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Keith: Okay, so we have our shot set up, and we have our scene just the way we like it. And now we're going to get to the technical side of how to actually run the Time-lapse. So, I'm going to bring in Kyle Roderick here, he's my assistant. And first, we're going to pick our start point right here. And we're going to program it in, and then we're going to mark it with some tape, like we usually do. Put some tape right there, so we know not to go. And then we actually to our endpoints. Okay, and we'll mark the endpoint right here.
And we just want to make sure, we double-check the setting and the composition. And then we just want to adjust it a little bit if we need to, to make sure the, the composition's just right. And then we actually set whichever, whichever access we move. If we move this access, then we want to set a marker right here. And if we actually move the other access and we set another marker right there. Well, we set the markers, because that's how we record our move. We want to set our start point and set our end point. And then that's how we figure it out. Kyle: Go back up. Keith: And we go back up.
Okay, so we picked our start point and we picked our end point, and now we're actually going to set the smart lapse and program the move in. So, you can go ahead and do that. Okay, now what its doing is it's programming each individual stop point. So, that's what each one of those clicks you hear is right where it stops, and it's going to be taking a picture. One of the most important things you'll come across when actually setting up a Time-lapse is stability. You want the most stable rig you can possibly get. So, here we actually have one of our cases. Strapped on to the back of the tripods, to really weigh it down, so there's a little shake and vibration possible. Any shake at all, whatsoever, and an entire five hour Time-lapse will be ruined.
So, any light, and stray light for that matter, and a five hour Time-lapse will be ruined. Okay, now that our move is set, and it's programmed into the Oracle controllers, we're going to go back to our start point. And we're going to get started with our shot. The rig is all set up. The kessler, all these, the joysticks and stuff like that is good to go. The main things is the settings in the camera. Now, I have a couple little tricks that I've learned over a number of bad Time-lapses that really helps you get that flicker out of your shots. Now, number one is auto lighting optimizer. You want to take that off entirely. number two is mirror lock-up.
You want to actually engage mirror lock up, so that the mirror doesn't open every single time. number three, noise reduction. You want to take that off, do not want the camera processing noise on the fly. Much rather do that in After Effects. And then last but not least, the most important thing, I feel is the aperture lock. This is where you grab the depth of field button and the lens release button. Twist the lens just a little bit, so that the sensors disconnect from each other. Basically, allowing the camera not to re-calibrate every single shot. So, that the aperture stays consistent all the way through.
But before you do this, you have to have your aperture set, you have to have your focus set, all of your settings must be dead on. Okay, so now we're going to set all of our intervalometer settings. We're going to set our delay we're actually going to set our our shutter speed first, which is about a 30th of a second. So, it's going to take about 2 seconds for the shot, and we want about a 2 second delay, so that it, it stops shaking every single time it moves. And now we just chose how many pictures we want. So, in this case we're going to do about 400. Which should give this about 16 seconds and we can speed it up in post, maybe give us a nice 2 second shot in the end, and there are lots of dynamic movement.
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