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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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On this shoot the behind the scenes crew is being headed up by Doug Dalton who's are DP. Doug gave me some help last night. We got everything rigged up and we went out and tested this gear. We really wanted to make sure it worked completely before we headed out on our real shoot today. You see every time you change vehicles you gotta test the gear all over again because you don't know if it's going to work. In fact it's always a good idea to test. Now what we did here is we attached two additional smaller suction cups. And they have a bar coming off that basically creates a triangle and it attaches to a little unit that hooks into the top of the camera with a hot shoe.
Now the good news here is that this creates three points of contact. And just like a table you got three legs you got a stable platform. So that's going to work really, really well. I'm amazed at how much stability this added. So instead of the camera vibrating up and down it's rock solid. In fact we pulled a little bit on that and were able to actually move and rock the car. That's how solid this was. So it's pretty amazing. It's all rigged up so I think it's time we head into the car. We're going to start driving around and I'll walk you through how we set up the camera and balance the exposure triangle.
We are in the car and off and rolling and you notice we've got a pretty stable platform. Down here at the base I've got connected to the glove compartment box. It's a little bit porous so I suspect throughout the day it's going to come a bit loose but that's okay. We just put that little lever there to pump up the tension and that sucks out the air and creates a better seal. These up here are looking pretty good. If it starts to show red throughout the day we'll know that we need to pump those a bit. But look how stable that is three points of contact. Got a nice triangulation here between these real solid.
It's connecting to the hot shoe. Nice solid platform here. It's really absorbing all of that vibration quite nicely. Now by contrast if you look over here at the GoPro it's kind of a little bit more vibration. It only has a single point of contact so it's going to bump around a little bit. But it's a lighter camera so it shouldn't be as susceptible. And if I needed to I could shove something underneath there. Maybe some padding or a pillow. But all in all we're looking pretty good here. going to frame up that shot. And I think we're just about set.
Remember I do have some flexibility here with the ball head to do a little bit of adjustment. But all in all that feels pretty good. Let's just tighten that down. Alright. I think that's going to hold pretty well. For safety I'm just going to take my straps here and hook'em on out of the way. That way if something is to fall it's more likely to catch. Alright, I feel pretty good about that. Now we just need to talk about power.
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