Manchester-based timelapse photographer Paul Richardson has created a minute-long film for Marriott International that take the viewer through one day in the life of London.

The short film shares 24 hours with some of the city’s best-known landmarks, with a moving perspective that adds greater dynamism to the time-lapse format.

From the rooftops of the city’s iconic bricked houses to the final shot of the Victorian St Pancras Station, the hyperlapse video goes on an immersive journey through an event-filled day, bookended with some great low-light shots.

Obviously for a tourist promo, attractions including the Houses of Parliament, Buckingham Palace, the London Eye, Piccadilly Circus and Tower Bridge feature prominently, set to music custom composed by Renger Koning.

London Minute was created with high-res still images by Richardson, shot on Canon 6D and using motion control equipment by Emotimo.

30,000 photos were taken, and combined in post production to make two 1:20 videos - the Raw image data alone took up 755GB.

"The short sliding moves were achieved with the Emotimo motion control rig," explained Richardson. "This is a 6 foot long motorised track, which the camera slowly moves down, all controlled by a computer."

"The longer moves were achieved through a technique called hyperlapse," he continued. "This is achieved by putting the camera on a tripod, and then physically moving the whole unit after each photo. You focus on a point, typically a building, and make sure the camera is aligned on it after each shot."

"The minimum time taken for any shot is about 20 minutes once the camera is set up rolling. Some shots take significantly longer though, such as sunsets. Those can take roughly 4-5 hours."

“As shooting timelapse can produce tens of thousands of photos, I had to batch process everything as much as possible,” said Richardson. “All sequences would be processed in Adobe Camera Raw, before being rendered using After Effects. If any stabilisation was required, I would apply it here. I typically used Warp Stabilizer, but sometimes I had to manually track the sequences.”

Richardson then imported everything into Premiere, and began structuring and editing the sequences.

“I would work with proxies until I got the order correct, then drop the original shots back in and apply any colour correction,” he added. “The video was then rendered straight to an mp4 file ready for the web.”

See more of Paul Richardson's work on Vimeo