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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.
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Okay, let's begin by processing our test shot. You may recall that we drove around Las Vegas and we fiddled with the dials to just see what the different settings would do. Along the way, I captured some different settings, but I'm going to process this entire sequence and use it as an opportunity to sort of review what worked well and perhaps what didn't. Now to start, I'm going to develop in Adobe Camera Raw. Now when I click on an individual file, I can see the relevent metadata. So I started shooting at 3.2.
And as we continued to shoot throughout, I would make small adjustments to the camera. Now this was useful as it let me try out some different settings. So for example here, we're still at 3 2 and a 25th of a second. Which is giving us a little bit longer streaks, but then as we started going more, I started changing it. Here I switched to f8, so little smaller f stop, which led to a longer exposure almost half a second. And you see that the traffic is starting to become streaks. And as we continue to shoot we just explored different options.
You see here for example an eighth of a second of f5 this is because we were going down the highway and I was finding that the longer exposures was rendering everything too blurry, so here we get a sense of perspective an energy, but a little bit of variety. So as you could see here, these shots have a few different f stops, and exposure times, but that's okay. We'll just develop this as a single set, and then take a look at it to see how they work. To start, I'm going to use just Bridge to invoke Camera Raw.
So, I'll select all. And then right-click and choose Open in Camera Raw. 740 files open up pretty quickly. Now, what you want to do is scroll down to an image that's relatively representative of the type of stuff you're going to be developing. So navigate through. Find a good image that really captures the feel. This traffic one's not bad. Let's take a look a little earlier when we were on the strip. That looks pretty good. Let's go there. And what I'd like to do here is modify this image a bit.
To start, I'm going to crop it. Now, I know I need to deliver 16 by 9. Plus, there's no reason to see the dashboard here, since the camera was shooting wide. Remember with the camera's more 4 by 3 aspect ratio, it captured more details than we needed. Alright, that looks good there. And let's go from that and start to make a few adjustments. I'll click Auto exposure to see what it thinks. And it brought it up, but we need to be careful of noise and going too far. So let's lift the Shadows up and pull the Highlights back down.
As I work, I like to make sure that my clipping indicators are on, so as we start to work with this image we can get clipping warnings. So for example let's overexpose this here a bit. And if clipping indicators are turned on, you see that it tells you that there's a problems with those pixels. So what you need to be careful of here is that the highlights of the image do not clip. And we can do that here by lowering the Whites slightly, and playing with the Shadows and the Highlight slider. Let's back that off just a bit.
Looks pretty good there. A little bit of clipping is going to be okay. And I'll add some Clarity for selective contrast. Punching up the blacks. Since it's the Vegas Strip a little bit of color goes a long way, but lets take the eye dropper here. And click on something that should be white and that gets us a closer white balance that can now be refined a bit. This really is subjective. I do recommend that you zoom into 100% then take a look at noise. Because this was a micro four-thirds sensor, it was a little more susceptible to noise.
So, I'll reduce that. I don't need to go too far, but that seems to help. It will back the color noise off just a bit. Alright, looking pretty good. Let's back the exposure down a small bit more. Little bit of clipping on those bright headlights are going to be okay. Now you might be wondering. Why we shot this on a still rather than just video that's sped up. Well, things like the starburst here are really indicative of a film or a still camera with the longer exposure. Plus the streaking in the camera here worked out quite nicely from things that are moving.
So I was really able to get some longer lines and better control over motion blur. Let's refine this just a little bit. Little cooler. And put a little Tint in there, balance that out. Looks pretty good. Add a little bit of Contrast in. That looks nice and rich. Let's back those Shadows down a bit. And we'll lift the Highlights back. It's looking pretty good. I'll recover the Whites a bit more, though. There we go. That does a nice job of pulling them from clipping. And we'll lift the overall Blacks slightly.
I think that looks pretty good there with the Vibrance and the Clarity, I'll just put an overall boost to Saturation. Remember Clarity is a selective boost to contrast and Vibrance is a selective boost to saturation, it affects the blue and green tones differently than it does skin tones. That's looking pretty good and what I want to do now is select everything. And click Synchronize to apply the settings across the board. Now, when I do this, I need to make sure that I do include the Crop settings.
And, I didn't make any Local Adjustments or Spot Removal, so it looks pretty good. I can click OK, and you'll notice that all the images become synced, and the exact same settings are applied across the board. Now, you don't have to wait for that to finish updating, in fact, but if you want to see it you can. You can note at the bottom here you'll see the exclamation point gets replaced. And, what we can do when we're ready, is save these images out. Now, first I recommend you click on the hyperlink text here and consider including a little bit of sharpening for the screen.
Plus, on a Color Space side, I'm telling it to export these to HD 709, so it's in a video color space. You can apply that right up there. Alright, that looks pretty good and what I'm going to do now is click the Save Images button. This brings up a new dialog, and I could choose to save them in their current location, or select a New Folder. I'm going to write out maximum quality JPEG files. Now, if I was doing this for a normal workflow, I'd probably stick with TIFF, but since I need to make these files ready to share with you.
I'm going to go for a JPEG 12, which is a really high quality JPEG file. I could assign the Color Space if I want. You could go ahead and assign 709 there for example. And this is where you can also apply the sharpening options here and say Sharpen For Screen. When that looks all good, just click Save and then sit back and wait. Now, this export process is going to take a bit of time, but it's a pretty automated process. So while it's running, you could actually go on to the next image and start to develop it. This is something that runs truly as a background operation.
Now if you're a Lightroom user everything I did there is exactly the same. The sliders are in a slightly different place. I just often prefer to use Adobe Camera Raw.
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