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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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Once the files are exported, it's just a good idea to isolate them into their own folder. I have moved all the JPEGs into one location, and using our Tools, Batch Rename command, I found it very easy to rename these so they have a consistent file name. All I did was typed in, hyper, day, this was shot 2, underscore and then 001. When I click rename, the files are batch renamed, giving me no breaks in the files.
Now you'll note right here in bridge, you could almost get a pretty good idea of what's happening. If I make this a bit larger, I can just start to scroll through. Or hold down the down arrow key, and get a nice quick preview of what this is going to look like. I'm very happy with the overall color grading, even as we go through shadows in different parts of the mountains. It feels like it's holding up pretty nicely. There's my hand passing in front of the camera periodically indicating that we made a few tweaks to exposure other settings. And that's just a cue for us to know that, these are experimental shots.
We were trying out different options. Alright, that looks pretty cool. Now that we have a rough idea that this is working, let's head on in to Adobe After Effects.
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