My latest action camera arrived yesterday. It is a Hawkeye Firefly 8S (90 degree lens) with true 4k, including for time-lapse footage. It can shoot in slow motion at 120fps at 1080p, has controllable iso, which will allow me to force a 100 iso to keep noise in the image to a minimum.
While in Grezzo in August 2017 I continued the work started with the Austinmer cyanotype models. I used a black IKEA Tjena box as the “model” and lined it in cyanotype paper. I used a lid top and bottom to ensure light fastness. The model was placed on the front step once the sunlight had started to move around to this area.
Following on from the successful Austinmer cyanotype experiments, I have bought cyanotype chemicals to make my own. I brought the dry chemicals, along with the necessary instruments (scales, measuring cylinder, brown glass bottles, syringes) to Grezzo. I used the cantina (a naturally dark and cool space) as my lab.
Honeycomb packing material from IKEA flat-packed furniture.
Shortly after the Grezzo experiment with the honeycomb packing material, I undertook another filming test back in London, with a differently proportioned version of the same material. Continue reading
I have decided to explore action cameras beyond the Yi Action camera. The Elephone ELE Explorer Pro ‘4K’ comes with a box-full of accessories, including an underwater case.
Experiment to consider including the markings on the boxes.
No sunlight admitted due to the overhanging element over the “window”, and so and little variation in light.
I was interested to find out what the difference was between filming with and without the Yi’s inbuilt lens distortion correction, once additional correction of the barrelling from the wide-angle lens had been corrected in After Effects.
| The images on the left are taken without the Yi’s distortion correction, and all correction in the lower image in AE, using Optics Compensation effect, FOV 74, Reverse Lens Direction on. | The images on the right are taken with the Yi’s distortion correction. Further, correction in AE, using Optics Compensation effect, FOV 48, Reverse Lens Direction on. |
The result (once all barrelling is removed) is very similar between the two. However, as the correction entirely in AE means that the image is being digitally blown up, a better image quality is probably obtained by using the camera’s inbuilt correction.
Additionally, when using the camera’s distortion correction the raw footage has less distortion in more distant objects. For some footage without near objects with identifying barreling features (such as straight lines), it may be possible to avoid using the AE effect entirely.
architectural moving drawing 