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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: Let's explore the process if you want to bring in time lapse media into Final Cut Pro 10. Now, the process is a bit different than other NLEs, but it's still pretty straightforward. It all begins with creating your first project. In your project library, select a target drive and click the Plus button to add a project. Instead of setting the properties based on the first clip, I strongly recommend that you chose Custom. Here, you can assign the size. So, you could chose what you want to deliver.
2K, 4K, 5K, working digital cinema or your more standard HD video flavors that are used for the web and broadcast. I'll go with 1080p. It automatically assigns the square pixel resolution, which is what I want. And I'll stick with a frame rate of 23.98. That looks good. Let's choose Custom here. And notice that I can specify the render format for how it's going to create material. So, depending upon codex you have loaded, you could choose different quality.
So, if you want to go out to a higher quality version, or even a four by four version of ProRes, you can. For most folks, the 422 or the 422 high-quality is going to work quite well. And that's great. I'll stick with stereo here, even though I'm not going to have sound. And click OK. And before I do that, let's just name this and it builds the project. Now, that the project is built, we need to import. Now, to do this we need to select a drive and make an event to hold it. Let's select a target drive and choose File > New Event. And click the Import Media button.
I can now navigate to the desired target for the source material. I've already processed these to TIF files. It's important to note that you can't bring in Raw photos into Final Cut Pro 10. So, be sure that you actually process the TIFs using an application. It could be Aperture or even iPhoto or perhaps Photoshop, Lightroom or Adobe Bridge. Any of these will work to give you the results that you need but I recommend an 8-bit TIF for greatest compatibility. You're going to need to choose all of the files, so just press Cmd+A when you're in the appropriate directory.
The things to realize though, is Final Cut Pro 10 does not have the ability to import an image sequence. So, you actually end up importing all of these as individual still graphics. I'll click Import All. Choose the event I want to target. I'm going to uncheck Create optimized media here. This'll give me greater flexibility to re-size things. And I'll uncheck Color analysis and Audio analysis as they're unnecessary steps. There we go, Import and they'll all come in.
When finished, the Import dialog will close and you'll see all your clips inside of your event.
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