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We are going to now take a little bit
of a dive into putting these images
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together.
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And if you are not used to assembling
these kinds of images,
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putting some plates together,
overlaying it, all that kind of fancy
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stuff, you're in for a treat.
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And you're going to, hopefully
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a little bit
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happy with how not that complicated it
is.
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It's more about the time, the time that
goes into it, and maybe a few different
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variables that we have to sort out.
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But overall
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it's relatively painless to achieve.
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And so I want to start off by digging
right into the theater chute.
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The first, the heirshoot that we did.
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And I'm going to take a look at putting
together one of these,
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one of these panels, right off the bat.
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The benefit of this particular
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series is that it blends together a
really nicely.
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We don't have to worry about overlaying
plates upon each other.
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It's just because we don't have to
erase anything.
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The shot's there.
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Just a matter of putting it together.
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And so I went through a bunch of
different images and
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selected
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this one as my main key shot.
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The one that I liked, I really liked
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the effortlessness of her pose.
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I liked the expression.
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I thought the whole thing worked really
well.
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The lighting looks great.
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She looks great.
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And so this was the image that I wanted
to go in.
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So now comes the task of putting this
together.
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And so what I'm going to do here is
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combined this with all of my other
plated images.
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And so this is kind of what they look
like.
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And what I did there's a couple more
than necessary.
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Here.
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I had a couple of duplicates, but it's
fine.
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It's going to work.
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So I basically went to the right.
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And you can see how this plate
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overlaps with some of the image by
about maybe twenty percent or so.
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That's important.
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You have to give,
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you have to give the information
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enough information for it to be able to
line up.
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So we've got that one over the right
hand side.
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Obviously, I have the little soft box
in the corner of the frame, but I'm not
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going to use that.
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You can also see that in this
particular frame, the soft box isn't
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firing.
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And that's because when I took this
plate,
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I had that
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light that was lighting her face
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off.
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So
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instead of overlaying
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a bunch of different plates and erasing
them, I actually just selected this version.
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And I'm going to leave it up to light
room, in this particular case,
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to put that one over top and save me
from having to combine them separately.
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Now, in some of the later images
doesn't quite work that seamlessly.
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This just happened to be a really good
example that
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worked as we planned it out.
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And so the right side
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has nothing on it, as opposed to when
it was originally shot, there was a big
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light over here, which is lighting her
face.
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So what I'm going to do is I'm going to
select all of these together.
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Now with the exception, like you can
kind of see that there is one in the
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middle of the frame that I've kind of
turned off.
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I've not included.
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There is actually a frame missing
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in here that would show a little bit
more of
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the stage without her on.
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It was the clean plate.
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And so I can always use that as a
backup if I need to, but I have removed
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it because she is taking the place of
that space in the frame.
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If I were to use the
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plate
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where she's not standing in the frame
and it's the same frame, it will
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potentially cause problems for me.
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And it'll
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maybe only show part of her origin
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eraser completely, which is pretty
common
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in the panels
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for the second shot that you saw at the
airfield,
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that was a common issue that I had when
I was combining stuff together, is it
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was automatically editing out body
parts.
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And so I had to be a little bit
inventive and creative with combining that.
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So this is kind of scrolling through
it.
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You can see what it looks like.
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I did one pass across the main plane,
and then I went up a little bit and
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then went across as well.
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So I basically gave myself a little bit
of height
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on it.
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Now you can process this ahead of time
if you want.
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You can also process it once it's
combined.
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The really great thing about stitching
panoramas in light room is that it
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creates a digital negative file.
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So it more or less gives you a raw file
that you can work with.
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So you still have all of that
flexibility
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from the original
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raw.
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The downside of stitching panoramas and
light room, is it not always as
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good.
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It's not always as successful as
photoshops is.
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Photoshops is a little bit
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better,
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but light room is a little bit faster
and it's a little bit more flexible.
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So I always try to get my stitching
done in light room if I can
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if it presents me problems.
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I will
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use Photoshop stitch to do it.
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And we're going to talk about this a
little bit later.
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But the way in which
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you would need to do it for Photoshop
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is you'd have to export it
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as a tiff file.
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Then you have to open it up into the
photo emerge and it's, you don't have
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as much flexibility in the file.
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And so I basically will use that if
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I am running into issues with the
stitch and light room.
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The other thing is I have to color
grade the individual images first
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when I'm doing it in Photoshop, because
I don't have the flexibility after the
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fact.
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Light room gives me the whole
flexibility
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first.
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So I'm going to go ahead and select all
of these images.
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And then you have to be a little bit
understanding to your computer.
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So I'm going to try to stitch together
eleven different photos.
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These are each fifty megapixels.
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So it's going to be a very large file
by the time it's all said.
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And don't, I'm actually not going to
use a lot of the information.
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I'm going to throw away.
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A lot of what
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shows up above this is,
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as we said earlier, important that you
capture a lot more than you need
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if you can help it.
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So what I'm going to do is select all
of these.
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And just to make this easy, I've put it
into a quick collection.
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And that was just to kind of organize
it to show you guys.
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But you can also do this in your main
folder.
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So everything is selected.
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I've selected one, held down shift and
clicked to select them all.
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You can also give yourself a command, a
or
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a, on pc, commanded on Mac, I'm going
to go to right click on this,
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and I'm going to go to you where it
says, photo merge.
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And then I'm going to go to panorama,
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And so this is going to take a minute.
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And there are
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probably two main projections that I
use.
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I mentioned how there's a little bit of
trial and error that happens during
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this process.
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When you figure out
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which perspective
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you want the panorama to map, 21
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of which is perspective and the other
is cylindrical.
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I almost never use spherical.
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I'm usually using a cylindrical
perspective.
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is going to end up distorting the image
to kind of look like
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it's shot with a wide angle lens.
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So if you remember, I shot these early
frames with a wide angle lens, and
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that's very much a similar level of
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distortion
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that you would expect if this were shot
with a wide enough angle and so that it
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could grab the shot.
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There's a couple things that you can do
to tweak what this frame looks like.
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So if I clicked on autocrop, for
example,
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it automatically crops in and hides
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all of the stuff that's not there.
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You can also use something called
boundary warp.
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And boundary warp will say, hey, look
at all this missing information
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in varying levels of distortion.
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I'll fill it in.
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And obviously this is a little bit
weird, but maybe you do it part of the
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way, and then your crop,
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when you do it
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gives you a little bit more of the
frame.
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But you can see how, in this particular
case, it's starting to warp the edges
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of the proscenium.
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So if you don't want that, you got to
go to something a little bit closer to
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how it started from the original
perspective.
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And again, I'd still put a regular crop
on this.
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So I would crop quite a bit from that
top edge of the frame.
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And even over on the left hand side,
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I'd probably crop into about here, over
on this side, and here on this side.
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And then to like hear on the top,
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that's how I would probably go about it.
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Now,
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we also remember, when we were talking
about this,
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I said that I wasn't a huge fan, like I
preferred
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level of
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compression and perspective that looked
closer to an anamorphic lens something
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that mapped it with a little bit less
of a prospective distortion.
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And so on this particular set of
images, I actually found that I
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preferred the cylindrical mapping.
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I'm going to undo this autocrop here
for a second,
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and so you can see that it just looks a
little bit
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more
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straight up and down,
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as opposed to the vertical.
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The vertical lines like a little bit
more up and down, instead of distorted
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inward from perspective.
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And again, you can use boundary warp to
fill that frame out,
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kind of gives you somewhere, halfway in
between the two.
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I actually thought boundary warp worked
really well on this image,
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but I'm going to kind of
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bring it to
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maybe about here.
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I think that looks really good.
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And I mean, obviously I'm going to crop
crop in on this,
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but I'm going to go ahead and hit
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merge.
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And this will take a minute, as you can
see, it's stitching everything.
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And
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while this is going, you just kind of
have to play a game on your phone.
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I don't know.
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It tends to be really, really processor
intensive,
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00:10:05,939 --> 00:10:08,208
and it really is taxing on the
computer.
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So when you're doing this and you're
trying to Photoshop, it just it'll take
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minutes and minutes and minutes.
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This will probably not take that long,
I hope.
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So we will just let it go for a moment.
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Yeah, yeah, please.
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Thank you.
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Just like a technical question, do you
from when you're imprinting your photos
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to do it from your computer?
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External.
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So the way I structure my images in the
way import them.
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So these were tethered, and so they
automatically came in.
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And the really amazing thing about
tethering is, when you do an auto,
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when you develop the image as it comes
in, everything automatically gets
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developed, which is really nice.
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When I am shooting to a card,
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I store everything on an external drive.
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Normally,
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when I am traveling,
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I put things on here, and then as soon
as I get home,
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they go to an external drive.
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So
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I move them from the card to the
external drive, or from my laptop
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to the external drive.
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And then I import them into light room.
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That's my preferred method
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the
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downside
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is, this is running a separate catalog.
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Then the one that I run at home, the
one I run at home is my main catalog.
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This is my I'm shooting on location
catalog.
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And when I've processed the image, or
I've developed the image,
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I don't necessarily want to lose that.
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And if I just drag and drop
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the files from one folder to the other,
I do.
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So my solution for that, it usually
takes a little bit longer, but I find
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that it saves me the effort in the long
run
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is when I'm
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in this version of light room, I plug
it into my external that I have at home,
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and I export everything as a dng.
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And when you export it as a dng from
light room, it holds onto that sidecar
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information, the development process,
and it just saves it so I don't have to
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reprocess everything if I've happened
to have done some work on the computer,
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because that's also pretty common.
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Hey, I needed to process stuff here.
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I got it close to where I wanted it and
I was working on.
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I don't want to have to redo it again.
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And so exporting it as a dng takes a
little bit longer, but it preserves all
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that information
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which is really nice.
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Yeah,
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when you do hdr,
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whatever you click first makes a
difference for what's ghosted and not.
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And I don't know the light room term
for your first click image, the number
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one image doesn't make a difference in
panorama.
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What that first image clicked is,
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I don't
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think so.
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But I can't say for certain,
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I don't think it does.
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I mean, I've tried a lot of different
variations on panos, and sometimes it just
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doesn't work always.
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And so if it does, i'll try different
projections.
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I'll even try different selections.
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So with the
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second airfield image, which, again,
I'm going to show you guys a bit later,
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I spent a lot of time trying to
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swap out certain images to figure out
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where I could prevent ghosting.
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And so it's like, okay, we'll try this
one, with this one, and you're trying
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to combine it.
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And that's the most tedious thing
because, as you saw, just to render
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this image took a couple of minutes,
and so you've got to do that each time,
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which
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kind of sucks a little bit, but it's
part of the process.
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So
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this is the judg of question.
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I didn't know about, the exporting, is
dng I'm always imported from another
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catalog, which is another function that
brings in the metadata.
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But do you see a difference, or is it
the same?
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That's probably the same thing
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this way, I'm
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not hooking one computer up to the
other computer.
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I just, for me, for me, it's just
easier to just plug the hard drive in
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directly and export it and then bring
it aback.
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And then,
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I mean,
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your method's probably faster,
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it's achieving the same result, which
is really, really what matters.
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I just don't want to process the same
thing a second time.
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That's my methane.
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So
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this is the image
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that
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it produces,
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and
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it's pretty big.
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So as you can see, I'm going to zoom in
and it's going to figure out how to do that.
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We go.
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There we go.
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Ok,
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but what I think is particularly cool.
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So this is 100 percent crop,
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and it's pretty, pretty well rendered.
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It's decently sharp.
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But if you look at how small this is
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in the thumbnail is a very large image,
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it's very, very large.
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And so that iso thousand doesn't really
mean much when the noise is relatively
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that small.
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So what I'm going to do is, I'm going
to grab my crop tool to start trimming
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this down and if I were to go with a
regular 43, which is what the crop was
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normally like, this is kind of what it
would look like.
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And it would look like, you know, any
number of these other images that I
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would shoot with.
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This lens,
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but
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because I am going for something that
feels a little bit more cinematic for fun,
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I'm going to go to a 169,
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and I'm going to bring this in a little
bit,
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maybe shifted over here,
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to something that kind of looks like
that
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yell, tweak, it, ever so slightly, show
a little bit more of the environment,
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something like that.
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Ok,
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that becomes my frame.
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And I think this looks really nice,
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especially when you go from here
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00:16:07,701 --> 00:16:08,335
to hear
27941
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