***NOTE: All opinions & perspectives shared come from my experience as a shooter and may not be the best way of doing things. I am simply sharing MY WORKFLOW when both capturing and processing RAW time-lapses similar to the ones seen in the INTRODUCTORY video below***.
The target audience of this series will be the independent filmmaker who is open to learn. In the series, I hope to give a thorough breakdown of how to shoot RAW time-lapses. There is no perfect formula to get incredible shots other than practice, practice & more practice. These shorts will simply give you a look at how I approach shooting time-lapses. Comments and recommendations for future videos are encouraged.
This series is a work in progress and will continue to evolve as I learn more. Below you can find the current content breakdown:
This video will introduce the series as well as showcase the types of shots that will be present in the time-lapse series.
2: Kit Breakdown / Software & Hardware Solutions – Introduction
In this video, I will give a quick preview of what equipment I use when shooting time-lapses.
3. A Closer Look at my ‘Tool Kit’
In this section, I will look closer at my ‘go to’ equipment and also break down a few different kit configurations depending on shot requirements as well as shooting conditions.
4. PRE-PRODUCTION — (Story, Scouting & Scheduling)
Pre-production is by far the most important part of the process for not only time-lapse photography but filmmaking as a whole. By being prepared from the beginning and by having a well laid out plan, production & post-production will ALWAYS go way smoother. There are a few specific areas that I will be investigating as part of the pre-production phase.
- Searching for Locations.
- Prepping Gear.
- Shot Lists.
This section will be the most extensive and will encompass a wide array of possible time-lapse setups. For a list of the current tutorials to be covered in the series, please see below:
- Camera Settings/Modes: Understanding the Basic Functions of a DSLR
- Static Time-lapses
- Motion Controlled Time-lapses
- Day to Night Time-lapses
- Astro Time-lapses
- HDR Time-lapses
- Walking Time-lapses
- Bulb Ramping
6. POST PRODUCTION
For this section, I will be covering a few different methods for processing the time-lapses as well as cover some of the ways in which to remove flicker from your time-lapses. I will also be focusing on a few composting techniques.
Some of the programs/codecs I will be covering include:
- LR Timelapse, Lightroom, After Effects, Photoshop, Premiere, FCP 7, Quicktime 7, GB Deflicker, CHV Time Collection, ProRes vs CineForm, Photomatrix, GBS Timelapse & more.
NOTE: I will be spending a substantial amount of time discussing how to remove flicker using various programs as it is a highly requested topic.
7. Distribution: An Expanding Market Opportunity
The demand for online content is increasing. Grants for web series are becoming available. Discounts that used to exist for online content, such as discounted actor rates, are quickly disappearing as many are seeing the added value in online content. Crowd funding is also becoming a viable option for funding. With this shift, it is key to create an online presence — and get your work seen.
Paying it Forward
The gap between low quality and high quality video is quickly closing and this quality content is becoming available at a fraction of the price. It is becoming even more important to find ways to stand out from the crowd.
Now the main reason I am asking anyone that learns from the tutorials to either post their work or post something they learn along the way is because of the impact this work could have upon someone else. By posting your content online, you may be posting content that a viewer can relate to. You may even inspire someone or speak to them on a deeper level that could inevitably cause a life altering event. Who knows?!?
With this new market that is emerging, many people now have access and it is becoming even more important to find your niche. There are a few things you can do to stand out. Do work that relates to personal experiences. Continue to work hard and be passionate about the work you do — no matter what you are working on. Do the best possible job you can do on EVERY job. If you continually grow and work hard, good things will happen. It doesn’t take much to push yourself as a filmmaker. I’ve found that it is actually harder to be complacent!
Although only a quick look, the above post breaks down what I will be covering in the tutorials. If there is anything you would like to see added to the list or any advice on how you would like the series to be approached, please share in the comment section below!
NOTE: All videos will be available on The RAW Timelapse group. To either share your experiences or work, please join. vimeo.com/groups/payitforward Thanks!
We've been wanting to make this one for quite some time. How affordably could we light an interview that is good enough to go on primetime? It can be easy to get lost in all of the toys and tools and forget the basics. When you really understand how your choices add to story, you can often do so so much with so little. Here we share how to light an interview with just $26 including where to get each item and how we setup the lights.
This tutorial is a special one we created to celebrate our launch of SMAPP as 100% free from top to bottom. We've had such tremendous support from our community that we wanted to give back and open up everything in SMAPP. SMAPP is a filmmaking app to help you always push your story forward. Check it out on the Apple App store or at getsmapp.com.
a few weeks ago we released a tutorial on basic interview lighting and how you can quickly achieve the look you want with just a few lights and modifiers. once you're comfortable with the basics we invite you to continue to push your story through light. you can say so much through your lighting so this week's tutorial will take it up a notch as we deconstruct how we lit multiple scenes differently based on story, all of which was shot in the exact same location. we'll take a look at how each scene was lit and why it was lit a certain way. armed with 5 lights and the same set of modifiers, you will see how and why using different modifiers and techniques can say change the way the viewer experiences the scene.
so the next time you walk into a room or staged set, start thinking about what you want your scene to say, how that ties into the story you're trying to tell and how you plan on achieving that through lighting.
for more info on SMAPP, the stillmotion app, visit getsmapp.com
for more info about what we've been up to, other tutorials or educational content check out the blog at stillmotionblog.com
we are one week closer to the launch of SMAPP and as our update of the week we wanted to share a tutorial on interview lighting.
there are so many different ways you can light an interview and while story is always important, interviews more than anything else often come with the constraints of time, space, and gear. traveling for A Game of Honor we had to be able to light an interview with whatever we could fit into one 70lb suitcase (which inspired a whole separate tutorial on what's in that suitcase). if you've done your share of interviews, you'll be all too familiar with showing up and having a room that would be a tight fit just to hold all of your gear, let alone setup and interview in it. with almost every interview we feel like we could use one more stinger, one more light, an extra five minutes to tweak the setup, or an extra 5' feet to reposition the talent and camera. however, through working within these constraints we can learn to do much more with much less. half the tricks we know about lighting have all come from having to figure something out while on set, and having to do so quickly. the more we understand light, how it works and how we can work with it, the more we can make the most of whatever time, gear, and space we might find ourselves in.
we hope you enjoy our first lighting tutorial on basic interview lighting. our next lighting tutorial we will be sharing shortly will show how we light the same scene three different ways to create different moods.