Quick Guide for Shooting and
Processing Time-lapse with DSLR.
This guide is based on using Canon 60D DSLR and Premiere Pro
Shooting
Ensure battery is fully
charged and plenty of memory is available.
Turn on camera
Set the Quality to JPEG (2592
x 1728). This provides for HD video quality plus some “headroom” for
cropping.
Set the focus to Manual
Turn the Image Stabilizer
Off
Set the White Balance to
Manual or an appropriate pre-set (not Auto)
Turn the dial to M
Place the camera on a solid
tripod
Remove the lens cover
Frame the shot – allow for
cropping to 16:9 (see notes)
Set the ISO, Aperture, Shutter
Speed to suit
Take some test images and
adjust settings to suit (see notes)
Attach Intervalometer to
camera
Set the desired interval
(see notes)
Press stop/start to start
If practical, run a short
test, pressing stop/start to finish
Review and adjust the interval
if necessary, the start again “for real”
When the desired time has
passed, press stop/start to finish (see time guide)
Do not forget to restore
settings to “normal”
What Interval?
Most cameras allow intervals to be set from 1 second upward. Ask yourself how much action (time) do want to catch, and
how long do you want the final clip to be. Then do the maths.
Time
Guide
Interval (seconds)
Frames per minute of shooting
Seconds of playback per minute of shooting
For 10 seconds of
playback shoot for (seconds)
1
60
2.4
4.17
2
30
1.2
8.33
5
12
0.48
20.83
10
6
0.24
41.67
Remember, though, that shorter
intervals provide faster/smoother output and shorter shooting time, but
require more images (and memory). Longer intervals can appear jerky.
A one second interval may
be OK for a sunset (suggested range 1 to 5 seconds), while for a street
scene, this might be too fast. For a flower to bloom, you might use
intervals of 30 seconds or more (and a good deal of patience).
Processing using
video editing application (see notes)
Load to computer
In video editing program,
set length of still images to 1 frame
Import the images and place
on time-line
Open effects for the first
image
Straighten, crop to 16:9, correct
lighting, colour, etc as required.
Copy/apply attributes to
all other images
If multiple sequences are
available (EG Premiere Pro), open new sequence and import the previous
sequence
Adjust timing to suit
Render and export.
If multiple sequences not
available (EG Premiere Elements), and timing is to be adjusted, render and
export and then import as a single clip, then adjust timing.
Notes:
Foliage invariably shows
slight jerky movements, even in minimal breeze
If motion blur is desired
(eg car headlights), lower ISO, close down aperture and/or lower shutter
speed
Anticipate changing light
conditions and provide “some” adjustment to settings if necessary (eg
sunrise/sunset, cloud movements)
Processing can be accomplished
in a variety of photo and video applications, singularly, or in
combination. This guide relates to solely using a video editing
application.
How often have you distributed copies or uploaded your video masterpiece and someone comes back saying that they cannot hear the narration, or can only hear it on one speaker. I know..It has happened to me.
Generally speaking, most editing packages will have sound tracks which are either mono, stereo or 5.1. Putting 5.1 aside, there is a trap that I have often fallen for. This is where mono audio (such as narration) is placed on a stereo track. In such cases it will usually record in only one of the two tracks available. If not corrected, those viewing your final video will hear the audio from only one speaker, or in the case of some older mono equipment they may not hear the track at all. Usually, but not always, it is the narration track, often recorded in mono, at fault.
In many editing packages the view of a track can be expanded to show audio waveforms. To check if a stereo clip has both tracks filled, simply expand the view to see both tracks. If only one track is filled, either convert to a mono track or use audio effects such as "fill left" or fill right".
One often used technique used in video identify a place or region within a wider area is to zoom in on a map. However, what will often happen is that as the image enlarges, the place-markers and names become blurry.
Here are two ways to overcome this problem.
Select a map. In both methods, for best results:
· the image should be in high resolution
· the map should not be complex (avoid highly detailed maps)
· the colours should be flat (avoid "physical" maps).
Method A: Using Zoom to highlight a single place-marker and name (eg a town)
1. Open the map in Photoshop or similar.
2. Use the clone tool or brush tool to remove the place-marker and name from the background.
3. Save the image with a new meaningful file-name.
4. Import the amended image and place it on the time-line.
5. Use the titler to create a new place-marker and name in similar style to the original (or in contrast in order to stand out as different, if you wish).
6. Place the title on the track above the map.
7. Use motion controls and key-frames to animate the title to reduce from large to an appropriate size and in the correct place on the map.
Method B: Extract a region from a map of a larger area.
1. Open the map in Photoshop or similar.
2. Crop the image to the local area you wish to extract using the appropriate screen proportions (eg 720 x 576)*.
3. Resize the image by increasing the resolution by about three times (but setting the dimensions to 720 x 576* pixels (or larger).
4. You may note a haze around edges of lines and text.
5. To remove this, click on the eyedropper and sample an area of background colour.
6. Use the paint bucket to re-paint the background (you may have to do this 2-3 times) until the haze disappears.
7. Save the image with a new meaningful file-name.
8. Import the image of the original map and place it on Track 1 of the time-line.
9. Import the image of the local area and place it on Track 2, above the original map.
10. Use the motion controls to reduce and place the local area image so as to be invisible over the original map (this can be tricky).
11. Use key-frames to expand the local area image to fill or almost fill the screen.
Note: It is tricky to exactly size and place the image of the local area over the original map. Also, the process of re-painting may result in a slight difference in the saturation of the background colour(s). Applying a narrow border before you save the local area image, makes any differences between the maps less obvious and gives better "definition" to the local area map.
An alternative approach is to use Photoshop of similar to cut out the region (along its borders) and save this as new file on a transparent background. To retain the transparency, the file should be saved in png format. This file is then treated as per steps 8 - 11 above. When in place the region borders should provide a suitable "break" between the region and the surrounding map. To add extra definition to the region as it expands, a drop shadow might be applied. This should be key-framed to appear only as the region starts to emerge from the background. A further option is to reduce the opacity of the background map as the region map is extracted (again using key-frames).
A further option is to use both methods: Extract the region using Method B then drop in a place-marker and name using Method A.
Dimensions above are for PAL standard. Use dimensions appropriate to the specifications with which you are working.
2. Wipes
Where your editing program does not support a "write-on" effect, wipes are a useful tool for showing a journey on a map.
If the journey is by road, rail or river, ensure that these are shown on the map you use.
1. Open the map in Photoshop or similar.
2. Identify a section of the journey where there are no major deviations of more than about 60 degrees. Ideally, sections should stop and start where you intend to insert other footage or images.
3. Create a new layer
4. Select a suitable colour to depict the journey.
5. Select the brush tool and set it to a suitable size.
6. Position the brush at the start point.
7. Holding down the Shift key, click and move to the next point along a straight line, click again.
8. Keeping the Shift key held down, repeat until the end of this section is reached.
9. For each section repeat steps 2 to 8 (make sure you create a new layer for each section).
10. When finished, make all layers (including the map) but the layer showing the first section invisible.
11. Save as a png file using a meaningful file-name (eg Dublin to Cork).
12. Make this layer invisible and make the next layer visible.
13. Save as per step 11.
14. Repeat until all sections are saved.
15. In Premiere Elements open a new project.
16. In Premiere Pro open a new sequence.
17. Import the original map and all of the sections.
18. Place the map on the time-line (Track 1) and stretch it out.
19. Place the first section on the next track above the map.
20. Place a Wipe effect onto the clip, and open in Effects Control.
21. From the markers surrounding the small screen in Effects Control selected the direction of travel.
22. Test the wipe.
23. Repeat steps 17 to 20 for each of the sections, making sure that each section is placed on its own track, and so that the wipe does not commence until the preceding section has been completed.
24. Trim or stretch each section until a smooth and "timely" depiction of the journey is achieved.
25. Save the project.
26. If you wish to intersperse the journey with footage or images of intervening points, open your main project or sequence and import the journey file (Premiere Elements) or sequence (premiere Pro).
27. Trim and insert into the main project as appropriate.
3. Moving Icons
A moving icon is a small graphic, usually of a vehicle, which moves across a map to indicate the journey. One problem often encountered is where a graphic of a side-on view of a vehicle is used. This normally requires the graphic to be continually rotated to always point in the direction of travel. This can be tricky, time-consuming and the result is often jerky. The following is based on using a graphic such as a head-on view of a vehicle or other icon that does not require rotation.
If the journey is by road, rail or river, ensure that these are shown on the map you use.
1. Select a graphic.
2. If necessary, use Photoshop or similar to erase the background.
3. Save as a png file.
4. In Premiere Elements open a new project.
5. In Premiere Pro open a new sequence.
6. Import the map and place it on Track 1 of the time-line.
7. Import the graphic and place it on Track 2 of the time-line.
8. Open the effect control and reduce the scale to a suitable size.
9. Position the graphic on the start point of the journey.
10. Click on the animation symbol. (a key-frame marker should appear)
11. Move the time-line indicator a short distance and click on the key-frame symbol between the two arrows (another key-frame indicator should appear).
12. Position the graphic at next point along a straight line.
13. Repeat steps 9 and 10 until the journey is complete.
14. Adjust the timing by moving the individual key-frame indicators back and forth until the speed of the entire journey is consistent.
15. The overall speed of the journey can be altered by adjusting the Speed/Duration control for the overall clip.
16. Save the project.
17. If you wish to intersperse the journey with footage or images of intervening points, open your main project or sequence and import the journey file (Premiere Elements) or sequence (Premiere Pro).
18. Trim and insert to the main project as appropriate.
One of the most dramatic improvements you can make in filming with your camcorder is to have a stable base. The most common and usually the best form of solid base is of course the tripod. However there are many situations where using a tripod is not a feasible option. This is particularly so when you are travelling. In other situations tripods can be inconvenient or even prohibited. Some museums and the like allow videoing but ban tripods. Fortunately, there are a some quick and simple alternatives.
The monopod, is simply a single pole, usually telescopic, to which you connect your camera, much the same way as you would to a normal tripod. It provides a relatively stable base, although there can be some unwanted movement for and aft and side to side.
The stringpod is a piece of string about 1.8m long to which is attached a 3/8" bolt (usually by a small hole drilled across the head of the bolt). The bolt screws into the base of the camcorder, and the operator stands on the trailing end of the string and pulls it up taut. The stringpod provides about the same degree of stability as the monopod. However, the stringpod can be simply rolled up and put in a pocket. It does take a moment to set up with the correct distance between foot and camera.
The bagpod is another very simple solution. The bag itself could be a plastic zip-lock sandwich bag, a cloth bag, or even an old sock (without holes). The bag is filled with almost any dry granular material. This could be sand, sugar, rice, or even soil picked up at the location. When filled the bag makes a small cushion between a solid surface and the camcorder. The solid surface can be flat or vertical. It might be a gatepost, a car bonnet, a tree, a wall, or a light pole. The flexibility of the material allows sufficient movement for the operator to frame the shot. Once framed the camera can be left on horizontal surfaces, but will need to be held against vertical surfaces. Like the stringpod, the bagpod is an excellent solution for travellers, and for less obtrusive or “guerrilla” filming.
...but don’t forget to empty any foodstuffs, sand or soil before travelling between countries or returning to Australia.
This post is based on using Premiere Pro 1.5. However, the principles should apply to most other worthwhile video editing programs.
I was recently asked to show the members of a Premiere Pro Workshop how I made a particular piece of video. To do so, I copied my Premiere project file onto my trusty USB drive, and off I went to the workshop. When I went to open the project on the computer at the workshop, I was asked “Where is file ‘x’?”, then “Where is file ‘y’?”. Without these files, I could not properly edit my project on the computer at the workshop.
In order to understand why these messages were coming, you need to understand the relationship between your project and these missing files.
I like to use the analogy that using a computer to compile a video is like using a kitchen to bake a cake: You turn on your computer / You enter your kitchen You open your editing program / You open a recipe You browse your hard drive and import files such as video clips, still images, music and sound effects / You open your pantry and take out the ingredients You arrange the assets on the timeline / You mix the ingredients in a bowl You render your project / You cook the mixture in an oven You burn your project to DVD or other media / You put your cake on a plate You show your video / You serve your cake
If you were going to take your cake to Grandma’s house, you’d take it along as a finished cake. However, if you wanted to go to Grandma’s and re-make your cake in her kitchen, you’d take along the recipe and all of the ingredients. If you don’t take the ingredients, you can’t make the cake.
Back in the world of video, my problem was that I did not take along all the ingredients (assets) that went into making the video.
If I took my cake ingredients to Grandma’s I’d probably not take along my pantry and fridge. I’d put the ingredients in a basket and take that. For my video, I’d gather the assets together, and put them on a USB drive, or a CD or data DVD.
Gathering those assets together can be very tedious. While some will be in the folder where you save your project, others couoldbe anywhere on your computer; in sub-folders in places such as “My pictures” or “My Music”.
Fortunately, Premiere Pro can help.
When you have completed your project, or have it at the stage that you want to take it on the road, save your project, then click on Project > Project Manager. The Project Manager dialog box should open:
Under Resulting Project, select Collect files and copy to new location. Make sure that under Project Destination the path is to the same folder as your project. To make sure all of the assets can fit on the disk space available, and onto your USB drive, CD or data DVD, click on Calculate under Disk Space. If it will fit, Click OK.
All of the “asset” files will then be copied to the same folder as your project. Copy the entire folder to your USB drive or burn it to CD or DVD. As long as a compatible version of Premiere Pro is running, you should be able to open and work on your project on another computer.
PS: Do not eat your cake while editing…the crumbs are not good for the keyboard.
How often have you sat through someone else’s video that was well shot, well edited, good story, but ruined by a dull, flat voice-over.
If we are honest that thought might also apply to our own.
The truth is that we are not likely to have been gifted with the "Voice of God" and aspire to a career in voicing movie trailers, or even commercials for book warehouses.
However, there are a few things we can do to make ourselves easier to listen to, and our videos more watchable.
Firstly, let's start when we are shooting our footage on location. Rule No 1 is don’t shoot short. Give yourself plenty of time in each shot to play with later. Rule No 2 is shoot plenty of ambient footage and sound. By ambient footage I mean shots of things around you which in themselves are not spectacular, but provide additional background and cutaways to match your narrations.
If you are tempted to narrate footage while you shoot, by all means do so, but take the same shot again without the narration. Good Ad lib narrations from behind a camera are invariably hard to achieve. Don't forget that you are also likely to pick up many unwanted sounds, wind noise, and even your own breathing. Your on-camera narration may however help you later in writing your script.
Once you have viewed your footage and completed your additional research, you can envisage your final video, and start to write the script.
In writing your script, it is important that you visualize an individual who is to be your audience. This could be a friend, or maybe a grandchild. You are going to tell them the story of your video. It might be about your last trip away, or it might be your family’s history. In any case, make your script a conversation with that one person.
I write my scripts in paragraphs, but print them as single and alone sentences. I’ll explain why later.
Whether you stand or sit to read your script is up to you. To gain realism in presenting a conversation you might like to consider standing and using hand gestures to emphasis points. Invisible though these will be, they will help you to add emphasis to your voice.
It is important to keep your voice lubricated, so have a glass of water at hand. Do not think about you breathing. Let it happen naturally.
Unless you are delivering a particularly somber sentence, smile; even for the most mundane of lines. Your smile will give your voice animation. Similarly, be excited. What you are doing is important, and you need some excitement and emotion in your voice to convey the message.
Watch your diction. Concentrate on delivering your words clearly, and emphasis the d’s and t’s that come at the end of words. These are the easiest to let slide away.
Listen to the pace of your speech. Look for a rhythm that suits the words, and maintain it.
Use pitch to give highs and lows to your reading, but always start a sentence at a high pitch. It grabs attentions and you can move down and up from there. It is almost impossible to credibly move from a low pitch start to higher pitch later.
For the read itself, I record one long read, including the setting up noises and so on. I read each sentence three times, even if I think I nailed it the first time. Sometimes you think you have, when you really haven’t. By making three reads, I know to expect to see the sentence three times in editing. If I feel I need more than three reads, I’ll make a mark on the script to tell me how many reads there are for that sentence.
In editing, I use Audacity to listen to my three (or more) readings of a sentence, and to cut out the unwanted sentences and noises. Where sentences are to follow on in a paragraph, I allow for a small gap. For paragraphs, I leave the gaps larger. Theses gaps might be shortened or lengthened when go to the video timeline.
Before saving my soundtrack file, I normalize the whole track so that volume levels are more or less consistent. I then save this as a new file. I may want to go back and extract something else from the original.
