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Creating Time-Lapse Video

Using flicker


From:

Creating Time-Lapse Video

with Richard Harrington

Video: Using flicker

Rich: When shooting time lapse, flicker is kind of a typical problem. Particularly if you're dealing with the sun that keeps getting interrupted. As a cloud passes in front, it's going to block it temporarily. And this can create instability in the lighting levels. Even if shooting indoors under, say, fluorescent lighting, you might see shifting from one shot to the next. Fortunately, there's a couple of ways of fixing this. You can use some built in tools. I'll choose Layer > New > Adjustment layer. Let's just select that, press Return or Enter and I'll call this Deflicker.
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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

Using flicker

Rich: When shooting time lapse, flicker is kind of a typical problem. Particularly if you're dealing with the sun that keeps getting interrupted. As a cloud passes in front, it's going to block it temporarily. And this can create instability in the lighting levels. Even if shooting indoors under, say, fluorescent lighting, you might see shifting from one shot to the next. Fortunately, there's a couple of ways of fixing this. You can use some built in tools. I'll choose Layer > New > Adjustment layer. Let's just select that, press Return or Enter and I'll call this Deflicker.

Now, on this layer, I can apply an effect. Under Color Correction, you'll find the Color Stabilizer. However, for this effect to work, you need to be able to pick a standard black point and white point that do not move. That could be pretty difficult as you're dealing with a moving, zooming shot. But if you do have a clean point of reference, just take the target and set them on the black and white point. And it will go through and smooth things out in the shot. On the other hand, you might take advantage of Auto Levels, Color Correction > Auto Levels. And by turning on Temporal Smoothing, say setting that to one second with the Scene Detect option, you might be able to get the smoothness. That's helping a bit.

Lets turn Scene Detect off and increase the Temporal property. And while better, it's still prone to some flicker. Now, some people will leave that set to zero and hope that it catches everything frame to frame. But you'll quickly notice that without smoothing it tends to still flicker. This is why there's a third party ecosystem. And one of my favorite effects is GBD flicker.

It works inside Premiere Pro and After Effects, and there's a standalone app. But this is a great tool if you need to fix Time Lapse flicker. Now, some of you are probably saying well, why isn't that build into After Effects? Let's think about that. This is an incredibly niche product. Fortunately the After Effects and Premiere Pro ecosystem are big enough to support the use of third party plugins. So, this is an affordable way to solve a very dedicated problem. But I'd recommend that you just download the trial version and see if it works for you.

Here's how. This plugin sells for about $100, which is a very dedicated tool. You highlight the clip and choose GBS as in Granite Bay Software, Granite Bay Deflicker. What happens here is that it will analyze the clip and attempt to fix it. Now, you have the ability to look under options and you could choose the method manually adding key frames if you want. And you could choose if it's going to shift or if it's going to just space or the gamma, but the default options actually work pretty well. Let's remind you what this looked like before we removed the flicker. And you'll see there are a couple of instances where the sun passed behind a cloud and made a dramatic change in lighting.

There was no change to the camera or its settings. You notice that the rocks themselves aren't changing as much. But definitely a shift. Well, this tool analyzes that, and attempts to fix. So, what you're seeing here is the luminance graph and you can tell where the lighting has dipped and got darker. And as such, it's attempting to smooth that out when it encounters those points. Did a great job. I can come down here and adjust the method here. Let's try shift for a second.

And you see that that behaved a little differently. And we also have gamma. Now, the flicker is a bit strong. We got rid of most of it but there's still a subtle pulse. I could adjust the amount of smoothing. And you'll see that that does a good job of taking out even more. So, a very compelling solution to minimize the overall flicker in a shot. And there's a lot you can do down here to really take a look. If you want to dig in deeper, you can look at just the histogram to actually see the details.

And this just gives you specific information on a per channel basis. But, all in all, this is awesome with how it goes through. Analyzes the shot and takes out a lot of the problem zones. I generally stick with the linear space. I'll bump up the amount of smoothing. And it looks good. And you can also set a clipping threshold. Now, the clipping is really going to be for highlights. So, it's not doing much on this shot but all in all very cool effect.

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