All language subtitles for 46-CreatingAPanoUsingPlatesInPhotoshop.mp4

Taking a look at the second set of
images.

This is something I'm not going to

render out,

because,

actually, let me

I'm going to open up

these three.

Ok, while these are loading,

I'm not going to render these up,
because I want to kind of take

these through and show you what some of
the difficulties were as I was putting

these together,

and why this one, in particular, was a
little bit more problematic

than the other ones.

So I went through, and I decided on
this image,

looking back

at some of the other shots here,

there were several that I liked.

So

I kind of scroll through these a little
bit.

Remember, it was all about creating an
actionable

and action for them

to work with.

You'll notice how,

in most of these, I tried to make sure
they were completely in frame.

And some of them, as he was swinging
the bag, I lost it in the frame.

Or this guy over here was losing his
feet behind the stand.

So they take up a lot of the frame.

In retrospect, I probably should have
backed them up a little bit more to

make my life easier.

But I liked them having a really

strong

presence in the image, and that's why
they needed to be close.

So I originally was going to do the
handshake thing.

But I ultimately decided that this one
kind of here at the end, without

having as much of a size difference
between the two, I liked better.

So I thought this was a little bit
casual.

I liked

the way this was framed.

I like the casual nature of it.

And so I went with one where they were
side by side, even though that wasn't

my intention

at all.

Now, when you start taking all of these
bits and pieces together,

one of two things will usually happen.

So I'm going to go ahead and grab these,

and I'm going to take out the middle
one, and I'm going to include the main

one, which is the same way

that

we were doing it in

the previous image.

So I'm going to go to photo merge and
panorama.

And unfortunately,

it tends to throw away things that I
would want, things like

the guy fixing the engine, or leaning
and leaning down by the tire.

I also find, see, this, I got rid of
this.

I also find

not especially helpful.

I mean it honestly, it does a pretty
decent job of stitching it together.

It just

that.

So that's not great.

And usually

it's able to find cylindrical

projection a lot

more often than it'll find perspective.

There are a lot of times where it just
can't find perspective at all for me,

but it'll find cylindrical that's
common.

Remember, perspective is going to make
it look more like a traditional wide

angle lens.

And so you can kind of see how this
stretched out quite a bit over here.

Whereas on cylindrical,

it almost kind of bows a little bit
more to the center.

I'm going to cancel this out here for
just a second.

Show you what I was looking at when I
was stitching stuff together.

So this is where the image ended up.

And I'm going to take you through what
this was like

in the early stages to make it work.

But this is where it began.

This is where it began.

And the way I got to this is, if you go
to a file in Photoshop,

automate,

and you go to photo merge,

what you'll do is you have to browse
and find the files.

I had already exported these from light
room.

You pick the layout.

So obviously you can see there are more
options

for layout.

Instead of just perspective,
cylindrical and spherical there's also

collage and repositioning.

I generally leave it on auto.

Or

if I really want to try a few different
things, if I'm struggling with making

it work,

i'll alternate between

perspective and cylindrical,

Then it takes about ten minutes to
render.

It's quite a bit slower than light room.

But

what it'll actually do for you is
assemble everything

individually, so you'll see the scene.

And what you'll have to do is flatten
everything out.

And so I did that

in

this image.

This was kind of my first attempt at
trying to put this together.

It's color graded differently,

but this was kind of my first attempt.

And what it basically looked like when
it came together was this.

And it wasn't exactly like this.

This is kind of an in between.

This is closer to cylindrical, but I
also stretched it quite a bit to make

sure it looked a little bit closer to
real.

So I will take parts of this image,

and so, like, for example, in
perspective let's say it was too wide,

it was too stretched.

I'll take a selection of it, like this,

and i'll hit command t,

and then I can readjust

the edge of it

to give me something closer to natural.

So i'll do that sometimes if I have to.

This was an auto stitch

that I didn't light room by picking the
guy over here, the guy in the background.

But it wasn't ever, as you saw,
stitching the two guys in the front, successfully.

And so what I ended up having to do

was bring it in and try to layer it

by hand.

And it's relatively close.

It's not an amazing job.

The cylindrical actually does a pretty
good job of not distorting it too much.

So I actually didn't have to change it
all that much.

Again.

You can use auto a line here as well,
which will help you sometimes.

But this is kind of how I brought this
in.

And so once it was in place, then I
basically had to figure out

if I could maybe blend this back
together.

I was having a lot of trouble

the shadow on this particular image,
because there is such a strong

change between light and dark, and it
just wasn't really

quite given me

a lot of success.

So I scrapped it, and I said, all
right, let's try it again.

And so I created a panel, because my
issue was this side, as you saw in the

original stitch.

So I had it create a panel where I
didn't use the edge,

and it just ended on the picture of
them.

And I got it a lot closer.

And I was actually pretty happy with
this as a starting point.

I even found

that the edge was blended in a little
bit better.

And it was going to be a lot easier for
me to work with this edge of the scrim

than the one that was a very clean line.

Now because of the distortion,

you can see how this like, he doesn't
like, he looks way wide by comparison.

And this would have been that instance

to come in.

And you grabbed that free transform,
right?

And you kind of smush it in a little
bit.

And that helps you with the perspective
a little bit better.

Ok,

so

this is where the image began

when I brought it in.

Then I brought it into,

I brought it into photos, I started
meshing around with it, and then I

added in the corner.

And you can actually see the seem here.

So what I did with this particular
section was I brought in a small sliver

from light room,

because the problem when it was
stitching was because too much of this image

didn't have the minute.

And light room will pull from that even
when you crop it.

So I brought it in like this,

and Photoshop

doesn't know better.

So I use an auto align with Photoshop

and painted that in manually.

And this is what my new background
plate became.

And I was much, much happier with this.

From a starting point,

I've got my guy at the wheel, this guy
over here, this guy over here.

And then I also

warped that left side in a little bit,
so he felt closer in dimension

and not overly wide by comparison.

So this is where it began.

Then I came through, and I did a bit of
clone stamping to fill out some of the

issues that were filled and stitched.

Incorrectly, it's like I had an extra
line over here.

This was not anywhere close to good.

And that was basically where the image
began.

And the tricky thing about this
particular image, compared to

the

other image is

this one is lit from the front whereas
the other one's left from the back.

The other one is a bit softer.

And this one just doesn't quite blend
as well.

So

I had to play a lot with the contrast,
because I really wanted them to match.

And so I started to dial down

the different levels of brightness and
darkness.

So I started by darkening

the ground down.

I had to change production elements.

I wanted them to have matching colored
boots.

I wanted the flight colors to be the
same.

And then I started to mess around,
trying to make the color closer to the

original, and a little bit more of a
bluish cast.

So I was trying to bring that kind of
stuff in.

And again, this is using

alien skin.

Exposure to

the setting is called postcard,

which doesn't work in a lot of
instances, but happens to work on this

particular set.

And then I just kind of kept messing
around with color,

using

different different ones, different
color adjustments, tweaking little things.

This was basically me in the late
evening, just going, do I like this?

Do I not like this?

At like one o'clock in the morning?

And slowly kind of trying to find a way
to balance

this foreground in the background.

And so this is me kind of working
through it with a bunch of different

different layers

and color and so forth and so on.

And

I ultimately got through and cleaning
it up.

I cleaned it up using a combination of
frequency separation

and dodging and burning, which really
helped me blend the seam here.

So frequency separation is really,
really wonderful

blending textures and tones together.

And I felt like it got me pretty close.

I had a little bit of loss of texture
and a little bit of

a little bit of

texture repetition.

So what I ended up doing was copy and
pasting this texture from another part

of the image, which was over here.

So you can kind of see I've lost it a
bit here.

And I felt that looked not great.

So I brought it back in, and then, using

a clipping mask, it darkened it down and

gave me a better texture across the
foreground.

So that was that.

And, you know, then just a few other

throwing, throwing spaghetti at the
wall and seeing what's stuck,

just lots of, I really don't use this
many different adjustment layers and

color adjustment layers.

I was like, I got to keep messing with
this.

This is what happens when you do a
whole week of creative life.

You're a little tired at one o'clock in
the morning, the night before the last

day.

So

that was where this ended up

toward.

And

the whole point of showing you this is
to say that even when you've done this

before, and even when you know what
you're doing, sometimes things don't

work.

And instead of scrapping the image and
going, well, nope didn't work like, you

find a way to make it work.

And sometimes it requires a little bit
more effort and a little bit more

massaging and a little bit more love.

But

you really want to just make sure you
don't lose what is, what is otherwise a

pretty pretty epic

staging of a shot.

So I wanted to make sure that I got the
shot as I envisioned it.

And so just took a little bit more than
I was probably intending to set it up

for.

But

that was how I kind of worked through
that problem.

All right.

So

questions,

yeah,

quick over how you

added its extra back in on the ground
there.

Sure, sure.

Ok.

So

again, there are many ways to do this.

You can do frequency separation, and
you can text your graph and all of

these things.

But basically, I saw that this texture

here

was a lot better than this texture here.

So

what I did

was, I started by grabbing more than I
needed.

So I'm just going to

grab all of this.

I'm going to hit copy, copy, merged.

Copy merged.

When you're on a

814

gigabyte file tends to take a little
bit longer.

I tend to not do a lot of this kind of
heavy processing on a laptop,

but

it'll eventually usually handle, I
think the most I ever tried to put

through the paces.

Was, I was on vacation, and it was this

family of fur seals, and they were kind
of nestled in this cave wall.

And there were like 45 of em just in
the middle of this wall.

And so I took a long lens and I went,

I think it was eighteen images stitched
together.

My computer did not like it.

I couldn't really handle it.

The first time I tried to run it, it
took

twenty minutes to put together, ok, so
I copy and pasted it.

I'm going to bring it over

here,

and I'm going to place it in the front,

something like that.

Ok?

And I'm going to mask out the edge.

So I'm only using what I need,

ok.

Now, this one in particular is a little
bit closer in tone, but I'm going to

show you how to change it.

So it's exact.

This is

pretty dark

by comparison.

So all I'm going to do is

grab a curve adjustment layer

and clip it.

So, command option g,

and then

you make your tweaks.

And so let's, see, that's a little bit
too bright.

Let's put the difference.

Something that maybe looks like that

allows me to map it across.

Now you may find that you're getting
weird color cast.

So

let's say I

change this origin.

This one here, I'm going to change the
original layer to like luminosity.

Now it's closer to the color.

It's a little bit kind of bluish
before.

Now it's in that correct green,

ok?

And that does a really good job of just

mapping it to it