If the holiday season has started to stress you out, we have just what the doctor ordered. The above time-lapse, by David Coiffier, is a great example of travel videography, with multiple awesome location shots stitched together into a single video. Some of the locations featured in the lapse include Paris (the most obvious one) New York City, Tuscany, and the cliffs of Normandy.Watching the time-lapse a few things really popped out at me. First off is the color. Coiffier’s colors really pop, and it’s clear he did a lot of post production work on this (in a good way — the images seem super crisp and have HDR-like, but not surreal color). I also noticed the time-lapse’s use of cars. In a few different scenes the video uses moving automobiles to create a really incredible effect. I never thought traffic could be so beautiful. He is clearly a technical shooter, there’s some dolly work (but it’s not overdone), tilt-shift effects, and incredibly clarity throughout the video.By the way, if you don’t want to watch the whole video, fast forward to the 3 minute mark. The movement of the clouds behind the yellow house is mesmerizing, almost like an avalanche was approaching.On the technical front, Coiffier told me that he shot primarily with a Canon 5D MKII, in RAW, but used a Canon 400D (Rebel XTi) for some scenes as well. His lens selection includes a 35mm, 50mm, 85mm, 100mm, 200mm, 24-7mm, and 16-35mm (all Canon L series glass).His post production workflow was: Camera > Adobe Lightroom > Apple Shake > Final Cut > export.He further explained the process saying that Lightroom was used for adjusting the RAW images (as well as cataloging I’d imagine) and that LRTimelapse was used to correct flicker and adjust any parameter (such as white balance) over time. After Lightroom things were sent to Shake where they were perfected — namely they were cropped, stabilized, resized, color corrected, unsharp masked, and given all the other little things professional-quality images need.Coiffier, a professional videographist for over 20 years, highly recommends working with RAW files and avoids working with bracketed HDR shots not just because bracketing is a pain, but because he doesn’t like the “overlook” effect found in most (overdone) HDR. That’s one reason he really liked still frame time-lapse, because “you can apply grades to get different settings for land and sky, and doing so, use all the available dynamic range contained in raw data, what gives an HDR “feeling” without the ugly HDR look.Watch at Vimeo, via Pixel’s Revenge.