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Moving to post-production

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

Video: Moving to post-production

Well, we got back from the desert in Las Vegas >> All right.

Moving to post-production

Well, we got back from the desert in Las Vegas and had a chance to process through some of the footage. Keith, as you looked at some of the footage, if it's a good shoot, you know obviously, you want as few problems as possible. But from time to time you spot things. You go, oh, you know what? I'd do that different. Anything that stood out about this shoot with all this motion and all this activity that we had? >> Well Vegas is an extremely energetic you know, shoot location. And we find tons of things to do when you get home and you've got to do renders, always a couple things that you could have done better. >> And so here's one shot. You, you mentioned to me this idea that.

Not moving so fast. >> Mh-hm. >> You're talking about the actual, when we were programing the camera to slide. >> Mh-hm. >> That's really a matter of setting the interval or the number of shots, right? So for example, when you set up the moving slider, and you programmed it. How many shots did you use to go from one end to the other? >> Well the usual is about 300, which is going to give you some where about 20 seconds for 15 seconds of usable time lapse footage. >> And, and that often works right? >> It usually does when you move a very minimal slow amount just enough to add that extra dimension of movement in your scene.

But for this shot particularly we were trying to show the entire city skyline, we were much more ambitious than we should have been. And we shot you know, only 300 photos for the entire stretch. >> Right, and in this case because you're shooting so wide. And you're shooting such a large, expansive area, it just feels a bit frenetic. I mean, the individual frames are beautiful. >> Mm-hm. >> The exposure's great, the contrast ratio looks good. >> Mm-hm. >> The skies have great detail, but when you watch that play back, it's just a little bit. I, I hate to use this word because it's such a bad word, but makes you feel a little nauseous.

>> Yes. >> Or a little edgy doesn't it? >> And sometimes that's good, but in this case it's a little too, too jumpy. >> If you were to go back and have this opportunity, you'd probably shoot with more frames, right? >> Absolutely, this was about 300 frames. I would love to actually get another chance at it and shoot 500 frames, maybe 600. Just to slow that motion down at half-speed. Which i think would be a really good end result for this time-lapse. >> Sometimes the reality is that the clients want the shot a week ago. Or you're like, I just want to go back it'll be so much better. They're like did you get it? Well, yeah, but it could be better. I just need it now. >> All right.

You mentioned cut this to half rate. I brought this shot into After Effects. Normally when you input this into After Effects it comes in and so we've got about 16 seconds at 23 frames a second. >> Well, one of the things that After Effects does is you can take a shot and you can interpret it. So if you right click on that shot you could say Interpret Footage > Main. And I just cut that frame rate in half. So instead of 23.976 I rounded down to something simple, 12 frames a second. Now, this is kind of like we shot twice as many frames.

But, if we just look at this right now, what do you think the result's going to be? >> It's going to basically double up frames. So it's going to cause a very stuttering, type of effect like you see right here. >> Yeah. And, yes it's at half the speed. But basically, each shot is going to like, frame frame, jump, frame frame, jump, so it just kind of seems like stuttery video. >> Absolutely. >> But what would you do? >> well, what we would do is, we would actually put it into a 23976 comp, or whatever kind of frame rate we're using right now, in this case 23976. >> Okay, so I got this at 12, so we'll just switch this here.

And we'll go on over to 23976. But now, by default, it's still doing the same thing. It's just repeating each frame twice. >> Now we just add After Effects built in frame interpolation. >> Yeah. So we got to turn on our frame blending here. The first switch that you have to turn on is the one up top, and what it basically says is Allow Frame Blending. So we've turned it on globally, and then we got a two part switch here. Why don't we take a look at both? This is draft. And, I know that this is going to bug you right now, right? >> It does, it does very much. >> Yeah, you spend all this effort getting crisp photos and it basically goes crisp, blurry, crisp, blurry.

And so technically, what's happening here is it's saying oh, I'm a clean photo, and then if you go forward two stops I'm a clean photo. And in between it's mixing them half and half. If we go to full quality here that snaps right in. >> Perfect yep. >> And essentially, what After Effects is doing is morphing between the frames. >> Mm-hm. So we're going to cache that and let it preview out. And when we play it back it's going to look better. This is a bit processing intensive. You've been a long time After Effects user.

>> Mm-hm. >> Normally. You would probably load a bunch of these shots up and then let them run and go do something else, right? >> For a couple weeks, yeah. >> Gotta let happen hear it. Keith came back from the desert. I had a bunch of shots. I've been trying to catch up. He got done before me, but you've spent weeks processing all this footage. >> Absolutely. A lot of time. >> And that's something you need to realize about working with time-outs. It's not the sort of thing for the top quality time lapse that you click a button or it comes out of the camera and it's done. And there it is with that advanced morphing, the advanced frame blending. And I agree with you, if we shot it with double the frames it would've looked better, but that still, if the difference is getting it having to pay to go back.

>> Mm-hm, essentially most of our objects in this scene too are very fixed. So the interpolating that it's doing is, is flawless. Now the only thing that are moving are the planes and you can see some small ghosting. >> Yeah, the little helicopters, right. >> Other than that, this did a fantastic job. >> So I guess the takeaway here, if I'm understanding correctly, is consider shooting a few more frames. >> Mm-hm. >> Because its easier to throw away frames than it is to make new ones, right? >> Absolutely, if you have the card space, definitely, try to use it. And, you know, use as much as you can. But if you don't shoot enough, there's, there's almost no fixing it except for in cases like this.

>> Yeah. This is a little trick. This won't work in all cases. So consider shooting more frames. >> Um-hm. >> But if it is something that you want to try fixing, cut the frame rate in half, turn on Advanced Frame Blending and roll the dice. See what happens.

Show transcript

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. Obtaining a permit
      1m 43s
    4. Shooting duration
      1m 55s
  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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