3 Methods How to STABILIZE ANY HYPERLAPSE

so I'm gonna show you three tricks to approach any hyperlapse sequence whether you shot it hand held on a monopod or tripod and gimbal a GoPro or even with a pigeon but I want to give you one quick planner for shooting these that I think is really gonna help you out when you're first learning take some extra time to make sure that you have picked out what I refer to as an anchor point just something that you can see at the beginning and the end of your sequence all right so we're gonna be editing this gimbal hyperlapse as an example today and you can see all of these windows in the frame at the beginning and the end of the shot and one of these is gonna be my anchor point okay so now that that's all sorted let's bring our footage into After Effects and let's get started so one of the first things people always recommend doing is just going ahead and running warp stabilizer so have run warp stabilizer on this piece of footage and as you can see it's okay but we're not getting perfect results so sometimes people will recommend go ahead and run warp stabilizer one more time and again the results just aren't perfect this isn't gonna cut it if we're gonna deliver it to this to a client so what we want to do is we're gonna bring our footage into a new composition and what I'm gonna do is I'm gonna go into my tracker panel and if you don't see the checker panel just go to window workspace and motion tracking and so this will bring up the checker panel and what we're gonna do is we're gonna look this button called a stabilize motion and when we click it it's gonna give us a tracked point and the tracked point is gonna have an outer box which is movable and scalable so I can move it anywhere I want and it's going to give us this feature box and if I grab it I can also move that as well and then it's finally gonna give us this an attached point which I can move anywhere I want and it doesn't have to be inside of the box but we'll get to that at a later tip so the first thing I want to explain to you is that the larger this tracking area and the tracking area is where the computer is going to search this is the area that we are telling the computer to look for and we're telling the computer to look for this feature the bigger the box the longer the computer is gonna take here I can see these windows and I'm gonna go all the way to the back to the end of my sequence and where I can see these windows again and I'm gonna choose my anchor point all three of these windows look pretty similar and I can see these two in the in the beginning and at the end so I'm not gonna use this one though at all and what I'm gonna do is I like this area down here because this doesn't repeat itself all of these details kind of repeat so I'm just gonna put my tracking point down here in this little nick I'm gonna make this a little bit smaller and now what I'm gonna do is I'm gonna go to my tracker panel and you see where it says analyze we have these options and if I hover over them you'll see analyze one frame backward analyze backward analyze forward and analyze one frame forward since I'm at the end of the sequence I want to go backwards so I'm gonna click analyze one frame backward and doesn't look like anything happened but if I go down here and I press you to reveal all of my key frames you can see that it's actually made some key frames down here so this is how I know that it's working and I'm gonna press analyze one frame backward just again just to see how how the track is going because in my experience when we do this in the very beginning is most often when the track is gonna fall off so I'm just clicking this and it looks pretty good so now what I want to do is I think it's gonna hold up so I'm gonna press analyze backwards and I'm just watching the track and it's thinking pretty well but notice that it fall off that it's not on the spot and it's just stopped and the computer is still going this is something that there's a big time suck and now what I have to do is I have to navigate all the way back in my timeline and find exactly where I fell off and then I have to start over so what I want to do is I want to save time so I'm gonna go into options and I'm gonna change it from adapt feature to stop tracking if the confidence is below 90% so now for best analyze backwards it ideally should stop so there it is and it just stopped on the track and so now I'm just going to put it back to where it needs to go analyze one frame just to make sure it's on a good track not on a good track so I'll just do it a couple more times and press analyze backwards came into the sky it stopped just gonna press analyze one frame back make sure it's on a good track and just repeat this process until the end alright and once you have to end the track what you can do is you can go ahead and click apply it by a dimensions to X&Y and preview your work to see how well you did and the results are pretty impressive and we only spent a couple minutes doing this which is amazing so real quick I want to show you a really common problem this is something that happens pretty often especially if you're not paying attention there you know it could have a wonky track and you could be playing it and you see all the sudden your track jumps like that you notice how it just kind of jumped right there all you need to do to fix that is just find where the jump is double-click on the layer and then just bring your tracking point back so now what we want to do is we're looking at our track and it looks pretty nice but I know we can make it a little bit better so I'm just gonna pre-compose it because we can't have a motion tracking and work stabilizer on the same layer I'm gonna precompose the layer by pressing ctrl and clicking on it and click precompose and pre-compose is after effects version of nesting for premiere click OK and we'll run warp stabiliser at about 5 percent all right so these are results with point tracking and a warp stabiliser and as you can see that looks really really good and this technique is the building block for stabilizing hyperlapse sequences and while we use to stabilize this dolly sequence that works the exact same way for any hyperlapse like this truckin hyperlapse right here so if you shot your sequence following mind step this is gonna work for about 70% of your hyper lapses which brings me to the next point what if it doesn't work so there's a reason why I recommend doing this approach first it's honestly pretty fast but it's also the building block of the next recipe which is to track a point and rotation and then warp stabilize so here's a handheld sequence from Budapest where I started with this tracking statue and the result after the tracking they aren't bad but when I applied warp stabilizer the sequence got unusable by these weird wobbles luckily this is an easy fix by adding rotation element to our motion tracking so I just need to go back into the source layer which I can do by double clicking on the composition then I select the sequence and pressing u this is the keyboard shortcut to reveal all the properties and it's a time-saver that I recommend getting used to because otherwise you have to twirl this icon twirl this icon and again hit and twirl this icon where as pressing you will show you and pressing you again will hide everything so you're looking for the eyeball next to the track point one poke the eye to hide the track point data and if you don't do this first you're gonna have to read track all the data we don't want to do that so make sure that you hide that tracking data now in the tracker panel we can press rotation this will give us a second tracking point with this second tracking point we need to place it somewhere that also sticks out and ideally is on a similar plane as our first tracker and what I mean by plane is this that the second tracking point is on or as close to a straight line if it's at a diagonal it doesn't work quite as well then we track the second point just like before once both are tracked until it's finished we can reveal the track point one by just clicking the switch for the eyeball and then click apply to see our results now our sequence is stabilized and sometimes this is absolutely perfect and we don't even need a run warp stabiliser just like this sequence this is a perfect example if needed we could pre-comp this layer just like before and run warp stabiliser at a really low value like five to twenty percent and that's awesome so now you know how to stabilize some really tricky hyperlapse sequences and have the tools to shoot them confident like a pro and if you're still with me awesome but what about sequences where things get in the way this is a really common situation that happens all the time when we're shooting and stabilizing apoapsis especially if we're in a hurry and maybe we forgot to plan things out very well and that is when something blocks our view from our anchor point a common thing to do would be to start all over try to find a different part of the track but let's take a look here's a hyperlapse that i've shot and i'm tracking this point on this statute notice that the tree is blocking away again this is really common and what we can do in these situations is go back one frame before the tree got in the way and move our tracking point somewhere else we want to try to keep this point as close as possible so that we're perspective stays the same and I'm choosing this spot because it's on the same plane of the building so the movements will be similar and it's just south of the main point but then I'm gonna take my attach point and put it back and now when I track forward my attach point is in the right spot and I can keep tracking until my feature point is now on the trees but I know that's not a problem because I can just move everything back and continue and you can do this as many times as you need the thing to remember is you're gonna have best results if you keep the feature region close as possible to its original spot all right and with the end of that video that covers all the stabilization techniques for Hyper lapses I recommend getting some practice if you can't get out and shoot use my sequences to practice with and get comfortable with the post-processing I think seeing the stabilization really helps to visualize exactly what you need to be doing when you're shooting so if you have any questions at all about stabilizing footage please let me know and if you learned anything from this video or it helped you save any time I consider subscribing this YouTube channel get those notifications going let me know what hyperlapse questions you have next and that is it for today happy shooting and I'll see you next time check out last week's video where I showed you how to do this cool a hyper zoom technique so lastly if you want to learn more about time lapse and hyperlapse photography I do have a course called hyper flow masterclass where I teach everything I've ever learned about time lapse and hyperlapse and blending them all together and to make these seamless videos well that's it for this video happy shooting I'll see you next time [Music] you

Channel: Scott Herder

Views: 35,667

Keywords: time-lapse, hyperlapse, timelapse, hyper-lapse, after effects, how to hyperlapse, stabilize hyperlapse, shoot hyperlapse, after effects tips, motion tracking in after effects, hyperlapse tutorial, stabilize hyperlapse in after effects, warp stabilizer, hyperlapse vs timelapse, hyperlapse tips and tricks, how to shoot a hyperlapse, how to stabilize video in after effects, how to stabilize video, how to fix a hyperlapse

Id: fr3ec5v0--Q

Length: 10min 20sec (620 seconds)

Published: Fri Mar 13 2020