Shooting a Time-Lapse Movie with the Camera in Motion
Illustration by

Camera body


Shooting a Time-Lapse Movie with the Camera in Motion

with Richard Harrington and Keith Kiska

Video: Camera body

Of course, the most essential piece of equipment when
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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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Watch the Online Video Course Shooting a Time-Lapse Movie with the Camera in Motion
2h 59m Intermediate Jun 26, 2014

Viewers: in countries Watching now:

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
Richard Harrington Keith Kiska

Camera body

Of course, the most essential piece of equipment when it comes to shooting time lapse is the camera. You can't make an image without a camera. >> Absolutely, I chose Canon, he chooses Nikon, but everybody's different. >> Yep, it's ok. I won't judge him, he won't judge me. All kidding aside, it really doesn't matter which camera body you use, as long as it's a camera body you're familiar with. You're going to want to know this camera inside and out, because when you start adding the complexities of motion, there's enough other things to pay attention to. >> Yeah, absolutely, like size for instance. I mean, GoPro can deliver such great results and it's in such a small size, you can put it anywhere.

>> Yup, and we've got all sorts of other options here. A lot of times I'll go with a Nikon because that's what I'm used to, I've got some great lenses, but, there are certain technical benefits to shooting on a mirrorless body. because for example, we don't have to worry about mirror flap causing vibration with the shot. And, I like the fact that this particular camera can shoot RAW and in movie at the same time to really help me previsualize my time lapse. But, I think there are a couple of essential things to look at when you're choosing a camera body. One of those first ones is the connection ports that are available because you're going to have to connect the camera to the motorized head.

>> Each motorized head is going to connect to a camera. So you want to make sure that your camera connects to that motorized head specifically. >> Sometimes it's going to be very common, like a USB port. Other times, it's a proprietary type connection and you may need an adapter cable. It's really important that you make sure that the gear syncs up before you get out there to start shooting for the first time. Other things I like to see, really good dials, easy controls to access. I'm a sucker for a good live view panel to make it easy as I'm putting the shot together to really previsualize things. Is there anything else you look for in a camera body, Keith? >> Speed and processing power.

I want to make sure that my camera is shooting as fast and efficient as it possibly can making the best use of the battery life. Yep, you want to make sure that camera can get through the time lapse and that you're not sitting there waiting for the images to be written to disc. This of course means fast cards, but even more importantly, I like to see cameras that have multiple card slots. This particular camera only has one, while my Nikon has two card slots. You got two there as well, right? >> Yep. >> This literally means you could shoot twice as long before your card is full. Of course, cards keep getting bigger and bigger but, having an extra slot not only means rollover, you could set the camera up to record to both slots, protecting you from card failure, making sure you don't lose the shot.

The key takeaway here is make sure your camera works with the motorized system that you're going to connect it to. You're going to want to check the manufacturer's website, and you're going to want to make sure that you have all the ports that are necessary. And of course Keith, the last thing I want to do is be standing out in the middle of nowhere, trying to read the camera manual by the light of my phone. >> You definitely want to make sure that you know your camera.

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