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Memory card selection

From: Shooting a Time-Lapse Movie with the Camera in Motion

Video: Memory card selection

With time lapse, memory cards become absolutely critical. and the shot cards are in the left pocket.

Memory card selection

With time lapse, memory cards become absolutely critical. Of course the memory card is going to actually hold the images that you capture, but choosing the right memory card is an important decision to make. During time-lapse shooting, I'm going to be capturing a lot of raw files. If you're going to go through all the effort to set up a motion control rig, you're not going to rely on JPG. Take advantage of the full quality that raw offers. Of course, that's going to mean you need big cards. I tend to favor getting the largest cards available.

This could be a 64 or a 128, or 256 has even come onto the market. It doesn't matter, just find large, high-capacity cards that you can afford. This will give you longer shooting times. Now, one of the other things that I find really important as I select cards, is making sure that those cards are fast. As you check the speed ratings on the card, look for things like SDHC or SDXC when working with SD cards. Or, some of the higher-class cards available for things like CompactFlash.

What you're looking for are transfer speeds 400 and above. This is going to give you the most flexibility as you're shooting because it means that the file will be quickly written to the card. This will cut down on some of the delay of the card image transferring from the camera to the card itself. Fast speeds really improve that write time. Now, it's just not the card, the camera's processor's also going to come into play, but the card is one of the biggest factors. Speaking of cards, you're going to need a lot of cards.

Time lapse will chew through your footage, you're shooting high-quality stills and it's very easy to run out. You see, I have a card wallet here and its filled with cards. Now, we've already been shooting a little bit today and I've used a few of em up, but I've got lots of spares. You'll also notice that the empty cards aren't back in this wallet. One of the things I see happen all the time that people screw up, is they put the cards in their wallet, maybe they put them upside down, but then the cards shake loose and you're not sure which cards you shot on and which ones are empty.

Well, I've got a really easy solution. I put all of my empty cards in my right pocket, and I put all of my shot cards in another wallet in the left pocket. Notice both wallets, nice, hard, protected, keeps everything safe. But the blank cards are in the right pocket and the shot cards are in the left pocket. Now, you might be saying, why right and left? Well, when I'm out shooting there's a lot on my mind and it's really easy to get distracted and forget which cards are the right cards.

Well, you just heard it right there. The cards in the right pocket are the right cards to shoot to. The cards in the left pocket should be left alone. Right to shoot, left to leave. This simple strategy will always ensure that you've got empty cards ready to shoot on, and that the footage you've captured is ready to be taken into post production.

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This video is part of

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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
      44s
    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
      59s
    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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