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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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Like all time lapse shooting, you need to determine an interval. And this is really the frequency in which the shot is exposed. Now, with a hyperlapse, a moving camera, things get a little bit trickier. First off, we're recording for an extended period of time. So I need to take into consideration that the card doesn't fill up too quickly, and that I have time for the shot to be written to the card. Fortunately, I have high speed cards here. so I don't seem to have much of a lag issue. You'll note here that if I take a shot, take another shot, it's getting pretty quick to the card.
So, I'm not that worried about that. That seems to be working well. Let's talk about the GoPro for a moment, or a camera that doesn't have an advanced intervalometer. I set this GoPro to five seconds. Generally speaking, my rule of thumb is somewhere around the number of seconds for every ten miles an hour. Now, I will go somewhere between five and six seconds here, depending upon what's going to work well for this situation. And, it seems to be doing okay. This card, high capacity, JPEG images.
I'm not that worried about storage. So, it's just going to keep plunking on through, and it's going to work. Remember, you want to see the passage of time. And in this case, we're driving towards a mountain range. So we've got a very large object off into the distance. In order for this to work, I want to be able to see things get us there. So I'm going to shoot with a relatively slower interval. Probably on the GoPro five or ten seconds. Remember, the go pro doesn't give you as many choices as what a professional body, or professional intervalometer would.
But that works pretty well. Probably for a hyperlapse every five to ten seconds is going to work well, in a moving vehicle. Alright, up next we're going to talk about doing a more advanced hyperlapse tied to the distance, or the position of the car.
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