Time lapse vs. Video

I went to shoot a sunset yesterday and it wasn't anything special. So I thought I would try time lapse instead of video just to see how it would come out. It's kind of interesting. I am not yet sure how I feel about it. The focus is a little soft but it pretty much looked like that due to the hazy day.
I saw a cool video that was all stills, but included some bursts of photos. I want to try that next. Amtrak Trains or BART trains probably. And maybe airlanes landing or taking off (or both).
Anyone have any advice before I get too deep into this?

About 2 years ago this "timescape" thing was being edited and the guy was looking for "pre-orders" to help finance the edit and glass masters and etc....so I ordered a DVD. Got it a around last May. I like helping to support art people like that. The DVD is good quality and it's a nice film. Well done.
http://timescapes.org/
In the 'about' area ( I think thats the area ) the website shows some of the rigs. There's more info on those rigs around on web, and for motion control stuff in general. Nowadays 'robotics' is very popular in schools ( high schools etc ), and most of that stuff is easily ( along with RC model hobby equipment ) modified to make your own motion control stuff.
The dolly with skateboard wheels is exactly what I was talking about... and of course the size of platform is entirely arbitrary. The main thing with time lapse ( if you go this far with it ) is you need to determine what the move it ( camera from point A to B ). Then the time you want to travel that in ( if its stars etc then it's the length of the night ). Once you know that you can fix the "speed" of the dolly in your head. The thing now is to divide that into "parts" so that you can do a process of shoot, move, shoot, move, shoot, move, shoot, move ....from point
A to point B....and be done at the time desired. That, like your stage movement Bill, is all there is to it and now ( due to popularity of robotics and rc remote control stuff ) can be done using circuit boards ( interfaces ) with PC and software that lets you plot that without having to use basic language or C+ etc. on your own.
The motors available have many variations of gear systems for power and torque etc, and you could even just use ( like Steve said ) a winch ( with spool and cable ), as long as you work out the distance to travel and the time to do that in.. then you can use the interface to just turn it on and off to do your move, and your remote gizmo to "expose" x number of frames per position.  Basically it's a simple motion control thing IMO ??
Stuff is typically really expensive in film biz mostly cause there's not much competition in manufacturing, so making my own stuff is often the way to go. Skateboard wheels ( and bearings ) can be ordered from hobby stores where they sell skateboards. They also have the spacers ( like, you know.. the part that traps the bearing in position away from the mount ? ).. and the bolt size that fits through the bearing is standard.. I think it's 3/8 but dont remember now.
Anyway, hehe.. yeah, Bill, you wouldn't believe all the stuff on the typical " grip " truck for locations.. cool things to build all sorts of tricky rigs etc.
In the end it is just about 'doing' it, not how its done. We used to use wood and rope for car hood and door mounts.. before using speedrail and ratchet straps...whatever 'works' is good to use.
Sliders are typically used to let the camera operator make minor " adjustment" ( lateral ) during a shot to basically keep a happy frame..
Let's say its two people yappin in frame and it's a dirty single. So you want a piece of the foreground person ( side of face from back ) in frame while focusing on the background person speaking.. will draw pic....
So, if the guy gets blocked operator can slide camera left to open up the frame...get the shot..
Usually this is pretty low ball stuff like episodic TV and not some big budget film for projection. Hard to explain, but due to time restraints ( meaning 'money' restraints too) the slider allows for hopefully saving shots that would otherwise have to be cut and another take done. If talent is good they dont do this sorta blocking thing hardly ever cause they 'know' what the lens is seeing and what mm it is ( how tight ).
Anyway, that's the real use of the slider.

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