Most of the timelapse work up to this point has used a fixed-position setup — camera locked off, letting cloud or tide provide the motion. That’s fine for a lot of subjects, but it starts to feel static once you’ve watched enough of your own footage back to back.
The move to a proper motion-control slider came out of a six-hour sequence on Skye that ran the battery flat with about ninety minutes of usable light still left in the sky. The new rig draws noticeably less power per move, which in practice means the difference between finishing a sequence and packing up early.
Full writeup on the calibration process and the settings that ended up working for long, slow-motion moves is coming in a follow-up post once there’s enough footage shot on it to be confident the numbers are actually right, not just lucky on one night.