All language subtitles for 36-UsingPlatesToCreateAPanoInLightroom.mp4

We are going to now take a little bit
of a dive into putting these images

together.

And if you are not used to assembling
these kinds of images,

putting some plates together,
overlaying it, all that kind of fancy

stuff, you're in for a treat.

And you're going to, hopefully

a little bit

happy with how not that complicated it
is.

It's more about the time, the time that
goes into it, and maybe a few different

variables that we have to sort out.

But overall

it's relatively painless to achieve.

And so I want to start off by digging
right into the theater chute.

The first, the heirshoot that we did.

And I'm going to take a look at putting
together one of these,

one of these panels, right off the bat.

The benefit of this particular

series is that it blends together a
really nicely.

We don't have to worry about overlaying
plates upon each other.

It's just because we don't have to
erase anything.

The shot's there.

Just a matter of putting it together.

And so I went through a bunch of
different images and

selected

this one as my main key shot.

The one that I liked, I really liked

the effortlessness of her pose.

I liked the expression.

I thought the whole thing worked really
well.

The lighting looks great.

She looks great.

And so this was the image that I wanted
to go in.

So now comes the task of putting this
together.

And so what I'm going to do here is

combined this with all of my other
plated images.

And so this is kind of what they look
like.

And what I did there's a couple more
than necessary.

Here.

I had a couple of duplicates, but it's
fine.

It's going to work.

So I basically went to the right.

And you can see how this plate

overlaps with some of the image by
about maybe twenty percent or so.

That's important.

You have to give,

you have to give the information

enough information for it to be able to
line up.

So we've got that one over the right
hand side.

Obviously, I have the little soft box
in the corner of the frame, but I'm not

going to use that.

You can also see that in this
particular frame, the soft box isn't

firing.

And that's because when I took this
plate,

I had that

light that was lighting her face

off.

So

instead of overlaying

a bunch of different plates and erasing
them, I actually just selected this version.

And I'm going to leave it up to light
room, in this particular case,

to put that one over top and save me
from having to combine them separately.

Now, in some of the later images
doesn't quite work that seamlessly.

This just happened to be a really good
example that

worked as we planned it out.

And so the right side

has nothing on it, as opposed to when
it was originally shot, there was a big

light over here, which is lighting her
face.

So what I'm going to do is I'm going to
select all of these together.

Now with the exception, like you can
kind of see that there is one in the

middle of the frame that I've kind of
turned off.

I've not included.

There is actually a frame missing

in here that would show a little bit
more of

the stage without her on.

It was the clean plate.

And so I can always use that as a
backup if I need to, but I have removed

it because she is taking the place of
that space in the frame.

If I were to use the

plate

where she's not standing in the frame
and it's the same frame, it will

potentially cause problems for me.

And it'll

maybe only show part of her origin

eraser completely, which is pretty
common

in the panels

for the second shot that you saw at the
airfield,

that was a common issue that I had when
I was combining stuff together, is it

was automatically editing out body
parts.

And so I had to be a little bit
inventive and creative with combining that.

So this is kind of scrolling through
it.

You can see what it looks like.

I did one pass across the main plane,
and then I went up a little bit and

then went across as well.

So I basically gave myself a little bit
of height

on it.

Now you can process this ahead of time
if you want.

You can also process it once it's
combined.

The really great thing about stitching
panoramas in light room is that it

creates a digital negative file.

So it more or less gives you a raw file
that you can work with.

So you still have all of that
flexibility

from the original

raw.

The downside of stitching panoramas and
light room, is it not always as

good.

It's not always as successful as
photoshops is.

Photoshops is a little bit

better,

but light room is a little bit faster
and it's a little bit more flexible.

So I always try to get my stitching
done in light room if I can

if it presents me problems.

I will

use Photoshop stitch to do it.

And we're going to talk about this a
little bit later.

But the way in which

you would need to do it for Photoshop

is you'd have to export it

as a tiff file.

Then you have to open it up into the
photo emerge and it's, you don't have

as much flexibility in the file.

And so I basically will use that if

I am running into issues with the
stitch and light room.

The other thing is I have to color
grade the individual images first

when I'm doing it in Photoshop, because
I don't have the flexibility after the

fact.

Light room gives me the whole
flexibility

first.

So I'm going to go ahead and select all
of these images.

And then you have to be a little bit
understanding to your computer.

So I'm going to try to stitch together
eleven different photos.

These are each fifty megapixels.

So it's going to be a very large file
by the time it's all said.

And don't, I'm actually not going to
use a lot of the information.

I'm going to throw away.

A lot of what

shows up above this is,

as we said earlier, important that you
capture a lot more than you need

if you can help it.

So what I'm going to do is select all
of these.

And just to make this easy, I've put it
into a quick collection.

And that was just to kind of organize
it to show you guys.

But you can also do this in your main
folder.

So everything is selected.

I've selected one, held down shift and
clicked to select them all.

You can also give yourself a command, a
or

a, on pc, commanded on Mac, I'm going
to go to right click on this,

and I'm going to go to you where it
says, photo merge.

And then I'm going to go to panorama,

And so this is going to take a minute.

And there are

probably two main projections that I
use.

I mentioned how there's a little bit of
trial and error that happens during

this process.

When you figure out

which perspective

you want the panorama to map, 21

of which is perspective and the other
is cylindrical.

I almost never use spherical.

I'm usually using a cylindrical
perspective.

is going to end up distorting the image
to kind of look like

it's shot with a wide angle lens.

So if you remember, I shot these early
frames with a wide angle lens, and

that's very much a similar level of

distortion

that you would expect if this were shot
with a wide enough angle and so that it

could grab the shot.

There's a couple things that you can do
to tweak what this frame looks like.

So if I clicked on autocrop, for
example,

it automatically crops in and hides

all of the stuff that's not there.

You can also use something called
boundary warp.

And boundary warp will say, hey, look
at all this missing information

in varying levels of distortion.

I'll fill it in.

And obviously this is a little bit
weird, but maybe you do it part of the

way, and then your crop,

when you do it

gives you a little bit more of the
frame.

But you can see how, in this particular
case, it's starting to warp the edges

of the proscenium.

So if you don't want that, you got to
go to something a little bit closer to

how it started from the original
perspective.

And again, I'd still put a regular crop
on this.

So I would crop quite a bit from that
top edge of the frame.

And even over on the left hand side,

I'd probably crop into about here, over
on this side, and here on this side.

And then to like hear on the top,

that's how I would probably go about it.

Now,

we also remember, when we were talking
about this,

I said that I wasn't a huge fan, like I
preferred

level of

compression and perspective that looked
closer to an anamorphic lens something

that mapped it with a little bit less
of a prospective distortion.

And so on this particular set of
images, I actually found that I

preferred the cylindrical mapping.

I'm going to undo this autocrop here
for a second,

and so you can see that it just looks a
little bit

more

straight up and down,

as opposed to the vertical.

The vertical lines like a little bit
more up and down, instead of distorted

inward from perspective.

And again, you can use boundary warp to
fill that frame out,

kind of gives you somewhere, halfway in
between the two.

I actually thought boundary warp worked
really well on this image,

but I'm going to kind of

bring it to

maybe about here.

I think that looks really good.

And I mean, obviously I'm going to crop
crop in on this,

but I'm going to go ahead and hit

merge.

And this will take a minute, as you can
see, it's stitching everything.

And

while this is going, you just kind of
have to play a game on your phone.

I don't know.

It tends to be really, really processor
intensive,

and it really is taxing on the
computer.

So when you're doing this and you're
trying to Photoshop, it just it'll take

minutes and minutes and minutes.

This will probably not take that long,
I hope.

So we will just let it go for a moment.

Yeah, yeah, please.

Thank you.

Just like a technical question, do you
from when you're imprinting your photos

to do it from your computer?

External.

So the way I structure my images in the
way import them.

So these were tethered, and so they
automatically came in.

And the really amazing thing about
tethering is, when you do an auto,

when you develop the image as it comes
in, everything automatically gets

developed, which is really nice.

When I am shooting to a card,

I store everything on an external drive.

Normally,

when I am traveling,

I put things on here, and then as soon
as I get home,

they go to an external drive.

So

I move them from the card to the
external drive, or from my laptop

to the external drive.

And then I import them into light room.

That's my preferred method

the

downside

is, this is running a separate catalog.

Then the one that I run at home, the
one I run at home is my main catalog.

This is my I'm shooting on location
catalog.

And when I've processed the image, or
I've developed the image,

I don't necessarily want to lose that.

And if I just drag and drop

the files from one folder to the other,
I do.

So my solution for that, it usually
takes a little bit longer, but I find

that it saves me the effort in the long
run

is when I'm

in this version of light room, I plug
it into my external that I have at home,

and I export everything as a dng.

And when you export it as a dng from
light room, it holds onto that sidecar

information, the development process,
and it just saves it so I don't have to

reprocess everything if I've happened
to have done some work on the computer,

because that's also pretty common.

Hey, I needed to process stuff here.

I got it close to where I wanted it and
I was working on.

I don't want to have to redo it again.

And so exporting it as a dng takes a
little bit longer, but it preserves all

that information

which is really nice.

Yeah,

when you do hdr,

whatever you click first makes a
difference for what's ghosted and not.

And I don't know the light room term
for your first click image, the number

one image doesn't make a difference in
panorama.

What that first image clicked is,

I don't

think so.

But I can't say for certain,

I don't think it does.

I mean, I've tried a lot of different
variations on panos, and sometimes it just

doesn't work always.

And so if it does, i'll try different
projections.

I'll even try different selections.

So with the

second airfield image, which, again,
I'm going to show you guys a bit later,

I spent a lot of time trying to

swap out certain images to figure out

where I could prevent ghosting.

And so it's like, okay, we'll try this
one, with this one, and you're trying

to combine it.

And that's the most tedious thing
because, as you saw, just to render

this image took a couple of minutes,
and so you've got to do that each time,

which

kind of sucks a little bit, but it's
part of the process.

So

this is the judg of question.

I didn't know about, the exporting, is
dng I'm always imported from another

catalog, which is another function that
brings in the metadata.

But do you see a difference, or is it
the same?

That's probably the same thing

this way, I'm

not hooking one computer up to the
other computer.

I just, for me, for me, it's just
easier to just plug the hard drive in

directly and export it and then bring
it aback.

And then,

I mean,

your method's probably faster,

it's achieving the same result, which
is really, really what matters.

I just don't want to process the same
thing a second time.

That's my methane.

So

this is the image

that

it produces,

and

it's pretty big.

So as you can see, I'm going to zoom in
and it's going to figure out how to do that.

We go.

There we go.

Ok,

but what I think is particularly cool.

So this is 100 percent crop,

and it's pretty, pretty well rendered.

It's decently sharp.

But if you look at how small this is

in the thumbnail is a very large image,

it's very, very large.

And so that iso thousand doesn't really
mean much when the noise is relatively

that small.

So what I'm going to do is, I'm going
to grab my crop tool to start trimming

this down and if I were to go with a
regular 43, which is what the crop was

normally like, this is kind of what it
would look like.

And it would look like, you know, any
number of these other images that I

would shoot with.

This lens,

but

because I am going for something that
feels a little bit more cinematic for fun,

I'm going to go to a 169,

and I'm going to bring this in a little
bit,

maybe shifted over here,

to something that kind of looks like
that

yell, tweak, it, ever so slightly, show
a little bit more of the environment,

something like that.

Ok,

that becomes my frame.

And I think this looks really nice,

especially when you go from here

to hear