Timelapse Calculator & Shoot Planner
Plan your timelapse shoot. Set clip length, playback FPS, and capture interval to calculate total shoot duration and required frame count for smooth results.
Settings
HH:MM:SS, MM:SS, SS or digits-only (HHMMSS).12:34:56, 12:34, 123456 → 12:34:56, 12345 → 01:23:45
Results
Related Tools
Reference
How Timelapse Planning Works
Timelapse = Math + Taste
A timelapse is a normal video where each frame was captured with a delay (interval). Shorter interval = smoother motion, but longer total shoot time.
The Formulas
Frames needed = Final clip seconds × Playback FPS
Real shoot time = Frames needed × Interval seconds
Practical Interval Guide
Street / traffic: 1–3s (fast, energetic).
Clouds / landscape: 3–10s.
Sunset / blue hour: 5–15s.
Stars / night sky: 15–30s.
Camera Tips
Lock exposure (manual mode) — auto exposure flickers.
Lock white balance — auto WB causes colour pumping.
Manual focus + tape the ring if needed.
Use ND filters in daylight for longer shutter times and more cinematic motion blur in each frame.
Shutter Speed for Timelapse Motion Blur
Unlike video, each timelapse frame is a still photograph. For natural, flowing motion — clouds drifting, traffic streaking — you want each frame to show some motion blur. A useful starting rule: set your shutter to half the interval or longer. Shooting every 5 s? Use a 2–3 s exposure (add an ND filter to make this possible in daylight). Conversely, for crisp, pinpoint star trails or sharp architectural shots, use a short shutter and skip the blur intentionally. The choice defines whether your timelapse feels organic or stylised.
Storage and Card Planning
A long timelapse generates thousands of RAW files. A two-hour shoot at a 5-second interval produces 1440 frames. At 25 MB per RAW, that is roughly 36 GB — and you may shoot multiple sequences per day. Plan storage ahead: bring enough cards, format fresh before each location, and back up to a portable drive during lunch or travel breaks. If shooting JPEG to save space, test your exposure and white balance in RAW first, because you lose the edit latitude once the files are captured.