exploits the possibilities afforded by computer-manipulated real-time video technology. This live sculpting generates strange and beautiful distortions of time and spatial dimensions displayed upon a rig of viewing monitors.
The installation featured 15 video cameras, 30 computers, 30 video monitors, and a videodisk recorder. The comings and goings of people through the station were filmed by the cameras, and were manipulated in real-time by the computer to deform shape, time reference, and showing a different time-space environment on each monitor.
With tens of thousands of people passing through this public space every day, I wanted to make a piece with a highly participatory aspect which with anyone could easily interact and perform. A great many people, regardless of age or sex, stood before the installation and played with it, far exceeding any expectations of my expectations.
It was very rewarding. Instead of making installation, I used a huge monitor on a wall of a building at Shinjuku station in Tokyo. From the building, I used a video camera to take a picture of people who are walking around the station, and used the computer to transform the image. Usually, on this huge monitor, many commercial and music clips are shown all day long, and nobody pays attention. But, after I started this event, everybody stopped and began to enjoy to see themselves.
I think this is one of the major powers of interactivity. This event was broadcasted to all over Japan by national television NHK. See also Toshio Iwai's Morphovision project , which presents a unique form of three-dimensional slit-scanning. They then geolocate these objects virtually into the original locales, and 3D print these objects physically as tools for understanding space and cinema.
The external surfaces of these volumes are exactly equivalent to slit-scans produced from the pixels on the edges of the cinema frame. The artists write: "The project enables users to transform film sequences into interactive, virtual objects. This transformation is based on the camera parameters relevant to a particular film sequence on screen: movement, perspective, focal length.
The individual frames of the film are lined up along the path of the camera. The angle of the individual frames relative to the virtual camera path depends on the view from the actual camera, whilst the size of the individual frames depends on the focal length used.
Users are able to move about within time and space, interacting with the film objects. The final stage involved building an interactive installation and a material architectural model based on individual film objects. Ansen Seale Temporal Forms Waliczky and Szepesi derived sculptural 3D forms by treating the silhouettes of human performers, captured over time, as slices of generalized cylinders. These 'sculptures' were then displayed on screens in the form of virtual computer-graphic constructions.
This project was commissioned and co-produced by the ZKM, Karlsruhe. Barkenow writes: The timemirror is a project to explore what happens if you look through a mirror in four dimensions. In a mathematical sense a mirror not only reflects light. It reflects the axis of geometry. If you place the mirror in the special angle of 45 degrees you exchange two axes and you can see the object from the side.
But we have a fourth dimension: Time. If you place the mirror 45 degrees diagonally in space and time you exchange one of the space-axes with time. Under normal conditions you can see the whole object but only at one part of the time. Motion you create by comparing the recent picture with the previous. But through the timemirror you can see all time and motion of an object but only one layer of space.
This creates a completely different view with a fourth dimension included. You can not see the complete object.
Romy Achituv with Michael Naimark et al. Be Now Here [Interactive] Romy Achituv developed an interactive, slit-scan based browser for panoramic footage originally shot by Michael Naimark for Naimark's prior Be Now Here project. Naimark's original footage consisted of degree views of various World heritage Sites Timbuktu, Angkor Wat, Dubrovnik shot with a stationary but slowly-rotating camera.
Achituv writes: "The Be Now Here Interactive application is an experiment in imbedding a moving video image within a larger static visual context. It is also a prototype for an alternative structure for non-linear cinematic narrative.
As the active video window moves across the screen it leaves a visual trail, which is a trace of the time and space of the cinematic path. The user can maneuver back and forth through each scene creating and erasing moments in time, laying down a panoramic still that also represents a captured slice of time, then returning to view the scene unfold and come alive.
The application demonstrates the possibility for separating and independently controlling spatial and temporal cinematic elements within one narrative space. Romy Achituv Pixel Present Achituv writes: "In Pixel Present a pixel-wide video segment is stretched horizontally across a screen.
With each consecutive video frame, the image advances one pixel to the right, leaving behind a trace of the previous recorded segment. This simple capture technique creates images in which the conventions of representing Motion and Stasis are reversed. Representational space in these images is nullified and replaced by Time, mapped onto a spatial axis.
Moving the camera at varying speeds creates images with various densities of space. Paul Harter Swap , The artist created an interactive slit-scan installation which was first exhibited in and then updated and shown again in From his abstract, he writes, "Einstein's maths teacher first proposed the idea of space-time, a unified four dimensional model in which space and time were not separate elements but were made of the same stuff.
SWAP swaps one spatial dimension with that of time, cutting through the space-time continuum like a knife through a cabbage, revealing the intricate internal structure. The installation is based on the principle of chrono photography: movements are recorded in such a way that their course in time becomes visible in space.
The movement of the visitor in front of a camera is translated into a surprising video projection in which the body's movement becomes the condition for the legibility of the image. One of the installation's unique features is a beam actually, a thin vertical plane of light, produced by a static slide projector, which cuts the volume of the room.
Visitors who step into this beam are both illuminated by it as well as captured by the computer's camera. In this way the beam literally illustrates the "slit" of the slit scanner.
Reinhart has worked with digital slit-scanning techniques on a variety of time-based and interactive projects, including a film co-produced with director Virgil Wildrich. Reinhart writes: " tx-transform is a film technique invented by Martin Reinhart in which the time and space axes are transposed Martin Reinhart has been working on this technique and refining it since Elsewhere on his web site , he continues: "For a couple of years now, a new film technique developed by Martin Reinhart has been astonishing audiences at international film and multi media festivals: tx-transform.
No matter in which way one experiences the tx-technique - either by seeing the short film titled after the process, or in the form of the interactive tx-transformator - tx turns the familiar perception of time and space upside down. It opens up a universe of so far unimagined pictures. In addition to its artistic character, tx-transform also offers a commercial aspect. It represents a capable and professional tool for generating spectacular effects in high definition for feature films as well as commercials.
Reinhart has sought to claim patent protection for the slit-scanning technique. He writes: "The software for enabling the method is copyrighted by law. Fels et al. As an alternative, their work also permits the use of an unsual viewing sphere , whose surface indexes through the cubic video volume in a curved manner. These cutting surfaces can be moved and manipulated interactively, in real-time. The artists write: "Viewing video data along the X-T axis and Y-T axis has appeared in several forms in the literature.
The main distinctions this work has is that the cut plane or cut sphere used to view the video data can be moved to any angle and position in real-time. This provides an opportunity to interactively explore the video cube from many different angles to get both aesthetically interesting static images as well as motion effects.
Currently, a single cut plane or a cut sphere is supported. With the cut plane, investigation is like being able to move a window around the video cube to see all sides as well as inside the video data; hence the name video cubism. With the cut sphere, unusual images are seen as a curvature cuts through time and space.
Daniel Crooks Static No. According to his site, Crooks "began his Time Slice project in , exploring alternative models of spatio-temporal representation through the moving image. One of the main threads of this investigation is the formal treatment of time as a spatial dimension, as a tangible and malleable material.
Bryan Mumford Streak Photography 's. Bryan Mumford is an expert in high-speed and exotic still-photography techniques. Mumford created the images shown here through a process he calls "streak photography", in which a slit-scan-based image is constructed from multiple still images of an object on a slowly-rotating turntable. He writes that these images " The images I show here were created using the 'Time Machine' [ Mumford's precision camera-timing device, which he sells ], a programmable rotary table, and an Olympus E digital camera The image shown here is what I started with: an iris in a bottle.
The bottle is sitting on a rotary table. The rotary table is computerized and can be instructed to move by specific amounts. The Time Machine's flash output is used to trigger motion in the rotary table. The procedure is as follows: 1 take a picture of the iris 2 rotate the flower 1.
This process is repeated over and over until to pictures have been taken from all different angles. Camille Utterback Liquid Time Utterback writes: "In the Liquid Time Series installation, a participant's physical motion in the installation space fragments time in a pre-recorded video clip.
Beautiful and startling disruptions are created as people move through the installation space. The resulting imagery can be described as video cubism. To create this imagery Utterback's software deconstructs the video frame as the unit of playback. Christian Hossner Slit Scan Movie Tania Ruiz Gutierrez Spatiotemporal Gutierrez's doctoral thesis from Paris University is a comprehensive treatment of spatiotemporal imaging, and includes both an historical overview of relevant precedents as well as documentation of several of the artists' own computational projects.
About the projects shown above, Gutierrez states, "These tri-dimensional objects, obtained through the volumetric interpretation of the time captured in a cinematographic recording, introduce the idea of the spatialization of time.
They are situated at the intersection of the still image, cinema and sculpture and constitute the starting-point of many theoretical and artistic researches; of both virtual and actual objects.
This unusual project is unique insofar as it entailed the opposite technique of all of the other projects discussed here: the computational recovery of the original source imagery which was used in the construction of someone else's slit-scan video sequence -- in this case, the well-known sequences created by Douglas Trumbull for Kubrick's Artist-engineer Greg Ercolano calls his technique "de-scanning".
Ercolano writes: "While watching Kubrick's ' A Space Odyssey', I thought it would be fun to write some software to unravel the slit scan artwork in the psychedelic sequences, to see what they were.
The results of this experiment are below.. The technique used to unravel the sequences involved using an SGI's real time video hardware, with a hacked version of 'videoin. So as the film played, the program ran, unrolling the scanlines in realtime. A scene of several people sitting and standing is captured by a camera moving around them, along degrees of a circular track. In their slit-scan derived movie at left , time is substituted for space: each vertical pixel column in the output movie represents a complete time-frame's worth of information as the image is spatially scanned from left to right.
The creators provide their NATO 0. Like a familiar analogue clock, it has a second hand, a minute hand and an hour hand. The hands are arranged in concentric circles, the outermost circle being seconds, the middle circle is minutes, and the innermost circle hours.
Each of the hands of Last are made from a slice of live video feed. As the hands rotate around the face of the clock they leave a trace of what has been happening in front of the camera. Once Last has been running for 12 hours, you end up with an easy-to read mandala of archived time. David Tinapple Portraits Tinapple constructed a large custom scanner, in which an electromechanical rig slowly moves a high-resolution still camera along a six-foot vertical or horizontal path.
The artist then computes slit-scan images from the image sequences captured in this way. Tinapple's portraits, created using this scanner, have an unusually flattened 'medieval space' with a multitude of layered perspectival planes.
Egbert Mittelstaedt Passersby Unfolding Mittelstadt has created several short video works based on slitscan transformations. Presently, the artist tours with the Norwegian group Biosphere, for whom he produces visuals. The artist writes: "A photo camera with a special photographic technology exposes film material continuously without shutter. This photo camera captures the movements of the model and saves them like a scanner on the film-material.
The resulting photograph is distorted. The images of a video film, recorded at the same moment as the photograph, are blended onto this photograph. The way in which video images and photography merge explains how the photograph derived from the real scene, as it is captured on the initial video images. Steina Vasulka Bent Scans Electronic-art pioneer Steina Vasulka has been researching artistic uses of the video medium since the mids.
Some of her recent installations involve slit-scan imaging in real-time contexts. Digital video offers whole new vistas, especially through storing and retrieving of moving images in warped time. The installation uses four computers resulting in four different image projections. Though all four computers have the same camera input, a different program on each creates a very different video image on each projection. By stepping into the camera view, the visitor will experience a different view of him or herself in an immediate past time.
Steina has apparently been using slit-scanning since at least Dietmar Offenhuber Wegzeit More Wegzeit Loop City Offenhuber has computed extremely long slit-scan panoramas from video captured through the windows of moving automobiles. These image strips, moreover, are texture-mapped onto 3D paths derived with the aid of digital maps and GPS from the actual trajectories of the vehicles. These paths can then be browsed and navigated interactively. In Offenhuber's Wegzeit , the video is captured from a side-facing window of a car; in Loop City , the video is captured using a special conical mirror, through a front-facing window, in order to capture the panoramic trace of a moving degree up-down-left-right view.
We usually consider space as being structured by absolute units. A meter is considered to have a constant length regardless of its position in space.
However, in our daily life we often use units that are relative in nature: we measure space in minutes, costs or memories. Wegzeit is also a project about Los Angeles and how it is transformed when brought to relative space. Asking someone in L. It seems paradoxical that in a city with such a regular, Cartesian layout, people rely on subjective parameters for their spatial decisions.
But especially here, perhaps, where the influence of real space is leveled by this regularity, the impact of relative spaces becomes more strongly visible. Due to the expense and difficulty of this technique, the same three warp-entry shots, all created by Industrial Light and Magic for the series pilot, were reused throughout the series virtually every time the ship went into warp. Slit-scan photography was also used on Interstellar for scenes in the tesseract at the end of the movie.
Slit-scan is an animation created image by image. The process is as follows:. Naturally, this effect is very time-consuming, and thus expensive, to create. A second sequence at 24 frames per second requires a minimum of adjustments.
Jump to content Navigation. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. On this Wikipedia the language links are at the top of the page across from the article title. You can just use the technique to generate a still image. Or you can generate a video by shaving the world volume and slightly changing the position of cross-section frame by frame.
With this way of thinking, now you can imagine how to make it when you see something like slit-scan works. This very long panorama is that I generated using slit-scan from live footage shot from a train window between stations when I was a student. Though it looks like Adam Magyar.
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