Transcripts
1. Timelapse Course - Introduction: Timelapsing is one of the most powerful visualizations
used in film and video. You will have seen it in
many major TV productions in documentaries and in films. If you're a photographer
or a filmmaker, it is one of the
most essential tools in your creative arsenal. However, it can take a
lot of time, stress, and frustration at failed
attempts to get from that beginner level to getting professional
standard results. In this course, I will teach you how to go straight from beginner to pro and cut out the trial
and error phase in between. My name is Angus Morbi. I've been a filmmaker and
photographer for ten years. In this course, I will
teach you to leverage creative control to get the time lapses that you want
exactly as you want them, which you can then use in
your YouTube videos on TikTok or Instagram or in
documentaries or films. This course explains
timelapsing when using a DSLR or mirrorless camera, I E, a camera that is
specific to photography. I'll start out with
the basic setup, including your exposure
and interval settings, and I'll detail a few issues that you can avoid
from the start. Then we'll discuss the
things that will get your timelapses from beginner
to professional level, and that includes composition, long exposures, subject matter, including clouds,
stars, and traffic. Managing, changing light levels, and inserting movement
into your timelapse. Finally, I'll give you a live walk through of
how I edit to timelapse, and I will give you tips and tricks that will help you
reach that pro level. So, let's skip past the part where you get it wrong
and learn the hard way. That can be painful
with timelapsing because timelapsing
takes so long. This course is designed so that you can learn from
my mistakes and add a cool filming and photography technique
to your skill set. If you are someone who's
ready to take action, then your timelapsing adventure starts here. See
you on the course.
2. Class Project: Welcome to the course. Thank
you so much for joining. Before we start,
if you would like to participate in
the class project, then all you need to
do is submit a link to a timelapse that you've shot yourself at the end
of the project. What's great about this
is that we can all share ideas and see each other's
work and gather inspiration. It doesn't need to be perfect. It doesn't need to
be a work of art. All you have to do is
upload a timelapse to YouTube or another site where you can publicly
host a video. On Skillshare, you then hit
the Submit Project button. There's an option at the
bottom to embed a link. You can then put the link to your YouTube or
wherever in there, and you can add a title and
description if you want, and tell us a little bit
about your timelapse.
3. 1.1 What is timelapsing?: Time lapsing is actually a form of photography.
It's not filming. It is to take a series
of photographs and to use that to
create film footage. Now, if we were to
compare timelapsing to, let's say, a film that you would see in
the cinema, right? The most common frame rate to be used for films is 24
frames per second. So what that means is
the camera that shot that film was taking 24
images every second. And when you watch
the film back again, you are also seeing 24
frames every second. With timelapsing, if you were to play it back in 24
frames per second, you would still see 24
frames every second. However, those frames, those images were
taken seconds apart. So if you stitch them together
at 24 frames per second, it's going to look
like everything is moving a lot quicker, and that is how you
create timelapse. We go through this
course, you'll see there's ways that you can fine tune your timelapse to get the results
that you want. The intervals between
your shots will dictate the speed at
which things move. You've also got your
subject matter to consider. Then in the edit, you've got your playback speed, you've got the frame rate at which you choose
to play it back. You've also got stuff like
speed ramping and so on, and that all plays
into the end result. It. But ultimately,
it's down to you what effect do you want to
achieve with your timelapse. You have that creative control. Now, for this course, I have dug out some of my
earliest timelapsing efforts. So these are from hard
drive from ten years ago, and hopefully you'll
be able to see that, firstly, that everyone starts
somewhere, but secondly, we'll be able to pinpoint
some of the things that I did wrong back then you'll then be able to use to get
your timelapses to the next level rather than making the
mistakes that I made. Time lapsing is not to be
confused with hypolapsing. Hyperlapsing is
typically shot by a video camera and it's
usually footage that moves. It shares the same principle as timelapsing as in it's not shooting 24 frames per second and playing
back in real time. It's shooting maybe a
few frames per second and makes everything in the shot look like it's
moving much faster. Time lapse, on the other hand, has a much greater
interval between shots, typically from a fixed position. It's used to make things
that move slowly. Go much quicker. I've got an example here of
a hyplapse that I shot of a landscape
environment and actually, it doesn't really work. The waves are moving a bit, but actually not a great deal is happening because
the hypolapse is not speeding things up quick enough to make this
footage interesting, and therefore, what we actually really need is a timelapse.
4. 1.2 Setting up a shot: The first thing to
do when setting up a timelapse shot is to pick
your position carefully. What you need is to
keep your camera in a fixed position for the
duration of the time laps, and the best way to do that
is to have it on a tripod. You need to make sure
that first of all, that tripod doesn't
get disturbed. So the main problem that I find when I'm out and about
is uh, the wind. If the wind is
hitting the tripod, it can shake it or
it can even move your shot out from the composition
that you originally set, ruining your time laps. Also keeping out of the rain, one drop of water on your lens, I can ruin the
whole thing, and it can be almost impossible
to remove imposed. So make sure that first of all, you can defend your
setup from the elements. And then there's also things
like public disturbance. Are people going to
walk in front of your shot as your camera
is clicking away? So these are all
things to consider. Try your best to put yourself in a position where your setup
is not going to be disturbed. Secondly, you need to
set your composition, use your viewfinder or your little screen or
whatever you've got on your camera to set your
shot exactly as you want it, and then once you've
done that, fix the tripod firmly in place
so then cannot move.
5. 1.3 Focus: So after you set
your composition, the next thing to do is fix your focus and to
set your exposure. Now, if we talk about
fixing your focus first. So what I like to do is
to go into the camera and pick the specific
focus point that I want. I then press the shutter button
halfway down in order to get that to focus so I know that the lens is focused on
that particular point, and then I set my
lens to manual focus. Now, there is a reason
for this. You leave your camera on auto focus as it is shooting different
shots through a timelapse, it may depending on
your auto focus mode, and depending on your camera, it may try to refocus each and every time it receives the instruction to
take another shot. If your camera
attempts to refocus for every single
shot, it might, A, alter the focus distance if it lands on something
that is moving, messing up your depth of field, which we'll
cover shortly. Or B, it might fail
to focus at all, ruling photos in the
middle of your timelapse. You can sort this out by picking a specific auto focus mode that won't give
you that problem. It just depends on your camera and what
it is that you've got, but switching your lens
to manual focus is a very easy way to stop
it from refocusing. The only thing to
remember is that when you have finished with that shot to turn your lens back from
manual to automatic, I have done this many times, continued shooting other and then I realized that my camera wasn't focusing the
whole time because I'd set it on manual, so that is very easy to do. Make sure you switch
it back afterwards.
6. 1.4 Exposure: You then set your exposure the same as you would with
any normal photograph. So this is to ensure
that an adequate amount of light is entering into the camera and
hitting the camera sensor. We need to make
sure it's not too much or the photo is
going to blow out. We need to make sure that
it's not too little, otherwise it will be too dark. I would recommend using your shutter speed and
your aperture to balance your exposure as much as
possible and then using your ISO as a last resort because it can
degrade your image. First of all, aperture, also known as your F stop, it is simply how wide open
you've got your lens. A shallow aperture,
something like F two, where F 2.8 is to have
your lens very wide open, which lets a lot of lighting. A narrow aperture is
something like F 16, and that doesn't let
much lighting at all. However, there is something else at play here and that
is your depth of field. Your aperture governs
your depth of field, and that is how much
of your photo is in sharp focus from the front
of your scene to the back. Starting from your focus point, if you have a wide aperture
that lets in lots of light, you're going to get a very
shallow depth of field. If you have a narrow aperture that doesn't let in much light, you're going to get a much
longer depth of field. We've then got your
shutter speed, and your shutter speed, depending on how long
you've got it open for, will dictate how much
light hits the sensor. If you imagine this
is your camera and the light is coming in through the lens, you've
got your shutter. When you hit the shutter bottom, take your photo,
the shutter opens, the light hits the sensor, creating your image, and then
the shutter closes again. Fast shutter speed, something
like one 500th of a second, where the shutter opens and
closes very quickly will capture any movement in
your image in sharp motion. So if you imagine you've
got a shark leaping out of the water and water
is spraying everywhere, every tiny little droplet will be captured in fine detail. If on the other hand, you
use a longer shutter speed, you have the shutter open for, let's say, a few seconds. Anything that's moving in
that image will start to blur and the longer you
have that shutter open for the more
blur you will get. Lastly, we've got the ISO, and this governs how sensitive
your sensor is to light. The more you push your ISO up, the less light your sensor needs in order to
expode the photograph. However, there is
a trade off here, and that is the more
you push your ISO up, the more your image
will degrade. It starts to pull apart. It starts to get a lot
of digital noise in it. And for that reason, I would recommend only using
your ISO as a last resort. Try to keep it low, 100, 200, 400 M it depends on the camera that you're using
as to its ISO capabilities. But ultimately, if
you want to take professional quality images and professional quality
time lapses, you need to keep the ISO
down as much as possible.
7. 1.5 Setting your exposure: Setting your exposure
depends on what you want to achieve
with your image. So you will first of all, pick either your shutter
speed or your aperture to get the look that you
want and then use the other to balance
your exposure. Let's say you want a blurred
background in your shot, you would then use
a shallow aperture, so you would prioritize the
aperture that you choose. But you would then use
your shutter speed to compensate for the exposure for the
large amounts of light that will be let in when
you use a shallow aperture, so you might use a
faster shutter speed. If you wanted a long
depth of field, popular in landscape
photography, so you can see the
depth right throughout the image over probably
quite a large distance, then you would use
a narrow aperture, but then that doesn't
let in very much light. So you would likely need to use a longer shutter speed
order to compensate. Conversely, if you were to
prioritize your shutter speed, you might want to capture
your subject in sharp motion. Again, droplets of
water capturing every last little thing in
perfect sharp detail. Then you would need to use a fast shutter speed,
but of course, a fast shutter speed doesn't
let in very much light, so you would
probably need to use a wider aperture in order to
get the correct exposure. If you wanted to capture
blur in your image, so you were shooting
long exposure, let's say you wanted
the water to blur, you need to use a
longer shutter speed but then that lets
in a lot of light, so you need to use
a narrow aperture in order to achieve that effect. Once you've decided
what you want, use your exposure meter
to set your exposure. Fix the setting you are prioritizing and then
use the other to get the exposure meter needle in the middle for a correctly
balanced exposure. There may be situations
where you need to use both a shallow aperture
and a slow shutter speed, and that might be like shooting
at night, for example, shooting the stars where
there's not a lot of light. There may also be situations
in which you need to use a narrow aperture
and a fast shutter speed. The one that jumps
to mind is shooting landscape in snowy
conditions on a bright day, so you have a very
bright sky and then all the light is
reflecting off the snow, which is utterly
blinding to your camera. So in that instance, you would need to
dial everything down. You would need to use
a fast shutter and a narrow aperture in order to balance the amount of light
entering your camera.
8. 1.6 Test shot: Once you've set your
composition, set your focus, and you've got your exposure, then I would recommend
taking a test shot. As always take a test shot before you set your
time laps going. Because if there is a problem
that you haven't spotted, your timelapse will click away for however long
you've left it for, and then you'll
get to the end and find out there's a
problem with it. So always take a
test shot first. I tend to take a test shot, and I will scrutinize it very carefully to check
what's in that image. Is my exposure right? Is
my focus point right? Am I getting the movement
that I want and so on. So always take a test.
9. 1.7 Intervals: The last thing to do is to set your interval between photos, and that is the length of time between each photo
in your time laps. It's an instruction
to your camera as to how often to take a
photo.Ppending on your camera, you may have a function
that does this for you. If not, you'll need something
called an intervalometer. They can be purchased quite cheaply and they simply plug in your camera and you
set the number of seconds on them and
then press fire. That hits the shutter button, and the shutter will
then continue to take photos until
you tell it to stop. To decide what
interval you need you can take a bit of
trial and error, but you need to consider
your subject matter. How quickly is it moving? If you shooting people,
they move very quickly. So you will want a low interval. If you're shooting the stars, moving as the Earth
turns, that's very slow. So you will want a much longer
interval between photos. It's also worth considering that a lower interval will get you the footage you
need more quickly, but then everything in the
shot will move more slowly. If you have a higher interval, it takes longer to shoot, but then things
will move faster. When I'm shooting a timelapse, I like to do a rough
calculation in my head to kind of figure out how
long I need to shoot for. So if, for example, we were
shooting a nice easy example, one shot every 6 seconds. Then I know that
I'm going to get ten frames every minute. The camera is going to shoot ten individual images every minute, which means to get
if I then wanted to play that back at 24
frames per second, I need to shoot for 2
minutes and 24 seconds. For every second of
footage that I'm eventually going to see
back on the screen. So it's always worth doing
a little calculation. Take a look at what
time you're starting your timelapse and
then figure out, Okay, roughly, that's going to get me 10 seconds of footage if
I shoot for this long. It's worth doing a rough
calculation so you don't end up cutting
your time laps off early so you
know how much you're shooting roughly. It's
always good to know. Once you're happy
with your setup and you've got your intervals, you can simply click
that Shutter button on your intervalometer or
set your camera going, and it will click away until you're happy with the number of frames
that you've got, and then you can just turn
it off and you are done.
10. 1.8 Advice / warnings: A couple of things
to avoid a couple of warnings to mention is, first of all, do
not be tempted to change your exposure
mid time labs. You can probably tell
from the look on my face that I have done
this and regretted it. And for example, it might be that you're shooting a sunny day and then the sun
goes behind a cloud. And you then like, oh, oh, my exposures looking a bit dark, or I'll just tweak it. And what happens is, when you get into Post, then the exposure then jumps and it looks really unnatural. Even if the sun does
go behind a cloud and your exposure darkens or
it gets a bit brighter for the main part, it looks
more natural if you leave it and you can
potentially make changes in post if you need to
to balance that out. Along the same lines, make sure you don't
knock your tripod, your camera needs to
stay completely still, and also don't be tempted
to kind of move or fine tune your composition mid
timelapse because then it will the shot will then jump on naturally when you then
play it back in post. Couple of tricks to employ. If the wind kicks up
whilst I'm timelapsing, I will often stand next to
the tripod and use my body to block the wind direction so that the wind stays off the
camera as much as possible, which obviously saves
from your shots blowing. So if you're not using
an intervalometer, you can use a remote switch
to set your time lap going, which will protect
the first few frames. When you press that
shut and bottom, the camera doesn't wobble
and blur your few frames. So that's also another
good trick to employ. I've got an example here of a
test timelapse that I shot, and as I play this through, you can see that this is
jumping, it's shaking. I was on top of a multistory car park and I was unable to protect
it from the wind. So it is important to
try and keep your time laps as static as possible and
protect it where possible.
11. Part One Recap: Cap of Part one. Time lapsing is a form
of photography that creates sped up video
or film footage by shooting individual
frames seconds apart and then stitching them together at a
standard frame rate. To set up a time lap shot, pick a careful position for
your tripod where it won't be disturbed or your
shot blocked by the general public or anything else that
might get in the way. Set your composition
followed by your focus, ensuring your focus cannot
change mid timelapse. Prioritize your aperture or shutter speed to get
the look that you want. Then use the other to
balance your exposure. Don't forget to consider
your depth of field and only raise your ISO
as a last resort. Take a test shot and check it carefully for errors
before continuing. Set your intervals for
your timelapse and do a rough calculation to figure
out how long to shoot for. Avoid changing the
exposure in the middle of your timelapse or attempting
to alter the composition.
12. 2.1 Composition: Oh To create a great timelapse, what you need to do is
to combine two things. And the first is the traditional composition
elements of a good photo. So you've probably heard a
lot about the rule of thirds. This is where you divide
your photo up into thirds, either horizontally
or vertically. This also works in halves. You can divide
your shot in half. Leading lines is something
I consistently use to guide a viewer into the shot
from the front to the back, something that takes them
from the nearest point in the photo to the subject that you're trying to
draw their eye to. That can be very effective. And then you've got many other compositions
that you can use, a deliberately centered shot, symmetrical shot, golden
ratio, and so on. The second part of this is
to within that composition, establish or identify
areas of movement. This is what's going to create
an interesting timelapse. Ask yourself, what is
moving in this image, What is moving in this
composition that I've created. Because that is the part that's going to be
interesting once you get it into Post and it becomes a piece
of video footage. I've actually got a timelapse
here that I shot in 2022 in Scotland of an absolutely stunning
area of the Highlands. When I set this time lap going, I thought I had a
fantastic composition. But when I viewed it back, not enough is moving in the image. I've got a large
rocky beach area at the front of the shot where
nothing is moving at all. And so, ultimately, it led
to the timelapse being unremarkable because I
hadn't considered well enough what was moving in
the shot and what wasn't
13. 2.2 Point of reference: One other thing to make
sure you've got in your composition is a
point of reference, IE, one thing that is not moving, something that is static
within the shot that then gives the sense
of movement around it. Without it, it can be quite disorientating for the viewer. It's just lots and
lots of movement. And it doesn't always make sense visually when
you look at it. It can be a bit like, oh,
what am I looking at? So, make sure you've got
a point of reference. And that points to
reference can also be the feature of your image. I've got one here, I'm
using a bombed out church, which is a beautiful old ruin in the middle of a roundabout, and I've got the traffic
moving around it. So your point of
reference can be a feature which really adds to your composition and
adds to your time laps. I've actually got
here time laps one of my very first attempts at
timelapsing ten years ago. Um, it's not very good, but it illustrates the things
that I'm talking about is that I've actually there's
almost no composition. There's some trees in the shop, but you can't really call
them point of reference. And whilst there's lots
of movement in the sky, it's definitely a timelapse. It just isn't it
just doesn't work. It isn't great at all. So this is what you're looking
to avoid. Don't do this. In summary for the composition
of your timelapse, you need to combine a standard photography
composition with areas of movement within your
shot and make sure that you have a point of reference as part of
that composition.
14. 2.3 Long exposures: Long exposure photography is a wonderful tool that you can use to enhance your timelapses and use that long
exposure to have things that are moving in
your shot blur. In order to do a long
exposure, timelapse, what you actually
need to do is plan in those areas of movement that
we discussed in composition, plan what it is
that's going to blur, plan your shutter speed to establish how long you need
your shot to to be open to get that blur and
then make sure that your intervals give plenty of time for that shot to occur. Pro tip here is to make
sure that you have enough time for your interval that allows not only
the lung exposure, but also allows the
camera's processor to then process that shot. If you don't, then the camera will start to lag
and you will not get the intervals that you were hoping for or
that you planned for. Neutral density
filters can also be a great tool to enable
blur in your timelapse. Neutral density filters
reduce the amount of light coming into your
camera lens and therefore allow you to use a much
longer shutter speed than you would have
normally been able to in order to get the blurred
effect that you want.
15. 2.4 Research and planning: Time lapsing is like pretty much anything else in the world. If you fail to prepare,
prepare to fail. There is nothing that beats some good old preparation and
planning, bit of research. I'm an enormous fan of this. I would recommend it
every single time. You need to decide what
you want to shoot, where you're going to shoot it, and when the conditions will be right for you to be
able to do that. So let me give you an example. I decided I was going to shoot some traffic in the
city where I live. So I've already got
what I want to shoot. What I will often do is to find locations to shoot before I've even set foot
outside the house. I'm a big user of Google Maps. I will jump on Google Maps, and I will drop the
little yellow person in as many places as I can to try and establish where in an area is the best
place to shoot. And often, by the
time I get there, I can go straight to
that spot and set up. It's also the case if you live locally to the area
that you want to shoot, then take a walk, go
out and have a look. And you can then start shooting immediately
when the time is right. And then I considered, when would be the best
time to shoot it? Now, at some times of the day, there's going to be
barely any traffic. So that's not going to help. And then at other times,
there's going to be too much traffic where it's all gridlocked and it's not moving. So I'm not going to
get my blurred effect. So I actually decided to go just after rush hour when there were still
a few cars about, but there was enough traffic in order to get the streaming
taillights that I wanted. So those are the
considerations to take. Considerations that I've made in the past will be
I've got one here of the almacFerry up in Mig, and I had to consider
when the ferry was coming into Dock
and then out again. Um, you might want to consider when the sun's
setting or rising. You might want to
consider the tides if you're shooting the sea. So all these things
are all things to consider as to when you should
then shoot your footage. If you follow that process
of what am I shooting? Where am I shooting it and when will be right to shoot it, that will save you a
lot of lost time or efforts that didn't turn out
how you hoped they would. So that's always something
to bear in mind.
16. 2.5 Subject matter - Clouds: I just wanted to
mention a few things that are specific to various subject matter that you might shoot with your timelapse. The first one is clouds. I would say, clouds are sort
of your bread and butter. If you're timelapsing any sort
of landscape environment, clouds are going to
be the movement that makes your timelapse look great. If you're not sure
where to start, you could go for an interval
of five to 6 seconds, maybe see how that looks. Uh, it will really depend on how fast the clouds are
moving in your area, but I would say that's
a good place to start. A strategy you can use that
does look really good, but isn't always possible is
to shoot into the wind or certainly shoot
into the direction which the clouds
are traveling from, which means where your images, the clouds will then
travel towards the camera. And that looks really
good. But that involves shooting into the wind, and it can then be
very difficult to keep your tripod stable. The best scenario
is if you're in an area where it's not actually that windy at ground level, but up in the sky where
the clouds are moving, it's windy up doesn't seem to
happen too much in the UK, I can tell you, seems to be
windy all the time here, so
17. 2.6 Subject matter - Crowds: If your timelapse crowds
of people, obviously, people very rarely stay still, they're always moving about all over the place in a crowd. I would recommend using a
maximum interval of 3 seconds, less if you can
get away with it, and use a fast shot of speed unless you are looking
for those people to blur, but then darker colors tend
to fade out when they blur. So people were wearing
clothes like I'm wearing a black top or whatever. I would tend to go for a
fast shutter speed and yet, keep those intervals pretty low.
18. 2.7 Subject matter - Stars: Stars can be one of the most rewarding
things to time lapse, but also the most challenging. The reason for that is you
are shooting something that is emitting very low light in almost complete darkness. And so for that reason, you obviously need a very
long exposure to do that. I would recommend if you're starting out,
I would recommend a shot a speed of 30 seconds to start off with and see
how that exposes for you, depending on where
you are in the world, see what exposure you
can achieve with that. What that then means is
that your interval needs to be longer than
that 30 seconds. You need to have 30
seconds of shot, and you need to have
time for the processor. The cameras process
there's a process I shot before you then
take the next shot. So where this becomes
difficult is simply the length of time you
need to shoot for. If you were to shoot a time lapse with a 42nd
interval between shots, you would need to shoot
for 16 minutes to get 1 second of footage played
back at 24 frames per second. Obviously, if you wanted
to get 10 seconds of footage that you're shooting
for more than 2.5 hours. But another consideration
to make is battery life. Uh, you're shooting continuously
for that amount of time, and you cannot change the battery in the
middle of the time laps or you will lose the rhythm of your time laps and your
time laps will jump. So you need to make sure
you've got a full battery. If you've got a battery pack, like a double battery
pack that you can use for your camera, fantastic. That will go a long way
when shooting stars. A couple of pro tips
for shooting stars. The first is that your
camera can find it very difficult to focus
in very low light. One thing I will often
do is use my head torch and shine that onto the feature, the point of reference, whatever it is that
you're shooting with the stars moving around it, and set the focus with the light on, then turn the light
off and switch your camera lens to manual focus so the
focus cannot change. The second is to
consider where Polaris, the North star or
the Southern Cross, if you're in the
southern hemisphere, consider where they
are in the sky. You can get star
charts that will tell you what to look out
for and how to spot them. The reason I say this is
because around the pol the stars, as you
time lapse them will rotate in a
circular fashion, which can make very
interesting time lapses, so it's worth knowing where they are and how the
stars will move in the sky when you start shooting based on the direction
that you are shooting.
19. 2.8 Subject matter - Traffic: Traffic is quite
straightforward. I would recommend keeping
your interval pretty low, three or 4 seconds max. And I would also consider when the traffic is
moving fairly slowly. If it's going down
the motorway, 70, 80 miles an hour,
it's going too fast, you're not going to see
it in your time laps. Unless you're
looking for blurring lights, that might work. I would suggest maybe like a junction or a point
where the traffic is queuing or so on so that you can accurately capture
that in your time lots.
20. 2.9 Subject matter - Water: One last one is water that can always be interesting to
timelapse if it is moving, if you've got waves, if you've got currents
going across the surface of the ocean or across a lake
or wind moving the surface, it can sometimes create
interesting effects. One thing to bear in
mind is that I would say after a shot of speed of
three tenths of a second, I would say from
that point onwards, water will start to blur. Use that as a reference
point for whether you want a long exposure or not
when shooting water.
21. 2.10 Changing light levels: If you're shooting
at timelapse where the light levels are
changing rapidly, and the two scenarios
I'm thinking of are obviously sunset and sunrise, the light level is
going to change very quickly over a short
amount of time. I did say earlier in the course, don't be tempted to change your exposure in the
middle of a timelapse, and by that I stand
because it can ruin it. But if you are in a
situation where you need your exposures to change on a continuous basis in order to manage a big change in light, then there is a way to do it. There is, in fact,
two ways to do it, and these are modes that are
available on most cameras. The first is aperture priority, and what this mode allows you
to do is fix your aperture. You manage that manually and therefore fix
your depth of field. And then the camera manages the shutter speed as
though it is on automatic. The camera will then change the shutter speed accordingly to achieve the right exposure as
your timelapse progresses. You've probably guessed
what the second mode is. The second mode is
shutter priority, and this is where you
fix the shutter speed to get the shutter
effect that you want. So be that either sharp
motion or long exposure. And the camera will then change the aperture as time progresses to go
through your timelapse, it will manage that for you. One thing I would
very much recommend, again, where ISO is concerned, if your camera enables you within shutter priority
or aperture priority, if your camera enables you
to take ISO off automatic, I would very much
recommend that, especially if you have
maybe a cheaper camera. And I will show you why. I dug out here one of my greatest failures from
when I first started. And if I play this now, you will see why. This is what
happened. This crazy flickering and what should have been a beautiful sunset scene, I was very excited to shoot. If we go into the
original files, we can actually see that when I view the details of some of
the individual photos, that the ISO is all
over the place. And what I've done is left
the ISO on automatic. And my little 700 D, which was my first camera
that I had when I started, couldn't tell couldn't
calculate quickly enough based on my intervals
what ISO it should be using, what light level
it should be using and consequently
ruined my time lap. So yeah, always try and
fix your ISO if you can. What I have found, however, I have also got here
my very first attempt at using either aperture or shot of priority
for changing light. And this is absolutely terrible. Uh, practically everything is
wrong with this timelapse. I don't think it's in focus. The exposures kind of terrible, but the principle that I was trying that I was
experimenting with, it worked. The priority function,
you can see that the light levels change on
this timelapse accurately. Let's have a look. I don't think the bridge
is even in focus. That's the main feature.
Bit wobble there. But the light level changes
correctly and smoothly, and that is what
we're after when using aperture priority
or shutter priority.
22. 2.11 Movement: One final thing to mention in terms of getting
your timelapses from a beginner level to
a professional level is inserting movement
into your timelapses. Now, I must say, at this point, this is not
something I've done very much. I do have an editing trick
that I use to do this, which we'll come to in
the editing section, but I haven't actually done the thing I'm talking about
now very much, which is, is that there are
various contraptions that they're like
sliders on motors that will move incrementally
to move your camera or rotate your camera as it
goes through your timelapse. I haven't looked recently, but certainly when I
was first starting out, these things were
heinously expensive, like, vastly overpriced
for what they did, 500 pounds for a slider
that ticked along, and I just couldn't
justify the cost. So I have never really used them, but these
things are out there. They're available on the market. I do have one
timelapse here where I bought a turning device that goes in between your
tripod and your camera, your camera screws
onto it and sits in. And that turns the
camera as time goes on. This timelapse that
you're seeing now was just a test to see how that worked. I
didn't really like it. I don't think I
ever used it again. I'm trying to remember
whether I sent it back or whether it's in the depths
of my cupboard somewhere. So these things are available, but I've never really used
them, but they can be used. I have seen people use
them to fantastic effect, so it's worth bearing in mind
that they are out there.
23. Part Two Recap: A quick recap of P two. To create an
effective timelapse, combine a classic
photography composition with areas of movement
within your shot. Make sure you have
a static point of reference within
your composition. You can use long
exposure photography to create artistic blur
in your images. Research and
preparation gives you the best chance of achieving
the shot you want. Consider what to shoot, where to shoot it, and when the conditions will
be right to do so. Adapt your approach for
different subject matter as each has specific
requirements and considerations, we looked at clouds, crowds, stars,
traffic, and water. Use aperture priority or
shutter priority mode to manage changing light levels such as sunrise and sunset. You can move your
camera's position during your timelapse by using
sliders and other devices.
24. 3.1 Image sequence: So editing, let's go through what you
need to do in post once you've shot your timelapse, and I'm going to show you a
couple of tricks you can use to get that professional
looking end result. The first thing we need to
do is get Davinci Resolve to stack your images together. Before we jump into Resolve, there's one thing we need to do. One thing I would
recommend and that is create a folder for your timelapse that only has the files for your
timelapse in it. The reason for this is Resolve uses the file names to establish the sequence of which order it should play the photos
when it creates one clip. If there are photos in there that you don't
want in there, then they will
also be added into the timelapse sequentially
using the filenames. Let me show you an
example of this. For Drag This over here. So this is the timelapse
that I shot a few years ago, and if I open the
photo viewer here, we can actually see as I
flick through here that I've tried several
different compositions. I've moved it a bit
before I circle on a composition and then
start to timelapse. So we can see that those
photos are then all the same. So I think there we've
got the first four frames shouldn't be in the time labs. So what we need to do,
I'm just going to come in here and just
create a new bin, and we're going to call
this lighthouse example. And what we need to do is come up to the three dots
at the top here. And if I hit those, we go
to frame display mode, and we need that
to say sequence. What we can then do
is go back to folder, select the photos that we want. I'm going to select everything
in this folder to show you the problem that I was just
mentioning and drag those in. What we can see now is
that Resolve has created a single clip for our time labs. So it's taken all of
those individual photos and it's stacked them
together for us. If I play this back now, you will see that
right at the start, it jumps like crazy. You see that crazy
jump before it actually settles
into the time laps. And the reason for
that is there's photos in there we
don't want in there. So let me get rid of
this for a moment. If we now come back into here
and what I'm going to do, hopefully you will
avoid this problem. I know that I don't want
those first four in there, so I'm going to go and select all the rest of them,
then drag those in. There we are there
we've got our clip. And Resolve has correctly
established the sequence to use for the timelapse without any photos in there
that shouldn't be in there. If you do encounter a
situation where Resolve is not importing your images
as a sequence as one clip, then it means that the
frame display mode up here is set to
auto or individual. If I just hit that on auto, I'm just going to get the folder back if I now drag all of those in it drags them
in as individual images, which is not what we want, so let me just get rid of those. If you encounter a problem
where Resolve can't import your time laps or it's
importing it in segments. So you've got your time lap, but it's in several
different clips. That is a telltale
sign that there are actually photos missing from the sequence of file names that Resolve is
using to create your clips. So that would be the
first place to look. If you do have that problem, the first place to
look is checked and all your photos are there
in the correct sequence
25. 3.2 Editing tools: So once your sequence
is imported, we can then jump
into the Edit tab, which is here and I'm going
to add this timelapse that we just imported into the timeline. Now, what you'll immediately notice is that this
is super zoomed in. And the reason for that
is that the output of the timeline is
set to full HD, which is 1920 by 1080 pixels. However, the time laps
were shot in over eight K, and so it's much larger than the space that
we're putting it in. So what we need to
do, first of all, jump is go up here into
the inspector panel, and we're going to the Zoom, and we're going to bring that down so that it matches the
space that we're using. That's too far lock. We've got the black
bars on the side, I'm just going to bring
that back. Let's go about. Let's leave it
there for a moment. There are ways we can use those extra pixels
to our advantage, but I'm going to come
back to that later. For the moment, I'm
just going to show you a couple of bits in the inspector panel that are useful for
editing timelapses. The first we've got
here is speed change. This is sometimes known
as speed ramping. And this is useful if you
get into Post and you find, oh, I wish I'd used longer intervals to make
everything go a bit faster. It is possible to
speed your time laps up. Let me show you. I'm just going to create
a second version of this clip so that you can
see the difference here. So we're now editing
the second version. If I come up here to speed
change in the inspector panel, I'm going to take
that from 100 and I'm just going to quickly
change that to 200. So that's now going
twice as fast. And you can immediately see that the clip that I'm working on has shortened to half
the time of the other. If we just check the
difference between those two, so if we just play
start that back. So this is the original. Look at the clouds moving there. Go back to the other, the one that I just edited. You can see that's actually
moving twice as fast. So that's an option
for you if you want to speed things up
more than you have already. Another thing you can
use is stabilization. Now, I have got here.
Let's do a quick look. Over here, I've got a clip
that I mentioned earlier, which was the time
lap shot on top of the car park where I couldn't protect it from the wind and
it's a little bit shaky. Let's just have a
little look at that. So you can see that shaking,
that's all over the place. Well we have here got in the inspector
panel stabilization. I must stress that stabilization isn't a fix for everything. I would recommend that you keep your timelapse as sort of still as possible
while you're shooting. But if you haven't
quite managed that, you can use stabilization. It doesn't always work, and if you push it too far, it will warp your image and make it look really strange, which obviously we don't want. Let's give it a go
in this instance, just for the purpose of example. We've got various settings
you can change to try and get the
stabilization that you want. Okay, so I'm going to
hit stabilize here and Resolve analyzes frame by frame where it thinks
the frame should be in order to make that look stabilized and make
that look steady. If we now play that back, let's have a look
at what it's done. As I say, doesn't always work. That's absolutely fantastic. Actually that's actually
really, really good. So I'm really impressed
with the result there that it's given us. As you can see, that's
now almost perfect. So very pleased with that. So it is an option
to use, but again, don't rely on it because it will not save you in all situations. I've also got here a timelapse from Mali in the
Scottish Highlands, and you might be able to
see that the horizon, I'm not quite sure that's as level as I would
like it to be. So what I'm going to do is
come into the inspector panel. Here we've got our
rotation angle. If you use the slide, it can be quite difficult to get it immediately
it's gone too far. It can be quite difficult
to go in small increments, so it's sometimes worth just typing in the box if
let's go zero point. Five, it's any small. It's not miles off. It's any small increments
that are needed. And there we are.
That's not too bad. He says, That's not too bad. So our horizons are a
little bit more level. So that's another tool you
can use for your timelapses.
26. 3.3 Colour tab: Now we're going to jump
into the color tab, which is this one here. And I'll give you a basic run
through just a quick grade. I don't want to
get too much into the colour grading
topic because it is a huge topic just on its own. But I'm going to show you
on this lighthouse example, a couple of things
that I might do to improve what we've got here. And then also, I'm going to
show you a trick that I quite frequently use that you can
use for your timelapsing. So I'm just going to add here, I'm going to add So I'm just going to add a
couple more nodes here. Let's go. That one,
let's just go exposure. This one, we're going to go HDR, which I'm going to use to
improve those shadows. And let's call this one. Look,
um, let's start with that. So we usually offset the
whole thing, overall, if I bring the scopes up here, it's not too bad, but we've got some very, very low shadows down
the bottom here, so I'm just going to pick the whole thing
up a little bit, but not too much
because we don't want to push out
those highlights. I'm going to use a little bit of mid tone to improve some of
those areas through middle. In those deep shadows, I'm
actually going to use the HDR because I only want to
affect those areas. So let's bring that
up a little bit. Uh, park it about there, and let's do a
little bit shadow. Okay, so some of
those darker areas are now a bit more visible. Just put this back down there. Those of you familiar
with colour grading will notice I'm not using a color space transform and the reason for that is that
DaVinci Resolve has all the color profiles for
various video cameras, but not for Still's cameras. So I've just left it
on Rec seven oh nine, which is the project output. That's absolutely fine. The shadows are a
bit better there. I'm just going to come over to my look node and
just add a couple of bits that um improve
the color a little bit. It's a little bit of
saturation but not too much, everything in moderation, a
little bit of color boost. Color boost, I find
has the capacity to wreck your grade very, very quickly, so you have to
be quite careful with that. Then we've got bit of a
little bit of midtone detail. And I'm gonna put the pivot
down two, three, three, five, that'll do and a little
bit more contrast, but I don't want too much
because it's going to darken those shadows again that we've just brought back to
where we want them. So I might be cheeky and go
for a bit of contrast pop. See if I can get away with that. Contrast pop is
definitely something to be used in moderation. Oh, that is too much. Okay. I can see what
it's doing there. Okay, the sky's and
king loads better. Let me just put a label on that. Okay, so if I highlight all
of those and turn them off, and then back on again, I think we can say that that's
definitely looking better. There's obviously always more
improvements we can make. But on the whole, we
can improve the color, the contrast, the exposure. I think we're looking
pretty good there. I might go back into
the CR, actually, and just bring the shadows up
a little a little bit more. Um, Okay, let's go with
that for the moment. The main thing I want to
show you for colour grading is a trick that's used quite
a lot in feature films, and I actually have the
perfect timelapse for it here. Uh, I actually shot
this for this course, and it's a long
exposure timelapse of traffic going
around a roundabout, I'm just going to
zoom out so you can see what I've done here. There is a church that was
bombed in World War two. It's a beautiful old ruin, and that's what I used as
my point of reference. However, because of the light
available at the location, the spire of the church has actually gone missing
out of the shot. I did, however, shoot in raw, so I'm going to try
and recover it. Let's just for the
purposes of example, I'm just going to
put a look on here, and I'm going to add let me
just add a couple more nodes. So for the look, let's
go to the start. And I'm just gonna do
some obvious stuff. A little bit of saturation, a little bit of mid tone detail, small amount of color boost. Uh but I'm going to lay off the contrast because
it was shot in the dark. It's already so dark. However, let's go on to the
second node where here, I'm going to add a mask. So I'm going to use
this mask to bring out the area of the photo where
I know it's underexposed. Let's go. Something like that. I want to make sure whenever
you're using a mask, make sure you've
got a nice feather on it so that it blends in with the a bit too big. Blends in with the rest
of the image nicely. So if I here, I'm going
to go into the HDR, I'm going to lift
the dark areas up. See how we got there.
Something like that? No, masked down a bit, actually. And then shadowed a little bit. And what we can actually
see is underneath. I just remove the mask
so we can see properly. Underneath there
there is actually hiding is the church
the church spire. No. There we go.
Hiding under there. So I think we've managed
to bring the key is to bring it out without leaving, like, a ring around it so
that it's entirely obvious. I think we're doing right there. On the next node, what
I'm going to do is use a mask over the entire center of the image to bring
out that center section. And what this allows
you to do is to really highlight the area that you want the viewer to see. So let's add another mask. No, I can't see it, there we go. I don't want to do. Let's add another mask
something big, like this. Se Something like that
narrow it a little bit. We want the viewer to notice
this central section. So having established the mask, I'm then just going to
go into I'm going to go add a little bit of gamma
and a little bit of game. And we can actually see that the central section
is very visible now. So if I turn that mask off,
that's what we've got. We've lit that up to
really highlight the area. See? If I take all of
that off, There we are. We can actually see what we've
done to the image there. We've actually really made
the church the focus point. And this is a key
trick, as I say, that's used in feature
films all the time.
27. 3.4 Matching exposure: Something I want to mention
in relation to the color tab, I did say earlier in the course, not to change the exposure
of your time lapse midway through shooting because that can potentially
create problems, like flickering, and it can generally lead to it
looking unnatural. However, if you do find
yourself in this position, there are a couple of
tools we can use in the color tab that will help
you fix your time laps. So for the purposes of example, let's say that this
lighthouse clip we've been working on, let's say that the
second half of that, the exposure has changed and we need to match it
up to the first half. So just for example,
I'm going to chop that in half B for the cocktail. I'm going to go back
in to the color tab, and let's click on the
second half of that. I'm going to create
another node, which I'm just going to
use to completely skew the exposure for a
moment for the purposes, again, so that you can
see what it is I'm doing. What we can then do
if we go back to the clip we want to match it to. So we want it to look like this. We can hit right click over
the image and hit grab still, and that creates
a still up there. If we go to the clip that
we need to correct and then hit this up here,
this image wipe, that allows us to see
side by side the image that we're working on versus the image that we
want to match it to. So I can then move that like
that. Hence the image wife. There's also different ways you can do it if you want
it top to bottom, and so on, depending on what works best for the clip
you're working on. Then you can simply set
about matching that clip. To the one that you are using as a reference.
There we go. That will be not
a great example, but that essentially
will be how you do it. The other way you can potentially
do it if I get rid of the image wipe there
and close the gallery, let's stick that back again so that the exposure
is ruined again. You can also select the clip that you're
working on and select the clip that you
want to compare it to. If you press Shift and
select both of them, if you come up here
to this icon here, which is split screen, and then select selected clips. It will allow you to see
those again side by side, and you can then set about correcting one that
you're working on. A couple of ways there to
fix your exposure if it's not as you originally
intended in your time labs.
28. 3.5 Automation: So I mentioned
earlier, if you have a time lapse that
is bigger in size, and number of pixels than the output area of
your film or video, then there's something you
can do to your advantage. Now, this is a fantastic
trick that is very regularly used in
professional productions. And what we can do
if we take this, let's have a look here and
I'm sorry, you make up. To pull that back
to its full length, let's just zoom in a little bit. Now, as mentioned earlier, the area of this window
is full HD, 1920 by 1080. But actually this file, the original time lapse file is eight K. It's over eight
K. You saw me zoom out. You saw how many
pixels there were. If I zoom back in again, we can see just how
large this image is. But also, as long as this number here in the Zoom
doesn't go over one, 1.0, then you have still
got pixels to play with. So if I go back to lightly, that is the full
size of the image. But what that allows
us to do is then use the other settings here to move around that image.
We can zoom in or out. We can go right or left
or we can go up or down. And we can do these
things all at once by using automation tools. I will show you how to do that. Just as an example,
here's one that I shot the same day as the
lighthouse time laps, and you can actually see the full size of this
image towards the end. But at the start,
I've zoomed into it and I'm moving across it a little bit and
then moving out. Let's play that back
and have a look. As we start to zoom out here, you can start to
get a full scale of what I was actually shooting, how much you are able to zoom in and how much
extra detail you were able to get if you've
got a large image size. So let's go back to
our church example, the one that we were
working on earlier and adding masks
in the colour tab. In order to create this effect, what we need to do
is come over to the show keyframe
tray button here. If I click that, the
keyframe tray will appear at the bottom
of the screen. And what keyframes allow you to do is change
the settings, the ones here in the inspector as the time lapse plays through, meaning you can change things either position or the zoom in and out as time progresses. So what I'm going to do
just as an example here, I'm just simply going
to use the Zoom. So we're out at 0.22. If I hit a Zoom keyframe there. We are on the Zoom channel look, we can see that we've got
a keyframe at this point, which is the start of the clip. If we then come to
the end of the clip, I'm going to add oh, there we go, add
another keyframe there. And what I'm then going to do at this point is coming
to the inspector and I'm going to change
that from 0.22 to 0.32, just an example. So
I'm going to get that. So you can see how much
more zoomed in that is, and I'm going to get that to
zoom in as it goes through. The time is just a small
amount, not a huge amount. So if we go back to
the start of the time laps and I
play that through, you can now see just how
powerful this effect is and just how much it does for your time lapse in terms of getting it to look professional. What I would
recommend is that you have a play, experiment with it. There's lots of different
settings you can do and use and try for yourself. Let's I'm just going to create a different version of
this, stick that here. And I'm going to remove all the key frames
that are in there by hitting that button there. So we're back at full size. So I'm going to get
zoom back out again. I'm going to put a
keyframe this time. I'm going to put a keyframe
on the position X, which is to move left to
right or right to left. Same one again at the end. Oop. Another keyframe
for position X. And what I'm going to do
is I'm going to overall, I'm going to zoom in a bit more. So let's go to that same Zooms. No, let's try 0.28. Now, I've changed my mind 0.32. Let's go. So that's how
zoomed in we were before, but this time at the
start of the image, I'm going to move it
across to start over here, and then at the end, I
select that keyframe, I'm going to move it across, so it's over here. Let's see how that looks. So moving from side to side
instead of zooming out. There we go, pretty
simple technique, but it can do a huge
amount for your time laps. And you can obviously do
multiples of these at once. You can move from side to side, but you can also move in
and out at the same time. All you need to do is plot
the relevant keyframes in, and you can also
plot keyframes at any point for any criteria, any of these settings at any
point through the time laps. So this is a tool where you
have unlimited possibilities. The only limit is the size of your time lapse versus
the size of your window. And this is a super
powerful tool to get that professional
looking end result.
29. 3.6 Exports for social media: If you wanted to use your timelapse for
different purposes, so let's say maybe you wanted
to show it on YouTube, but then you also wanted to show it on TikTok or Instagram, what I'd recommend
doing is using different timelines
with settings matched to each of
those purposes. Not only will this allow you to export straight into the size that you need for each platform, it will also allow you to create bespoke automation for each one. So here we have the
church example where we set the automation going from left to right that
we were just looking at. And this timeline is
set up in full HD, that is 16 by nine, which is your standard
size for a TV. It's also what YouTube
uses, and so on. However, if we wanted to put that on Instagram or on TikTok, it would need to be nine
to 16 ratio, I vertical. So what we need to do is come
over to the COT tab here. And in the media pool area, I'm going to right click and
hit Create New timeline. Let's just call this
Instagram for a moment. And what we then need to do is on tick use project settings. The reason for this is that
the project settings are what currently match the timeline
that we were using before, the existing timeline, which
is set up to be full HD, and it's set up to
be 16 by nine ratio, which works for
YouTube and so on. We don't want that. We
want it to be vertical. So I'm going to tick
use project settings, and you'll see that
immediately it creates or it offers
several more options. If we hit format, we know that this
says 1920 by 1080. We know that we
need 1080 by 1920, which will make it vertical. And then what I'm going to
do down the bottom here, you see it says scale
full frame to crop. So what that means
is it will fit the image into the
frame that you've got. What we want it to say is
center crop with no resizing. And what that will do
is what you saw earlier when I was adding timelapses
into the timeline, but they were very zoomed in. It allows you to
see the full range of pixels that you've got. It allows you to
know when it says one at in the inspector, that is your full size. So that is the
advantage of using Center crop with no resizing. If we hit Create and go
back into the Edit tab, it is worth mentioning
at this point that over here, this icon here, which is timeline view options, I have got display stack
timelines enabled, which allows me to see side
by side my two timelines. So if I go back into
the one I was using, I'm going to copy from that. I'm going to drop that
clip into the new window. What we can see immediately
is this isn't matched up. We've now got a
different shaped window, and I've obviously got
some automation settings that are still
applied to this clip, so I'm going to come up here. I'm going to hit that,
which is going to reset all of the
automation settings. There we are. We're
back to the start. We zoomed into our full size. I'm going to zoom
out a little bit so we can see how much we've got to play with here
in this new view. Quite a bit by the looks
of things. There we are. There's the bottom of the image, so let's come back again. There we are. So
there's our four frame. And then what I can do
again is come over here and hit the automation
Show keyframe tray. Let's just drag that up so
we've got a better view. And just for the
purposes of this, we can now set about creating
a new automation that works specifically for
this size of window, I E for Instagram for TikTok, and we can move
about that in a way that's going to look
interesting on that platform. It doesn't have
to be the same as YouTube or whatever else
you were using for. I'm going to change
the position. Let's hit position key, the start position X, which is to move left to
right or right to left. And then at the end, to the end there I'm going
to hit position X again. So at the end, I want
it to be over this way, I want it to be over here. And at the start, I want
it to be over to the left. So something like that. So if we now play that
through, we can now see, yes, it's a different automation set to what we were
using originally. The timelapse is
represented differently, but it enables you to fine tune it to the different
types of social media, the different outputs
that you need that can then work for you
on different platforms.
30. 3.7 Sound: Finally, for editing, I just wanted to give a
quick mention to sound. Now, sound isn't always something that you will
add to a timelapse, but it can really enhance
the viewing experience. This can be a strange
one because obviously, if you're adding a sound
file to a timelapse, then the sound isn't obviously recorded at the same
pace as the timelapse. It's sound that's
recorded in real time. And therefore, it
doesn't always fit, but some of if you use ambient sound like
some traffic noises, it can often be the case
that it just kind of works. Your brain just goes, oh,
yeah, yeah, that's traffic. Yeah, this makes sense. It just feels right, even
though logically you know that it's not the traffic was recorded at a
different time. So ambient sounds,
waves at the beach, sound of bills, stuff like that. Over maybe a
lighthouse timelapse, I will kind of it kind of fits and it kind of feels right. And that is essentially
what you're aiming for. So I'm going to have a dig
in my sound library now, and I'm going to see
what I can find and see what maybe works for
these two timelapses. And see for yourself if you think that kind of
like it kind of fits. It doesn't always work,
but sometimes it can be a really nice touch
and sometimes you can dial the sound
down a little bit, like the levels of the
background just so it's giving the impression of the sound that would be there if
it was in real time. It can add something, but
it's not always essential. Definitely worth considering.
31. Part Three Recap: A recap of P three. Create a timelapse
and Davinci Resolve, import your photos as
an image sequence, create a dedicated folder containing your
timelapse photos, only ensuring there all present
and in sequential order. In the edit tab, stabilization, speed change and rotation angle are useful inspector panel
tools for timelapses. In the color tab, use
masks to highlight areas of the image that you want to draw the viewers
attention to. If you have a mismatch in the
exposure of your timelapse, use the image wipe and split screen tools
to match them up. If the output of your
film or video is smaller in pixels than
that of your timelapse, you can use automation to create dramatic movement as
your shot progresses. Creating separate timelines with bespoke settings is
an excellent way to create timelapse clips, specifically for social media. In some instances, adding ambient sound can help bring
your timelapse to life.
32. Thank you: So you are now all set to
shoot amazing timelapses. If you'd like to
share one of these as your class project, I'd absolutely love to see what you've been
able to create. I would also love it if
you could leave a review, let me know if this course
has been helpful and anything else you'd like to learn off
the back of this course. If you'd like to connect
further, you can obviously follow me as a teacher
on Skillshare. I'm also on YouTube on
Instagram and TikTok. I hope you've
enjoyed this course, and hopefully I'll see
you on the next one.
Angus Mawby
