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Shooting duration

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

Video: Shooting duration

When discussing shoot duration, there are two different

Shooting duration

When discussing shoot duration, there are two different types of shoot duration that we're talking about. The first is the actual duration of the time lapse itself. How long is the entire time lapse going to be running? Is it going to be running two hours, three hours? This all depends on a number of factors. The second duration is your exposure duration. How long will each frame actually take? second, two seconds, a minute? It all depends. When trying to figure out the duration of my time-lapse shot, the most important thing I try to take into consideration is what my subject is doing, and how fast my subject is moving.

If my subject is a city-based, fast-paced moving subject, usually my time lapse is very short, ten minutes, 20 minutes or so, is enough to cover all the action I need in the scene. When you're shooting something like clouds, the duration of your entire time lapse is usually stretched out a lot longer because clouds take much longer to progress in the entire scene. It can take sometimes as much as two hours, three hours, to actually capture all those clouds in your shot. Stars, much longer than clouds. Sometimes four to five hours to actually get a really good progression of the stars moving throughout the scene.

So, those things are the first things you want to think about when you're setting up the duration of your actual time lapse shot. Another thing to take into consideration is an event-based time lapse, things like a stadium filling up or the moon rising. Things that you can't control and you only have a short window of time to actually capture that time lapse. The time of the event will set the duration of your time lapse and tell you exactly how much time you have to make your time lapse happen. Besides the duration of your actual time lapse, the second thing you have to take into consideration is your exposure duration. How long is your actual exposure of your shot going to be? Is it going to be 30 seconds, two seconds? When capturing your image you have to take into consideration the exposure triangle.

What's your shutter speed going to be? What's your f-stop going to be? And what's your ISO going to be at to capture the exact shot that you want? Once you have all those settings factored in, make sure to shoot, always in manual, to avoid any type of flickering or inconsistencies from shot to shot, and with that, you should be good to go.

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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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