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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.
Rich: Once you're satisfied with the results, you have to decide how you want to export. Now, if this is a clip that you're just going to cut in with other video shots, just treat it like a piece of footage. Edit it into any timeline, and then when you export, it's good to go. But, if you just want to get out the individual file, let me show you how to do that. Take your sequence, and mark out a range using in and out points. To define the range of the clip. Then choose File > Export > Media. This will bring up the Adobe Media Encoder.
One of the easiest things you can do is choose to match the sequence settings, and in this case it'll make a new video file. Because I chose to use Avid DNX HD format, it's actually going to match that and write out an Avid DNX HD file. Using all those settings. It'll make an actual MXF file, in this case. If you want to write this out to another format, you can always go through and access things. For example, there's H.264. And I could say, match the source with a high bit rate.
Click on the hyperlink text, and give it a name. And choose save. At this point, it'll export the video. If you don't have audio, uncheck that. I'll tell it to use the maximum render quality and the frame blending to get the highest quality output. And I can now click export. What's going to happen is it will write the new file to disk, and, because I have import into project checked on this newer version of Premiere Pro. It will bring that in as well.
If I want to set up several shots, I can click Queue and then walk away. Otherwise, click Export to immediately create the file. I click Queue to send it over to Adobe Media Encoder. It's got all the settings there, targeted and a destination. I could just click the Start Queue button to engage the render. And it will begin the encoding process. I'm now free to switch back to Adobe Premiere Pro where I can continue to work on the next shot.
And this is one advantage of using the Queue method. You can easily start the process here in media encoder and then return to Premiere Pro. Or you can continue to work. Notice I'm not locked out of my project while that rendering is happening in the background. Once it's complete, it will automatically add the file back into my project if I want to use it as a source movie. Let's check how that's coming. With the maximum render quality and the frame blending, it's going to take about three minutes to do this short clip. But if you didn't choose those options, the export would be significantly faster. Generally speaking, if you stretch a clip out and use frame blending to retime it and post, this will slow things down.
The best thing is to shoot it right in the field and that's when we spend discussing determining your interval And the number of frames to shoot. But if you find yourself in post-production, needing some extra flexibility, you can always re-time the shot. The down side to retiming a Time Lapse shot, however, is that it adds significant render time.
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