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Hyperlapse = time lapse + camera movement. You can get the effect by moving your tripod manually or along a track, but shooting hyperlapse from a moving vehicle is the one guaranteed way to get really dramatic time-lapse footage. And it doesn't take a lot of gear. In this course, Rich Harrington introduces the equipment you need and the techniques you should use to capture great hyperlapse sequences, as he travels around the Nevada desert during the day and captures the bright lights/big city of Vegas at night. When he returns to the studio, he shares his post-processing tips in Adobe Camera Raw, Premiere Pro, and After Effects.
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The images have finished exporting. Took a bit of time, but they're all in a folder and they're processed ready to use. What I want to do now, is bring those into Adobe Premiere Pro. Now, you could do this with any editing tool. We're just going to bring it in and interpret it as an image sequence, which is a workflow supported by most non-linear editing tools. Here's how it works. Let's launch Premiere. And I'll make a new project to hold the results here. I'll browse to my project folder, so I can store this. Let's choose that, and we'll call this HyperLapse.
I'm going to stick with the CUDA accelerator, to get a little bit more real time performance and click OK. And a new project opens. I'll choose File, Import, and then navigate to the image that I want to bring in. In this case here, I've exported them and then moved them into one folder. Now, you'll note here, that the images are named sequentially. This is very important for an image sequence. Over in Bridge, after you do your exports, I generally recommend doing a rename. You can invoke this by choosing Tools, Batch Rename.
And, this allows you to enter in custom text. And then a unique three or four digit sequence number. And when you click OK, they'll be renamed. All right. I've already done that for this folder, which will make it a bit easier, and this is because we don't want gaps in the numbering. If you have a gap in the numbering, one of two things will happen. Either it will break it into a new clip, and you'll end up with multiple clips, because it seems to think that there's a break, or it will insert color bars or a blank frame.
It's very important that the files are consistently numbered. Now, you might be thinking, well, why would there be a gap? Maybe a file was corrupt, or maybe you went through and manually threw away a few of the frames that you didn't want to use. This is all fine. Just make sure that after you've discarded frames, and before you import, that you double check that everything has a consistent number. Makes it a lot easier as long as things are numbered sequentially to avoid problems. I'll select this and choose Image Sequence.
And then Import. And it will bring that in as a single file. If I right click on this clip here, I could choose to Modify, Interpret Footage. And what I'm going to do is assign a frame rate. Now, instead of 29.97, I'm going to lower this down to 12 frames. A little trick that I like to do with time lapse, is sometimes repeat a frame. Now, this can be done with frame blending where you dissolve between the frames, or just a full repeat, but sometimes it's a bit too hyperkinetic.
And with Hyperlapse and all that movement, if you're plowing through frames at a full 24 or 30 frames per second, it's almost mind-blowingly dizzy. So I tend to slow this down to either 12 or 8 if I'm delivering at 24, or perhaps 15 or 10 frames a second for 30 frame delivery. Just consider halving or thirding your frame rate. Alright, we'll put this at 8 for now, and you see that clip is now 1 minute and 32 seconds long. Alright, that works well. Let's make a new sequence.
And I will stick with something nice and simple. I'll go with the DNX HD, preset, which is nice and high quality. And 720p, 23.976. Alright, we'll go with the DNX HD 90, that's a nice high data rate. Click OK. And drop the clip in. Now when I do, I need to make sure to tell it to keep the existing sequence settings. And, you'll notice that the clip is partially cut off. That's because this is bigger than the delivery sequence.
So for now, I'm just going to scale this down quite simply. You could key-frame this and get pretty fancy if you wanted, but we'll just adjust that so it more or less fills the frame. Alright, let's hit play. Now, you'll notice, pretty impressively, that my laptop is only dropping a few frames at half quality. This really gives me a good idea of what is I've got here. And it's exciting to see the pieces come to life. So, as we drove around the strip, we experimented with different settings and you'll notice occasionally my hand is going to pass in front of the camera or I'll make little tiny tweaks to indicate that we've switched.
There's a longer shutter speed there, look at the streaks. Big difference there in motion streaking, verses the earlier part of the clip. Alright, that's pretty cool. Let's render this out so that we get the best performance, and then we'll take a look and evaluate the shot in closer detail. To render, I'll just select everything, and choose Sequence, Render In to Out. This'll process it to the native codec and this shouldn't take very long, as most of the codex are highly optimized for Premiere Pro.
Let's let that finish and then we'll watch the shot playback in real time, and I'll discuss some of the things that I like and don't like about how the results turned out.
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