Advanced Adobe® Lightroom® 5 Workflow

Lesson 4 of 33

Library Workflow and Syncing Time Stamps

 

Advanced Adobe® Lightroom® 5 Workflow

Lesson 4 of 33

Library Workflow and Syncing Time Stamps

 

Lesson Info

Library Workflow and Syncing Time Stamps

The library is the first point at which you enter into light room so inside of light room you have different modules you have the library, they develop the map, the book the slide show the print on the web the library is where you do all of your organizational stuff everything organizationally done is done in the library and then those things that you've done organizationally they're kind of spill over into the others so for instance collections are now available inside of the book module and inside of the maps module they're they're available everywhere but the organizational stuff that we do is all done inside of the library and so we're going to start there and we're going to talk a lot about that but I need teo emphasize something right now we have talked about light room a lot here on creative life me and the audience out there we talked a lot and a lot of you have already seen a lot of what I've shone and so what what we need to realize is that we're not trying to redo everything...

and so if if we tried to cover everything that we've covered, I think it would take us thirteen or fourteen days to do that and so instead what I'm going to do is I'm going to reference you to the things that we've already taught here and I want you to look at those things first and then this is all going to be additional information will recap some of those things, and we actually have a member of the audience, the original audience on creative live so on, ginny is from the original audience, and so she's, actually, I've asked her to to be my front person for making sure that we're not covering too much of what we covered before, but also answering new questions, and so I'm gauging everything that we've done based on her because she is she has been there from the beginning, so I'm referencing back now in in this discussion, we're referencing back to the first ultimate light room workflow workshop, which you were at on dh if you then feel like, oh, there's, a lot of something there that I want to learn about, go back to that workshop and watch that segment because there's a lot in that that we don't want to rehash here, we want to give you more, and so we're going to talk a lot about things that are new and light from five as a result of, you know, updates and things like that, but we still have to do a little bit of rehashing of it just to get you through the workflow itself, okay, so the first thing I want to cover inside of the library module is just basically, the areas that we're dealing with inside of the light room library. So obviously there's the navigator in the catalog area here, the catalog is all photos and and these things, these things actually change. So if you just imported something, it will show you previous imports. If for some reason you've just exported something, it will show you previous exports, but then it will also show you previous other things or things that were lost or files that couldn't fine like this kind of altars based on your circumstance. So but it's dealing with all photographs throughout the entire collection, I rarely end up using any of that so we can collapse it. I'm trying to save as much real estate as possible, and so I collapse that the folders area, everything that we do in folders is actually done on the hard drive, and this will become important when we start organizing and moving our files around because it literally is happening on your hard drive, which means that if I rename a folder it's going to rename it on my hard drive, which remember wee imported twenty six different sets are different untitled folder. Well, instead of having twenty six of those, once we moved the files around. Then we will end up removing all the files from those folders and putting him into two folders and so it's going to actually move the files around inside of your hard drive for you and clean it all up so light rooms cleaning that up for you on the reason that we use the folders and this harkens back to our last discussion about being organized on doing things at the folder level is that you want to be you want to maintain some independence from light room, and I don't believe that light remembers is ever going to become a new inferior program to some other program, but if it did, I want the independence to be able to move from it to something else. So I want to remain I want to maintain a fierce independence from all systems and that's. Why I want to make sure that my organizational structure is at the file level, meaning that instead of depending heavily because we talked about this last time about collections, instead of depending heavily on collections, to decide what I had selected and what I had rejected, I want to depend on the folder itself so that later on, if I go back to my hard drive and I look inside of that hard drive, I can see inside of the raw folder here where my selects here on my non selects here, my internal folders and so, if later on, for some reason I went to some other program or say I went back to bridge or something like that, I could still find the organizational structure, and I would know these are my selects based on the folder they were in, so it just it keeps me very independent, right? So once we're inside of a library module, the first thing that we may end up needing to do, we're gonna have this is a completely uncut wedding, so we I've deleted nothing, and I've adjusted nothing so it's just all there so that's the entire wedding, this can't. This was actually on the grand canyon on dh these are some of my favorite clients, super cool people and fun to work with, and they went through a lot of effort to make sure we had releases for everybody so that we could show the entire wedding. So we have two clients that did that tomorrow. I'll show you my other super cool client that did the same thing. So we have actually two weddings that I can work on, which takes a lot of effort. So, um uh, this the altman is there that's the wedding name? So they're awesome a long way had a question earlier that came in from erica's mom oh, erica yeah, said hale master jared from judy and blue springs looking forward to working you working on erica and will's photos on dh wanting to know to use the color checker for everything you d'oh not everything I do the color checker we'll talk about that yeah after lunch but the color checker is used in very specific situations and general situations but not every photo because it would get in the way of capturing them all yeah, but erica is actually the other awesome client that all show tomorrow awesome cool and so we're going to be working on their files tomorrow today we're working on selecting the oltmans and then tomorrow we get to work on erica's and erica's letting a supercool to nice it's it's I I'm in love with that wedding like I get it I get a little bit like teary over because such a cool wedding I prefer weddings that are interesting and that I don't necessarily like I don't want a big wedding I would rather shoot something that's just interesting different and fun and and then the most important thing is I connect with people like I actually had a reject weddings based on the people because I didn't feel like I jelled with him the people I do weddings for we always like connect pretty well so anyway so I we're going to start this wedding by looking at the actual files to make sure that there their synchronised because I have multiple cameras. Any of you guys have multiple cameras on some kind of a job? Do you shoot with more than one camera at any point? Do you have assistance that do that or you just double slinging it. Okay, um, is it the same camera or is it two different, like an older and a newer? Ok, most people do that older in a newer camera, and then as soon as this one goes away, then they you know, they keep lee program, so I have to mark three. So I worked from the same camera on both but you you're a nikon d eight hundred. I heard and then what's your other camera, the six hundred d six hundred d eight hundred and you do all your portrait of the d eight hundred and then your other stuff with the six hundred is that we keep two different lenses. Okay, I will switch between them depending on which lands I want to use. Gotcha. Good. Okay, so when I'm shooting multiple cameras, I also have assistants shooting a camera. Each of my assistants will shoot one or two cameras, and sometimes sometimes I have five cameras on the shoot shooting from different angles and whatever, and I have assistance that occasionally will forget to set their time to my time and so we won't have them synchronized. And so if you're shooting with multiple cameras, sometimes you run into a problem where your files are not synchronized, and so you'll you'll scan through the first thing that needs to happen when you come in and you have all your images, especially if you're doing a documentary type situation where you're gonna be selecting based on, you know, there may be two angles on something and you only want to choose the angle that's best you don't want to be overloading the client with ridiculously the endless choices, and so we're going to scan through the files to make sure that they are in sync with each other. So I'm just looking to see if there's anything where it just looks like, oh, you know, it keeps going back and forth an hour, and so in this case, I don't think I see anything happening that way, but we're going to pretend that something did yeah see everything's very it's right on time, so we obviously synchronised before before we shot, but if if we had found one that was off, then we would simply go and up in the library filter at the very top if you don't see that there's a backslash key and that will bring it down, you're going to go up to the metadata and in the metadata you get four columns and those four columns could be anything that you want them to be at the top of each column you can choose what that colin is going to uh be associated with so in our case we can go tio we want to go to camera serial number so now we've got a camera serial number and I've got one, two, three four cameras on the shoot so if I see one camera that's off and let's say it's this one that has four hundred twenty five files and that one is off the first thing that I would do is I would scroll through until I found something that I knew was obvious enough that when I shot it with another camera I would know I have a duplicate file at the same time and so a lot of times that's the kiss you know like obviously everybody's going to be trained on the kiss and so everybody's going to shoot the kids at the same time and so I'm going to scan through and look for you know it let's see if that's there is a kiss so if that's the kiss you know when they said you're now married then I would flag that as a marine and doesn't matter what color if I just flagged it as a color then I would go to my can because I just went to my assistants camera and I was looking for that and then I would go and find the my camera which I always say my camera is the accurate time even if it isn't it is so um just just a way of thinking it's constant way of thinking and um let's see ok this this camera was apparently hold on now it wasn't used during that kiss but let's go let's go find another camera that might have been used during that kiss there we go something like that and I'm going to spend a lot of time looking exactly for the right thing but I would find that kiss and then I would flag that one is green and then I can look att all of the cameras together so I'm just kind of talk going back and forth between these cameras and I'm going to go to the attributes section of that library filter so if we go here you can see there's an attributes section when I click on that then I can choose ratings but I can also choose colors so when I click on colors green it's going to show me on lee those two files now kind of toggle back and forth between them and look over here at the right hand side to see what the timing of that shot is so if this one's the master file I'm gonna look and say ok, that was five twenty to twenty four p m so now I can click on this one and I can look and say, oh, five twenty two, twenty one pm so I've clearly found the correct one just three seconds off, so then I was right, but we're going to actually synchronize this so that it dead on right? So in order to do that, I would then I've got this one now, peg, I know which one it is and I know what time it should be because I looked at this other file, the right file, so I'm gonna look at the left file and I know what time it should be. I'm going to go back to the attributes and turn off the green so that I am looking at all files and then I'm going to go to the metadata and I'm gonna go back to the camera that we're looking for. So it's this two hundred, four hundred twenty five and so there is the file right there see there's the green one we know the time for this one now because we used it from some other camera and we're going to highlight all of them. So we're gonna hit command, eh? And that selects all of you can tell that they're all selected because when they're one has selected, you see this one's bright, but this one's darker darker grey come mid gray when I hit command a now they're all kind of a lighter grey and this is a lighter gray they need to be better about differentiating those but you know, once I have them all selected then when I go over here to the capture time area there's nothing because it's multiple capture times but this little bullet point looking button here when I click it gives me a dialog box that asks me what time it should be for that particular file I come in and change the twenty two twenty one seconds to twenty four seconds so now it's going to be really accurate or maybe less accurate I'm no andi I'm gonna hit change and now all of them have been changed in relationship to that so all of them went forward in time three seconds and now they're timestamp has changed now when I go back to the original files now their synchronised exactly with all of the other files where they should be in relationship to each other all right? So that's the first thing that we want to do before we start select thing because when we select we want to be seeing everything in kind of an on the present way so that we can see what's happening in the groom's room in the bride's room all at the same time so we can start making assessments on the image is based on what's actually happening in this story line of the convert because there's the wedding there's two converging story lines or maybe even three and so if you have people on those story lines, you get to see what's happening to those story lines as they converge and it makes a it makes a better selection process for you you get to see those because then I'll sometimes find that the groom's doing something that the bride is doing at the same time and then all the sudden I'm like, well, that's really interesting that the bride is opening the president and the groom is opening the president at the same time or that they did they held it the same way or whatever and that gives me an opportunity to see that happen all right? So that's the first thing that we want to do is want to organize our image is such that we've got the time and then of course we can change the capture time where we can come down here to the bottom and choose what we want to sort by it could be capture time added time we could we could do it based on the file name we can do it based on aspect ratio you want so there's a lot of ways that we can organize these files but capture time is the way that we're going to look at him for selection purposes at least

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.