The first season of "Aerial China", as a documentary composed entirely of aerial photography, puts forward higher requirements for the use of aerial photography. Too simple and non-narrative lens movements will make the whole film dull and boring. How to make a single lens shooting way to play more tricks? How to use aerial photography to tell the story? Next, we will analyze the typical lens movements that appeared in the first season of Aerial Photography China. (The pictures in the following films are from the tecbus remote control imaging laboratory)
Horizontal movement
Horizontal motion is certainly one of the most familiar ways of lens movement, and the seemingly simple horizontal movement is also very interesting. For example, the Mohe River in the northernmost part of Heilongjiang. We pushed straight forward 1.3km from the height of 500 meters. The "super single mode" with PTZ as the priority makes it possible for the lens to maintain long-distance linear motion.
The same horizontal direct push movement also appears in the gentle snow town:
Also located in Wuyuan Lake, a thousand miles away:
In addition to the high-altitude landscape description, close to the ground "ultra-low altitude", even from the inside and outside of the house is also very visual impact:
what? Can the horizontal direct push movement be so beautiful? Then the next scene is even more beautiful and drunk. In the morning of Churbin, the horizontal horizontal position of the lens makes the sun's beam through the fog appear more agile.
The horizontal straight push plus the movement of the direction axis makes the picture look less rigid:
Close to the water, the description of the river's details is connected to the “ground gas†from the sky. So we have a three-dimensional impression from “macro†to “partialâ€:
When the speed of the composite motion of the horizontal traverse + direction axis of the aircraft reaches a balanced node, a new visual experience mode is created, which we habitually call "surround". In the RC circle, it is commonly called "brush pot", and some people use the action of the remote control to call it "inside and outside eight" (the netizen's summarizing ability is always max, the original inside and outside characters can be done in addition to unlocking? Orz....) This is Under the wide-angle lens, the head-up shooting is making a snow-making machine silver for the snow and ice world...
Of course, you can also slightly lower your head and surround the smog:
Also look down at the Shanghai Lantern Festival Lantern Festival:
In addition to the large panorama under the wide-angle lens, we can also lock a northeast fat tiger with a telephoto:
A 40 cm tall macaque surrounded by the southernmost island tree:
The "panda bird" who nodded toward the plane and the netizen was overturned:
There is also the smallest animal in the first season. These two grams of sand crab (juice) evoke the appetite of the foodies, and almost make the film "China on the air of the tongue."
Summary of lens motion in the horizontal direction:
The simplest direct push action effectively brings the audience into the story we need to tell;
2. The translational movement is more likely to reveal the layering under appropriate light;
3. Become more agile and interesting after increasing the movement of the direction axis.
4. Traverse + Directional Movement After a certain balance is maintained, there is a horizontal envelopment - let the audience clear the visual center point from the picture, and more stereoscopically and comprehensively show the shape of the subject in the horizontal direction.
Vertical motion
Vertical motion In the three-dimensional space we are habitually called its "Z-axis" motion. On this vertical axis, the distance of space motion determines its height. In the spring, the low clouds in Jiangxi are only 150 meters high and are easily penetrated:
Breathing the sun on the cloud, and then jumping down to see the village still asleep, it can be said that nature provides us with the most beautiful imagination.
The lens is low to high, making the picture from a narrow perspective to a wider angle with height:
The burning tile of Jiangxi has been rising with the rising of Mars, pushing the joyful atmosphere of the scene to a climax. The movement of the lens is consistent with the performance of the atmosphere. Very burning, is there any?
In the first season, such rising shots are rare, and more are descending shots from high to low, such as the walls of Huizhou architecture:
The prospect of passing leaves in a narrow space confesses the environment of the villa:
Why are there more shots falling in the film, and less shots? Because falling means coming, rising means leaving. Leaving can only be used as an ending shot, and more of what is needed in the film is fascinating.
The aircraft will more often accompany the pitching motion of the lens in vertical motion:
If the lifting motion of the aircraft and the pitching speed of the gimbal reach a tacit cooperation, we obtain a circular motion in the vertical direction. This kind of surround motion is not common, but it creates a greater sense of depth in space. Just a small dragonfly standing on a branch, under such a motion lens, was played in the space "deep":
Even a fog of minus 30 degrees in Heilongjiang can also be:
Of course, the movement in the vertical direction will undergo more subtle changes after adding the direction axis and the horizontal mixing motion!è¬As shown below, we pull from the faces of people who enjoy the northeast-style ice-based entertainment project until the tractors that see the northeast flavor drive them together:
Summary of lens motion in the vertical direction:
1. A wide range of vertical motion allows us to break through the cloud to break down a larger visual span
2. The action of jumping can be seen more broadly and farther, and it is a sublimation of emotions.
3. The “falling feeling†of the falling action is easy to bring the audience into the story.
4. Flying chess vertical motion + PTZ pitching speed reaches a certain balance, which will produce a "surrounding motion" in the vertical direction, creating a deep sense of space.
Positive buckle movement
Perhaps it is the brain that has seen more stereoscopic things and has become tired. It is a unique interest to find a "flat" composition method in photography. The positive buckle movement just provides the possibility of this interesting composition. For example, on the frozen Songhua River, we traced the cut-out, well-shaped lines from the air to find a person who was cutting ice. The very regular lines make up a floor plan, and the person who cuts the ice is like painting on a huge canvas:
The picture of the buckle at the right place excludes other elements of the surrounding chaos, and the picture can look cleaner:
The pursuit of clean and tidy picture elements is not always possible, such as the ice skating on the ice dragon boat shovel. However, the audience's concern is obviously no longer the cleanliness of the picture, the fierce competition of the event, and the location of each ship is more important to the audience:
The match against the base, the Sino-Russian hockey friendly match in Heihe is also a typical case. The symmetrical symmetry of the kick-off composition subtly puts the opponent into a second, catching the tight moment of the kick-off, showing a tense and intense atmosphere:
Symmetrical composition also occurs in the autumn of the mountains, showing the changes in the spring, summer, autumn and winter seasons:
There is also the "Tiantan" in the Harbin Ice and Snow World:
The rotation of the gimbal with the direction axis can create a mysterious atmosphere:
After a set of compact scenes, the combination of + buckle + rotation + pull is used to reveal the last result:
The deductive movement from the close-up to the full picture can more impressively explain the relationship between the hot water and the power station of the Kulbin Hydropower Station:
The wide-angle lens is being buckled closer to the hammer that is being lifted, and the impact is still a little dangerous. The hammer is a little higher and it is easy to hit the plane.
Summary of lens motion in the direction of the buckle:
1. The positive button movement provides a possibility to planarize the scene.
2. The scene of the kick-off of the ball is kicking the lens to create a tense atmosphere and a sense of ritual
3. The matching movement of the positive buckle and the direction axis can create a mysterious atmosphere and revealing the lens scheduling
4. Objects that are close to the regular motion and close to the lens can make the lens more powerful
Discovery lens
"Shake the baggage" has always been a very important technique in the cross-talking world. In the first place, we should carefully lay the groundwork and shake the key points of the "package" (joke) to the public at the right time. (Requires reference to Guo Degang, who can search for himself.) I don’t think that it is just a "music", but it is actually a kind of language expression about "narrative", and the narrative is not just a mouth, but also Use the lens to talk. In the lens movement of the drone aerial photography, I am afraid there is no more "narrative feeling" than the discovery lens. The warm sun shines on the northeastern land. A horse-drawn carriage swaying in the snow and bringing us into the home of the snow:
Or a gondolas that are taxiing take us to the tropical Hainan Monkey Island:
These "discovery" shots have something in common: they all lead from a small clue to the big environment, or like the following picture, the individual leads to the group:
We have previously summarized the lens of cutting ice in the "positive buckle movement":
And the vertical movements – these are “discovery†shots that are guided from the local or individual to the big environment, and we all attribute them to “guided discovery lensesâ€:
The final form of "guided discovery" is a difficult one, such as pulling out from the newcomers who are going to the cave, and shyly giving the building:
In addition to the "guided discovery lens", there is another type of discovery lens motion. For example, the tree that is occluded by the layer sees the content that you want to express. For example, Shanghai is also a kind of expressive shyness:
This type of discovery lens movement across an obscured object is simply referred to as an "over-occlusion lens" in normal times. In Churbin, Heilongjiang, the fog is haunting the trees covered with smog, over the layers of the occlusion, following the footsteps of the lens to bring the audience into the scene:
This technique makes it easier to render the mysterious atmosphere of the scene here:
It is also a typical over-blocking lens to cross the Huizhou building wall in the Lingling Mountains and see the baskets in the autumn.
In the Shanghai article, the roof of the building was spiraled down and focused on the memorial sculpture of the Jewish refuge on the ground. This kind of lens movement is not a technique to show off the mirror in the end. What is more important is that through the contrast of architecture, the mother and daughter are vulnerable and helpless in the chaos. The slow movement from top to bottom is also in line. From the "care" of heaven, the audience is more likely to feel the same "care":
Discovery lens movement summary:
1. Discovery lens movement has a more "narrative sense" than other flat and straightforward ways.
2. Guided discovery movements can guide viewers into the big environment or individuals to groups through a specific clue
3. Over-occlusion discovery movement can create a mysterious atmosphere
4. Borrowing large architectural subjects to obscure attention to specific characters can represent the spatial proportional relationship of the characters, thus shaping the fragility and helplessness of the characters.
Compound movement
After the previous study, we ushered in the ultimate form of "UAV" shooting techniques: compound sports! If it is not for the summary report of the first season of "Aeronautical China", it is probably not going to figure out how many kinds of motion lens forms there are - the remote control aircraft provides us with various possibilities for free movement, so that we are recording this There are plenty of means and techniques to fully convey the wonderful world when we see the surprises and excitement of these scenes. In order to better record this more systematically, we need to start with the most fundamental questions: What determines the composition of our aerial picture? I personally call it the five elements of aerial space composition. If you like it, you can also call it "Five Elements of Mr. Wired" (^ ^).
In fact, most of these six elements, people who use too many rotors, know that they correspond to the channel on the remote control. From the controller of the aircraft we can easily find four elements:
First, the throttle channel
Second, the direction channel
Third, the aileron channel
Fourth, the hoistway
And the two channels we use to control the pan/tilt:
Five, direction channel
Six, pitch channel
Huh? Isn't it a good five element? Why did it become six? For this reason, it is usually the same as the two elements of the direction channel of the aircraft and the direction channel of the gimbal. Briefly, in the case of a two-man operation, the two directional axes exist independently, but the motion in the direction of the aircraft does not determine the composition. In the case of single-person operation (herein referred to as the super-single mode of the zero-degree series aircraft), the direction axis of the aircraft always follows the direction axis of the gimbal, so basically there is only one element in these two axes: the gimbal The elements of the direction axis.
Of course, some people will even question: I know what you said, these channels determine what to read the instructions. I think, maybe some people know that maybe some people, like me before the conclusion, can't fully understand the practical significance of these elements in the specific operation. From another perspective, if we do not see the decisive significance of these five elements, the so-called "composite movement" is difficult to achieve with real hand.
So now we come one by one:
First, the throttle channel
In the case of a DJI or other multi-rotor-specific remote control, the throttle passage is rebounded, that is, when the throttle is in the neutral position, the multi-rotor remains at a high level. But a friend who hasn’t played a model or touched a crossover machine probably doesn’t know one thing: our throttle position is actually obtained after system calculation. When we keep hovering, each motor outputs power in the barometer and All other height-related sensors work together to calculate the results. This state is the easiest to fly, but there is a certain delay in response. In addition to the throttle dead zone we have talked about before, there is time for the system to calculate it once. So if you shoot a tiger that is jumping in this state, it is likely that you will be shot directly to the ground.
Shooting "Tigers" at the nearest distance has become an impressive highlight in the first season of aerial photography in China.
If it is a pure attitude mode, our aircraft height is not added to the barometer height calculation. The throttle position and actual output are directly equivalent. But at the same time, you will be nervous to fly all the way, because your rider will return to the middle, and most of the aircraft can't hover. It is likely to gradually drop when the voltage is low, and it is likely that the median will continue to climb when the voltage is high. But the good news is: You can directly feel the uneven loss of the power of the aircraft, the impact of the wind pressure and the fastest way to control the machine in the fastest way according to the screen or the attitude of the aircraft to avoid crash. As long as you are familiar with this kind of operation, everything is under control. So the throttle you know now, are you really familiar?
Second, the aileron channel
There are many newbies that may be called left and right tilt channels. The term "Aileron" comes from the proper noun of the fixed wing. It originally refers to the two movable winglets on either side of the fixed wing tip. When they are lifted or lowered, the body will produce a left and right tilting deflection, thus obtaining a straight line. Left and straight to the right. In the case of multi-rotor flight, it is obtained by using the difference in the rotational speeds of the propellers on both sides. Of course, if you only know that this is not enough. Whether it is a fixed-wing or multi-rotor aircraft, once the aileron is tilted, it will inevitably cause the aircraft to lose a certain lift. The more the ailerons are hit, the more obvious the loss of lift. Under normal circumstances, the flight control will do a certain amount of lift compensation to avoid the so-called "airway drop", which is caused by the tilt of the fuselage. However, this kind of lift compensation is somewhat "anti-physical". If the compensation is not smooth enough due to the high data error, it will affect the linearity of the flight path.
Third, the lifting channel
The hoistway is the same as the channel definition of the fixed wing. Many people also call it the forward and backward channel. Of course, I don't recognize the idea of ​​moving forward and backward. Because the lifting movement is the same as the fixed wing, the head tilts downwards, and the lever tilts upwards and backwards. This tilt also brings a "dive" motion, because like the ailerons, the loss of power after tilting causes "falling high."
If the throttle is reduced, a "forward dive motion" similar to a fixed wing can be produced for shooting from high to low. If the elevator lever and throttle increase, it is the opposite. For example, we have seen a panoramic view of the entire snow sculpture from a close-up of a group of people working at the Snow Expo:
Fourth, the direction channel
As already mentioned above, in the compositional motion, we ignore the direction of the aircraft and directly follow the direction of the pan-tilt. There isn't much to say about the movement of the direction axis. However, the rudder plays a crucial role in the horizontal movement of the aircraft, which directly determines the "arc track" of the aircraft. The smoothness and precision of the rudder you play will ultimately determine whether your track curve is elegant enough. Since the multi-axis aircraft relies on the propeller differential speed of different steering to change the heading, the multi-axis aircraft with small pitch and low rotation speed will not only cause the body to sway under windy conditions, but also “lock in the heading axisâ€. The phenomenon. This will have a critical impact on the flight route.
Five, pitch channel
The pitch channel is also seemingly easy to understand, but it contains a very subtle relationship in the compound movement. Usually the pitch channel is not used independently because such a lens will look very rigid in the air.
In the second "vertical motion" we mentioned that the change of the throttle with the pan tilt can produce a circular motion in the vertical axis if the speed is matched. But we often overlook the effect of horizontal motion on the pitch position:
The above picture appears to be a simple lens movement that tells the interesting relationship between the horizontal position and the pan-tilt movement. If the aircraft is higher than the object being photographed, the closer the aircraft is to the horizontal distance of the object, the closer the pitch angle is to 90° downwards. If the aircraft is farther away from the horizontal distance of the object, the infinity is closer to the horizontal 0°. If you think this is all about the truth, then it is wrong. When we turn the lens into a telephoto end that is difficult to control, this simple truth is easily overlooked. For example, if we want to telephoto around an owl, we will find that many "unmanned aircraft" are difficult to lock in the center of the screen for a long time, and it will not be long before it will go wrong. Unsuspecting directors often go directly to the gimbal that shakes the clouds, but in fact the aircraft is on the one hand due to the increased height of the "compensation" operation, resulting in a high degree of control "lag" encountered airflow can not be maintained at a perfect height value, On the one hand, a relatively large offset occurs in the horizontal position. This offset is not obvious at the wide-angle end. At the telephoto end, a close-up view directly leads to the inability to accurately lock the target.
So many people ask me why the Super Single mode can shoot so accurately, even a large aperture around an owl with a water bottle size. Because the five elements that determine the basic composition of the picture are in the mind of a person. When you find that the composition of the composition needs to be adjusted, you can control the shooting by controlling any one of the elements. For example, from rotating a group of people who are working to moving up the ice, the action is adjusted in the shortest time, and it fits the scene very much. It feels like a tailor-made movement, but it is actually timely. The result of the capture:
When we fly in attitude mode, we compensate for everything else: including height compensation, including visual obstacle avoidance, and the ultrasonic height compensation is all turned off. You will feel the impact of natural air on the aircraft to determine the best trajectory for flight. Take the wind and move to the most natural state. We call this state "man-machine integration", which is also the most advanced form of compound movement.
The compound motion is almost everywhere in the use of our aerial photography. At the production site of a snow sculpture in Harbin, the aircraft is moving from horizontal to continuous and seeing the height of their position:
When we can't judge where a group of cockroaches will fly, the omnidirectional compound movement can keep these birds constantly changing the trajectory in the picture, and keep the picture smooth:
The lens is pulled from a person who is removing snow, and the change in pitch angle mixes the motion in vertical and horizontal space, and finally presents the audience with a perfect scene:
Almost all composite sports will make the picture more spiritual and more free and smooth:
Composite sports summary:
1. The compound movement must have a decisive role in fully understanding each element of the “five elements of spatial compositionâ€.
2. Multi-rotor aircraft From a purely physical point of view, as long as the route is taken, whether it depends on the aileron or the elevator will lose power.
3. Determine the pitch angle of the gimbal, in addition to the height of the aircraft, as well as the position of the horizontal space
4. Composite motion is the freest and ultimate way of motion in all aerial photography techniques, and can handle almost all scene changes.
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