If you are doing timelapses of something that will have a drastic light change thats when it becomes difficult. Day to night and night to day are tricky as you really need something on auto, the iris, the shutter or the iso. poner el iris en automtico. el resto fijo.I simply set the shutter on the camera to stay open for 2 seconds. Had the ISO set to 100, stopped down the Sigma 10mm f2.8 down to get exposure. Plugged in the intervolmeter, set it to take 1 picture every 2 seconds and left it running for about 20 minutes. By leaving the shutter open to 2 seconds I got nice streaky imageHere are some key elements to making your first timelapse:Turn off the auto focus, you don't want this changing spontaneously during your shoot.Keep the camera motionless. Your subject will be doing all the work.Set your camera to manual exposure. You don't want this changing every frame.Use slow shutter speeds to blur motion in the frame for a cool effect.Fast shutter speeds give a more choppy look.Take an image about once per second. This rate is up to you.A device called an "intervalometer" can automatically take frames for you at set intervals.Film/photograph your subject for a long period of time. At least one hour.Regarding EOS lenses I found out that shooting in shutter priority mode and locking the aperture (* button), while keeping all the automatic compensations of the camera in off position (highlight tone, automatic exposure, etc.) appears to work well. I forgot to lock the aperture once and I ended up with a set of frames where the aperture varied from 18 to 32. I think this is unuseable even if you de-flicker somehow.I found the best way was to use manual mode throughout and even more important to make the exposure time as long as possible relative to the shooting interval. If you are using (say) a 2 second interval, the shutter needs to be open as close to 2 seconds as you can get it. This will have the effect of evening out all the variations between frames because light is averaged over a much longer time.we normally set a shorter interval between shots when time lapsing clouds, and a longer one when shooting the suns path across the sky. Practically speaking, this means roughly 1 to 15 seconds for clouds (depending on the wind speed), and 30 seconds and above for the suns movement. These are my generalizations of course.auto focus and auto white balance functions in our camera disabled.Roughly speaking, your shutter speed should be just under half that of your interval. So, for a 3 second interval, a 1.3 second exposure is great. At longer intervals this rule ceases to apply, so for example, when shooting the stars at night, a 30 to 60 second exposure is usual depending on the star cover (at ISO 800, f2.8) with a 5 second interval between shots for super realistic movement.when you are shooting anything moving relatively slowly (eg clouds) for the best results, use a 1 to 2 second exposure for short clips. As a general rule of thumb, if you are leaving a long interval between each frame (eg. 30 seconds or above) then it is extremely important to use a slow shutter speed in order to make the movement of natural objects run smoothly between frames. Bear in mind also that time lapses containing people dont generally work very well with large intervals even if your exposure is long.Shooting longer exposures in daylight will require you to set your ISO to the smallest value (ISO 50 or 100), and if you still cant achieve a slow enough shutter speed, you will need to use the neutral density filters I mentioned earlier. My ND 3.0 filter will add 10 (f) stops to a lens. In reality, this means you can easily shoot a 3 second exposure at f2.8 in bright sunlight.Remember, at f22 your camera will bring quite a lot into focus including the marks on your lenses and filters. Using ND filters will solve this problem if it arises.Remember1. Manual settings on your camera2. Set your ISO to its lowest if shooting in daylight without ND filters3. Solid tripod = no camera movement4. Longer shutter speed = more realistic movement (up to a point)5. Set your interval according to how fast you want the action to move6. Check that your memory card has sufficient free space for your images7. Make sure you have enough battery power to last the duration of shooting.Now pop the kettle on, relax and after your cameras shot about 250 images, we can create a short movie out of them.Transitional time lapses and auto exposureSometimes you may want to shoot a time lapse film that spans two very different lighting situations most commonly, when shooting any scene during the transformation from daylight to night time. To do this successfully, you must either devise a way to change your aperture/exposure/ISO during the jump to the new lighting situation, or set your camera to auto, and let it work it out for you. The former is a delicate science and is only worth attempting after you have shot quite a few transitional time lapses, but if you possess 2 camera bodies, the easiest way to do it is to use your second body to take light meter readings from a grey card positioned in neutral light near your time lapse camera. By monitoring the readings from this second camera, you can manually adjust the setting on your shooting camera as the time lapse is running. There is probably a way of rigging an external light meter to your shooting body in order to make this happen automatically but Ive never come across such a device before check Google, Im sure somebody has done it somewhere.UPDATE: A lovely little device now exists called a Little Bramper which will automatically change your camera settings to create a smooth transition between extremes of light. I havent used it myself but from the looks of their Video Tutorials, it is the perfect gadget for the job.If you decide to use auto exposure then the best scenes to shoot are those with flat lighting conditions, meaning no great contrasts of light across one frame. Using the auto exposure function on your camera is not a reliable way to shoot a transitional time lapse but, if nothing else, it will certainly give you some results that will be helpful hints for the time when you begin to devise a way to adjust your exposures manually. Remember, when exposing automatically, make sure you set the light meter to read an average value for the whole frame, rather than any kind of spot metering unless you are absolutely sure that you can choose a spot in your frame that will make a smooth transition through your changing lighting conditions. If you spot meter and your image is not flat then the light meter reading will be thrown out by localized light conditions fluctuating in the part of the frame that records the reading, such as the passing of the moon for example or changing cloud contrasts. The result will be a chaotic variation in exposure across the time span causing flicker. My advice if you wish to shoot a transitional time lapse with auto exposure is to begin with a frame pointing at a part of the sky which never sees the sun or moon crossing it and preferably with a uniformly constant covering of cloud. This will give you the flat conditions that you need to get the most consistent exposures. Remember that your camera may not be able to do an auto exposure over 30 seconds long, so bear this in mind when setting your ISO if you wish to see the stars at night time, otherwise you will need to set your exposure with the intervalometer and leave the camera on bulb. Even after all these precautions, a time lapse film created using auto exposure will inevitably contain flickering, so you might like to use GBDeflicker or such like to flatten out your exposures in post production.http://dynamicperception.com/index.php?main_page=product_info&cPath=3_9&products_id=27&zenid=0d96362ff836c5f60e9a3b6a6972d41aBULB RAMPER. 100 US>>> 400 PESOS.http://www.thewhippersnapper.com/LittleBramper/Site/How_To_Order.htmlOne solution that a lot of us have had success with is to take bracketed frames instead of singles. This gives the option of using fading in post production to adjust in a relatively seamless way for the extreme changes that can occur. Depending on your camera you may be able to adjust for up to +4/-4 stops, giving you an effective dynamic range of 8 stops (full day to full night is approximately 12 stops, YMMV depending on time of year, location on the planet, etc.). Shoot that in RAW (gulp!) and you can batch process to add stops even beyond that. You'd have to experiment in order to see if the motion of your vehicle causes too many syncing problems, but I suspect that since you'd be fading between large chunks of frames, the syncing problems wouldn't be that bad. Obviously this is less than ideal in other ways, namely file size, so as always there is a trade-off to be evaluated.BULB RAMPER + ND + ND GRADIENTE.The trick I've used to tackle this kind of situations is the AEB-mode of Canon still cameras that automatically takes also over and under exposured shots. The amount of over and under can be adjusted. So, say if you set exposure to -3, 0 and +3 stops, then in post you can effectively have 6 stops of relative difference in exposure between day and night.The over and under exposured frames also makes it also possible to create high dynamic images and this also somewhat solves the issue Lee has in mind.In all cases some manual work is always involved. Weather turned out to be okay today, apart from being rather cold and windy so I had a go at photographing a large building as night fell and the street lights switched on. With my Canon EOS 400D SLR and 17-55mm lens I used:Aperture priority modeF5.6ISO 1600Manual focus17mm focal lengthPCLix intervalometer set to record images every thirty secondsInitial shutter was 1/4000 of a second during broad daylight, final shutter was about 4 seconds in the dark. I chose shutter priority because the camera wouldn't be able to get a bright enough image after dark in aperture priority mode even at fully open aperture with ISO 1600.I've converted all the images into a video in 1080 HD resolution and noticed a number of problems with the animation:1. The color balance became incorrect as night fell and the sodium street lamps came on, this caused overexposure and a very orange image.2. During daylight the image suddenly changes from bright to dark to bright again as clouds pass over the sun making the footage appear as if it is not smooth but jerky.3. During daylight with a fast shutter the people walking past didn't blur so the animation looks stuttery as they teleport from position to position.Anyone know how to get around these problems during the actual photographic process?Ideally I would use a longer shutter speed during the daylight to give the images more motion blur and make the animation look smoother. But it's tricky to do this as 1/4000 shutter and F5.6 was the widest aperture I could use during the daylight. Otherwise night exposures would be really long. It's quite a mystery as to how to maintain high motion blur, reasonable colour balance and good exposure for day to night time lapse. I'm afraid there is no simple solution, but few things to try.1. Did you try the "Match color" tool in Photoshop? That's a tool to make colors of different images to match.2. White balance is just meta data, so adjust the white balance in Adobe raw importer when you first open all day time images. Then open one of night time images and set a new white balance etc. in the Raw importer. Thereafter open in batch all night time images. Perhaps you may want to make some manual adjusting with the image taken during dawn exploiting "Match color".3. To blur you need an ND filter which you have to remove/change between two shots.Finally, the ISO setting is also meta data so better to keep it on the nominal value of the sensor. In practice you loose quite a lot of bits when the value is increased.