Shooting a Hyperlapse Time-Lapse Video
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Evaluating the shots


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Shooting a Hyperlapse Time-Lapse Video

with Richard Harrington

Video: Evaluating the shots

I always like to take a look at the finished shot and just evaluate what worked well and what didn't. We did a lot of experimentation on this shoot with different settings. And this particular scene is one of the most experimental, so there's plenty to learn. The longer exposures here in the ten second range or so create nice streaks of energy. The real short exposures, while noise-free, just don't feel that special. Where it becomes problematic are some of the longest exposures. While the lighting looks super cool, you see that it's just impossible to get rid of the noise in the sky.

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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

Evaluating the shots

I always like to take a look at the finished shot and just evaluate what worked well and what didn't. We did a lot of experimentation on this shoot with different settings. And this particular scene is one of the most experimental, so there's plenty to learn. The longer exposures here in the ten second range or so create nice streaks of energy. The real short exposures, while noise-free, just don't feel that special. Where it becomes problematic are some of the longest exposures. While the lighting looks super cool, you see that it's just impossible to get rid of the noise in the sky.

And it becomes particularly problematic as the sky gets darker and darker. So with these long exposures, which work best for night time photography, it appears to me that the sweet spot is somewhere between 10 and 15 seconds for this particular camera. Depending upon the censor size and low light performance of the camera you're shooting with, you might get some other options. Overall, this feels like a viable technique that I could use in my arsenal, and I'm going to continue to explore with longer exposures. While this is not the true hyper lapse approach of GPS-based distance, these long exposures are a lot of fun.

So feel free to bring out your traditional intervalometer and simply dial in a long exposure time, and see if you can create some smooth streaks of light that feel very flowing as you move from one shot to the next.

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