Basic trajectories result in camera movements such as dolly push/pull, truck, and orbit, but most shooting paths are combinations of those. This is a trajectory that the camera moves along while shooting, and together with the fixed point, it defines the composition of your hyperlapse. Try to avoid repetitive patterns such as windows, bricks, or tiles because this often leads to confusion while shooting and stabilizing. centre).Ī good fixed point must remain visible during the entire shot and must be easily distinguishable from its surroundings. The key is to select a fixed point, which is a point in the frame that you aim the camera at throughout the shooting sequence, and that always remains in the same position in the frame (e.g. When combined into a sequence, these tiny movements create a large, hyper movement. The logic behind hyperlapses is to take many photos, moving short distances between frames. To avoid crowds, shoot in early morning or at night.įixed Point. For moving objects and shots with passers-by, use longer exposure times, which means shooting at night or getting an ND filter. Instead, aim for the soft morning/evening light. If possible, avoid shooting during the midday sun, which creates dark shadows and blows out highlights, unless that’s the effect you’re going for. Also, try to avoid paths with obstacles, as well as objects entering the frame near the camera. You’ll be doing a lot of moving so ensure that there is enough space to move freely, together with your camera setup.

Davinci resolve manual window position