In this lesson, you'll apply the information you gained during your scouting session to help you plan out your video. More specifically, you'll decide the types of shots you want to get, which will help you determine exactly what equipment you'll need to prepare for your shoot.
1.Introduction2 lessons, 05:36
2.Getting Ready2 lessons, 15:28
3.Pre-Production4 lessons, 19:55
4.Production3 lessons, 15:23
5.Post-Processing5 lessons, 39:38
6.Editing Time Lapse Video5 lessons, 45:07
7.Conclusion2 lessons, 07:45
So I'm back from scouting the lake location, and here are some images on my phone that I took using the Viewfinder app. This was the first spot that I saw, and see my crop marks for my 50 millimeter, 100 millimeter, and the 34. Using my 5D Mark II. You've also got the location stored, so remember you can go in and show it on the map. The sad thing is using the native map, I can't really see anything because it's covered in cloud. And I wish I had the option to switch to Google map where I can actually see where that is. It's a small lake and I remember these locations and I can use the TPE to further get a more accurate reading on that. So this was the first one that caught my eye. Quite like the framing here. Bit awkward of the tree there, so I stepped out a bit, try to include more of this area here. So it seems the 34 is going to be a good on there. It's also a popular picnic area, so there's often people buzzing around here. But a few of them sit on the pier. This shot could be interesting if I wanted a wide Shot of the clouds, going past on this particular day, very sunny. Be completely pointless. This area, I really quite like, I like the shadows that's going to happen here. It's also very busy very popular with people jogging and walking their dogs as I would expose for a long duration, people were just gonna appear and vanish from the shot, so I think the best approach is to take a neutral density filter and expose the shots for longer. So if anyone's moving through the shot, they just become a blur and don't really spoil the shot in any way. But it seems my 34, again, is gonna get the best shot, and maybe my 50 if I wanted a tighter one. This shot could be interesting. Shadows, again, could be cool. Maybe that will cut together neatly. From this shot I've also got a bit of activity happening here, hoping if I return there's people fishing or something more interesting than people just sitting down. Again, I would expose a bit longer cause I don't want a staccato effect with the water, and I want it to be a bit smoother. So neutral density filters are really gonna be a key to that. I thought this shot could cut neatly from this one. It's actually a different location, but you wouldn't know. Seems my hundred millimeter is going to get a decent shot of that, I can also walk forwards a bit with a fifty but I think I am going to leave the hundred at home. This is not a priority shot. This shot, however, I really like this. We've got some great leading lines. There's plenty of activity. There's usually people chilling out on the beach here. People sunbathing here, depending on the weather. And there's always movement, always something moving here. Again, I don't want the sticatto effect so I'll take my neutral density and keep the motion smooth. And hopefully I'll get a bit of cloud drama to give me some extra interest but as there's movement through the shot I think it could be interesting anyway. And again my 34 and 50 are going to be my go to lenses for that shot. And here's just more of the same. Now I've ventured up the hill and I'm trying to find where to set up for the sunset. So let's have a look at these. So this is a little too close to the foot. It's kind of interesting here and here you're gonna have some activity, but the shot's a bit flat. So I decide to venture up the hill. Once I'm up the hill. Quite happy with how this shot's looking. I've got leading lines again. This is the barbecue area, so there could be some interest there. This is the beach area, so there's gonna be some activity, and there's gonna be people moving through the shot. I'm also getting the street and background in the shot, so I might get lucky with some motion there as well. So, I just keep venturing up the hill and around about here, I think I'm going to get the shot I'm looking for. So, I've still got these leading lines. This is the area where I'm likely to see the sunset. So my 34 millimeter is gonna work. Still gonna get all of these assets in the shot that I think will make it interesting. Now I'm just looking around, getting an idea of what other alternatives may be able to hundred. Could be something interesting happening over here. I think this is the shot I'm gonna go for. So I continued venturing up the hill but I didn't like that the fact that these interesting areas here start to become obscured. And more of the same then I've reached the top the hill but I think I've found my shot. And now I've ventured off into the woods where I've found some stuff that I might return to, but not on this particular shoot. I'm a big fan of these telephone wires. This particular shot. I think I'll come back, take a motion rail and do like a motion time lapse. Try to get some parallax of the bushes in the foreground. And here's some other locations, but back on the lake here this is the pier that I was on. I think this could be interesting if there was some cloud and some reflection on the lake. And, again this should be a wide shot. I can always pan and animate within them. So, this is the view from the pier, there's some interesting stuff in the foreground. I don't like it when there's. But the foreground is empty so I think this could add some interest to the shot. We'll get a little bit of shadow perhaps and ripple happening. But what I'm hoping for is a little bit of cloud drama so I might return to this spot and focus maybe with a 50 to get a really tight shot there without any of this other stuff in there and here's just more of the same, and the last one there. So, now I've got an idea of where I'm gonna go. I can see what lenses I need, so I'm definitely going to take the 34, I'm going to take a 50 millimeter, and I'm going to take neutral density and polar filters for both of these. What I need to do though, is to check The Photographer's Ephemeris. So I've set this up with the location of the spot on the hill that I was quite drawn to. From here I can see, here's where the sun will rise and here's where it's gonna set. And this is gonna be in the shot. And it's gonna fall over those hills that I saw in the background there and, let's just see in the. It's about half way up the hill and this is where that little barbecue area was so it's gonna be over the roof of the barbecue spot. This little beach area. There's going to be plenty of activity. It should be an interesting. A lapse. I can see here that the sun will set at about 10:37. So I'm gonna get out there about an hour or more before that, probably about half past nine, and start my lapse running them. I'm probably gonna leave it going for a couple of hours. Just so I get the whole thing. Now the freakish thing is because I'm in Sweden although the sun is going to set it's not really going to get dark. So this should make for an interesting time lapse. So now I know what gear I need to take and where I'm going to go. It's time to get my gear together and start preparing it for my time lapse shoot. Join me then.