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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 are about ready to start recording, and I need to make a decision of what type of file format I'm going to record with. Now with the GoPro, it's not really much of a decision. It's pretty much JPEG, but that's going to work okay. Now looking at that shot, it's working pretty well. It's a tad bright for me, but I'll be able to recover that. Remember, the GoPro doesn't have nearly as many options. About the only thing I could do is connect to that GoPro wirelessly and make a couple of adjustments with the app, which I'll do in just a second.
With my bigger camera here, I of course have the option of RAW. Now RAW is going to take significantly more space up on the card, eight to ten times more. But it's going to give you such tremendous latitude of bringing things out, like the mountain range out there, the details, the selective contrast and clarity. In this case, I've gone through a lot of effort to get the shot. I'm going to get the best shot in the can that I can get. Memory cards are cheap. We swung by an electronic store last night and picked up a few more so we have no issues to worry about.
So I would strongly recommend you get a bigger memory card and just shoot RAW. It's going to give you the value and the clarity that you want. Now, if you are shooting in a situation where that's not an option, and the lighting is relatively constant. You know, it's about 11 AM right now. Pretty even lighting for the next couple hours. I could get by with JPEG, but as you're dealing with mixed lighting or transitional time periods, shooting with RAW is going to go that much further.
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