For the example hyperlapse below, I shot 150 frames knowing that I wanted my end result to be a 5 second clip at 30 frames per second (30 frames per second x 5 second clip = 150 frames).Īnother step in the planning process is trying to visualize what motion you want to show in your end product. Once you have decided on your frame rate, you can multiply your frame rate by the number of seconds you have chosen for your desired clip length to get the number of photos you will need to capture. I typically aim for a minimum of 5 or 6 seconds. Next, visualize how long you would like your hyperlapse clip to be. The clip length will ultimately depend on the frame rate you would like to use, meaning that you should have an idea in advance of whether you will be using 24 photos per second of video, 30 photos per second of video, or even 60 photos per second of video. The key to planning out a hyperlapse clip is first deciding how long you want the clip to be. A stopwatch (if you will not be using an intervalometer).An assistant to help with preparing and setup.Measuring tape (for measuring movement intervals).Intervalometer (technically not required, but highly recommended since you would otherwise need a timer and a keen eye to time your shots manually).Tripod or some other kind of moveable support.
TIME LAPSE PREMIERE PRO CC HOW TO
For an intro on how to capture and process your own time lapse footage, take a look at Rusty Parkhurst’s tutorial here.įor the example hyperlapse I shot for this article of the Zakim Bridge in Boston, Massachusetts, take a look at the video at the bottom of this page.Įquipment Needed for Hyperlapse Photography Think of it as stop-motion animation with a digital camera, except you will be moving your camera each frame instead of your subject. In hyperlapse photography, the camera moves between each still frame, allowing not only the movement of surrounding objects like clouds, people, or traffic to be captured, but also the movement of the camera relative to the scene it is in. Hyperlapse photography is a specialized subset of time lapse photography in a similar way to how time lapse photography is a specialized form of still photography. Hyperlapse photography, on the other, adds a new dimension of movement to what still photography and traditional timelapse offers.
Even with technical equipment allowing cameras to rotate around an axis or creep slowly along a rail, conventional time lapse is still limited since the device supporting the camera typically stays in place. Blurring, panning, and light streaking, for example, certainly have their place in photography and can provide creative ways to show motion, but a single photograph can’t capture movement the way time lapse photography does. One of the most noticeable downsides of still photography is how it limits the way motion can be captured.