The Time-Lapse Challenge

The looming and constant challenge in my niche market is how to explain to potential clients why I do what I do. It’s not the photography but the thinking and feeling that goes into each film I deliver that is the ultimate challenge to get across the great divide. I’ve found this approach helpful to many of clients:

photograph of a gravel pit made to look like a jigsaw puzzle

It’s Like A Jigsaw Puzzle

The main camera provides provides context. I refer to this as the master shot. It is the border, the outside piece that forms and defines the boundaries of your story. The rover days, (the ground-based time-lapse footage gathered with moving cameras) video footage and drone work are individual pieces that I fit together in order to make your story flow. These pieces can be fitted in a variety of ways: the order in which they appear, the amount, (in seconds) each section of footage runs, the speed at which a clip plays back, how the head and tail (beginning and end) of each clip is connected to the piece that came before and the piece that immediately follows.

photograph of Michael e. Stern, time-lapse photographer scouting a location

On location scouting for the best master camera spot and our agreed upon choice.

And the beauty is, this process isn’t fixed. One can always revisit the master movie file and move things around, change a jump cut to a dissolve, ramp up or slow down a clip, raise or lower a the audio level of a sound effect or music track. This is your prerogative as the client when viewing rough cuts, to ask that the puzzle be fitted together differently. Although the work is so thoroughly finessed by the time you see the film that little if any changes are necessary. But you have the option. That is my guarantee as the puzzle master, that it fits together as you desire.

After Effects CC 2015 interface

This interface screenshot is from After Effects. This is typical of my films, many little pieces adding up to a cohesive whole.