The special effects team on Ex-Machina overlaid graphics onto the actor. There were scenes where the actor was "motionless" but they observed that the emotional experience of the film required animated overlaid motion to match the actor.
"We also put a lot of effort into things like the muscles contracting properly, and the various pipes and wiring having just a tiny amount of jiggle. And it’s something that you really do not notice. But I remember when we were looking at shots, for whatever reason when we put a shot through to render overnight that secondary animation hadn’t rendered properly, so it was missing. And everything suddenly felt very stiff. And you kick the shot off again, this time with that animation integrated into it, and it works again. It’s not something that you can necessarily put your finger on as being wrong, but if it’s missing then you suddenly feel that something’s strange."
Yup, Durand and Freeman worked on both. The Eulerian video magnification isn't just limited to color changes, of course, as the video shows. This new technique is still based on Eulerian magnification, if I understand correctly.
If you realize that a camera is a time-series motion capture sensor, as is a microphone (the position of the diaphragm) then this is actually less relevatory...
44.1 kHz (CD quality audio) is 44,100 samples per second, though professional recording equipment typically supports up to 96 kHz sample rates.
Note that for the more common analog microphones, the microphone itself doesn't determine the sample rates; it's the digital sampler to which it's connected.
Keep in mind that, even with 120 fps of video, you can pretty much only reproduce frequencies of up to 60 Hz. I guess they do some more modeling to make the sound more intelligible, though.
That's an older technique that this is based on -- the one that, as mentioned, can't handle both large and small motions. Given that, I wouldn't compare it by that one example.
http://www.theverge.com/2015/5/8/8572317/ex-machina-movie-vi...
"We also put a lot of effort into things like the muscles contracting properly, and the various pipes and wiring having just a tiny amount of jiggle. And it’s something that you really do not notice. But I remember when we were looking at shots, for whatever reason when we put a shot through to render overnight that secondary animation hadn’t rendered properly, so it was missing. And everything suddenly felt very stiff. And you kick the shot off again, this time with that animation integrated into it, and it works again. It’s not something that you can necessarily put your finger on as being wrong, but if it’s missing then you suddenly feel that something’s strange."