![]() As they got closer, he realised that he was not alone.Īpparently, the hill was home to coyotes. Suddenly, high-pitched howls crawled under his skin. As he packed up his gear, he thought about the long walk back to the parking spot. He had spent the whole day by himself and met exactly one cyclist in his spot close to Dante’s View. The sun had already set behind the hills of LA when Lorenz turned off his camera. Here’s a story that happened during the production of “A Taste of Los Angeles”: A TASTE OF A TYPICAL PRODUCTION DAY You might think that time lapse photography is a rather boring endeavour, but that is not always true. This was the biggest financial investment that went into the project, but it was totally worth it! We booked three apartments with the best views of the city we could find. Pro Tip: We use AirBnB for accommodation, because in a hotel you never know what view you’ll get. Most of the work goes into finding locations and determining vantage points, so we don’t lose valuable time on-site. While there is a lot of research done before we step on the plane, we create the story on the go. Our preproduction is quite unusual, because we don’t write a detailed script. We are very thankful for the Aperture Priority Mode in our Sony cameras that is able to create a smooth holy grail time lapse. That’s why every minute of free time had to be used wisely: If you compare the number of production days and the output of data, you will realise that there was almost no time for sleep. The photos were compiled into 439 individual time lapse clips. We shot 155,568 photos, which needed 5.3 terabytes of data on our HDDs. The edit was done by team member four, Thomas Pöcksteiner, who had the absolute pleasure of spending 64 days in front of his workstation doing his magic in LRTimelapse, Adobe Lightroom and Adobe After Effects. Lorenz Pritz, Maximilian Lang and Peter Jablonowski travelled to LA for 13 days in February 2019. FACTS & FIGURESīehind the project were four FilmSpektakel members. Our goal was to take you on a fast-paced journey through some of the most iconic locations in Los Angeles and leave you in awe. Went through the roof! Earned us gigs on Netflix and Audi productions. Started as a student project, ended up as a film production company. That’s how “A Taste of…” started 7 years ago. Exciting!īeside our commercial work, we love to tackle new personal projects at least once a year. Watch the video for a detailed explanation of how to set it all up and a beautiful clip of this feature in action.If you are reading this, we‘ve probably (finally!) released the next episode of our “A Taste of…” time lapse series. They may have slightly different names, though. While Bicchi shows us how to do this on his Sony camera, these settings are also available on cameras made by other manufacturers. ISO auto minimum shutter speed: to ensure that shutter speed is ramped before ISO.Shooting interval priority: to prioritize the interval over the exposure duration.Auto ISO: with the ability to set a range.Features Neededįor all of this to work, your camera needs to have a few features built in: With the process detailed in the video, Bicchi shows how all this can be made redundant if your camera has a few features that allow for smooth exposure transitions. Quite a few things have to go right, giving them the moniker "holy grail time-lapse." The resulting raw files are processed in software like LRTimelapse (via Adobe Lightroom), the video is de-flickered to avoid small variations in exposure, and finally, the video is rendered.Īs you can see, it can be a complex and time-consuming process to make these videos. Alternatively, they would make manual changes to the exposure whenever it changed by more than 1/3 of a stop. Time-lapse photographers typically set their cameras to manual and have the exposure ramped up or down using an external device that controlled the camera's exposure. In this video, time-lapse photographer Mattia Bicchi explains how he sets up his Sony a7 III and a7R III to create "holy grail" time-lapses with ease when compared to his previous camera. Time-lapse photographers know that changing lighting situations can be a challenge to meter and expose smoothly over the length of a video.
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