Original subtitles

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