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Creating Time-Lapse Video
Illustration by John Hersey

Alternative workflow with Lightroom: Part two


From:

Creating Time-Lapse Video

with Richard Harrington

Video: Alternative workflow with Lightroom: Part two

Rich: Now at this point we've done the essential adjustments, we modified the overall tone, we've tweaked the presence. You will find now that there are additional tabs very much like you'd find in Adobe Camera Raw. If you'd like to adjust the curve, you can do so. Perhaps you would like to modify which region is being affected by that curve. Notice there how I brightened up the white clouds. In fact I'll lift those even a little bit further.
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  1. 3m 55s
    1. Welcome
      34s
    2. What you should know before watching this course
      1m 11s
    3. Using the exercise files
      2m 10s
  2. 4m 20s
    1. The end product
      1m 9s
    2. Why shoot with a still camera
      2m 0s
    3. What you're shooting for: Objectives
      1m 11s
  3. 7m 7s
    1. Frame size for delivery of time lapse
      1m 43s
    2. Frame size for acquisition of time lapse
      1m 45s
    3. Delivery frame rate of time lapse
      1m 36s
    4. Postprocessing choices for time-lapse photography
      2m 3s
  4. 17m 7s
    1. A solid tripod for time-lapse shooting
      4m 43s
    2. Using an internal intervalometer
      2m 15s
    3. Using an external intervalometer
      4m 37s
    4. Weather gear
      1m 6s
    5. Extending the power of the camera
      1m 28s
    6. Using a spare camera body
      50s
    7. Memory card selection
      2m 8s
  5. 5m 55s
    1. Shooting time lapse as JPEG files
      2m 15s
    2. Shooting time lapse as raw files
      2m 6s
    3. Shooting time lapse as movie files
      1m 34s
  6. 7m 34s
    1. Choosing a frame rate for time-lapse photography
      46s
    2. How long should you shoot?
      1m 10s
    3. Tracking the sun's position
      2m 50s
    4. Working the scene
      2m 48s
  7. 3m 4s
    1. Choosing the right aperture for time-lapse photography
      1m 6s
    2. Choosing the shutter speed for time-lapse photography
      50s
    3. Choosing the ISO for time-lapse photography
      1m 8s
  8. 10m 15s
    1. What does a slider add to the shot?
      2m 37s
    2. Building a slider
      3m 43s
    3. Basic moves on a slider
      3m 27s
    4. Keith's feature
      28s
  9. 8m 35s
    1. Stabilizing the phone
      2m 52s
    2. Setting up the shot with Lapse It
      1m 59s
    3. Using Lapse It
      1m 26s
    4. Using iStopMotion for iPad
      2m 18s
  10. 12m 8s
    1. Using a card wallet
      3m 9s
    2. Choosing a working drive
      3m 18s
    3. Transferring data
      5m 41s
  11. 8m 55s
    1. Using stacks in Adobe Bridge
      2m 29s
    2. Removing unwanted frames
      3m 2s
    3. Renaming and renumbering image sequences
      3m 24s
  12. 51m 54s
    1. Basic exposure with Adobe Camera Raw
      3m 30s
    2. Selective recovery with Adobe Camera Raw
      6m 25s
    3. Advanced recovery with Adobe Camera Raw
      5m 50s
    4. Reducing noise with Adobe Camera Raw
      2m 37s
    5. Removing spots with Adobe Camera Raw
      5m 41s
    6. Compensating for lens distortion
      5m 16s
    7. Stylizing the image with Adobe Camera Raw
      8m 49s
    8. Exporting the images to sequential files
      3m 42s
    9. Alternative workflow with Lightroom: Part one
      5m 36s
    10. Alternative workflow with Lightroom: Part two
      4m 28s
  13. 11m 16s
    1. Importing the image sequence
      2m 5s
    2. Refining the duration and frame rate
      2m 39s
    3. Adjusting the time-lapse sequence
      3m 35s
    4. Exporting the time-lapse sequence
      2m 57s
  14. 30m 22s
    1. Importing the image sequence
      1m 31s
    2. Refining the duration and frame rate
      3m 42s
    3. Frame blending
      3m 7s
    4. Adjusting the time-lapse sequence
      3m 33s
    5. Camera moves
      3m 54s
    6. Using flicker
      4m 59s
    7. Working with raw time-lapse sequences
      3m 35s
    8. Creating variable-speed effects
      3m 10s
    9. Exporting the time-lapse sequence
      2m 51s
  15. 11m 40s
    1. Importing the image sequence
      2m 23s
    2. Refining the duration and frame rate
      3m 39s
    3. Adjusting the time-lapse sequence
      2m 19s
    4. Exporting the time-lapse sequence
      3m 19s
  16. 12m 34s
    1. Importing the image sequence
      3m 17s
    2. Refining the duration and frame rate
      1m 53s
    3. Adjusting the time-lapse sequence
      4m 48s
    4. Exporting the time-lapse sequence
      2m 36s
  17. 1m 4s
    1. Goodbye
      1m 4s

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Creating Time-Lapse Video
3h 27m Appropriate for all Aug 14, 2013

Viewers: in countries Watching now:

Learn how to speed up time and create compelling visual effects with time-lapse photography. Join Rich Harrington in the field as he captures nature's patterns at Red Rock Canyon in southwestern Nevada, and shows how to frame your scene and choose the proper camera settings. He'll show you how to capture great images, whether you're using a DSLR camera and a motorized slider or just a smartphone you have handy. Then join him back in the studio to transform your still footage into a storytelling time-lapse video, using tools like Photoshop, Premiere Pro, and Final Cut Pro.

This course was created and produced by Rich Harrington. We are honored to host this content in our library.

Topics include:
  • What is time-lapse photography?
  • Why shoot with a still camera?
  • Choosing a frame size and frame rate
  • Using an internal or external intervalometer
  • Selecting a memory card
  • Tracking the sun's position
  • Deciding how long to shoot
  • Using a slider
  • Shooting time lapse on a smartphone or tablet
  • Removing noise and spots with Adobe Camera Raw
  • Importing the image sequence
  • Refining the duration and frame rate
  • Blending frames
  • Creating variable speed effects
  • Exporting your sequence
Subjects:
Photography Video Shooting Video DSLR Video
Software:
After Effects Final Cut Pro Photoshop Premiere Pro Lightroom
Author:
Richard Harrington

Alternative workflow with Lightroom: Part two

Rich: Now at this point we've done the essential adjustments, we modified the overall tone, we've tweaked the presence. You will find now that there are additional tabs very much like you'd find in Adobe Camera Raw. If you'd like to adjust the curve, you can do so. Perhaps you would like to modify which region is being affected by that curve. Notice there how I brightened up the white clouds. In fact I'll lift those even a little bit further.

I like how that's making the clouds nice and bright. Continuing down, you have the ability to work with the overall hue saturation, luminance, or make a black and white adjustment. The detail area here makes it very easy for you to refine any sharpening or noise reduction. Let's adjust that a bit there. I'll troll up my histogram and I'm just going to pull out some of the noise in the rocks.

Much better. Like Adobe Camera Raw. You will find Lens Corrections built in. So enabling that, we'll go through and look for things like chromatic aberration and specific profile fixes based on the camera and lens combination. Under the Effects tab, you have the ability to add post-crop vignettes if you want to stylize your edges or brighten them. Although typically, I'll add that in the step that comes afterwards.

And if you really want to, you can go back to an older method of Adobe Photoshop Lightroom. Alright that image looks great. Where it started, where I took it. So a very compelling change. Let's select all those images and then I'll click Sync and this gives me the ability to correct. Now, I'm just going to apply everything to be simple. And all those changes are now synchronized across all of my files. Now that the files are developed and synced, I can easily export to bring them into another application.

That process is pretty straightforward. Just select all the images you'd like to export and then choose File > Export. Now, if you've already got a preset, you could do this as well. For example, you could make full size JPEGs out of the images you have here. Or, if you like to be a little more specific, choose the Export option. This allows you to choose which type of folder you want to output to. So I'll choose to a specific folder.

I can make a sub-folder if I want. Although in this case I don't need it. Let's choose the location. Here's my process frames. And I'll make this shot_04. And choose it. I can choose how I want the files named although I'll leave them as is for now. And specify a file format. I typically choose TIFF. And I'll stick with the Adobe RGB color space but there are other options if you want.

16 bit'll give you the maximum bit depth available and really good quality and color accuracy. Although the files will be larger, so that's up to you. For image size, I'll typically leave them at full size and choose to resize when I get to the video editing tool. This gives me the flexibility to add key frames or dynamic resizing over time to simulate zooms and pans. I'll tend to sharpen for the screen using a standard amount. And I don't need any water markings or any post processing after the fact. Clicking Export will now save those out to my target location. Notice in the upper left corner, you'll see a progress bar indicating the status of the exports.

It'll count you down as it gets through. And you'll be able to tell of course when it's finished. That's the export option if you want to go ahead and save these files for use in a video editing tool or maybe a compositing application.

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