Crazy Hyperlapse Tutorial - Andras Ra Inspired

[Applause] [Music] hey there my name is gabriel and in this episode i'll show you how to create those amazing hyperlapses this video is highly inspired by andreas rock he's amazing filmmaker and i got inspiration to create the hyperlapses he did several videos in munich right now i'm in munich to create those type of hyperlapses the camera is not that important the magic is happening in post-production it's not that complicated but you need to know how to do it it's more time-consuming than complicated so in this video i'll break down the whole process the video will be splitted in three parts the first part is how to film the hyperlapse the second part is how to put together the hyperlapse and export it as a video and the third part is to create the magic with those whooshing and moving back and forth rotating there are a lot of things to cover in that video and that's the second time i'm recording the whole episode because the first time i forgot to plug that microphone and i recorded everything from the microphone of the laptop and when i edited the sound i was wondering for five minutes why the sound sounds so shitty hopefully this time everything will be good with the equipment now let's dive directly into the video the first part is how to film the hyperlapses the most important thing is to activate the grid lines on your screen and to activate the diagonal lines they're gonna be really helpful when you're choosing the composition the second thing is to choose the focal point of the hyperlapse your subject i'll give you an example with a clock tower i went in the center of the city and i wanted to make the hyperlapse with that quark tower so i put the clock tower in the middle of the frame the diagonal lines help me to determine where exactly is the middle and the second thing is that i change my focusing mode so from autoface detection mode and also subject selecting i change it to a square point i move the square point on the place of the screen where every single time i want the clock to be so every single time i take a step i take a photo and i try to sniper the clock to be exactly in the center of the square there is one very important part that you have to understand so your hyperlapses are better on post-production when you stabilize your footage you can stabilize only two axes you can stabilize the movement left right up and down and you can stabilize the rotation of the photo like that you'll make your hyperlapse look really smooth what is really hard to stabilize on post production and it's mostly impossible is the tilting of the camera because if the camera tilts a little bit is changing the perspective and you don't have the same amount of information between the two photos and in that way you're creating the jelly effect the next step is to count how many images you need to create the hyperlapse to be able to create a decent time lapse i would say that you need to create minimum 150 images i would say 150 to 250 images for me that takes around 5 to 10 minutes of filming the next thing you have to take care when you're filming the hyperlapse is your pace so usually i'm counting in my head click one two three click so i'm making a step and every single time i'm counting around 3 seconds in that way i can keep the same pace the reason why you need the same pace is that if you have a cloud in the sky and the first picture is 3 seconds and the second picture is 10 seconds you have a glitch in your hyperlapse and it will be impossible to fix it on post production now let's move to the next point and it's how to hold the camera so we get the most stable footage to be able to hold the camera stable you need third point of contact i'm using a camera strap if you don't have a camera strap you can use another trick you can put the camera to your eye and like that you have three points of contact you have your head and you have your hands the problem is that your hands will get really tired the first time i did my hyperlapse i held my camera wrong so i put my camera strap i stretch the camera so it's stable and i start filming and the problem is that after three or four minutes my hands got really tired it was hard to hold the camera in that way so the best technique i found is to let the camera hang on the strap and with the hands just to extend it a little bit not to hold the whole camera in front if you're doing hyperlapses for the first time i'll show you three walking patterns that will produce the best result here is our tower and here we are so we are standing somewhere far away the best and easy way is to walk towards the tower so you make a step you take a photo you make a step you take a photo and you don't change the tractor you don't walk zigzag that will produce horrible result you just go straight line towards the tower second option you go parallel to the tower so here is the tower here you are and the camera is facing the tower you take one small step aside take a photo one step aside take a photo one step aside take a photo and the third option is to do a circle around the subject after you create several hyperlapses you get the feeling how to do them and you'll be able to implement a little bit more complicated movement but start with those three simple walking patterns now we are going to step two and does the post-processing and here there are several methods my workflow is to use lightroom after that from lightroom i'm exporting jpegs and importing them to after effects after fx has the best stabilizing algorithm that's the reason why i'm using after effects you of course you can use premiere pro or final cut pro to stabilize your sequence but i'll show you the best way how to do it with after effects and after that we are jumping to premiere to create the crazy motion in lightroom i'm importing all the oe images and there i do the color correction and i do a little bit of color grading after that i'm marking all the images and i'm exporting them in really good quality in jpeg now let's jump to after effects and i'll show you how to stabilize those clips here we are in after effects now let's import the images i'll press command i to open the import dialog and navigate to the folders and here we have our images from the quark tower mark the image press import jpeg sequence and now press force alphabetic order and here is our clip let's rename it so we know what is happening let's name it quark tower plots and now we have to create a composition so click on the clip and drag it over that icon here boom and our composition is ready now here i purposely didn't create 1080p composition or 4k composition when you think with your camera the images are 4x3 ratio and we want to keep that ratio and export the video with that ratio because on the third step when you start doing the crazy rotation you have more image data to work with and you don't have to zoom the image so much so keep the 4x3 ratio and export it in that way now the main goal is to stabilize the footage and the stabilization is happening on two steps first we're gonna stabilize the position and after that we're gonna stabilize the rotation in that way you get the best stabilization of your hyperlapses i'm not gonna use the warp stabilizer so you come here to tracker you click on stabilize motion and now the application created a tracker for us so if you zoom in here is our tracker we can make it a little bit bigger with the small square inside we are telling to after effects what is our main subject and the big square is telling after effects where to search for that subject the smaller the tracker the faster after effects will work unfortunately if the tracker is too small after effect is not really precise with tracking the next thing about the tracking thing is that it doesn't matter from where you start tracking uh your composition we'll start from the beginning we'll start from the end you have two buttons one is play in front one is play behind so i'm somewhere in the middle because i have a good visual of my reference point so i'll mark it and now before i press the play button i'll click the option and the option i have to mark here in the drop down is stop tracking so when the algorithm is not sure what to track if the certainty is less than 80 percent to stop tracking by default is mark continue tracking and if that happens is that after effect will drop the tracking point we mark another point and then it will continue tracking some crop in the future and then you have to go back some frames reposition everything start over again and if you miss that moment it's a lot of wasted time because tracking is quite slow we press ok and we're ready to start tracking just press that button here and after effect will start doing its magic as you can see it's working quite slowly that's one of the reason why i hate doing those hyper lapses they look amazing but they're so damn time consuming creating one hyperlapse sometimes takes me between three and five hours when i include the exporting time so most of the time i'm creating all the hyperlapses and then i'm putting the export at the end because you have to add motion blur and the motion blur is really cpu consuming and that laptop is not the fastest one in the world i'm dreaming for the new m1 chip so here the algorithm wasn't sure and it stopped tracking now if you press u on your keyboard you can see the keyframes the program generated now if you click on the tracker you get a zoom button actually it was the correct place so let's position it again in the middle of the clock and then press next damn it's ultra slow okay here we miss the tracking point so again position it maybe i can reduce a little bit the tracking points maybe it will be a bit faster and press play you continue tracking like that to the end and that takes quite some time so when you're ready with the right side just come here to the first keyframe and start tracking backwards so you just press that button and then after effects will start thinking and start adding keyframes sometimes i find that after effects is tracking better when it's going the other way around when it's going backwards i don't know why maybe it's my imagination half an hour later and we have all the tracking points now we have to apply them to our layer your tracking should look something like that as you can see i was really not accurate with the camera the camera was all around but that's completely normal when you're hand helding you can't be like a robot so here just click the apply button and stabilize the x and y axis press ok now let me pre-render the comp so you can see what happened okay here we go to check did we do a good job take your pinky winky and put it on the point we stabilized that's the clock and now watch is the clock moving is it jumping back and forth or it's staying on the same place i can see that it's staying on the same place that means that we stabilize the footage quite well now the next thing to fix is those black bars and there are two ways how we can fix it we can crop the image but then we lose between 5 and 15 percent depending how jumpy was the footage and that's not the best way to do it the other way to do it is to apply motion tile effects so go here to effects ooh effects where are they here and right motion and here it is motion tile drop it on the footage and now here just increase the output width and increase the output height what it does is that is duplicating the footage so it's placing the footage on top and to the bottom to be the same let me scale it down so i can show you what it does so as you can see it's just creating a repeating pattern so if i increase it more i'll create more tails the trick here is to press the mirror edges and like that you're creating the illusion that you don't have those black bars and when the footage moves just a little bit it's not noticeable now let's revert the scale you see the black bars completely disappeared now the second step is to stabilize the rotation so click here and pre-compose because we have to create another tracker mark move all attributes to new composition i forgot to mention one thing you have to move that the central rotation point so you have to come here you have to grab the anchor point to click it and move it to the point we stabilized if you don't do it that way when you stabilize the rotation the rotation point will be somewhere else and you stabilize first that point and after that you're stabilizing the rotation here so you make that point move like crazy so it's very important before you apply the rotation to move the anchor point of the composition so you go back here to tracker you click stabilization remove the position you can't remove the position click on rotation and then remove the position and now you have instead of one tracker you have two trackers so here i have extremely straight line on the clock tower and it's really easy to track it so here i get my first tracker and put it somewhere on the bottom after that i grab the other tracker and put it somewhere on top now check the options check that stop tracking is marked and we can start tracking the rotation half an hour later and that's how your tracking should look like now again press the apply now as you can see here again we have the black bars but we fixed them with the previous composition here is because we created a new composition so it's cropping it to remove that crop just come here and press the sun icon here click and now our motion tiles are visible after our rotation is stabilized the next step is to add the motion blur you can create the motion blur while you're filming with your camera unfortunately when you're hand helding the camera you cannot go lower than 1 30 of a second otherwise even the buildings will be very blurry so that's why we have to do it on post production without the motion blur those time lapses don't look really good with the motion blur they look magical you can come and write motion and here you have two types of motion blur cc force motion blur and the pixel motion blur the cc motion blur you use it when you speed ramp and the pixel motion blur is for exactly our case unfortunately the pixel motion blur is a little bit slower so online i got the recommendation to get the rsmb plugin and it does pretty good job it's much faster so applied rsmb unfortunately it's paid so if you want to experiment try first with the pixel motion blur and here you have two parameters first is the motion sensitivity so the plugin detects which objects are moving and if you increase the sensitivity with a little bit of movement you get more motion blur and the second parameter is the amount of blur usually i keep it between 0.5 and 1. more than one it's getting too blurry so something like 70 80 i think it will be perfect for that composition and here you can see the result and because of those motion blurs the export time takes forever the render takes around 1 hour 1 hour and 20 minutes for around 7 to 8 seconds of footage that's killing that's why i usually render at night now let's jump to premiere and i'll show you how to do the crazy rotations here we have the video imported i'm working with 1080p composition that's 920 by 1080p full hd my camera images are quite huge i think they're 6k they're a little bit more than 30 megapixels they are 6 000 and something pixels by 3000 or 4000 pixels if you don't zoom more than 200 percent you can use that technique even for 4k footage but with the 1080p footage you're a little bit more flexible how much you can zoom and how much you can rotate so here is our frame let's zoom it out so we can see what we are doing so zoom out zoom out zoom out you can see that you can i can zoom out really a lot okay around 29 before we play with the scale let's play with the rotation we're gonna play with the keyframes so come in the beginning of the composition press the stopwatch to generate a keyframe now let's rotate our composition maybe to 90 degrees or maybe 80 okay something like that now let's click somewhere in the middle or close to the middle and let's rotate it to minus 80. like that will make 180 degrees rotation it will look something like that okay not bad and then we can go to plus 80. enter it looks quite decent but we can improve it now premiere pro is like after effects you can play with the type of the keyframe so you can mark your keyframes and you can convert them to bezier when you convert your keyframes to be busy a you can control the curve of the animation and you can control how fast or how slow and how smooth the animation to happen so just come here and press that small icon on the left and that will expand it so the keyframes are really smooth right now so let's move them a little bit more i want the middle part to be a little bit slower so i'll just expand that anchor point like that the animation in the middle will be a little bit slower oops my light died good that i have one more and the animation in the beginning to be a little bit faster okay for me that looks amazing the next thing is to play with the scale and we have to do exactly the same so here exactly in the middle i want to punch in i want the zoom to happen so click on the position mistake not position click on the scale and let's scale that animation let's say 240 percent let's move in the beginning at one more keyframe so let's start let's see from one to start from 48 percent and let's check do we have black spots black bars no that looks perfect now let's go at the end and then we can just zoom out the image till we cover the black bars okay let's play it and see what did we create okay pretty good now we do the same thing mark the keyframes right click base yeah expand and let's make it a little bit more snappy so grab that anchor point extend it a little bit like that will make the animation in the middle to be a little bit more edgy okay you can see how the speeding up is happening and let's do the opposite in the beginning i want the transition to happen very fast so i want in the middle to be a little bit slower and then the transition again to be like perfect oops too much this step is a lot of experimenting a lot of going back and forth and seeing what works and what it doesn't work i'm quite happy with that result i think it looks quite decent now to save yourself the work to do it over and over again you can just come here on motion right click and save preset that step will save you so much work as you can see creating animation like that takes you between 5 and 20 minutes sometimes it can take you an hour depending on how much time you're gonna spend working on those details so once you create some animation you are happy with save it as a preset that will save you so much time creating those uh animations i already created my whole folder with presets because i created several timelapses and i spent quite some time polishing the details so right now for me it's extremely easy i can just bring the next time lapse and just drag and drop [Music] in that way i can easily drop five to six hyperlapses clips drop the presets on top of them adjust them a little bit to fit perfectly the footage and for less than 5 minutes i have my next instagram post if you would like to save your time you can grab my presets link in the description now don't forget to destroy the like button if you made it that far and you didn't enjoy the video i don't understand how did you made it that far put the dislike button maybe three times press it for the youtube algorithm to propose it to more people don't forget to smile the sunshine is always somewhere there subscribe and see you in the next episode

Channel: FreeGafo

Views: 140,539

Keywords: cinematic video, cinematic travel video, cinematic travel video tutorial, cinematography, filmmaking, travel edit, premiere pro, sam kolder inspired, travel, transition, andras ra, adobe, hyperlapse, hyperlapse tutorial, hyperlapse shoot, how to shoot a hyperlapse, mobile hyperlapse, smartphone hyperlapse, gimbal hyperlapse, andras ra hyperlapse, andras ra hyperlapse course, sam kolder transitions, sam kolder transitions premiere pro, sam kolder transitions final cut pro

Id: -3Qx5rOsJ_4

Length: 20min 35sec (1235 seconds)

Published: Fri May 07 2021