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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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The bulk of the shots that we shot for Hyperlapse were driving shots during the daytime. And these are much easier than nighttime shots because the camera sensor doesn't need to work nearly as hard. You're not trying to capture low light type situations so you get pretty solid results. Let's take a look at a series of files from that exercise and I want to show you what we got. To begin we'll select a bunch of files in Adobe Bridge and then right click and open them into camera raw. Now you're taking a look at the file here and it looks pretty good.
There's nothing wrong with this image. It's just not as good as it could be. To start off I'm going to select the crop tool and choose a 9x16 crop and crop out the dashboard. Press the Return Key to apply it. Next I want to address some of the exposure issues. Now for me,I'll click auto as a starting point but lets recover the highlights a bit and lift the shadows a little bit more. And then find a good balance there with exposure. Remember you can see clipping indicators up here.
Adding some clarity in starts to bring out some of the details. You see there that the road texture really starts to read nicely. And then vibrance pops that blue sky quite well. Now I'll take the eye dropper here and click on something that should be white. Which gets me in the ballpark. It pushed that line to white but it's a little too far so let's back off the tint and take the temperature a little colder. That did a pretty good job there. Sometimes you'll need to refine temperature and tint if it goes too far in one direction.
Alright. All in all that feels pretty good. Little bit of contrast and bring the overall saturation up. And I can now take that and apply it across the board. So if I click Select All > Synchronize I can choose to select everything. And then include the crop in that selection. And click OK. All of the other images will now update to those new settings. And what I can do is spot check these. Now obviously we were shooting under different lighting conditions and for a pretty long time here.
This is almost three hours of shooting so the lighting conditions changed over time but not bad. And it looks to me like we can refine this pretty subtly during post production with some filters. But the blue sky feels right. It feels like a cool brisk winter day in the mountains. And I like how the red is still peaking through. We've got nice rich blacks good clean whites it feels good. And so all I need to do now is click Save Image. I recommend you write these out. You could choose to go to the Rec 709 color space if you'd like to be the most accurate.
There it is HD 709 and 16 bits per channel. Feel free to save that as a JPEG or a TIFF. And you can target a specific folder or write it out to the same folder and move them later. When you're ready just click Save. Those files will start processing on export and when you're all done just click the Done button to store your settings.
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