Because the photoSentinel system uploads photos over the 3G network, photographers need to juggle the competing factors of getting high resolution shots and using a cost-effective amount of 3G data. The good news is that even a standard JPEG, which will keep your upload costs down, can still provide a resolution capable of producing a higher-than-HD final time-lapse movie.
The other great thing shooting photos at a resolution higher than the final movie is that it gives you the ability to create more dynamic time-lapse, by adding zooming and panning in post-production.
This time-lapse by Shanghai-cased UK photographer Rob Whitworth is an excellent example of zoom and pan (and spinning upside down!) in time-lapse.
As best we can tell, some zooms and pans have been done while shooting and some in post-production, but it’s hard to tell sometimes (though I’m willing to make the call that the spinning was done in post!). What you can tell is that the zooms and pans make the video much more interesting, especially as they allow the viewer to capture both the whole scene and particularly interesting small snippets of that scene. It’s like two time-lapses for the price of one!
We reckon there’s lots of room in construction time-lapse for creative zooms and pans. Perhaps a zoom-in to a crane, or a zoom and pan across a number of workers on the same floor of the building. If it’s a sky scraper, then a zoom and vertical pan as the levels go up, rather than just showing the whole construction at distance. And, of course, when you zooming in close, you might just find something interesting… like this Death Valley time-lapse that captured a ‘UFO’.
For more insight into Rob Whitworth’s time-lapse projects, you can read Crosstown Traffic and this Interview with Creative Time Lapse Photographer Rob Whitworth.