Incredible Time Lapse by Joel Schat

This is definitely one of the best time-lapse videos I've ever seen.  Joel Schat does an amazing job at capturing the beauty of nature that is so often overlooked by today's fast paced living.  None of the shots he took are quick and easy, they all take time and that time forces one to sit back and relax while enjoying something that's all around us, yet seldom appreciated.  It's seeing videos and photography like this that continue to inspire me to get out and see as much of the world as possible.  Amazing job Joel and Roadtrippers.com!

First off thanks for watching my Nature DEMO REEL - Made to be Seen! To enjoy it in the best possible way turn the volume way up, Yell at everyone to be quiet and Dive into this film! If you have a blazing fast internet speed head on over to Youtube and choose 4K in the settings as the vimeo compression isn't the greatest! https://www.youtube.com/watch?v=GzBsT1eWIpQ Follow along with my adventures: Facebook: http://facebook.com/joelschatphoto Instagram: http://instagram.com/joelschat http://joelschat.com Alright! So basically this is my nature demo reel! My passion for the past 2 years has been to show off Creation as best I know how, which lead me to mountain tops, canyons, beaches and all sorts of spectacular places! I have been so blessed to be able to witness some of the things I've seen in the past 2 years. Thankfully I have been able to follow this passion of mine and continue to travel as I am extremely fortunate to work for an amazing company called http://Roadtrippers.com which allows me to travel and document roadtripping! Our Films: http://vimeo.com/roadtrippers The hardest part of this film for me was finding the right song. It had been months of casual searching but finding nothing. Then one day while I was at home (Vancouver) sitting in church my pastor used this song to help prove a point, that we have a soul and that is what seperates us from the rest of nature, the second I heard it I knew it was perfect and I rushed home to start the editing process! The song is called: Saturn - Sleeping at Last http://sleepingatlast.com If you want to see exactly what goes into making one of my videos check out a day in my life while on the road here: https://vimeo.com/89324153 The equipment I used for this film includes a bunch of Canon gear: 5d2, 6d, 16-35, 24-70, 70-200, Rokinon 14mm (great for stars) Lee Filters A Bunch of Manfrotto tripods and my Motion Control! Dynamic Perception makes some fantastic Sliders and now a pan/tilt head that is sweet but its the stage 1 that really changed things for me. It makes it possible to bring a slider on a long hike or on the airplane as its carbon fiber and super light! DP Stage 1 Carbon and DP Stage 0 - http://dynamicperception.com Emotimo TB3 http://emotimo.com Promote Control (Best intervalometer I have by far) http://goo.gl/8aIWL F-stop Tilopa BC And of course I couldn't have done it without my VW Westfalia!! All of these clips are available in 4-6K, email me at joel@roadtrippers.com for inquires.

Tips From A Friend

You can learn a thing or two from my friend Alyssa Smith:

A short version of Alyssa Julya Smith hosting Esquire Network's "Women We Love" Special. Aired 11/2013. She is Represented by NEXT Los Angeles.

Check out photographer Corey Rich

Corey Rich is one of my favorite modern day photographers, I would love to be able to work on some video/photography projects with him.  Check out his reel and the story behind his work. 

Corey Rich - Director+DP Reel There are two specific cameras that entered my life and changed it forever. Both cameras were keys opening the most interesting doorways. I walked through, cautiously eager, only to realize that there was no turning back. The first camera was an old Pentax K1000 that I picked up at age 13. It was my father’s camera, and that old brick of a body was glued to my eye for years. By the time I was a student at Quartz Hill High School in the Mojave Desert of California, where I grew up, I was shooting black and white negative film and E6 slide film for the year book and high school newspaper. My buddies and I tried to orchestrate multi-media slideshows using multiple projectors. With upwards of six projectors running through a dissolve unit, we attempted to sync music and a voice over with our photographs. Inevitably, it never really worked. But the right intention was there: We were trying to do and say as much as possible with what little we had. Sometimes we were successful, but mostly it was a lot of failure through experimentation. So what? The learning process—riding that steep curve of progress that comes through tireless experimentation and improvisation—is a special period. Theoretically, it only happens once. But I’d also argue that being on the sharp end of a steady learning curve is also when it’s the most fun. This burgeoning passion for photography took me to San Jose State University for school and a photojournalism internship at the Modesto Bee. By the time I had landed my first big professional photography assignment, I knew what I’d be doing for the rest of my life. All along the way, I dabbled with video cameras because I loved the idea of recording motion with sound on a single device. I experimented with carrying a my film camera on one shoulder, and a video camera on the other. But it never quite worked. I had read up on other photographers’ methodologies for how to simultaneously capture motion and still, but frankly, the people who were trying to juggle a film camera, video camera and microphone all at once were producing rather mediocre content. Of course, this has all changed in recent years with the emergence of DSLR cameras that capture high resolution stills, Full HD video and crisp audio all in one body. But the very first video-enabled DSLR camera was the Nikon D90, which launched on August 27, 2008. That very date, when I ran out to buy a D90, marks the beginning of the second stage of my professional life as a visual storyteller. In the last five years since the D90’s release, I feel as though I’ve been gifted a second learning curve to ride as I’ve taken what I know from photography and applied that to becoming a filmmaker and, now, a director and a DP. In the last two years, nearly half of my time has been spent directing motion projects, almost all of which have been shot on Nikon DSLR cameras. Shooting cinematic-quality motion with cameras that allow me to control the depth of field, and use a form factor I’m familiar with, has taken me back to when I was 13 years old and I first picked up my father’s camera. To have your creative energy stoked and reignited in such a way—more than two decades into a career, too—feels like nothing less than a gift. Because directing motion pieces is such a major part of my career, not to mention my new passion, I finally had to do what you do in the motion world and put together a Director’s Reel. I hope you enjoy this glimpse into the last five years of my life. I know it’s a little long but … one step at a time, right? Just as a young photographer’s portfolio will contain 60 images while a veteran photographer might only have 20, it takes the confidence and experience of a whole career to be that concise. As for right now, I’m just happy to be a guy with a toe in both puddles of water. I’ll always be a still photographer, and now, I’ll always be a filmmaker. There’s no turning back.

Corey Rich - Director+DP Reel

There are two specific cameras that entered my life and changed it forever. Both cameras were keys opening the most interesting doorways. I walked through, cautiously eager, only to realize that there was no turning back.

The first camera was an old Pentax K1000 that I picked up at age 13. It was my father’s camera, and that old brick of a body was glued to my eye for years. By the time I was a student at Quartz Hill High School in the Mojave Desert of California, where I grew up, I was shooting black and white negative film and E6 slide film for the year book and high school newspaper. My buddies and I tried to orchestrate multi-media slideshows using multiple projectors. With upwards of six projectors running through a dissolve unit, we attempted to sync music and a voice over with our photographs. Inevitably, it never really worked.

But the right intention was there: We were trying to do and say as much as possible with what little we had. Sometimes we were successful, but mostly it was a lot of failure through experimentation.

So what? The learning process—riding that steep curve of progress that comes through tireless experimentation and improvisation—is a special period. Theoretically, it only happens once. But I’d also argue that being on the sharp end of a steady learning curve is also when it’s the most fun.

This burgeoning passion for photography took me to San Jose State University for school and a photojournalism internship at the Modesto Bee. By the time I had landed my first big professional photography assignment, I knew what I’d be doing for the rest of my life.

All along the way, I dabbled with video cameras because I loved the idea of recording motion with sound on a single device. I experimented with carrying a my film camera on one shoulder, and a video camera on the other. But it never quite worked. I had read up on other photographers’ methodologies for how to simultaneously capture motion and still, but frankly, the people who were trying to juggle a film camera, video camera and microphone all at once were producing rather mediocre content.

Of course, this has all changed in recent years with the emergence of DSLR cameras that capture high resolution stills, Full HD video and crisp audio all in one body. But the very first video-enabled DSLR camera was the Nikon D90, which launched on August 27, 2008. That very date, when I ran out to buy a D90, marks the beginning of the second stage of my professional life as a visual storyteller.

In the last five years since the D90’s release, I feel as though I’ve been gifted a second learning curve to ride as I’ve taken what I know from photography and applied that to becoming a filmmaker and, now, a director and a DP.

In the last two years, nearly half of my time has been spent directing motion projects, almost all of which have been shot on Nikon DSLR cameras. Shooting cinematic-quality motion with cameras that allow me to control the depth of field, and use a form factor I’m familiar with, has taken me back to when I was 13 years old and I first picked up my father’s camera. To have your creative energy stoked and reignited in such a way—more than two decades into a career, too—feels like nothing less than a gift.

Because directing motion pieces is such a major part of my career, not to mention my new passion, I finally had to do what you do in the motion world and put together a Director’s Reel. I hope you enjoy this glimpse into the last five years of my life. I know it’s a little long but … one step at a time, right? Just as a young photographer’s portfolio will contain 60 images while a veteran photographer might only have 20, it takes the confidence and experience of a whole career to be that concise.

As for right now, I’m just happy to be a guy with a toe in both puddles of water. I’ll always be a still photographer, and now, I’ll always be a filmmaker. There’s no turning back.