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Add motion in post Motion Time-Lapse Movie

Adding motion in post provides you with in-depth training on Photography. Taught by Richard Harringt… Show More

Shooting a Time-Lapse Movie with the Camera in Motion

with Richard Harrington and Keith Kiska

Video: Add motion in post Motion Time-Lapse Movie

Adding motion in post provides you with in-depth training on Photography. Taught by Richard Harrington and Keith Kiska as part of the Shooting a Time-Lapse Movie with the Camera in Motion
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  1. 2m 43s
    1. Welcome
      1m 22s
    2. What you should know before watching this course
      1m 21s
  2. 8m 31s
    1. The benefits of motion
      1m 55s
    2. The challenges of motion
      2m 49s
    3. Designing the shot
      3m 47s
  3. 6m 59s
    1. Determining available light
      2m 17s
    2. Cloud-coverage concerns
      1m 4s
    3. Shooting duration
      1m 55s
    4. Obtaining a permit
      1m 43s
  4. 14m 39s
    1. Camera body
      2m 35s
    2. Tripod
      2m 50s
    3. Intervalometer selections
      2m 35s
    4. Memory card selection
      2m 59s
    5. Battery and power requirements
      1m 23s
    6. Modifying the camera to reduce flicker
      2m 17s
  5. 14m 36s
    1. Panning the head
      3m 38s
    2. Skate wheel
      1m 17s
    3. Slider (no power)
      2m 21s
    4. Flow-Mow for the GoPro
      2m 24s
    5. Adding motion in post
      4m 56s
  6. 14m 53s
    1. Designing the shot
      2m 15s
    2. Creating a panning time lapse on a budget
      6m 36s
    3. Creating a sliding time lapse on a budget
      6m 2s
  7. 7m 24s
    1. Designing the shot
      3m 21s
    2. Building the slider
      1m 20s
    3. Three-axis motion
    4. Creating a sliding "shoot-move-shoot" time-lapse
      1m 59s
  8. 34m 2s
    1. Designing the shot
      2m 9s
    2. Hyperlapse: Low tech
      4m 40s
    3. Hyperlapse: Medium tech (measuring and marking)
      6m 24s
    4. Developing the hyperlapse
      5m 23s
    5. Processing the hyperlapse
      5m 41s
    6. Stabilizing the hyperlapse
      6m 10s
    7. Hyperlapse: Planes, trains, and automobiles
      3m 35s
  9. 20m 59s
    1. Lessons learned
    2. Moving to post-production
      5m 39s
    3. Dirty lenses
      3m 11s
    4. Reflections
      4m 43s
    5. Organizing footage
      6m 27s
  10. 50m 57s
    1. Adjusting the raw files with Camera Raw
      4m 54s
    2. Sharpening and noise reduction in Camera Raw
      6m 40s
    3. Adjusting the raw files with LRTimelapse ramping
      6m 4s
    4. Developing the time lapse with Camera Raw
      7m 7s
    5. Using lens profiles
      2m 56s
    6. Using Upright
      5m 35s
    7. Post moves
      3m 33s
    8. Using the camera track to add text
      9m 49s
    9. Flicker reduction
      4m 19s
  11. 3m 23s
    1. Goodbye
      3m 23s

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Adding motion in post
Video Duration: 4m 56s 2h 59m Intermediate


Adding motion in post provides you with in-depth training on Photography. Taught by Richard Harrington and Keith Kiska as part of the Shooting a Time-Lapse Movie with the Camera in Motion

View Course Description

What can make a time-lapse video even more dramatic? Camera moves. By moving the camera between each exposure, you can include an additional element of dynamism to a time-lapse video.

In this course, author Rich Harrington is joined by time-lapse video expert Keith Kiska. Together, they explore the hardware, software, and creative decisions involved in creating moving time lapses, while on location in Las Vegas, Nevada. Rich and Keith detail the types of motion that you can add to a time-lapse video, from basic movement of the camera to left-to-right, sliding, and two- or three-axis movements with high-end, motorized rigs. They also demonstrate hardware add-ons in a variety of price ranges, and show the post-production techniques that yield the highest quality.

Interested in more time-lapse tutorials? Check out more here.

Topics include:
  • The benefits and challenges of motion in time lapse
  • Determining available light
  • Selecting a camera, memory card, battery, and other gear
  • Panning the head
  • Using a slider
  • Adding motion in post
  • Adding three-axis motion
  • Designing and shooting a hyperlapse shot
  • Advanced post-production techniques
Photography Video

Adding motion in post

Let's take a look at how some of these low-tech solutions turned out. I find that things like shooting oversized plates and adding moves and post, or the camera lapse type solutions with the GoPro work pretty well because it's easy to get smooth movement. However, when you start to do some more of the manual movements where you're panning the camera or pushing it along the slider, it's a bit harder to get the type of precision that you want. Sure you have movement, but it's not necessarily the movement that's fluid, or smooth. Lot of times it looks rushed or at best, jerky.

But sometimes you have to learn how to use the tools that you have in your hands, and if nothing else using some of these low-tech approaches will give you the opportunity to experiment with the concept of motion and refine some of your skills, particularly previsualization. In this case, I've got that tilt shift time-lapse that we recorded handheld. Now if you look at this particular shot, one of the things to realize is there's not very many frames. So what I ended up doing was interpreting the footage at a lower frame rate of six frames per second.

If we preview that, what you'll see is that it is a hand-turned time-lapse and it holds each of those frames for a long bit of time. Now what I'm going to do there is go past that initial starter frame where I marked it out with my hand and find a clean beginning frame. Just drag through, and everything's framed up there for my next take. Just advance. Mark my end point and I am going to use the rest of that shot.

Now when I make a new composition here, I'll set the frame rate to 24p. And drop in that hand-turned time-lapse. Now you'll see it's not very long, but using the stretch factor here I'm going to stretch that 400% which makes it quite a bit longer. Once I've done that I'll also turn on Advanced Frame Blending. Now with the Advanced Frame Blending off I want you to just look at it first. Let's scale this slightly, and we'll do a quick preview.

And what you're going to see without the advanced frame blending, is that it essentially pops from one frame to the next, looking very stuttery. However, I'd like that to be a bit smoother. So by enabling Frame Blending and turning on the Advanced option watch what happens. You'll notice that After Effects can essentially morph from one frame to the next and depending upon the amount of movement and activity in the shot, surprisingly, for hyperlapse-type animations, ones where you're really maneuvering the camera by hand, whether that be sliding the tripod from place to place, or panning the head, this sort of visual trickery of advanced frame blending is surprisingly good.

Now some of the elements, like the signs there, appear to be morphing just a little bit, but it's pretty cool and you're seeing that nice, cool transition. Now the first few frames had a little jump there. No big deal, I'll just go in a bit. Mark my beginning point, let's preview the rest of that. And you'll see that After Effects is able to create new interim frames. Now as you look at some of these, occasionally you could see a little bit of distortion, particularly if something jumps in the frame and then leaves, like a big strong object passing by.

But a lot of times this Advance Frame Blending can be useful to take a time-lapse that doesn't have enough frames and really force it into a new duration. And in this particular instance it did a nice job of smoothing out my handheld turn. Now I like the way that this is looking, but as an alternative I can also put a bit of a keyframe in a move. By keyframing the anchor point I could essentially create not just a pan from left to right, but a digital tilt up to reveal more of the frame.

And when you see that play back, you'll see that it moves across, it slowly begins to look up in the frame and we begin to go from the tilt shift area, down here in the parking lot, up to see more of the entire shot. Take a look at both those two shots back to back. First up, here is the panning left to right. And you see there the new interim frames really fill things in nicely. And now here is the pan from left to right with the digital tilt being added in After Effects.

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