Aerial Photography: Tilt Shift Effect
I'm gonna show you how to create a little tilt shift effect 'cuz it kinda works really well with these. We're gonna go and the next segment, we're gonna go much more in depth with this kind of stuff when we do the smart filters and stuff like that. Trust me it's gonna be fun. This one here I'm gonna go in here, I'm just gonna do some adjustments here and so we're gonna grab camera raw filter. And I'm just gonna clean it up quickly. And this is basically how I work normally. Like super fast. Let's warm that up a tad. There we go. So I'm just making some adjustments, I don't think I have to explain them, because I think I already have. Just kinda playin' around a little bit. Presets, you know you can create presets if you want. Camera raw presets, and you can apply these presets very easy. So once you've done one and you want to save it you just click here and we'll just call this one CL for Creative Live. I'll do two 'cuz I probably did one already. That's a preset. So you can actually ...
go through the different presets and apply them in one click. On my bonus material I'm giving you guys for free, I've also got some camera raw presets I'm giving away as well so, as well as some extra videos on these. So presets are great. I use them all the time as a starting point. So you'll create that preset and then you'll go back in here and you might go to curves or whatever and tweak it a little bit after you've creating the preset to get the best adjustment. Let me just go here I'm just gonna apply this and then what we're going to do is we're just gonna apply a tilt shift effect. I would normally do this as a smart object but I'm gonna save that for the next segment. Not gonna steal the thunder from that. I'm just gonna apply it right now directly onto here. Under the filter we've got this Blur gallery. Under the Blur gallery we have different filters here. These are non-destructive filters and these are all in CC only, and Kenna said something yesterday, Adobe's got crazy 15% off the ten dollar a month things. So dude it's like eight bucks a month. Get CC, don't complain, it's eight bucks a month! It's a cup of coffee! And I'm not doing that to pitch Adobe, but I'm saying that because you get Photoshop and Labroom and I use them and I love them. Seriously it's less than a Spotify subscription. So tilt shift. So we're gonna go in here under tilt shift and what we can do is we can emulate that little tiny toy thing and we're gonna do that. So I'm just gonna down here, I'm gonna bring the top down. What these do is if I turn this up, it increases the amount of blur. The area in between the two lines is the safe zone. That's the sharp zone that's always gonna be sharp. Then the fall off happens between those and the dotted lines. This is where the transition happens from sharp to blurry. So you can make it happen very very quickly, or you can make it happen more gradually depending on how you wanna do it. You can also change as you can see in here these sizes. So you can change it that way. And you can change the angle. You click over here and then we go over that little thing there, we can change the angle. The shift key will constrain it. See that, how it constrains to those angles. So you got different things you can do with that. I'm gonna draw down about there we're gonna create this little tilt shift effect here and how it works really is it emulates, it's an optical illusion. But what really happens is when you look at depth of field, the way they kinda depth of field meaning sharp to blurry, what makes it look like a toy is scale, right? So typically speaking if you've got a camera and you've set your depth of field, on a near subject, so if I put my camera here and I get a very shallow F stop, I can get this sharp and this will fall off, so that's gonna be like super blurry here. You guys back here are gonna be just as blurry as this is, all blurred. Or, if I've got it sharp, you'll be sharp, but this table's gonna be blurred. However, if I'm shooting an object really far away, that depth of field thing is not gonna work so much. It's gonna be a lot harder to apply that. Say for example I have two of you here, I can make one of you sharp, one of you blurry. But you go 50 yards down the road, I'm not gonna be able to do that. You're either both gonna be sharp or you're both gonna be blurry. Unless you get a super zoom lens. That's why sometimes a zoom lens is able to create a different kind of depth of field like the Alfred Hitchcock thing when you're pulling your camera back as you're zooming in. It creates that parallax effect. So what happens is this is really far away. And these are really big objects and typically speaking, I couldn't differentiate the depth of field at that distance. So you're not used to that. I was doing a little model and that model was on the table, as I'm up close you could do that depth of field. So by doing this here as the tilt shift effect like I'm applying here it makes it look like a toy and the reason that works is because of that depth of field falling off. So the scale of the blur is different than the scale of reality. So does that kinda make sense? It's trying to describe the science behind the optical illusion. And then the other thing you can do too to make these look more convincing is the saturation. So I can actually just do an adjustment layer. Do a hue saturation adjustment layer here. I'll push the saturation up a little bit. And the reason I'm doing that is 'cuz typically when you've got toys, toys tend to be a little bit more colorful than reality. If you've ever looked at little train sets and stuff. Unless they're like super expensive and super accurate ones then they're more accurate. But most kids' toys are usually more colorful than what you'd see in real life. So that's kind of how you would do that. I'm looking at it right now, it probably should have got rid of the lens distortion first. Probably would look a lot better. But essentially that's how you would do your depth of field effect.
We do have a question. How big of prints can you make out of drone photos? How big can you enlarge these things?
There's a big parameters. You can technically infinity. If you take a drone and say for example and here's another cool thing about a drone. If you wanna photograph you don't have to rotate like that. You do a wall. And I'm gonna go into Bridge and show you something here. I'm just gonna grab these two. I'll grab this to show you something. And you could fly parallel or something. So obviously these are not gonna station into, because I'm grabbing a couple of random ones into photo merge, they're not gonna merge together. But what I can show is you have the option to reposition. So you could technically fly along, take a photo, fly along, take a photo, take a photo for miles. And then reposition them. So the limitation really is the limitation of how big your printer is that can print and also what can Photoshop handle? So having said that I know that Epson have printed stuff for me the biggest print I have is from me to that wall over there. Or me to the audience. That was one I did of Hawaii, it was in Oahu and it was showing the crater and all the way across showing Honolulu and all that. Very beautiful. You can actually get away with a lot and then you can also use other plug-ins like Alien Skin Blow Up or Genuine Fractals which is now Perfect Resize, to increase the size of the photographs from what you shot and go away with a little bit more. One of the things you've gotta watch with these is you can get noise a little bit so sometimes a canvas looks really good 'cuz the canvas hides that noise. Long answer for a very short question.<<>>