Hyper-timelapse (also called hyperlapse) is a complex cinematographic technique that involves photography and camera movement. The camera takes pictures at regular intervals (timelapse) and moves slowly along a track. In post-production the shots are assembled to become frames of a video (25 frames per second) so that the filmed subject appears to move faster and the camera in a continous traveling. This process requires many variables that must be carefully calculated, in order to obtain good results.
First of all you have to decide the interval between different shots. The time of the intervals is based on the speed in which the subject moves (clouds, shadows, sun, flowing water). Then there is the astronomical aspect. The times and the displacement resulting from the first two variables must coincide with the exact moment when the subject is (and will be) in a certain position. We must therefore calculate where and at what time the sun will rise or set, where and at what time will the Milky Way will pass by, at what time a hill will be covered with the dawn’s light, and so on. It is challenging work, one that requires great precision in order to overcome the challenges that present themselves with every unique filming.
Here is a simple summary of the work needed to produce a 5 minutes video:
In recent years, the spread of camera drones has allowed us to explore and describe a place in a new way. Now once you are on top of a mountain you can go even higher. Our relationship with the instrument is particular because we are a aeronauts engineer, a drones designer and film-makers. The large natural areas we explore with their poor human presence allow us to pilot (and film) in complete safety.
Back in the studio the work does not become any easier. The workflow for a timelapse in particular requires passing the film through three different software programs before a single video can be rendered. Moreover, the high resolution photographs (from 18 to 21 megapixel) in uncompressed formats (RAW) require long computation times (about 70 minutes for a sequence of about 10 seconds). Once the images have been processed into uncompressed video, it is possible to begin the process of a “classic” video editing.
Our videos are designed for a 1920 x 1080 pixel format, intended for full HD TV. It may seem that a 20 megapixel format is too much for that, but there is a reason why we decided to use such a high resolution despite the large files size that it implies. The high resolution of the photos is an advantage, not to be underestimated, which allows us to render the video in 4K resolution (or Ultra HD) a resolution that is four times the resolution of Full HD. The videos we make are sustainable and will be ready for the super televisions that you will buy five years from now and for those nostalgic for classic movies, the videos can be transferred on a 35mm film.