Tag Archives: After Effects

5 Time-lapse Video Tips

8 Jan

Hello! After falling in love with some of the excellent time-lapse videos find on Vimeo and YouTube, I decided that I was going to start making my own time-lapses. At first glance these videos aren’t hard to make, only time consuming.

1. Get an intervalometer for your DSLR.
2. Setup the intervalometer so your camera takes a still at a regular interval (once every 5 seconds for example).
3. Wait.
4.  Convert the series of stills into a video.

If you follow those steps, you will make a time-lapse video.  However, you may also spend a lot of time creating a video that doesn’t look the way you want it.  No mater how familiar you are without video making, time-lapse has some unique aspects to it.  Last month I made my first time-lapse montage.  It’s by no means perfect, but I think learned some key things about making these videos.

1. Start short.

You know what those really impressive time lapse videos where the sun rises and sets several times in the span of a few seconds? Don’t start by trying to make one of those for your first video. Or your second. Or your third. Start with something short. I recommend your first dozen or so time lapse shots should only compressing 15-20 minutes worth of real-time into 10 or 20 seconds of video time. That way instead of spending almost a whole day making one shot, you can get more experience and shot a dozen of shots in a day.

2.  Think about movement.

Time-lapse is at its best when it shows us events that are too slow for us to observe.  That might be traffic patterns, a flower blooming, or clouds moving across the sky.  We know what these things look like, but we can’t normally watch them happen.  This is a challenge to framing time-lapse shots.  It’s not a matter of framing an interesting picture, but framing what you think will be interesting movement.  Think about what is moving (people, cars, clouds).  How fast are they moving?  Are you capturing enough movement to make the shot compelling?

3.  Use a Slow Shutter Speed.

A friend asked me, “why not just shoot video and then speed it up in post to make a time-lapse?”.  One of the main reasons we don’t do that and we use intervalmeters on DSLRs is to control the shutter speed.  A general rule of thumb with video, if you want to capture realistic motion, is that your shutter speed should be roughly twice as fast as one frame.  (If shooting at 24fps, you want your shutter speed to be 1/48 of a second).

Use a long shutter speed to capture movement within your frame.

This rule very much applies to time-lapse.  Consider a time-lapse where you take a picture every two seconds.  Let’s say a car takes four seconds to cross your frame.  If you shoot with a fast shutter speed, the motion of the car will be frozen in the two frames you take of it.  In the first frame it’ll be on one side of the frame and on the second it will have jumped to other side.  You’ll get a jarring flicker for anything that moves.  However, if you use a longer shutter speed of say one-second, you’ll capture the car in motion in each frame.  While the still pictures will look blurry, when you play the video back the motion will look smooth.

4. Add a miniature effect in post.

Tilt-shift lens can make what you are photographing looking like miniatures.  This technique works very well for making time-lapses.  However, you don’t need to go out and buy a new lens to do this.  There are plenty of ways to do this in a computer.  I used a setting in the Magic Bullet’s Looks that worked very well.

You don't have to buy a tilt-shift lens to create the miniature effect. It can be done in post.

5.  Pan and Zoom your video.

An easy way to add some energy to your video is to add pans and zooms.  Don’t try to do this while taking the pictures.  It’s simple enough to do in a program like After Effects.  Since your original stills are larger than standard video 1920×1080, you can digitally pan and zoom and still have excellent looking results.  No need to over do this, a little bit goes a long way.

 

My Time-Lapse:

This Side of the River – HD Timelapse from Kevin McGowan on Vimeo.

 

Stabilization Test: SmoothCam vs. Warp Stabilizer

11 May

Screen shot 2011-05-10 at 5.42.43 PM

Adobe After Effect CS5.5, released just a few days ago, has a new video stabilization tool call “Warp Stabilizer”.  After watching some impressive looking demos, I wanted to try out the new tool myself.  What makes this tool more interesting than some other options out there is that Warp Stabilizer can correct some of the rolling shutter and “jello” issues that occur with DSLR video.  When I’ve used stabilizing software on DSLR footage in the past, I gotten images that were steady, but had major distortion.

For testing I found some very shaky outtakes from a music video shoot on my GH1 last year.  I’ll say right off the back that there is a simple fix for all of these shots:  use a tripod.  Stabilization software is not a replacement for a tripod.  That being said, what I wanted to test is if warp stabilization could save any of these unusable clips.  The video below plays four clips, each three times.  The first time the clip is played it is the original footage. The second it’s the same clip with Final Cut Pro 7′s SmoothCam filter applied.  And the third time it’s the clip with After Effect’s Warp Stabilizer.

 

 

SmoothCam vs. Warp Stabilizer from Kevin McGowan on Vimeo.

The Results:

Clip 1
Smoothcam levels out the shot, but adds jitters near the end.  WarpStabilizer makes the shot completely level, without any jitters.  However, the resulting image is a little softer.  I believe this was caused by turn WS’s  ”Rolling Shutter Ripple” to enhanced reduction.  Changing this setting removed some warping effects I was seeing, but had the side effect of changing the image.

Clip 2
Both Smoothcam and WarpStabilizer fail to make this shot usable.  The shot is very shaky and the camera moves at near the same time as the subject moves, which further confuses both stabilizers.  When I attempted to use WarpStabilizer to remove the “jello” the results were awful.  For WS to fix jello it needs to be able to detect the fore-ground and back-ground of a shot.  Since the actor in this shot is right up against the door, WS can’t tell which is which.

Clip 3
WarpStabilizer makes the camera movement a litte smoother than Smoothcam in this shot.  In general, stabilization software crops your shot.  WS has a feature called “Synthesize Edges” which will re-draw the edges of your frame so you can avoid cropping. It did work well on this shot, because one of the musician’s faces is right at the edge of the frame.  The lesson here, if you are going to be doing any stabilization, don’t have anything important happening on the edge of your frame.

Clip 4
I was very impressed with how WarpStabilizer saves this shot.  In this shot, WS can easily tell the difference between the foreground and background (even with the rack focus).