Shooting a Time-Lapse Movie with the Camera in Motion
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Modifying the camera to reduce flicker


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Shooting a Time-Lapse Movie with the Camera in Motion

with Richard Harrington and Keith Kiska

Video: Modifying the camera to reduce flicker

When you move into the post stage one of the most annoying things that you can encounter is flicker. Flickering is a light variation of exposures from image to image. So when you play it back in sequence, the movie appears to be strobing. What causes flicker is a number of different variations. Every single time your camera's lens and iris open and close, every time your curtain shutter opens and closes. It causes small, minor variations that change from shot to shot, creating exactly what you're seeing. Let me show you some strategies to minimize flicker.
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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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Watch the Online Video Course Shooting a Time-Lapse Movie with the Camera in Motion
2h 59m Intermediate Jun 26, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • The benefits and challenges of motion in time lapse
  • Determining available light
  • Selecting a camera, memory card, battery, and other gear
  • Panning the head
  • Using a slider
  • Adding motion in post
  • Adding three-axis motion
  • Designing and shooting a hyperlapse shot
  • Advanced post-production techniques
Subjects:
Photography Video
Authors:
Richard Harrington Keith Kiska

Modifying the camera to reduce flicker

When you move into the post stage one of the most annoying things that you can encounter is flicker. Flickering is a light variation of exposures from image to image. So when you play it back in sequence, the movie appears to be strobing. What causes flicker is a number of different variations. Every single time your camera's lens and iris open and close, every time your curtain shutter opens and closes. It causes small, minor variations that change from shot to shot, creating exactly what you're seeing. Let me show you some strategies to minimize flicker.

The first thing I want to do to minimize flicker is my eyepiece. I want to try to black that out. Here I'm using a business card. As long as it's black on the inside,. Whatever side is on the inside of the camera. Making sure that any light bouncing around in there is not reflected back. So a piece of gaff tape, a business card, make sure it's dark and cover it entirely. This ensures that the only light entering the camera is through the lens. And besides blocking out any light here, I also block out any spill light coming from my camera, such as a light on the back of the camera.

I usually use gaff tape to accomplish this. We can also make some changes in the menu. Some cameras offer auto lighting optimizer or noise reduction. These tools are very useful in other situations, but for timelapsing and flickering, it is not good. So, you want to make sure to turn those settings off to prevent any variations from image to image. If you're shooting on a mirrorless camera you might not need this next tip. If you are shooting on a DSLR make sure to engage mirror lock-up. This will prevent small vibrations from the mirror opening and closing. And now, what's known as the lens twist trick.

Or aperture locking. Aperture locking disengages the aperture from opening and closing during each exposure. Every time it opens and closes, small variations can cause flickering. If you're using a lens with manual aperture controls, make sure to try to engage them. Otherwise, some people will choose to slightly disengage the lens from the body. This is called the lens twist, but be very careful that your lens doesn't fall off. To do this, you first press the lens release button. Then you hold down the depth to field preview button.

Then you gently twist the lens, making sure not to touch the focus until you hear a snap. When you pay attention to flicker, you'll be much happier with the end time lapse.

There are currently no FAQs about Shooting a Time-Lapse Movie with the Camera in Motion.

 
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