Create a Parallax Hyperlapse

1. Intro: Hello everyone. My name is Victor Hughes and I'm a director and visual effects artists. You might recognize me from my YouTube channel where I teach visual effects tutorials, as well as host a psychological thriller movie review and discussion podcast. And I also post some other vlogs to today. I'm going to teach you how to create a parallax hyper laps, or what I considered to be the king of all labs. In this class, I'll be teaching you the difference between a time-lapse, a hyper laps and a parallax hyper laps, as well as teaching you how to shoot and edit your own parallax hyper laps. We'll be editing our photos and Adobe Lightroom, and then we'll be finishing off the hyper lapse in Adobe After Effects. And don't worry, if you felt a little intimidated when I said Adobe After Effects, I'll be teaching you how to get the same result using Adobe Premiere as well for this class, I've also provided all of my raw photos in case you don't have access to your own so that you can still edit and follow along. But after you've nailed the editing process, I encourage you to go out there into the world and create your own parallax hyper lapse from scratch. Now without further ado, let's learn the parallax hyper laps. 2. What is a Parallax Hyperlapse?: Now before we can even create a parallax hyper laps, we need to know what separates it from a regular hyper laps and a timelapse. Time-lapse is typically a stationary shot that is showing the passing of time through incremental frames, whether that is a photo every ten minutes or one minute or 30 seconds, or you could film for 30 minutes and then speed it up. Now, a hyper lapse is basically a time-lapse that is in motion. I'm sure you've seen this a lot in travel films because it's a really good way to show off location and add energy. And now a parallax hyper lapse is that hyper laps, but you are adding a Zoom. You are either zooming in or you're zooming out. And the reason this is so cool and creates a parallax is because you're either walking forward and zooming out or you're walking backwards and zooming in. Of course, you can walk and other directions, but the changing of your camera's location and relevance to the subjects location will then create a parallax. You'll often see parallax is used in Hollywood in a very dramatic scene, for example, this scene and jaws. Now to understand what a parallax really is, you have to understand how zooming works with a camera. Now when you're zoomed in on a subject, the background becomes very large. There's a lot of compression between the subject and the background. When you're zoomed out filming your subject, the background becomes very small, more similar to how we see it in real life for this parallax high burlap. So we're going to be shooting, you're going to need a variable zoom lens for me, I'll be using the canon 24 to 70 millimeter F2.8 L series lens, the 24 to 70 millimeter is the focal range. The more variability that you have on your lens, the longer you can make this parallax last. Now finally, I think you should think of each of these methods, time-lapse hyper laps and parallax hyper laps as tools to show off the location or to tell a story. Don't get me wrong. They can be really fun to make just for the heck of it and I do that all the time. But if you're going to be using one of them for a more long form substantive project. There's definitely going to be one tool that's better than the others depending on the circumstance. For example, I think time lapses are great for showing the passing of time. And when hyper lapses, I think they're great for adding energy showing distance, as well as the passing of time. And then you've got the parallax hyper laps, which can add energy, euphoria, distortion, this orientation distance, as well as the passing of time, much like you wouldn't use a tripod for every shot out there because it might not be the right tool for the job. Same goes for time-lapse hyper laps or parallax hyper laps. Now in the next episode, I'm going to show you my camera settings and how I set up my camera to shoot a parallax hyper laps. 3. Camera Settings: In this episode, I'm going to show you how I set up my camera settings to shoot a parallax hyper lapse. So you can see here that I am already set to shoot in video and that's how I normally am default, so I swap it over to photos and then I opened up the menu. First thing that I'm going to do is make sure that my picture style is changed back to standard because I shoot flat for my videos. Now after that, I'm going to go over to the white balance and make sure that it's set to daylight. If you opt for auto white balance, it's going to be very hard to make your photos work together in a sequence without the temperature changing. Next thing I'm gonna do is make sure that we are shooting in raw. That will give us a highest resolution possible and the most control over the colors and exposure. Now after that, I'm going to move over to the grid display and turn on our three-by-three grid. That's going to help us line up our hyper laps. Now I press the Live View button again. Now you can see we've got our aperture already set to 2.8, which is where it's going to stay. And then I'm going to crank up that shutter to 250 so that there's not a lot of motion blur. And then I'm going to turn down the ISO to 100s since we'll be shooting outside. And then I make sure that my lens is set to autofocus. And finally I pull out my ND filter and screw it onto the lens of my camera. 4. Photographing the Parallax Hyperlapse: So now we're going to shoot the parallax hyper laps. Right now, I am in an outdoor mall, and I chose this place for three reasons. One, it's a relatively controlled environment where I don't have to worry about getting hit by a car. And so make it easier for me to teach you this and do it at the same time too, because they have a decent sign right back here that I'm going to shoot. And three, because our plan a didn't work out because they were doing construction. So the first thing we're gonna do is establish a starting point for the hyper laps and then determine about where you're going to end the hyper laps. And keep in mind that if you start up close to something, you should be all the way zoomed out. And if you start far away, it should be all the way zoomed in to get that Parallax effect. It doesn't hurt to walk the line of your hyper laps to see how it's going to be framed up. Either once you've established a starting point, you're going to open up your camera's live view and use that grid that we now have on the camera to line up a certain point on the sign or whatever you're taking a hyper lapse of. And every photo that you take, you're going to want to try and meet a point in-between two grid lines and make sure that everything is staying exactly lined up for every photo. Whether you're going to keep the sign in the center or off to the left. Do you want to try and keep that framing consistent? Also, I like to use a camera strap. I'm not a huge fan of using a tripod because I think it slows me down. And once you start shooting, time is of the essence. I liked the camera strap because it provides protection from dropping the camera to a provides stability. And then three, it also provides maybe a little bit of a deterrent for someone to run up on me and try and take my camera camera strap all the way. Now some quick tips before you get started. Like I just said, time is of the essence. So once you take your first photo, you need to keep in mind about how long the gaps are in-between photos and try and keep a consistent because even though it's a hyper laps, we're still trying to make it look like it's a time-lapse. So if there's a crowd of people, clouds, sunset, if there's giant gaps of like clouds moving here, they're moving consistent and then all the sudden they're gone. That's going to throw off the viewer when they're watching your hyper lapse. So try and keep time in-between every photo consistent. Also, before you get started, determine how many steps you're going to take in-between every photo and keep it consistent. I normally decide this based on how much space I plan to cover with the hyper laps and based on how long I want the hyper laps that bead keep in mind that the industry standard for films as 24 frames a second. That means that 24 photos is going to equal 1 second of video. Now you also have to take in consideration your zoom lens. So right now I've got a 24 to 72.8 Canon L series lens. And the 24 to 70 is our focal range. So whether you start zoomed out or zoomed in, you're going to want to keep the Zoom amount consistent and it will require meticulous care to slowly zoom in or out. So for me, my hyper laps will end when I'm zoomed all the way out or zoomed all the way in depending what I started with. Now a little warning. Try to not let yourself get too distracted by your surroundings because it only takes one little slip up, one oh, I pretty sure I took a photo right now or I'm pretty sure I zoomed in already, but you didn't. That can easily ruin a hyper laps and that one little mistake will make it look jarring to your viewer. But at the same time you want to stay aware of your surroundings so you stay safe. Now one last piece of advice, I try to avoid adjusting any exposure settings, whether that's the shutter, the aperture, the ND filter. I don't do it. The reason I'll adjust any of those exposure settings is because in post it can be really hard to blend those photos in together without it looking jarring to the viewer. It's not impossible, it's just difficult, so I just avoid it altogether, especially if you only have one chance to get a certain hyper laps, for example, a sunrise or sunset, just need to decide if you're willing to risk ruining the hyper laps. Now with that, let's shoot. I decide I'm going to start right here. And based on the framing and my live view, I am going to be lining up my top grid line with the n on that sign. And we're going to walk directly down this line, keeping that sign centered the entire time. It's now going to walk down this line. I'm going to count how many steps it is just to give me an idea of how many steps I should take. But then also I want to see me framing once we get to the endpoint. So that was about a 120 steps here, and I like the framing. So I think we're going to take three steps in-between every photo and now be about 40 photos. So it will almost be two seconds long. Alright, so I just ended here all the way zoomed out, started zoomed in. That worked out perfectly. And I love a camera like this that has a dial because I can just go right through these photos and tell whether or not I got a good hyper laps. And it's looking pretty sweet to me right now. So let's get to editing. 5. Editing the Photos: Alright, so now we're going to edit these photos in Adobe Lightroom. So I've got Lightroom Classic pulled up and here's just some old photos. And so all we're gonna do is go up here to Library, import and then locate your photos. I've already taken my photos off my memory card and put them onto a hard drive so that they're easier to locate and imports. So I'm just going to locate them right now. Skillshare hyper laps around two and we actually only got 36 photos at this, but you can't get it down to an exact science all the time. So these are all checked and you can uncheck all or check. All right, here. Now go over to import. And here they are. Now we're going to go Develop and we're just going to put a basic edit on this. So in this first round of edits, I'm not going to change the angle of the cropping. I'm going to leave it the same because this set of photos we're going to edit in Adobe After Effects, I'm going to show you that you don't even have to fix this in Lightroom because it can be pretty tedious. But then we'll also fix the angle and export them separately so that we can edit this in Adobe Premiere if you don't want to use After Effects. Alright, so let's get to work. If you'd never used Adobe Lightroom, basically all the stuff that you're gonna be doing to make adjustments is right here on the right side. And I'm just going to scroll down first things first to the Lens Corrections and Enable Profile Corrections. It immediately recognizes my exact lens. But if yours doesn't, you have some obscure lens or maybe Lightroom just doesn't know what it is. It might be on here. You can search for the brand and the local range, whatever it is. You could probably find it right here. And this isn't necessary. You can see how the vignette changes and the distortion of the lens changes. So I start with this because it immediately brightens up the image. We can also go back in and add vignette later. So now back up to the exposure. We're going to boost it up just a tad. I like to grab some of these sliders and just move them around to see what I liked better. But typically I like a more cinematic look to photos. So I'm going to drop the shadows just a tad, drop the blacks just a tad, and then drop the highlights just a tad. And now we're going to boost the exposure again just to make sure that it's staying well exposed. And if you want to reset any of these sliders that you've changed, instead of trying to go back to 0 or type in 0 right here, you can just double-click and then Command Z to undo if you want to see the difference of where your photo started versus where it is now, just go ahead and hit the slash button on your keyboard. Now show you the before and after. Alright, so I'm going to go down just a little bit and I'm going to lower the vibrance just a tad once again. Now here is what I think is the most powerful tab on here, and that is the HSL color sliders. So we've got hue saturation and luminance. And I'm mostly just change the hue and saturation. But even luminance is pretty powerful too. So I'm going to start with the hue. So I'm going to change my blue just a little bit. And this one I really liked the eyeball. I don't necessarily care too much about these numbers. I just want to make sure that the image looks good and any color contrast is definitely welcome. Try and move the yellow to the orange. See how that looks like that. Alright, now we're going to move over to the saturation. Definitely want to change the saturation of the blue, but I'm not a huge fan of this super punchy blue. Might just, might just desaturate it a little bit. Then I might adjust aqua as well. Because sometimes you'll get some aqua and there you can see it's definitely changing. So I'm going to boost the Aqua to 15, that blue to negative eight. You can always go back and change some of these adjustments. I mean, right now, all we're seeing is a sign probably would be smarter to edit on one of these photos down here because we see a little bit more of the colors that are involved. But it's so easy to change. It really doesn't matter for me right now. Alright, and then let's see what the yellow changing. The thing about yellow is that a lot of what green is, is made up of the yellow, honestly boosting that yellow does more to the tricolor than boosting the green. And that can be frustrating sometimes because I don't like how poppy the green colors can be, but I also do like what yellows can do. So I'm going to lift the yellow saturation just a tad and lowered the green saturation just a tad. And I'm going to raise the hue of the green so we get this more Washington kinda look, there's deeper green. I'm going to return yellow to normal to returning yellow for saturation to 0 for right now as well. Now go into luminance, maybe I'll go negative ten. This change is negative five. Alright, now I'm going to double-check by hitting Slash. Seeing how that looks. I like this. I'm liking the color of the sign and there is some light color contrast going on. And now another super powerful tab here, right here in the calibration. Look at if you've ever wondered how people make teal and orange photos, this is a good start. Clicked. I mean, obviously that's way too over the top, but you know, you just use this as a good starting off point. So I'm going to lower this down just a little bit and then lower the saturation as well because I don't want it too crazy. But you can also see what these other sliders do. This doesn't look too bad up here. And then you're on the red primary. Again, these look pretty cool. And then here for the tint and the shadows, pretty powerful. So I'm going to lower the red primary a little bit. Now. I might just add a little bit of a vignette. You can crank it all the way up just to see what you're working with so that you can see the mid point, the roundness, the feather. That's what I normally like to do, but I also don't think it looks at bad right there in the middle. And just be very subtle because this looks ridiculous, maybe right here at negative 12. And you can turn off and on all of these tabs individually to see what they do. So right here, you can see with and without our vignette, alright, so now when we want to apply this exact same edit to the rest of the photos, you're going to right-click on that photo that you're editing, then go to Develop Settings, Copy Settings. And then here they've got a list of everything that they're going to copy. So if we were changing something like the crop, you would want to check that on. But for this one we're not. And so this is everything that we would need. So we're just going to copy. And then you can hold down command and type a on the keyboard and now select everything. Just select one of these photos, right-click, Develop Settings, Paste Settings. Now you'll see it go across all of these. Now that we've only edited one photo like that, we should go and look and see how the rest is looking. And you know what? I think this needs to be darker. I think the shadows should be a little bit darker. I feel like I'm seeing too much inside here. I just want it a little moodier. So what we're going to do is even just on this photo, we can make the adjustment and then apply it to all of them. We don't have to go back to the first one. So we're gonna go back to that first tab and just darken the shadows a little bit. On that photo that we're currently on, Right-click Develop Settings, Copy Settings, and now they're all still selected. So we can just select one right-click, develop pay settings and we'll see the shadows change. Yep, right there and negative 42. And we've got it all applied on these photos. So let's go ahead and export, going to hold down Command Shift and E. And now I'll bring up this window so that you can give your photos a new location. So we're going to assign it a new location. So we're just in the Skillshare hyper lapse, so we hit Choose. And then right here I have this box clicked on, put in sub-folder. I'm going to rename it to round to Edit. Alright, now we hit Export. Here we go, exporting 36 files. And once this is done, we're going to correct the angle of the crop for those of you who are going to edit this in Adobe Premiere. Alright, So it's all done. I'm gonna go back to the first photo and basically we just want these all to be level. So right up here we've got this little cropped section. So we click on that and it opens it up and we can change the angle by clicking this and dragging. And it gives you all these grid lines and that's very helpful as well. Return that you can reset the crop. But what also you can do, which is super-helpful, is click on this little angle tool. And now let's find something flat or it should be flat in this photo, you just click and drag across. There we go. So now you're just going to go through all of your photos and correct the angle adjustment to make sure that all of your photos look consistently aligned. And then you can export all of those photos into their own folder. Now in the next episode, we're going to edit our hyper lapse in Adobe After Effects. And if you're not interested in doing it in Adobe After Effects and just go ahead and skip to the Adobe Premiere episode. 6. Finishing the Edit in After Effects: Alright, so now we're going to edit the parallax hyper laps here in Adobe After Effects. I've got After Effects pulled up right now. So the first order of business is to import our photos. So you're gonna go right over here into this tab and double-click. Now go ahead and locate your photos. Skillshare hyper laps, and round to Edits. Click on the very first photo in your folder. And then right here you should have something that says import or JPEG sequence. Make sure that's checked on because that will bring all of these photos in as a video rather than individual photos, which is super helpful. Hit Open. And right here After Effects is just telling me it's missing this one photo and that's because while it's taking the hyper laps, a bird went right in front of the camera. And that happened to me once in New York City. And it kinda ruined my hyper laps because it looked like there was an issue with the photo rather than a bird flying through. So I instantly deleted it and took another photo. That's what this is telling me. So I just hit. Okay. Alright, so now that it's compiled it into one video, we're going to drag it down into this new composition. It's a little zoomed in right now before we move forward, going to save it real quick because once you start a new project, if you don't save, it stays as untitled project and if your project crashes, then you are out of luck. So File, Save As now and just give it a name. Hyper laps Skillshare. Alright, because we created a new composition based on that video, we need to change the aspect ratio because right now this is at five K, which is just insane. So we're going up Composition, composition Settings. And then right here, we're going to change this to 1920 by 1080, so just full HD. And that's going to change our framing, which does kind of suck because we will be losing some detail out here. So obviously this is way too scaled up. So we're going to right-click Transform Fit to Comp Width. So here we go. We lose a little bit on the top and the bottom. So I know that my main focal point is up here on the top. So I'm just going to lower this down a bit. So with that layer selected, I'm going to type P on the keyboard and now I'll bring up the position. And now we're just going to lower this down. You can really zoom in here, hold H on the keyboard, and that'll bring up the hand tool. So now you can just click and drag. And then when you don't want to use this anymore, just let go of H. You can see this line right here, and that is where our framings at. So you can really zoom in on this thing and make sure that we aren't creating any black gap like that. So we're going to leave it right there. Zoom back out. Alright, so remember we didn't make any angle corrections to the framing of this in the crop setting on light room. So our first order of business is to stabilize this. So we're going down to the tracker panel and I have a full class on the tracker panel here on Skillshare that you can check out as well, interested in learning how to use each one of these trackers. And also, if you can't find your tracker panel anywhere here, you'll just go to Window. And then you can find tracker right here. And once you click it, it'll just pop up right in there. Now that we have got the tracker panel open, we're going to hit stabilize motion. I'm not just going to be stabilizing the motion for the position, but also the rotation because we didn't fix any of that angling in light room. So we need to also click on the rotation box. So you'll see that there's two track points here. First one is doing positions, second one is doing the rotation. And since we want this to be straight up and down, I'm going to track right here. And then also right here for the second one. And you can make these boxes bigger by clicking, clicking and dragging these corners. But the difference of stabilizing motion on a hyper laps as opposed to a normal video is this thing is not going to do a very good job at following along where we say two. And that's a bummer because then that means we're going to have to go through manually to adjust these points. Now let me show you what I mean. If we hit Analyze forward and it just does it on its own, it will probably fall off very quickly. So we'll hit this little Analyze forward button. And on the first frame it already fell off. So I'm going to Command Z to undo that. So now that we've got our points where we need them, we're going to hit this arrow right here to analyze one frame forward. And that will start the keyframes that will automatically be set every time we move forward a frame. So it's quick, it's alright. Now there's a keyframe set for the last frame, and now we can manually adjust these, move them to where they need to go. Again, can hold H on the keyboard for the hand tool click and drag down. And you can even make this window a little bit bigger if you want to be able to see everything that you need. So click and drag, move it. Now, you don't have to go down here to drag forward one frame or click this even you could do it a lot more streamlined just by going page up or page down. Because now that it's creating those keyframes, you don't have to worry about having to hit this button. It will automatically do it. So page down, we'll move forward one frame. Now we can click and drag this to move it back where it needs to be. And we're just going to go through the duration of this layer and make the necessary adjustments. And don't worry, you won't have to watch me do that. I'll fast forward through it and I'll meet you back afterwards. All right. Once you're done with that, now we can go ahead and hit Apply and then hit Okay for here. Now once we play it back, it will be much more stabilized. It just disregard this frame right here because that's the one that I deleted and immediately retook. I'll get rid of that soon. Alright, yeah, That is super smooth and super lined up with the exception of that ugly color thing that pops in. But I'm sure you're noticing that we have these black gaps. So we're going to find the one that has the biggest gap and scale up from there. It's somewhere around here with your layer selected hit S on the keyboard, and that will bring up the scale. Now let's just scale it up ever so slightly. All right, now let's go through and see if there are any other black gaps. And I'm just looking at this framing right here around to see if it fills up our entire frame. All right, so now that that's good, let's go ahead and get rid of this. So go to where this shows up and then hold Command, Shift and D to split that clip and then Page Down to move forward one frame. And then Command Shift D. And now this one that we just isolated, click it Backspace to delete it. Now we can slide this over and then adjust our workspace. We can right-click trim comp to work area, hold command and press a to highlight everything. Right-click, pre-compose. Move all attributes into the new composition. Okay? Now, with the tracker panel still pulled up, we're going to click on the warp stabilizer. Now it's going to try and stabilize this, but 50% is normally always too much honestly. So we're going to start at 10% and see what happens. Now you can see that it's processing through each frame and this will help to smooth out the entire hyper laps. Alright, now we can play it through and see how it looks. Now, I like this except I want a little bit more of the sign showing up here. So I'm going to try and lower this percentage for the smoothness because what's happening is it is stabilizing, cropping and auto-scaling. So we are losing detail around the sides for it to make it super smooth. So I'm going to go to 2% and see how that looks. Oh, yeah, that's perfect, but let's see how smooth it is. All right, and there we go. That is still very smooth and we have more of that sign in there from the very beginning. All right, now if you want to export this, you're just going to go to File, export, Add to Render Queue. And then right here we'll give it a name, a hyper laps. Then you'll hit save and render. The next episode, I'm going to show you how you can do it in Adobe Premiere with the photos that we added, the angle adjustments to. I personally believe that After Effects will deliver a better result, but Premiere can still deliver some amazing results if you're not interested in learning how to do it in Adobe Premiere, you can go ahead and move on to the next episode. 7. Finishing the Edit in Premiere: This episode, we're going to edit the parallax hyper lapse in Adobe Premiere. So we're going to create a new project and name it PR hyper laps. And remember we're going to import the photos that do have the angle adjustments. So I'm going to double-click down here to import media. Now locate those photos. Round two edits with crop. Now normally you could just click on the first photo and go to options and makes your image sequence is clicked on and now import everything as a video. But because a bird flu in front of my camera on photo number eight, I instantly had to delete it and take another one. We've got a number gap. And so I can't do this. I'm going to have to import them all individually. But if you don't have this problem, go ahead and create the image sequence. And I already tried importing these first seven photos as an image sequence and the last view photos as an image sequence. If for some reason premier was having a weird glitch with the cropping of this. So I am just going to select all of these and import them. Now I already have as a default on my Adobe Premiere for every photo to only last one frame. So I won't have to adjust it when I drag it in here. But I think the default for Adobe Premiere, unless you change it is ten frames long for a photo. So I'll show you how you can change that. This is the route that you're going to do. But first let me create a new sequence. I'm going to go to File New Sequence and just make sure that in the settings, its frame size 1920 by 10.9768023 or 24 frames a second. And then hit Okay. To make sure that when you drag in one of these photos and it's only one frame long, like mine. You'll just go to Premier Pro up here Preferences, and then go down to timeline. Now right here you can see still image default duration one frames and you can change this to something like seconds as well, but one frame long. That's what I like. So I click on the first one here and then go Command a and drag them all in. My highlight them. All right-click scale to frame size. And now just play through, make sure they came in in the right order. So now what we're gonna do with all these images highlighted is right, and then go to nest them. And basically we're just grouping them all together so that they are treated as one video, much like pre composing an After Effects. Now just hit Okay, and now you can see that this is all one nested sequence. So what we're going to do is select this clip now and scale it up so that we have no black gaps. So we're going to scale up. And I did 1.518. And now we're going to lower the position so we can see more of this sign. Right there. Looks good. Alright, so now we've got this hyper laps that we need to smooth out. So now what we're going to do is search for the effect called warp stabilizer. Drag it on. Now it's going to start stabilizing this footage, but it defaults with 50% smoothness and that's normally way too much. So I'm going to start with 2% and you can see how many seconds are left up here. And it's just working through all these frames. Now you can see that we lost some detail above the sign. And that's because to smooth this out, what they are doing is stabilizing, cropping and auto-scaling. So we are losing detail around the sides per Premier to smooth it out. So let's play it through and see how it looks. So we can see that it's a lot smoother than it was before. So if I were to go to 10% here will lose more detail around the sides, but it's gonna be even smoother. So a lot of times I'll opt to just do 2% on the wards stabilizer and then nest it again and then add warp stabilizer again at one or 2%. Alright, now if I play this through, it's even smoother. Alright, so I'm going to show you how to export this, but before we export, I'm just going to duplicate this a few times so that we can have it play through and then reverse and play through and reverse. So I'm going to hold Alt down on the keyboard and click the nested sequence and drag it out, and that will duplicate it. But we need to nest it again because Warp Stabilizer won't work when it's in reverse. So nest. Okay, now we can reverse it. So if you hold Command R, L, bring up the clip speed and duration and we can click Reverse Speed, then right-click right here, ripple, delete, then highlight them both again, hold Alt, click and drag right-click ripple delete. And you can see up here we've got our in and out markers. That's I and O on the keyboard. So at the very beginning you press I to set the end point, and then you go to the very end and hit O, and that will set the out markers. So then we go to export. We can name this PR hyper laps, and then we're in H.264 and make sure to click on render at maximum depth and use maximum render quality. And now go to Export. Now, alright, that's it. That is how you create the parallax hyper lapse in Adobe Premiere. 8. Challenge: Now I challenge you to take what you've learned in this class and go out into your town, your backyard, or even take your camera on vacation if you go on one and create your own parallax, hyper lapse from scratch and try not to get discouraged if you mess up hyper lapses, take a ton of practice and repetition. This was my first attempt at a hyper laps about five years ago to even when I was making this class, I mess up my first parallax hyper laps. It might not look that bad, but with a little bit of a perfectionist mindset. And upon closer examination, you can tell that I'm starting to drift off my path at that heart-shaped sculpture is starting to drift off center. And you know what, It's not even that big of a deal because there can still be beauty in these little imperfections. So I encourage you not to get discouraged and share your work here on Skillshare in this project, no matter what it looks like, even if it's not great and you want help, I can try and give you some feedback to help you improve. And if you end up posting on social media, feel free to tag me at big Vic media. I'd love to see what you guys created. 9. Outro: Congratulations, You made it to the end of the course and now you know how to create a parallax hyper laps. Trust me, it's no small feat to learn something like this. And you should be proud that you dedicate the time to learn it. And now you've added another skill to your craft. Thank you so much for taking the time to watch this class and if you enjoyed it, please consider leaving me a review. Also, if you'd like to keep up with what I'm doing and teaching, you can find me on YouTube at big Vic media, and on Instagram and TikTok at big, big media, as well as check-out some of the other courses I have here on Skillshare. Thank you once again, and I'll see you in the next.