Timelapse Plus

The Sony RAW Issue

The Sony Alpha RAW Issue from Joerg Niggli on Vimeo.

In some of my recent time lapse sequences from La Palma I have discovered a strange issue with RAW files from a Sony A7S and a Sony A7RII camera.


«HyperZürich» - hyper lapsing the fast way

Usually a proper hyperlapse is done on a tripod, moving step by step forward. Shooting 150, 300 or more frames like this a time-consuming and strenuous process.

But me, I'm a bit lazy. So I prefer to have things done as fast and simple as possible.

But there is yet another reason: the appropriate frame rate.

When you have to move and adjust a tripod for every picture, you're only able to shoot intervals of 7-20 seconds max. The resulting footage is moving fast. People and cars are jumping through the scene.

Some situations need faster intervals, even faster than one frame per second.
That's the second reason for my «HyperZürich» experiment.

For all the shots I have used a hand held gimbal (Beholder MS1) and a compact camera (a Sony RX100MIV camera for the first part and a Micro4/3-Panasonic GX1 with a 20mm lens for the second part).
Both cameras were set to manual mode, with slow shutter speeds of around 1/15 to 1/4 sec. Firstly to create natural motion blur for the moving subjects and the movement of the camera.
For the Sony RX100MIV I had to choose very slow exposures anyway, because otherwise the camera shoots too fast in continuous mode. Thus fills the buffer and the camera begins to stutter after 50 to 100 pictures recorded (in JPEG mode). The much older Panasonic however has a 3 frames/sec continuous mode and is able to buffer the stream of images as long as needed.

Because my body has two walking feet only some unwanted movements are visible in the footage as blurred shots, even when trying to walk as steady and smoothly as possible.

One lesson learned: you can only do quick and dirty hyperlapses this way. Nothing brillant for 4K demos in TV shops. But I it's ok when you need to capture fast moving subjects or if there's no time, space or whatever to do it properly with a tripod or a rolling device.

If you have any questions or thoughts, let me know in the comments.

HYPERZürich from Joerg Niggli on Vimeo.

Day To Night on the Pico de la Cruz

It was a windy evening. Rough, but with a breathtaking view from the edge of the Caldera. Once all this was a giant volcano, probably more than 4000 meters high. Then, a large part of it slided into the sea. In the remaining steep basin-shaped valley there is now the Caldera Taburiente National Park, hundreds of meters below us. One of my cameras was placed right on top of the Pico de la Cruz. Another one 10 minutes walk below, not far from the street. This short video shows a part of the day-to-night-sequences recorded by both of them.

Astromaster 2016 | Pico de la Cruz from Joerg Niggli on Vimeo.

Holy Grail Transitions

Rendering smooth transitions in time-lapse is a time consuming job. But especially Day-to-Night transitions (or vice versa) look really nice. But there are so many changing conditions to take care of, mainly exposure, white balance and noise. This screenshot shows six steps of a night to day transition of the El Teide (Teneriffa), shot from the high plane of La Palma.

20161021 Screen El Teide Trans LR

This is how it looks like what LRT Timelapse has to deal with after adjustments in Lightroom.

20161021 Screen El Teide Trans LRT

Apart from exposure and white balance, there are many more parameters adjusted for achieving a nice image and transition: animated gradients, various clarity settings and adapting sharpness and noise reductions parameters. Including render times this clip takes 3-4 hours time. The result is a glorious shot in 4K - hopefully…
© Copyright 2018 by Jörg Niggli