If things are going wrong on set-if an actor has a nervous breakdown, or the location falls apart, or you are running out of money and you must shoot the scene in a couple of hours instead of in two days-that’s when you can start losing your head, your temper and, consequently, your direction and your film. The most traumatic part of the creative process is the inevitable encounter of the intangible and abstract with the tangible and concrete-the idea or ethereal dream that we are rudely awakened from in the face of solid reality.ĭuring the production of a film, it’s easy to lose track of and forget the original intentions and motives that you had three years ago in your head and that are always so important. In spite of all this, it didn’t escape me that my passion and my knowledge of all these theories didn’t do much for me in the moment when I faced a pair of actors and a scene of my own creation. In Ludwik’s class, we read the classic works of theater: we devoured and analyzed Strindberg, Ibsen, and Chekhov just as much as Stanislavsky’s theories and the methods of Strasberg and Stella Adler and the structure of Greek drama, Shakespeare, and the intrinsic poetry of the memoirs and the work ethics of Bergman and Tarkovsky. Theater art can lead us to the discovery of a unique and personal way of communicating our worldview, freeing us of our limitations-or else our limitations, which keep us from expressing ourselves as we dream to, can drag us through an entire lifetime of frustration, mediocrity, and precipitous drops. He was interested in helping someone find their path, or else redirecting them in order to prevent unnecessary suffering. He assured us that, by doing this, he was only awakening the aspirant from a delusion disguised as a dream. He was originally from Poland, lived in Mexico for most of his life, and was without a doubt one of the best theater directors we have had in this country. INTERPOLATION ARTIFACTS TO WATCH OUT FORĪll non-adaptive interpolators attempt to find an optimal balance between three undesirable artifacts: edge halos, blurring and aliasing.Ludwik Margules was my theater teacher for three years. However, for single-step enlargements or rotations, these higher-order algorithms provide diminishing visual improvement as processing time is increased. They are therefore extremely useful when the image requires multiple rotations / distortions in separate steps. These algorithms include spline and sinc, and retain the most image information after an interpolation. There are many other interpolators which take more surrounding pixels into consideration, and are thus also much more computationally intensive. HIGHER ORDER INTERPOLATION: SPLINE & SINC For this reason it is a standard in many image editing programs (including Adobe Photoshop), printer drivers and in-camera interpolation. Bicubic produces noticeably sharper images than the previous two methods, and is perhaps the ideal combination of processing time and output quality. ![]() Since these are at various distances from the unknown pixel, closer pixels are given a higher weighting in the calculation. These algorithms can be used to both distort and resize a photo.īicubic goes one step beyond bilinear by considering the closest 4x4 neighborhood of known pixels - for a total of 16 pixels. The more adjacent pixels they include, the more accurate they can become, but this comes at the expense of much longer processing time. Depending on their complexity, these use anywhere from 0 to 256 (or more) adjacent pixels when interpolating. Non-adaptive algorithms include: nearest neighbor, bilinear, bicubic, spline, sinc, lanczos and others. smooth texture), whereas non-adaptive methods treat all pixels equally. ![]() Adaptive methods change depending on what they are interpolating (sharp edges vs. TYPES OF INTERPOLATION ALGORITHMSĬommon interpolation algorithms can be grouped into two categories: adaptive and non-adaptive. The above results could be improved significantly, depending on the interpolation algorithm and subject matter. ![]() Note the overall decrease in contrast evident by color becoming less intense, and how dark haloes are created around the light blue. The above results use what is called a "bicubic" algorithm, and show significant deterioration. One should therefore avoid rotating your photos when possible if an unleveled photo requires it, rotate no more than once. Note how most of the detail is lost in just the first rotation, although the image continues to deteriorate with successive rotations. The 90° rotation is lossless because no pixel ever has to be repositioned onto the border between two pixels (and therefore divided).
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