Video Point User Guide

Preface
Our collaborative effort to develop tools for two dimensional motion analysis
began in the fall of 1987 when we, as student and instructor respectively, worked our
way through activities in the first calculus-based Workshop Physics course. A major
objective of Workshop Physics courses is to help introductory physics students understand the basis of knowledge in physics as a subtle interplay between observations,
experiments, definitions, mathematical description and the construction of theories.
The development of the VideoPoint software and the collection of QuickTime movies
distributed with it were motivated by our need to find effective ways to observe and
analyze two-dimensional motions in the Workshop Physics activities.
Uses of VideoPoint and the Movie Collection

The prototype VideoPoint software was originally developed to allow students to
analyze their own digital movies of free fall, projectile motion and the collisions
between pucks on an air table. However, we quickly discovered new ways to use
VideoPoint to teach introductory physics. For instance, a video analysis of the electrostatic forces between a charged metal coated ball mounted on a wooden dowel
and another hanging from a thread turned out to be an ideal way to verify
Coulombs law with low cost apparatus. By placing dozens of small pucks on a air
table we could create macroscopic analogues to the atomic behaviors postulated in
the derivation of kinetic theory equations.
We have been exhilarated by the enjoyment the students derive from making
their own movies and by the educational benefits they derive from analyzing them.
For example, when students who have already studied one dimensional kinematics
create movies of themselves jumping vertically, we can ask them to find a scale
factor for the movie, choose a coordinate system for the data to be collected and
find the vertical component of their acceleration as a function of time. All of these
tasks require students to think critically about what they are doing.
One student who was puzzled about how to scale a movie exclaimed to her partners, I know! Over here on the movie we have the fake centimeters and over there
we have the real centimeters. We just need to figure out how many fake centimeters
are in a real centimeter! In a similar vein, when asked to choose an origin for the
analysis, students often ask instructors to tell them where the origin should be. We
just ask them to pick a location and tell them well talk about the implications of
their choices after the results are analyzed. Students are surprised to find that the
velocities and accelerations dont depend on the location of the origin in an unrotated coordinate system.
A few summers ago we began filming physics events and digitizing them in the
QuickTime format for colleagues who didnt yet have the computer equipment to
create their own digital movies. Although the students still make most of their own
movies, we quickly discovered that our growing movie collection was also extraordinarily valuable for in-class exercises, homework assignments and student projects.
VideoPoint Manual
VideoPoint analysis has enabled us to develop distinctive approaches to teaching

mechanics, kinetic theory and electrostatics. For instance, we approach our teaching
of the center of mass concept differently than we used to. Students are now asked
to analyze the motion of the mass center of two equal masses which collide.
When they discover that this mass center moves at a constant velocity, we then
suggest that the center of mass of a system of masses can be defined dynamically
as a point that moves with a constant velocity. The subsequent analysis of collisions
between unequal masses enables students to discover rules for calculating the center of mass of a two-body system for themselves.
As soon as the prototype version of VideoPoint had basic features added to it, we
began introducing end-of-semester mechanics projects. For these projects, we
encouraged students to produce their own movies from scratch or digitize them
from existing videodisks or video tapes. During the first year the projects were relatively simple with only one or two moving objects. Students analyzed air puck collisions, the throw of a rotating baseball bat, a shot put trial, or impulse forces
between dummies and airbags in automobile crash tests. During that first year two
of our physics seniors also used video analysis to study the aerodynamics of
Trackball motion.
Before long, both students and instructors were clamoring to analyze more complex motions such as a bungee jumper whose descent was being followed by a hand
held camera, the motion of the center of mass of a ballet dancer doing a grand jet,
a sweeping camera following a broad jumper through the run up and leap, a drag
trial with the car moving off into the distance at an angle, hummingbird flight and
crayfish accelerations. As new ideas for projects emerged, features were added to
the software that allowed users to scale movies, locate the origin on a frame-byframe basis when the camera and hence the background moves, assign masses to points and let the software locate the center of mass of a system, and automatically transform from one coordinate system to another. We also added features
allowing users to display point markers in different sizes, shapes and colors so that
VideoPoint could be used in lecture demonstrations.
VideoPoint Manual
In a snowballing process, we began using the new VideoPoint features with our
movie collection for exciting homework problems including analyses of how events
look from the perspective of different coordinate systems (i.e.,Galilean relativity),
forces sustained by automobile bumpers, the accelerations associated with amusement park rides, rotational accelerations, pendulum motions, the ascent of a NASA
lunar module from the moon, the elements of a 3-1/2 turn-triple-reverse somersault
dive, the temperature of an air puck atom as it loses energy to its environment
and the electric field along the axis of charged rod. Whenever possible, we expect
students to extract information from the movies such as initial positions and velocities. We believe these assignments are superior to textbook problems because they
give students more practice with the application of fundamental definitions.
Students completing video assignments also have a better understanding of the phenomena they are working with.
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The possibilities for the creative use of VideoPoint in introductory physics seem
unlimited. Whether you are a teacher or a student, we hope you will enjoy devising
new ways to use the VideoPoint Software and movie collection as much as we do.
If you have new ideas for VideoPoint features or QuickTime movies, let us know.
We have already started a list of new features we would like to include in the next
version of the software. If you have access to the Internet you can check from time
to time for updates, bug reports and more QuickTime movies produced informally
by students and instructors. The address is http://www.lsw.com/videopoint.
VideoPoint Manual
Acknowledgments
Funding from John Wiley and Sons (arranged by the Physics Editor, Cliff Mills),
the National Science Foundation (DUE-9455561) and Dickinson College provided
us with the resources needed to begin the reprogramming of our prototype video
analysis software. Thus, the programming for the new VideoPoint software started
in 1994 when Mike Gile, a Rensselaer graduate student in electrical and computer
systems engineering, spent the summer with us developing cross platform software
tools (to allow VideoPoint to work on computers operating under both Windows
and Macintosh systems) as well the underlying structure of VideoPoint. He has
provided valuable support throughout the project. We also added movies to our collection thanks to the cooperation of Paul Stokstad of PASCO scientific, David
Wilkinson of the Department of Physics at Princeton University, and Michael
Wittman and John Lello, physics education graduate students at the University of
Maryland.
We are grateful to a number of student interns who worked with us for one or
more summers between 1991 and 1994 on prototype programming the elements of
movie making software and the production of QuickTime movies. They are Chris
Boswell, Ryan Davis, Jake Hopkins, Sean LaShell and Mike King.
We would also like to thank Pat Cooney of Millersville University, Wolfgang

Christian of Davidson College, Chris Moore a research associate at the University
of Nebraska, Bill Ploughe of Ohio State University, Bob Teese of Muskingum
College, scores of Workshop Physics students, and a number of other colleagues
who served as beta testers at other high schools, colleges and universities for helpful advice. We also owe a vote of thanks to the crew here at Dickinson who helped
us with the final touches on the movie collection and this manual. This crew
included research associate Grant Braught, who programmed the movie browser;
program managers Gail Oliver and Maurinda Wingard; colleagues Ken Laws,
Robert Boyle and Hans Pfister; and student interns Joshua Clapper, Amy Filbin and
Jeremiah Williams.
VideoPoint Manual
Mark Luetzelshwab and Priscilla Laws

Carlisle, Pennsylvania
August 1997
Finally, we would like to thank Nathan Winstanley, Diane Morgenstein, Pamela

Kott, Catherine Benson, Ralph Frisina, Jaclyn Koldys, Greg Smith and Holly
Miller from Lenox Softworks and Maura Morgan for their professional work on the
package design, CD-ROM production details and Users Guide illustrations, layout
and printing.
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Contents
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .i
Uses of VideoPoint and the Movie Collection . . . . . . . . . . . . . . . . . . . . . . . . . .i
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iii
Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iv
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
1.1. Whats New in 2.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Intro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Graphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Fitting Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Live Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Table Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Movie Step Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
1.2. Overview
VideoPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
For Those Who Dont Read Manuals. . . . . . . . . . . . . . . . . . . . . . . . . . .7
An Introduction to VideoPoint Features . . . . . . . . . . . . . . . . . . . . . . . . .7
1.3. Conventions Used in this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Menu Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Macintosh Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Windows Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Screen Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
1.4. Basic Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
video points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Coordinate Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Scale Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Calculations Based on Video Points . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Where do Movies Come From? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
VideoPoint Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
2. Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

2.1. How to Install . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
2.2. A Typical Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Opening VideoPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
A Sample Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Playing the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Taking Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Scaling the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Graphing Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
VideoPoint Manual
Creating a Mathematical Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Creating a Fit of the Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Relating theGraphs to the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Live Updating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Viewing the Data in a Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Saving Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
VideoPoint Manual
3. Functional Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

3.1. Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Setup Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Main Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Movie Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Coordinate System Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Table Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Graph Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
3.2. Edit Series Dialog Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Common Characteristics of Edit Series Dialogs . . . . . . . . . . . . . . . . . .37
The Edit Point Series Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
The Origin Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
The Calculated Item . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
The Edit Calculated Series Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . .42
3.3. Utility Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Marker Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Scale Movie Dialog
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Graph Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Model Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Curve Fitting Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Frame Rate Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Movie Step Size Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Coordinate System Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Graph Scale Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Change Scale Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Clear All... Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
3.4. Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
The Apple Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
The File Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
The Edit Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
The Options Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
The Create Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
The Movie Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
The Window Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
The View Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Graph Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
3.5. The Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
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4. How Do I? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
4.1. Get Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
4.2. Open and Save Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Open a Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Open a Saved File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Open a New Startup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Save a File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Save a File as a Different Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Export Only the Data to a File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Save a File Without the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
4.3. Take Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Take Data by Locating Video Points . . . . . . . . . . . . . . . . . . . . . . . . . .76
Move Video Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
4.4. Select Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Select a Video Point Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Select a Group of Video Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Select a Calculated Video Point Series . . . . . . . . . . . . . . . . . . . . . . . . .78
Select the Next Video Point that Needs to be Located . . . . . . . . . . . . .78
4.5. Clear Data/Delete Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Clear the Selected Video Point on a Frame . . . . . . . . . . . . . . . . . . . . .78
Clear All the Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Clear the Point for all the Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Delete a Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
4.6. Edit Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Edit a Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Change the Marker of an Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Change the Name of a Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Change the Mass of a Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Show/Hide a Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Turn a Series Trail On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Report Point Series Data in Polar Coordinates . . . . . . . . . . . . . . . . . . .80
Change the Angle Range for a Series . . . . . . . . . . . . . . . . . . . . . . . . . .80
4.7. Create Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Create a Video Point Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Create an Origin (Coordinate System) . . . . . . . . . . . . . . . . . . . . . . . . .81
Create a Center of Mass Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Create a Designated Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Create an Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Create a Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Create a Scale (the easy way) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Create a Scale (the hard way) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
4.8. Modify or Move Calculated Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Add a Video Point Series to a Calculated Series . . . . . . . . . . . . . . . . . .82
Remove a Video Point Series from a Calculated Series . . . . . . . . . . . .83
Move Calculated Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Locate Calculated Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
VideoPoint Manual
4.9. Define Coordinate Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Coordinate System Origins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Scale a Coordinate System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Choose Polar or Cartesian Coordinates . . . . . . . . . . . . . . . . . . . . . . . .86
Rotate a Coordinate System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Move a Video Point Series to a Different Coordinate System . . . . . . . .88
Remove a Scale from a Coordinate System . . . . . . . . . . . . . . . . . . . . .89
Replace a Scale in a Coordinate System . . . . . . . . . . . . . . . . . . . . . . . .89
Scale Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
4.10. Take Short Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Turn Off/On Automatic Movie Frame Advance . . . . . . . . . . . . . . . . . .90
Turn Off/On Automatic Point Selection . . . . . . . . . . . . . . . . . . . . . . . .90
4.11. View and Analyze Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Play a Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Play the Movie at Normal Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Step Through the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Rewind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Change the Display of Elapsed Times between Frames . . . . . . . . . . . .91
View Movie Frame Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Resize the Movie Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
Allow any Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
Hide/Show the Frame Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
Analyze at Series of Movies Made with a Fixed Camera . . . . . . . . . .92
Remove a Movie from a Coordinate System Window . . . . . . . . . . . . .93
Add a Movie to a Coordinate System Window that has No Movie . . . .93
4.12. Display Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Show the Table Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Create a New Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Rescale a Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Zoom in on a Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
Copy Data to a Spreadsheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
VideoPoint Manual
5. What If? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

5.1. Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
I Click on the Movie to Locate a Feature and Nothing Happens . . . . . .97
5.2. Movie Situations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
The Motion is on an Incline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
I Want Data Reported in Two Coordinate Systems? . . . . . . . . . . . . . . .98
The Camera was Moving when the Movie was Filmed? . . . . . . . . . . .98
The Camera Panned So Much that my Origin Disappears . . . . . . . . . .99
The Camera Zoomed when the Movie was Filmed . . . . . . . . . . . . . . .100
The Motions are in Two Planes? . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
The Camera had a Zoom Lens or a Wide Angle Lens . . . . . . . . . . . . .102
Im only Interested in Part of the Movie? . . . . . . . . . . . . . . . . . . . . . .102
The Movie is a Time-Lapse or Slow Motion Frame Sequence . . . . . .102
viii
It Looks as if a Frame is Missing? . . . . . . . . . . . . . . . . . . . . . . . . . . .103

I Notice that Some of the Frames are Duplicated? . . . . . . . . . . . . . . .104
The Movie is from a Commercial Film Dubbed onto a Videotape? . .105
6. Creating Digital Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
6.1. Movie Making Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Background and Object Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Zoom Lens Distortions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Marking the Center of Mass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Human Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
6.2. Video Capture Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Important Facts about Capture Cards . . . . . . . . . . . . . . . . . . . . . . . . .109
Digital Compression and Decompression Formats . . . . . . . . . . . . . . . .89
Modest Cost Cards for PC Compatible Users . . . . . . . . . . . . . . . . . . .110
A Modest Cost Card for Macintosh Users . . . . . . . . . . . . . . . . . . . . .112
A Low-Cost, Limited-Capability Alternative . . . . . . . . . . . . . . . . . . .113
Other Capture Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
6.3. Preparing Movies for Use with VideoPoint . . . . . . . . . . . . . . . . . . . . . .114
Creating a Title Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Cropping and Sizing Movie Frames . . . . . . . . . . . . . . . . . . . . . . . . . .114
Reducing the Number of Digitized Frames . . . . . . . . . . . . . . . . . . . . .114
6.4. Educational Video Tapes and Disks to Digitize . . . . . . . . . . . . . . . . . . .116
The Physics Single-concept Films Collections . . . . . . . . . . . . . . . . .116
Physics and Automobile Collisions . . . . . . . . . . . . . . . . . . . . . . . . . .116
The Physics of Sports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
ix
7. The Movie Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

7.1 Introduction to the Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Uses for the Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Observations about the Collection . . . . . . . . . . . . . . . . . . . . . . . . . . .121
7.2. How the Movies were Digitized . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
One: Digital Capturing and Cropping . . . . . . . . . . . . . . . . . . . . . . . . .123
Two: Adding Title Screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Three: Post Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Four: Assignment to VideoPoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
7.3. Browsing in the Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
How the Movies are Cataloged . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
The Movie Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
7.4. The Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
The PASCO Laboratory-Based Movies . . . . . . . . . . . . . . . . . . . . . . .126
The Princeton University Air Table Movies . . . . . . . . . . . . . . . . . . . .127
The University of Maryland Traveling Wave Movies . . . . . . . . . . . .128
The Dickinson College Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
VideoPoint Manual
The NASA Rocket and LEM Launch Movies . . . . . . . . . . . . . . . . . .129

The Hersheypark Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
List-The Dickinson College Movies . . . . . . . . . . . . . . . . . . . . . . . . . .130
List-The Hersheypark Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
List-The NASA Rocket and LEM Launch Movies . . . . . . . . . . . . . . .135
List-The PASCO Laboratory-Based Movies . . . . . . . . . . . . . . . . . . .136
List-The Princeton University Air Table Movies . . . . . . . . . . . . . . . .153
List-The University of Maryland Traveling Wave Movies . . . . . . . . .157
9. The Excel Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
9. Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
VideoPoint Manual
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
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Chapter 1:
Introduction
From this dialog, the new graph window appears. Note that you can plot more
than one item on any graph window. This is so you can make plots like the following to determine the relationships between position, velocity and acceleration.
Page 4
Chapter 1 VideoPoint Manual
This version of VideoPoint allows you to do a polynomial fit of the data. To

access the fitting, either click on the fit button on the graph window or choose
Add/Edit Fit from the Graph Menu. You can use a Linear (which is really just
a first order polynomial fit), Average, or Polynomial. The Polynomial fit
allows you to fit a polynomial of orders 0-3.
Fitting Data
Figure 1-3: Modeling dialog that allows you to input equations.
The modeling is the same as the previous version, with the notable exception that
you can now enter equations to model your data with. For example, if you had a
damped harmonic oscillator, your modeling dialog might look something like:
Modeling
As you can see, this is far nicer than the older, position only plots from version 1.0.
Figure 1-2: New graph window. The circle indicates the location of the movie.
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1. Introduction
1.1. Whats New in 2.0?
Introduction
Since the release of VideoPoint 1.0, we have had many comments and suggestions about how to improve VideoPoint. By far, the most common suggestions
were better graphing capabilities and curve fitting. So, for this release, we decided
to keep much of the data collection interface the same, and really improve the data
display and analysis functionality.
Graphing
Page 3
When you click on the graphing icon in the toolbar, you will instantly see that
there are many more options for plotting. The new graphing dialog is shown here;
with it you can plot many different combinations of data including:
Position (x,y,r or magnitude)
Velocity (x,y,r or magnitude)
Acceleration (x,y,r or magnitude)
Momentum (x,y,r or magnitude)
Net Force (x,y,r or magnitude)
Kinetic Energy (magnitude only)
Potential Energy (= mgy)
Total Energy (=mgy + kinetic energy)
Angular Position
Angular Velocity
Angular Acceleration
(to plot the angular values, choose angle from
the pop-up menu)
Figure 1-1: The Plot Series dialog.

VideoPoint Manual Chapter 1
Live Updates
Figure 1-4: Fitted data.
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Note that when you make a plot with VideoPoint, the data on the plot is updated
as you plot it and move it on the movie window. This means that if you want to
see how the location of any particular point affects the plot of x vs. t, you can
simply watch the plot as you drag the point around the screen.
Figure 1-5: Dragging a point on the movie updates it on the graphs.
Page 5
On slower systems or movies with loads of data, this feature can be a little too
much for the computer to handle and will result in rather sluggish dragging. To
turn it off (so it only updates the graph windows when you release the mouse after
dragging a point around the screen), choose the toggled menu item at the bottom of
the Options menu.
Figure 1-6: Turning Live Updates on and off.
Table Window
The table window has been given some improvements as well. It now displays
all the data which is being used by the graphs and the movie. Whatever is being
plotted at the time will be displayed in the table window. Also, copying data from
movies in which you have skipped frames will copy only the selected data and not
all the spaces in-between.
Movie Step Size
You can now set the Movie Step Size by number of frames as well as the previously available time steps.
Page 6
1.2. Overview
Menu Choices
1.3. Conventions Used in this Manual
Page 8
Important Note. These include common errors

and information on features that arent obvious.
Common Questions and Answers. These answers

some of the questions that arise concerning certain
features and methods.
A video point is defined as a location of a feature or object of interest on a single QuickTime movie frame. The software initially stores the (x, y and t) values of
a video point; where x is the distance from the left side of the movie window (in
pixels); y is the distance from the bottom of the movie window (in pixels); and t is
the elapsed time in seconds since the first frame in the movie was recorded. By
themselves, video points are not very interesting. However, the VideoPoint software
allows you to make calculations based on these video points.
video points
1.4. Basic Information
Almost all of the screen shots depicted in this manual are from the Macintosh
version. The screens shown are functionally equivalent to the Windows version.
Screen Shots
The abbreviation WIN is used to denote specific instructions for a Windows PC.
Windows Instructions
The abbreviation MAC is used to denote specific instructions for the Macintosh
computer.
Macintosh Instructions
File->Open Movie... is equivalent to choose Open Movie... from the File

menu.
VideoPoint in a Nutshell
VideoPoint is designed to help you analyze the motion of features or objects of
interest in digital video movies. This software will allow you to define characteristics of a series of points you would like to examine on each frame. These characteristics include the name, the size and shape of the marker, the mass, and the coordinate system each point series is associated with. You will also be able to specify the
length of objects or distances between features in frames for scaling purposes. In
addition to obtaining data via the selection of features or objects of interest on
frames, you will be able to define calculated data points such as the location of the
center of mass of a system of features or objects. Data that are obtained can be
graphed as they are located or calculated. Data can be saved in an electronic file or
copied for use with other types of analysis software such as spreadsheets and
graphing programs. VideoPoint runs on both the Windows and Macintosh platforms.
For Those Who Dont Read Manuals. . .

If you are not a manual reader, the fastest way to get started is to read the entries
on video points and coordinate systems in part 1.3 of this chapter and then skip
to Chapter 2 on Getting Started.
An Introduction to VideoPoint Features
Page 7
The VideoPoint software allows you to collect coordinate data by clicking on

locations of interest on video images with a mouse. This allows you to study twodimensional motions by locating, displaying and analyzing coordinate data obtained
from sequences of digitized video frames. You can also study individual electronic
images saved as QuickTime movies to determine geometric relationships or count
objects of interest. The software has a number of innovative features, many of
which are not available in other video analysis packages. It can be operated from
either menus or a toolbar. Some of the things you can do with the VideoPoint software are summarized in this section.
Whats the difference between VideoPoint and video

points?
The term VideoPoint refers to the name of the software while the
term video point refers to a point you have located on the frame of a
QuickTime movie.
Video points are designated by you. For example, if you are looking at a movie
of a ball toss, you might be interested in measuring the position of the ball in each
movie frame. In order to do this, you would set up the VideoPoint software for one
video point per frame, and then click on the location of the ball in each frame in the
movie. VideoPoint then stores the information for the series of video points corresponding to the selected locations.
Since the data set, consisting of a series of video point coordinates, is stored in
screen units (pixels) and is relative to the arbitrary origin of the bottom left of the
movie, it isnt terribly useful for analysis. Thus, you have the ability to define various
coordinate systems. You can then associate the video points with a coordinate system
and determine the position coordinates in the system they are associated with.
Coordinate Systems
Page 9
A VideoPoint coordinate system is two-dimensional and consists of an origin, an

orientation and an optional scale factor. In addition, you can designate a coordinate
system as either Cartesian or polar. By default, VideoPoint opens a movie with two
coordinate systems present. The first coordinate system known as the default system and is initially named the Origin 1 system. It is a Cartesian system with horizontal and vertical axes and a preselected origin (i.e., Origin 1) near the lower left
of the movie window. Initially the units of the coordinates in this system are in pixels. You can easily change the name of this system or scale it so that video points
you locate have coordinates in meters or centimeters. You can also move the default
system origin and rotate the coordinate axes if you choose. The second coordinate
system is VideoPoints native system, the Video Origin system. This is a
Cartesian coordinate system with horizontal and vertical axes and no scaling. The
coordinates of the video points located in this system are always in pixels, and the
Video Origin is always at the bottom-left of the movie. You cannot change the
Video Origin system in any way.
Whats the difference between a video point and an origin?
Each video point series that you define has to be associated with a coordinate
system. Video points that are associated with the Origin 1 coordinate system have
(x, y, t) data saved as coordinates in the Origin 1 coordinate system.
?
Very little, in fact. An origin is just a video point series with the appropriate Is An Origin check box selected. An origin can be edited and
moved just like any other video point series. Every origin defines a different coordinate system.
Scale Factors
Data stored in pixels is only useful for computers. In order to collect data in
real units (i.e., meters), each coordinate system must be scaled. In a sample
movie, a meter stick might appear to be about 200 pixels tall. During the scaling
process, you need to click on both ends of this meter stick and tell the VideoPoint
software that the distance between these two video points (which VideoPoint sees
as 200 pixels) is actually 1.00 meters. VideoPoint would then assign a scale factor
of 200 pixels/m. You can then associate the scale factor with any of the coordinate
systems you have defined. With the combination of the origin location and the scale
factor, video point data can be reported in real units relative to any coordinate
system.
Calculations Based on Video Points
You can specify the standard calculation based on two coordinates or two or
more video points associated with a given coordinate system. Each of these calculated items is described in depth in the How Do I? chapter. These calculations
include:
Distance The distance between any two video points on a frame.
Scale Ratio of a known length (in meters or centimeters) to the

distance in pixels between two video points.
Center of Mass Calculated center of mass of a collection of video points

based on masses associates with a series of video points.
Each series of video points can be assigned a different mass.
Angle Angle made by lines connecting three video points.
Designated Point Point at a location specified by relative distances between

any two video points.
Page 10
Movies
Movies are sequences of still images that have been digitized and saved in the
QuickTime format. Each image is called a frame. Each frame has a time associated with it that represents the elapsed time since the first frame of the movie was
recorded.
Where do Movies Come From?

Many movies can be found on the VideoPoint CD. These sequences of video
frames were recorded using a standard video camera and then later digitized by a
computer and transformed into a popular digital format known as QuickTime. With
appropriate computer hardware installed in your Macintosh or PC computer, you
can create your own QuickTime movies that can be analyzed with VideoPoint.
VideoPoint Files
VideoPoint files have the extension .VPT.

Though the sample files all comply to the DOS file naming
convention, you can use any name under 32 characters in length.
Information derived by VideoPoint can be saved in more than one way. The
entire data set along with the current window arrangement (including movies, data
tables and graphs) can be saved as a VideoPoint file with the extension .VPT.
WINMACVideoPoint files contain coordinate data as well as the name and location of the
movie. It does NOT save the movie itself in the file, nor does it ever edit the movie.
Thus, if you want to open a VideoPoint file later, the movie associated with this file
must also be present. The only exception is when you save a template for later
analysis of similar movies (see Save a File Without a Movie in the How Do I?
chapter).
Page 11
The data can be copied from the data table into the clipboard and spreadsheet, or
any other program that accepts a tab-delimited format. The entire data set can also
be exported as a tab-delimited text file.
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Chapter 2:
Getting Started
2. Getting Started
2.1. How to Install the Software
System Requirements
Versions of VideoPoint are available for use with either Macintosh computers
operating under System 7.x or PCs with Windows 3.1 or Windows95. Both versions are included on the CD. No special hardware is needed when VideoPoint is
used to analyze digital movies in the QuickTime format. However, if you wish to
create your own digital movies for analysis, you will need to add an additional digitizing card that can capture video information in a QuickTime format. A capture
card can have a video camera, VCR or Videodisk player attached to it. For more
details consult Chapter 6 on Creating Digital Movies for Analysis.
Macintosh Requirements
VideoPoint requires a QuickTime compatible computer (LC or later) running
System 7.x or later, QuickTime 2.0 or later (QT 2.5 is included on the CD),
2.5 MB of free RAM, 3 MB storage space on your hard drive, and a CD drive
for installation.
Windows Requirements
VideoPoint requires Windows 3.1 or Windows95 with QuickTime (included on
the CD), 8 MB RAM, 3 MB storage space on your hard drive and a CD drive for
installation.
Installation
Macintosh
Installing the Video Point Software and QuickTime
To install VideoPoint and QuickTime, open the MAC folder on the CD and double click on VideoPoint 2.0 Installer This will give you the option of installing
VideoPoint and QuickTime or just VideoPoint (for machines that already have the
latest QuickTime installed). The Movie Browser can run off the CD directly.
If you do not own a CD drive, you should install VideoPoint onto a machine that
does have a CD drive, then copy the VideoPoint program as well as the QuickTime
extension(s) in located in the Extensions Folder into the Extensions folder of the
machine without the CD drive.
Page 15
Note that the installer gives you an option to install VideoPoint without curve fitting. Some people want to keep their students from using the curve fitting until
they fully understand how to model data. These instructors can install without
curve fitting first, then replace it with the curve fitting version later.
Installing the Movie Browser

The Movie Browser can run off the CD itself. You will probably want to make an
alias to the browser and put it on your local machine.
Windows
Installing Video Point Software and QuickTimeIn either the Program Manager
or the File Manager, choose File->Run and type e:\SETUP where e is the letter
of the CD drive. Follow the instructions to install VideoPoint. This will install both
the VideoPoint program (vidpoint.exe) and QuickTime for Windows. It will also
create a program group in Windows 3.1 or place it in the Start menu in Windows95.
Note that the installer gives you an option to install VideoPoint without curve fitting. Some people want to keep their students from using the curve fitting until
they fully understand how to model data. These teachers can install without curve
fitting first, then replace it with the curve fitting version later.
Installing the Movie Browser The Movie Browser can run off the CD itself. A
icon will be placed in the Program Manager group.
2.2. A Typical Analysis
The easiest type of movie to analyze is a movie with a single feature of interest
that was taken with a camera that does not move or zoom during filming. Lets start
by analyzing a ball launched from a fixed table.
Opening VideoPoint
MAC- Double click on the icon in the finder.
Figure 2-1: The Videopoint startup screen.
WIN- Double click on the Program Item in the

VideoPoint group.
A Sample Analysis
Setup Screens
Once VideoPoint is opened the
following setup screen will appear.
To start, click on Open Movie... to
open the movie you want to analyze.
To work with this example, you
should choose the movie entitled
PRJCTILE.MOV located in the
examples directory.
Page 16
MAC users: Use Command-R instead of Ctrl-R
Rewind the movie by either dragging the slider on the movie controller back to
the beginning of the controller or by choosing Movie->Rewind (Ctrl-R).
!
To make locating the points easier, you can increase the size
of the movie by either choosing Movie->Double Size or by hitting the keyboard shortcuts of Command-2 (MAC) or F7
(WIN). If you are using a small monitor, you may want to use
Movie->Fill Screen or its shortcuts Command-3 (MAC) or F8
(WIN).
Move the cursor over the movie window area. The cursor
should look like this, and the bottom right of the movie window should have the italicized text Point s1. This is the first
video point to be located by you in the frame that currently
appears in the movie window.
Be sure to click in the very center of the ball on each frame.

The more precise you are in the data collection step, the better
your data will be for analysis.
Move the cursor so that the ball being launched out of the projectile launcher is centered in the cursor. Click once to locate this
video point.
If the cursor looks like this, you can select a previously located
video point and use a drag and drop technique to move it to
another location.
If the cursor looks like this, clicking on the movie window will
locate the video point that is currently selected.
Cursors in the Movie Window
Taking Data
Page 18
This process tells VideoPoint how many screen units (pixels) in the Movie Window
Scaling the Movie
You have now collected data for this movie. However, the data are still in pixels
since you have not yet scaled the movie.
The movie will automatically advance to the next frame. Continue clicking on
the location of the ball in each frame until the last frame of the movie.
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A screen showing the first frame of the movie should appear. You will be invited
to enter the number of features or objects that you want to locate on each frame.
Since only one ball is launched during this movie, type 1 into the box and hit OK.
Figure 2-2: The second screen which allows you to

indicate the number of features or objects of interest
to be located on each frame of the movie.
The movie should appear along with a Coordinate Systems Window. Initially the
Coordinate Systems Window shows two Cartesian systems; the Origin 1 coordinate system and the Video Origin coordinate system. A single video point series
(the one specified in the previous dialog box) called Point s1 has been placed in
the Origin 1 coordinate system; Point s1 will report all its data relative to the
Origin 1 coordinate system.
Figure 2-3: The default working screen showing the movie and coordinate
systems windows.
Playing the Movie
Page 17
Play the movie by clicking on the play button on the movie

controller which is located at the bottom of the screen.
Figure 2-5: The Plot Series dialog.
Set your movie back to a normal size by choosing Movie>Normal Size or typing the keyboard shortcuts of
Command-1 (MAC) or F6 (WIN). To graph the data that you
have collected, click on the graph icon in the toolbar or
choose View->New Graph (Ctrl-G) from the menu bar. The
following dialog box will appear.
Scale1 B video points is known, then a scale factor can be determined

for the frame. This scale factor is calculated as the ratio between the
number of pixels between Scale1 A and Scale1 B and the actual distance between these points specified by you. Moving either of the two
scaling video points closer together will decrease the scale factor and
moving them farther apart will increase the scale factor.
Graphing Data
Page 20
Repeat the graph process for an X vs. Time plot for Point s1.
Figure 2-6: A Graph window showing aplot of

Point s1:Y (m) vs. Time (s) for a projectile.
This will plot both position vs. time and velocity vs. time in the same window on
two separate graphs. The plot should look something like this:
Leave the horizontal axis at its default setting of Time. For the vertical axis,
choose Point S1 and y from the two pop-up menus, and then select position
and velocity from the list. You can select multiple items by simply clicking on
them. Clicking on a selected item in the list deselects it.
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are in a meter, a centimeter or a millimeter in the actual scene. Conveniently, a 1.00

meter long meter stick was placed inPRJCTILE.MOV; this will be used to scale the
movie.
Starting the Scaling Process

Click on the scale icon in the toolbar. The following dialog
box will appear.
Figure 2-4: The Scale Movie Dialog Box.
Once these values have been set, you are ready to begin the scaling process:
The length of the scale object (in this case, the meter stick) is known to be 1.00
meter. Enter this value into the Known Length box. Since we want to scale the
coordinate system relative to Origin 1, select Origin 1 in the Scale Origin
pop-up menu. Since the camera did not zoom at the instant when the movie was
taken, choose a Fixed scale type.
1. Click on Continue.
2. Click once on one end of the meter stick.
3. Click once on the other end of the meter stick.
Note that three new rows appear on the Coordinate Systems Window. Two rows,
Scale1 A and Scale1 B, specify the ends of the object that you clicked on. The third
line, called Scale1, stores the ratio of the length of the object relative to the distance
between Scale1 A and Scale1 B.
What are the Scale1 A and Scale1 B video points?
You have now scaled this coordinate system by telling VideoPoint that 1.00
meter is equivalent to the distance (in pixels) between the two video points that you
just clicked on.
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Page 19
These two video points are used by the program to determine the number of pixels between the ends of an object or the distance between
two features used for scaling on a video frame. If the actual distance
(in meters, centimeters or millimeters) between the Scale1 A and
Creating a Mathematical Model of the Data

Since many of the motions of interest in the study of physics can be described by
analytic functions, VideoPoint has a graphical modeling feature that enables you to
try to develop a mathematical model for a motion. You can do this by comparing a
graph of the motion to a graph of an equation. For example, in analyzing a movie
of a bungee jumper in free fall, you could select a graph of the experimentally
determined values of y vs. t. Then you could choose to model the data with a quadratic equation and then match the parabolic line to the data by changing values of
the equation coefficients. Is the coefficient of the t2 term close to -4.9 m/s2?
Figure 2-7: Model of y vs. time for the ball toss.

Note that this is a model and not a fit. To complete a
model efficiently a user must understand how to
recognize the type of function that is needed and how
each of the equation parameters affects the
mathematical function. Note the Model Equation
dialog box that follows.
How to Create a Mathematical Model

To model y vs. time for this projectile in Figure 2.6, click on the graph to bring it
to the front. The time labels should move up to rest just underneath the position vs.
time plot. Then choose Graph->Add/Edit Model or click on the
icon on the
edge of that graph.
Figure 2-8: The Modeling Dialog Box
Page 21
Since Y vs. Time is a parabola for this projectile, choose the Quadratic formula. Enter appropriate values in each box that correspond to the constants in the
equation. Click on Apply to view your modeled graph (shown as a green line)
without closing the dialog box. Once you are satisfied with your model, click OK
to close the dialog box.
If you entered A:= 4.94, B:=3.00 and C:= 0.368 , your model should like this:
Figure 2-9: A Graph Window showing data points

and the line which is a graphical representation of
a mathematical model of the data.
The constant A (for the x2 term) should be approximately -4.9 since this is a projectile that can be modeled by the equation y = 1/ 2 gt2 + vot + yo.
Creating a Fit of the Data
Alternatively, you can fit the data automatically. If you installed without the
curve fitting, you can move on to the next section. To fit the velocity versus time
data, click once on the velocity plot (the time labels should move back down to the
bottom of the window) and then choose Graph->Add/Edit Fit or click on the
icon. The following dialog should appear.
Figure 2-10: Curve fitting dialog.
Leave the Type of Fit: to Linear. If you want VideoPoint to update the fit
every time that you move a point on the movie, check the Update Automatically
box, otherwise, you can update the fit by opening this dialog and choosing OK or
Apply later. For this example, check the box and click on OK.
Page 22
The fit of the velocity plot should appear and look something like this:
Figure 2-11: Fit of y component of velocity vs. time.

As you might expect, the slope of this line should be approximately -9.8, since this
can be modeled by the equation v = v0 + at.
Relating the Graphs to the Movie

One of the great features of video analysis is the ability to replay the situation.
Bring the movie window to the front by clicking on it. Play the movie by clicking
on the play button.
Play the movie or pass through the frames by using the slider bar.
Watch the graphs while the movie plays. A circle should move along the graph
points indicating the current time of the movie on the graph.
Live Updating
One of the coolest additions in version 2 is the ability to watch the graphs update
while you move points around on the movie.
Page 23
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Advance the movie to about the middle using the step buttons
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drag the Point S1 marker. Watch the graph window update simultaneously. Note
the sensitivity of the velocity plot to the location of the point.
Figure 2-12: Dragging a point on the movie updates

it on the graphs automatically.
Viewing the Data in a Table
If you want to view the data that you have taken, click on the
table window icon or choose View->Data Table. You can
select and copy any portion of the data; clicking on the (x) and
(y) headers will select entire columns.
Figure 2-13: The Table Window showing

the coordinate data of Point Series 1
in Cartesian coordinates.
Saving Your Work
What Information is Saved with a File?
Choose File->Save. Decide where you want to save your file.

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The file contains all your data and open windows as well as the name
and location of the movie file. It does NOT contain or change the movie
file. This keeps the file sizes small and allows files to be associated
with movies that are stored on read-only networks.
You have successfully analyzed a movie with VideoPoint. Congratulations.
You can consult the VideoPoint Users Guide to learn how to analyze movies for
which you would like to define more than one video point series or use different
coordinate systems. The Users Guide also contains information about how to deal
with movies taken with a moving or zooming camera.
Page 24
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Chapter 3:
Functional Description
3. Functional Description
This section describes functions of each window, dialog and menu in the
VideoPoint software. In addition, the function of each tool in the VideoPoint toolbar
is described.
3.1. Windows
Startup Windows
Initial Startup
Figure 3-1: The VideoPoint Startup Screen.
VideoPoint greets you with this initial startup window. Your options are: 1)
Open Movie. This, the most common choice, lets you select a movie to analyze.
2) Open Saved Data. This option allows you to open a file with set up information and data that has been saved by VideoPoint. 3) Exit Startup. This option
closes the startup window without VideoPoint quitting. 4) Quit. This option quits
VideoPoint.
Movie Startup
Page 27
When you open a movie, the dialog box in figure 3-2 appears. Choose the number of video point series corresponding to objects or features of interest that you
plan to locate on each frame. For example, if the movie shows a ball toss, you will
want one video point per frame; if it shows a two-cart collision, you will want two
video points per frame; if it shows a collision of four pucks, you will want four
video points per frame. In any case, this is just a convenient way of defining the
video point series that you want to create later. You can define or delete video point
series at any time during the analysis.
Figure 3-2: The VideoPoint Startup Screen.
Main Windows
Movie Window
Toolbar
Table WIndow
Figure 3-3: A typical VideoPoint screen.
The Movie Window
Coordinate System
Window
Graph Window
The movie window displays a frame of the movie, as well as any video point
markers and lines that have been located and calculated on each frame. The main
use of the movie window is data collection and display.
Page 28
Movie Area
Current Time Field
Location Field
Figure 3-4: The Movie Window.
Movie Controller
Current Video Point Field
Movie Area
This area displays the current frame of the movie. You can locate video points on
the movie by clicking on the movie. If the video point has already been selected on
this frame (and it is visible), you can drag it around the movie to relocate its position. See the section on Taking Data in the How Do I? chapter.
Current Time Field
This window displays the current elapsed time of the movie in seconds.
Press this button once to play the movie. By default, the

movie plays by stepping through each frame of the movie. The
movie can be forced to play in real time by unchecking
Movie->Play All Frames. When the movie is playing, the play
button becomes a pause button. Click once on the pause button
to stop the movie.
Movie Controller
Use the movie controller to play, step forward, step backward, or scan through a
movie.
Play/Pause Button
Slider Bar
Page 29
Drag the little box (the slider) back and forth to scan through
the movie quickly. Clicking on the right of the slider bar will
advance the movie frame and clicking on the left will bring up
an earlier frame. The left and right bounds of the slider bar
default to the ends of the movie.
Step Buttons
These two buttons step through the movie one frame at a

time.
Location Field
This is the (x, y) or (r, ) coordinates of the cursor location for the video point to
be selected relative to its Cartesian or polar coordinate system. If the video point
series is associated with a polar coordinate system, the data are displayed as (r, )
coordinates. Moving the mouse over the origin of the active coordinate system will
cause a (0, 0) to be displayed in this field.
Current Point Field

This field gives the name of the selected video point series or the selected calculated series.
Current Frame Field

The box on the upper right hand corner displays the current frame number of the
movie frame displayed in the movie window and total frame count.
General Notes on the Movie Window
On Screen Data
The visible video point markers on each screen are drawn only when the movie
is stopped (and you are not controlling it). For example, the markers are drawn
after a single frame step but are not drawn if you hold the step button down.
Frame Rates
Every QuickTime movie has a time code that can be translated into seconds. By
default, VideoPoint reads this time code and uses it for the data. However, there are
some situations, such as time-lapse movies and movies taken from commercial
video tapes, where you might want to override this time code. Choose
Movie->Select Frame Rate to override the default time code.
Coordinate Systems Window
The Coordinate Systems Window displays each coordinate system and the name
of its associated video point series. Each coordinate system has an origin; it can also
have a scale. Each Coordinate Systems Window always has a Video Origin coordinate system. This coordinate system holds video point series and items whose
data are reported in pixels relative to the bottom left corner of the movie window.
Page 30
Video
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Coordinate
system
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Scale
Scale
Movie
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Movie
Field
Visible
Check
BoxBox
Column
Visible
Check
Column
Series
Series Type
Type
MassColumn
Column
Mass
Origin
OriginCheck
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Column
Figure 3-5: The Coordinate Systems Window.
TrailsTrails
Check
BoxBox
Column
Check
Column
Coordinate System Header

This header describes the coordinate system. It gives the name of the origin, the
current orientation of the x-axis relative to the horizontal, and the scale item and
scale factor (if any) that is being used to scale the system from computer units (pixels) to real metric length units (m, cm or mm).
Note that the origin listed in the coordinate system header is also listed in the
Coordinate Systems Window relative to the Video Origin coordinate system or
another coordinate system designated by you.
Item/Point Line
Each object or feature that has a video point series assigned to it has its own line
that describes the characteristics of the object or feature. These characteristics (and
how to change them on the Coordinate Systems Window) are listed below.
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If you want to interchange the order of two or more video point series or if you
want to associate a video point series with a different coordinate system, click on
this area (after the cursor has become a hand) and drag the name of the video point
series to its new location. The video point series is always inserted before the video
point series on which it is dropped; dropping a video point series name on a coordinate system header will place the video point series first on the list of video point
series associated with that coordinate system. (See diagram below.)
Figure 3-6: Depiction of a hand moving a video point series from one coordinate
system to another.
Page 31
Video Point Series Name

The name of the video point series can be anything less than 20 characters. Click
once on the name to edit it. You can use the tab key to move to the mass column (if
the series is a video point series) or to the next series name. Clicking in this column
will also select the corresponding series in the movie window.
Visible Check Box Column [V]

Clicking here toggles the visibility of the video point marker on the movie frame.
This option is convenient when you are working with several video point series
thus making it difficult to trace the paths of all of the sets at once. Markers for visible video point series will be drawn on the active movie frame. Invisible point
series can still be located and selected, but their markers are invisible.
Trails Check Box Column [T]

Clicking here toggles the visibility of the trails of the video point series. If this
box is checked, the item will draw its video point marker at the correct location for
all frames of the movie onto the current frame. This is a nice feature to demonstrate
the path of an object such as a projectile. (See Figure 3-7.)
Figure 3-7: The movie screen on the left has the trails for Point s1 turned off so
that only the marker on the active frame is visible. The movie on the right has
the trails for Point s1 turned on so all the markers for the point series are visible.
Origin Check Box Column [O]

If this box is checked for a video point series or other point-type series, the point
series becomes an origin and defines a new coordinate system. Other series can be
made relative to this new coordinate system.
Unchecking this box will cause the coordinate system that is defined by this origin to be removed. Any series relative to this now default origin will be moved to
the video origin coordinate system.
Page 32
Table Window
Note that selecting data on the table window does not automatically
select the named point series on the Coordinate Systems Window or
movie.
Selecting Data versus Selecting Point Series
The table window displays the data for all the video point
series (i.e., objects or features on the movie) whose locations
and/or calculations change over time. The window can be
accessed by clicking on the table icon in the toolbar or by
choosing View->Data Table. The main purpose of this window
is to allow you to examine the data and/or copy all or part of
the data to the clipboard for use in another application such as a
spreadsheet.
Figure 3-8: The Table Window showing the Cartesian coordinate data for the point
series named Point S1 for each frame. The time reported for each frame is the number of seconds since the first frame the movie was recorded.
Page 34
Select Column
Clicking on any of the [x] and [y] column headers will select the entire column.
Select Time Row

Clicking on a specific time value will select all the data for that time.
Select All Region

Clicking in the box to the left of the time header [t] will select all of the data in
the table window.
Locating the Movie Frame Corresponding to Table Data

Double clicking on a cell in the data table will advance the movie to the appropriate frame and select the corresponding point in that cells series.
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Mass Column
The mass of each video point series can be entered in this column, or in the case of
the center of mass, calculated. Click once to edit it. Note that only you can change the
masses of located video points or designated points. The VideoPoint software automatically calculates the mass for a center of mass point series that is equal to the sum
of the masses of the video points used in the center of mass calculation.
Series Type
This selection displays the type of the series such as video point, center of mass,
etc.
Scale
Once the movie has been scaled by choosing Movie->Scale Movie, this area displays information about the points used for scaling.
Movie Field
This field displays the movie that is associated with the active coordinate systems. If the movie name is preceded with FILE: this means that the movie window is closed. Reopen it by choosing View->Movie. The Coordinate Systems
Window can be saved without a movie for use with a set of movies. Details are
included in Section 4.2.
Icons on the Coordinate Systems Window

There is always an icon representing a coordinate system at the left of the coordinate system header. There are three types of icons: Cartesian, polar and the Video
Coordinate System icon.
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This Cartesian icon specifies that points associated with
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click on the icon in the coordinate system header.
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Changing the coordinate system to polar will only change
the way that the data is reported on the bottom of the movie
window as you move the mouse around the screen. This is different from the first version of VideoPoint. In the current version, you can plot angular and radial data regardless of the
coordinate system.
Page 33
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This icon looks like a video frame. It represents the video
coordinate system in which all data are reported relative to the
bottom left of the movie window.
ModelingData
Figure 3-11: Curve Fit Dialog.
Click on this button to model the data on the graph using one of a
set of predetermined equations or combine these equations by
typing in your own.
Figure 3-12: Modeling Equation Dialog.
Zooming In
You can zoom into a data set to better analyze your data. When you zoom in, the
modeling and fitting only act upon the visible points. For example, if you had a
bounce in your data as seen here in the following three figures.
Page 36
Locating the Movie Frame Corresponding to a Graph Point

Click on the center of any point on the graph; this will select
the point on the correct frame of the movie. You can then either
move the corresponding point in the Movie Window by dragging it around or by using the nudge button on the toolbar.
Figure 3-12: The r-squared term is calculated over the whole visible range.
Holding the Control key down while dragging the mouse will let you zoom into an
area. Double-clicking with the Control key down will re-scale the graphs.
Note that, on the rightmost graph, the r-squared term of the model equation is
much better now that only the relevant data is visible.
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Figure 3-9: A Graph Window showing a plot of the vertical position of Point s1 as
a function of the time at which each frame was recorded.
The Graph Window can be opened by clicking on the Graph
icon in the toolbar or by choosing View->New Graph. This
window displays a graph of the data chosen in the graph setup
dialog box.
Changing the Axes

Although you cannot remove items from a graph, you can easily change or add
items to existing graphs by clicking on the title of the vertical axis. If you change
the horizontal axis, you will change it for all graphs in that particular window as
well.
Figure 3-10: Graph marker dialog.
Changing the Graph Markers

To change the graph marker, double click on one of the markers. The marker
dialog is nearly identical to the one that changes the markers on the movie window.
In addition, you can connect the dots with a small line if you so desire.
FittingData
Page 35
Click on this button to fit the data on the graph to one of the
following choices: Average, Linear or Polynomial (quadratic or
cubic).
Changing Vertical and Horizontal Axes Scales

To change an axis scale click on either axis to change the range of the axis, and
this dialog will appear. You can set whether or not the axis automatically scales
with new data by checking the Auto Scale box.
Figure 3-14: The Graph Scale Dialog Box..

Click on any of these values to change the min./max. values for an axis. Note
that doing so automatically turns auto-scaling off for that axis.
3.2. Edit Series Dialog Boxes

Common Characteristics of Edit Series Dialogs
The edit series dialog boxes allow you to change the characteristics of each type
of item. Each item has its own edit dialog box; the section below describes how to
use each type of dialog box.
There are certain controls which are on all edit dialog boxes. These are listed first.
Name
Enter the name of the video point series in this area. The name can be up to 20
characters in length.
Click on the example marker to change the markers color, size or shape.
Marker
Marker Visible
Toggles the visibility of the marker on the movie. Even if the marker is designated as invisible, the video point can still be located.
Leave Trails
Page 37
Toggles the visibility of the trails of the marker. If trails are visible, the markers
of the entire video point series will be displayed on each frame.
OK
Accepts the changes and closes the dialog box.
Cancel
Closes the dialog box without accepting the changes.
The Edit Point Series Dialog
The Edit Point Series Dialog Box can be opened by clicking

on the series you wish to edit then clicking on the edit icon in
the toolbar or by choosing Edit-> Edit Selected Series.
Figure 3-15: The Edit Point Series Dialog Box. It can be used to assign a name,
marker, mass and coordinate system to a point series. The point series can also be
designated as an origin.
Mass
Enter the mass of the feature represented by the video point series in the mass
box. Entering a mass is important only if the video point series will be used as part
of a center of mass calculation. Otherwise, you can leave it at 1 gram.
Origin
Select the origin name of the coordinate system to which you want data from the
video point series transferred. This does the same thing as dragging the name of the
point series in the Coordinate Systems Window onto a different coordinate system.
Coordinates
Choose between polar and Cartesian coordinate systems. If the video point series
is in a Cartesian coordinate system, it will report its location to its origin as x and y
displacements. If in polar coordinates, the video point position coordinates will be
reported as (r, ). The polar coordinates is extremely useful when looking at pendulum motion and rotating objects.
Page 38
Data Type
You can choose three data types: frame-by-frame, fixed, and semi-fixed.
Frame-by-frame is the normal data type. The frame-by-frame feature needs to be
located on each frame.
You should choose fixed as the data type if you want the feature to be in the
same location throughout the entire movie. Moving a fixed feature on one frame
moves it on all frames. Origin 1 is, by default, a fixed video point. Most of the
video points that you designate as origins are fixed.
A semi-fixed origin is a video point that, once selected, will be fixed at the
same location in the Movie Window until moved on a later frame. The point will be
fixed at this new location unless moved at a later time. It does not move the locations recorded for the earlier frames. This feature is useful when the camera used to
make the movie is fixed for awhile and then moves.
Units
Units for length can be in meters, centimeters, millimeters, inches or feet. Angle
units can be either degrees or radians.
Angle Range
Angles (reported only if the video point series is associated with a polar coordinate system) can either range from - to (useful for pendulums), 0 - 2, or -INF
to INF. The [-INF, 0, INF] range is useful for analyzing things that loop around
themselves.
Is an Origin
Checking the Is an Origin box designates the video point series as a series of
origins. This creates a new coordinate system on the Coordinate Systems Window.
Two extra options appear; these are described in the section on the Origin Dialog
that follows.
If the Is an Origin box is already checked then unchecking it by clicking on it
will remove the origin designation for the point series. Other point series associated
with the coordinate system and origin you just removed will be reassigned to the
Video Origin coordinate system.
The Origin Dialog
Page 39
The origin dialog box is actually a point series dialog box with provisions for setting the scale and angle of the x-axis associated coordinate system. The dialog box
can be located by checking the Is An Origin box at the bottom of the Edit Point
Dialog box.
Figure 3-16: The Origin Dialog Box. It can be used to assign a name, marker, mass
and coordinate system to a point series. The point series can also be designated as
an origin.
Rotate (deg)
This is the amount that the coordinate system is rotated relative to the horizontal.
The angle is always relative to the horizontal and not relative to any other rotated
coordinate system.
Scale Item
Choose the scale item that you want to use to scale the coordinate system that is
defined by this origin. This is equivalent to dragging the scale item onto the coordinate system header.
Unchecking the Is an Origin Box
If you no longer want a point series to define the location of the origin on each
frame of the movie, you can remove the origin by clicking on the Is an Origin box.
The point series will no longer be designated as a series of origins. Any other point
series associated with the coordinate system and origin you just removed will be reassigned to the coordinate system that the original point series is associated with.
The Calculated Items Dialog
Calculations can be performed by the VideoPoint software which are based on

the location of two or more video points. Each of these calculated items is
described in depth in the How Do I? chapter. Distances will be reported in pixels
unless the active coordinate system has been scaled.
Page 40
Angles are marked on the movie window for a frame and

calculated based on the location of three video points. One of
these points must chosen as the vertex.
Calculated center of mass of a set of video points on each

frame. To use this feature you must assign a mass to each
video point series included in the calculations.
Ratio of a known distance in pixels between two features or

objects in the Movie Window and the known distance in center.
The distance between two video points.
Figure 3-17: A typical Calculated Items Dialog Box consisting of list of Available
Points for the calculation.
Distance
Scale
Center of Mass
Angle
Designated Point
Point at a location specified by relative distances from two

video points. Designated points are useful for marking the
center of mass of a human body segment that has a
non-uniform mass distribution.
Each calculated items edit dialog box has a list of available video point series
and a list of included video point series. The included video point series are used in
the calculations; the available video point series are the remainder of valid video
points (or video point-type items). Most of the calculated item dialog boxes have a
similar format.
Available Point Series List
Page 41
This list contains all of the point series or point-type series that can be included
in the determination of the points in a calculated series. All point series and pointtype series are shown (i.e., you can make a center of mass series by including two
different center of mass series) in this list. Once a point series is included, it is
moved from this list into the Included Point Series list.
Included Point Series List
This list contains all of the point series that you have chosen from the Available
Point Series List to use in the calculation. To the right of the title Included Points
there is a number or an N located in brackets. This number corresponds to the
maximum number of point series you are allowed to use for the calculation. For
example, if you are doing a designated point calculation you may add only two
point series to this list. On the other hand, when (N) appears as in a Center of Mass
calculation, you are allowed to add as many point series as desired to the Included
Point Series List.
Add >>
This button takes the collection of point series selected in the Available Points
List and moves them into the Included Point Series List. If the number of point
series in the Included List is equal to the maximum number, nothing changes.
<< Remove
Takes the collection of point series that are selected in the Included Points Series
List and returns them to the Available Points Series List.
Point Series Info
Opens the edit dialog box for the last point series selected in either list. This is
useful if you want to change the name or the mass of an included point series.
New Point Series
This button will allow you to create a new point series and include it in the list. If
the included list already has the maximum number of point series, nothing changes.
The Edit Calculated Series Dialogs

Distance Dialog
A distance series consists of data for the distance between two specified video
points for each frame of the movie. To create a distance series choose
Create->Distance. A list of previously defined point or point-type series will
appear in the Available Points box. Click on the point series you want included in
the distance calculation and then click on the Add>> button.
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Figure 3-18 A Distance Series Dialog Box. The user can select any two point series
so that the distance between the two points on each frame can be calculated.
Center of Mass Dialog

You can assign masses to each named data point series and designate that the center
of mass be calculated for a set of point series. For example, if you have entered data
for the relative mass of each body segment for a college-age woman, then the center of
mass of a ballerina can be determined automatically on a frame-by-frame basis as you
locate the body segments on each frame. This feature allows you to study the floating
illusion in the grand jet in ballet or hang-time in the performance of a slam dunk as
well as the path of the center of mass in a collision of many objects.
Page 43
Figure 3-19: Analysis of a dancer doing a grand jet. Each part of the body is
assigned a relative mass; a center of mass of the chosen objects or features is calculated by VideoPoint. Note that the graph on the left shows the floating illusion
of the dancer. The head rises and floats relative to the fixed origin. The center of
mass, however, obeys the laws of physics and follows a parabola.
How to Create a Center of Mass Calculation
To create a series of center of mass points choose Create->Center of Mass. The

center of mass dialog box will appear. A list of previously defined point series will
the center of mass calculation and then click on the Add>> button. You must, of
course, assign masses to each of the point series so that the center of mass points
can be calculated by VideoPoint.
Figure 3-20: The Center of Mass Dialog Box. The user can select any group of
video point series to be included in center of mass calculations.
The Edit Point Properties button allows you to edit the name, marker, etc. of the
Center of Mass point series as if it was a video point series. You can set things like
the coordinate system and angle range in this dialog box. See the Edit Point
Series dialog box for more information.
Scale Dialog
What Scaling Is
VideoPoint can calculate a scale factor if you locate the ends of an extended
object of known length or the distance between a pair of objects in a movie frame.
Once a scale factor is determined, coordinate data can be graphed and recorded in a
data table in real units rather than the native screen units or pixels. For example, to
obtain data needed to determine the free fall acceleration in m/s2 of a small ball that
is being tossed, you can use the known height of the person tossing the ball to
determine the scale factor.
Page 44
Figure 3-21: Situation before scaling. Note that all the units on the graphs and in
the table are in pixels.
In most cases you will create a scale by either clicking on the scale icon on the
toolbar or by choosing Movie->Scale Movie. Doing so will bring up the following
dialog that will prompt you for the length of the known object and the scale type. In
some cases, you will only have to change the Known Length field to something
other than 1 m. If you happen to have a movie made with a zooming camera, check
out the section The Camera Zoomed when the Movie was Filmed? inthe What
If chapter.
Figure 2-22: The scale dialog box.

Alternatively, you can create a scale like any other calculated item by choosing
Create->Scale. The only reason that you would want to do this, as opposed the
much easier way shown above, would be if one of the two points that you want to
use as an end point for your scale distance already existed.
Page 45
Length
This is the length and units of the object or feature in the movie that you are
using to create the scale.
Figure 3-23: Situation after scaling. In the scaling process, the user has selected
the ends of the horizontal meter stick (Scale1 A and Scale1 B) and has also specified that its actual length is 1.00m. The program then automatically adjusts the
units and values on the graph and in the data table. Also the scale factor is now
displayed in the header of the coordinate system it is associated with.
Designated Point Dialog
In order to analyze certain types of movies, it is helpful to be able to point on a

feature that is a known distance from two other points. For example, in the analysis
of body motions in sports and dance, the motion of the joints and the center of
mass of each limb is often displayed in an animated format. The designated point
and point connection features of VideoPoint allow you to perform human motion
analyses easily.
You can define designated points relative to any two other points. For example,
suppose we want to look at the relative motion of the finger tips, wrist, elbow and
shoulder of a tennis player during a serve. You can connect the finger tips to the
wrist, the wrist to the elbow and so on to create an animation of the arm action during a serve. You can define a designated point by opening the designated point dialog box and entering the specifications for your designated point in it. (See the next
section for instructions.)
Page 46
Figure 3-24: Arm Swing. Points are taken at each joint; lines are shown connecting
the joints. Specified designated points that define the locations of the centers of
mass between each pair of joints set the location of the point a relative distance
from one joint to another.
Designated Points are most often used when analyzing human body motions. The
center of mass of a calf muscle, for example, may be 60% of the way from the
ankle to the knee. A designated point, called Calf would be setup to have the
mass of the limb located at 60% of the way from the video point Ankle to the
video point Knee.
The designated point dialog box can be opened by choosing Create->Designate
Point or Edit->Designate Point. A list of previously defined point series will
the Designated Point calculation and then click on the Add>> button.
Page 47
A designated point has a relative displacement along the line connecting two
video points as well as a relative displacement perpendicular to the line between
the two video points. Often the perpendicular displacement is zero (0), and it simply lies a certain percentage of the way along the line from one video point to
another.
Figure 3-25 The Designated Point Series Dialog Box. The user can select any two
video point series to be included in designated point calculations.
Points (2)
This pop-up menu determines which end of the line (A or B) that will receive the
point that is added from the available list. Note that adding a point WILL remove
another point at that location.
% along AB
Percentage of the distance between A and B that the point will be located along
the line from A to B. Values greater than 100% place the point beyond B. Negative
values position the point beyond A.
% perp AB
Percentage of the distance between A and B that the point will be displaced perpendicular to the line. Positive and negative % values are allowed.
Drawing
Figure 3-26: An enlargement of the drawing of the designated point series dialog
box. This drawing shows a designated point that is 70% of the way from A to B
and -20% of the distance from A to B perpendicular to the line connecting A and B.
Page 48
The drawing gives a rough idea of where the designated point will be located relative to the line between A and B. However, large percentage values may locate the
point off the drawing and may not be shown. Clicking on the drawing will either
select A or B (same as the Select Point pop-up) or will enter values into the %
perp and % along fields.
Angle Dialog
The angle reports the angle between the lines connecting three independent video
points one of which is chosen as the vertex. Video points representing points A, B,
and the vertex should be added from the available list. The Angle Dialog box can
be located by choosing Create->Angle. A list of previously defined point series
will appear in the Available Points box. Click on the point series you want included
in the angle calculation and then click on the Add>> button.
Figure 3-27: The Angle Dialog box which allows users to determine the angle
between two point series and a vertex.
Points (3)
This pop-up menu determines which end of the angle (A, B, or vertex) will
receive the point that is added from the available list. Note that adding a point
WILL remove another point at that location and return it to the available list. The
drawing shows how the angle will be reported. Note that the order in which video
points are selected for angle calculations is very important.
Clone Point Series Dialog
Page 49
To report data for a video point or point-type series in two coordinate systems
simultaneously, you need to clone the first series. The Clone Point Series Dialog
Box can be located by choosing Create->Clone. To clone a series, select it from
the list and click on OK. Once the series is cloned, you can edit it like any other
series.
Figure 3-28: The Clone Point Series Dialog Box allows users to create a clone of a
point series to associate with a different coordinate system.
Count Objects of Interest
The count item allows you to record the number of objects of interest you locate
on each frame. The Count Dialog Box can be located by choosing Create->Count.
The only options on the Count Dialog Box are the name, marker, marker visibility and leave trails.
Figure 3-29: The Count Objects Dialog Box which allows users to keep count of
the number of objects or features of interest on each frame in a movie.
Page 50
3.3. Utility Dialog Boxes

Marker Dialog
You can select the size, shape and color of the marker to be placed on the screen
corresponding to each point in a series. These markers can be made quite large for
lecture demonstrations. They can also be horizontal or vertical lines or vectors
referring to the location of the object on the previous screen.
Figure 3-30: Three body parts with three different markers and three different
names. Names can be typed directly into the Coordinate Systems window.
Markers can be selected using a dialog box.
Page 51
If the markers for the points you have located are turned on, a trail of them will
appear on the active movie frame. But if leaving the trails on clutters up the screen,
they can be turned off with a click of the mouse. For example, in following the
paths of three odd shaped objects on an air table, it is distracting to advance
through the frames and accumulate dozens of screen markers while locating the
features or objects of interest on each frame. However, once all the data points are
chosen, it is interesting to see the path of each object as collisions take place. If you
are following the progress of a projectile, it is informative to use a vertical line as a
marker and select leave trails. If trails are left on as you make selections, you can
see a series of equally spaced vertical lines emerge as you locate the projectile on
each frame. Figure 3-31 shows a frame of a projectile with trails off and trails
turned on.
Figure 3-31: Left image of this projectile launch shows a video point on the active
frame with a line type of marker on it. Right image is same frame with trails turned
on so that the constant horizontal motion of the projectile is accentuated.
To open the Marker Dialog Box you can either click on the
marker icon in the toolbar or choose Edit-> Marker. The
Marker Dialog Box lets you choose from a bunch of different
markers. A nice feature of the Marker Dialog Box is the
Apply button. This allows you to view the marker change
immediately on the movie (assuming that the marker is visible!) without closing the dialog box.
Figure 3-32: The Marker Chooser Dialog Box allows users change the size color,
shape and type of marker displayed on the screen for each video point in a series.
How to Choose and Apply a Marker Type

The markers that are used to show locations on the movie frames can be chosen
to accentuate particular features of a motion. You can choose from a wide array of
shapes, sizes, colors and marker types.
In order to change a marker, you must click on a new marker in the selector box
located in the upper right corner of the Marker Chooser Dialog Box. The example
box labeled i.e. will display the new marker. A list of the marker types follows.
Page 52
Point Series (Point):
Lines:
Change:
Vector:
Point Series markers are discrete marks

centered on the locations on each movie
frame that belong to a given point series.
If a lines marker is chosen, then lines will

be drawn that extend from the edges of the
movie window through the point. Vertical
and/or horizontal lines can be chosen. When
trails are turned on, these lines can be used to
emphasize the spacing between points for
motions involving constant velocity or constant acceleration.
A change marker consists of a line segment

that displays the change in position from a
point on the active movie frame to a corresponding point on the next movie frame.
When you are stepping through a movie taking data the change marker will be a little
cross (since the location of the object or feature of interest has not yet been marked on
the next frame). Once you finish locating the
video points on each frame, the series of
change markers can be displayed whenever
trails are turned on.
Vectors represent the displacement vectors.

These vectors point from the origin of the
coordinate system to the location of the point
associated with the origin.
Page 53
Marker Color
To pick another color for a marker, you should click on one of the color squares
in the Marker Chooser Dialog Box. These squares are located in the lower left corner of the Dialog Box.
Scale Movie Dialog
This dialog box appears when you click on the scale icon in
the toolbar or choose Create->Scale or Movie->Scale Movie.
Unless the camera zooms during the movie, you can leave the
scale type as fixed and just enter the known length of the
object in the movie. If the camera zooms, see the section The
Camera Zoomed when the Movie was Filmed in the What If
chapter.
Figure 3-33: The Scale Movie Dialog Box allows users to enter the length of an
extended object (or the known distance between two features) on a movie frame.
The scale is associated with a coordinate system (named for its origin).
Origin
If you have multiple coordinate systems that are in the same plane
(equidistant from the camera), you should share one scale factor across
some or all of the coordinate systems. The easiest way to do this is to
first scale one of the coordinate systems, then, on the Coordinate
Systems Window, drag that scales row onto each of the coordinate systems that will share the scale.
Scaling Multiple Coordinate Systems
This option allows you to choose which coordinate system that you want to scale
by selecting the corresponding origin. See the note about scaling multiple coordinate systems before creating a different scale for each coordinate system.
Page 54
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Series Popup
Choose the series or time that you want plotted using this popup menu. Note that
if you choose time or other
series that only has a single
value per time, the list of
options will disappear.
Figure 3-36: The series popup menu.

Component Popup
Choose the component
(e.g. the y-component) of
the series that you want to
plot.
Add Button
Page 56
Variable List
Choose the variable that you want to plot for the selected component of the
selected series. Note that there are two types of lists; one for the x-y data and one
for the angular data. Both are shown here. The angular data list will be shown if
you have selected angle from the Component Popup.
Figure 3-38: The variable lists.
Figure 3-37: The component popup menu.
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Graph Dialog
You can create graphs of the (x, y, or t) or (r, , or t) coordinates of point series
as a function of time or of any of the coordinates recorded for other point series
you have created. The coordinate data are determined relative to a default coordinate system or any other 2D system you choose to define. Suppose you choose to
view graphs of x vs. t and y vs. t describing the path of a ball undergoing projectile
motion. These graphs can be selected before, during or after the locations of the
ball are marked on each screen. Any graphs that are pre-selected before the data
points are placed on each frame will unfold as the data are being selected.
Figure 3-34: y vs. time and x vs. time shown for the ball toss.
How to Create a Graph

You can open the graph dialog box by clicking of the graph
icon in the toolbar or View->New Graph, or Ctrl-G for
Windows or Command-G for MAC. The graph dialog box
allows you to create a plot of any number of point series values
Page 55
relative to a set of values from a single series.

Figure 3-35: The Graph Setup Dialog Box which allows users to choose the series
to be graphed on the Horizontal Axis and the series or set of series to be graphed
on the Vertical axis.
Clicking the Add button will add the chosen data to the current plot (or create
one if necessary) and will leave this dialog open so you can add more items.
OK Button
Clicking the OK button will plot the chosen information and close this dialog.
Model Dialog
You can open the Model Equation Dialog by bringing the Graph Window to the
front and choosing Graph->Add/Edit Model or you can click on the model icon
on the graph window. The model dialog lets you chose some equations that can be
used to model your data. First choose the equation that you think will model your
plot the best. Next, change the constants and hit Apply to see your results.
Continue changing the constants until you are satisfied with your model.
If you have plotted more than one item on a graph, you will be able to choose
which data set the model will compared against.
Figure 3-39: The Modeling Dialog Box which allows users to attempt to choose
a type of equation and its constants such that the graph of the equation matches
a graph of data.
Use this pop-up menu to choose the a type of equation that might represent the data.
Equation
A:, B:, C: and D:
Page 57
These boxes contain the values of the constants A, B, C and D to be placed in the
equation.
Apply
Use the Apply button to view your model on the graph without closing the
model equation dialog box.
Curve Fit Dialog
You can open the CurveFit Dialog by bringing the Graph Window to the front and
choosing Graph->Add/Edit Fit or you can click on the fit icon
Figure 3-40 Curve Fit Dialog.
Choose between Average, Linear and Polynomial (quadratic and cubic) fits.
Type of Fit
Update Automatically
If this box is checked, the fit will update every time a point is moved or the
graph is re-scaled; this can slow the program down somewhat.
Frame Rate Dialog
Choose the frame rate that you want from the pop-up menu. If the rate that you
Movie taken with a high speed or time lapse camera may have unusual frame
rates not properly recorded in the movie. You can use the Frame Rate dialog box to
change the default frame rate of the movie. You can locate the dialog box by choosing Movie->Select Frame Rate. Changing this is not a good idea unless you know
that the time code on the movie is incorrect. For example, to enter the frame rate
for a time-lapse movie recorded at 1 frame per 100 seconds, you should enter 0.01
in the dialog box.
want is not listed, choose Other and type the new value into the box. Choosing
Default will let VideoPoint read the time from the movie file.
Movie Step Size Dialog
Page 58
If the movie has more frames per second than you want to analyze, you may
want to set a step size to analyze fewer frames in each second of the movie. Choose
either one of the default step sizes from the pop-up menu or choose Other and
type in your own. To open this dialog box choose Movie->Set Step Size.
Figure 3-41: The Movie Step Size Dialog Box allows users to skip frames on a regular basis when the analysis of all the frames in a movie would be unnecessary and
tedious.
You can choose the step sizes by time or by number of frames. If
you know the movie to have a fairly consistent step size already
(look at the time column to see if the differences between adjacent
values is consistent), then you can simply step by number of
frames. Just choose Frames from the Step by: popup menu.
Coordinate System Dialog

Double clicking on the Coordinate System icon, or in the
Coordinate Systems Window calls up a coordinate systems dialog box. This allows you to change all the video point series
Page 59
and calculated items relative to this system from Cartesian to

polar coordinate or vice versa. Any series that are later made
relative to this system will be changed to the correct coordinates.
Figure 3-42: The Coordinate System Dialog Box allows users to change the current coordinate system to either a Cartesian or a polar system.
Graph Scale Dialog
You can open this dialog box by clicking on either the horizontal or vertical axis
on the graph.
Figure 3--43: The Graph Scale Dialog Box.
Use this dialog box to change the scale of either axis of the graph. Enter minimum and maximum values for the scale or choose AutoScale to have VideoPoint
choose them for you. Click Apply to see how these changes affect your graph
(without closing the dialog box).
You can also rescale your graph directly on either graph axis by clicking on the
numbers corresponding to maximum and minimum values and entering new maximum and minimum values from the keyboard. In addition, there is a zoom graph
feature. Holding down the Ctrl key, depressing the mouse button and dragging the
mouse diagonally across the region of the graph you want to zoom in on will
enlarge that region. Ctrl-double-clicking will autoscale both axes of the graph.
Change Scale Dialog
Change Scale can be opened by choosing Options->Change Scale. Use this dialog box to change the characteristics of the scale item(s) in your Coordinate Systems
Window. Primarily, this is an easy way to adjust the actual length in meters, centimeters or millimeters of the object or features used as the scale. You can also
change the scale type so that scaling can be done frame-by-frame. This is really only
important when either the camera zooms or moves towards/away from the scene of
interest. Both of these actions cause the ratio of pixels to meters, centimeters or millimeters to change on a frame-by-frame basis. See The Camera Zoomed while the
Movie was Filmed in the What If chapter for information on how to use frameby-frame scaling.
Figure 3-44: The Change Scale Dialog Box allows users to change the information
about the scale for a movie.
Clear All... Dialog
Page 60
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Clear All... can be opened by choosing Edit->Clear All. Use this dialog box to
clear the location of frame-by-frame, semi-fixed, or fixed point series in the entire
movie. You can choose to not clear the origins and the ends of the scales for the
movie by checking or unchecking Origins or Scale Ends.
Page 61
Figure 3-45: Clear all Choices Dialog Box. Select the points that you want to clear.
3.4. Menus
The Apple Menu (MAC Only)
Figure 3-46: The File Menu.
The menu item About VideoPoint in the upper left of every Macintosh computer opens a brief summary of information about the VideoPoint Software.
The File Menu
New Startup...
Begins the setup process of choosing a movie, saved file or blank coordinate system for analysis.
Chooses a movie for analysis.
Open Movie...
Opens a saved Video Point file.
Open Saved Data...
Closes the active window.
Close Window
Save As...
Saves the current Coordinate Systems Window and associated windows to a new
data file.
Save
Creates a new data file if it hasnt been saved before, otherwise it updates the
current file.
Export Data...
Dumps all the data that has been taken to a text file. All data including mass and
item type are sent to this file. It also contains the locations of fixed video points.
Opens the standard Page Setup dialog box.
Page Setup
Prints the active window to a file with some header information.
Print Window
Quits VideoPoint.
Quit
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The Edit Menu
Figure 3-47: The Edit Menu.
Edit Selected Series...

Opens the Edit Dialog box for the selected series. These dialog boxes will be different for different types or series (point, center of mass, distance, etc.).
Change Marker...
Opens the Marker Chooser Dialog box for the selected series. The marker that
indicates the location can be changed.
Toggles trails on and off for all selected video point series.
Leave/Hide Trails
Toggles the visibility of all selected series.
Hide/Show Selection
Makes all series visible.
Show All
Clear Selection on Frame
Page 63
Clears the data for the selected series on the current frame. However, the series
name and other characteristics still exist.
Clears the data for the selected series for all the frames in the movie.
Clear Selection All Frames

Clear Frame
Clears the data for the current frame from all items. This is useful if you want to
retake all the data on a frame.
Clears the data for all frames from all items.
Clear All ...

Copy (Movie/Data/Window)
Copies the active window to the clipboard. The Table Window is copied as text.
The other windows are copied as bitmaps.
Delete Selection
Deletes any video point series or selected item that is highlighted on the screen.
The series and all its data are entirely removed from the coordinate systems header.
Select All
Selects all items in the open window allowing you to

copy or delete all of the items.
The Options Menu
Figure 3-48: The Options Menu.
If Auto Add Points is turned on, each time you click on a movie frame a new
Auto Add Points
Page 64
analysis of complex systems that recur such as those used in the analysis of human
motion. Point series and their relative masses for each body segment for a typical
male or female athelete can be retained from movie to movie.
Switch Movie...
Switch movie is designed to let you easily analyze a series of movies that have
been taken with the same fixed camera. If, for example, you took a series of movies
of people measuring their vertical leap with the same camera at the same location,
you could set up the scale and origin for the first movie, take and save data, then
switch to the next movie. Since the scale and origin will be kept, all you have to do
is take data.
When you switch movies, the movie will be closed and data associated with it
will be cleared and the user will be returned to the finder to choose a new movie.
However, fixed data and information about origins, coordinate systems and scale
factors will be retained.
Live Updates
This toggles live updates on and off. When on, dragging or placing a point on
the movie window is immediately reflected in the table and graph windows.
Though a great feature when seeing how the location of some points can really
affect an entire curve, it can slow things down a little. If you turn it off, it will only
update changes when the mouse button is released.
The Create Menu
Each menu choice creates a new series and opens the respective dialog box. See
Sections 3.2 and 3.3 of Chapter 3 for more information on how to use the edit dialog box for each series.
Page 66
Figure 3-49: The Create Menu.
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video point series will be created. You will prompted for a series name and other
information.
Auto Point Advance

If Auto Point Advance is checked, after a video point is located on a movie
frame, VideoPoint will set you up to locate the next video point from the next series
that should be located on the frame. If all the video points have already been located, nothing is selected.
Auto Frame Advance

If Auto Advance Frame is on, the movie will advance one frame as soon as all
the video points from all of the video point series on a movie frame have been
located. If Auto Point Advance is off, Auto Frame Advance will advance the movie
when the selected video point is located.
Make Point Origin

If a video point series is selected, it will be transformed into an origin series. This
option allows you to record data of one point series relative to another video point
series. Thus, you can record coordinate data of the motion of one object or feature
in a movie relative to the motion of another object or feature.
Transform Origin
If the object on the movie that you are using for an origin should happen to move
off the screen, you can transform the origin to some other object that is on the
movie afterwards. To transform an origin, go back to the last frame in which the
object was visible and find another object or feature on that frame that will become
the new origin. See Transform an Origin Section 4.9 in the How do I? chapter.
Set Default Origin (Coordinate System)

Sets a coordinate system and its associated origin to the default. It is usually a
good idea to leave the original coordinate system, initially named Origin 1, as the
default system.
Change Scale...
This brings up a dialog box that lets you change the length of any scale that is
present on the movie.
Remove Movie...
Page 65
The movie will be closed and all data associated with it will be cleared. However,
any coordinate systems that have been created will be retained, although the data
associated with each of them, such as angle of rotation and origin locations, will be
cleared. Also, the basic properties of any point series that have been created and the
properties they have been given such as mass, is an origin, and association with a
coordinate system will be retained. The Remove Movie is a valuable feature in the
Creates a new video point series for the selected feature or object.
Point
Origin
Creates a new coordinate system and associated origin series. By default, this origin series is a frame-by-frame origin. You can easily change the series it to a fixed
or semi-fixed type of origin.
Center of Mass
Calculates a video point-type series in which each calculated point is at the center of mass of the included video points on a frame.
Distance
A distance calculation reports the distance between specified pairs of video
points.
Scale
Creates a scale factor using two existing objects or features that are a known distance apart. The scale factor is the ratio of the frame pixels between two scale
points you have located (such as Scale A and Scale B) and the known distance in
meters, centimeters or millimeters between these scale points. Normally, you would
use Movie->Scale Movie to scale a movie, unless you want to use two existing
video point series to create the scale.
Clone
Creates a video point series identical to that of the selected video point series.
Cloning a video point series allows you to determine positions for a video point
series relative to two different coordinate systems.
Angle
Reports the angle between the lines connecting two video points on a frame to a
third video point which is designated as a vertex.
Designated Point
Creates a designated point series. Each designated point is located relative to the
locations of two other video points on each frame. A designated point can have a
relative displacement along the line connecting the two points as well as a relative
displacement perpendicular to the line between two points.
Page 67
Keeps count of the number of objects or features of interest in each movie frame.
Count
The Movie Menu
Figure 3-50: The Movie Menu.
Resets the movie to its first frame.
Rewind
Starts the scaling process.
Scale Movie
Opens the movie step size dialog box, allowing you to analyze fewer frames.
Set Step Size

Select Frame Rate
Overrides the default frame rate of the movie. Use this ONLY if you know the
time code of the movie differs form the actual times at which the frames of the
movie were recorded.
Half Size
This changes the size of the movie box relative to the default size that is stored in
the digital video file. (Normally we suggest that movies be digitized in a 320 X 240
pixel size.)
Normal Size
This sets the size of the movie back to the default size that is stored in the digital
video file. (Normally we suggest that movies be digitized in a 320 X 240 pixel
size.)
Double Size
This changes the size of the movie box relative to the default size that is stored in
the digital video file. (Normally we suggest that movies be digitized in a 320 X 240
pixel size.)
Page 68
Current Movie Window
This command brings the movie window to the front. If the movie window has
been closed, it opens it.
Table Window
This command brings the table window to the front. If the table window has been
closed, it opens it.
The View Menu
Figure 3-52: The View Menu.
Whenever a window is selected from the View window, it is the one associated
with the currently active window. For example, if you have two data tables containing data from two different movies, selecting View->Movie will bring the movie
which matches the active data table to the top.
Page 70
This command toggles the background window that covers up the Finder and
other open programs.
Toggle Background -MAC
This command opens a dialog box that lets you plot data. See Graph Dialog
Box in Section 3.3 of this chapter.
New Graph ...
This command opens a data table associated with the movie window or coordinate systems window that is currently active. It reports all the data that changes
over time.
Data Table
This command brings the current Coordinate Systems Window to the front.
Coordinate Systems
The Movie command makes the appropriate movie window active and brings it
to the front. If the movie window is closed, VideoPoint opens it.
Movie
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Fill Screen
This changes the size of the movie box to the maximum size that allows you to
still use the movie controllers.
Keep Aspect Ratio

If checked, this retains the aspect ratio of the movie when resizing. Otherwise,
the movie can be distorted, though the data will still be correct.
Play All Frames

If Play All Frames is checked, VideoPoint will play every frame of the movie
at a constant speed. Otherwise, it will attempt to play the movie at its original
frame rate (which in some cases, will skip frames).
Shows the frame number at the top right hand corner of the movie window.
Show Frame Numbers
Figure 3-51: The Window Menu.
The Window Menu
Tile
This command rearranges the screen so that most of the windows can be seen.
Cascade
Page 69
This command rearranges the screen so that the windows lie one on top of each
other.
This command hides the current window.
Hide Window
Close All
This command closes all open windows.
Coordinate Systems
This command brings the Coordinate Systems Window to the front.
Selects the next video point that can be located on the current frame.
Allows user to select and move an existing video point marker.
Toggles context sensitive help on or off (similar to Macintosh balloon help).
Selects the previous video point series listed in the Coordinate Systems
Window.
Selects the next video point series listed in the Coordinate Systems
Window.
Allows user to scale the active coordinate system.
Hides/Shows the Table Window.
Allows user to create a graph.
Allows user to change the size or shape of the selected marker.
Toggles to display or hide the entire series of video points associated with
a selected video point.
Toggles trails of the selected features.
Allows user to edit a video point series.
3.5. The Toolbar
The toolbar buttons are as follows:
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Figure 3-53: The Graph Menu.

The Graph Menu can only be located if the Graph Window is the top window.
Add/Edit Model
This adds a new model or allow you to edit the current model for the active
Graph Window. Each graph can only have one model (see Section 2.2 on Model
Dialog Boxes for details).
Remove Model
This will remove a model from the current graph on the current graph window.
The current graph is the one with the time labels directly beneath it.
Add/Edit Fit
If you have the version with curve fitting, selecting this menu item will open the
Fit Dialog.
Remove Fit
This will remove a fit from the current graph on the current graph window. The
current graph is the one with the time labels directly beneath it.
Show Legend
Allows user to transform the origin or orientation of a selected coordinate

system.
Nudges the selected video point 1 pixel in any direction; click on the
appropriate arrow to nudge.
MAC only. Toggles the background window off or on to hide windows

that do not belong to VideoPoint.
Page 72
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Page 71
If this is checked, a legend will appear on the graph. By default, the legend only
appears on new graphs when more than one data series is to be plotted on the same
graph.
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Chapter 4:
How Do I?
4. How Do I?
Open a New Startup
Page 76
You take data by locating features or objects of interest on the movie. The
process consists of a) choosing a name for the video point series you want to locate
(or using the default name already assigned), and b) clicking on the movie where
you want the video point in the series on the active frame to be located. Note that
calculated video points, such as the Center of Mass and Designated Points, are
determined from the video points that you select to be included in the calculation.
For example, if you had a calculated center of mass of two carts, Big Cart and
Little Cart, the center of mass would be located for you once you have chosen
the video point locations on a frame for both Big Cart and Little Cart.
Take Data by Locating Video Points
4.3. Take Data
First, choose Options->Remove Movie. This will remove the movie and clear
all the data associated with the movie. It will, however, retain information about
the coordinate system type and the associated point series properties such as mass,
designation of series as an origin and so on. The Remove Movie is helpful in the
analysis of complex systems that recur such as those used in the analysis of human
motion. Point series and their relative masses for each body segment for a typical
male or female athelete can be retained from movie to movie. You can then save
this Analysis Setup as a data file.
Save a File Without the Movie
Choose File->Export Data. This will save a tab-delimited text file that can be
read by any spreadsheet or other math analysis package.
Export Only the Data to a File
Choose File->Save As....
Save a File as a Different Name
Choose File->Save. This will save all the data and graphs.
Save a File
Choose File->New Startup.... This startup window allows you to choose

between opening a new movie, opening a saved file or quitting out of the
VideoPoint software.t
Get Help
Open and Save Files
Take Data
Select Items
Clear Data/Delete Series
Edit Series
Create Items
Modify or Move Calculated Items
Define Coordinate Systems
Take Short Cuts
View and Analyze Movies
Display Data
This section answers some of the most common questions about using
VideoPoint. Answers are organized into the headings listed here.
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
4.12
4.1. Get Help

MAC A balloon-type help system is available on the
Macintosh version of VideoPoint. To use it, click on the icon
and move the cursor around the screen. To see a help balloon
you should place the cursor on any VideoPoint element of
interest on the monitor screen.
WINDOWS Choose Help->Context to get more information about the current window or Help->Contents for a general
overview.
4.2. Open and Save Files

Open a Movie
Page 75
Choose File->Open Movie.... This will open a movie for analysis and create a
new Coordinate System Window, or if the current Coordinate System Window has
no movie associated with it (see Saving a File Without a Movie), this will attach
a movie to it.
Open a Saved File

Choose File->Open Saved Data....
Select a Group of Video Points
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If a video point has already been located on a frame, but not in the correct location, you can select and move the video point by clicking on it and dragging it
around in the movie window. If the point refuses to be moved around the screen, it
is most likely a calculated series which you cannot move.
Page 78
Choose Edit->Clear All. This opens the Clear All dialog. This dialog allows
you to clear the data for all types of video point series for the entire movie.
Clear All the Data
Once a video point is selected, you can clear the video point by choosing
Edit->Clear Selection on Frame. This will clear the data for all the selected
series; however, the series will still remain in the Coordinate System Window and
can be relocated on this frame.
Clear the Selected Video Point on a Frame
4.5. Clear Data/Delete Series
If you have just moved a video point or have been editing

some video points that have been located, you will need to
click on this icon to continue taking data.
You can select the next video point that you want to locate
by clicking on this icon on the toolbar. If Auto Point Advance
is on, VideoPoint will automatically select the next video point
that needs data on that frame ONLY after you have located a
different video point.
Select the Next Video Point that Needs to be Located
You can select a calculated video point series by a) clicking on the video point
series name in the Coordinate System Window, b) using the up- and down- arrows
on the toolbar until the video point series name is shown in the bottom right of the
movie window and/or is highlighted in the Coordinate System Window.
Select a Calculated Video Point Series
You can select more than one video point series at a time by holding the shift key
and clicking on each video point series either in the movie window or on the series
names listed in the Coordinate System Window. You can also drag a rectangle on
the movie window the includes the markers for a cluster of video points on the
movie frame that you want to select. However, you can only move one video point
at a time.
Figure 4-1: Example of the Point Series cursor

for locating each point and the arrow used to
select a previously located video point to move it.
4.4. Select Items

Select a Video Point Series
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which has been selected.
Page 77
You can select a video point series by a) clicking on the

name of the video point series in the Coordinate System
Window, b) using the up- and down- arrows on the toolbar until
the name of the selected video point series is shown in the bottom right of the movie window and is also highlighted in the
Coordinate System Window, or c) if the video point has already
been located on the active movie frame and its marker is visible, clicking once on the video point marker will select it.
Once a video point is selected on a frame it will have a circle
around it.
Change the Marker of a Series
Select the series. Once selected, either click on the icon in

the toolbar or choose Edit->Marker. See the section Marker
Dialog Box in the Functional Description chapter.
Change the Name of a Series
You can either change the name in the edit dialog box for the series or change the
name directly on the Coordinate System Window by clicking once on the name.
Change the Mass of a Series
You can either change the mass assigned to a series in the Edit Dialog Box or
directly on the Coordinate System Window.
Show/Hide a Series
Select the series. Clicking on the icon in the toolbar toggles the
visibility of the series. You can also hide and show a series on
the movie by checking and unchecking the V column on the
Coordinate Systems Window. Visibility can also be set by checking the Is Visible box in the edit dialog box for the series.
Turn a Series Trail On/Off

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Clear the Point for All the Frames
Clearing vs. Deleting
Choose Edit->Clear Selection All Frames. This will clear all the locations for
all the selected video points for all the frames.
!
Clearing data only removes the locations and (x, y, t) data associated
with a video point series, but the video point series name and other
characteristics given to it remain intact. Deleting data removes the
locations and (x, y, t) data associated with a video point series along
with the video point series itself.
Delete a Series
Delete a Located Video Point Series
Select the located video point series that you want to delete. Choose
Edit->Delete Selection.
Delete a Calculated Point Series

Select the calculated video point series and then choose Edit->Delete Selection.
This will NOT delete video points that are used to calculate the series.
Edit Dialog Boxes
4.6. Edit Series

!
Select the series and then click on the trails icon in the toolbar
to toggle on the trail and hence the location markers for all the
points in the series. You can also toggle the trail for selected series
by clicking in the T column in the Coordinate Systems
Window.
Report Point Series Data in Polar Coordinates
Each type of series has its own edit dialog box. Some of the characteristics listed here do not apply to all types of series. See Section 3.2 in
Chapter 3 to learn more about each type of dialog box.
Edit a Series
Any series can have its coordinates reported in polar (r, ) format. This can be set
in the series Edit Point dialog box in the Coord.Sys pop-up menu. Note that for
calculated point series (such as the center of mass), you will need to click on the
Edit As Point... button on the edit dialog box for the series.
Page 80
Sometimes, you will want to get angle data from either - to or from 0 to 2.
Also, if the object in the movie is spinning, you might want to get angles in the
range from -INF to INF. In the series edit dialog box, select the range in the Angle
Range pop-up.
Change the Angle Range for a Series
Select the series that you wish to edit. To edit the characteristics, either a) choose
Edit->Edit Selection... (Ctrl-E for Windows and Command-E for MAC), b) double-click on the left box on the video points line in the Coordinate System
Window, or c) if the video point has already been located on the current frame of
the movie, you can double-click on the video points marker on the movie.
Page 79
In any case, editing a series brings up the appropriate edit dialog box and you can
change any of the characteristics of the series.
4.7. Create Items
Create a Count
Create
You can create and define characteristics for many types of items including video
point series, coordinate systems (origins) and center of mass series.
!
Create a Scale (the easy way)
Choose Create->Count to create a count item. When the count item is selected,
each successive click on the move window will add one to the count on the current
frame. When you are finished counting objects on a frame you can use the movie
controller bar to change to another frame and count objects on it. The number of
objects or features counted on each frame will be displayed in the data table.
A count item lets you count the number of features or objects of interest on a
frame. It marks where you click, but only reports the number of clicks on each
frame. For example, you could, for example, count the number of blue air table
pucks in a region to track entropy increases using a movie from the Princeton
Collection such as PRU035.MOV. Or you might want to use two count items to
analyze a time-lapse film of an area in a shopping mall and track the numbers of
men and women present at different times of day.
See Section 3.2 on Edit Dialog Boxes in Chapter 3 to learn how to use
the edit dialog box for each type of item.
Create a Video Point Series

Choose Create->Point. This will create a new video point series and open the
video points edit dialog box. Another option, which is useful if you want to create
several new video points, is to use the Auto Add Points feature. This adds a new
video point every time you click on the movie until you turn Auto Add Points off.
See Auto Add Points in the Menus section of the Functional Description
chapter for more information.
Create an Origin (Coordinate System)
Either click on this icon on the toolbar or choose

Movie->Scale Movie. This will start the scaling process. See
the entry entitled Scale Movie Dialog in Section 3.3, or
Chapter 3 to see how to set the options on the dialog box.
Create a Scale (the hard way)
Choose Create->Scale. This opens a blank scale edit dialog box. You will need
to include two video points that make up the scale ends. This is useful when the
video points by which you scale the movie are also video points that you have
already taken on the movie.
When you create a new origin, you are defining a coordinate system. After
choosing Create->Origin you can give your new origin a name and specify its
location on each frame of the movie. Since a new coordinate system which carries
the name of your origin has been created, you will see a header for this new system
in the Coordinate System Window. You are free to change the characteristics such
as the scale factor, orientation and so on of this new coordinate system.
Create a Center of Mass Series
Add a Video Point Series to a Calculated Series
Page 82
Each calculated series is calculated from two or more video point series or other
previously calculated series. In order to include a video point series in a calculated
series, you need to: 1) open the edit dialog box for the calculated series, 2) select
the video point series that you want to add from the available video points list, and
3) click on the Add>> button to add them to the list. Certain series can have a maximum number of video points that can be included. Add>> will not replace a video
series. See the description of the dialog box for each series in Section 3.2 of
Chapter 3.
4.8. Modify or Move Calculated Items
When you choose Create->Center of Mass, an edit center of mass dialog box
will appear. You can use this dialog box to name the center of mass series you are
creating and to choose a set of previously defined video point (or point-like) series
to be included in the center of mass calculation.
Create a Designated Point

When you choose Create->Designated Point, an edit designated dialog box will
appear. You can name your designated point, choose the end video points to be
included and enter the data needed to calculate coordinates for your designated point.
Create an Angle
Page 81
Choose Create->Angle. Once the edit dialog box for the angle item opens, you
can choose the three video points that make up the ends and the vertex of an angle.
Figure 4-3: A typical calculated series dialog looks

much like the Distance Series dialog shown above.
In this case the user is selecting two point series
ball 1 and ball 2, in order to determine the distance
between them on each frame.
Remove a Video Point Series from a Calculated Series

To remove a video point series from a calculated series, you need to first open
the edit dialog box for the series. Select the video point series that you want to
remove in the included list and click on <<Remove.
Move Calculated Points

You cant move a calculated point directly by clicking on it and dragging.
However, you can move a calculated point indirectly by moving one or more of the
included video points. By moving one of the included points, you will most likely
move the calculated points.
Locate Calculated Points

You cannot locate calculated points directly by clicking on the screen. Instead
you must locate the video points which are included in the calculated point.
4.9. Define Coordinate Systems

A Coordinate System, when fully defined, has an origin which is located relative
to the Video Origin, a scale factor that is used to determine locations of objects of
interest in real units, a typeCartesian or polar, and an angle of rotation with
respect to the native video coordinate system.
Page 83
Whenever you create an origin or designate an existing point series as an origin,

you are actually defining a new coordinate system and a header for it will appear in
the Coordinate System Window. Initially each new system is a Cartesian system
with no scale factor associated with it and no angle of rotation. A header for your
new system will appear in the Coordinate System Window. Once a new system is
created, you can change its characteristics. Current information about scale factors
and rotation angles for the Coordinate System will appear in its header. Data specifying the origin location will appear in the native Video Coordinate System (or
whatever other coordinate system that origin is associated with.
Coordinate System Origins

Create a New Origin
Choose Create->Origin. This will create a new video point that is designated as
an origin and also create a new coordinate system for it in the Coordinate Systems
Window.
Alternately, select the point series that you want to become an origin series. To
make this point an origin, you can a) click once on the O column in the
Coordinate Systems Window of the selected point, b) choose Options->Make
Point Origin, or c) edit the point and check the Is an Origin box.
Decide where to Locate an Origin
If you want a stationary origin, choose an object or feature that does not move in
the plane of the movie. Objects such as tables and doors make good origins. Note
that if the camera moves, you will need to click on the location of the origin on
each frame. See The Camera was Moving when the Movie was Filmed in the
What If chapter if this is the case.
Transform an Origin
If the object on the movie that you are using for an origin should happen to move
off the screen, you can transform the origin to some other object that is on the
movie afterwards. To transform an origin, go back to the last frame in which the
object was visible then find another object on that frame that will become the new
origin. Select the old origin, and then choose Options->Transform Origin. This
will pop-up a small pink cross next to the original origin. Move this pink cross to
the location of the new origin. From the next frame on, you will click on the location of the new origin. See The Camera Panned so much that My Origin
Disappears in the What If? chapter.
Set the Default Origin
Whenever you create a new point series or calculated series it is automatically

associated with the default coordinate system. Since you can change the name, origin location, type of coordinate system and so on of the default coordinate system,
you will usually want to associate the video points and calculated series you create
with it. However, there may be instances in which you want to define and associate
several series with one of the other coordinate systems.
Page 84
Select the origin. Choose Options->Set Default Origin. It is usually a good idea
to leave the original origin (Origin 1) as the default origin.
Change the Length of a Scale Item
If you entered the wrong length of the object in the movie that is used for scaling
(i.e., its a 2 meter stick and you entered 1 meter for the known length), choose
Options->Change Scale....
Alternatively, you can select the scale that you want to change in the Scale
pop-up menu and then enter the new known length of the object or select the scale
on the Coordinate System Window. Next you should choose Edit->Selected Series
and change the number in the length field.
Remove an Origin
If you no longer want a point series to define the location of the origin on each
frame of the movie, you can remove the origin by clicking on the Is an Origin box.
The point series will no longer be designated as a series of origins. Any other point
series associated with the coordinate system and origin you just removed will be reassigned to the coordinate system that the original point series is associated with.
Choose Polar or Cartesian Coordinates
Page 86
Figure 4-5: The origin for this popular

Hersheypark water ride is set to the top
of the fall and rotated such that all x
values are reported parallel to the incline.
There are several cases in which the it is advantageous to have an x-axis that is
not horizontal. For instance, motion on an incline can be studied with the x-axis
rotated so it is parallel with the surface of the incline. Also, the angular motion of a
simple pendulum can be recorded by choosing a polar coordinate system, placing
the origin at the pivot point and rotating the horizontal axis by 90 degrees in a
clockwise direction. This allows VideoPoint to report the angle data between - and
.
Rotate a Coordinate System
The icon on the coordinate system header indicates whether the coordinate system is polar or Cartesian. Double click on the system header to get a dialog box
that lets you choose between polar and Cartesian coordinates.
Scale a Coordinate System

In order to scale a Coordinate System, there has to be an object (i.e., a meter
stick) of known length. If the camera does not zoom, the object needs to be in only
one frame of the movie. When you make your own movies, be SURE to keep
something like a meter stick in the frame of the movie. Whatever you choose for
your known length it is IMPERATIVE that the object be in the same plane as the
motion of interest. If the object is behind the motion, the scale factor (in
pixels/meters) will be too small (since the length of the meter stick will appear to
be too small on the movie).
Create a New Scale

If you want to create a scale, click on this icon in the toolbar
or choose Create->Scale. Either action will start the scaling
process. You will be asked to enter a scale length in a dialog
box and click on the ends of the object of known length.
Use a Scale with Another Coordinate System

If you want to use a scale that has been already created on this movie with a different coordinate system, you can either a) drag the scale icon from its coordinate
system onto the header of the new coordinate system that you want to scale.
See the section entitled Scale Series Dialog in Section 3.2 of Chapter 3 for
instructions on using a dialog box as another way to associate a scale with the point
series in various coordinate systems.
Change a Scale
Page 85
Once both ends of a scale item have been located on a movie, the scale factor
(pixels/meter) can be changed in a few ways. You can either move the locations of
the end video points (closer reduces the scale factor) or change the known length of
the scale itself.
Figure 4-6: The origin has been moved to the center of the wheel and rotated so
that the x-axis passes through the starting point such that the theta vs. time plot
starts at 0,0.
A coordinate system can be rotated through any angle between 0 and 360 in a
counterclockwise direction with respect to the horizontal axis (or with respect to the
positive x-axis of the coordinate system to which the rotated coordinate system refers).
Figure 4-7: A selected origin with associated

coordinate axes and a selected origin with axes
rotated at 345 with respect to the native Video
Coordinate System axes.
To rotate a coordinate system, the origin of the system must be selected. Once the
origin is selected, there are two ways to rotate the system. One is visually and the
other is to enter the desired angle into the Origin Dialog.
Visual Coordinate Rotation
To rotate the axes visually, select the origin associated with the coordinate system
you want to rotate. If the origin is selected, it will have a circle around it with a little handle along the positive x-axis. Drag the handle around either clockwise or
counter clockwise to change the angle of the coordinate system.
Page 87
Numerical Coordinate Rotation

To rotate the axes numerically, select the origin associated with the coordinate
system you want to rotate. Double click on the selected origin to bring up the
Origin Dialog located at the bottom of the Edit Point Series Dialog Box.
Figure 4-8: The Origin Dialog at the bottom of the Edit Point Series Dialog Box.
Move a Video Point Series to a Different Coordinate System
You can move a data point from one designated coordinate system to another. For
example, suppose you are analyzing a film of a person sitting on a cart who tosses
a ball vertically while the cart is moving at a constant velocity in a direction perpendicular to the video camera. You can select the location on the ball in each
frame and then create a data table showing the x and y coordinates of the ball relative to the laboratory coordinate system or to a coordinate system moving with the
cart. This should help you to acquire a better understanding of Galilean relativity.
Move a Video Point Series
To move a video point series or point-type series to a different coordinate system,

place the mouse over the left-most box in the series line in the Coordinate Systems
Window and drag the series line onto the header of the coordinate system to which
you want to add the series.
Page 88
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Figure 4-9: Ball #3 starts out in the

Origin 1 coordinate system but is
dragged to the Table End coordinate
system.
Remove a Scale from a Coordinate System

Drag the scale icon in the coordinate system header onto the Video Origin
header. Since the Video Origin box cannot be scaled, it will just remove the scale
from the original coordinate system.
Replace a Scale in a Coordinate System

If you have more than one scale item on your movie, you can switch between
them by dragging the scale items onto different coordinate systems.
Scale Movies
Choose an Object of Known Length for Scale
Page 89
In order to scale a movie, there has to be an object (i.e., a meter stick) of which you
know the length. If the camera does not zoom, the object needs to be in only one
frame of the movie. When you make your own movies, be SURE to keep something
like a meter stick in the frame of the movie. Whatever you choose for your known
length it is IMPERATIVE that the object be in the same plane as the motion of interest. If the object is behind the motion, the scale factor (in pixels/meters) will be too
small (since the length of the meter stick is smaller on the movie).
Change a Scale
Once both ends of a scale item have been located on a movie, the scale factor
pixels/meter) can be changed in a few ways. You can either move the locations of
the end video points (closer reduces the scale factor) or change the known length of
the scale itself.
Change the Known Length of a Scale Item
If you entered the wrong known length of the object in the movie that is used for
scaling (i.e., its a 2 meter stick and you entered 1 meter for the known length),
choose Options->Change Scale....
Or, select the scale that you want to change in the Scale pop-up menu and then
enter the new known length of the object or select the scale on the Coordinate
System Window, then choose Edit->Selected Series and change the number in the
length field.
4.10. Take Short Cuts
Turn Off/On Automatic Movie Frame Advance
If you do/dont want the movie frames to advance automatically after all the video
points on this movie frame have been taken, select Options->Auto Frame
Advance.
Turn Off/On Automatic Point Selection
If you do/dont want the next video point that needs data on each frame automatically, select Options->Auto Point Advance.
Open a movie and bring the movie window to the front. To

play the movie, you can click on the button on the movie controller. By default, the movie plays every frame as fast as it
can, regardless of the original time code. If you are using a
slow computer the movie may not play at a normal speed.
4.11. View and Analyze Movies

Play a Movie
Page 90
Play the Movie at Normal Speed

To play the movie at the rate at which it was captured, uncheck Movie->Play All
Frames. VideoPoint will maintain the normal play back rate by dropping frames
selectively.
Step Through the Movie

Use the buttons on the movie controller to step forward and
backwards through the movie. Sometimes you will come across
a movie that has more frames than you want to analyze.
Choose Movie->Set Step Size... to change the default time step
of the movie. Enter the time, in seconds, that you want the
movie to step through each time it auto-advances or when a
step button is pressed. This does not eliminate any frames from
the movie, it just skips frames. You can reset the movie step
size to normal if you want to analyze frames that were previously skipped.
Rewind The Movie

Choose Movie->Rewind (Ctrl-R for Windows and CommandR for MAC). You can also a) click once just to the right of the
play button, b) drag the controller slider back to the beginning.
Change the Display of Elapsed Times between Frames

If a series of video frames have been recorded using a high speed camera or time
lapse technique, then when the movie is digitized the time codes may be incorrect.
You can change the elapsed times between frames by choosing Movie->Select
Frame Rate. Changing this is not a good idea unless you know that the time codes
in the movie are incorrect. See the Frame Rate Dialog entry in Section 3.3 of
Chapter 3.
View Movie Frame Times
Page 91
The elapsed time between each pair of adjacent frames is not necessarily constant.
In most cases, it is safest and most accurate to use the movies time code. A list of
times is given in the first column of the Table Window. When most QuickTime
Movies are created a time code is associated with each frame. Normally the
VideoPoint software interprets this code and can display the time elapsed between
the first frame and each subsequent frame when the movie was originally recorded.
Resize the Movie Window
You can resize the movie by using any of the default sizes (Movie->Half Size,
Movie->Normal Size, Movie->Double Size, or Movie->Fill Screen).
There are other ways to resize:
Resize the window by dragging any edge.
WIN:
MAC:
Movie Window Size
Use the grow box in the bottom right corner to resize the window, or use the
Zoom box in the upper right corner of the window to make the window as big as
the screen.
!
If you want to preserve the movie aspect ratio (ratio of width to height)
be sure that the Movie->Keep Aspect Ratio is checked. Then the width
of the movie will be determined automatically from the height of the
resized window.
Allow any Aspect Ratio
If you want your Movie Window to have an unusual shape, you can uncheck
Movie->Keep Aspect Ratio. Although the movie will look distorted, the data
should remain accurate. Accuracy is lost in the extreme cases (i.e., the long, skinny
movie or short, fat movie).
Hide/Show the Frame Numbers
To hide the frame numbers at the top right of the movie window, choose
Movie->Show Frame Numbers. Once the frame numbers are hidden the numbers
can be displayed once again by rechoosing Movie->Show Frame Numbers.
Analyze a Series of Movies Made with a Fixed Camera
First, analyze the first movie of the series as you normally would. After saving
your data for the first movie, choose Options->Switch Movie. The original movie
will be closed, and data associated with it will be cleared and the user will be
returned to the finder to choose a new movie. When the Switch Movie feature is
chosen, fixed data and information about origins, coordinate systems and scale factors will be retained. In addition, there will be no need to change scale or to redefine the coordinate system(s) type (polar or Cartesian), rotation angle or origin
location being used from movie to movie.
Page 92
Remove a Movie from a Coordinate Systems Window
If you want to examine part of a graph in more detail, you can enlarge it or zoom
in on it by holding down the control key, depressing the mouse button and dragging
the mouse diagonally across the region of the graph you want to zoom in on. If you
want to restore the graph to its original scale, you will need to rescale it either by
clicking on either axis or by double-clicking while holding the Control key down.
Zoom in on a Graph
Page 94
To locate the data table and select the data that you want to copy, clicking on the
[x] and [y] headers selects whole column. Choose Edit->Copy Data. Holding
down the control key allows you to select non-contiguous data. Note, however, that
data selected using the control key retains all the blank columns in-between, thus
pasting this data in a spreadsheet may leave some blank rows.
You can copy data from the data Table Window to a spreadsheet or word processor for additional analysis or display.
Copy Data to a Spreadsheet
Figure 4-10: Holding the Control key down while dragging the mouse will let you
zoom into an area. Double-clicking with the Control key down will rescale the
graphs.
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Ordinarily a Coordinate System Window that you have set up with various coordinate systems and different video point series with masses and so on to be associated with the movie, you may want to analyze a series of similar movies, you will
want to save a coordinate system and point series setup for use with other movies.
This capability is especially valuable when analyzing human motions where you
need to create a point series for each body segment and enter a relative mass for it.
Remove movie preserves all point series characteristics. You can remove the current movie by choosing Options->Remove Movie. You can then save this
Analysis Setup as a data file. Opening this file later will prompt you to choose a
movie to analyze.
Add a Movie to a Coordinate Systems Window

If the Movie field at the bottom of the Coordinate System Window says Movie:
None, you have a Coordinate System Window that has no movie attached. In this
case select File->Open Movie... to add a movie.
4.12. Display Data

Show the Table Window
If the Table Window has been closed, you can reopen it by
choosing View->Data Table (Ctrl-D) or clicking on this toolbar button.
Create a New Graph

Choose View->New Graph... (Ctrl-G) or click on this toolbar button. This will bring up the graph dialog box. The graph
dialog box allows you to choose the data to be plotted on the
horizontal and vertical axes.
Rescale a Graph
Once a set of graph axes are choosen these axes will rescale automatically as new
data from point series are recorded based on features that you locate. You can
rescale a graph by clicking on the numbers next of a graph axis corresponding to
maximum and minimum values and entering new maximum and minimum values
from the keyboard.
Page 93
Another way to rescale the graph is to double click on the graph axis you want to
rescale to bring up the Graph Scale Dialog box. You can also auto-scale both axes
by double-clicking anywhere on the graph area while holding the control key down.
Page 95
5. What If?
5.1. Problems
I Click on the Movie to Locate a Feature and

Nothing Happens
Click on the toolbar button.

If the cursor changes to a , clicking on the movie will
locate the selected video point (as indicated in the bottom
right part of the movie).
If the cursor remains a , all video points have been located
on this frame. Advance the movie one frame and try
again.
5.2. Movie Situations

The Motion is on an Incline
If the motion that you are analyzing is on an incline, it is

possible to move and rotate the origin such that motion
on the incline is reported in just the x- or y- direction. This
makes for simpler analysis.
To move an origin
If the origin has been located and is visible on the movie
(like Origin 1 is by default), drag the origin on the
movie to the new location by clicking on the video point
where the lines intersect.
Figure 5-1: The Selected Origin is rotated by dragging its handle

around to the desired angle.
To rotate an origins coordinate system

Select the origin once it has been located on the movie;
drag the handle (the dot on the outer edge of the circle) of
the origin around until the x-axis points in the desired
Page 96
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Chapter 5:
What If?
5. What If?
5.1. Problems
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I Click on the Movie to Locate a Feature and Nothing Happens

1. Click on this toolbar button.
2. If the cursor changes to this icon, clicking on the movie
will locate the selected video point (as indicated in the bottom
right part of the movie).
3. If the cursor remains an arrow, all video points have been
located on this frame. Advance the movie one frame and try
again.
5.2. Movie Situations

The Motion is on an Incline?
If the motion that you are analyzing is on an incline, it is possible to move and
rotate the origin such that motion on the incline is reported in just the x- or ydirection. This makes for simpler analysis.
To Move an Origin
If the origin has been located and is visible on the movie (like Origin 1 is by
default), drag the origin on the movie to the new location by clicking on the video
point where the lines intersect.
Figure 5-1: The Selected Origin is rotated by

dragging its handle around to the desired angle.
To Rotate an Origins Coordinate System
Page 97
Select the origin once it has been located on the movie; drag the handle (the dot
on the outer edge of the circle) of the origin around until the x-axis points in the
desired direction. The angle of rotation between 0 and 360 degrees will be displayed in the Coordinate System Window where the header of the coordinate system you are rotating is located.
I Want Data Reported in Two Coordinate Systems?
You can do this by cloning the point series and associating the clone with a second coordinate system (see Section 3.2 in Chapter 3). Once this is done, data are
reported for both the original point series relative to its coordinate system and its
clone relative a second coordinate system.
The Camera was Moving when the Movie was Filmed?
Figure 5-2: In these three frames of a Saturn IV rocket launch

the camera is panning. If an origin that is fixed relative to the
screen is used, the data for the rocket's location will be useless.
If a moving origin is located at the top of the launch tower on a
frame-by-frame basis, meaningful data for the rocket's acceleration
relative to the tower which is fixed to the ground can be obtained.
You can define a moving coordinate system that allows you to compensate for
camera motions by selecting a familiar background feature as the origin in each
frame. This feature allows you to analyze motions in frame sequences made from
video images recorded with a hand-held camera. In short, the position of an object
relative to any other object on the screen can be reported on a frame-by-frame
basis.
Page 98
Figure 5-3: In the graph on the left the rocket appears to stand still when coordinate data for its position is reported relative to an origin fixed on the screen. The
graph on the right shows the rocket nose's position recorded relative to a moving
origin that follows the location of the top of the launch tower as the tower appears
to move down the screen in each successive frame.
In order to compensate for the moving camera you will have to find an object
that is stationary (such as the corner of a table) and use it as an origin. On the first
frame, move the default origin (or any other origin) to the stationary location and
make sure that the origin is a frame-by-frame or semi-fixed video point. On
each frame of the movie, make sure that the origin is located at the right place. The
data will all be relative to this origin and will correct for the moving camera.
The Camera Panned so Much that my Origin Disappears?

In some cases defining coordinate transformations allows you to obtain intelligible motion data of a feature or object of interest that is tracked with a panning camera. For example, the path of a broad jumper or basketball player performing a slam
dunk can be reconstructed even if the camera is sweeping so broadly that background features change completely.
Page 99
Figure 5-4: Four frames from a movie where the camera pans so much that no stationary object is in the frames at all times. In this case, the origin (marked by a
white circle) is located at one of the red tiles against the wall in the first few
frames. Before the red tile disappears, the origin is transformed to the bottom left
corner of the black rectangular heat vent (as marked by a white square).
VideoPoint corrects for the motion by storing the difference in the coordinates of
the red wall tile and the black heat vent based on the locations of these features in
a frame in which both are visible.
Figure 5-5: Graph of the y-position of the divers waist relative to the red
tile at the left center of the wall. An origin transformation was made in the last few
frames to a black rectangular heat vent. This demonstrates that VideoPoint origin
transformation allows you to have continuous data even when objects chosen as
origins leave the visible area.
How to Define a Coordinate Transformation
Step back to the last time that the origin was in the movie. Here you will want to
translate/transform the origin to a different object that is stationary but will not
leave the field of view immediately. In order to get good data, the second object
must be in the same plane as the first origin. In general, it is wise to choose this
transformed/translated origin such that it does not leave the field of view at all.
However, you can transform/translate origins as many times as necessary.
The Camera Zoomed when the Movie was Filmed?
You can define scale factors on a frame-by-frame basis to follow the motion of
an object with a camera that is zooming in or out or to track the motion of an object
moving off into the distance. For example, the acceleration of the lunar module as
it ascended from the moon during one of the Apollo missions can be determined
even though the camera had been programmed to zoom back rapidly. The horizontal acceleration of a drag racer can be determined even though two different fixed
cameras have been used to follow it as the dragster moves off into the distance and
noticeably changes its size on every frame.
How to Compensate for a Zooming Camera
If the camera zooms while filming the movie, the pixels/meters calibration ratio
will change on every frame of the movie. In this case, you will need to set up a
scale for your coordinate system that is relocated on every frame.
If you have already created a scale:
1) Choose Options->Change Scale....
Page 100
Figure 5-6: In the case of a zooming camera it is

necessary to open this dialog to change the scale from
a fixed scale type to a frame-by-frame scale type.
2) Select the scale that you want to change (usually there is only one).
3) Change the scale type to frame-by-frame. This changes the video points that
make up the ends of the scales from fixed video points to frame-by-frame video
points. These video points, usually named Scale1 A and Scale1 B (the numbers
change with more scales) will now need to be selected on every frame. They will
automatically be selected just like any other normal video point.
1m
Scale b
1m
Scale a
Figure 5-7: When motions take place in two

planes in a movie, two coordinate systems can
be set up by using different scale objects within
the movie frame.
The Camera had a Zoom Lens or a Wide Angle Lens?
If the lens on the camera is a fixed lens, no significant distortion should be present. However, most commercial video cameras have variable focal length zoom
lenses that range from wide angle to about 10X zoom. Although distortions are usually negligible in modern zoom lens systems, the zoom lenses in some low cost
cameras may cause radial image distortions. Radial distortions can give a pincushion
and/or barrel shape to a rectangular image. We have found that distortion is minimized when the camera is located fairly far away from the object of interest and
then the zoom is set about halfway in, so the motion fills about 3/4 of the screen.
Distortion is quite noticeable when looking at a large motion (i.e., a bungee

jumper) through a wide angle lens. Your data for the top and bottom of the motion
can be noticeably inconsistent (10% error).
Im Only Interested in Part of the Movie?
If you have not yet created a scale:

1) Choose Movie->Scale Movie....
2) Enter the known length of the object in the movie.
3) Select the origin of the frame that you want to scale.
4) Change the scale type to frame-by-frame. This changes the video points that
make up the ends of the scales from fixed video points to frame-by-frame video
points. These video points, usually named Scale1 A and Scale1 B (the numbers
change with more scales) will now need to be selected on every frame. They will
automatically be selected just like any other normal video point.
The Motions are in Two Planes?
Page 102
If the movie does not play in real time even when the Movie->Play All Frames
menu entry is unchecked, the original movie may be either a time-lapse or a slow
motion movie. Also, movies that have been digitally edited and saved at a different
frame rate than the original will not play in real time. In these cases, you can
override the time code that is read by VideoPoint to display the time. To do this,
The Movie is a Time-Lapse or Slow Motion Video?
If you are only interested in a small section of the movie, you can shorten the
movie by cutting out frames using software such as Apples MoviePlayer
(Macintosh) or Adobe Premiere (Windows or Macintosh) before analyzing the
movie. Alternatively, you can skip the uninteresting frames when you locate features or objects of interest.
Page 101
Each frame can be scaled by a different scale object. When all of the motion is in
one plane that is perpendicular to the camera axis, only one scale object is necessary. However, if there are motions in two planes, you need to set up two scale
objects and two coordinate systems because the objects in the plane that is farther
away from the camera will appear smaller. One origin and one scale should be in
one plane, the other scale object and origin should be in the other plane. Note that
you will have to choose two different objects in the movie to use as your known
lengths; one is needed for each scale.
choose Movie->Select Frame Rate.... This prompts you to enter the number of
frames per second that you think the movie really is. Every frame in the movie will
then have a time that is equivalent to (seconds/frame) * (frame #).
It Looks as if a Frame is Missing?

Sometimes, when you take data, it looks as if a frame is missing from the movie.
If the time code of the movie corresponds to this missing frame (i.e., there is a larger than normal step between the previous time to the next time), do nothing;
VideoPoint will just use the time code on the movie. The dropped frame is common
with less expensive capture cards that are set to capture at a higher frame rate than
it can handle. Though there might be an extra space in anything plotted against
time, the data will still be accurate.
If, however, the time code does not reflect a missing frame (i.e., the time step is
the same throughout the whole movie), this is a problem. Since there is no way to
determine the real time of the frame following the dropped frame, some error will
be present. This situation generally appears on files converted from Video for
Windows (.AVI) to QuickTime for Windows (.MOV) since Video for Windows
does not associate time codes with individual frames. This is one of the reasons we
chose to use the QuickTime format. If you are capturing the movie, you can alleviate the problem by reducing the capture rate in frames/second of your capture card.
If the movie you are using has been transformed to QuickTime format from a commercially made .AVI file, there isnt much you can do.
I Notice that Some of the Frames are Duplicated?

If the movie has been taken from a video tape made from a film (movies, sports
highlights), look at the next entry which deals with problems also created with dubbing commercial films into videotapes.
If your movie was digitized from a live source, your digitizing card or software
may have duplicated the frames to keep the frame rate constant. In this case, the
movie can probably be analyzed if you skip duplicated frames when taking data.
The Movie is from a Commercial Film

Dubbed onto a Videotape?
Page 103
Movie film is normally recorded at 24 frames/second. Videotape is normally

recorded at 30 frames per second. When 24 fps film is transferred to video tape,
every 4th frame is usually duplicated. Though you wont notice this duplicated frame
while you are watching the video tape, its presence is problematic when analyzing
digitized frame data. If changes are happening slowly in a movie, the simplest way
to assure that the time interval between frames is constant and no repeated frames
are present is to digitize the commercial videotape at 6 fps every fifth frame. If
any other frame rates are used in digitization special problems will be created.
If you want to digitize a commercial videotape at a higher frame rate the best
way to do this is to compress the movie at 30 fps and then remove the extra frames
by hand before re-compressing it. If you want the maximum frame rate you
should re-compress the movie at 24 fps. You can also re-compress the movie at 12
fps, 8 fps, or 6 fps, and so on.
If the Commercial Video is Digitized at 30 fps and Re-compressed at 24 fps

It is tempting when digitizing a commercial movie, to consider digitizing it at 30
fps without removing extra frames and then re-compressing it at 24 fps. Dont do
this. If you are lucky, this will work beautifully. However you only have a 1/6
chance of this process working. It would depend on which frame your re-compression software drops to get the movie down to 24 fps. If it happened to drop the
extra frame as the first dropped frame, everything will be correct. However, dropping any other frame first will lead to incorrect frame times.
As indicated above best way to handle the situation is to remove the extra frames
by hand while digitizing at 30 fps and then re-compress the frames at 24 fps.
Page 104
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Chapter 6:
Creating Digital
Movies
6. Creating Digital Movies

There are two steps to creating digital movies for use with the VideoPoint
Software. First, you must produce a set of images with a video camera or identify
video images from existing video tapes or videodisks that are suitable for Video
Point analysis. Second, you must install special software and hardware into a
Macintosh or PC compatible computer that will allow you to digitize standard
NSTC video signals from a video camera, VCR or video disk player into the
QuickTime digital format. .AVI (Video for Windows) files can also be converted to
QuickTime movies.
The goal of this chapter is to give you some advice on how to choosing events to
film with a camera and how to select existing video material for digitization. In
addition, we have attempted to explain more about the equipment you will need to
digitize video images. Finally, we have included some tips for digitizing your
movies for use with the VideoPoint software.
6.1. Movie Making Tips

Camera
Almost any type of video camera available for the consumer market (e.g., 8mm,
Hi-8, VHS or S-VHS) can be used. However whatever camera you use should have
an adjustable shutter speed and set it at 1/500th of a second or less for sharp
images. However, good lighting is important when a fast shutter speed is used.
Background and Object Colors

The background should be a royal blue for recording light objects or a plain light
gray for the motion of dark objects. Avoid filming objects in motion with backgrounds that might turn into the same shade of gray on a black and white screen.
For example, yellow, light blue and light green might all look the same in black and
white. Red and black might look the same and so on.
Lighting
Page 107
Provide good lighting. This lighting needs to be diffuse enough to avoid specular
reflections. Good halogen flood light sets with reflectors and stands are now available from video and photo equipment suppliers.
Video Point Manual Chapter 6
Scale
You often need to be able to scale a movie so distances are measured in real
units. If you wish to use a real unit than you must have an image of known length
in one or more of the movie frames. If the field of view is several meters wide, you
can put a clearly ruled meter or two meter long rule in a horizontal, vertical or
along the surface of the incline orientation. Any distant object or known length that
is present in a movie frame can be used for scaling. The scaling object must be in
the plane of the two-dimensional motion being studied.
Zoom Lens Distortions
Although distortions are usually negligible in modern zoom lens systems, the
zoom lenses in some low cost cameras may cause radial image distortions. Radial
distortions can give a pincushion and/or barrel shape to a rectangular image. We
have found that distortion is minimized when the camera is located fairly far away
from the object of interest and then the zoom is set about halfway in so the motion
fills about 3/4 of the screen.
Marking the Center of Mass
Sometimes it is useful to put a bright paper label at the center of mass of an

extended object.
Human Interest
You should have faces and/or hands in every sequence for natural scaling and a
sense of participation.
6.2. Video Capture Cards
In order to make your own digital movies, you will need to have a digitizing
board or video capture card installed in your computer. A video capture card allows
you to convert an analog video signal from a camera, VCR, LaserDisc or other
common video source to a digital file on your computer. Cards are available for
both PC compatible and Macintosh computers.
At present, digital video files can be created in many different formats. The most
common format for computers operating under Windows is the .AVI format while
QuickTime is the standard format for Macintosh computers. The software that
comes with commercially available MAC and PC capture cards will usually allow
you to digitize video frames in several different formats. We have chosen to use
QuickTime as the standard format for use with the VideoPoint software because
properly digitized QuickTime movies can be played back on both Macintosh and
PC compatible computers. Check our web site, http://www.lsw.com/videopoint, to
get an Video For Windows to QuickTime converter.
Page 108
Many types of video digitizing or video capture cards are available for use with
Macintosh and PC compatible computers. We have included some facts about analog and digital video that might be helpful to you in deciding what kind of capture
card to purchase.
Important Facts about Capture Cards

Pixels
A video image on a TV screen or computer monitor consists of thousands of
small colored dots or picture elements. Each of these picture elements can have a
different color. A picture element, or pixel, is the smallest unit in the grid of a computer of TV screen. Measurements of image and monitor sizes are given by two
numbers: the number of pixels in each row and the number of rows of pixels. Some
smaller monitors like the Mac SE have 512 X 384 pixels, Mac 13" and 14" monitors and standard VGA monitors have 640 X 480 pixels, and some of the popular
larger monitors have 800 X 600 or 1024 X 768 pixels.
Analog vs. Digital Video Information

Analog video information is created and replayed using a standard system developed by the National Television Standards Committee (NTSC). It is transmitted on
an amplitude and frequency modulated signal. Common storage media for NTSC
analog video information includes VHS tape, laserdiscs or videodiscs, and 8mm
tapes. NTSC analog video information is created at 60 scanned fields each second
with each field having half of the scan lines needed to complete a full video image.
The scan lines from successive pairs of frames are then interlaced at the time of
display to create 30 (29.97 to be exact) frames per second. A video frame has a
total of 525 scan lines. Each line has 640 pixels of information.
When video information is stored in a computer-based digital format, the information needed to reconstruct the color of each pixel on a computer screen for each frame
that makes up a video image is coded into binary bits (ones and zeros). This information is usually stored in a file on a hard disk, floppy, CD-ROM or other digital storage
medium. A video capture card translates analog information into digital information.
Frames per Second (fps)
Page 109
As the title may suggest, frames per second is the number of frames that are
recorded, captured or played per second. NTSC is recorded at 30 fps, laserdiscs and
films are stored at 24 frames per second. Most people notice jerkiness in motion that
is displayed at less than 24 frames per second. However, video sequences showing
motions seem intelligible down to about 12 fps. It is common to refer to full motion
video whenever digital video frames are captured or played at 30fps.
Fields and Frames
Fields are scanned at 60Hz which is the normal AC frequency available in the
United States. Each field scans every other line in the frame. Each frame consists of
the combination of two fields: an even field and a subsequently stored odd field.
In the digital world, a full frame is 640 pixels wide and 480 pixels high; only a
few digitizing systems let you choose to digitize one field or the other field. If you
do only digitize one field, then a method of interpolation between lines can be used
to create a full 640 X 480 pixel frame. Typically in single field digitization the
pixel count is reduced to either 640 X 240 or 320 X 240 pixels.
Dropped Frames
Sometimes when a video capture card is converting the analog video information
to a digital format, it can not keep capturing at the intended rate. Instead of falling
behind, it simply drops the frame it is working on and captures the next one. If you
are using a QuickTime movie with the VideoPoint software, this is not a problem.
The time at which each frame is recorded, is stored with the digital information that
defines the frame. However, dropped frames are not accounted for in files converted from the .AVI format. This can lead to erroneous data.
Half-Screen Video
The most commonly used computer monitors have a full screen size of 640 X
480 pixels. Most of the video movies that are digitized for VideoPoint are captured
as 320 X 240 pixels. We refer to this as half-screen video because each dimension
is cut in half. (Others choose to call this quarter screen video because a movie of
this size only occupies a quarter of the available screen area.)
Digital Compression and Decompression Formats

The QuickTime Format
QuickTime is a standard digital format that allows compression of images and

sound in a consistent manner and that can accommodate interleaved sound and
video. Compression and decompression algorithms can be added to the standard set
of algorithms that are included in the QuickTime System Extension. These routines
are important if you want compress a movie to reduce its memory requirements and
then be able to decompress it rapidly during playback.
Some compression/decompression algorithms, nicknamed codecs, can be

assisted by cards (usually with a processor on board) in the computer. For example,
QuickTime movies can be saved with a JPEG algorithm; if you have the correct
card installed in your machine and the correct codec, the movies will be decompressed using the processor on the card and will play back at full screen and full
motion. If you have the software-only codec and no card installed, the codec will
be run on the processor of your machine and will play back at a reduced rate and
size.
Page 110
If you create a movie with a codec that is not one of the built-in QuickTime
codecs, that movie will not play on machines without the necessary codec (a message appears: ...because the required compressor could not be found). QuickTime
2.0 has the following compression/decompression routines available.
Built in QuickTime Codecs
The following codecs are some of the ones included in QuickTime version 2.0. If
you compress a movie with any of these codecs, anyone with the 2.0 version will
be able to play them.
Cinepak or Compact Video Codec
Cinepak is the most common compressor used for mass distribution of movies. It
is a very good compression scheme that can be restricted to a particular data rate
(i.e., for slow CD drives). However, it takes between 15 and 45 seconds to compress each frame of information, so it is almost never used while capturing and is
reserved for post compression. It also plays back at better quality and higher frame
rates than the other built-in codecs.
Apple Video Codec
Apple Video is a decent compressor that can be used to compress a movie on the
fly. though it is fast, it does not compress the images as much as the Cinepak compressor.
JPEG Codec
JPEG is an acronym for Joint Photographics Experts Group. The group designed
a standard image compression scheme for compressing real world images.
Although JPEG was initially designed for still images, it is sometimes used for
movies. The image quality of these images is good and the files are more compressed than Apple Video files. However, JPEG is a slow compressor and decompressor. Some capture cards, especially ones on the PC, are designed to do only
JPEG compression and decompression.
Indeo Codec
Indeo is a software codec that was developed by Intel Corp. Since both .AVI
(Video for Windows) and .MOV (QuickTime for Windows) files can both use the
Indeo codec, it is the choice of most PC capture cards that capture directly to
QuickTime. It is fast and has decent image quality. However, it may not be included by default in the Macintosh QuickTime 2.0.
Post Compress Video
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This is the process in which you can compress a movie after it has been created.
In some cases you will want to capture video at the maximum rate, maybe using no
compressor or the Apple Video compressor, and then compress the rather large file
down to a smaller file with the Cinepak compressor (a better compressor that takes
a long time to compress each frame).
Compressing Video in Real-Time
This compression scheme is used when you are compressing the images while
they are being digitized. Apple Video or Component Video are probably the best
ones to use of the standard compressors for this process. Manufacturers of digitizer
cards will often have their own compressor. In this case, use the manufacturers
compressor to capture the video. However, if you are going to distribute the clip to
others who will not have the same hardware that you do, be sure to recompress
using one of the basic QuickTime compressors (Cinepak, Apple Video).
QuickTime for Windows (.MOV)
QuickTime for Windows allows you to play back QuickTime movies in Windows.
Some capture cards on the PC transport capture directly to the QuickTime format,
others create an .AVI File and convert it to the QuickTime format.
Video for Windows (.AVI)
Video for Windows incorporates different device drivers that let you play video
on your IBM compatible PC. The native format for compressed digital video files
for Windows was developed by the Audio Visual Innovations Company and is
called .AVI for short. .AVI files have decent playback quality, but lack a time code
on each frame. Because of this, you would have no idea when analyzing an .AVI
file if a frame had been dropped by your digitizing card (which is a common occurrence). Cumulative error on your time calibration will be very noticeable for large
data sets. You can try to avoid this problem by setting the capture rate of your PC
digitizing card below what it claims to be able to capture; this will reduce the number of dropped frames, but you will still have no idea if any were dropped.
Problems with .AVI to QuickTime Conversion
Windows users may want to convert .AVI movies to the QuickTime format for
use with the VideoPoint Software. QuickTime will assign time codes corresponding
to regular time intervals to converted .AVI frames. However, .AVI movies do not
have time codes and capture cards sometimes create frames that are irregularly
spaced in time. For this reason, movies converted to the QuickTime format from an
.AVI format may not be reliable!
Modest Cost Cards for PC Compatible Users
There are a few PC capture cards that can be used to capture movies for use in
VideoPoint. Check the web site at http://www.lsw.com/videopoint to see which
cards have been tested.
Page 112
A Modest Cost Card for Macintosh Users

Many Macintosh computers come with video capture capabilities built in. Of
these computers, any PowerMac equivalent or better than the 7500 should produce
320x240 30 fps movies if captured using Adobe Premiere (LE or full versions) software.
Other alternative solutions can be found on our web site at
http://www.lsw.com/videopoint.
A Low-Cost, Limited-Capability Alternative

for Macintosh and Windows Users
Page 113
Connectix makes a small digital (black and white or color) CCD camera called
the QuickCam that can make 160x120 movies at about 10 fps that can be used in
VideoPoint. No capture card is required; the camera plugs into the serial port of
the Macintosh and the parallel port of the PC. Because of its smaller window size
and slower frame rates, it is a good solution only for motions that dont require a
lot of information such as a coffee filter drop or cart collisions.
6.3. Preparing Movies for Use with VideoPoint

Creating a Title Frame
Software is available for Macintosh computers (such as Adobe SuperPaint) that

will enable you to overlay a title and critical data on the first frame of your movie.
For example, it is helpful to have object masses and an actual length for scaling
purposes included with a movie. In some cases it is useful to take a close up shot of
key apparatus to insert in the title frame so that users can see what a piece of apparatus looks like that appears off in the distance in the movie.
Cropping and Sizing Movie Frames
The digitizing software that comes with your capture card can allow you to crop
your movie so that the motion of interest fills a larger portion of the screen. Thus,
before you digitize a frame sequence, you may want to crop the movie. You should
be careful to preserve the aspect ratio (the ratio of length to width) whenever you
crop or resize a movie. You will also be able to select the size of your movie in pixels as you digitize it. A standard 13" Macintosh RGB screen or VGA screen used
with a PC compatible has 640 by 480 pixels. We recommend that when making a
QuickTime movie for use with VideoPoint, you choose a quarter screen size of 320
by 240 pixels. You can make the movies larger, but you wont have much room on
your screen to look at graphs, the data table, etc.
Reducing the Number of Digitized Frames
The natural frame rate in a video tapes is 30 fps. In general, the motions filmed
in a physics lab can be completed in a second or less. Thus our sequences are rarely
longer than 30 frames. Often the video that you are making the digital image from
is much longer. Be sure to eliminate all the frames taken before the motion starts
and after it ends. Usually the analysis of between 10 and 15 frames all showing
motion tells the story, and analyzing more frames than that is boring. Sometimes
the motion is slow and takes a long time to complete. Although VideoPoint has a
feature that allows you to bring up a subset of frames for analysis, we recommend
that when you create the digital movie, you use the digitizing software to reduce
your frame rate to 1/15th, 1/10th or 1/5th of a second. This reduction saves storage
space and analysis time.
Creating 60 fps Movies
This technique for making 60 frame per second movies has been provided by Dr.
Robert Teese from Muskingum College Physics Department. Further information
can be found at http://physics.bsc.muskingum.edu/dept/flicks/flicks.html.
If you have a video capture card that is capable of full frame, full motion capPage 114
ture, then it is possible to make QuickTime movies that effectively contain about 60
frames per second of information. This is because a frame of videotape actually
contains two pictures, called fields, that are made 1/60 second apart. The two fields
are interlaced to make one frame. For example, if the frame has 480 horizontal
scan lines, the 240 odd-numbered lines are in one field and the 240 even-numbered
lines are in the other field.
To make a 60 frames/second movie, you first make an interlaced movie, then use
software that will deinterlace the movie. That is, the software must separate the two
fields in each frame and put them into different frames.
The SpigotPower AV card for the AV Macintosh is an example of a card that will
work. The VideoSpigot and most frame-grabbers are NOT capable of capturing
interlaced video. Instead, they capture only one field from each frame and replicate
the lines to simulate the other field. When buying a compressor or video input card,
look for the terms 60 fields per second, full frame, full motion or 640 x 480
interlaced video. Follow the card manufacturers instructions to digitize a videotape segment in 60 fields/second interlaced mode at a size of 640 x 480. Note that
the size is important if you specify interlaced video at 320 x 240, you will actually get only one field (240 lines) per frame!
Once you have made an interlaced QuickTime movie, you need to change it to
slow-motion video (50% speed) by deinterlacing the fields. High-end video editing
programs such as Adobe Premiere should be able to do that. Unfortunately, Adobe
Premiere 4.0 has a bug that makes the procedure unreliable (especially for high
quality compression settings) and Adobe Premiere 4.0.1 has a bug that makes it
impossible. Adobe Premiere 4.2 is supposed to fix these bugs. We did not have a
copy of that version to test by the time this document was published, so we cannot
include any details here. If you have access to the World Wide Web, check the location http://physics.bsc.muskingum.edu/dept/flicks/flicks.html for the latest news.
The following procedure describes how to use Adobe Premiere 4.0 for the
Macintosh and a SpigotPower AV card to make a 60 frame/second movie.
Start Premiere and open the Movie Capture window. Open the Recording
Settings box. Choose Record at 640 x 480 4:3 and Conform Movie to 29.97 fps. Do
NOT choose Post-compress video. Click OK. Open the Video Input box. Hold
down the Option key while selecting a compressor; select SpigotPower AV Interlaced JPEG. Set the quality to medium (50). Click OK. Start the videotape running in the VCR. You should see it in the Movie Capture window. Click Record to
begin capturing, and hold down the mouse button to stop capturing.
Page 115
The captured clip will show up in a new Clip Window. Save the clip to the hard
disk. Under the Edit menu, choose Copy to Construction. Insert at Edit Line. Open
the Construction Window. Select the clip, which should now be at the beginning of
track A. Under the Clip menu, choose Field Options. Select Deinterlace When
Speed is Below 100%, and click OK. Under the Clip menu, choose Speed. Type 50
in the New Rate box, and click OK. In the Construction Window, align the ends of
the yellow Work Area bar with the ends of the clip. Under the Make menu, choose
Movie. Click the Compression button. Choose either Cinepak or Video compression (NOT one of the SpigotPower compressions!) and click OK. Click the Output
Options button. The correct selections are: Output Work Area as QuickTime
Composite; Video; Size: 640h 480v 4:3 Aspect; Type: Field 1. Click OK. Choose
an appropriate location and name for the file, and click OK. Youre done!
After you open the movie in VideoPoint, choose Movie->Frame Rate... and set
the frame rate to 59.94 frames per second.
6.4. Educational Video Tapes

and Disks to Digitize
Excellent video materials designed for physics teaching are commercially available. We have been digitizing some of these video materials for use in the
Workshop Physics classes at Dickinson College. It would not be legal to include
these in the Movie Collection assembled for distribution with the VideoPoint
Software. However, you can purchase commercial tapes and disks. In many cases
educational video materials are distributed with permission to reproduce them for
local use. Before you digitize and distribute movies locally that you have made
from commercially produced video images, be sure to read any license and copyright information that comes with the materials carefully.
We have several favorite collections to describe to you.
The Physics Single-Concept Films Collections
These collections are compiled from old film loop collections that have been
transformed to video format. These collections include the Project Physics film
loops, the Ealing film loops, and the Franklyn Miller, Jr. collection of single concept films. In addition to a wealth of materials on mechanics, there is some really
good stuff on the behavior of gases.
These collections are available from either The American Association of Physics
Teachers (phone 301/209-3300) or Ztek Co. (phone 502/584-8505).
Physics and Automobile Collisions
This collection was compiled by Dean Zollman, published in 1984 in Videodisc

format, and includes a number of high speed test films made by automobile manufacturers of actual collisions. There is also footage of bumper tests, air bag and seat
Page 116
belt performance and so on.

This Videodisk is available from either John Wiley and Sons (phone 800/5485334) or Ztek Co. (phone 502/584-8505). A supplemental image directory and
Teaching tips guide is available from Dean Zollman at Kansas State University
(email: dzollman@phys.ksu.edu).
The Physics of Sports

This collection was compiled by Dean Zollman and M. Larry Noble. It was published in 1988 in Videodisk format and includes segments showing motions from
about 25 different sports. Most of the video segments were taken with the camera axis
at right angles to the plane of motion. There is a lot of good material in this disk.
Page 117
Physics of Sports videodisk is available from VideoDiscovery, P.O. Box 85878,

Seattle, WA 98145. Phone 800/548-3472.
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Chapter 7:
The Movie Collection
7. The Movie Collection

7.1 Introduction to the Movies
Uses for the Collection
We know that many VideoPoint users will want to take their own movies or create digital movies from the wealth of available analog materials. However, we discovered that it is very helpful to have a collection of movies to available to use
with VideoPoint for those instances when you dont have enough time, the right
capture equipment or enough know-how to produce all of your own movies. For
these reasons, version 1 of the VideoPoint Software is bundled with a collection of
over 250 short QuickTime movies.
The VideoPoint movie collection can be used to help instructors and students
learn how to use VideoPoint features, do some warm-up exercises in the laboratory,
complete homework assignments, perform lecture demonstrations and engage in
open-ended projects. Each movie has a title screen that includes essential data
needed for an analysis of the motions found in it. A data base has been created that
gives important information about each of the movies. In addition, a program entitled Movie Browser has been created to allow VideoPoint users to identify, play
and analyze movies of interest for learning about particular topics in physics.
Observations about the Collection
Page 121
There are six sets of movies in the current collection. The first three sets of
movies from PASCO scientific (160 movies), Princeton University (44 movies) and
the University of Maryland (13 movies) were filmed in laboratory settings. The
second three sets from Dickinson College (16 movies), NASA (4 movies) and
Hersheypark (19 movies) contain real world images filmed outside of the confines
of the laboratory. The movies in each set are listed in Section 7.3.
In spite of the fact that many of the laboratory-based movies were meant to be
ideal, an analysis of some of them indicates that some of the motions are not
ideal. For example, in trying to demonstrate momentum conservation as a result of
collisions of carts or airpucks, the alignment of the colliding objects is critical. A
slight torque during a collision can cause a cart to slide along the side of its ramp or
an airpuck to dig into the airtable. Also, friction can never be completely eliminated. It is essential that instructors analyze a movie that might be used with students
before developing an assignment. The events that display a conservation law well,
can be used when students are first learning about the concept. Later the weakness in a movie can be turned into a virtue, if students are asked to explore such
questions as: Assuming that momentum is always conserved, is momentum being
transferred to the air table (or track) in this collision? Why or why not?
We have included masses of objects on the title screen to allow students to verify
various mathematical relationships and illuminate principles of physics. However,
instructors may want, in some cases, to open the movie with MoviePlayer, the simVideoPoint Manual Chapter 7
ple editing routine that comes with the QuickTime utility, and eliminate the title
screen. This allows for some interesting assignments that allow students to apply
conservation principles such as: If the mass of the yellow cart is 0.520 kg, what is
the mass of the green cart?
Although, we have tried to include a large number of movies in which a fixed
camera is oriented with the axis of its lens perpendicular to the plane of motion,
some of the real world movies are not taken under these ideal conditions. These are
intended to be used primarily for end-of-course projects to introduce interested students to some of the advanced features of VideoPoint.
7.2. How the Movies were Digitized

Overview
We wanted each QuickTime movie in the collection to play at full speed on both
Macintosh computers operating under System 7 and PC computers operating under
Windows. We also wanted the typical file size to be in the 300 - 700K range. Thus,
to enhance the playback speed and minimize file size, we decided that each movie,
when possible, should be half size (so as to occupy one quarter of a standard VGA
screen) and should be compressed after digitization. We also decided to flatten each
movie so it could be played back on either Mac or PC computers. Finally each
movie was assigned to the VideoPoint software, so that opening a movie would
also open VideoPoint.
We are sometimes asked why the quality of the images in the Movie Collection is
not as good as that of typical television images. This is because information is lost
when the image is reduced to quarter screen and compressed. In most cases there is
no loss in the accuracy of the physics, so that the advantage of having digital
movies that playback rapidly and dont require as much disk space to store far outweighs the disadvantages of seeing a poor image. A few of the Dickinson movies
made by students are of lower quality, but the physics is still quite good and will
give you a feel for how useful student movies can be. Also, we had no monitor
available at Princeton University and were not able to set the field of view properly
for the camera we had mounted on the ceiling. Thus, the Princeton set has movies
that are smaller than quarter screen.
We found it relatively easy to make digital movies during physics classes, compress them and put them on the network for instant analysis by students. Thus, we
were surprised to find that preparing the movies for collection was such a rigmarole. Although we have decided to describe the process here just for the record, it
would be futile to describe the process in detail because new products come out so
rapidly that the particular hardware and software we used is already out of date. If
you wish to get set up to create a flattened and compressed Mac and PC compatible
movie collection with title screens, you will probably have different, and hopefully
more user-friendly software and hardware available.
Page 122
Digital Capturing and Cropping
ment to VideoPoint is indicated by the appearance of the VideoPoint icon in the

middle of the QuickTime movie icon. Although each assigned movie can be
opened, edited and played using MoviePlayer and other playback and editing software, double clicking on an assigned movie will open it along with the VideoPoint
software.
7.3. Browsing in the Collection

How the Movies are Cataloged
A data base has been collected for the movies. The data base record for each
movie includes a DOS compatible file name and a descriptive movie name. Each
movie has been assigned to a topical category such as 1D Motions, Collisions,
Human Motions, etc. Finally, a short description has been written for each movie
that includes data on the frame rate on which it was digitized. Additional information about each movie is included on its title screen.
Title Screens
We installed a RasterOps MoviePak capture card in a Macintosh Centris 650

computer and used the RasterOps MediaGrabber (version 2.5.2, 1993) to capture
images either directly from an S-VHS video camera or from a videotape played
back through our S-VHS camera. We always set MediaGrabber to collect a half
size image (quarter screen). If we knew the motion would be relatively slow, we set
MediaGrabber for a slower frame rate than the default 30 frames/second. Once the
event of interest was captured, we tried to eliminate extra frames at the beginning
and at the end of the captured segment. Finally, we would save the movie on the
Centris hard drive.
If the movie needed cropping we would then open it using software entitled
ConvertToMovie which was distributed with QuickTime 2.0 development CD in
1994 by Apple Computer, Inc. We found it impossible to resize a cropped movie
without degrading the image quality significantly, so we just left the cropped
movies small.
Adding Title Screens
Instructors may want to remove title screens in order to withhold some of the
data such as masses, angles and/or scaling markers, so that assignments using the
movie can involve finding the missing factors. To remove a movie title screen, the
movie must be moved to a read/write disk and opened using an editing routine such
as MoviePlayer. The first frame of the movie can then be removed, and the movie
can be saved with another filename.
Page 124
The Movie Names are only three or four words long and are descriptive of the
contents of the movie. For example the DSON001.MOV of a cue ball hitting the
rest of the pool balls on the table just after the rack is removed is entitled Pool
Ball Break.
The electronic file name for each movie is DOS compatible and is headed by an
abbreviation that designates the set to which the movie belongs. The file name
header is followed by a three digit serial number for each movie in a set. Finally
the three letter extension .MOV has been added to each file name. Typical File
Names are PASCO104.MOV, DSON010.MOV, PRU035.MOV and so on.
File and Movie Names
Removing a Title Screen
Each movie in the collection has been given a title screen that identifies which
set of movies it belongs to and includes an object or markers that can be used for
scaling purposes. Also, data such as the masses of various objects of interest are
included.
In order to add a title screen to a movie, we opened the movie using version 2.0.6
of the MoviePlayer basic editing software which was distributed with QuickTime
2.0 in 1994 by Apple Computer, Inc. If needed, we used the basic editing feature of
MoviePlayer to eliminate a few more frames at the beginning and end of the movie.
Next, the first frame of the movie was copied and pasted into version 3.5 of Adobe
SuperPaint. Logos, masses, scaling factors and other information of interest were
laid on top of the image. The composite image with its title screen was then pasted
back as the first frame of the movie in the MoviePlayer software. Unfortunately, the
image quality suffered when each first frame was moved into and back out of
SuperPaint because it was reduced to an 8-bit color image. If you view the movies
on a computer that supports more than 8-bit color, you will notice that the title
frames are of consistently of lower quality than the rest of the movies.
Post Compression
Each newly titled movie was then opened again using the ConvertToMovie software. It was then compressed using the Cinepak compression/decompression format, flattened and saved as an independent movie. At this point each movie
emerged with a smaller file size and played noticeably faster when opened up under
MoviePlayer or VideoPoint.
Assignment to VideoPoint
Page 123
In order to assure that the movie was correctly flattened for use with PC computers also and to associate it with VideoPoint, the movie was opened under a routine
we wrote to do this called VideoPoint Flattener. Thus, each movie in the collection
can be opened on any computer that can play QuickTime movies, and the assignVideoPoint Manual Chapter 7
Page 126
A set of approximately 160 movies were filmed at PASCO scientific under the
direction of Priscilla Laws and Mark Luetzelschwab. Most of these movies feature
PASCO apparatus such as the low-friction dynamics carts and ramps, ballistic pendula, and projectile launchers. The movies were filmed by Allen Steinhofel and
John Rice. Most of the apparatus was set up by Jon and Ann Hanks who teach
physics at American River College. Robert Morrison from PASCO also helped with
the setups. Special equipment such as the traveling pendulum was prepared for the
filming by prototype machinists Tom Frieholtz and Sean Malone. Several of these
individuals appear in the movies along with other PASCO employees. These extras
include: Sean Malone (in the Shoot the Target movies), Mike Cowden (in the
Projectile movies), Tracy Montz (in the Diatomic Cart movies) and Michelle Eastin
(in Shoot the Target Movies). We owe a vote of thanks to Paul Stokstad, PASCOs
president, for arranging for the filming and making all of the apparatus available
for our use.
Credits
The PASCO Laboratory-Based Movies
7.4. The Collection
Figure 7-1: The search screen for the Movie Browser software.
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Macro Kinetic Theory

Oscillation
Projectile Motion
Rotational Motion
Vertical Motion
Wave Motion
The movies have been divided into the following categories:
Categories and Descriptions

1D Motion
1D Collision
2D Motion
Cart Acceleration
Electrostatics
Human Motion/Sports
Inclined Plane Motion
Each movie in the data base is listed with a two or three sentence description
with a number of key words in it. This allows you to find movies of interest without knowing the assigned categories.
The Movie Browser

A new program informally known as the Movie Browser has been created to help
you find movies of interest. After opening the Movie Browser, you can search the
movie data base by File Name, Movie Name or Category. Or, you can do a key
word search on any of the words in the data base including key words in the movie
descriptions. Although we found that it was not always obvious how to assign
movies to categories, each movie was assigned to only one category. For example,
a movie of a ballet dancer doing a grand jet was put in the Human Motions/Sports
category, but it could also have been put in the 2D Motion or Projectile Motion categories. In many cases we have mentioned alternative categories in the movie
description. If you want to find all movies that might belong to a category, you
should direct a search for it in the Category box and in the movie description box at
the same time.
Once a search is initiated, a list of the movie names of the movies identified in
the search will appear. The movie on the list you choose will be highlighted and
opened. You can then: (1) play to movie, (2) launch it with VideoPoint for analysis,
(3) add the information in that movies data base to a report, (4) view the report
with all the movie information sent to it and (5)save, edit or print out the report.
Page 125
The Movie Browser contains an on-line bubble-type help and can be used easily
without further instructions. A typical Movie Browser screen is shown in Figure 7-1.
Marker Carts for the Study of Galilean Relativity

In a number of the movies involving PASCOs dynamics carts running on tracks,
you will notice three levels of tracks. In general, the events of interest, such as
accelerations and collisions occur on the top track. The carts on the other two
tracks are set in motion at constant velocity and serve as inertial reference frames
for analyses involving Galilean relativity. In is easy to use VideoPoint to obtain
information about how various events look to a laboratory observer and to
observers in the frames of reference of the cart moving from left to right and the
one moving from right to left.
Warnings!
The details of how the apparatus pictured in some of the movies is not obvious
from the brief descriptions in the movie data base. Consulting a PASCO catalog or
contacting PASCO scientific to get instructions for the apparatus in question might
be very helpful in some cases. PASCOs email address for inquiries is
sales@pasco.com, phone 800/872-8700.
A few of the movies were made with apparatus designed by machinists Tom
Frieholtz and Sean Malone, especially for studying center of mass motions. These
items include the U-shaped cart shown in PASCO067.MOV and PASCO068.MOV
and the traveling pendulum shown in PASCO069.MOV and PASCO070.MOV.
These items will not be found in the PASCO Catalog.
Not all of these movies have been analyzed. There is a small amount of friction
in all of the cart motion movies, and in some cases we are aware that extra friction
is present because the carts were not completely aligned with the ramp.
Nevertheless, these represent real events and we decided to include them.
Instructors planning assignments based on these movies should always analyze
them first to see what wrinkles are present.
The Princeton University Air Table Movies

Credits
Page 127
Another set of 40 movies were made in the historic introductory physics laboratory at Princeton University. These movies were filmed at Princeton by Mark
Luetzelshwab, Priscilla Laws and David Jackson from the Workshop Physics
Project Group at Dickinson College. We owe thanks to Professor David Wilkinson
of the Princeton University Department of Physics and Astronomy for granting us
permission to use apparatus developed for the introductory physics laboratory program. As part of that program students use specially designed air tables along with
video capture and analysis to explore two-dimensional collisions and macroscopic
analogs to thermal processes.
2D Collisions and Macroscopic Thermodynamics
The movies of elastic and inelastic collisions on an air table are valuable in the
study of two-dimensional collisions and dynamic center of mass concepts. Since
the Princeton air tables have built in energizers, the movies of single-puck
motions can be used to help students understand the simplified derivations relating
pressure, volume, and temperature in a gas to single-particle kinetic energies. The
multi-puck movies provide macroscopic analogs that help students understand the
concepts of mean free paths and velocity distributions in a gas as well as entropy
phenomena.
Caveats!
Not all of these movies have been analyzed. There is a small amount of friction
in all of the puck motion, and in some cases we are aware that extra friction is present due to the pucks rubbing against the airtable in poorly aligned collisions.
These collisions in which hidden momentum is transferred to the air table represent
real events, and we decided to include them. Instructors planning assignments
based on these movies should always analyze them first, to see what surprises
might be present.
Because we did not have a monitor available, the field of view was quite large
during the filming. Thus the movies in the Princeton set have been cropped, so that
they are less than the quarter-screen size of most of the other movies in the collection.
The University of Maryland Traveling Wave Movies

Credits
Although this movie set was actually filmed at Dickinson College, the set is a
University of Maryland creation because the films were made by graduate students
John Lello and Michael Whitman in their Physics Education research group. These
movies are being used in tutorials on traveling waves at Maryland.
Generating the Waves
These movies were made using springs obtained from an industrial supplier. Each
spring had an unstretched length of about 1.8m and a masses of about 70g. The k
factor for these springs is about 3 N/m. When one of these strings is stretched a
length of anywhere from 4 to 6 meters and plucked, then a traveling wave having a
speed of anywhere from 7 to 11 m/s is generated. John and Michael mounted a
video camera on the ceiling of the lab and filmed wave pulses traveling under different tensions with various amplitudes. They captured constructive and destructive
interferences of waves traveling in opposite directions and set up wave reflections
at fixed and free ends. One observer commented that the movies actually looked
like animations! We suggest that instructors who want to use these movies acquire
some similar springs and perform the live demonstrations of the same phenomena
in the classroom.
Page 128
Caveats!
Although these movies are terrific for viewing and measuring some aspects of
traveling wave motions, there are some problems with the movies. First, the tension
data were taken with a very crude spring scale and are unreliable. Thus, in many
cases we did not attempt to report these data. In addition, one can readily see from
the movies that the small displacement approximation that is typically used to
derive the traveling wave equation does not apply to these movies. This means that
the relationship between wave speed, tension and mass per unit length may not
apply very well to these wave pulses, even if the tensions had been accurately
determined. Also, these movies should eventually be redone with a high speed
video camera since 30 frames per second is too slow to see details of the 10 m/s
wave pulse shapes as they travel along.
Nevertheless, the filming of traveling waves seems like a terrific way to record
and learn about some important properties of waves traveling along springs.
The Dickinson College Movies

About the Dickinson Movies
The Dickinson movie set is quite eclectic. Diving, ballet, karate, freefall at an
amusement park and colliding pool balls are included. Some of these movies were
made during Workshop Physics classes at Dickinson College while others have
been created or collected by students and faculty for use in homework assignments
and projects. These movies were chosen because of the interesting physics in them
and not for their technical beauty. Those marked as student movies on the title
screen give an indication of the types of movies students can make on their own.
We are especially proud of two movies made by students during Dickinson
College Workshop Physics classes on electricity. The DSON015.MOV movie
enables users to verify the inverse square law for electrostatic repulsion between
two negatively charged spheres that are metal coated. You should take note of the
fact that the inverse square law does not hold when the spheres are close enough
together to distort each others charge distributions. DSON016.MOV depicts electrostatic repulsion forces between a charged disk and a sphere.
The NASA Rocket and LEM Launch Movies

About the NASA Movies
The NASA movie set consists of a series of launches. Five of the six movies
depict the first two seconds or so of rocket liftoffs. Several of these are historic and
provide prime examples of constantly accelerated motion. Finding rocket accelerations makes good exercises in the study of kinematics.
The mass of each rocket with full fuel is listed on the movie title screen when it
is available. These data can be used in homework assignments in which students
are asked to draw free body diagrams that include engine thrust forces and gravitaVideoPoint Manual Chapter 7
Page 129
tional forces, use the VideoPoint software to find rocket accelerations, and then calculate the engine thrust forces.
The sixth NASA movie, NASA003.MOV, depicts the launch of the Lunar
Module during one of the last Apollo missions. It is a special challenge to analyze
because the video camera left behind on the moon is programmed to zoom back as
the lunar module ascends. This is a good movie to use for student projects. It provides students with an opportunity to use the VideoPoint frame-by-frame scaling
feature.
The Hersheypark Movies

About the Hersheypark Movies
The movies in this set were filmed by Mark Luetzelschwab at the Hersheypark
Amusement Park in Hershey, Pennsylvania. Hersheypark boasts four different roller
coastersthe Sooperdooperlooper, the Sidewinder, the Comet and the Trailblazer.
Thus, the majority of this movie set depicts roller coaster trains going up hill, down
hill, both up and down hill, and doing loops. Two water boat rides, the Coal
Cracker and the Tidal Force, reveal constant accelerations as the boats slide down
inclines or slow down in water. The Cyclops ride exemplifies a constant rotational
velocity while the Flying Falcon ride depicts a complex set of rotational motions
which an be analyzed using VideoPonts moving origin feature linked with a userdefined polar coordinate system. The Pirat ride movie enables users to analyze the
motion of a giant physical pendulum.
Caveats!
Although there are no reliable scale factors in many of the movies, the use of
pixel units is fine for keeping track of energy transformations. It is difficult to calculate the motions of a roller coaster theoretically, because the trains are long relative to the curvature of the tracks. In some cases the front train car is hard to see
clearly, and in others it disappears behind a bush for a few frames. The camera axis
is not always perpendicular to the plane of motion of the trains. In spite of the challenges the analysis of these real world images present, these roller coaster scenes
provide many excellent examples of mechanical energy transformations.
The Dickinson College Movies
Demon Drop Vertical Fall

DSON001.MOV
Vertical Motion
The Sandusky Amusement Park Demon Drop cage holding four people undergoes free fall. The hand held camera wobbles a bit (15 fps).
Demon Drop Slow Down

DSON002.MOV
Cart Acceleration
The Sandusky Amusement Park Demon Drop cage with
four people in it slows down on a horizontal track and almost comes to rest. The
hand held camera wobbles a bit (15 fps).
Page 130
Volleyball Serve
DSON003.MOV
Human Motion/Sports A student hits a volleyball over a net with an overhead
serve. Topspin causes the ball to sink more rapidly than -9.8 m/s/s (30 fps).
Volleyball Spike
DSON004.MOV
Human Motion/Sports Mark Luetzelschwab spikes a volleyball over a net with
topspin. After the ball bounces it loses its spin and undergoes projectile motion following a parabolic path (30 fps).
Boomerang Toss
DSON005.MOV
Projectile Motion
A boomerang is tossed and rotates as it moves. The movie
is not scaled. The challenges are to find the boomerang center of mass dynamically
and then to find a scale factor that provides a downward acceleration of 9.8 m/s/s
(30 fps).
Plain Juggling
DSON006.MOV
Human Motion/Sports Doug Bowman juggles three balls in standard cascade
formation. The vertical motion, the projectile motion, and the impulse and momentum change associated with each throw can be studied. Frames are dropped, but
time codes are correct (30 fps).
Fancy Juggling
DSON007.MOV
Human Motion/Sports Doug Bowman juggles three balls with some original
variations. The vertical motion, the projectile motion, and the impulse and momentum change associated with each throw can be studied. Frames are dropped, but
time codes are correct (30 fps).
Grand Jet
DSON008.MOV
Human Motion/Sports Central Pennsylvania Youth Ballet dancer Carrie Imler
performs a grand jet. This movie can be used to determine center of mass and
head motion and learn about the floating illusion in ballet. Her center of mass
undergoes projectile motion (30 fps).
Tour Jet
DSON009.MOV
Human Motion/Sports Professional dancer Benjamin Pierce performs a tour jet
or turning jump (30 fps).
Four Puck Collision
DSON010.MOV
2D Motion
Four pucks shaped respectively like a triangle, circle,
semi-circle, and U collide elastically on an air table (30 fps).
Page 131
Pool Ball Break

DSON011.MOV
2D Motion
A cue ball collides with fifteen pool balls that are triangularly racked. There are too few pre-break frames to determine its initial momentum
accurately. Momentum conservation can be used to find the initial momentum of
the cue ball (30 fps).
Karate Chop Board Break

DSON012.MOV
Human Motion/Sports A student breaks through eight pine boards with a downward karate chop. The impulse-momentum theorem can be used to estimate forces
(30 fps).
Rotary Motion 1
DSON013.MOV
Rotational Motion
A hanging mass on a string unwinds from a spool
attached to a disk that rotates. This is a far view of the vertical motion of the hanging mass (6 fps).
Rotary Motion 2
DSON014.MOV
Rotational Motion
A hanging mass on a string unwinds from a spool
attached to a disk that rotates. This is a close-up view of the hanging mass (6 fps).
Coulomb Forces
DSON015.MOV
Electrostatics
A prod consists of a charged sphere with a conducting
surface that is attached to an insulated rod. This prod repels a similarly charged
hanging sphere, demonstrating Coulombs law of electrostatic forces (10 fps).
Disk/Point Charge Interaction

DSON016.MOV
Electrostatics
A prod consists of a charged, conducting disk that is
attached to an insulated rod. This prod repels a charged sphere with a conducting
surface that is hanging (10 fps).
Vertical Ball Toss

DSON017.MOV
Vertical Motion
A ball that is tossed vertically undergoes free fall as it
rises, turns around and falls as it undergoes 1D motion in the y-direction (30 fps).
Rollerblade Jump
DSON018.MOV
Human Motion/Sports A student on in-line skates jumps over an obstacle.
Every third frame was dropped, but the time codes seem to be correct. No scale is
available, so the challenge is to find one that gives a downward center of mass
acceleration of - 9.8 m/s/s (30 fps).
3m Forward Dive Pike

DSON019.MOV
Human Motion/Sports Grant Braught jumps off a 3 m spring board, does a
pike, and dives into a pool. He gains initial momentum from bouncing on the
board, and then his center of mass undergoes projectile motion. The camera pans at
the end (30 fps).
1m Forward Dive Pike

DSON020.MOV
Human Motion/Sports Jill Braught jumps forward off a 1 m spring board and
gains initial momentum by bouncing on the board. She does a forward dive pike
and enters the water head first. Her center of mass undergoes projectile motion during the dive as the camera pans (30 fps).
Page 132
1m Forward Dive, 2 SS tuck

DSON021.MOV
Human Motion/Sports Jill Braught jumps off a 1m spring board, does a forward
dive with 2 somersaults tuck and enters the pool feet first. She gains initial momentum from bouncing on the board, and then her center of mass undergoes projectile
motion (30 fps).
1m Inward Dive Pike
DSON022.MOV
Human Motion/Sports Jill Braught jumps backward off a 1m spring board and
gains initial momentum by rocking the board. She does an inward dive pike and
enters the pool head first. Her center of mass undergoes projectile motion as the
camera pans (30 fps).
1m Inward Dive, 1-1/2 SS tuck
DSON023.MOV
Human Motion/Sports Jill Braught jumps backward off a 1m spring board. She
gains initial momentum as she rocks the board, does an inward dive with 1-1/2
somersaults tuck and enters the water head first. The camera pans to catch her center of mass projectile motion (30 fps).
1m Backward Dive Straight
DSON024.MOV
Human Motion/Sports Jill Braught jumps backward off a 1m spring board and
gains initial momentum as she rocks the board. She does a backward dive straight
and enters the water head first. Her center of mass undergoes projectile motion as
the camera pans (30 fps).
1m Backward Dive, 1-1/2 SS tuck
DSON025.MOV
Human Motion/Sports Jill Braught jumps backward off a 1m spring board,
gaining initial momentum as she rocks the board. She does a back dive with 1-1/2
somersaults tuck to enter the water head first. Her center of mass undergoes projectile motion as the camera sweeps (30 fps)
1m Reverse Dive, 1-1/2 SS tuck
DSON026.MOV
Human Motion/Sports Jill Braught jumps off a 1 m spring board, gaining initial
momentum as she bounces on the board. She does a reverse dive with 1-1/2 somersaults tuck to enter the pool head first. Her center of mass undergoes projectile
motion as the camera pans (30 fps).
The Hersheypark Movies
Page 133
Cyclops Ferris Wheel Rotation

HRSY001.MOV
Rotational Motion
Many cars on the large rapidly moving Cyclops ferriswheel rotate in a clockwise direction at a tilt angle of 87 with respect to the horizontal (10 fps).
Coal Cracker Water Boat Descent

HRSY002.MOV
Inclined Motion
The Coal Cracker boat full of people accelerates down a
ramp in inclined motion and then slows down on a level water track in a 1D
motion. The camera angle is not optimal for quantitative analysis (5 fps).
Coal Cracker Water Boat Slow Down

HRSY003.MOV
Cart Acceleration
The Coal Cracker boat full of people that has just accelerated down an incline undergoes a 1D motion as it slows down on a level water
track. No scale available, but the nature of the slow down acceleration can be studied (5 fps).
Tidal Force Water Boat Slow Down

HRSY004.MOV
Inclined Motion
A 20 passenger Tidal Force boat that has just accelerated
down an incline slows down on a level water track causing a large splash that hides
the boat. The nature of the motion of the leading edge of the splash can be studied
(5 fps).
Flying Falcon w/ Multiple Rotations

HRSY005.MOV
Rotational Motion
The Flying Falcon structure with four arms rotates in a
large circle. Each arm forms a substructure with a circular array of seven carts on
it. Each of these carts rotates in a smaller circle (6 fps).
Pirat Rocking Boat

HRSY006.MOV
Oscillations
Pirat, a fake pirate ship, acts as a large physical pendulum
as it oscillates on rollers. Its amplitude increases as a kicking device adds energy to
the oscillating system (30 fps).
Looper Roller Coaster 1

HRSY007.MOV
Inclined Motion
The SooperdooperLooper roller coaster travels down an
inclined track. The camera angle is not optimal for quantitative analysis (5 fps).
Tidal Force Water Boat Acceleration

HRSY008.MOV
Inclined Motion
A 20 passenger Tidal Force boat drops about 100 feet vertically on an inclined track (5 fps).

HRSY009.MOV
Inclined Motion
inclined track and does a loop-the-loop (5 fps).

HRSY010.MOV
Inclined Motion
inclined track and does a loop-the-loop (5 fps).
Sidewinder Roller Coaster 1

HRSY011.MOV
Inclined Motion
The Sidewinder roller coaster travels down an inclined
track and does a loop-the-loop (5 fps).
Page 134

HRSY012.MOV
Inclined Motion
The Sidewinder roller coaster travels down an inclined
track and does a loop-the-loop (5 fps).
NASA004.MOV
The Space Shuttle Columbia is launched vertically
Apollo Lunar Module Launch

NASA003.MOV
Vertical Motion
An Apollo Lunar Module is launched from the surface of
the moon as the remote camera zooms back and pans upward (10 fps).
Space Shuttle Launch
Vertical Motion
upward (6 fps).
Mercury-Redstone Launch
NASA005.MOV
Vertical Motion
A Mercury-Redstone rocket launches Alan Shepards 15
minute and 22 second suborbital space flight on May 5, 1961. Shepard becomes the
first American in space (5 fps).

HRSY013.MOV
Inclined Motion
The Sidewinder roller coaster travels downhill and
through two loops. It is then towed up a far hill and released. It falls back down the
far hill and travels backwards through the same two loops (30 fps).
Comet Roller Coaster 1
HRSY014.MOV
Inclined Motion
The Comet roller coaster travels down one side of a concave track and up the other side (10 fps).
Jupiter C Launch
Vertical Motion
lite (5 fps).
Page 136
Fan Cart Accelerating Back and Forth 2

PASCO006.MOV
Cart Acceleration
Initially a fan cart starts moving to the right opposite a
high fan thrust. It then turns around and moves back. Two lower carts provide inertial frames for the study of Galilean relativity (10 fps).

PASCO005.MOV
Cart Acceleration
Initially a fan cart starts moving to the right opposite a
low fan thrust. It then turns around and moves back. Two lower carts provide inertial frames for the study of Galilean relativity (10 fps).
Fan Cart Accelerating from Rest 2

PASCO004.MOV
Cart Acceleration
A fan cart with high thrust starts from rest and accelerates
to the right. Two lower carts provide inertial frames for the study of Galilean relativity (10 fps).
Fan Cart Accelerating from Rest 1

PASCO003.MOV
Cart Acceleration
A fan cart with low thrust starts from rest and accelerates
to the left. Two lower carts provide inertial frames for the study of Galilean relativity (10 fps).
Magnetic Bumper Collision 2

PASCO002.MOV
1D Collision
A cart collides with a magnetic bumper at a high velocity.
Two lower carts provide inertial frames for the study of Galilean relativity (6 fps).

PASCO001.MOV
1D Collision
A cart collides with a magnetic bumper at a low velocity.
The PASCO Laboratory-Based Movies
NASA006.MOV
A Jupiter C rocket is used to launch the Explorer I satel-

HRSY015.MOV
Inclined Motion
The Comet roller coaster travels up an inclined track
(10 fps).
HRSY016.MOV
Inclined Motion
The Comet roller coaster travels down an inclined track
(5 fps).
HRSY017.MOV
Inclined Motion
The Comet roller coaster travels up an inclined track
(5 fps).
HRSY018.MOV
Inclined Motion
The Comet roller coaster travels down one side of a concave track and up the other side. A second roller coaster in the background travels
along a roughly level track (5 fps).
HRSY019.MOV
Inclined Motion
The Comet roller coaster travels down one side of a concave track and up the other side (5 fps).
NASA001.MOV
A V-2 rocket is launched vertically upward as the camera
The NASA Rocket and LEM Launch Movies

V-2 Rocket Launch
Vertical Motion
pans (6 fps).
Page 135
Saturn V Rocket Launch

NASA002.MOV
Vertical Motion
A Saturn V Rocket is launched vertically upward in an
early Apollo mission as the camera pans (5 fps).
Inelastic Cart Collision on Incline 2

PASCO016.MOV
Inclined Motion
A fast cart collides inelastically with a slow cart of equal
mass moving in the same direction down a small incline (6 fps).
Elastic Cart Collision 1

PASCO017.MOV
1D Collision
Two carts with the same mass have magnets installed in
their ends. A slow cart undergoes an elastic collision with a stationary cart of equal
mass. Two lower carts provide inertial frames for the study of Galilean relativity
(5 fps).

PASCO007.MOV
Cart Acceleration
Initially a fan cart starts moving to the left opposite a high
fan thrust. It then turns around and moves back. Two lower carts provide inertial
frames for the study of Galilean relativity (10 fps).
Fan Cart Accelerating Down Incline 1
PASCO008.MOV
Inclined Motion
A fan cart with its fan off starts from rest and moves
down an incline. Two lower carts provide inertial frames for the study of Galilean
relativity (10 fps).

PASCO018.MOV
1D Collision
their ends. The carts are moving slowly when they undergo an elastic collision.
Page 138
Inelastic Cart Collision 1

PASCO024.MOV
1D Collision
A cart collides inelastically with a stationary cart of equal
mass. Two lower carts provide inertial frames for the study of Galilean relativity
(6 fps).

PASCO023.MOV
1D Collision
Two carts have magnets installed in their ends. A fast cart
collides elastically with a slow cart with larger mass moving in the same direction.

PASCO022.MOV
1D Collision
A fast cart with greater mass undergoes an elastic collision with a slower less massive cart moving in the same direction. These carts have
magnets in their ends. Two lower carts provide inertial frames for the study of
Galilean relativity (6 fps).

PASCO021.MOV
1D Collision
A cart with greater mass undergoes an elastic collision
with a stationary cart of lesser mass. These carts have magnets installed in their
ends. Two lower carts provide inertial frames for the study of Galilean relativity (5
fps).

PASCO020.MOV
1D Collision
A cart with lesser mass undergoes an elastic collision with
a stationary cart of greater mass. These carts have magnets installed in their ends.

PASCO019.MOV
1D Collision
Two slow carts with unequal masses undergo an elastic
collision. These carts have magnets installed in their ends. Two lower carts provide
inertial frames for the study of Galilean relativity (10 fps).
Fan Cart Accelerating Down Incline 2

PASCO009.MOV
Inclined Motion
A fan cart is set up with a high thrust that opposes the
gravitational force component. It starts from rest and speeds up as it moves down
an incline (5 fps).
Fan Cart Accelerating Up Incline
PASCO010.MOV
Inclined Motion
A fan cart is set at a high thrust that opposes the gravitational force component. It starts up an incline with a positive initial velocity and
slows down. Two lower carts provide inertial frames for the study of Galilean relativity (5 fps).
PASCO011.MOV
Inclined Motion
A cart rolls a short distance down a slight incline and collides with a magnetic bumper. It bounces and undergoes about a dozen oscillations
before coming to rest (5 fps).
PASCO012.MOV
Inclined Motion
A cart rolls a long distance down a slight incline and collides with a magnetic bumper. It bounces and undergoes about a dozen oscillations
before coming to rest (5 fps).
Elastic Cart Collision on an Incline 1
PASCO013.MOV
Inclined Motion
Two carts with magnets on their ends have equal mass
and speed. They undergo an elastic head-on collision while accelerating on a slight
incline (5 fps).
Elastic Cart Collision on an Incline 2
PASCO014.MOV
Inclined Motion
their ends. The fast cart undergoes an elastic collision with a slower cart moving in
the same direction. Both carts are accelerating down a slight incline (6 fps).
Page 137
Inelastic Cart Collision on Incline 1

PASCO015.MOV
Inclined Motion
Two carts of equal mass travel on a small incline and
undergo an inelastic head-on collision (6 fps).

PASCO030.MOV
1D Collision
A fast cart with small mass collides inelastically with a
slow cart with large mass moving in the same direction. Two lower carts provide

PASCO029.MOV
1D Collision
A fast cart with large mass collides inelastically with a
slow cart with small mass moving in the same direction. Two lower carts provide

PASCO028.MOV
1D Collision
A cart with large mass collides inelastically with a stationary cart with small mass at rest. Two lower carts provide inertial frames for the
study of Galilean relativity (6 fps).

PASCO027.MOV
1D Collision
A cart with small mass collides inelastically with a stationary cart with large mass. Two lower carts provide inertial frames for the study
of Galilean relativity (5 fps).

PASCO026.MOV
1D Collision
A fast, massive cart collides head-on, inelastically with a
slow, less massive cart. Two lower carts provide inertial frames for the study of

PASCO025.MOV
1D Collision
Two carts with almost equal speed and mass undergo a
head-on inelastic collision. Two lower carts provide inertial frames for the study of
Elastic Fan Cart Collision 2

PASCO040.MOV
1D Collision
A fan cart system on low thrust undergoes a series of elastic collisions with a two-cart stack that is initially at rest. Two lower carts provide

PASCO039.MOV
1D Collision
A fan cart system on low thrust collides elastically with a
less massive stationary cart. Two lower carts provide inertial frames for the study of
Fan Cart Acceleration 4

PASCO038.MOV
Cart Acceleration
A fan cart set on a low thrust is pushing three additional
carts. The four carts move along a level track. Friction is significant. Two lower
carts provide inertial frames for the study of Galilean relativity (6 fps).

PASCO037.MOV
Cart Acceleration
A fan cart set on a low thrust is pushing two additional
carts. The three carts accelerate along a level track. Two lower carts provide inertial

PASCO036.MOV
Cart Acceleration
A fan cart set on a low thrust is pushing one additional
cart. The two carts accelerate along a level track. Two lower carts provide inertial

PASCO035.MOV
Cart Acceleration
A fan cart set on a low thrust accelerates toward the right
on a level track. Two lower carts provide inertial frames for the study of Galilean
relativity (6 fps).
Exploding Carts 4
PASCO034.MOV
1D Collision
Two carts of equal mass explode in opposite directions.
The explosion energy is initially stored in compressed springs. Two lower carts provide inertial frames for the study of Galilean relativity (15 fps).
Page 140
Inelastic Fan Cart Collision 1

PASCO042.MOV
1D Collision
A fan cart system on low thrust collides inelastically with
a less massive stationary cart. Two lower carts provide inertial frames for the study
of Galilean relativity (6 fps).

PASCO041.MOV
1D Collision
A fan cart system on low thrust undergoes a series of elastic collisions with a three-cart stack that is initially at rest. Two lower carts provide
Exploding Carts 1
PASCO031.MOV
1D Collision
Two carts of equal mass explode in opposite directions.
The explosion energy is initially stored in compressed springs (10 fps).
Exploding Carts 2
PASCO032.MOV
1D Collision
Two carts of unequal mass explode in opposite directions.
The explosion energy is initially stored in compressed springs (15 fps).
Page 139
Exploding Carts 3
PASCO033.MOV
1D Collision
Two carts of unequal mass explode in opposite directions.
The explosion energy is initially stored in compressed springs. Two lower carts provide inertial frames for the study of Galilean relativity (15 fps).

PASCO043.MOV
1D Collision
A fan cart system on low thrust undergoes an inelastic
collision with a two-cart stack that is initially at rest. Two lower carts provide inertial frames for the study of Galilean relativity (6 fps).
PASCO044.MOV
1D Collision
A fan cart system on low thrust undergoes an inelastic
collision with a three-cart stack that is initially at rest. There is considerable friction
after the collision. Two lower carts provide inertial frames for the study of Galilean
relativity (6 fps).
Ballistic Cart Ball Launch-Catch 1
PASCO045.MOV
Projectile Motion
A slow ballistic cart launches a ball and catches it. Two
lower carts provide inertial frames for the study of Galilean relativity (15 fps).
Ballistic Cart Ball Launch-Catch 2
PASCO046.MOV
Projectile Motion
A fast ballistic cart launches a ball and catches it. Two
Ballistic Cart Ball Drop-Catch
PASCO047.MOV
Projectile Motion
A slow ballistic cart equipped with a drop rod drops a ball
and catches it. Two lower carts provide inertial frames for the study of Galilean relativity. Frames were dropped in digitization, but time codes are correct (15 fps).
Ballistic Launch-Catch on Incline 1
PASCO048.MOV
Projectile Motion
A slow ballistic cart is undergoing a downward inclined
motion. It launches and catches a ball. Two lower carts provide inertial frames for
the study of Galilean relativity (15 fps).
PASCO049.MOV
Projectile Motion
A slow ballistic cart is undergoing an upward inclined
PASCO050.MOV
Projectile Motion
A fast ballistic cart is undergoing an upward inclined
Page 141
Slow Cart Rolling Down Incline

PASCO051.MOV
Inclined Motion
A cart moves with a low velocity on a level track and
travels down an incline to a lower level. This motion tests mechanical energy conservation. Two lower carts provide inertial frames for the study of Galilean relativity (30 fps).
Fast Cart Rolling Down Incline

PASCO052.MOV
Inclined Motion
A cart moves with a high velocity on a level track and
travels down an incline to a lower level. This motion tests mechanical energy conservation. Two lower carts provide inertial frames for the study of Galilean relativity (30 fps).
Slow Cart Rolling Up Incline

PASCO053.MOV
Inclined Motion
A cart moves with a low velocity on a level track and
travels up an incline to a higher level. This motion tests mechanical energy conservation. Two lower carts provide inertial frames for the study of Galilean relativity
(30 fps).
Fast Cart Rolling Up Incline

PASCO054.MOV
Inclined Motion
A cart moves with a high velocity on a level track and
travels up an incline to a higher level. This motion tests mechanical energy conservation. Two lower carts provide inertial frames for the study of Galilean relativity
(30 fps).
Fan Cart Rolling Up Incline

PASCO055.MOV
Inclined Motion
A fan cart, starting from rest on a level track, experiences
a low thrust force and travels up an incline to a track at a higher level. Two lower
carts provide inertial frames for the study of Galilean relativity (30 fps).
Slow Fan Cart Rolling Down Incline

PASCO056.MOV
Inclined Motion
A fan cart moves to the left on a level track opposite to
the direction of the low thrust it experiences. It then travels down an incline to a
lower level track. Two lower carts provide inertial frames for the study of Galilean
Fast Fan Cart Rolling Down Incline

PASCO057.MOV
Inclined Motion
A fan cart moves to the left on a level track opposite to
the direction of the high thrust it experiences. It then travels down an incline to a
lower level track. Two lower carts provide inertial frames for the study of Galilean
Cart Rolling Up Incline w/ Fan Off

PASCO058.MOV
Inclined Motion
A fan cart with its fan off moves to the right on a level
track. It then travels up an incline to a higher level. This motion tests mechanical
energy conservation. Two lower carts provide inertial frames for the study of
Cart Moving Down Incline w/ Fan Off 1

PASCO059.MOV
Inclined Motion
A fan cart with its fan off moves to the left on a level
track. It then travels down an incline to a lower level. This motion tests mechanical
Page 142
Cart Moving Down Incline w/ Fan Off 2

PASCO060.MOV
Inclined Motion
A fan cart with its fan off moves to the left on a level
track. It then travels down an incline to a lower level. This motion tests mechanical
Cart Moving Up Two Inclines
PASCO061.MOV
Inclined Motion
A cart moves slowly down an incline, over a level section,
and down another incline. This motion tests mechanical energy conservation. Two
Cart Moving Down Two Inclines
PASCO062.MOV
Inclined Motion
A cart moves slowly up an incline, over a level section,
and up another incline. This motion tests mechanical energy conservation. Two
Fan Cart Moving Up Two Inclines
PASCO063.MOV
Inclined Motion
A fan cart moves slowly up an incline, over a level section and up another incline in the direction of the high thrust it experiences. Two
Fan Cart Moving Down Two Inclines
PASCO064.MOV
Inclined Motion
A fan cart moves slowly down an incline, along a level
section and down another incline. It moves opposite to the direction of the low
thrust it experiences. Two lower carts provide inertial frames for the study of
Cart Released from Mobile Incline 1
PASCO065.MOV
Inclined Motion
A cart accelerates down an incline that has wheels. This
incline can roll on a level track. Two lower carts provide inertial frames for the
Cart Released from Mobile Incline 2
PASCO066.MOV
Inclined Motion
A cart accelerates down an incline that has wheels. This
incline can roll on a level track. Two lower carts provide inertial frames for the
Cart Released from Mobile Half Pipe 1
PASCO067.MOV
Oscillations
A cart oscillates inside a concave ramp that has wheels.
This concave ramp can roll on a level track. Two lower carts provide inertial frames
for the study of Galilean relativity (30 fps).
Page 143
Cart Released from Mobile Half Pipe 2

PASCO068.MOV
Oscillations
A cart oscillates inside a concave ramp that has wheels.
This concave ramp can roll on a level track. Two lower carts provide inertial frames
for the study of Galilean relativity (30 fps).
Mobile Triangle Frame Pendulum 1

PASCO069.MOV
Oscillations
A pendulum mounted on a triangular frame oscillates. The
triangular frame is mounted on wheels and can roll along a level track (30 fps).
Mobile Triangle Frame Pendulum 2

PASCO070.MOV
Oscillations
A pendulum mounted on a triangular frame oscillates. The
triangular frame is mounted on wheels and can roll along a level track (30 fps).
Diatomic Cart System Collision 1

PASCO071.MOV
Macro Kinetic Theory A slow cart collides elastically with two stationary carts
that are connected by a metal-leaf spring. The connected carts undergo horizontal
oscillations and store vibrational energy like a diatomic molecule (15 fps).

PASCO072.MOV
Macro Kinetic Theory A slow massive cart collides elastically with two stationary carts that are connected by a metal-leaf spring. The connected carts undergo
oscillations and store vibrational energy like a diatomic molecule (15 fps).

PASCO073.MOV
Macro Kinetic Theory Two carts connected by a metal-leaf spring undergo horizontal oscillations. This cart system stores vibrational energy like a diatomic molecule. There are a couple of missing frames, but the time codes are correct (30 fps).

PASCO074.MOV
Macro Kinetic Theory A slow cart collides elastically with two oscillating carts
that are connected by a metal-leaf spring. The connected carts undergo oscillations
and store vibrational energy like a diatomic molecule (15 fps).

PASCO075.MOV
Macro Kinetic Theory A slow cart collides elastically with two carts that are
connected by a metal-leaf spring. The connected carts undergo oscillations and
store vibrational energy like a diatomic molecule (15 fps).

PASCO076.MOV
Macro Kinetic Theory Two carts connected by a metal-leaf spring slowly collide with a stationary cart. The connected carts undergo oscillations and store vibrational energy like a diatomic molecule (15 fps).

PASCO077.MOV
Macro Kinetic Theory Two carts connected by a metal-leaf spring slowly collide with a stationary cart. The connected carts undergo oscillations and store vibrational energy like a diatomic molecule (15 fps).

PASCO078.MOV
1D Motion
A slow cart with small mass collides elastically with a stationary cart with more mass (6 fps).
Page 144

PASCO080.MOV
1D Motion
A slow cart with small mass collides elastically with a
more massive stationary cart (5 fps).

PASCO079.MOV
1D Motion
A slow cart with small mass collides elastically with a
more massive slow cart (5 fps).
Modified Atwoods 4 (0)

PASCO091.MOV
Cart Acceleration
A double cart on a level track is accelerated by a large,
falling mass in a modified Atwoods machine (6 fps).

PASCO090.MOV
Cart Acceleration
A double cart on a level track is accelerated by a small,
falling mass in a modified Atwoods machine (5 fps).

PASCO089.MOV
Cart Acceleration
A cart on a level track is accelerated by a large, falling
mass in a modified Atwoods machine (6 fps).
Page 146
Inclined Modified Atwoods 6

PASCO099.MOV
Inclined Motion
A cart is accelerated up a 20 incline by a falling mass in
a modified Atwoods machine (5 fps).

PASCO098.MOV
Inclined Motion

PASCO097.MOV
Inclined Motion
A double cart is accelerated up a 10 incline by a falling

PASCO096.MOV
Inclined Motion
A double cart is accelerated up a 10 incline by a falling

PASCO095.MOV
Inclined Motion

PASCO094.MOV
Inclined Motion

PASCO093.MOV
Cart Acceleration
A massive double cart on a level track is accelerated by a
large falling mass in a modified Atwoods machine (6 fps).

PASCO092.MOV
Cart Acceleration
A massive double cart system on a level track is accelerated by a small, falling mass in a modified Atwoods machine (5 fps).

PASCO081.MOV
1D Motion
A slow cart with small mass undergoes a head-on collision with a more massive slowly moving cart.
PASCO082.MOV
1D Motion
A slow cart with small mass collides inelastically with a
stationary cart with more mass. Some momentum is transferred to the track during
the collision (5 fps).
PASCO083.MOV
1D Motion
slow cart with more mass. This collision shows relatively little momentum loss to
the track (6 fps).
PASCO084.MOV
1D Motion
slow cart with more mass. The collision shows relatively little momentum loss to
the track (6 fps).
PASCO085.MOV
1D Motion
stationary cart with more mass. This collision shows momentum loss to the track (5
fps).
PASCO086.MOV
1D Motion
slow cart with more mass. This collision shows relatively little momentum loss to
the track (15 fps).
PASCO087.MOV
1D Motion
fast cart with more mass. This collision shows relatively little momentum loss to
the track (5 fps).
Page 145

PASCO088.MOV
Cart Acceleration
A cart on a level track is accelerated by a small, falling
Shoot the Target at -20

PASCO111.MOV
Projectile Motion
A dense plastic ball shot from a projectile launcher at -20
hits a falling target. The ball is so small that it is hard to see. Anticipating the balls
location in each frame and using more than 8-bit color make it possible to spot
(30 fps).
Shoot the Target at 42

PASCO110.MOV
Projectile Motion
A dense plastic ball is shot from a projectile launcher at
about 42 and hits a falling target (30 fps).
Inclined Cart-Parallel Spring Motion

PASCO101.MOV
Oscillations
A cart on an incline of about 10 is attached to two identical springs in parallel and undergoes an inclined motion consisting of a series of
oscillations (5 fps).
Inelastic Ballistic Pendulum

PASCO112.MOV
Projectile Motion
A projectile launcher at its high setting shoots a steel ball
at a hanging ballistic pendulum in an inelastic collision. PASCO113.MOV shows
the motion of the projectile launched at a high setting (15 fps).
Cart-Series Spring Oscillations

PASCO100.MOV
Oscillations
A cart on an incline of about 10 is attached to two identical springs in series and undergoes an inclined motion consisting of a series of
oscillations (5 fps).
Inclined Cart-Spring Oscillations

PASCO102.MOV
Oscillations
A cart on an incline of about 10 is attached to the same
type of spring used in PASCO100 and PASCO101. It undergoes an inclined motion
consisting of a series of oscillations (5 fps).
Ballistic Launch Calibration

PASCO113.MOV
Projectile Motion
A steel ball is shot horizontally from a projectile launcher
at its high setting. Data from PASCO112.MOV can be used to find the initial velocity of the ball (30 fps).
Page 148
Coffee Filter Drop 4 (4m)

PASCO120.MOV
Vertical Motion
A nested group of 4 coffee filters fall from rest (30 fps).

PASCO119.MOV
Vertical Motion

PASCO118.MOV
Vertical Motion

PASCO117.MOV
Vertical Motion
Elastic Ballistic Pendulum

PASCO116.MOV
Projectile Motion
A steel ball shot horizontally from a projectile launcher at
its high setting hits a hanging ballistic pendulum in an elastic collision.
PASCO113.MOV shows motion of projectile launched at high setting (15 fps).
Elastic Ballistic Cart

PASCO115.MOV
Projectile Motion
at a ballistic cart on a level track in an elastic collision. PASCO113.MOV shows
motion of a projectile launched at high setting (6 fps).
Inelastic Ballistic Cart

PASCO114.MOV
Projectile Motion
at a ballistic cart on a level track in an inelastic collision. PASCO113.MOV shows
motion of projectile launched at high setting (6 fps).
Level Cart-Series Spring Oscillations

PASCO103.MOV
Oscillations
A cart on a level track is attached to two identical springs
in series and undergoes a series of oscillations (5 fps).
Projectile Launch No. 1 at 30
PASCO104.MOV
Projectile Motion
A hard plastic ball is shot from a projectile launcher at
about 30 above horizontal. This movie is used as the PRJCTILE example in
Chapter 2 of the Users Guide (30 fps).
PASCO105.MOV
Projectile Motion
A Styrofoam ball is shot from a projectile launcher at
about 30 above horizontal (30 fps).
PASCO106.MOV
Projectile Motion
about 45 above horizontal at a high setting (30 fps).
PASCO107.MOV
Projectile Motion
PASCO108.MOV
Projectile Motion
Page 147

PASCO109.MOV
Projectile Motion

PASCO121.MOV
Vertical Motion
PASCO122.MOV
Vertical Motion
A single coffee filter falls from rest (30 fps).
Coffee Filter Drop w/ Steel Ball
PASCO123.MOV
Vertical Motion
A steel ball and a coffee filter crumpled around a steel
ball fall from rest simultaneously (30 fps).
Medium Setting, Low Mass Launch 1
PASCO124.MOV
2D Motion
A projectile launcher with a medium setting shoots a yellow ball along a floor. Speed of launch can be used in analyzing PASCO125.MOV
and PASCO126.MOV (30 fps).
2D Collision w/ Equal Masses 1
PASCO125.MOV
2D Motion
A projectile launcher with a medium setting shoots a yellow ball horizontally along a floor. It collides head on with a pink ball of similar
mass at point-blank range (30 fps).
High Setting, High Mass Launch

PASCO131.MOV
2D Motion
A projectile launcher shoots a ball at its medium setting
along a floor. Use this motion for calibration of the speed of a steel ball launched at
a high setting in analyzing PASCO127.MOV-PASCO129.MOV (30 fps).
Coriolis Rotational Launch 1

PASCO132.MOV
Rotational Motion
A projectile is launched from a Coriolis Effect Accessory
rotating at a low speed. The x-component of velocity is large. The projectile is hard
to see, and it helps to move backward through the frames anticipating its location
(30 fps).

PASCO133.MOV
Rotational Motion
rotating at a medium speed. The x-component of velocity is large. The projectile is
hard to see, and it helps to move backward through the frames anticipating its location (30 fps).

PASCO128.MOV
2D Motion
A projectile launcher with an unknown setting shoots a
massive steel ball. It collides at a slight angle with a low mass plastic ball head-on
at point-blank range. Use PASCO130.MOV or PASCO131.MOV for calibration (30
fps).
2D Collision w/ Unequal Masses 1

PASCO127.MOV
2D Motion
massive steel ball. It collides head on with a low mass plastic ball at point-blank
range. Use PASCO130.MOV or PASCO131.MOV for calibration (30 fps).

PASCO137.MOV
Rotational Motion
that is not rotating. The x-component of velocity is moderate. The projectile is hard
(30 fps).

PASCO136.MOV
Rotational Motion
rotating at a high speed. The x-component of velocity is moderate. The projectile is

PASCO135.MOV
Rotational Motion
that is not rotating. The x-component of velocity is large. The projectile is hard to
see, and it helps to move backward through the frames anticipating its location (30
fps).

PASCO134.MOV
Rotational Motion
rotating at a high speed. The x-component of velocity is large. The projectile is

PASCO129.MOV
2D Motion
massive steel ball. It collides at point-blank range at about a 90 angle with another
steel ball of similar mass. Use PASCO130.MOV or PASCO131.MOV for calibration
(30 fps).

PASCO126.MOV
2D Motion
A projectile launcher with a medium setting shoots a low
mass yellow ball horizontally along a floor. It collides at about 90 with another
ball of similar mass at point-blank range (30 fps).
Medium Setting, High Mass Launch

PASCO130.MOV
2D Motion
A projectile launcher shoots a ball at its medium setting
along a floor. Use this motion for calibration of the speed of a steel ball launched at
a medium setting in analyzing PASCO127.MOV-PASCO129.MOV (30 fps).
Page 149

PASCO138.MOV
Rotational Motion
rotating at a high speed. The x-component of velocity is small. The projectile is
Page 150

PASCO139.MOV
Rotational Motion
that is not rotating. The x-component of velocity is small. The projectile is hard to
see, and it helps to move backward through the frames anticipating its location
(30 fps).
PASCO140.MOV
Rotational Motion
A projectile is launched from a rotating Coriolis Effect
Accessory and an attempt is made to get the launcher to intercept the projectile.
The projectile is hard to see, and it helps to move backward through the frames
anticipating its location (15 fps).
PASCO141.MOV
Rotational Motion
rotating at a high speed. The x-component of velocity is zero. The projectile is hard
(30 fps).
Variable g Pendulum at 0 to Vertical

PASCO149.MOV
Oscillations
A rigid pendulum oscillates in a plane that makes a 0
angle with respect to the vertical. There is no changing the effective g (30 fps).
Standing Wave in Second Harmonic

PASCO150.MOV
Wave Motion
A metal wire oscillates at 45 Hz in its second harmonic.
Nodes are visible, but the wire motion is too rapid to stop (30 fps).
Standing Wave in First Harmonic

PASCO151.MOV
Wave Motion
A metal wire oscillates at 30 Hz in its first harmonic.
Nodes are visible, but the wire motion is too rapid to stop (30 fps).
Standing Wave in Fundamental Mode

PASCO152.MOV
Wave Motion
A metal wire oscillates at 15 Hz in its fundamental mode
(30 fps).
Simple Pendulum w/ Length 100 cm

PASCO153.MOV
Oscillations
A simple pendulum with a length of about 100cm oscillates (15 fps).
Lenzs Law 3
Vertical Motion
Lenzs Law 2
Vertical Motion
PASCO144.MOV
A magnetic rod falls through a metal tube (5 fps).
PASCO143.MOV
A non-magnetic rod falls through a metal tube (30 fps).

PASCO156.MOV
Oscillations
A simple pendulum with a length of about 31cm oscillates
(30 fps).

PASCO155.MOV
Oscillations
(30 fps).
Lenzs Law 1
PASCO142.MOV
Vertical Motion
A magnetic rod and a non-magnetic rod fall freely near
each other. There is no metal nearby to influence the rates of fall (30 fps).

PASCO145.MOV
Oscillations
angle with the vertical changing the effective g (6 fps).

PASCO157.MOV
Oscillations
(30 fps).

PASCO154.MOV
Oscillations
(30 fps).

PASCO146.MOV
Oscillations
Mass Oscillating on a Fixed Spring

PASCO158.MOV
Oscillations
A mass on a spring oscillates vertically while it is hanging
from a rod attached to a stationary cart (30 fps).

PASCO147.MOV
Oscillations
Page 152
Mass Oscillating on a Moving Spring

PASCO159.MOV
Oscillations
A mass on a spring oscillates vertically while it is hanging
from a rod. The rod is attached to a cart that is moving horizontally with a low
velocity (30 fps).
Page 151

PASCO148.MOV
Oscillations
The Princeton University Air Table Movies

Puck Collisions w/ Air Table Walls
PRU001.MOV
Macro Kinetic Theory A single puck bounces off the walls of an air table emulating molecular motion in a box as it undergoes 2D motion. This system is nonadiabatic since the puck loses energy in each bounce (6 fps).
2 Puck Elastic Collision 1
PRU002.MOV
2D Motion
Two moving pucks collide elastically on an air table
(15 fps).
2 Puck Inelastic Collision 4

PRU011.MOV
2D Motion
A moving puck collides inelastically with a stationary
puck on an air table (15 fps).
Vibrational Molecule Collision 1

PRU012.MOV
Macro Kinetic Theory A moving puck undergoes a 2D collision on an air table
with a stationary diatomic molecule puck system causing oscillations in the
diatomic system (30 fps).
Vibrational Molecule Collision 2

PRU013.MOV
with a stationary diatomic molecule puck system causing rotational motion in the
diatomic system (15 fps).
Rotational Molecule Collision

PRU014.MOV
with a stationary diatomic molecule puck system. This causes rotational motion in
the diatomic system (15 fps).

PRU003.MOV
2D Motion
Two black pucks collide elastically on an air table. They
are a bit hard to see against the black air table (15 fps).
PRU004.MOV
2D Motion
Two moving pucks collide inelastically on an air table.
They rotate rapidly after collision (30 fps).

PRU015.MOV
2D Motion
A fast puck undergoes a head on elastic collision with a
slow puck on an air table (30 fps).

PRU016.MOV
2D Motion
A fast puck on an air table undergoes an inelastic collision
at about a 90 angle with a slow puck (30 fps).

PRU005.MOV
2D Motion
Two moving pucks collide inelastically on an air table.
They rotate slowly after collision (6 fps).
PRU006.MOV
2D Motion
Two pucks are moving on an air table with a fairly high
linear momentum. They undergo an inelastic collision and then rotate slowly
demonstrating angular momentum conservation (10 fps).

PRU017.MOV
2D Motion
A fast moving puck on an air table collides inelastically
with a slow moving puck (10 fps).

PRU018.MOV
2D Motion
A moving puck on an air table collides elastically with
more massive stationary puck. After colliding, the pucks move at almost a 90
angle with respect to each other (30 fps).

PRU007.MOV
2D Motion
Two moving pucks collide elastically on an air table (15
fps).
PRU008.MOV
2D Motion
Two moving black pucks collide elastically on an air
table. They are hard to see against the black surface of the air table (10 fps).

PRU019.MOV
2D Motion
A moving puck undergoes a head-on, inelastic collision
on an air table with a more massive stationary puck (15 fps).

PRU009.MOV
2D Motion
A moving puck collides elastically with a stationary puck
on an air table (6 fps).
Page 154
3 Shape Elastic Collision 1

PRU020.MOV
2D Motion
A moving U-shape, triangle and circle collide elastically
Page 153

PRU010.MOV
2D Motion
A moving puck collides elastically with a stationary puck

PRU023.MOV
2D Motion
A moving U-shape, triangle, circle and puck collide elastically on an air table causing rotational motions. This demonstrates angular momentum conservation (15 fps).
Puck-Triangle Elastic Collision

PRU022.MOV
2D Motion
A moving puck collides elastically on an air table with a
stationary triangle causing the triangle to undergo rotational motion. This demonstrates angular momentum conservation (10 fps).
Adiabatic One Puck Collisions 1

PRU033.MOV
Macro Kinetic Theory A single puck undergoes 2D motion as it bounces off
vibrating air table walls. This emulates adiabatic molecular motion in a 2D box (6
fps).
Puck-Elastic Bar Collision 5

PRU032.MOV
2D Motion
spinning stationary bar causing rotational motion and demonstrating angular
momentum conservation (15 fps).

PRU031.MOV
2D Motion
stationary bar on center demonstrating angular momentum conservation (15 fps).

PRU030.MOV
2D Motion
stationary bar. The collision is off center and causes rotational motion that demonstrates angular momentum conservation (15 fps).

PRU024.MOV
2D Motion
A moving circle collides elastically with a stationary Ushape, triangle, and puck on an air table causing rotational motions. This demonstrates angular momentum conservation (10 fps).
Adiabatic One Puck Collisions 2

PRU034.MOV
Macro Kinetic Theory A single puck undergoes 2D motion as it bounces off
vibrating air table walls. This emulates adiabatic molecular motion in a 2D box (6
fps).

PRU021.MOV
2D Motion
A moving U-shape, triangle and circle collide elastically
U-Triangle Elastic Collision 1

PRU025.MOV
2D Motion
A moving triangle collides elastically with a spinning stationary U-shape on an air table. This causes rotational motions and demonstrates
angular momentum conservation (15 fps).
Adiabatic Many Puck Collisions 1

PRU035.MOV
Macro Kinetic Theory A large grey puck collides with 42 small red and black
pucks on an air table with vibrating walls. This movie can be used for the study of
velocity distributions and mean free path (10 fps).
Page 156

PRU038.MOV

PRU037.MOV

PRU036.MOV

PRU026.MOV
2D Motion
A moving triangle collides elastically with a moving Ushape on an air table. After the collision, the objects are both spinning and undergo
rotational motions. This demonstrates angular momentum conservation (30 fps).
PRU027.MOV
2D Motion
A moving triangle collides elastically with a spinning stationary U-shape on an air table. After the collision, the objects are both spinning
and undergo rotational motions. This demonstrates angular momentum conservation (10 fps).
PRU028.MOV
2D Motion
stationary bar off center causing rotational motion and demonstrating angular
Page 155

PRU029.MOV
2D Motion
stationary bar off center causing rotational motion and demonstrating angular
Entropy 1
PRU039.MOV
Macro Kinetic Theory Sixteen red pucks mix and collide with sixteen grey
pucks of the same mass on an air table with vibrating walls. This demonstrates
entropy increase. One puck is marked for mean free path studies (10 fps).
Entropy 2
PRU040.MOV
Entropy 3
PRU041.MOV
Spiraling Puck 1
PRU042.MOV
Rotational Motion
A rotating puck tethered to a center post spirals inward on
an air table as a string providing a central force wraps around the post and becomes
shorter (10 fps).
Spiraling Puck 2
PRU043.MOV
Rotational Motion
A rotating puck on an air table spirals inward at an
increasing angular velocity as a string providing a central force is pulled inward
through a hole in the center of the table (10 fps).
Spiraling Puck 3
PRU044.MOV
Rotational Motion
A rotating puck on an air table spirals inward at an
increasing angular velocity as a string, providing a central force, is pulled inward
through a hole in the center of the table (10 fps).
The University of Maryland Traveling Wave Movies

Triangular Wave Pulse Propagation
UMD001.MOV
Wave Motion
A triangular-shaped transverse wave moves along a
stretched spring (30 fps).
Rounded Wave Pulse Propagation
UMD002.MOV
Wave Motion
A rounded transverse wave moves along a stretched
spring (30 fps).
Page 157
Waves w/ Different Amplitudes

UMD003.MOV
Wave Motion
Two transverse waves with different amplitudes move
along two identical springs stretched by the same amount (30 fps).
Waves Traveling w/ Different Tensions

UMD004.MOV
Wave Motion
Two transverse waves move along on springs of different
tensions (30 fps).
Waves Traveling w/ Different Shapes

UMD005.MOV
Wave Motion
Two transverse waves with different shapes move along
two identical springs stretched by the same amount (30 fps).
Constructive Wave Interference

UMD008A.MOV
Wave Motion
Two transverse waves, moving in the opposite direction
along the same spring, pass through each other causing momentary constructive
interference (30 fps).
Transverse Wave Reflections

UMD008B.MOV
Wave Motion
Transverse waves move along two identical springs
stretched by the same amount. One wave reflects from a free end and the other
from a fixed end (30 fps).
Destructive Wave Interference

UMD009.MOV
Wave Motion
Two transverse waves, moving in opposite directions on
the same stretched spring, pass through each other and undergo momentary destructive interference (30 fps).
Triangular Wave on a Tagged Spring

UMD011.MOV
Wave Motion
One triangular transverse wave moves along a stretched
spring that is marked at intervals of 10cm (30 fps).
Rounded Wave on a Tagged Spring

UMD012.MOV
Wave Motion
One rounded transverse wave moves along a stretched
spring that is marked at intervals of 10cm (30 fps).
Gaussian Wave on a Tagged Spring

UMD013.MOV
Wave Motion
One Gaussian pulse moves along a stretched spring that
is marked at intervals of 10cm (30 fps).
A Wave Encounters Two Mediums 1

UMD014A.MOV
Wave Motion
A transverse wave pulse travels from a high-mass density
spring to low-mass density spring and experience partial reflections and transmissions (30 fps).
A Wave Encounters Two Mediums 2

UMD014B.MOV
Wave Motion
A transverse wave pulse travels from a low-mass density
spring to high-mass density spring and experience partial reflections and transmissions (30 fps).
Page 158
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Chapter 8:
The Excel Tools
8. The Excel Tools

Excel Tools: Included on the CD are the Workshop Physics Excel Tools.
About the WPtools:

The Workshop Physics Tools (WPtools) are a set of macros that extend the functionality of Microsoft Excel to facilitate the ways it is commonly used in a laboratory based science curriculum. Specifically the tools were developed by Grant
Braught, Priscilla Laws and Pat Cooney in conjunction with the Workshop Physics
Project in the Department of Physics and Astronomy at Dickinson College.
There are versions of the WPtools available for Excel 4.0 and Excel 5.0 on both
the Windows and the Macintosh platforms. The WPtools simplify the tasks of generating scatter plots with axis and series labels, creation of histograms, manipulation and analysis of scatter plots, creating overlays of multiple scatter plots and fitting polynomial equations to experimental data.
The WPtools version 2.1:

The WPtools version 2.1 are a set of macros that extend the functionality of
Microsoft Excel 4.0. The tools facilitate the creation of scatter plots, overlay plots,
linear fits, polynomial fits and histograms. The functionality of the WPtools version
2.1 is accessed via a custom toolbar.
The Custom Toolbar:
Page 161
The custom toolbar, shown below, provides access to all of the functionality
included in version 2.1 of the WPtools.
The tools on the custom toolbar are described below (in order from left to right).
Scatter Plot Tool:

The Scatter Plot tool creates, from the selected cells on the Excel worksheet, an
XY scatter plot including title, axis labels and series labels.
Overlay Plots Tool:

The Overlay Plots tool overlays one XY scatter plot on top of another.
Linear Fit Tool:

The Linear Fit Tool fits a straight line to the data in the selected cells on the
Excel worksheet. An XY scatter plot showing the selected data and the fit line is
generated. The square of the correlation coefficient (R2) and the Standard Error for
the slope and intercept of the fit line are calculated.
Curve Fit Tool:

The Curve Fit Tool fits a polynomial curve to the data in the selected cells on the
Excel worksheet. An XY scatter plot showing the selected data and the fit curve is
generated. The square of the correlation coefficient (R2) and the Standard Error for
each of the coefficients of the fit polynomial are calculated.
Histogram Tool:
The Histogram Tool creates a histogram from the data in the selected cells on the
Excel worksheet.
Help Facility:
The Help Facility is an optional tool that can be installed to provide instructions
and help for the tools.
The WPtools version 5.0:
The WPtools version 5.0 is a custom add-in that extends the functionality of
Microsoft Excel 5.0. The tools facilitate the creation, manipulation and analysis of
scatter plots with axis and series labels, creation of overlay plots and fitting polynomial equations to experimental data. The functionality of the WPtools 5.0 is
accessed via two context sensitive custom toolbars and a context sensitive custom
menu.
The WP Standard Toolbar:
Chapter 8 Video Point Manual
The WP Standard toolbar, shown below, provides access to the set of tools that
are of use when a worksheet is active (as opposed to a Chart Sheet or window).
Page 162
The tools on the WP Standard toolbar are described below (in order from left to
right).
Formula Translator:
The Formula Translator converts cell references that appear in the Excel formula
of the active cell into symbolic names obtained from the worksheet. The formula is
then displayed in a dialog box.
Scatter Plot Tool:
The Scatter Plot tool quickly generates and XY scatter plot from the current
selection(s). Plot title and axis labels are added to the plot automatically, if entered
in appropriate locations on the worksheet.
Overlay Plots Tool:
The Overlay Plots tool copies data series from one or multiple scatter plots onto
another scatter plot.
Linear Fit Tool:
The Linear Fit tool generates a least squares best fit of a line to the selected data.
A scatter plot of the data is generated and a line representing the best fit is added to
the plot. Fit statistics including the slope and intercept of the fit, the fit equation,
the square of the correlation coefficient (R2), the standard deviation of the fit
(sigma) and the standard errors for the slope and intercept of the fit can be displayed on the plot.
Polynomial Fit Tool:
The Polynomial Fit tool generates a least squares best fit of a polynomial equation to the selected data. A scatter plot of the data is generated and a curve representing the best fit is added to the plot. The terms to be included in the polynomial
can selected individually or full order polynomials (up to order 6) can be used.
Three terms in which the power is specified by the user may also be included. Fit
statistics including the values of the polynomial coefficients and their standard
errors, the fit equation, the square of the correlation coefficient (R2), the standard
deviation of the fit (sigma) can be displayed on the plot.
The WP Active Chart Toolbar:
Page 163
The WP Active Chart toolbar, shown below, provides access to the set of tools
that are of use when a Chart Sheet or an Embedded Chart is active.
The tools on the WP Active Chart toolbar are described below (in order from left
to right).
Overlay Plots Tool:

See the Overlay Plots tool section under the WP Standard toolbar.
Get Coordinates Tool:

The Get Coordinates tool returns the (X,Y) coordinate pair of the currently
selected point on the plot.
Rotate Format Tool:

The Rotate Format tool cycles the data marker format of the data series on a plot
from points only to a line only to a line with points and then back to points only.
Edit Labels Tool:

The Edit Labels tool provides a dialog box for specifying a new plot title, x axis
label and y axis label.
Data Zoom Tool:

The Data Zoom tool provides a graphical method for changing the X and Y axis
boundaries of a plot, enabling the user to zoom in on important sections of a plot.
Restore Plot Axes Tool:

The Restore Plot Axes tool undoes the effects, by turning on Excels automatic
axis scaling, of all of the Data Zooms that have been performed.
Linear Fit Tool:

See the Linear Fit tool section under the WP Standard toolbar.
Polynomial Fit Tool:

See the Polynomial Fit tool section under the WP Standard toolbar.
The WPtools Menu:
The options on the WPtools menu include those of the WP Standard toolbar
when a worksheet is active and include those of the WP Active Chart toolbar when
a Chart Sheet or an Embedded Chart is active. In addition the WPtools menu contains two options not accessible from the toolbars: About WPtools... and
Preferences...
About WPtools... :
The About WPtools option displays a dialog box which provides general
information about the Workshop Physics tools.
Chapter 8 Video Point Manual
Preferences... :
The Preferences option displays the WPtools Preferences dialog box from
which the default behavior of several of the tools can be specified.
Page 164
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Chapter 9:
Glossary
9. Glossary
Page 163
Adobe Premiere: Adobe Premiere is a popular video editing software package.

It allows you to capture, crop, and change the time scale of digital QuickTime
movies. It is available on both Macintosh and Windows platforms.
advance: When you advance a movie, you are displaying the image frame with
the captured after the current image.
angle series: The angle series reports the angle made when the lines from two
separate video points meet at a common vertex, which is also a video point.
auto: Short for automatic.
axis markers: Axis markers are used to show the location of origins and the orientation of a coordinate system.
associate: You can associate a video point series with any two-dimensional coordinate system you choose to define so that position coordinates can be reported for
each frame in graphs or the data table.
calculated point: When more than one video point is located on each frame an
additional point can be calculated based on the locations of video points and their
masses. There are two types of calculated points that can be created center of
mass points and designated points.
calibrate: See scale.
capture card: Capture cards are hardware add-ons that you insert into your computer. These cards allow you to turn standard NTSC signals (e.g., from a VCR or
video camera) into digital files on your computer.
Cartesian coordinates: The coordinates of a point associated with a Cartesian
coordinate system (x, y) are recorded as horizontal and vertical displacements from
its origin.
click: Clicking is the process of pressing the mouse button down and releasing it.
clipboard: The clipboard is a place where you can temporarily store information
in the computers RAM. To put data into the clipboard, copy it from the data Table
Window. You can then paste the data into spreadsheets and other applications.
center of mass point series: When more than one video point is located on each
frame, an additional point can be calculated based on the locations of video points
and their relative masses using the standard definition of center of mass as the mass
weighted averages of positions.
clearing: Clearing data only removes the location markers and (x, y, t) coordinate
data associated with a video point series, but the video point series name and other
characteristics given to it remain intact. (See delete selected series.)
clone: A clone point series shares the locations of a specified point series.
However, the clone point can have different characteristics, such as name and coordinates, and can also be relative to a different origin than the specified point.
codec: An abbreviation for a compression/decompression algorithm used to
reduce the file size and increase the playback speed of a digital video movie.
command key: On the Macintosh only, the command key is the key with the
open apple on it.
coordinate system: Although each two-dimensional VideoPoint coordinate sysVideo Point Manual Glossary
Glossary Video Point Manual
tem is named after its origin, there are four elements used to define it(1) the position of its origin relative to the Video Origin coordinate system (or another origin
that ultimately refers to the video coordinated system), (2) the counterclockwise
angle from 0-360 degrees that the x-axis of the system makes with respect to the
horizontal on the display screen, (3) a scale factor and (4) the designation of the
coordinate system as Cartesian or polar.
default coordinate system: A default coordinate system has been defined for
you that is given the name Origin 1. It is a standard right-handed Cartesian system
with Origin 1 located at [16,16] pixels. Its x-axis is not rotated through an angle
relative to the horizontal, and it has no scale factor so that coordinates are reported
in pixels. You can easily change all the characteristics of the default coordinate system.
delete selected series: Deleting a series deletes the series and all of its characteristics, as well as all the data associated with the video points of that series.
designated point: When two video points are located on each frame, an additional point can be calculated based on the locations of these video points.
dialog box: Dialog box is a window that requires you to make decisions or enter
information before you can continue using the program. These are most often used
to edit the characteristics of video point series.
distance series: A distance series reports the distance between two specified
video points for each frame of the movie.
double click: Double clicking is the act of clicking the mouse button twice in
succession.
drag: To drag something, move the cursor over the item to be dragged, press the
mouse button down, then move the mouse. Releasing the mouse button will drop
the item.
feature: Element of interest on a QuickTime movie frame a VideoPoint software
user might want to locate such as the corner of a box, the top of a persons head,
etc. Similar to an object.
fixed: Fixed series report the same data for all times of the movie. Moving a
fixed point on one frame, for example, will move that point for all frames.
fixed origin: Origin defines a coordinate system that does not change for all
times in the movie.
frame: See video frame.
header: In the Coordinate System Window, each coordinate system has a header;
this header displays the name of the coordinate systems origin, as well as the coordinate system and scale factor of the line header. The series that are listed
beneath one header and above the next header are associated with that coordinate
system.
INF: Abbreviation for infinity.
line marker: In VideoPoint, a line marker is a pair of perpendicular lines that
intersect at the location of the current video point. These lines extend to the edges
of the movie. Axis markers are most often used to show the location of origins; if
the origin is rotated, the axis markers are also rotated.
locate: Once you have created a video point series to be located on a sequence of
QuickTime frames (e.g., Point s1, Point s2, Ball, Green Puck, etc.), you can locate
Page 164
Page 165
the video points in the series by moving the cursor over the feature or object of
interest in each frame and clicking the mouse button. When a video point is located
on a frame a marker will be displayed on the frame (unless it is set to be invisible).
The position and time data (x, y, t) of each located video point is recorded. See
record a location.
MAC: Short for Macintosh.
marker: Marker is something that is drawn on the movie to show where a video
point has been located on the movie window.
modeling; model: Modeling is the process of choosing an equation that best represents the specified data. In VideoPoint, graphs of data can be modeled by choosing from the list of common mathematical functions and changing the functions
constants.
MoviePlayer: A program that is available for Macintosh and Windows computers that lets you play QuickTime movies.
movie: A sequence of video frames that have been digitized in the QuickTime
format for display on computers running under either Macintosh or Windows operating systems.
moving origin: Moving origin defines the coordinate system whose location relative to the video origin changes during the movie.
nudge: Nudging a point moves the point one pixel in any of four directions that
can be selected.
object: An entity on a QuickTime movie frame a user might want to locate such
as the center of an airpuck, a falling ball, etc. Similar to a feature.
origin: See fixed and moving origins.
pixel: The pixel is a nickname for picture element and represents the smallest
patch of color that can be displayed on a video screen. The 13" RGB Macintosh
monitor and VGA screens commonly used with PC computers have 640 pixels
along the horizontal and 480 pixels along the vertical.
pixel coordinates: Digital movies can be made in many sizes and located anywhere on the screen. For clarity, VideoPoint assigns pixel coordinates to locations
on a movie frame in the video coordinate system as if each movie frame is twice
the size at which it was digitized. (Usually movies are digitized at 320 x 240 or 240
x 180 pixels). For example, in the video coordinate system, the coordinates in pixels of a location at the lower left corner of a movie are [0 ,0] and in the upper right
hand of the movies they are [640, 480] for a movie that was digitized at 320 x 240
pixels.
point: See video point.
point series: See video point series.
polar coordinates: The coordinates of a point associated with a polar coordinate
system are reported as (r, ), where r is the distance between the point and its origin
and theta is the counterclockwise angle from the horizontal axis of the coordinate
system and the line connecting the point and its origin.
pop-up: A pop-up menu allows you to select from a given list of choices.
QuickTime: QuickTime is an extension to a computers system software that
allows you to look at digital movies stored in the QuickTime format.
raw data: This is the coordinate data in pixels of any located or calculated point
Video Point Manual Glossary
Glossary Video Point Manual
series in the native video coordinate system. The locations are reported relative to
the Video Origin, at the bottom left of the movie.
record a location: Stores x, y, t values for a video point in a series for internal
use relative to the video coordinate system. The elapsed time since the first frame is
stored in seconds. See reporting data.
reporting data: Although data for a video point series are recorded relative to
the video coordinate system, they are actually translated to the coordinate system
the video point series is associated with before they are reported to you in the data
table and graphs. See record a location.
remove movie: This action closes the current movie and clears all data associated with it while retaining any coordinate systems and point series that have been
created.
rescale a graph: When a user clicks the mouse on a maximum or minimum
value on a graph axis, a new maximum or minimum value can be entered for that
axis.
scale factor: The scale factor specifies the number of meters or centimeters in
the real scene per pixel on the video image.
scale series: Scale series stores a scale factor. The scale factor is calculated by
dividing the distance between two points included in the scale series by a known
length that you have specified.
selecting: Once a video point in a series has been located on a frame, the marker
representing the location can be selected. The location or characteristic of the
selected point can then be changed. You can select series by clicking on it in the
Coordinate System Window.
set-up: A set-up consists of a collection of coordinate systems and associated
series that can be used with different movies. For example, you could set up a
Coordinate Systems Window for a two-puck collision that could be used on any
movie showing two pucks colliding. A set-up can be saved without an associated
movie as a .VPT file.
switch movie: This action closes the active movie and clears data associated with
it. The user will be returned to the finder to choose a new movie. Fixed data and
information about origins, coordinate systems, and scale factors will be retained.
time code: A time code is electronic information that can be associated with each
frame in a movie digitized using the QuickTime format. When the time code is correct it provides a record of the time elapsed since the first digitized frame was
recorded by a video camera.
time-lapse: Time-lapse movies are used to record events that occur very slowly
but recorded frames at intervals that are considerably greater than 1/30th of a second.
toggle: If something is on, toggling turns it off, and vice versa.
toolbar: The toolbar is a set of buttons on the left side of the application window; these buttons are short cuts for common operations.
trails: If trails are turned on for a series, the markers are displayed for all the
points in the series that have been located. This shows a history of the points
movement over time.
transform: When you transform an origin, you specify a new object or feature
Page 166
Page 167
that is a fixed distance from the current origin; this new feature becomes the origin.
This is useful when, due to camera movement, a feature that is being used as an
origin leaves the movie area.
vector: The vector marker draws the horizontal and/or vertical components of the
displacement of the point from the origin.
video coordinate system: This is VideoPoints native coordinate system. It is a
standard right handed two-dimensional Cartesian coordinate system with an origin
named Video Origin located in the lower left of each movie frame. The x-axis
points from left to right in a horizontal direction. Users cannot change any of the
characteristics of this system.
video frame: A single image in a sequence of images recorded originally by a
video camera.
video point: When the user creates a video point series and then locates a feature
or object of interest on a movie frame a video point series is recorded.
video point series: A series of video points corresponding to the set of locations
of a feature or object of interest on the video frame in a movie. Although you can
create as many point series as you want (e.g., Point s1, Point s2, etc.), you can
locate only one video point coordinate in a given series on each frame. Unless you
assign names to series, default names of Point s1, Point s2, etc. will be used.
VideoPoint: The name of the software package.
Video Origin: The Video Origin is located at the bottom left corner of the
movie. The Video Origin cannot be moved.
WIN: Abbreviation for Windows.
window: Area on the computer screen usually defined by a title bar and a border.
zoom: When a camera zooms in, objects in the image stored by the camera
appear larger. When the camera zooms out, the objects appear smaller.
zoom in on a graph: When the user holds down the control key, depresses the
mouse button and drags across a region of a graph, that region will enlarge.
Video Point Manual Glossary
Page 168
Video Point Manual
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Index
Index
add
graph model 21, 57, 71
movie to a coordinate system
window 93
points automatically 64
to a calculated item 82
to included point series list 42
Adobe Premiere 102, 114, 167
advance
automatic frame 18, 65, 90
automatic point 65
movie frame 29, 34, 167
angle
coordinate system 87
create new 81
measurement of 39
range 39, 44
series, calculated item 167
three points on a movie
frame 10, 41, 67
Apple Menu 61
aspect ratio 69, 92
assign masses ii, 43
auto 167
add points 64
frame advance 65, 90
point advance 65
point selection 90
scale 36, 59
Available Point Series 41
AVI
format 108, 110
problems with using 112
axis 37
graph, horizontal 57
graph, vertical 57
markers 97
origin 97
scale 36, 59
background moves ii
calculated item 10, 40, 41
calculated point 66, 79, 167,169
Video Point Manual Index
Page 171
Calculated Points 83
calculated series 77, 80, 82, 83
Calculated Series, remove point series
from a calculated point 83
calibrate 167
Camera Pan 99
camera pans 99
capture card 15, 103, 108, 109, 110,
112, 113, 114,
167
Cartesian coordinate 9, 23, 86, 167
CD Drives 111
CD-ROM 109
center of mass ii, 10, 41, 43, 44, 66,
108,
127, 167
Center of Mass Series 81
change
axes scales 36
graph title 36
marker 37
marker type 53
scale 60, 86, 90, 100
scale, dialog box 60
CinePak 111,112
Clearing 79, 167
clipboard 11, 34, 167
Clone 49, 50, 67, 97, 167
Close All 70
codec 110, 111, 167
color 37, 51, 107, 109, 113
Commercial Film 103
Compression 110, 111, 112
computer hardware 10
coordinate data 7
raw data 167
coordinate system 95, 167, 168
Cartesian 30, 33, 86, 169
default 168
define 83
definition 9
dialog box 59
header 31
icon 72
move point series 88
polar 30, 33, 80, 86, 169

remove scale 89
replace scale 89
rotate 86
save 62
scale 19, 85, 100
scaling multiple 54
video 33, 171
window 30
window icons 33
window to the front 70
coordinate transformations 99
count 7, 50, 82, 110
count item 50, 82
count of 50
Create Menu 66
creating new graphs 36
crop 114, 167
Current Frame Field 30
Current Point Field 30
curve fitting 4, 22, 36, 57
data type 38
Decompression 110, 111
default
frame rate 68
movie size 68
movie time 58
origin 39, 65, 66, 85, 99
play movie 29
size 92
step size 58
time code 30
delete
calculated point series 79
point series 27, 79, 168
selection 63
designated point 10, 46, 67, 168
dialog box 18, 168
digital movies i
digitizing software 114
Display Data 93
Distance 10, 41, 42, 67
series 168
series dialog box 42
DOS 10
Page 172
drag 168
Drag Box 31
edit
calculated series dialog 42
clone 49
designated point 46
graph model 21, 57, 71
marker 51
mass 33
menu 63
name 80
point 83
point dialog box 40
point properties 44
point series dialog 38
point series name 32
selected 79
selected series 63
series 79
Excel Tools (See also WPtools) 163
Exit Seartup 27
Export Data 62, 76
feature 168
field 29, 33, 49, 86, 90, 93, 109, 110
File Menu 61
file name 124
fixed 164
data type 39
legend 71
scale factor 44
frame number 30, 69, 92
Frame Rate 30, 58, 69, 102, 103,
111, 113, 114
Frame-by-Frame 39, 100, 101
frames per second 103, 109
Functional Description 27, 80
Galilean relativity 88, 127
graph
axis 57
change title 36
data 20
dialog box 55
legend 71
menu 71
model 21
new 56, 70, 93
Index Video Point Manual
rescale 93, 170

scale dialog box 59
window 36
zoom in on 94, 171
header 168
help 7, 72, 75
Hide Window 70
icon 86
Coordinate Systems Window 33
included point series 42
Included Point Series List 42
infinity (INF) 39
Install 15, 107
Internet iii
Item/Point Line 31
Joint Photographics Experts Group 111
LaserDisc 108, 109
legend 71
length 7, 46
known length box 19
scale 65
scale item 60
units 39
Lighting 107
line marker 168
Location Field 30
MAC 10, 16, 18, 61, 71, 71, 169
Macintosh 10, 15, 108, 167, 169
Macintosh Instructions 8
Make Point Origin 65, 84
marker 169
axis 168
change 63, 80
characteristics 37
count trails 50
dialog box 51
trails 37
type 52
video point 27, 30
visibility 32, 37
mass 33, 38, 40, 80
mass column 32, 33
mathematical function 21
mathematical model 21, 22
Model 21, 57, 71, 169
graph 21
Modify or Move Calculated Item 82

movie 169
remove 65, 172
switch 66, 172
Movie Browser 125
movie collection
categories 125
description 125
file name 124
movie name 124
movie controller 17, 18, 27, 69, 90, 91
Movie Field 33
movie frame size
double 69
fill screen 69
half 68
keep aspect ratio 69
normal 68
Movie Menu 68
movie name 124
Movie Startup 27
MoviePlayer 102, 169
moving origin 165
National Television Standards
Committee 109
nudge 36, 72, 169
object 169
On Screen Data 30
open
data file 62
movie 62
saved file 27
Open Movie 7, 16, 27, 93
optional scale factor 9
Options Menu 62
origin 38
check box column 32
create new origin series 66
dialog box 39
make point origin 65
move 97
moving 98
remove 39, 40, 85
rotate 97
set default 65
transform 65, 84
Page 173
Pause Button 29
PC computer 10
pixel 44, 169
coordinates 169
play
all frames of movie 29, 69
movie 90
real time 29
point series 169
info 42
points per frame 27
projectile launcher 18
projectile motion i
quadratic equation 21
QuickCam 113
QuickTime iii, 8, 10, 108, 110, 112,
113, 169
Quit 27, 62
Ratio 10, 41, 60, 92, 100, 114
raw data 169
record a location 169, 170
remove
movie 93, 170
origin 39, 40, 85
point series 42, 83
scale 89
Remove Movie 65
reporting data 170
resize 92
Rewind movie 18, 68, 91
rotate
origin 39, 97
save
coordinate system setup 93
file 10, 23
file without the movie 76, 92
scale
change 60, 65, 85, 86, 90, 100
create 85
factor 170
factor, fixed 44
item 40
movie 45,68, 89, 101
movie dialog box 54
Page 174
movie, easy 82
multiple coordinate systems 54
series 170
scan 29, 109
screen 51, 124
screen shots 8
select
frame rate 30, 68
Select All Region 34
Select Column 36
Select Time Row 34
semi fixed data type 39
Series Type 33
Set Step Size 68
set-up 170
Short Cuts 75, 170
Show Frame Numbers 69, 92
size
marker 37, 72
movie 92
Slider Bar 29
spreadsheet 7, 11, 34, 76, 94
step
backward 29
forward 29
Step Size 58
Switch Movie 66, 170
System Requirements 15
table window 22, 34
time code 30, 58, 68, 90, 91, 102, 103,
112, 170
time-lapse 82, 102
Title Frame 114
title screen 124
toolbar 72, 170
Trackball ii
trails 32, 170
check box column 32
on/off 63, 80
Two Planes 101, 102
Utility Dialog 51
VCR 115, 107, 167
vector 51, 53, 171
VGA monitors 109
video camera 10, 15, 88, 102, 107, 108,
167
Index Video Point Manual
video collections
AAPT Single-Concept Films 116
Physics and Automobile
Collisions 116
The Physics of Sports 117
Video Origin 9, 30, 168, 169, 170, 171
video point series 9, 171
name 32, 37
new 82
origin 39
select 77
The VideoPoint Movie Collection
Dickinson Movies 129, 130
HersheyPark Movies 130, 133
Maryland Movies 128, 157
NASA Movies 129, 135
PASCO Movies 126, 132
Princeton Movies 127, 153
video tape ii, 17, 86, 87
videodisk ii, 5, 87
VideoPoint ii, 6, 93, 113
VideoPoint Movie Collection
Dickinson Movies 107
Hershey Park Movies 108
Maryland Movies 106
NASA Movies 108

Pasco Movies 100
Princeton Movies 104
VideoPoint Software i, 8, 40, 61
Videotape 103
View Menu 70
Visible Check Box Column 32
Visible Legend 71
Wide Angle Lens 102
WIN 10, 16, 171
window
area 18
cascade 69
close all 70
description 27
startup 27
tile 69
Window Menu 69
Windows 8, 15, 103, 108, 112, 171
Windows Instructions 8
WPtools 161
active plot toolbar 5.0 163
curve fit tool 4.0 162
custom toolbar 4.0 161
formula translator 5.0 163
Page 175
help 4.0 162

histogram tool 4.0 162
linear fit tool 4.0 162
5.0 163
overlay plot tool 4.0 162
5.0 163
polynomial fit tool 5.0 163
preferences 5.0 164
v5.0 for Excel 5.0 162
WP Standard Toolbar 5,0 162
zoom 45, 54, 60, 92, 99, 100, 101, 102, 108, 171
Zoom Lens 102
Zoom Lens Distortions 108
Page 176
Video Point Manual

Video Point User Guide

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Video Point User Guide

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Preface

Uses of VideoPoint and the Movie Collection

VideoPoint analysis has enabled us to develop distinctive approaches to teaching

We would also like to thank Pat Cooney of Millersville University, Wolfgang

Mark Luetzelshwab and Priscilla Laws

Finally, we would like to thank Nathan Winstanley, Diane Morgenstein, Pamela

2. Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Creating a Mathematical Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

3. Functional Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

4.9. Define Coordinate Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

5. What If? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

It Looks as if a Frame is Missing? . . . . . . . . . . . . . . . . . . . . . . . . . . .103

7. The Movie Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

The NASA Rocket and LEM Launch Movies . . . . . . . . . . . . . . . . . .129

9. The Excel Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159

Chapter 1 VideoPoint Manual

This version of VideoPoint allows you to do a polynomial fit of the data. To

Figure 1-3: Modeling dialog that allows you to input equations.

Figure 1-1: The Plot Series dialog.

Figure 1-4: Fitted data.

Figure 1-5: Dragging a point on the movie updates it on the graphs.

VideoPoint Manual Chapter 1

Figure 1-6: Turning Live Updates on and off.

Movie Step Size

Chapter 1 VideoPoint Manual

1.3. Conventions Used in this Manual

Important Note. These include common errors

Common Questions and Answers. These answers

Chapter 1 VideoPoint Manual

1.4. Basic Information

File->Open Movie... is equivalent to choose Open Movie... from the File

For Those Who Dont Read Manuals. . .

An Introduction to VideoPoint Features

The VideoPoint software allows you to collect coordinate data by clicking on

VideoPoint Manual Chapter 1

Whats the difference between VideoPoint and video

A VideoPoint coordinate system is two-dimensional and consists of an origin, an

VideoPoint Manual Chapter 1

Whats the difference between a video point and an origin?

Calculations Based on Video Points

Distance The distance between any two video points on a frame.

Scale Ratio of a known length (in meters or centimeters) to the

Center of Mass Calculated center of mass of a collection of video points

Angle Angle made by lines connecting three video points.

Chapter 1 VideoPoint Manual

Designated Point Point at a location specified by relative distances between

Where do Movies Come From?

VideoPoint files have the extension .VPT.

VideoPoint Manual Chapter 1

Installing the Movie Browser

2.2. A Typical Analysis

MAC- Double click on the icon in the finder.

Chapter 2 VideoPoint Manual

Figure 2-1: The Videopoint startup screen.

WIN- Double click on the Program Item in the

MAC users: Use Command-R instead of Ctrl-R

Be sure to click in the very center of the ball on each frame.

Cursors in the Movie Window

Chapter 2 VideoPoint Manual

Scaling the Movie

Figure 2-2: The second screen which allows you to

Playing the Movie

Play the movie by clicking on the play button on the movie

VideoPoint Manual Chapter 2