After work today I was screwing around, realized I was too tired after lecturing to write anything else analytical (finishing the planned conclusion to the “Losing Armitage” post, which is the next text on the calendar), but I didn’t have anything else more aesthetic or emotional ready to go. I was wondering what to post and then found these caps I made last week.
While capping, I was trying to capture the moment when the camera shifts from one shot to another, so you could see Geraldine’s and Harry’s face simultaneously. (This is a sort of artistic effect that I really like; see here for a prettier example from Robin Hood, which was shot at 30 fps). In these shots below, which were shot at the typical 25 fps frame rate for television and then interlaced to increase perceived frame rate, you also see combing (the vertical lines throughout the caps) as the result of capturing video. Interlacing doubles perceived frame rate (in this case, from 25 to 50) without increasing necessary broadcast bandwidth by only redrawing every other line of pixels on the monitor for each frame. The combing is a visible artifact of that process that we see when the frames are stopped and capped.
Enjoy this rare appearance of Harry and Gerry on the blog — I don’t write about them so often because this is possibly my least favorite of Armitage’s more well-known roles. I was flipping through drafts recently and noticed that the oldest unpublished surviving draft I have, from April 2010 and concerns why I don’t like these episodes much. I was a much braver, more disciplined blogger, then, I think. I don’t think publishing that would make me very popular. I like looking at Harry, and I still very occasionally enjoy Richard Armitage as Harry; I just have to be in a very particular mood, and to make sure I don’t think too much while I’m watching it. Which, if you’re me, is hard.