We’ve used still cameras to capture time lapses for previous episodes of Blowdown, the explosive demolition show we’re gearing up to film – for transitions, establishing shots, and work that’s progressing.
The reason we use this technique is because it gives us photos that are higher resolution that HD – pristine, jpeg images up to 21.1 MP.
Obviously much better quality than frame grabs off of video.
It also means our primary video cameras/crew can be used to film action – in this case demo work on the Fonte Nova Stadium in Salvador, Brazil – while the still cameras (in this case Canon 7Ds) sit unmanned on a side-by-side rig, automatically collecting shots.
In the 3D realm, the super high resolution will allow us to converge and do digital zooms in post within the time lapse without losing any quality.
I’ve received a few questions re. how we’re syncing Canon 7Ds we’re using to capture elements of our first 3D documentary … so I’m blogging about it to share with everyone.
We’ve used DSLRs to get high res stills at set intervals for time lapses for years, but, of course, never in 3D.
For this 3D episode of Blowdown, the explosive demolition series we produce, the crew will use 7Ds for these time lapses – and also for establishing shots of the condemned sports stadium in Salvador, Brazil and, of course, the implosion itself.
Here’s how we’ve brought this system into the third dimension:
1) Splice cable so there are two heads on one intervalometer.
2) Attach heads to timer remote ports on two Canon 7Ds on side-by-side rig.
3) Sync using the one handheld intervalometer.
I’ll provide more details re. our time lapse strategy later: wanted to get this bit up ASAP.