October 2006 — Creative Cow Magazine2� Creative Cow Magazine — October 2006 25

Believe it or not, you have the ability to shoot film-

resolution 2K files, 1080 HD, 720 HD and standard definition video with any off-the-shelf digital SLR (DSLR) camera. For under $2000 or less., that’s a lot of capability at a great price-point. So what’s the catch? You’re limited to time-lapse photography and stop motion techniques, but the results are nothing short of amazing. I’ll leave stop motion to other articles on the subject and we’ll explore time lapse techniques in this outing. With some experience, you can shoot time-lapse without it even looking like time-lapse. When it comes to this style of shooting, you can throw your video camera out the window. After reading this article, you’ll see why DSLR technology can be superior in every way imaginable.

ResolutionWhen it comes to time-lapse photography (AKA, “interval shooting”), there isn’t a true HD video camera on the planet that’ll out-perform the resolution, quality

and control of your standard DSLR. The best HD video cameras only go up to 1080 HD (which by the way equates to only 2.1 mega-pixels) and the media is fairly compressed in most cases. With a DSLR, not only can you achieve 1080 HD resolution, you can even surpass 2K film resolution with little effort. With some professional high-end professional DSLRs on the market, you can even surpass 4K film resolution while paying only a minute fraction of what a Grass Valley Viper or Sony CineAlta rig would cost.

It’s not just a matter of frame size that makes DSLRs so much better than HD video cameras for time-lapse, it’s also a matter of image formats.

With a high quality DSLR, you can shoot in RAW mode, which is basically the “raw” data taken by the image sensor (CMOS or CCD). What this brings to you is much greater flexibility in the post-production process. White balance off? No problem. Exposure slightly low? No problem. With RAW images, you

can adjust image settings based on the raw data instead of adjusting the image based on an image that has already been processed, like JPEG. By doing this, you can adjust your image with much less noise as a result. It’s kind of like working with negative film and adjusting the levels before you create a print out of it. But like anything that delivers greater quality, a RAW image will be larger in file size than its JPEG counterpart. But believe me, it’s worth every extra byte.

FlexibilityAnother great benefit to shooting with a DSLR camera is glass. Nothing beats picking your lens of choice for a specific shot in mind. With a quality fast lens, the large DSLR’s image sensor can obtain narrower DOF (Depth of Field); something a DV camera can only dream of.

Another interesting aspect of using DSLR versus any video camera is size. Obviously DSLR

Using a DSLR Camera toCreate Time-Lapse Video

cameras are small when compared to quality video cameras, especially a broadcast SD or HD camera. I have a photography backpack that holds the camera, five lenses, a large selection of filters, flash, a nifty notebook computer compartment and miscellaneous items like batteries, CF cards, cords, etc. All of this is smaller than a CineAlta HD camera itself.

ControlThere are several ways to control your DSLR. Canon has a nifty digital shutter release controller (Model TC-80N3) that works perfectly with my Canon 20D. With it, you can set interval times (minimum of one second intervals) and the remote will accurately snap away as if it were you physically hitting the shutter release button.

Another useful way to shoot time-lapse is by tethering your DSLR to a computer via USB or Firewire. Canon offers free software to its DSLR users which controls every function of the camera from the software, including time-lapse

recording. You can even shoot your images directly to the computer or the camera — or both!

If you anticipate shooting frames over an extended period of time, then saving your images direct to a notebook computer (or even to an external FireWire drive for even more space) is a powerful option. With memory cards at the current capacity of 8 GB with 16 and 32 GB on the way, external storage may not be required. As a point of reference, I can currently get about 20 seconds worth of 24p footage on a 4 GB CF card running in RAW mode at full 8.2 mega-pixel resolution.

Speaking of “control”, I’d like to emphasize the use of shooting in manual mode, in both the camera’s

shooting mode and the focus mode. It’s very important to set everything to manual or your frames may have sporadic exposure levels, white balance levels and so on. Don’t use a single auto-function on the camera at all! This means setting your ISO, your white balance, your F-stop, your shutter speed and of course, your focus setting. If you don’t know how to use those functions individually, this is the perfect time to learn (get out the manual!).Format OptionsSo now that you’ve got a ton of time-lapse photos taking up gigs of space, what do you do with them? For me, I throw the image sequence into

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This comparison shows the amount of picture information in each of the relative formats presented.

NTSC DV

720 HD

1080 HD

2K CINEMA

4.3 MP DSLR

D16 VIDEO

8.2 MP DSLR

CINEON/DPX

12.7 MP DSLR

4K CINEMA

16.7 MP DSLR

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Time-Lapse Video Using Still Cameras, continued from page 25

Adobe After Effects. It’s simple; you literally drag the folder containing the images right into After Effects and it knows that it’s an image sequence. If it’s an image sequence based off RAW images, then a pop-up window will ask you for image setting options. At this point, you have to know what frame-rate you want the sequence to be in. I prefer 24, but you can work in 25 for PAL or 29.97 for NTSC. By default, After Effects will conform the image sequence to 30 FPS, so change it to suit your own preference.

Next, which resolution do you want to work in? Obviously you can make a comp running at 2K if you have the hardware to play it back,

but for this example, I’ll talk about 1080 HD.

Since I like working in 24p, I make a new comp at 1080p24. You can just as well make a 1080p30 or 1080i60 comp, if you so desire. If you want to work in a true 60i format, you’ll need to change your image sequence (the time-lapse photos) to 60 FPS. Why? So that each interlaced field gets its own temporal data. If you don’t, then you will have a 1080p30 clip even though you think you’re working in 1080i60. Obviously making your clip run at 60 FPS will increase the time-lapse speed two-fold, so keep that in mind. Confused? If so, don’t worry about it and work in 1080p30 or even better, 1080p24.

Here’s something amazing...

When you drop the image sequence into the new comp’s timeline, you’ll quickly see that the frame size of the images is quite larger that the 1080 HD frame size, at least with my 8.2 mega-pixel camera it is. I literally have to scale my images down to 55% to work in 1080 HD. Let me say that one more time: I have to scale down my images to 55% for 1080 HD!

Part of the beauty of scaling down the image is that you have two powerful options at this stage of the game: For one, you can “crop” the image sequence into the 1080 HD frame exactly how you want it (sometimes you just can’t frame the shot perfectly at the location,

ya know?); Secondly, by having a larger source image than that of the sequence format, you can pan-and-scan the source in the HD frame. Imagine that, pan-and-scanning for HD! With this, you can digitally pan the frame across (faking a nice and perfectly controlled pan) or you can zoom into the shot while never going above the source’s 100% zoom level.

Once you finish your sequence with the right framing and any potential keyframing of pan or zoom, you’re ready to output to your favorite codec of choice for your NLE. But before you do, make sure your time-lapse footage looks good on a video monitor. I do a quick RAM preview and output it through my AJA hardware, a waveform

vectorscope and to up to three HD monitors — including CRT, plasma and LCD. This combined output exam quickly gives me feedback on image quality, dynamic range, broadcast legality and so on.

Selling Your Craft“You mean I can make money off this stuff?” Heck yeah! A favorite online spot of mine is Revolution Stock Media, “Revostock” for short (revostock.com). There you can sell stock footage in a completely automated fashion. I’ve uploaded some clips of my own (look for “OneRiver Media” under producers), which includes time-lapse footage shot with my Canon 20D and various lenses.

Getting AdvancedIf you really want your footage to stand out, use camera motion control to physically pan, tilt, truck or dolly the camera for a truly compelling effect. Even though you can pan-and-scan a lock-down shot in post, that does have its limits and it won’t have the same dynamic perspective that a moving camera has. Using a motorized camera tripod mount, you can achieve this slow and steady motion control. You’ll need a device that works at a whopping .1° per second like the Hutech AZM-100 motorized tripod mount. It’s an alt-az (altitude-azimuth) astronomy mount and serves my needs for such tasks.

By using a motorized mount like this, and panning across any static subject like a clear mountain vista or a city skyscraper, will make it appear that it’s not even time-lapse in the first place — making people wonder, “how did they afford to shoot this super-high resolution footage?”

Your secret is good with me.n

Marco Solorio is a multi-award-winning creative media developer. He owns OneRiver Media (www.onerivermedia.com), a video and audio postproduction facility located in the San Francisco Bay Area. Marco is a longtime Creative Cow leader and contributing editor. You can find him online in our Final Cut Pro and many other forums.

APPLE SCORE:Plays nicely with others: What others?Playing with themselves: A++Extra credit: Acknowledging After Effects.More extra credit for anyone using Automatic Duck.Even more extra credit: Sticking the conceptual landing on the combination of compositing and editing with Final Cut Pro.Final grade: If you care, MAC RULES!!! WINDOWS SUCKS!!! If not, whatever.My fondest wish for the future: I still use Macs, but...whatever.

AVIDHere are the notes I scribbled when I was outlining this section: “Astonishing to me that nobody else offers 3D and hardware. Unfortunate that some software components are outside the Avid family. More unfortunate that the two key apps might as well be.”

It’s not that Pro Tools and Avid editors don’t work together. It’s one of the industry’s most firmly established connections. But to the extent that integration is for individuals? On Windows, not bad. On Mac? Not at all.

Hey! Where’s the surround mixing?Still, I can’t believe that anybody sells an audio app without a dedicated

control surface, because a mouse is not an audio tool. The indispensable Digi 002 and Command|8 audio interfaces keep adding features in the video editing apps, too.

The growth of Avid 3D is another bright spot. Video passes easily over, and rendered animations with alpha channels play in real time when composited over live video back in the editor. Nice! You might think that Avid 3D is Softimage XSI Lite, but especially in the latest version, simply untrue.

Overall, Avid’s Studio offerings can feel a little wobbly. Also, the full suite is missing Media Compose software, whose video (not film) feature set lines up most closely (for better and worse) with Final Cut Pro and Premiere Pro (yes, really).

Avid offers another approach to integration with Avid Liquid: everything in one application, featuring some of the company’s most advanced technology. Just three examples: background ingest (!!!), integrated 5.1 surround mixing, and not just Avid’s most advanced but the industry’s most advanced GPU acceleration.

For After Effects integration, Wes Plate once again rides Automatic Duck to the rescue.

Can it really be that Media Composer is the only fully-fledged (alas, Xpress doesn’t have all its feathers yet) dual-platform editor? Yep.

AVID SCORE:Integrates 3D and hardware: A-ish. Pro Tools: The real deal, but no surround? De rigeur in this category. On a scale of 1 to 5.1, PT gets a 2 -- one for each stereo channel.Pro Tools integration: B, as in Barely B if I’ve had a snack after naptime, C if I haven’t. Don’t ask me what the grade is if I miss both a nap and a snack. After Effects integration: God bless Wes Plate and his Duck.Bonus points: “It’s an Avid.” It really is and it really matters.More bonus points: Media Composer software, even as part of an incomplete suite.Degree of difficulty for supporting two platforms: Gazillion.Overall grade: Still trying to corral all the pieces of the suite to give them a single grade.My fondest wish for the future: Avid acting like one company. How cool would that be? So Avid, pretty please?

Workflow: Table For One, continued from page 21

FORMAT SIZES & MEGAPIXELS AT A GLANCE: