OVERNIGHT

When the sun goes down, nightfall takes us into a completely different world. It has a totally different vibe to daytime, and can be enjoyed in so many different ways. From chilling at home on the couch with a loved…

OVERNIGHT

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When the sun goes down, nightfall takes us into a completely different world. It has a totally different vibe to daytime, and can be enjoyed in so many different ways. From chilling at home on the couch with a loved one to hitting the town for a night out, or simply heading into the outdoors and taking in a starry night until the stars disappear with first light. OVERNIGHT takes you on a continual 60-second time-lapse journey exploring this nocturnal world.

I shot OVERNIGHT entirely from home in Wellington New Zealand during the Covid-19 Lockdown. I had to get a little creative to make the shots feel like they were shot at various locations throughout Wellington, where in reality, they were all shot from my own backyard. This was certainly a challenge, and also one of the rules of the Four Walls Film Festival which inspired me to do this short film and enter it into the competition.

I used a Nikon 600mm f/4 super-telephoto lens with a 1.4x extender for some of the shots including the moon sequence, and a Nikon 70-200mm lens at various focal lengths for the city light shots.

For the Milky Way to City daylight sequence, a Nikon 14-24mm lens was used and shot as one continuous night to day time-lapse from 4am – 9am. Planning for this shot was crucial and done with the Photopills app. I used a Syrp pan/tilt motion control rig for the camera motion tracking the Milky Way until first light and ending up on the city as the sun rises from behind the camera. It was a fairly complicated motion control move with extensive use of keyframing in the Syrp app to get the motion timed perfectly.

I also used the Syrp Genie with the Nikon 600mm lens for a couple of panning time-lapse moves in the film. Since I was using a super-telephoto lens for this, it was critical that I had a steady tripod that could also handle the weight of the rig. The Manfrotto 055 Carbon Fibre tripod handled the job perfectly.

The moon sequence was planned out with Photopills, and the Syrp pan/tilt was used to track the motion.

To get seamless transitions, I shot large panoramas with the Syrp pan/tilt in pano mode on the app. This was then set up to connect the various shots locations in Adobe After Effects.

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