All language subtitles for 07 - Shooting a Stationary Timelapse

Cool. All right. So, we're in Seoul right now.

What we're going to be doing is we're going to go out and scout.

We're going to try to find some locations to shoot.

Some of the things we want to look for are people,

cars, any kind of really cool-looking lighting.

So, we're just going to kind of scour the city right

now and then see what we can find. Let's do it.

What we're looking for right now is basically just an area where we can shoot.

It's got a lot of congestion, a lot of people,

a lot of cars, and some really great light.

So, we really need to find a good spot to do that.

So we're going to go ahead and hit the city and do that.

So, this intersection is perfect for filming just

because there's so much traffic and so many people,

a lot of motion, a lot of different elements going on here.

We've got light. We've got shadow. We've got people.

We've got cars. That's four elements out of six. That's really good.

It means you can get a good shot. The downside is we've got a lot of construction here,

it doesn't look pretty.

So, we want to kind of find something that's a little more natural in its environment.

So I think we're going to head down this way and

see if we can find something down here. Let's go.

So, one of the things you want to look for

is architecture and we've got a really great example right over here.

We've got old meets new.

We've got a really great looking government building mixed with a nice new corner store.

Those two elements can really bring together,

kind of give the character and class of the city.

So, I think we're going to go over there and

check that out, and see if we can shoot something there.

Let's go and do it. Cool. So, I

think we're going to set up our timelapse shot right here.

We've got a really nice depth of field back here.

We've got a foreground,

a middle ground, a background,

and then we've also got some really nice elements of people, cars, shadows, light.

It's going to make for a really nice timelapse.

One of the things you gotta watch out when you're setting

timelapse is to make sure you don't get up in people's ways.

You want to make sure your tripod is off to the side.

You want to be courteous to other people that are on the road.

So, we're going to go and set up and get this timelapse rolling.

Cool. So, we found our location. We're going to go ahead and set up.

I got my tripod out.

I'm going to go ahead and extend it all the way out because we want to

be above the people and we want to be above the cars.

That way, we don't get headlights or people running into our lens.

You also want to make sure that you watch out for pedestrians.

So, kind of see their back towards the side or out in front.

That way, they can get around you.

Always make sure you check your lens.

Make sure there's no dust or dirt on it.

Otherwise, you're going to have artifacts inside your shot.

Go ahead and put our camera on.

The next thing I want to do is really check out the composition.

We've got all these really nice lines, architecture.

We've got people. We've got cars.

We've got every element that we need to create a really great timelapse.

So, one thing I'm going to do is I'm going to center

directly on this building in front of us since we've got two channels.

We've got a left channel and a right channel of cars and a really nice stream of people.

So, this seems to be a really great location.

I'm going to go ahead and compose it how I think it's going need.

We're also using a really wide lens so I'm able to capture

everything within a really wide angle of view.

So, the next step is really just to go through,

make sure all your settings are correct.

If you're using a lens that has autofocus

or vibration reduction, you want to turn that off.

Make sure everything is on manual and then really,

we're all set up to start our shot.

So, one of the things I want to talk about is dragging your shutter.

This could be the most important part of creating a timelapse because what

we want to do is create a really nice smooth cinematic type shot.

The way you do that is called dragging your shutter.

What that means is you're going to increase the shutter speed so it's above,

say, half a second to even a second or even longer than that.

What that's going to do is any motion that's on

the screen is it's going to draw it out and expand and give it

a nice motion blur and it

comes across more fluid when you're actually putting the timelapse together.

So, what I like to do is if I'm shooting people or cars

is probably shoot anywhere between half of a second

to a second shutter and that will allow me to have a really nice motion streak.

That way, when we blend it together,

it's going to have a really nice fluid motion in post-production.

So, I've already set up the composition,

and I've got all of my settings where I want them.

What we're going to do now is pick the interval,

and because we're shooting people in cars,

it's going to be a really fast interval.

So, I'm probably going to put at around

a two or three-second interval at around 400 frames.

This is going to give us about 16 seconds worth of footage.

So, we'll be here for about 20 minutes shooting this shot.

So, we're going to go ahead and adjust our intervalometer to what we need.

Right now, I'm changing the interval to every two seconds.

I want to give this 400 frames.

So, one thing to always remember is to double check your settings.

Go through, make sure anything that's auto is turned

off and then make sure you've got the correct white balance on.

Since we're shooting in the shade, I want to go ahead

and throw it on the shade white balance.

Since we're shooting raw, we can always change this

in post but it's best to start off correct.

The next thing we're going to do is just start it.

So, I want to hit the start button and we're going to roll.

Here we go.

So, while we wait here,

let's talk about cameras.

I think it's really important to really get to know your camera and

understand it's different functionalities and the settings that it has.

One thing that I love about the Sony cameras is that they've

got a really large dynamic range.

Same with Nikon. We're talking 13,

14, even 15 stops of dynamic range.

Some of the Canon cameras unfortunately only have around 11 stops of

dynamic range and what that means is the amount of

data that we can pull out of there from the raw file,

it can either be a large amount or a small amount.

When we use the Sony's, we're going to look at

these images back in post and they're going to be a little dark.

But the great thing is we can pull out all that information,

all of the shadows, all the mid tones.

It's going to look like daylight.

So, it may look like it's just complete backlit right now.

But when we bring it to post, it's going to look really great.

That really signifies a really nice sensor.

Anything that we're able to pull highlights, and mid tones,

and shadows out of and be able to retain that data in the sky,

and in the foreground, the middle ground, is perfect.

So, really, when you choose a camera,

you want to make sure that the camera is suitable for what you're going to be shooting,

or when you're shooting, to make sure that your exposure is set properly.

From my past experience,

I find the best ways to actually under expose your image by at least half a stop to

a full stop and what that's going to do is it's going to

allow you to retain the information that's in the highlights.

So, anything or anytime you've got really bright clouds,

the sun's going to cascade off of it,

and it really blow it out some time.

So, what I tend to do is I tend to go exposed either

straight for the sky or exposed one stop under from what the sky is.

What that's going to do is later on in post,

when we bring it back, it's going to look really nice.

I'm going to be able to retain all the data that's in my shadows,

in the foreground, and in the middle ground,

and still have all the data in the sky.

So again, it's really important to understand what kind of sensor you

have on your camera. That's it.

All right, our timelapse ended which means we can go ahead and finish up.

So, what we're going to do now is we're going to go search

the neighborhood again for another location but this time,

we're going to use motion control.

We're going to use a two-axes pan tilt head and that's really going to

allow us to add some really cool motion to our shots.

So, let's get out of here.