Advanced Adobe® Lightroom® 5 Workflow

Lesson 27 of 33

Editing Video in Adobe® Lightroom®

 

Advanced Adobe® Lightroom® 5 Workflow

Lesson 27 of 33

Editing Video in Adobe® Lightroom®

 

Lesson Info

Editing Video in Adobe® Lightroom®

Let's talk about working on video, so I'm going to go to a family photo that I have shown this family portrait before here on creative live it's just a super fun little family photo that I did inside of the salt flats in utah, which are really super fun. And so we have time we were using remember how I told I told you how excited I am about being with pro photo and having those b one heads, and so so this is the process of tryingto light someone for a insanely bright situation, and I'll tell you what, those those little flashes were barreling light like that's I'm at full power on these lights tryingto blast light into their faces so that I can get a shot off, you know, to to match the son because it's, just so bright out there so bright that you needed sunglasses in order to keep from burning your eyeballs out, but I but I really like the shot anyway, so I kept it this way because I thought it was so fun to actually look at the the implements, and it was at this point that I started t...

o realize that, you know, the concept of photography is we're always trying to hide our hand. And we're always trying to pretend that the lights didn't exist or were trying to pretend that we're you know you're just looking out a window at the scene or whatever and I thought it'd be interesting to show the process and you notice on that wedding slide show there were a lot of pictures where it like for instance when the bride is getting ready and she's brushing her hair and I've got the video guy sitting there I think that's fascinating I think it's great to show behind the scenes as part of the experience and so I just started including a lot of the ancillary things into slide shows to show the experience itself and show the videographer and show the other photographers and and really you know, make that part of the experience and I think it's been very successful so this is kind of where I started playing around that idea because I liked the idea of showing behind the scenes as part of the beauty of what we were doing andi so anyway each each kid has to have their own light because this light can't possibly reach this kid you know there's just no way but with those b one heads one light with the big soft box could really pack a punch so all right, so anyway I'm in this photo shoot here and I'm doing all sorts of stuff and you know I'm they brought these scooters with him and so we're like playing with the scooters and racing the scooters and and then they brought you know, a whole bunch of, you know, a bunch of old school chests with them and stuff like that so he's going on a long journey little scooter in his chest and stuff so we're having a lot of fun but what we were doing at the same time because I was taking a little have a g fifteen kanan cameron it shoots hd video and so I was just simply recording turning that on record and setting it somewhere and then I was shooting and letting that record the shoot and then I had my assistant would occasionally, you know, film me recording, shooting so we have, you know, different angles on what was going on while we were shooting this thing. And so these are the photos that we have, but we also have a lot of video, so I'm going to go here to the folder that has so we congregated when we import everything, we import all the photos and we highlight all the photos and put them in a photo folder, then we highlight all the movies and put them in a movie folders so that we can see the difference between the two and we click on movies and there's all of the movies you can see, you know, me working here, so if I if I double click a movie than and by the way movies on ly function in the library module, you can't watch a movie in the developed module, you can watch it in the library marshal so I opened up a movie and take a look at it, and so now we can just, you know, I'm just playing and so you can see it, garrett, you just hold your soda, so like directing on just the way you're holding it so that's the way we review, but if I'm in the grid aiken scrub through it and see what's there, so I can just see whether it's a it just by moving my mouse over, I get to see whether it's of any value to me and if it's not, then I move on to the next and the ones that were really a value to me were, you know, stuff like this one is really a value to me because I'm shooting, you see me and I and you see me shooting the kids on the sunset, and I know that there's a shot that I love of that moment, and so I'm going to want to pair the two together so the first thing that you have to do in this work flow as you have to go to your images and make your selection so if we go and make our selections and look just say the two star images and see what we have those are the images that I want to find something to relate to them and I don't have to find something to relate to everyone but I do want to find stuff that relates to some of them. So for instance, this one here is going to be thean midge, I want to relate to I love this image but you got to see this image the image right before it I kept it because I see the little guy right there. It looks like he has an explosive too. It's like boom, but that that's when flares go awry like flares are awesome. But sometimes they're in the wrong place and so it looks like he's little rocket engine go up, so we chose the second one. You can still see some of the flair is there, but it's just not his right, right offices post cheerier. So anyway, we want we want to include that some video that shows this and I know then now that I have all of these videos are all these images, president I know which ones video wise would work with it. So the first thing I'm gonna do when I'm creating a video, I'm gonna highlight all of my photos that I'm going to include and this is fifty seven images I probably could get it down a little bit more I wonder what happens if I do three stars that's a pretty short little let's just use that three stars nineteen images it's going to be super short but it's it'll it'll work so let's see but I think I'm missing something wait yeah I'm missing a couple photos that I need so I'm gonna have the increase the star rating of a couple photos because there's like for instance, I really like this photo here I think that's a great photo of the oldest son, so I'm gonna click on that one. I definitely want this photo of the this kid packing on dh, so I'm gonna increase that to three stars I want this race that races very important to us and you'll see why in a second simon increase that to three stars I love this part was awesome, I just the kids he wouldn't sit still. So like we wanted to have the kids having a picnic in the parents want to sit next to them and so we're gonna do this picnic thing and that little guy would not sit still and like parents want to do they want to be like sit still sit still, sit still my answer is no don't sit still, parents out two kids that want you know, these two kids wanted to have their twinkies see he's eating his twinkie so they want to have their twinkies and their sodas he just wants to run, so let him run so I just had so dad's over here and mom's over here and they keep saying flight, I mean, so he's got his little airplane and he's like flight of me, and then soon as he gets off camera that the dad says fly to me and and that kid ran back and forth thirteen times twenty times just parents and he was having the time of his life, and I was getting these awesome shots like this because the kid wouldn't sit still. And so when you're doing kid photography like that, you have to not fight the natural tendencies of child natural tendencies of a child or to give you amazing things. It's the parents natural tendency to make you take ugly pictures seriously, parents are the worst part of a child photo shoot because they get in the way and they ruined beautiful moments. You know, like how many times you've been at a family photo shoot or you're like a family gathering and someone's taking the photo shoot and the parent is so upset that their kid isn't smiling that they literally tell the kid if you don't smile, I'm going to spank you like really is that gonna help here like what what are you doing so the best way to get great child photos is get rid of parents that's really the best way to do so but the two parents involved here are really on board with what we're doing and so when I say get up and go over there they just do it because they trust what we're doing and so they're fantastic parents because they don't get in the way because they're willing to just work with me and that and I love this shot because he just this kid is elated with what's going on and he's so serious and he's got his twinkie I love it okay so we've got to have this shot in right there okay and and I kind of like this shot as well and I want this shot here and then remember the the sea that's the shot with the lights over here so that's a good shot but I don't I don't want that shot I actually want my this shot I want this shot in the video okay, so now I have three starred by images and so I'm going to sort by those three stars gives me twenty six pictures which is a great amount for a slideshow highlight all of those and then I'm going to go and create a collection so when I create the collection I'm going to call it um salt picnic and I'm going to include it in our er creative live discussions folder here, and I'm in include all the selected photos in there, so all of the adjustments have been done to the photos and the starring has happened and we've collected them into a collection so we know the photos were going to take now we have to then parrot with video, so we're going to right click this salt picnic and we're going to set the target collection because now what we're going to do is we're going to go back into those movies and we're going to start looking for any kind of movie that would relate to the photos we know exist. Well, we know that this one exists, and I can see that that I can see what's going on there there's there's also one right here too. So if I scrubbed through this one, you can see that it's a pan so he's panning so that might be available valuable as well. I know that this one's valuable here because I'm shooting him, so if I double click it, I can see it and hit play. You have to kind of turn this one up a bit don't look directly at the sun herald don't let don't look directly at the sun, listen, okay? The father said, don't worry about the isar temporary photos are forever that's, like look at the sun and we get the picture, we don't care if you're blind, so anyway, so there was a funny moment, which means that I want to include this in the in that because now the parents are involved in the moment and so, and he knows what he said, even though he wasn't miked. I so wish he was, but since he wasn't mike, I don't have the audio, but he knows what he said he knows the moment and so he's going to appreciate it anyway. So the thing that you have to understand about editing video now is that you come in here to the bottom where this is where the time line is, and you've got some options here. This little movie looking thing here, the screen, if you click it, it allows you to capture the frame or set the poster frame for the movie so that if I'm if I'm looking at this movie and I scrubbed through it and find like that, if that's the moment right, what there, then I can I can set that is the poster frame so that then in the grid. That's the frame that's going to show itself to us so that we know all that's what that is, because sometimes you have, like, you know, panning or whatever and you don't get to the point for a long time, and so it helps you to see what the point is. The other thing that you want to do is capture the frame, so capturing the frame is going to actually see this and make it a j peg. So if this was a four k video, or if it was a no high definition video, it takes all the pixels that exist in it so you could actually print from this because you're going to have a j peg of it. Now, from an hd video, you can print a fairly small print from a four k video you could print, you know, a really big print or whatever, and I'm not really sure how I've never tried to run for k video through this eye that it would kill it. S so you might not want to try for k video, but try it, see if it works. I don't know if you're shooting for k video, but hd video definitely is capable in here, so someday when I get a fourcade camera, I will try it and see if it chokes probably light room. Doesn't have a problem with it as much as the computer does because computers need to be pretty zippy in order to run for k video okay so but set it capturing the frame if I click on that it creates right next to it a j peg so this is a j peg this is the movie and you can see right down here this is changing based on what I point out so I'm pointing at the movie that it's the movie that's a j peg and it has the same name dash one m o r j peg instead of movie now the reason that you want to be able to do this is that when you you can't take that if you take the video and go into the develop module it says video's not supported and develop but if you click on the j peg the j peg is now the j peg I can go into the tone curve and I can work on the tone curve and say I want I want the blacks and the shirts to be a little bit I want richard black maybe a little richard shadow I want to bring the highlights in a little bit and I want to bring the lights up a little bit so it's a little more contrast ng so I've just effectively changed the curve to this so that looks really nice and then I can go up into the basics and I want to play around with my black point so I can I can mess around with my black point I can change my temperature so I could warm this up just a little bit I could also take the saturation down just a little bit so that's quite it's a little softer so that because most of my photographs well softer and saturation so social my video um and by the way, while we're on this discussion of working on an image if you want the absolute best latitude on your video you need to go in your picture styles and make a picture style that has very, very low contrast low saturation video so when you're making a video you need to change your video shouldn't look good on the camera you shouldn't because if it looks good on the camera if it looks snappy and vibrant, that means it's throwing away all of the latitude that you need to work on it and so your video should be very bland in the camera so you want to take your can contrast way down and you want to take your saturation down you want to make sure that it has its a fine absolutely best quality video you can shoot but you want to make sure contrast levels are low and the saturation is low so that you're not blowing out pixels you know you're not, you know clipping data because you are shooting just a a siri's of j pegs basically so you have no latitude you're not shooting raw you're shooting j pegs is that is that sort of a back door way to make a raw video not really raw, but it gives you a lot more latitude. Okay, um, so and I actually learned this from rob adams who's taught here on creative life I learned this from rob adams, andi, he showed me the settings and he's like you know, you just need to make sure that that what you're shooting is as low contrast and low saturation is you can manage so that when you're shooting it it your you're not blowing out the highlights and the shadows with contrast and as long as you bring that in, you have a lot more options now this is shooting with some of these videos that were shooting or shot with a g fifteen, and the g fifteen doesn't have a ton of control over anything everything's very auto on that like you can't manually control the exposure or anything on the g fifteen because it's just a little handheld camera s o but if you're shooting on a mark three, you have absolute control over the way that your file looks so anyway just just do your best to not over contrast your video and that way you'll have more ability to change it in here, so I like the way that looks, and so I'm going to accept it. But the way I accepted as I go back into the library module and once I'm in the library module, if I highlight both the j peg and the video, the jpeg being the primary selection and the video being the secondary selection so you can see this is the j peg and it's the primary selection, this is the secondary selection. I'm going to go over to sink settings and click on sink settings, and this is what shows you what can and can't be synchronized on a video. The process version could be synchronized, split, toning, color saturation, vibrance and color adjustments so I could actually remove the orange or the red or the what I like. I can go in and manu tely change you know which how much the red saturates, etcetera. That's very, very powerful control on dh the tone curve which I was just playing with. So the towing car. Now remember the tone. Kurt has a point tone curve too. So if I wanted teo, I could go back into this video here. Goto the goto the j peg go into the develop module, I could go into the tone curve. And work on a point tone curve and do some of that tricky stuff that we were doing, you know, and removing some of the blacks out of it and, you know, playing around with it going into the reds and and, you know, let's, bring the reds up a little bit let's take the blues down quite a bit and then we'll take we'll go in and play with the greens so like, I could do a lot of tricky stuff inside of here and that's all going to be put on the video, so I don't necessarily want to do that, so let's flatten the curve got one thing that you got flattened all the curve here, so um, but we can do a lot to these just inside the point curve, which is in addition to the regular curve, did you know that the point curve and the regular curve are additive to each other and so you can have a point curve that's adding to what you've done to the the curve with the highlights lights and the darks it's all both of them are active and so you actually get the effect of both at the same time, so be aware that it's a multi layered tool, okay, so we we've done some control on it, we go into the library and we're going to synchronize those settings and for us you can also do white balance and we change the white balance when we also changed the black point but you can exchange contract the contrast exposure white clipping, black clipping tone and all of these things as well as count camera calibration so those camera calibrations that we set with our ex right we can use that on the video as well, so I hit synchronized and now the video has all of those changes on it in real time and when I hit play it's playing it with the changes right? So it's very, very powerful editing and it doesn't take very much an presets, so all you have to do is come up with the your favorite video presets and put them over in your preset panel and then just apply presets because now if I were to set that one, so if I go to the this area here and I were two, I'm in the developed module and I say I want to create a preset so let's go up and make a preset so play a preset new preset and let's call this video warm uh, warm standard okay, so it's just my standard video warmth and I'm going to put, I'm goingto give this to everybody on creative lives, so we'll put it on the on the paid side s so we'll just call this o five v for video so anything as a v is going to be a video and so that's my video standard warmth and what did we put on it? So that is not available process version is available split toning, but we didn't put split toning on it. We did some saturation way did tone curve black point on dwight balance? So those are the things that we did to this, so I'm going to create that and so we'll we'll throw that over on the on the creative life site. But now now that that's available to us, I can go inside of the, um I can go to any of my videos now, so I can say okay, what other video do we want to use? Let's look for well, let's let's go to this one here. So this is my one of my favorite parts of video, and so I double click that one it's a video of that little racing seen and so I can take this and I can add that preset, so go over the quick develop and I'm going to go to the pre set and remember, we've got all of our preset saved here and there's my video standard warm just click on it, and now so once I have presets, video editing doesn't take very long to do all of my editing either. Because it's very easy to get and I can go in and play around with the temperature controls and stuff like that so if I need to bring the exposure down I could do that right here I don't really like what we've done to that video weren't so I'm just going to remove it but I like the way it looked to begin with but you can use presets for that so I like this one as well so now once you've gone through and kind of scrub through something so I like this video and let me show you what this video is going to do here this's wasn't working so like what do you do with it it's not working so that's funny cameras just sitting here on the ground and I'm setting up for the next shot but we're just recording this video because now I'm gonna want a shot of you know just them you know speeding by right so but notice that I leave this in let me show you how a clip video now so if you like the video that you're working on you come down here to this little gear icon and that gear icon is to trim the video when you click on it it opens up the entire video and shows you what you have to work with so then you take this little now bar and scrub through it and you can see so I'm just scrubbing and then if I want to start right after that shadow, see how that shadow got out of the way that's where I want to start, which puts it right where he's coming in, which is great because when it cuts in, he'll be right in and so I'm going to take this little bar right here and grab on to it this is the in point I'm gonna scrub it over to there and it gets bumped right when it hits there so that's where I want it zoom out and make sure that that shadow needs to go a little bit more so I'm just going to go just a step more grab this, okay? So that's the end point now we want the outpoint to be where I want to just right there so I'm gonna take the out point right there so now I close that down now this video on lee shows from this point to that point so that's how we clip it once we've got it clip now it's ready to be used if I export it will export the clipped adjusted video so that if I wanted to go to an emoto or I wanted to go over to premier or anything like that I could simply highlight all my photos and all my videos that I had already clipped and adjusted and when I export it will export the video and the photos together separately is, you know, individual items, but it will be cut video, cotton and just the video and then I can send it off to whoever toe put it together in an emoto and just send it up there and when I exported tanimoto, you put it in the order you want it to be and that's why we're in a collection that's why we're going to be in a collection because then you can organize things around if you're in if you're in folders here, see, we've got our images selected here and then we've got our movies selected here and you can highlight both folders left the movies and the select you could do both, and when you do that, if you grab an image and try and change it in the timeline and move it around so that it's, you know, butted up against something, it won't do it. It goes right back to where it wass see that that's because they're in different folders, it can't move them and relationship to each other and so that's, why we're going to end up putting these into a a collection because then you can organize them, so first thing we have to do is collect the movies so we're gonna go collect our movies, and so I like that video that we just got, so I love this one with the don't worry you can look at the sun so I'm in it I'm all I have to do is hit the bee key or you could just see that little circle that's a white circle that means it's not in the target collection this means it is so if I click off of that now it's not in the target collection if I click on it it's in the target collection the same thing if I hit the bee key so I highlight this and hit the beaky it removes it or posts into the target collection and this right here tells you that it's in the target collection this little collection thing right that it's in a collection s o that's the one we want from there I want the race here so I'm gonna add that one to the target collection um I want a shot of me working with the kids this would be a good shot right here I like this idea so double click this one so I'm working on I'm working with him so this is so I'm trying to teach him I want him to be like looking forward and being really excited about like uh there we go right there so you have teaching him right there so now I'm gonna clip that just go to right there and then I'm going to go forward don't want I just want a little clip so now let's see what that looks like. So I closed the clip and I'm just going to scan it down and go see that's great, because I'm working with him, I need to clip it a little bit so I can pull this down to where I want it right there. And then I opened that up come in and just there that's where I want it, so now that could be part of it. I just want to adjust it just a little bit, so I'm gonna brighten it up just a little bit let's see exposure up just a tad that's too much bring the contrast down. Some say I'm lowering the contrast actually makes the photo look or the video look much better on dh then I can go in if I want to adjust it even more. I'm going tio make a poster for me to capture frame from it. So then I take that capture frame into the developed, so I'm going to the developed here and I'm gonna work on the dark's a little bit. I'm gonna bring the shadows down so it looks nice. I'm going to go up here and warm up the temperature just a little bit like that, and then I'm going tio take the saturation down just a little bit okay, so now I've, I've edited that video. I'm going to go back into the grid. I'm gonna highlight both of those images, and I'm gonna synchronize the settings, and I all the things that I worked on here are still selected, and so I'm gonna hit synchronized. And now the video has that work done to it, so that I'm gonna add that video, too. If you buy the way, if you're selecting to images at once inside of the grid, and you click on the bee key, or you click on that it's going to add both, I don't want the j peg in there something anat that I only want this in there.

Class Description


Ready for a whole new approach to your post-production workflow? Join CreativeLive instructor Jared Platt for the ultimate three-day introduction to everything you need to know about working with Adobe®Lightroom® 5 (and beyond) to make your workflow efficient.

You’ll learn a basic, seamless Adobe® Lightroom® 5 workflow, and also how to customize that workflow to fit your specific needs — whether you’re outsourcing, taking pictures on the go, or working in a studio setting. Jared will cover ways to select and retouch images more productively. You’ll also learn about automating settings, plugins, and hacks that will help you work more efficiently. Jared will also guide you through the core image adjustment techniques every Adobe® Lightroom® user should know.

Jared will give you a step by step look at his entire workflow, start to finish. By the end of this course, you’ll have the tools you need to deliver higher-quality images and products while cutting your post-production time in half.


Software Used: Adobe Lightroom 5

Reviews

a Creativelive Student
 

Jared is the best. Really, his class was absolutely awesome. He can teach you everything with an ease and you will not want to leave your computer untill you see the whole class. I am so happy I purchased this class, it was the best investment! Than you Jared for such a brilliant classes you bring to us.

a Creativelive Student
 

It takes a lot of devotion to spend so many hours in front of the computer but I found myself not able to leave the monitor. Thank you Jared Platt and Creative Live for providing this quality education and information. We also get the bonus of seeing beautiful images during the sessions. Jared is a wonderfully clear teacher. His extensive experience both behind the camera and in processing digital photography is so very evident in all that he covers in his seminars. I'm looking forward to the next time.

jane
 

I believe that this man has saved my life, or at the very least returned my life me. So many wonderful tips and time savers. I had never realized how much time I wasted at the computer for no good reason. He is funny, easy to listen too, and he explains in a way that can be understood. If you could only purchase one course, this is it! I attended WPPI and Jared's Platform Class and at the end I wanted more so thank you Creative Live for have him.