And the best chance of getting a sequence of good photos is to take lots of photos to choose from.Īs an example, one sequence I edited started off with over four minutes’ worth of photos and, after I culled all the frames that didn’t suit, I was left with about 30 seconds.
With long term time-lapse, you’re looking for the lowest common denominator: good average lighting and colour, and some activity change from photo to photo. Some photos in the early morning and late afternoon will have really yellow or blue tints, and long shadows with high contrast will make other photos unusable.įor these reasons and more, you’re going to be culling countless photos in post-production. There will be times when it rains, times when the workers go on strike and there’s no activity, times when all the activity happens inside the building while you’re photographing the outside, and times when something blocks your camera (be it fog, a crane or a spider web). With long term time-lapse, you’re going to capture lots of photos you won’t use in your final sequence, so shoot more, lots more, photos than you think you’ll need. The short answer is: the more the better. One of the most common questions we receive is how often to take photos for long term time-lapse.
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If, however, your time-lapse includes night shots, it’s better to leave your ISO on manual so you don’t end up with high-ISO noise. The one exception to the ‘everything else in manual’ rule is ISO – for the same reasons as choosing to shoot in Aperture Priority, you might put ISO on auto (if your camera has that option). For white balance, pick one of the pre-sets it doesn’t really matter which as long as it’s manual and therefore consistent (I generally choose Fine/Sunny). Lock all your other settings down in manual. Yes, the flicker is going to be terrible, but with long term time-lapse this is something you have to deal with in post-production, not at the shooting stage.
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When you’re shooting long term time-lapse you’re going to experience every lighting condition possible across the days, weeks and years of your sequence, so you need to be on Aperture Priority to let the camera work out how to expose for each shot.
When setting up your camera, use Aperture Priority and lock everything else down in manual. If you’re new to long-term timelapse or construction timelapse, it’s easy to underestimate what’s involved.Ĭheck this great resource by photoSentinel too, before moving forward with the tutorial: Long-Term & Construction Timelapse: Ten Mistakes Photographers Must Avoid (Bonus Tips) However, there are a few key things that apply across the board, and in this article, I’ll share 6 of them: 3 production tips and 3 post-production tips.īefore you start reading, please note that Matt Salter wrote also an amazing piece of content for Time Lapse Network dedicated to the topic of How to choose long term time-lapse equipment.
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Matt is the Marketing and Communications Manager at photoSentinel, whose equipment and software enable professional content creators around the world to grow their businesses by providing long term time-lapse to construction and other big industry.Īs with everything in production and post-production, there are countless considerations to shooting and editing long term time-lapse, many of which you can only find out by trial and error.Īnd, of course, once you start, you’ll develop your own style, your own workflow, your own unique creative signature. Matt Salter shares his best advice for shooting and editing professional long-term time-lapse videos the right way, and teaches us to avoid the typical errors which you only find out by trial and experience.