Original subtitles

Okay, serial 1.4 has been released in

beta just a couple weeks ago. So that

means it's time for a new start to

finish beginners video. But before we

get started, I got a few important

things that I want to talk about. First,

because this is in beta as I'm recording

this video, some things may change once

it does come out of beta. So if you're

watching it further down the road and

you notice some discrepancies in the

video versus what you're actually

seeing, check the description. I'll

leave a note about any major changes

that may affect the way I'm showing you

guys things in this video today. Second,

this is a beginners's video. So, it's

intended for somebody who has never used

serial before, just like my two previous

versions that I've done of this video.

Every time a major release comes out, I

put a beginner's video out for

everybody. So, because of that, we're

going to keep it basic. We're not going

to get into a lot of the more advanced

tools, just something that you can get

to a final image with. I do have a ton

of videos that cover serial. Those of

you that watch the channel already know

that. So once you have this workflow

down, browse the rest of the videos on

my channel so you can learn about those

intermediate to advanced functions. As

the video goes through, watch for cards

like this one that'll pop up and that'll

take you to a video that describes

whatever function that I'm currently

talking about and give you a little bit

more detail on how to use it because

again, we're just keeping things basic

here. And lastly, I've left a link to my

data that I'm using in this tutorial

down in the description so you guys can

download it and kind of follow along if

you prefer to do that. So let's get to

it. My name is Rich and you're watching

Deep Space

[Music]

Astro. Okay, so if you haven't already

downloaded and installed Serial, go to

serial.org, select the operating system

that you're running, download it, and

get it installed. I'm not going to cover

installing it. It's pretty

straightforward. Once you have serial

installed, then the second piece of

software that we want to grab is Staret.

And we're going to use Staret later in

the workflow to remove the stars from

our image like you see right here on

Staret's page. So again,

staretastro.com. I'll leave this link in

the description as well. You want to

click your download button. On the

download page, you just want to scroll

down until you see the command line

tools section. This is what we want. We

don't want anything else that's on this

page. They do have a standalone version.

That's this graphical user interface for

Windows. that will not work for our

implementation within serial. So again,

command line version only. Choose your

operating system. I'm on Windows. So I'm

just going to download that. All right.

And once the download is complete, I'm

going to jump over into my downloads

directory. And this is a zip file. So

rightclick and extract

all. And you'll see we now have a folder

for Staret. I'm going to double click

that to open that one up. And I am going

to move this out of my downloads

directory into a permanent location on

my hard drive. You can place it wherever

you want. Doesn't matter. You just need

to know where you put it because we need

to configure Starnet within serial. So

I'm just going to cut it out of my

downloads directory. And on my C drive,

I have a folder that I call

astrophotography. And that's where I

keep utilities such as this. And I'm

just going to paste it in there. So

that's all you need to do for Staret.

We're ready to configure serial. So,

we're going to run serial so we can get

that configuration done for Staret. It's

going to come later on our workflow, but

just getting everything set up in the

beginning. Once serial opens up, come

over to your burger menu and then click

on

preferences. And if you come down to

miscellaneous, you'll see the section

right here that says must point to a

valid Staret executable. So, just click

on the folder icon and browse out to

where you saved Starnet. So, again, for

me, it was on my C drive under

astrophotography.

There's the Staret folder and there's

the executable. That's what it's looking

for. So, select it, either double click

it or click your open button and you

should see

Staret++.exe. Once that's in place,

click apply and the configuration for

Staret is complete. All right, just real

quick before we continue, I just wanted

to let everybody know that I have also

written a guide and saved it in the PDF

format that follows this workflow that

I'm about to show you. The guide is

available for download for free to all

of my members either here on YouTube or

on buy me a coffee. For the YouTube

members, just go to my main YouTube page

and click on the membership tab. Buy me

a coffee members. There's a shop tab at

the top of the screen. Click on that and

you'll see that the guide is there and

it'll be tagged as free for members. If

you're not a member on YouTube or buy me

a coffee and you prefer not to be,

that's fine. You can purchase it on buy

me a coffee. just go to my buy me a

coffee site and visit the shop tab and

you'll see it there available for

purchase. I'll leave links in the

description below. And also updates to

the guide are always free. So let's get

back to the tutorial and start talking

about how to structure your working

directory for serial. So the next thing

we need to talk about is what's going to

be our working directory. So if I come

back over and show you on my I have a a

second SSD drive in my computer. It's my

D drive and under sessions and then edge

HD and we're going to be working on the

rosette nebullet today. The rosette

folder is going to be my working

directory and we need to set this in

serial before we run the script to start

our stacking. So if I open up my rosette

folder, you'll see I've got four

subfolders within it. Lights, flats,

darks, and biases. And you absolutely

have to have these four folders in your

working directory named as you see them

here. And each of them containing the

respective files. So lights, I have all

my light frames. These are the images

that I took that

night. Flats, I have all my flat frames.

So on and so forth. Darks go in the

darks, biases go on the biases. If you

don't follow this step, you don't have

these in place or you have them named

incorrectly, the script will fail. So

again, for me, my working directory is

going to be my D drive, sessions,

edgehd, and rosette. So that's the first

thing we need to do in serial. So we're

going to come over in serial. You can

see up top my current working directory

is set to just the sessions folder. So

if I come over to the blue house button

and then I'm in sessions. So I'm going

to click on edge HD rosette. There's the

four folders we were just talking about.

Click open. Verify that your working

directory is correct by looking up at

the top middle of the screen. You can

see the path. So that looks good.

Another quick check that you can do to

ensure that you are in the proper

working directory is to click your open

button because it'll open up this

dialogue box right in your working

directory. So you can look up here, say,

"Yep, Rosett's my working directory and

there's my four folders." Hit cancel.

And now we're ready to run the script.

So we're going to come up to our scripts

menu, serial script files, and the OSC

prep-processing script. Now, I'm going

to start this and then I'm going to

cancel it just a few seconds afterwards

because I want to show you guys

something in the console screen. And

this is just for the Windows users. So,

I'm going to go ahead and stop the

process. And if we scroll back up

through the log is this line right here.

You should enable the developer mode in

order to create symbolic links instead

of simply copying files. Again, this is

Windows only. What the script is doing

currently is it's making copies of your

original files during the conversion

process and renaming them. you don't

need to be worried about what it's doing

behind the scenes, but because it's

actually copying that first set of

files, it's taking up additional hard

drive space. If we enable developer

mode, as indicated here, then instead of

copying those files, it'll just create

shortcuts to them. So, it'll minimize

the amount of hard drive space that it's

going to take. So, to enable that again

on Windows, just come to your start

button and you can just start typing

developer and use developer features.

The very first item up top is developer

mode. Just turn that on. Click yes when

it prompts you. So with developer mode

on now, I'm going to run the script

again. So scripts, serial script files,

OSC prep-processing. And depending on

the amount of data that you have, the

speed of your computer, this will take a

few minutes. So I'm going to pause the

video and we'll be right back when it's

finished. Okay, the stacking has

completed as you can see over in our

console window here on the right. First

thing that I want to show you guys, if

we go back into our working directory.

So this is where we had lights, flats,

darks, and biases. We now have a process

directory and we have a masters folder

as well as our final stack which we'll

open here in a minute. So two additional

folders I just wanted you to be aware of

and we'll talk about that at the end of

this tutorial. I just want to make you

aware that the script does create these

two additional folders for now. So back

over into serial and we're going to

click our open button. And there is our

file

result_4140s. The 4140 is the total

acquisition time in seconds of your

data. So obviously your number is going

to be different. I'm going to double

click it to open it. And you will be

presented with a nearly if not

completely all black screen. And this is

completely normal. The data is still in

a linear stage. And that's what our

processing is going to do. We're going

to pull that data up front so we can see

it. So, in order for us to do that, we

need to change our display mode. Our

display mode is this button down here on

the bottom that says linear. As I said,

we're the data is still linear. So, this

is exactly what it looks like at this

point in time. If we change our display

mode from linear into autostretch,

that's the actual data in your completed

stack. Now, again, this is just a

display mode. If I was to save this file

out as a JPEG at this point, it would be

completely black. it would look just

like it does in its linear state. So we

have processing to do. This display mode

is just so we can work on our data

before we get to the stretching piece.

So the first thing we need to do is crop

the image. And we need to crop the image

because along the edges as each of those

individual light frames were stacked

together, you may see some artifacts

from that stacking process. This one

isn't too bad. But to make it easier to

see, I found that if you come out of

auto stretch and you go into histogram,

this extreme histogram view will help

you see those artifacts along the edge.

And it's very faint in this one. This

one wasn't too bad. But all we're going

to do is I'm going to come up to the top

left corner, hold my left mouse button

down, and I'm just going to drag the

selection box all the way across, and

then let go of the left mouse button.

And you can move this around. Just by

holding your left mouse button, you can

move your whole selection around. You

can also adjust the size by grabbing the

handles on either the top, left, or

bottom. And then the same thing on the

corners, right? You can drag the corners

around as well. So once you have that in

a position where it'll remove the

stacking artifacts around the edges,

we're going to rightclick, hit the crop

menu, and then click crop. And our

stacking artifacts are gone. So let's go

back into an auto streretch display. And

the next thing we want to work on is

removing the background gradients. Now,

a background gradient in an image comes

from city light pollution from the moon.

You know, any kind of external light

source that is getting into your image.

And you can see in this one, the top

left corner looks brighter than the

bottom right corner. So, that's what

we're talking about here, removing that

gradient in the image to try to flatten

that background out a little bit. So, we

do that with serial background

extraction. So, we're going to come up

into image processing and background

extraction. There are different

interpolation methods. Leave it in RBF.

That's the best one to use. Smoothing is

the amount of smoothing as it removes

the gradient for you. So once you run

through this process, if you still see a

little bit of a gradient, you can come

back and you can make adjustments to

your smoothing factor. And we'll talk

about samples and grid tolerance here in

just a second. But the first thing I

want you to do is just click your

generate button. And you can see all

these little red squares. These are

sample points for the background

extraction tool to sample the background

of your image and determine where the

gradient is and how to smooth it out.

And that's where the samples per line

and the grid tolerance comes into play.

So default samples per line is 20. If

you were to count any of these rows, you

would have 20 sample points. And the

grid tolerance is basically how it can

detect where it thinks it should be

putting these samples down for you. So

you can see it's mostly on the

background. and it stayed away from the

bright areas of my image. If I was to

bump this down even more and then hit

generate, you can see these ones

disappeared. If I went down even further

and hit generate, even more of them

disappear. If I went all the way over to

the right, it's pretty much going to

light up the whole image getting into

the nebula, which we don't want. So, you

can use the tolerance to help you more

quickly get these sample points down.

But generally the default two works

rather well. But you do need to do some

some editing to these sample points

because again we're talking about

sampling the background of the image. So

anywhere you have a sample point that's

on the object within your image. So the

rosette nebula in my case, I don't want

these sample points sitting on on the

bottom part of the nebula. So I am just

going to rightclick to remove the ones

that I don't want. And then like over

here there is some faint nebulosity

coming down into the corner. So, I want

to clear all these too. Instead of

right-clicking on each individual one, I

can just double click with my right

mouse button. And you can see it kind of

expands and clears those out for me. So,

just kind of a little bit of a shortcut.

Some of the light nebulosity is not that

big of a deal to have a sample point on,

but you really do want to stay off of

the main part of your image, the object

in your image. The other thing that you

want to watch for is sample points that

may have landed on large bright stars.

So, for example, if I had a sample point

right here, that's not good. When it

does the background extraction, it can

cause like dark blotching because of

that sample point being there. So, take

a quick look at your sample points and

make sure none of them encompass any

bright large stars. Once you're happy

with what you have laid down, then we're

going to come back over to the window

and we're just going to hit compute

background. You can see the difference

it made in the image by removing that

background gradient for us. Like I said,

if you still see a bit of a gradient,

you can adjust your smoothing factor up

here and just hit compute background

again. And when you're happy with the

results, just click your apply button.

And the gradient removal is added into

the image. Now, I'm going to run

background extraction one more time just

to talk about the add dither option

right here. Some images, and I've seen

it with my Canon camera. I used to shoot

with a Canon M50. you get these crazy

colors in the background, these waves

that go through your image that look

like this once you click your compute

background. If that's the case, then

just come in and click add dither and

then click compute background again and

it should take away all those those

colors in the background of your image

and leave you with something that's been

correctly calibrated. So, I just wanted

to point that out. So, with background

extraction complete, we're ready to

start color calibrating our image. But

before we do that, we need to plate

solve the image. And what plate solving

is is just identifying where in the sky

this image is at among other things. So

you're going to come up into tools

astrometry and then image plate solver.

Now there's a lot of settings in here.

I'm not going to go over most of them.

Default works for most cases, but the

important ones are our coordinates, our

rate ascension and declination, as well

as our focal length and our pixel size.

And for me, these values have autopop

populated. It autopop populated because

I shot this image with a dedicated

astronomy camera that produces Fitz

files and a Fitz file has a Fitz header.

So, let me show you that real quick. If

I come up in the tools and then fits

header, this is all the information that

is actually stored in my image and it's

actually stored in each individual light

frame that you took that night as well.

So, if I came down to focal length,

there's my focal length that we see

right here in the plate solver.

Scrolling down further, there's our

right ascension and declination, which

are these two values up here. And then

our pixel size is stored in here as

well. So again, that's why all my values

are populated. If you're shooting with a

mirrorless camera or a DSLR, these

values will not be set for you because

there is a header for those type of

files, but they don't store right

ascension and declination. They may or

may not store focal length and pixel

size. It depends. So, if you are

shooting with a DSLR or a mirrorless

camera, you'll need to populate these

fields yourself. So, and that's very

easy to do. So, this is the Rosette

Nebula. So, I'm just going to enter the

catalog number, which is

NGC2244, into the search box and then

click my find button. You'll see it

located. All you need to do is click on

that object and your right ascension and

declination information will be

populated based on that catalog search.

Focal length. This is the focal length

of your telescope. So ensure that that

is correct. I was shooting with my

HyperSar on my Edge HD which gives me a

focal length of 425 mm and then the

pixel size of your camera. So if you

don't know the pixel size of your

camera, a simple Google search should

turn it up for you. So for example, if I

did Canon M50 pixel size, you can see it

and it came right up in the results,

highlighted it for me. This is the AI.

Be careful, right? It's it's a great

tool, but it's not always right. I would

look down on the bottom here to make

sure that it is in fact correct. So 3.72

is my pixel size. So if I was taking

this image with the Canon M50, I would

change this to 3.72. Again, I use a

dedicated astronomy camera. Data was

pulled from my Fitz header that I showed

you. So I'm good with that. Everything

else, don't worry about it. They're more

intermediate to advanced features just

for a simple plate solve. This is all

you need. So just click okay. All right.

So now we'll move into color correcting

the image. So, we're going to come up to

image processing, color calibration, and

phototric color calibration. Default

settings. All you have to do is click

okay, and it'll color correct the image

for you. I think you can see the

difference. If you want to go back and

forth, we have undo and redo buttons

here. So, if I click my undo button,

watching the image, there's the before

color calibration, and then I can redo

it. And there's the after. Okay. So, the

next step is to remove the stars from

the image before we start stretching the

data. Now, this is optional. You don't

have to do this. And this is why we

downloaded and installed Staret at the

beginning of the video. Like I said, you

don't have to do this. You can move

forward and you can stretch your data

with the stars in it. But sometimes as

you're trying to stretch to pull out

maybe some fainter gases around the

edge, the stars will start getting blown

out and they'll get rather large.

There's other ways to fix them. There's

different workflows for everything, but

this is the approach that I always take.

I remove my stars first. So, we're going

to come up into image

processing, star processing, and then

staret star removal. Default settings

again are good, but just make sure that

you have pre-stretch linear image

selected as well as generate star mask

and then click execute. It'll take a few

minutes. You can watch it over in the

console screen. And when it's done,

it'll load the starless image for you.

So, I'm going to once again pause the

video and we'll be right back. All

right, Staret has finished. And as you

can see, we have a starless image on our

screen. So now we're ready to start

stretching it, right? We're still in a

linear state. So now comes the time when

we start to stretch the data. So the

first thing that we're going to do is

change our display mode from autostretch

back into linear. And you can see in the

bottom here we have what are called

visualization sliders. So even though

we're in linear, you may have been

expecting a black image, and you would

be correct. It should be black. If you

take your top slider and move it all the

way over to the right, it'll get us back

to that black that we're looking for.

And that's where we want to work. If you

don't do that, it's fine. When we run

the stretching tools, it should bring

that visualization slider back over to

the right for you. If it doesn't, just

keep an eye on it. Make sure you drag it

back over because it'll make things

difficult if you don't start in this

completely linear view when you're

starting to stretch your data. So, let's

look at the quick and dirty way of doing

it. Although, it's not the best way. So,

come up in the image processing and then

stretches and then histogram

transformation. When I say quick and

dirty, I mean you can simply hit this

little cog wheel over here that says

apply autostretch algorithm. And this is

pretty much the autostretch view that we

had when we changed our display view

down here in the bottom. So if I just

click that button, it'll stretch my data

to match what we saw before. And you can

be done. If that looks good to you,

that's fine. But this auto stretch tends

to be a little too aggressive. More

times than not, it will clip your

shadows. So here's our histogram here,

right? This is the data in our image.

The left side are shadows and the right

side are the are the brighter parts of

the image. Sometimes it'll clip the

blacks. And you can watch your clip

percentage here. You can see right now

it's nothing to worry about. It's 0009.

But if you see anything more than I

would

say.1% it's clipping data. And when it's

clipping data, that means you're losing

some data. The other thing is the image

is just way too bright. We can do better

than this. So generally, especially if

you're clipping data, and I'm not in

this case, but I'm going to go through

the step anyways. If you're clipping

data, we want to start with a different

type of stretch. So I am just going to

hit reset and close. And we'll come back

over into image processing stretches.

And this time we're going to use the as

sign transformation. This is very simple

to use. You're just going to take your

stretch factor and you're going to move

the slider over to the right until you

start to see the data in your image.

Back it down just a little bit. and then

click apply. Now we'll go back to image

processing stretches once more and then

back into our histogram transformation.

And up top here where it says one and

you see the plus button. This is

actually a zoom function for the

histogram view. So if I zoom in, you can

see now I've got more room over here on

the left hand side where previously this

was slammed all the way over to the

left. So now I'm in control of

stretching my blacks so I don't lose any

data like I would if I was going to use

the auto stretch feature. So the button

number one here will reset your zoom.

And then if you notice on the bottom

here we have three triangles. This one

on the left is for our shadows, the

darker parts of our image. The one in

the middle is for our midtones. And the

one all the way over to the right are

for the brightest parts of our image.

Just leave the one on the right slid all

the way over. You don't need to adjust

that one. Start with your midtones. Left

mouse button click and drag it over

towards your histogram and then let it

go. It may look too bright like it does

in my image right now. But again, if we

zoom in to my histogram and I grab my

shadow slider and start moving it

towards the data and bring it right up

to where that curve starts, you can see

the image started to get darker. I don't

want to go too much further than that.

If you watch your clip percentage right

here as I move the slider, you can see

I'm starting to clip data as I go into

the histogram. So that's what I was

talking about. You don't want to start

seeing that number tick up anything more

than 0.1. So we can maybe take this

right to there. We're still at zero. So

there's no data being clipped. Still

looks a little bit bright. So I can take

my midtones and I can start sliding that

back over to the right. Just a little

bit at a time. Just watching the image,

right? I don't want the background

really dark. I don't want the image

really bright. So it's just back and

forth with the sliders to try to get it

to a point where it looks correct. Let

me try and move the blacks over just a

little bit more if I can. If it gets

really touchy like it is for me now, you

can always zoom into your histogram

further. You see, I did clip just a

little bit, but 0013 is nothing to be

concerned with. So, I'm going to run

with that. We're going to click apply.

And now our image is stretched. So, one

thing I wanted to mention too is this.

depending on your computer. If you have

an older computer and it tends to run a

little bit slow and you're doing your

stretching and you're noticing it's not

being very responsive, you have to wait

a second or two for the results to

actually display, you can help speed

things up by using what's called region

of interest. So, if I was to use my left

mouse button and just draw a selection

similar to how we did when we were

cropping and then rightclick ROI and

then click set ROI to selection, you'll

be prompted that this tool does in fact

support it. So that's good. Click okay.

And now as I stretch the data. So let me

reset my zoom. If I move my midtone

slider over towards the data, you can

see that it's only affecting my region

of interest. So it's just focusing. It's

just working on this area right here. So

I can make my adjustments within my

region of interest. And then when I'm

happy and I click apply, these settings

will be applied to the entire image. So

it helps with the slower computers,

larger files, and such. So, I just

wanted to show you guys that as an

option during your stretching. Uh, once

you close it to get rid of the region of

interest selection, just again right

click, hit ROI, and then clear ROI, and

then a single tap of your left mouse

button will take away the selection.

Now, we want to work on increasing the

contrast and brightness of the image.

So, we're going to come up in the image

processing stretches again, and this

time we're going to go into our curves

transformation. And you can spend a lot

of time in here making adjustments. It's

it's a pretty powerful tool because

again we're seeing our histogram. This

is the data that we have in there. We

have the same zoom controls up top. So

we can play with those. So to start

adjusting the contrast and brightness,

I'm going to put a point right there on

the line. And I'm going to left mouse

button press and just pull that down

very slightly. And then I'm going to put

another point over on the right side of

my data and just pull that up slightly.

Take a look and see what I have. If I

like the adjustments, that looks good to

me. And hit apply. And this is an

iterative process, right? So you can

keep going. You can make a further

scurve again just by clicking closer to

your shadows part of your histogram and

then putting a point in the right side

and lifting that up like what you see.

Again, hit apply. You can also just put

a single point right in the center of

the line and pull that up as well, just

so you can see the effect that it has.

This will pretty much take the whole

brightness of the image up. Conversely,

if you pull it the other way, it'll

darken the entire image. So, I'm going

to reset that because I'm happy with the

way that looks. And then close. The

other thing that you can do if you want

to or if you feel there's a need to is

you can increase or even decrease the

saturation in the image. So, if you come

up into image

processing, color saturation, and just

play with your amount slider, right? So,

if I wanted to increase the amount of

saturation globally, which means across

all three channels, red, green, and

blue, I could start bumping this up, and

you'll see the image will start to get

redder for us. You can get really crazy,

right? If we go all the way over this

way, it looks like somebody drew the

image with a crayon. And then, like I

said, you can reduce the saturation as

well. If I hit the reset button, it'll

take me back to where I started. And I

can go the other way and I could

decrease the saturation in the image.

So, I'm going to hit the reset button

one more time. and talk about the hue

selection up here. Like I said, we're in

global, so that means the entire image,

all colors. If you pull the menu up,

pretty self-explanatory, right? If you

just want to work on the pinks and reds,

reds and oranges of the image, if you

have any orange and brown, so you can be

a little bit more specific, a little

more precise with the colors that you're

playing with. So, if I was to do just

the pink, red, red, orange, and move my

slider over, you can see the orange came

out more just by selecting that. So, you

know, play with your hues to get an idea

of what colors are in your image and how

you can increase them. So, I'm going to

go back into global. And actually, I'm

not going to increase the saturation on

this image at all. I I'm happy with the

way that it looks. But again, you know,

if I was to bump it up, just make sure

you hit apply afterwards. And then the

window will close for you. All right.

So, now we're ready to put back in the

stars that we took out earlier in the

workflow. Before you do it, very

important, make sure you come up and you

click your save button to save all those

changes that we just made. Otherwise,

when we open up the next tool, the star

recomposition tool, you'll lose

everything that you just did. So,

obviously, not something that you want

to have happen. So, image is now saved.

We're going to come up in the image

processing, star processing, and then

star recomposition. It's going to prompt

to close our current image. Click yes.

And lots of settings in here as well.

We're going to keep it simple again

because it's a beginner's video. We're

going to come over under our background

stretch parameters.

Click on the folder underneath of it.

And you can see we have two files that

were created when we removed the stars,

right? The starless, which is the one

that we were just working on. And then

there's our star mask. That's just our

stars. We want our starless, right?

That's our background stretch

parameters. Give it a second and you'll

see the starless is loaded back up in

the screen for you. And then on the

right hand side, we're going to hit star

stretch parameters. Same thing, except

this time we're going to select our star

mask file. And the only thing you need

to be worried about, again, just because

we're keeping this a beginner's

tutorial, is the stretch factor

underneath your star mask. So, just

start moving this over. And you'll see

the stars being stretched back into your

image. You can be as gentle or

aggressive with this as you want. If we

come all the way over to the right, you

can see it's really overstretched the

stars. If we leave it closer towards the

left hand side, you'll just see tiny

pinpoints of some of the stars. It'll

leave the rest of them out. So we we're

not stretching that brightness of those

stars completely back into the image. So

preference, right? Just play with the

stretch values to get it to where you

like it. And for me, I'm going to leave

it there. All you need to do is click

the apply button underneath star stretch

and then close. One last thing that you

may need to do is remove any green noise

that may be in the image. Now, you only

need to do this if you look at your

image and specifically in the background

sometimes if you see a slight green

overcast. It's just an artifact of using

a oneshot color camera. If you notice a

little bit of green, it's easily removed

just by coming up to image processing

and then remove green noise. Leave it at

average neutral and then click apply. If

you're not sure, it's not going to hurt

it to run it. And you don't have to run

it if you don't notice the green noise.

The color calibration that we did

previously most of the time will take

care of any kind of a green cast in the

image. But I just wanted to point it out

in case when you get to the step you

still see a little bit of a green tint

to the image, use the remove green noise

tool and that'll take care of it for

you. So that's our final image. You can

see up in the corner here though it says

unsaved star recomposition result. That

means it's not saved as a file. It's

just sitting in serial right now. So we

want to save it. We're going to come

over to our save as button here. And you

can call it whatever you want. It's

going to save it in our working

directory which is the rosette. So I'll

just call it rosette. Click save. 32-bit

floating point is good. Click save. Now

if you look at the file name, it shows

rosette.fit. So now you have a saved

Fitz image of all the work that you just

did. You want to post it up on social

media someplace and you want to save it

off as a JPEG. Same thing. Come over

into save as. I'm going to leave the

name Rossette. And you can either select

your supported files down here in the

menu or just delete the fit and then

type JPG for JPEG. Hit save. Set your

quality. The higher the quality, the

larger the image is going to be. Click

save again. And then if we again jump

over into our working directory, there's

our FIT file we just saved and there's

our JPEG file we just saved. So at this

point, we have some cleanup that we can

do, right? Files in our process folder

and master folder are doing nothing but

taking up drive space. Now, there are

some files in the process folder that

for good reason can be saved if you

wanted to, but again, this is a

beginner's video. That's more of an

intermediate to advanced type stuff. So

don't worry about it for now. So, just

to clean up, to save yourself some hard

drive space, you can delete your

process, your masters. You can delete

your star mask and your starless. And

unless you want to go back and practice

again with your result file, you could

actually delete that as well. And

that'll get you back to your lights,

flats, darks, and biases, right? Your

original files. Nothing has been changed

in here. They were just used to create

our result file. And then we have our

final rosette.fit. And again, the one

that we saved. So, as always, I hope

that's helpful for a lot of people,

especially if you're just starting off

with serial. I want to take this time

once again to say thank you to all my

members, both on YouTube and on buy a

coffee.com. And don't forget, if you're

already a member, you have free access

to the quick start guide that I put

together for this tutorial that we just

went through. Appreciate everybody's

time. We'll see you on the next one in

clear skies.