In the Field: Manual Exposure Ramping
Lesson 11 from: Capturing Change Timelapse WorkshopColin Delehanty
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In the Field: Manual Exposure Ramping
Lesson 11 from: Capturing Change Timelapse WorkshopColin Delehanty
Lesson Info
11. In the Field: Manual Exposure Ramping
Lessons
M0 - Introduction
1An Introduction from Alex
01:25 2Coffee Q&A with Alex
09:26 3Introduction to the Workshop
01:51M1 - Timelapse Basics
4What is Timelapse
04:48 5Camera Gear
06:05 6Timelapse Gear
06:49Support Gear
03:14 8Field Essentials
03:46 9Key Takeaways
01:01M2 - Shooting
10Motion Timelapse
11:11 11In the Field: Manual Exposure Ramping
06:31 12In the Field: Shooting Waterfalls with Motion
07:55 13Astro-Timelapse
08:47 14In the Field: Shooting Moonrise
09:07 15How To Do A Lens Twist
03:17 16Day-to-Night Timelapse
06:42 17Day-to-Night at Tunnel View
05:01M3 - Editing
18Import Structure
10:37 19Basic Timelapse Editing
21:40 20Advanced Timelapse Editing
19:58 21Outro to Editing
00:56M4 - Developing and Planning a Project
22Seeing Life In Timelapse
03:57 23Finding Purpose In Your Timelapse
01:43 24Mood Boards & Shot Lists
08:39 25Production Schedule
02:55M5 - Outro
26Q&A with Alex
20:14Lesson Info
In the Field: Manual Exposure Ramping
(calming music) It's about 6 AM and we're just because light is, hopefully, gunna hit El Capitan and look pretty cool. So, the idea is to get the shot to move in towards Half Dome and, when we start over here, you won't entirely see the wall, and then as you move closer, you start to see more and more of the wall, and what you'll see it the right side of El Capitan right here, and the Dawn wall, the light will hit first, and it will peel down the wall over the next couple hours, so. Let's see. (calming music) What we have in mind for this shot is that we're gonna capture sunrise on El Capitan from, for about two and a half hours, and that's gonna end around 10 o'clock. The settings we chose for this shot are an aperture of 6.3, a shutter speed of one over 200, and a ISO of 200, and the interval we are using for this shot is eight seconds, that will allow the movement that we're capturing, which is the sun peeling down El Capitan, starting from the top of the Dawn wall, at a, at a pac...
e that's not too fast, and not too slow. We wanna make sure that we capture that moment where the light first hits the wall, and really milk that moment. And so, we can always, if it feels like eight seconds is too long of an interval, or too short of an interval, you can always double the speed of your, of your time-lapse by speeding up later in post, so, that's, that's not a problem. And, what we're gonna do with this shot is, as the exposure continues to climb, as the sun rises, the shot keeps getting brighter and brighter, there's a pretty large dynamic range, for this shot, from start to finish. So, what I'm doing is I'm manually ramping the exposure. With that stepping of exposure, we're gonna smooth that out later on, and it'll look really great. So, we just gotta make sure we, we keep an eye in the shot, and don't let it get too bright, so we can preserve the shadows and the highlights. So, we're looking at the exposure right now, it's gonna pop up in the screen. You won't be able to see how many stops down we are (camera clicking) until right now. Right when it's about to take the picture, you're gonna see that it's just above negative two stops. (camera clicking) So, that's one third difference from where we wanna be. We wanna bring it back to negative two stops because the light on the wall, we don't want it to get too hot. So, we've determined that negative two stops is gonna be good for this shot, and we're just gonna keep it there as long as possible so the light just looks really beautiful, and there's a good contrast between the shadows and the light. So, right now I'm just gonna wait for a photo, (camera clicking) and I'm gonna bring it back down to negative two. Do that as gently as possible, 'cause this system right here, with the Genie Minis, and the Genie I, is not the most stable in this set-up. There's a Genie II that we were going to use, that's definitely a lot more stable in this system, but it got stuck in customs, and those things just happen, when you're trying to run a production, you know, try to do a lot of things at once. So, I would take a look at the Genie II as, and as an alternative to this because I think that it could produce better shots when you do use techniques like manual ramping of exposure. You don't wanna shake the camera too much. We have our slider shot, it's pushing intel cap, and then we have our telephoto shot here. We're just pointing the camera right at the Dawn wall, and, at the top of El Capitan, you can see that the light has now hit the wall, and, in this shot, it's really tight on that light right now. So, you're gonna see the light pull down the wall, and I think it's really nice that we have these two shots. It's great that we can capture two different perspectives, and it's nice to have that in the edit to have some, some flexibility (indistinct). (calming music) We just finished our time-lapse, and, while we were capturing our time-lapse, we caught a few cutaways of the wall. We got some detailed shots of the light sweeping across El Capitan that look great, and we have a few takeaways from our experience here. The first one is that when we're researching the light we want to use tools like Google Earth or Sun Seeker, and those can help us know when the light's gonna hit our subject. Second thing is when we're setting up our movement, we want to time the movement of our camera with the arrival of the event that we're capturing. Number three is that when we are, when we're, when we're looking at this, the exposure on our camera, we wanna keep track of the exposure, and manually ramp the exposure if we need to, to control the exposure of the light over time. Now, we're really excited about what we got here. It feels really good to have planned all this. Honestly, it's good energy, and we should use that to go back to the studio and work on our shots. (calming music)
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Ondrej Dvorak
I have seen tons of timelapses, but there is no other timelapse film that touches my soul as much as Project Yosemite 1 I never forget the moment when I saw Project Yosemite for the first time! That moment I knew that that’s what I wanna DO! Colin is the reason that I bought my first DSLR! Thank You Alex for getting together with my hero and make this awesome idea happen!
Bryce Lord
Clear and concise workshop to understand the process of Time-lapse photography Being new to this aspect of photography, I found this workshop informative and directional. If I were to give a critique, it would be regarding equipment choice for the entry level bridging to pro-level for the introductory student. Otherwise, it lays a nice foundation to build from.
Student Work
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