![]() ![]() “When it comes to shooting timelapse,” Geraci explains, “the biggest thing you want to make sure of is that you have a steady foundation. Once he gets to his location, Geraci sets up all of his equipment with stability in mind. I’ll have several two or four terabyte SSD hard drives with me, ready to roll so we can offload as soon as we get the photos.” “I've been in plenty of situations where I've forgotten memory cards,” he says, “so now I always make sure I have them, as well as backup hard drives to house all the images. ![]() If he’s doing a more localized shoot that only requires himself to be there, he makes sure that his backpack is ready to roll with the proper cameras and lenses, all of his ND filters and plenty of memory cards. ![]() If Geraci is shooting a commercial production, he will have a full squad with him – five team members set up and as many as eight cameras rolling. Then, if we need them for the kind of shoot we’re doing, we make sure we have all of our permits and certificates of insurance in order because we want to do things by the books.” Because stability is so important, we want to avoid shooting on bridges or other locations where cars might be creating vibration. We also want to see where the light’s going to hit and how it’s going to move and change through the time of day we’re shooting. If, for example, we’re shooting a city scene, we make sure it’s an area that is congestion-free where there isn’t a lot of traffic or pedestrians possibly hitting the camera. “We look for any kind of obstacles that could be in the way. Scouting is a key step in Geraci’s workflow and when he scouts for a timelapse, he looks for particular element in the scene. “so we'll go through and do a full cleaning before every shoot, every day.” “We always make sure that our cameras are clean and free of dust,” he says. This is extremely important for every shoot and it’s never skipped. With the cameras setup, he takes care to make sure that all of the cameras and lenses are clean. This way we don’t have to add more steps, like removing noise, to the workflow when we’re editing in post.” No image stabilization, no IBIS, no auto ISO or white balance. “On top of that, I want to make sure everything is set to manual when shooting time lapses. “We make sure that all the cameras are turned to RAW so we can maximize the amount of information we can pull from the files in post-production,” he says. “It all affects the workflow so I need to find out if we're shooting 4K, 6K or 8K resolution.” For shoots that require maximum resolution, his main camera, the Sony α7R III, “It gives me 15-stops of dynamic range and really allows me the latitude to work in post without having to worry about losing certain areas of my image.“ (See more about Drew Geraci’s timelapse gear in What’s In My Bag: Drew Geraci’s High-End Timelapse Kit)Ĭamera setup is pretty straight forward and done with an eye to efficiency down the line. “The first thing I start with is figuring out what cameras I want to shoot on for the assignment, Geraci says. Before The Shoot: Gear Selection, Camera Setup & How To Scout For Timelapse Geraci strictly follows this entire process because he knows that not only will it get him the results he wants, it will also save him a ton of time. ![]() As timelapse continues to boom in popularity, we reached out to Geraci to find out how a pro does it. There are a lot of elements to a timelapse and Geraci’s developed a workflow that makes the whole process work, from concept through to the final delivery. As he’s traveled around the world to shoot his high-impact work for trend-setting film, television and commercial projects, Geraci has pioneered time-bending shooting and editing techniques. From a career that began with service in the US Navy, Geraci has gone on to create stunning timemapses that make you stare in wonder as the spectacle plays out before your eyes. Sony Artisan of Imagery Drew Geraci is one of the world’s leading timelapse filmmakers. ![]()
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