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Dustin Farrell's Time-Lapse Photography: Start to Finish
Illustration by John Hersey

Dustin Farrell's Time-Lapse Photography: Start to Finish

with Dustin Farrell

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Dustin: (MUSIC) you can make images that are not possible with video camera. A lot of the gear that I'm using it's got to be portable, because lot of these locations are really hard to get to. Figuring out how far the dolly have moved over so much time, plus, line that up with the pacing of the Milky Way. When you're looking at the lighting, you can barely even see it.

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Dustin Farrell's Time-Lapse Photography: Start to Finish
36m 25s Appropriate for all Aug 16, 2013

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Time-lapse photography allows Dustin Farrell to capture amazing imagery that no other medium allows—and that even eludes the human eye. He can track the passage of clouds and stars, and document the tiny changes in landscapes and everyday scenes over time. Find out how he shoots his time-lapse photos and reassembles them into remarkable films in this installment of Start to Finish.

We follow Dustin into the desert of Devil's Garden in southwestern Utah, to find out how he transports and sets up the equipment required to capture his shots—from dollies and motion controllers to LED lights and camping lanterns. Back in the studio, he demonstrates how he realizes his vision with tools like Adobe Camera Raw and After Effects. Although the process may be long and unpredictable, in the end he has a final sequence that is otherworldly—rendered with real-world technology.

Subjects:
Video Start to Finish Filmmaking Shooting Video Documentaries
Author:
Dustin Farrell

Preview

Dustin: (MUSIC) you can make images that are not possible with video camera. A lot of the gear that I'm using it's got to be portable, because lot of these locations are really hard to get to. Figuring out how far the dolly have moved over so much time, plus, line that up with the pacing of the Milky Way. When you're looking at the lighting, you can barely even see it.

But the camera, when you're going to do a 30 second exposure, brings out that light like you wouldn't believe. I just bring things directly into After Effects, and so I can add key frames and I can adjust my framing as the shot is moving. Now that I've done so much time lapse, it's just second nature. The final product always makes the process worth it. (MUSIC)

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