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Adventure Photography

Lesson 2 of 32

Prepping for Timelapse Photography

Lucas Gilman

Adventure Photography

Lucas Gilman

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Lesson Info

2. Prepping for Timelapse Photography

Lesson Info

Prepping for Timelapse Photography

The first thing we're going to do here today eyes you know, the question is what is what is a time lapse? I get that question all the time, what is the time lapse? A lot of people are, you know, wondering what time lapses and we're going to go ahead and start with a time lapse here today, but for you guys in the audience were going to go ahead and cut teo a time lapse I did in um when we launched a d ate ten and these will be all internal time lapses and it's getting really give you an idea of what a time lapse is, they're really fun, they're really easy. There could be a simple it's just a camera on a tripod and so on so forth so let's cut to that and then we're gonna go ahead and show you how I would set this up with a little bit of motion control. We got a cast their second shooter here and we're going to go ahead and just really sort of show you the nuts and bolts of if you want to do this yourself. So here we go, so we're going to a time lapse now and the real nuts and bolts there...

's there's time lapse photography is really simple basically we're taking a lot of images single still images were putting them together in a timeline and making them into a short video there's a lot of applications, which will help you do that. We've got our trusty iphone here, and I use the iphone in a lot of sense is for photography eyes I'm also a filmmaker, and what we do is, um, way use this to basically make our life a lot easier. There's a lot of applications, such as, uh, son surveyor, which I like a lot and what this does this this application here is it allows me to figure out the path of the sun which why's that important well, when you're set up your time lapse were soon to set this time apps for about four and a half hours here, so we want to know where is the sun going to be throughout the day? This also has some really cool stuff, it tells me sunrise, it tells me sunset, but basically it will track the course of the sun throughout the day as we g o throughout the day. So if I'm doing a night time lapse or going day tonight, which they call the holy grail, it will allow me to know when that sun is going to go down where it's going to go down. A swell is when the moon is going to come up, which is very important, because there's some really cool things you can do that you can actually plan ahead. For instance, there's a super moon, which means the moon's really big, very close to the earth, and you can find out when it's going behind be behind, say, like the golden gate bridge or some famous lighthouse so you can plan ahead and make really interesting images. Another application I like to use eyes called photo pills. Ah lot of different things he will tell me things such as depth of field wised up the field important. Well, we're going to go in and build this time lapse, and I want to know how much stuff is in focus because basically we're gonna be walking away from this camera. We can't touch it. It's not auto focusing. We're going to take that focus down, make sure everything's you know, set, they're not it's not jumping or anything. So knowing our depth of field and knowing you know, our near point far points also very important in addition to that photo pills is great because it will tell me the moon cycle currently as well as in the future. Which is really cool, so I can say on the twenty seventh of this month, full moon, uh, which would be great to make some night photography, but inversely if I want to shoot stars, I don't want a full moon, so I want a new moon for that. So all these things are really nice to help me just give me a on edge, basically just wanted to jump in, and we're just getting some great buy from the internet and a couple questions for you, one of the things that I wantto just a quick question. So tell me, who out there is this class for this? This class is for everybody, people that are into iphone photography, people that are looking to get into dslr everybody will walk away with something from this class, you know, the principles are to wherever you're at to build on those building blocks and to get better, you know, basically, photography starts with light we see light every day it's about noticing the nuances of that light and just putting yourself in that background on whether you're using a high end dslr like a nikon d a ten or iphone noticing things such as background, how the sun falls on to your subject and or placing your subject in that field and we'll make you a better photographer whether you're shooting completely manual and you've been doing this for years or if you're just going to go out and just make some happy snaps right and potentially like I could be a wedding photographer, I might you have some big takeaway is right because we're going to covering so much stuff for sure I mean wedding photography specifically the time lapse this is a great, great opportunity. It's another revenue generator, you know, set you set up a time lapse of, you know, the tent and all the festivities getting set up it's another sale for that, you know, there's there's, multiple aspects. And like I said, this is a common language will speak it's, not about wedding photography or eventual rotogravure fashion target. We're just out making images, and we're just talking about how to make those imagesmore dynamic and more interesting and more visually stunning. Great. Now, let's, let's, check on sometime last. So we got the tesser second shooter here, which is great it's a motion control device. Uh, you know, it may look a little bit like scary we got wires and all that, but it's actually very, very simple, you know, pretty much anybody that can has a kilometer in their camera or combine external interval ometer which means it can take photos at intervals can make a time lapse today we're going to be doing a internal time lapse the nikon d eight ten dozen internal time lapse which is pretty cool I used to not really be into time lapses a lot because you know typically you take all these photos thousands and thousand photos there's all this post processing and then you you know you gotta put him in a timeline it's very labor intensive. Well, this does everything in the camera and it spits out basically a twenty four p or ten adp video and it's all done so it's it's finished off and it's something you could just share pretty cool but some real basic things. The first thing that I always have when I have my time lapse here is a is a neutral density fader which allows me to basically dial how much light is coming through my lands. And why is that important? Well, when we modern lenses basically stay open so the auto focus is able to see as much light as possible and they stop down right before you take that photo. Well, what happens when you do a time lapse is if it's stopping way down there's just a millimeter or so like just a little bit of difference you'd never notice from photo photo, but when it's in a time lapse, you'll get what they call flicker, so if you shoot it a wider amateur say to eight you know f or something like that, you're going to get much less flicker. The nikon d attend has something called exposure smoothing built in a swell which will allow you to do tohave if there's any flicker. It sort of smooths everything out, so we've got our castle a second shooter here, I'm gonna go and mount the camera on the first thing is to mount the camera, you could be mounting this on a tripod as well. It doesn't have to be in motion control device, but we have this great rig here where mount this thing here and as you can see, we've got this on live you so we're gonna let go ahead and we're going to see what our frame looks like and go ahead and compensate for this ugo and I'm just looking to see what we're getting is faras light through the lands go way anyone set this up and it's pretty dark here in san francisco, so we're not even gonna need our fader today, which is kind of cool we're gonna set our castle here, we're gonna turn it on already what is called the program moves so we've got our our camera set we're locked down and we're going to program them to do what is called two key frames go and set our program here and I said it's a two key frames which means we're gonna have an end point and outpoint so we'll start where we wanted to be and we're gonna hit that so as you can see we can move this up we can move it down and I was going to look at this and see all right what's the beginning of our exposure here where we at on ok looking good and we're gonna grab focus here we're gonna grab a manual setting our focus and we're going to set this frame and we're just sort of moving it up so it's a nice sort of started frame so that looks good in a center focus next thing we're going to turn off our auto focus because as it's moving we don't want it to all of a sudden go I want to be focused over there so turn off the auto focus and now we need to figure out how long we want this to be there's another app photo pills does that as well basically will tell you how many frames you need to make your your timeline so if you think about it in a time lapse typically a timeline is twenty four frames per second so that means for every twenty four frames of still photos you made so that's every time you take a shot that's one frame uh that's one second a video so you do the math you need to figure out how many frames and how long you want that to be able to go out and go on the menu here going to my time lads settings here and go and we'll set our interval go every fifteen seconds which seems like a good and the reason I'm puting fifteen seconds is because these clouds aren't really moving if I do everyone second or two seconds it's not really going to show much so let's go and say fifteen seconds okay uh now when you said our shooting time we decided we're gonna go four hours and thirty minutes why four hours and minutes? Well that's about how much time we have today before the next break so we're going to say that okay uh we have exposure smoothing turned on which is great, okay, we're good to go and now we've said our in our entry point here now we want to set our outpoint so our second key frame we're gonna go ahead and move this to where our end point's going to be you can see we're moving way want to go here and then let's say let's go ahead and go there and it's going and raise that guy up his well and so we have sort of a nice move at the very end so we're going to set that point let's go run once and that's going to show us exactly what we've done and we're gonna do this for fifteen seconds that's fine just to see what we've got here so it seems you can see it's going to start back in the beginning to where our initial start was and then it's going to start moving this way slowly as you can see just to sort of show you what we're getting so this is just a test we're not actually doing any photos yet this is just to show you what the camera's going to do so this may seem overwhelming this a lot but again we can still do this just on a tripod a cz you saw in the video before uh you know we don't necessary have motion control but it makes a much more interesting image so I'm gonna go ahead and reset this guy, can I? Yes, sir question before we reset course thank you, sir. So the internet has to know you have a couple of things let's start with where do you decide to focus when you're when you're doing a time lapse? Very good questions so we are basically that the simple answer is you don't want to focus on the foreground you don't want to focus on the background so at a depth of say, a depth of field say f four I want to be about I'd say if this is your closest thing that you want to be in focus, I want to be about twenty five percent pass that so if I'm looking at these flowers here and this is the closest thing I want to be about right here so because I know that you know, this is gonna be in focus and that's where that depth of field calculator we talked talked about in photo pills it's going to tell you how many feet you're going to have it focus so that's where that depth of field is important so using an application like that will help you basically figure out how much you actually haven't focused so focused on something you know what's the most important thing in the frame is it the flower? Is it the background like what? What is your you know there's no right or wrong here what's the most important thing to you if you're if you're doing ah shot of, say, the golden gate bridge jj on there's a bunch of things in the foreground because you think that's interesting they don't necessarily have to be in focus but figure out what's the most important thing okay now here's where I screw up a time lapse exposure on guy might have missed it how do you have your exposure set and, like what's, the best practices, so the best practice for setting up a time lapse, modern time lapse it used to be very difficult. You need to be on manual exposure, and you're there and you're like, you know you're you're going okay, and the you're bold ramping, you're doing all these calculations will now their applications, such as like l r time lapse, which basically you can shoot on an aperture priority and what and you want to be in an aperture priority. If you're going to be an automatic mode because your aperture stayed consistent, therefore your focus stays consistent, so there will be some changes and exposure, because obviously throughout the day, that's going to change, but what it will do is is when there's their jumps or those ramps, it will go in, and it will it will level, eyes those exposures, so in that sense, you will be shooting still images in a raw format. Whatever your camera takes in a raw, you'll bring him into light room with the lr time lapse software, and you'll go in and basically fix all those frames, and it will it will level it out so that it's a smooth transition? Yeah, when you say lr, we didn't mean like that probably newbies out there, yeah, the program is called l r time labs on and it's a it's a it's a plug in for like unplugging it's an external program that works with light room so light room has the power of toning all these photos very quickly lr timelapse basically goes and allows you through the metadata and the image allows it to adjust the exposure is very very my newly to like a hundredth of a stop so that you know for instance that this this is the problem with the sun comes out for just a split second and then goes away this is where it allows you to adjust those things right? And one last question before I throw it back to you how often do you do tests for time lie like do you ever do like ten thirty frame tests and looking well, you know, usually I'll do an end point and outpoint justice it make sure you know in this sense, you know, I sort of just visually saw it, but people will do an end point and out point to see where we're at on then from there I'm going to basically, you know, see that's good, but the hole and this is this is for me this is one of the reasons sign lapses is really difficult it's a patient's game once you've set this thing it's like putting the ship to see let it be because we have this idea that we want to come over and we want to start checking in and start looking at it and that's it the worst thing you can do because all of a sudden you bump this and all of a sudden your time lapses right? Because that one frame all of a sudden you've got to jump in your time lapse so if you're going to do anything if you're going to do a time lapse even if you want to do it various simply the one takeaway is do a test shot make sure your exposure's right let it be and then shoot mohr than you think because you want to give yourself a little breathing room at the end so that you when you put these together like you saw on the video there's a place to qatar transition so give yourself a little extra it's not you're not because so here you know you just need to be able to shave the middle of that out and be able to use that portion okay, thank you looking back to think you were gonna go on and keep working through this we sort of went through in and out points and we're gonna go and just get this guy set so we're gonna go ahead and you are our time see here and do you have any other questions in the audience right now? Absolutely okay, I just want to make sure because this is very this is a very complicated thing and I want to make sure that before we walk away from this aspect of it because after we cut to break here I'm gonna go ahead and get this thing set and we're gonna actually get to see what we're doing later because we're going where I think we're gonna have a go pro and it's going to be able to see this thing moving along this track and everything okay? But I want to make sure that we didn't gloss over anything in particular. Perfect. All right, well, let me let me start with this because this was one of the questions how how much time did you take to learn how to program how how the motion, how you want the motion is that just like trial and error is kind of a trial on everything the big thing is if you wanna have their to be movement, so and when I say movement it's if you've got a very wide lens I got twenty millimeter lens and your subject is is way out there you're not going to see any movement you're not going to see any any, any sort of parallax or anything moving in the foreground so having things in the foreground give you what's called parallax and allows you to have that sense of movement so if you're shooting a wide lands such as a twenty for thirty five make sure there's some foreground elements so you get that feeling of movement you know besides that you know it's just a lot of practice in its personal taste I mean you can get involved as going in on and you know shooting one during the day shouldn't wonder in the night and frame blending all of that together I mean wait we could have a five day workshop just on time lapse and I'm not a time lapse photographer per se it's something I've added to my kid because I feel is a photographer you're kind of like a plumber the more things you could do well the more the more images you could make so it's one of those things I just add two you know my sort of things that I do well and you know it's one of those things where it's not my forte but it's something I feel like you should be able to do our love it so do me a favor I'm looking for our next question but yes you repeat and reiterate the apse that you used lets the sun seekers son surveyor son surveyor photo pills okay are the two and simple dio up simple depth of field are the three apse that I would say are the ones that I've just sort of found that work the best for me ah those air all uh, iphone app so I don't know if they're in the android store or not, but there are other applications that worked very well that do similar things but basically you're trying to be ableto teo figure out one how long you want your time lapse to be to what your depth the field is three where the sun or the moon is going to be in correspondent it's with where it is on the horizon eyes it a is it a full moon cycle? When is the golden hour all these applications tell you all these sorts of things um and that's that's really the takeaway from that not to be hindered by technology but to have it be you know uh a positive thing essentially okay um and let's let's talk a little bit about post processing what's the end file that you're going to end up with well, you put it in tow are right and all our time lapse, so if you do single images so you're doing you know if you had a camera with an interval omino you're shooting single raw images shooting five hundred you shooting a thousand whatever whatever the number you figured out was the length of time lapse you needed, those will go into el our time lapse and light room and you'll be deal with those individually and you'll be exporting whatever you like because you can export an a k uh m ovi file you can export it is a quick time it could also be uh you know, pro rez is well, so but when you do the single images that the thing is if you shoot wrong you have single images you have ultimate control but you have a lot more work in the post processing. Ah lot of the cameras now have insurance an internal time lattice function which is great because it's use the time lapse in the camera and allows you to basically spit out an m ovi filing and people file which is super lightweight easy to use but it's kind of a finished file you don't have the control to go in and do a lot of raw processing on it in that kind of thing. Great. Fantastic. So I believe we have ah, question right here. So go ahead. Hi. So I was wondering how you account for extreme changes in light. You know, I'm from san francisco and I know that this fog is probably going to turn on running off in the light that you assessed that the beginning is going to be completely different and then you might end up with a completely blown out shot exactly and that's where, whether you do it in camera and the internal time lapse or you do this still images using an automatic mode in the in the camera will allow that even if so, you're on aperture priority, which means it the aperture is going to say the same, the camera's going to be automatically changing that shutter value for you as as it gets darker, it'll have a slower shutter speed as it gets brighter, it'll have a faster shutter speed, and it will be changing that for you. Is it going to be perfect? No, but that's, where in the post processing the lr timelapse through light room will take care of that, or you're doing an internal cameras have what's called exposure smoothing, which allows that to be it basically sees that variation and sort of smooth that out, so that there is not a big jump and what they call flicker. So that is how that is dealt with. So follow up to this question, I've done a time lapse at sunrise and started thie, you know, started out in complete darkness, you know, and then goingto light, and it was really difficult because I was looking at it like a shot of blackness, and so I was having a very hard time figuring out what my focus was. Do you have any tips for? The simple answer is I bring a very powerful flashlight, like a million candle want power, flashlight typically it's always in my bag when I'm shooting night photography, and what I'll do is I'll have my assistant or, you know, if I'm there by myself, I'll just find a spot out out there and basically illuminate that and then use the live you on the camera, zoom in on that spot and let the camera focus on that point. Then I turn off my focus, we're focused, we don't have to do any changes throughout the whole exposure, we've got our focus, and from there we can then move on to the next steps of figuring out all right, well, what's the abbotts you're going to be, and then by using ap such a za son surveyor photo bills figuring out how long you want it to be and actually where that sun's going to come up, where it's going to rise so that we know, is it coming directly at us? Or is it going to be over our shoulder and sort of accounting for that? If we're trying to do a shadow lap, so we're gonna have the shadows moving or, you know, so forth, I have one final question and I'll pass the mic there are so many different interval, ah mater's on the market, and I often get really khun fused when I'm trying to choose when, like, which one is going to be, you know, tried and true, you know which one is going to be too complicated for me to figure out? Do you have any recommendations? So the simple answer is an interferometer is just it's just a little electronic bots boxes completing a signal, it's telling the camera to take a picture there are so many brands out there, a ce faras, you know, it depends on how complex you I want that to be. Do you want it to be able to ramp that exposure manually and change that over a certain period time? Or you wanted to literally just, you know, take those photos, you know, as far as a brand, I don't have a brand that that I would recommend, I would say, you know, go out and simply google what's the best interval ometer for starting out and into time lapse photography and then go out and start making, making some judgments based on reviews and such you know, I typically I my time lab are in a bomber built into the camera, so I don't use an external one, but if you're if you're needed to add one to your camera, find one. That is the smallest footprint for what you need but if you're really going to get into that you think you're going to go into being a time lapse photographer make sure will grow with you as well and has the has a sort of feature sets built in that will allow you so you're not like oh, this is great you know but now I need something different thank you alright let's continue with that test cool all right so we're gonna go out and just get this guy set up here if I could get my assistance here just take this for me so I can have two hands thank you so we're gonna go out and start this in and out point here and we've we've timed out you guys questions were great but we're going to start from scratch here because way timed out on everything here so they're ugo you're doing as you're talking exactly so so I'm basically going to get our starting point here so we've got our camera we've got our live you on and I'm just trying to get to this the camera in the first spot which is going to be the first spot where are time lapse is going to start essentially so I've just turned on my second shooter here I'm gonna go into a programme move which means it's going to tell this this little box here where to go and I'm going to say I want a new move and I'm gonna do to ki friends, which again that's one of the beginning of one of the end so the first key frame I'm gonna go and I'm gonna move this guy back to where our first frame is going to be where we're gonna start our time lapse so we got a lot of you here and go down cool looking good baby up just a hair and this is you know, this is one of those things where this really makes or breaks your whole time lips don't get rushed in framing this because this is where the art really is because it's like there's all this stuff going on you got, you know, whether it's just a tripod around take your time framing it really look at the edge of the frame and I'm gonna go ahead and turn our auto focus back on and find that focus point for me right here is going to these flowers in the foreground because that's the most important important thing to me and we're focused there and we're gonna be at two eight and we can turn our turn our manual focus on meaning or turning our auto focus off so now the camera's not gonna focus again it's just going to be there until we're done with this exposure and go ahead and go out a little more take one quick test picture it's looking pretty good exposure is good got that going all right, so we got our first point and then we're going to enter that and now we're going to set our second key frame which ours are key frame war it's going to end so I'm gonna go ahead and ran this guy here belong rack and we're getting a nice parallax here we went a little far and this is the fun of being on live television everything has its moments so it's going to reset this guy we've just got a slider erica's because I pushed it to the envelope here and it's telling me that I made a mistake so I do that all over again forget that I said again uh bring all the way back up cool put our exposure back on take a test shot it's looking good program that's gonna be our first spot. They're right here. So set that first key frame and then we're gonna move this way here and I'm not going to do the same thing twice hopefully and go too far looking good little farther and I'm actually drop this guy just a hair cool so that's gonna end so it's facing to start their to ramp down and it's going to drop the camera so enter that guy on g o now we're going to set the time so we figured out we want to be a four and a half hours on the time is what we discussed earlier right so I'm gonna set that time two four and a half hours strolling through four and a half hours just basically counting the numbers up one minute two minutes so long time ups thirty minutes forty one hour how long does that give us at a final footage of four and half hours it's gonna give us about a sixteen second time of sixteen that's what I'm calculating thank you and we're gonna add one additional thing on this time lapse which is kind of cool that this thing does and I'm actually to go the camera going to set the four and a half hours on four hours and twenty eight minutes on this guy there is I'm doing that is because I want it to be not moving at the very end there's two kinds of time lapse there's sort of two schools of thought there's one where it's called stop shoot move or shoot move stop and basically what it does is this will be connected to this and it will this will tell this alright take a shot move take a shot move or you could just be continually moving along this track which I prefer because it looks a little more filmic people go well is it out of is out of focus because it's moving it's moving so little that you're really not going to newton notice it but it just seems to be a smoother transition for me so fifty percent and now we're going to set our camera here for the same things interval fifteen seconds shooting time four hours thirty minutes exposure smoothing on and it's actually give us an eighteen point one second uh exposure so we're gonna go ahead and start this guy is going to start here and I'm going to start camera the only thing I additional ideo I closed the er the lens of you find her here because we don't need to like going in during that time just to give us any fog or anything then the very important thing is not stepping around your tripod if you're out on the beach on the rocks is to set this and leave it and I cannot stress that offset it and leave it don't be like oh is it working isn't working is it? Oh isn't working and my did I put it on manual or auto you know like all that kind of stuff you know that's what you don't want to do so um I think we're good it's just gonna take this photo or this group of photos and then it will basically squish them into a time lapse at the end and hopefully we'll have ah nice little reveal all right how about a few questions yes fantastic all right first of all I'm a step away from the from the rig that's okay yeah absolutely absolutely come stand here with me it's hot out here what's this is this is what I'm from gizmo and it's like it's seventy and sunny every day and I come teo sandwiches no one is supposed to be cold on mike I brought the warm weather and I were in the flannel we're black all right so let's talk about the equipment and this setup yes tell me why you choose this camera and the lens and then I got more stuff so the lenses a twenty four to seventy it's a nike or twenty seven twenty four to seventy to me is is an amazing range of focal length so twenty four eyes wide angle but it's still strain the corners seventy you got a little bit of telephoto so it's a really good a sort of general use len's right so this so this is my number one lens in my bag if I'm gonna go out just walking around you say well what what landed you be twenty four to seventy two point eight it's fast it's you know it's a little bit big but it allows me to make interesting dynamic images and the nightgown and nikon and then it's a nikon d a ten I choose idiot ten because it's a thirty sir six point three megapixel camera. Okay. Ah, lots of detail. They're great dynamic range, you know, there's, a lot of great cameras. Hey, quit moving the boards over here. But, you know, it's one of those things where there's there's a lot of great cameras on the market, I would say for people really looking to take that next step, go out, do your research, go out, hold the cameras. Cameras were like cars. You need to feel comfortable. It's, you know, uh, photography is the only art that's based in science. If you're going to make interesting, thoughtful pictures, you need to be comfortable in your environment and it's very much about ergonomics and knowing the nuances of all these things, you know, not to get bogged down in shutter speeds and apertures and how they all sort of worked together. But, you know, to be comfortable in that environment. Great. You talked earlier about taping down the focus. Exactly told me about that, so typically, and we didn't do it here because it's not windy, if usually we're out in the elements, you know, you're on the beach and and so on so forth, I will usually have a piece of gaffer tape, I will set it to manual focus. And then I will actually taped down that focus, so it doesn't like, for instance, if it's windy, you know, there's any vibration, anything it's not going to just move out of place. That's something I used to shoot a professional, sports, basketball, football, etcetera. We do a lot of remote cameras and that's just one of those old school things. You take down the focus. Okay? Very good. So I have a question, and then we're going after that, we're gonna go to our student audience here nd filter? Yes. Do you have one on? Do you always use so the the nd filter for a time lapse. So the reason I would use an andy filter for a time lapse shot is because, first of all, there's two reasons one I don't wantto have flicker, so, you know, I don't want to be in a very small aperture, and sometimes I want to have a shallow depth of field, right? And if all of a sudden super bright out, I can't be above eight thousand the second you know, I'm going well, what idea? Well, having that fader filter, eh, andy, that you can actually change from variable nd from, say, a one stop to twelve stopper there's a bunch of different on the market it allows you to control the amount of light coming through the lens. This second reason you would have an andy filter is a lot of time lapses that you like. I like to do our waterfalls there with the ocean and to get that really sort of ethel's milky look doing those long exposures that's like ten second fifteen second exposures allows you to really have, you know, allows you to cut the light basically it's a really simple thing on andy filter just cuts the light coming through your lens and they come in in different variations. Fader is nice because you have between one and eight or one and twelve stops built in but, you know, having a big you know, twelve stop andy filter is great as well the darker the filter though I will say make sure that you focus before you put that really dark filter on because once you put it on you can't see through the filter got you all right so just, um just have a real quick question yeah, battery life have you ever had your batteries die while trying to do a long time lapse that's a very good question yes so typically typically the way it works is what I will do with any camera whether it's my nikon d a ten I will go in and I will say what is the manufacturers say I should get battery life out of this is a second get six hundred shots and say I could get a thousand shots and figure out what that sort of you know what what the ceiling is right there and then I'll take twenty percent off that just to give myself a little cushion they do make external battery packs that you can charge cameras with uh that is an option for doing you know, like got a full day time lapse or something like that but for a four hour time lapse we should be totally fine the slider as well as the camera I mean we're going to be taking frames in the thousands but they're the you know were based the camel is doing is taking a shot it's not the display on the back is really what takes a lot of the juice so if you feel like you're going to be wanted to do much longer time lapses I would recommend investing in an external battery pack for your camera system one more if you don't mind you mentioned son surveyor sensor very yeah, I just looked a little bit I usually use um got the name uh photographers empress okay however I've heard that one as well you know it's just one of those ones I found it works for me there's I mean there's there's a myriad I think the takeaway is to use this technology to use the the gps built into your phone, a cz well, as the apse, that you can use one of the great things about sun surveyor. Or I'm sure empress says it is well, you can actually go to a map of you, and you could say, you want to go and take a picture of the golden gate bridge, and I keep coming back because it's it's amazing. We're in san francisco, but you can place a point gps point on that, and you can say at sunrise on december thirty first, where is the sun going to come up and you can base your, you know, and this is all about educating yourself tio, put yourself in the best situation to make those images, so by using that technology, you can plan ahead and hopefully don't go out there and waste your time because you're like, oh, the sun is actually not where I thought it was gonna be, and now I just wasted a whole morning, so, you know, knowledge is power and using that technology, it's, the best of our abilities, xander area would like to know when when do you make the judgment call on shooting a time lapse, as opposed to filming a video? What? Well, what components do you like to look for? So you know, with a video, you know, it's their sort of had to say night and day, but with a video of the old school way of doing a time lapse was to shoot a long video and basically speed it up with the time lapse uh, specifically a time lapse were being able to shoot raw, we're going to be able to shoot, uh, and have so much more dynamic range when we would ever find a video, a swell is be able to, uh, you know, bring out the nuances in those images, for instance, at an nd filter on top in light room or bring out some subtleties of some flowers. All those things that you can't do in a video file allows us to do those in those stills files and weigh just have maur control basically, and that's that's where typically I would go with shooting the time lapse over video video is fine, but, you know, we just basically have more control. This video here, which will be popped out, is great, but it's it's it's ten eighty p, which is great for, you know, youtube or anything else, but if we're future proofing and hopefully we're always future proofing, you know we can shoot you know, six eight k time lapses in turn you know, in this camera because it's it's that's how big the files are and with that little bit of post processing in light room and all our time lapse, we can have a really cool, you know, sort of interesting project out of that for the new folks out there can you define future proofing and tell me why you your thoughts behind it are so future proofing to me is basically always being on hopefully the bleeding edge which khun b somewhat stressful times because you're always using the new technology and it doesn't always work the old technology, but you always basically doing the research and like I said, when you're looking to go out and buy a new camera when you're making that big purchase doing that that that research and saying all right, well, this you know, this camera, maybe a good deal, but it's been on the been out for three years there's going to be a new one coming out in a couple of weeks, so making sure you're making you know, those decisions based on what's gonna be best, you know, in the in the end run and maybe that that camera you know, the price points fine for you, but you know, I'm always looking to get the maximum quality out of every possible situation uh and you know it also you know, hopefully alleviate some stress to have the best gear in hand nice good. All right, we have one last question before we move on so michael, go ahead michael I've got a question about set up on key frames on the most control device are they linear key frames or can you control the busy a curve to make it speed up slow down so you can you can basically wrap it so we actually and I'm not sure I mentioned but we actually did a fifty percent ramp on this one so what what what that means is is fifty percent so the first twenty five percent it's a constant speed and that goes for the next fifty percent a little bit faster and then it slows down that last twenty five so basically gives you just because when it's a lanier you know, sort of thing it feels kind of almost static even though you're moving, but when you when you can ramp it and you can control that ramp, it gives you that feeling of sort of almost crescendo you know you're moving this moving, you know, moving through the process so yeah, you can you can change those within the kessler cider, which is kind of cool and it's to mention the second shooter it's the most affordable one with those applications that I found on the market and then one more question. Can you export from with that control device, the camera tracking data so you can get tracking points into software like after effects? So what you could do is it's repeatable on you can export the tracking data. So so basically, you could do a day tonight shot here, and you could repeat it, you know, again as well. A ce faras, the tracking that I think that it that it is probably, you know, after effects, but you're gonna have the the same frame, so the frames will match one hundred percent. You know, saysit's repeatable teo, you know, to the frame, so the frames could be stacked, and you could basically do all your post processing on that rare easily. Thank you.

Class Description

Learn how to capture the intensity and movement of an epic experience in a single, still photograph with Lucas Gilman in Adventure Photography.

Lucas is one of the most celebrated adventure photographers in the industry. His work is infused with color and energy and in this class, he’ll show you how he creates his amazing images. 

You’ll learn: 

  • How to take powerful adventure and outdoor images
  • The key to selling to commercial clients
  • Gear and equipment essentials
  • Post-processing tips and techniques

Lucas will share the history and process behind some of his most challenging and exciting shoots. He’ll also offer tips on how to prepare for long stretches of intense outdoor shooting and how he keeps his gear bag stocked for adventure.

Let one of the industry’s most exciting photographers show you how to inject excitement into your outdoor images in Adventure Photography. 



This class is perfect at all things. The best class for nature photography with or without model. Personally for me this class is best of all because we have most practical learning, that is perfect. I have sense just like I am there. I am gladly wait for starting today class because this class is two days. Buy it that material must to watch and have it on your hard disk! Just perfect. Regards to Lucas and Creative Live.


Lucas is an amazing photographer. I love how he keeps it simple with the way he explains and shows things. This class is perfect for anyone with a camera, as you can take his teachings and apply it to not only adventure photography but to any style.