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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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We're out on this desert trip shooting a lot of different types of time lapse. Hyper lapse is just one of them. And, what I want to be careful of is that I don't run out of storage. Now, I have a laptop in the back of the car here. I'm using a DreamColor display so I can check my accuracy, it works well, but, any laptop has a built in SD card reader these days, it makes it pretty easy to use. And this is going to make it so that I can check my shots. But what I really want to try to avoid having to do a bunch of, is transferring the footage from the cards to a computer.
I got enough to do. I got beautiful scenery. It's easier to just have extra cards. So, I've got a solid card wallet here. Nice, good, hard, solid case. This particular one's from Pelican, but there's lots of folks like this. And what's nice is, is that I could actually drive over this case if I needed to. But it's solid here, locks in. It's actually waterproof. And I've got plenty of storage. I've got 128 gigabytes cards, 64 gig cards, lots of cards to work with. In fact, I actually have two more card wallets for all the video we're shooting.
Now you'll note here that there's a small slot and this slot is where the GoPro cards can go. So I can actually slip in additional GoPro cards into these smaller slots within the card wallet. You see I have one right there, and that's going to make it easy to keep the GoPro cards when we're done. Additionally, with these SD cards, I can also flip the tab over when I know that they are full, and I'll also load the card in upside down. So, I'll lock the card, and then I'll put the card in backwards as an indicator that it's been used.
Now, it's also a good idea to keep a written list. And I'm going to renumber all of my cards here before the next shoot to make it a bit cleaner for myself. Usually I don't have quite as much storage to manage, but this is already doubly safe. I locked the card that's already been exposed, I flip it over. If I really wanted to be precise, I'd have unique numbers on the card and I'd keep an extra set of list in my pocket to know which cards are already shot on But that's going to work pretty well. Now, I'll keep that locked up. In the camera right now, 128 GB SDXC card.
Chances are, I'm going to be able to shoot all day long at RAW with that card, which is great, I don't really have to worry about things. Over in the GoPro, 64 gig micro SD card. High capacity as well GoPro's only shooting seven mega pixel JPEG images in this case, so I'm not that worried about storage. Things look pretty good I think we're about set up here, so let's move on and talk a little bit about controlling reflections with the giant piece of glass in front of the cameras.
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