If you want to start working with these tools, I wouldn’t even try until you’ve had some coffee, watched a bunch of the videos from KesslerU, and read some of the stuff put out by Preston Kanak on motion timelapses. Most people don’t comprehend how this kind of thing works, so coaching them becomes exceptionally difficult.Ī note about working with motion timelapse systems: I spent about 3 hours working with Seth to study the rig and run it through it’s paces, and in the end we still had some difficulties using the control system. Not only on the technical and rigging side, but also directing any victims or I mean volunteer talent, as they will need to ‘act’ for an extended period to give the needed motion to the shot. It really helps to have at least 2-3 people working on a timelapse setup. Let me just say that planning is CRUCIAL when shooting timelapse sequences as part of your day- you have limited time, and if something goes wrong, you’ve just potentially blown hours of work. Since it really is a process and can take a while to put together products, what better way than a timelapse to show it off? We shot about 4 motion timelapses, but were only able to use a couple of them in the final edit. We wanted to activate the space and add some motion to create some energy in the assembly process. I did post work in Lightroom and exported each series as JPGs and brought them into Premiere.Īs you can see in the video, we set up the motion slider system around the area we came to call the ‘assembly line’. We disconnected the lens slightly so that the exposure wouldn’t flicker. The DSLR we used was a Canon 40D, with the Tokina 11-16 lens for most shots. I used this setup as well for real-time moves, but it would have been just as easy to move the camera by hand if I didn’t have the motor/drive system. I armed Seth with a Pocket Dolly equipped with an Elektra Drive and an Oracle controller for his motion timelapses. I looked into the Dynamic Perception setups, but ultimately I found that instead of purchasing, I could rent a Kessler setup from at a pretty reasonable rate. Figuring out all of the numbers for a proper timelapse can be tricky, starting from the final desired length of the video clip, to considering the length of the track for the timelapse move, then determining the length of the exposure… it’s enough numbers to make your head spin. This guy is a genius when it comes to figuring out the math behind executing motion timelapses that will yield good results. The ace up my sleeve was my good friend Seth McCubbin, who specializes in timelapse work. Having an engaging, moving video was important to my client, so adding energy to scenes through action on camera or unique camera moves was something that we needed to make happen. I put together a crew with different sets of specialties, so that the final footage would show a variety of unique shots and keep it interesting. (I used the production documents that I outlined in another post to keep things in order!) We originally wanted two shoot days, but to keep everything within the budget, we had to cut some of the other fun stuff I had in mind. Going in to the shoot, we had a shotlist of about 30-40 different shots we wanted to capture, and only one day to do it.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |