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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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Let's take a quick look at the gear you need to pull this off. You could spend a little or a lot, like most things with photography. The first thing, obviously, is a camera of some sort. I've got two cameras hooked up. I've got a GoPro because it's easy, affordable, with built-in time-lapse. And most of you probably have access to a camera like this. For my more pro body, I have a mirrorless camera. I'm using an Olympus Micro Four Thirds. Any mirrorless camera would do. You could absolutely do this with a DSLR, a point and shoot, it doesn't matter. You just need the ability to control the camera remotely, either with built in software or preferably, intervalometer, which we'll explore a little bit later.
Now, these cameras are rigged up. I've got lots of extra batteries because we're going to run through them today, shooting for a long day. Just make sure you have a camera, high-speed, high-capacity memory card. Last thing you want to do is a card change in the middle of a shot. And plenty of juice to get you through the day. Alright. With that in mind, let's explore how we attach the cameras.
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