This visual Technique consists of shooting with 2 synchronized cameras, in two “antagonist” settings and overlaying each image pair in the sequence. The parallax could have been reduced a lot, but having this controlled parallax shift pushes the imagery more into the overall context of the video.
This technique was used in both “high-frame rate” rushes featuring the human cast, and in all hyper-lapses showing in video.
For the “high-frame rate” footages, two Nikon D4 were trigger-synchronized and shot in 11 frames-per-second bursts.
For the Hyper-lapse imagery, the twin camera setup was mounted on the rack rail of a vehicle. One of the (Cam1 in the info-gram) camera lenses was fitted with a 16 stop ND filter to allow ultra high ISO and a long exposure of 4 seconds as well as very shallow depth of field, in a daylight situation.
The other camera (Cam2 in the info-gram) had a much faster shutter release, actually a freeze, in contrast with the long exposure of the other camera (Cam1). The shutter of the “short exposure” camera (Cam2) was delayed to 2 seconds (at half the time of the long exposure of the other camera(Cam1))to Allow a bolder blend on the final combined imagery, since the “freezed” capture(Cam2) falls in the “middle” of the long exposure, in both time and space.
In the “high-frame rate” footages (you can see them in the “Broadcast Version” video below in this article), the sync was “de-phased”, and the parallax shift increased in order to allow the effect of the “Detaching Soul” while “sync nodes” of the two burst were kept, accentuating the Harmony and the Dissonance of the imagery.
The Synced D4 burst
The 2 Nikon D4 had trigger synced by a very simple trick i discovered. the challenge it to setup both camera at shutter speeds and setting that won’t make any delay in writing, the video won’t work if the high frame rate of the two cams is not the same
The cameras were mounted on Velbon Super Plate, as well as Manfrotto clamps when mounted on the car’s roof rack
And Below, Broadcast Version starring actress Lorraine Kodeih, was used as a TV campaign by YASA (road safety NGO) and the Lebanese Ministry of Interior.
The imagery involving Lorraine was made with the high frame rate process described earlier. Camera with 24-70 zooms were positioned in a way to exaggerate the parallax shift.