Listed below are explanations of the specific options that you can add to your video recipe!*

Filming Techniques


The hyperlapse is our most popular and well-received technique. It is essentially a moving timelapse, which gives the illusion that the camera movement is in real time while everything else within the picture is sped up. First, we take hundreds of photos along a predetermined path at specific intervals. The further apart the intervals are, the faster the camera movement will seem and the shorter the hyperlapse will become in it's final format. For each photo, the camera is moved the specific distance that we've calculated to be the best for our vision, then the camera is leveled, focus is pulled, and a single point is honed in as the center of the frame. It is not uncommon for a hyperlapse to consist of 1,000+ individual photos.

The editing process is just as involved as the capturing of the imagery. We process each RAW photo, making sure we maintain the absolute highest latitude possible within the picture profile and adjust it to match the color correction of the regular video within our existing project. If stabilization is required, we crop and adjust frames accordingly and then compile the images into a sequence that can be rendered as video. Lastly, the hyperlapse video is added into our editing program and time-ramped accordingly in order to fit just right. Often times we manipulate the beginning and end of the hyperlapse during it's creation as well as in the editing process to create a seamless transition between the preceding and succeeding clips.

Required Equipment:

Any DSLR Camera


Chalk and string


Timelapse is not all that different from hyperlapse as far as the capturing and editing is concerned. The main difference is that the camera remains still during the capturing process and an intervalometer is used to actuate the shutter, eliminating any human variable in timing. For example, clouds will move at a smoother rate compared to a hyperlapse, due to there being no variation in the actuation of the shutter. Other variables that can adversely affect image quality are shifts in weather and lighting, and any unwanted movement of the camera.

Required Equipment:

Any DSLR Camera



Video Compositing

Our compositing techniques consist of custom transition effects, title work, masking out as well as leaving certain movement within the image (cinemagraph), and the layering of virtually any visible image. These effects require the use of multiple programs and often create unique situations that must be problem solved.

Required Programs:



Premiere Pro

After Effects

Camera Motion Control Devices

16 Foot Motorized Camera Crane

The motorized camera crane adds a unique and impressive dimension to any shot, with over 180 degrees of horizontal movement and 16 vertical feet of lift. It is most useful for bringing a space or product to life, however, it can also be used to increase the production of action shots.

5 Foot Motorized Slider

Our programmable 5 foot slider allows for consistent, silky smooth, replicable shots. We fondly refer to the motorized slider as the Swiss Army knife of camera motion control as it is perfectly suitable for making difficult shots possible. Sitting interviews suddenly become mesmerizingly dynamic, moving macro product shots are lively and virtually any "would-be" still shot can have a bit of added flair.

Electronically Stabilized Gimbal System

The gimbal system allows for camera stabilization in almost any precarious scenario, whether filming from a moving vehicle or running with the camera. The system utilizes motors to act as a gyroscope, carefully eliminating any unwanted bumps, jostles, or sudden movements from the shot.


Kino Flo 4ft 4-Bank

The Kino 4-bank light is extremely versatile, allowing anywhere from 1 to all 4 light tubes to be gaff taped in seemingly impossible places or mounted within it's provided housing offering even fill. It is indispensable as a key light during interviews, providing soft, subtle fill.

Arri L7-C LED

The L7-C is a modernized, USB upgradable Fresnel with a wide array of colors, intensity and concentration. This light is perfect for taking the place of the Kino in sitations where more or different colored light is needed. During interviews it is best suited for back lighting the subject in conjunction with the Kino.

Genaray LED Panels

These are extremely small, color temperature adjustable LED panels that fit where none of our other lights will fit. We can clamp and adjust them virtually anywhere and are great for lighting tight shots.

Camera Options

Sony FS700R

With incredible slow motion capabilities, built in neutral density filters, speed booster, and great dynamic range, the Sony FS700R has quickly become the main workhorse camera of Diemo. In conjunction with our Odyssey 7Q external recorder, the FS700R performs at "Hollywood" like levels, offering you anything from 1080HD to 2/4K RAW footage.

Sony a7S

This compact, mirror-less camera has revolutionized filming in low light, which makes this camera perfect for projects with less control over the environment. Although not as potent as the FS700R, the a7S is irreplaceable in certain situations.

Any DSLR Camera

DSLR cameras are great for high quality, dynamic photos for making timelapse and hyperlapse imagery. Any full-frame DSLR is competent for such work, and we regularly use a wide variety of them to stay current with our knowledge of which camera is best suited for certain environments and tasks.

*Price ranges are extremely project specific, contact us for more details.