Shooting a Hyperlapse Time-Lapse Video
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Building a test sequence


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Shooting a Hyperlapse Time-Lapse Video

with Richard Harrington

Video: Building a test sequence

Okay, we're just about ready to head back on the road. I'm going to do a really quick check of this in motion. It's always a great idea to check your exposures. I've pulled out my laptop. The cool thing is, is this has got a DreamColor display which I like. It means that the color is accurate. I can see Rec.709 for broadcast HD. I can see Adobe RGB, it gives me that control as I'm working. I pop the SD card out of my camera, making sure not to bump the camera. All right, let's put that right in the built-in card reader.

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Shooting a Hyperlapse Time-Lapse Video | Course Tutorial
1h 33m Intermediate Mar 28, 2014

Viewers: in countries Watching now:

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.

This course was created and produced by RHED Pixel. We're honored to host this content in our library.

Topics include:
  • Choosing the right camera for hyperlapse video
  • Mounting your camera
  • Stabilizing shots
  • Programming the camera
  • Capturing shots
  • Post-processing, assembling, and color grading footage
Subjects:
Photography Video
Author:
Richard Harrington

Building a test sequence

Okay, we're just about ready to head back on the road. I'm going to do a really quick check of this in motion. It's always a great idea to check your exposures. I've pulled out my laptop. The cool thing is, is this has got a DreamColor display which I like. It means that the color is accurate. I can see Rec.709 for broadcast HD. I can see Adobe RGB, it gives me that control as I'm working. I pop the SD card out of my camera, making sure not to bump the camera. All right, let's put that right in the built-in card reader.

Most laptops these days are going to have a built-in reader, makes it much easier. And, what I'm going to do here is launch Adobe Bridge. The benefit of Bridge is unlike, say, an app like Lightroom, I don't have to important anything to see it. I can just look right at the memory card itself. And, if you choose one of your RAW files and hit the space bar, it's going to go full screen. Now, make sure you don't judge the shot right away. While it's loading, it's going to be a bit soft. But once you've done that, you can pan around and really check the shot out.

And now you could use the arrow keys to advance from one frame to the next. You could also just hold down that arrow key and it'll play really fast. It gives you a good idea kind of, what that movie's going to look like. Here it is backwards. And steps on through. So, that's a pretty easy way to see how your shot's turning out. Now, that doesn't give you the full feeling for how all the shots are going to come together but, it's pretty cool. Now, if your laptop has a program like Adobe After Effects on it or Photoshop, you could quickly assemble these as well.

I've got detailed tutorials over at Lynda.com on the exact process. But I'm just going to walk you through at a high level. So, I've launched After Effects, easy enough. And I'll just import that file. Now, I'll choose File > Import, and I need to select the file that I want to bring in. Now the thing is is they need to be sequentially numbered. Now to make this a bit easier, I'm going to put a bunch of pictures into a single folder in Bridge so I don't have to guess. So here we go, RAW, and we'll just make a new folder.

Now, I'm just going right off of the memory card here. That's actually okay. It does a good job of handling it. And we'll grab this whole series of shots. Right up to about there is good. All right, let's tuck that in that folder so it's easy to find. Now that I've done it. Simple enough. I'll just go back to After Effects and import that, File > Import. There we go. And I can grab that right off the memory card. There's my Media folder, step on in, select the first RAW file, and just click Import, and it's going to bring it in as a camera RAW sequence.

Now, it's going to bring up the Adobe Camera Raw dialogue. And you could apply a base adjustment to everything. So, I'm going to pull down the highlights just a little bit, lift up the shadows, add some clarity, and a little bit of vibrance to pop the color. Looks good, click OK, and it brings it in as an image sequence. So now, piece of cake. Just drop that into a composition. There it is. We could crop it, and scale it, and do all that later. But it's going to load in.

And then, I'll drop my playback quality here, so it's not so high quality. Then just click RAM Preview. It's going to load those frames in and they'll start to cache and play back. Now, this is pretty intense, we're loading hundreds of RAW files right off of an SD memory card. But, you see, it's plugging along, building out the frame preview, putting it along the bottom there. And as that builds out, once it's done, I could hit the space bar and watch that playback. Now, that's going to take a couple of minutes but I'll just set that up to go ahead and run, and then I'll check it back later on when we're on the road.

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