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Cinema Tech

Bullet Time Technique     
By Abhishek Tiwari
I
n the film The Matrix (film by Warner Bros.), there were many scenes where the character walks up the wall defending himself from bullets and jumps up in air to kick the opponent. During this jump the whole seems to freeze and the shot pans around the character as if we are walking around a statue to see how it looks from different angles. Have you ever wondered how this shoot was done? These types of shoots actually allow the viewer to explore the action moment while orbiting around the scene at normal speed.

The technique is known as Bullet time technique. The character is actually lifted through cables while he walks up the wall (the cables are of course edited out of the scene). When the character is at the top of the jump, a series of still and motion cameras (also called rig setup) capture the scene at the same time. The cameras are arranged on a track and aligned through laser targeting system, forming a complex curve around the character.

These two dimensional "slices" or the images of a particular three dimensional moment are then viewed in a sequence to produce an orbiting hyper slow motion action which is been frozen in time. To cope up with the problem of camera rigs, these stills are scanned and enhanced by computers to get a real time view of the scene. The computer generated "lead in" and "lead out" slides are filled in between frames in sequence to get an illusion of orbiting the scene. This method of enhancing the bullet time is called interpolation.
If this action is to be shot at an extreme slow motion then the cameras are to be triggered at extremely close intervals, so the action continues to unfold. Also dropping up and adding up of number of frames and their frame rate are also arranged to speed up or speed down the action.

This technique was initially used to display the extremely slow or frozen moments of flying bullets. That is why it is called bullet time technique. This technique freezes the imperceptibly fast events and gives a dramatic effect. Generally the whole shot is taken against green screen or blue screen which is then replaced by the actual background. This manipulating method is called keying.
Chief Editor: Vishaal Shah Content Editor: Nidhi Pathak Layout & Graphic Designer: Abhishek Tiwari PR Co-ordinator:Mayank Sen Sub Editor:Shweta Poojari Asst. Layout Designers:Himanshu Dubey and Ritesh Kataria Logo Design:Prashant Mahanta

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