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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.
There's one more type of moving time lapse shot that a lot of folks like. Some folks call this a hyper lapse. It's kind of a combination of a time lapse and stop motion. >> Yeah, basically essentially a hyper lapse is, it's the same thing as a time lapse but over a great distance. So, in this instance we're going to go about 150 feet, some have been known to be, hundreds, thousands, who knows? >> Yeah, essentially, think of it this way. What you're doing is you're moving the camera. So the camera's going to be doing a normal time lapse but instead of moving say, four feet, we're going to walk down the block.
Now this is definitely a technique that takes trial and error and I'm just going to be honest, Keith, we're still figuring this one out. This is one of those things that's really cutting edge. >> I've seen a couple examples that are absolutely amazing and the results that they can deliver are fantastic. But as of yet, I've never quite mastered it yet. So we're going to all learn together. >> Yeah, so hang on with us here as we figure this out. So the first thing you gotta do is design your shot. And what you're going to want to look for is a strong subject. Something that you can make the focal point that you basically revolve around.
So what did you pick here? >> So for this, we've just got this tree right here. We see this nice, big tree in front of the red pixel building, itself right here. We're going to see cars rushing by. The main reason I picked this shot was not necessarily for the actual subject matter. But it was for this ground. This perfectly flat walkway that we can walk along, be nice and flat and smooth so we can easily move in whatever kind of increments we want. >> And this is a technique that I've been experimenting with on trips. It's a lot of fun. It's a way to do motion without lugging all the equipment.
But just keep in mind, this is a handheld technique. And so you're going to be moving the camera by hand. It's going to introduce some variety. It's more of a fun, cool thing than it is a perfect or a technically precise thing. >> Oh, it can be technically precise though, if you want it to be. >> Well, alright. Anytime you move anything by hand and eyeball it, it's only so precise. But with that in mind, we've got the shot designed. Let's try the low tech method which, I don't know, to me it feels like I'm back in Boy Scouts. We're going to be counting foots and paces, right? >> Sure yeah, that's exactly what it is.
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