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    Motion Blur: Exploring the Dynamics of Computer Vision: Motion Blur Unveiled
    Motion Blur: Exploring the Dynamics of Computer Vision: Motion Blur Unveiled
    Motion Blur: Exploring the Dynamics of Computer Vision: Motion Blur Unveiled
    Ebook97 pages1 hour

    Motion Blur: Exploring the Dynamics of Computer Vision: Motion Blur Unveiled

    By Fouad Sabry

    ()

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    About this ebook

    What is Motion Blur


    Motion blur is the apparent streaking of moving objects in a photograph or a sequence of frames, such as a film or animation. It results when the image being recorded changes during the recording of a single exposure, due to rapid movement or long exposure.


    How you will benefit


    (I) Insights, and validations about the following topics:


    Chapter 1: Motion blur


    Chapter 2: Frame rate


    Chapter 3: Shutter speed


    Chapter 4: Bullet time


    Chapter 5: Go motion


    Chapter 6: Match moving


    Chapter 7: High-speed photography


    Chapter 8: Image stabilization


    Chapter 9: Display motion blur


    Chapter 10: Rolling shutter


    (II) Answering the public top questions about motion blur.


    (III) Real world examples for the usage of motion blur in many fields.


    Who this book is for


    Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of Motion Blur.

    LanguageEnglish
    PublisherOne Billion Knowledgeable
    Release dateMay 4, 2024
    Motion Blur: Exploring the Dynamics of Computer Vision: Motion Blur Unveiled

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      Book preview

      Motion Blur - Fouad Sabry

      Chapter 1: Motion blur

      Motion blur is the apparent streaking of moving objects in a photograph, video, or animation. It occurs when the image being captured shifts during a single exposure due to fast movement or prolonged exposure.

      When a camera captures an image, it does not capture a single instant of time. Due to technology limitations or creative considerations, the image may depict the scene across time. This exposure time is typically short enough that the image acquired by the camera appears to capture an immediate moment. However, this is not always the case, and a fast-moving object or a longer exposure period may result in blurring artifacts that make this evident. As objects in a picture move, an image of that scene must represent an integration of all positions of those objects, as well as the camera's viewpoint, during the shutter speed-determined exposure time. Any object moving relative to the camera will appear blurred or smeared along the direction of relative motion in such a picture. This smearing may occur on a moving object or a stationary background if the camera is in motion. This appears natural in a film or television screen because the human eye behaves similarly.

      As the effect is generated by the relative motion of the camera, the objects, and the scene, it is possible to manage motion blur by panning the camera to follow the moving objects. In this instance, even with lengthy exposure periods, moving objects will appear crisper while the backdrop would blur, resulting in an image that conveys a sense of motion and velocity.

      This effect must be replicated in computer animation because a virtual camera does capture a discrete instant in time. Typically, this simulated motion blur is applied when the camera or objects in the image are moving rapidly.

      Without this simulated effect, each picture would depict a perfect instant in time (similar to a camera with an endlessly fast shutter speed), with no motion blur. Because of this, a video game with a frame rate of 25 to 30 frames per second may appear jerky, yet natural motion shot at the same frame rate will appear more continuous. Many contemporary video games, notably car simulation games, contain motion blur.

      The most current Need for Speed games, Unreal Tournament III, and The Legend of Zelda: Majora's Mask, among many others, utilize this technology. There are two primary methods used in video games to achieve motion blur: cheaper full-screen effects, which typically only consider camera movement (and sometimes how fast the camera is moving in 3-D Space to create a radial blur), and more selective or per-object motion blur, which typically uses a shader to create a velocity buffer to mark motion intensity for a blurring effect to be applied to, or a shader to perform geometry extrusion. Before contemporary per-pixel shading pipelines, classic motion blur effects frequently consisted of drawing successive frames on top of one another with little transparency, which is technically video feedback.

      Because the renderer has more time to create each frame in pre-rendered computer animation, such as CGI films, realistic motion blur can be drawn. Temporal anti-aliasing generates frames composed of several instants. Frames are not discrete moments, but rather intervals of time. If an object travels at a linear speed down a path from 0 percent to 100 percent in four time periods, and if those time periods are considered frames, then the object will exhibit motion blur streaks that are 25 percent of the path length in each frame. If the shutter speed is decreased to less than the period of a frame, and it is possible for it to approach zero time in duration, the computer animator must select which portion of the quarter pathways (in our 4-frame example) they intend to display as open shutter moments. They may render the beginnings of each frame, in which case they will never see the object arrive at the end of the road, or they may render the endings of each frame, in which case they will never witness the beginning of the journey. The majority of computer animation systems make the traditional fence-post error in their handling of time, conflating the temporal periods of an animation with the instantaneous moments that separate them. Thus, most computer animation systems will incorrectly place an object on a four-frame trip along a path at 0 percent, 0.33 percent, 0.66 percent, and 1 percent, and when called upon to render motion blur will have to cut one or more frames short, or look beyond the boundaries of the animation, compromises that real cameras do not make and that synthetic cameras do not need to make.

      In cel animation, motion lines are drawn in the same direction as motion blur and serve a similar purpose. Go motion is a type of stop-motion animation in which the models are moved during the exposure to produce a less jerky impression.

      Motion blur is an aesthetic filter that changes the digital image/raster image to imitate the effect in 2D computer graphics. Numerous pieces of graphical software (e.g., Adobe Photoshop and GIMP) have simple motion blur filters. Advanced motion blur filtering, including curves and non-uniform speed adjustment, requires specialized software (e.g. VirtualRig Studio).

      When an animal's eye is in motion, the image will be blurred, preventing the resolution of fine details. Humans often alternate between saccades (rapid eye movements) and fixation to deal with this (focusing on a single point). Saccadic masking conceals motion blurring during a saccade. Similarly, smooth pursuit enables the eye to track a target in rapid motion, removing motion blur from the target rather than the scene.

      In broadcast sports, where typical cameras expose images 25 or 30 times per second, motion blur can be problematic since it obscures the precise position of a projectile or athlete in slow motion. As a result, specialized cameras are frequently employed to reduce motion blur by taking rapid exposures on the order of 1 millisecond and then transmitting them over the next 30 to 40 milliseconds. Although this results in clearer slow-motion replays, it might be jarring at regular speeds because the eye expects to see blurred images due to motion but is

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