Basic Panorama Workflow
Okay, so here we go, here's the shots from l a. Now remember what I told you about, you know, when we get up there and we just kind of rotate around a little bit so you can see some of these things really, really distort. So these these are the shots that essentially I did so here's the thing, the rose of panorama, our little deformities by typically speaking, when you should panoramas rules are you want about a thirty percent over left, right between photographs? When you're doing this, you don't really want to do a thirty percent overlap because you lose a lot of stuff around the edges when you do the lens correction and you'll see that in a second because I'm going to have the limbs correct all these otherwise they want stitch if I try to stitch these right now, we're going to finish up and it will fail, it'll just say and she wants saying nothing, I just steph, come on top of each other inside one big document so you want these two overlap and it is not really a rule like doesn't n...
eed to be fifty percent, does it need to be thirty percent? This is kind of well, this is this is the common smith way of doing this is my method because one of the things I've noticed is when things are in the middle, they look nice and straight when they get around the edges, they look distorted when you do the lance christian that can stretch a little bit on the edge is sometimes, so what I'm doing is when I'm flying, I'm looking for important things in the image, so for example, the most important building I'm going to start with that bang in the middle, and I'm going to move it around a little bit and keeping that that will have to stay in the shot, but I'm looking for another landmark are another thing that's important in that shot, and when I've got both of those, then I'll take the next shot, man or rotate around so it's not even amount of rotation, that idea between photos, I'm looking for objects that are going to be really clear for photo shop when it goes to stitch them, but also objects then I want to preserve this shape because you don't want to have like something. If it's only appears on the edge of one photo it's going to be all warped and really strange looking later on so that's kind of my role there, so the first thing you're going to do them is we need to fix these before we can start to stitch them. So what we're gonna do is right, click here we're going to open them in camera, roy and notice of good all these images and camera roll because you can do that processing in camera. Ryan, I just choose select all I could go later on, you know that you probably seen when you work multiple images, you're going hear justin, then you synchronize them, you know? So I thought synchronized, but I noticed that if you select all, then when you make the adjustment is just gonna happen in real time to all the images at the same time, so you don't have to synchronize them later. So you know, there's a lot of things we could do here, white balance and all that fun stuff, which we're not going to do, we're just going to jump in and enable the lens profile correction notice that grabbed the dj I and notice all of these and I'll correct, and I'm just going to click done, so what I did is I just went in there and did that. Now if I'm doing this from the light room, what I'll do is in light room, I'll going on just that one image do that same lynch question cause those profiles are also there inside of light room, then also late, all the images and in synchronized them in library. So whether you're doing from camera roar in bridge or you're doing it from light room of the process is exactly the same. So now that we're fixed, these these are going to stitch, we hope we're going to keep our fingers crossed because, you know, sometimes it likes to throw me a curve just for fun, so all right, so we're gonna go into the tolls now we're going to go to photo shop and an under photos, so we're going to go down and we're gonna choose foot emerge. Now you'll do exactly the same thing in library I'm your right like you go into the photo shop and there's a foot of new jobs in there, neither live room, no bridge have photoshopped foot emerged built into them. You need photoshopped that's in finish up. So what it's doing is just a little trigger that's causing photoshopped to do this. Pardon me so I'm going to click on foot emerge right now and photo shops now gonna pop up and it's going to ask me some things so we could do cylindrical if I was doing a three, sixty or two cylindrical otherwise I just use order most of the time and it will get the bland options you'll see that this three blind options here I just only keep the first one on typically speaking when you're working with photographs and you're doing a panorama you would choose on them yet removal because you give the little darkening around the edges of the photograph from the vignette but I'm not doing it does anyone know why I'm not going to turn that on it's a trick question for you what do you think? Maybe because when you distorted it pushed out the vineyard e parten that's close you got half the answer there correct s so what it is is when you do a lens profile correction inside of camera roy it doesn't their profile does not just change the distortion that profile also fixes vignette so that's actually been yet removal is part of their profile so if you have already removed a vignette you don't need to do it twice so it was a little bit of a trick question you might have no no but so the lens part files inside of photo shop are actually camera and lynn specific so these different things aaron this so so it's already done feli so we're going to click ok and now we're gonna move to these together and these air you know, full size images so it's going to take is just a little second for this to happen will fail and hopefully not fail yes question so is that is the helicopter actually ableto hold or not the helicopter the drone able toe hold that still to really be able tio do a good panorama that is a brilliant question and I'm glad you asked that because there's something I didn't I didn't bring up earlier yes so the quad copter you know the technically correct term is s u a the announced change small aerial vehicle unmanned aerial vehicle or small unmanned aerial aircraft I mean it is a lot of of different terminology now this if a is using issue avian issue a s aerial system that we can just call them drones yes it does because with the satellites what what happens is those satellites actually hold it in position so he uses that the stability there's a couple of different things going on one is you know the satellite will lock it in position if you're flying in satellite mode and so you can literally get it you can push it away and it will fly back to his position and it will hold its position using satellite thie other thing is the ones of flying with they will have gimbels on them and when you saw that little video at the beginning you might have saw me like tilting the thing like that in the camera was staying in position that's because of that gimbal so the ones I'm flying with had three axis gimbels which means that it can rotate this way it can rotate that way and it can rotate that way so what will happen is that we keep the camera stable so even if this cop was flying around on moving around like this the camera will stay very very stable you might get a little drifting they call it that when you're rotating we call it the toilet bowl effect on because you know when you flush something that goes down the toilet bowl goes like that it might move a little bit but doesn't really matter because the objects were shooting is so far away that is still going to stitch so as long as it doesn't get crazy if it was that tilting like this you're gonna problem so if you're flying with that gimbal you might have some issues trying to stitch it but if you have a gimbal it's really really going to help a lot especially for video so the videos I showed there was shot you know directly off those copters if you're shooting video you must have kimble otherwise it's going to be shaky and jell o on war bleed will not move the hearts of the viewers who will move their stomachs. All right, so now we're just stitched these together and we've got this kind of weird little thing going on now we're going to merge these layers together singing hit command e or control lee on windows and what we've done is we've emerged these together and now we're going to try and fix this distortion a little bit, so this is where we go up under the filter and we're going to grab the adept of wide angle, so what we're doing is we're just fixing a distortion first, before we worry about any of the tonality or any of that stuff, so some great things about using this tool here, I'm just going to zoom it out a little bit and change the scale, and sometimes it'll take it off the screen and if you want to keep most of that photograph and you're gonna have toe see it so you can see what you're working with, so this toast kind of course what it does is, oh, hang on escape! I've got to mention this get back in here if we go up under the adept of wide angle, it will know that we're working with a panorama so there's different modes under here, so if you're working on an individual photograph, you could fix it using maybe the fish eye effect, and you can use this for getting rid of the lynch distortion honest single image using fish eye and also will work really well for video because if you say the video is a smart object, all that kind of stuff, so but what we're doing here is we're working on panorama so just so you know, it detected that if it didn't choose panorama from there, so what? Because we can click on these lines and when we click, if we go too far, it'll turn red, meaning I can't go this far and what it will do is we'll actually enable us to fix this distortion by dragging. So what would do is we get about halfway just before the this building here, whatever it's called this is the u s bank building there, I don't know what this one is on defy just hold down the shift key this will change to yellow, and what will happen when it turns to yellow is when you apply this it will sit it too perfectly horizontal, so what we're doing is just sitting in horizon, so we're going to go on the other side, hold down the shift key and release and it and it's going to kind of set the horizon it looks a little weird there. I mean, I could kind of rotate the whole thing and we can do that later if we want there's other things you can do with this if you get areas up there that a distorted, even click and that will strengthen them see that so we'll automatically straighten these photos so you can go through and start to play around like crazy and adding tonnes in times of them, which I'm not going to do, you know, I should probably add another one there, so you can go in and you can start to fix him like I could fix that building. And as you apply these different things will warp and stretch this photo to straighten up those different areas. Now it takes a little, you know, just doing this basic horizon like you did is very easy, but to get in there and really get good with this, it takes a lot of practice, so you want experiment a lot and you know, it doesn't work, and it doesn't look right it's fine, you can always hit the escape key and go back and try again, or you can hit the option key, which will turn into a reset, and you can reset it and try again. Andi also, you can click and drag on some of these. You can experiment thes and move them around. But, you know, this is a great place to start, and we can click ok, and I can get rid of a lot of the distortion player. So if you look at that, you know, before and after, you know, the after I think looks better, I think we would all agree. S o the next thing we could do is we're gonna crop this down so we're just going to click here and grab by corrupt all now we could crop a ll the stuff out completely, but we're not going to I'm gonna carpet down about there, I don't care about that distraction this is part of it I'm looking here like maybe it should start there. So what you're doing right now is looking compositionally when you're cropping like what really matters, it was a photo what do you want in the photo? This is this is like, you know, I'm not worried about these areas see the transparent areas not really too worried about those right now, I might bring it up a little bit though just compositionally speaking and maybe a bit more because I kind of like these little ribbon kind of things here, but I don't want to go too far, so you know, we got a little transparent that tough doesn't matter make sure that you've got to this haunted the leak crop pixels so we can actually delete those pixels we're not going to just crop it and preserve those and so we've got a crop, so what we're going to do now is full of these gaps super easy at the control key command key click on the layer and it will select all the visible pixels so we want to select the non visible pixels so we just select in verse or command shift I we're going to select inverse here we'll do it this way so you can see what I'm doing and so what it's doing now all it's doing there's a little bit there is a little bit up there a little bit there and it's selecting old the transparent pixels so we just want to fill those up so before I do that what I want to do is I'm going to choose modify expand because you don't want to be doing it right on the pixels went a little bit of an overlap so you've got a little smoother transition there and I'll just grab it by say four pixels and now it's expanded you can't pardon me really see it but now I'm going to do content aware so that's just shift the lead ship back space on windows going to fill and we're going to choose content away phil so we're going to click ok and should do a pretty reasonable job of filling it up there we go control d and then we get so we've filled in those get sometimes it works really well and other times you might have to do it a couple of times maybe used a patch tool or you know clones stamp if it comes down to heavy lifting and really clean it up but I'll be honest with you probably ninety five percent of the time content when filled does what I needed to do right out of the box so they would go so we've been out you know, stitch these together we've got rid of the distortion with cropped it we've got rid of all the transparency and now we're actually ready to start working on the image so we're going to go into felt that we're going to get a camera rule filter and I think this is such a better example than the first one I showed off the adjustments and I'm going to do because the first one that actually looks pretty good right at a camera that when I did from the air with the sunset so this one here I'm going to show you the basic adjustments that I'll do sometimes apply around the color temperature may be warming up a little bit and then we're going to go into here so I'm going to do the highlights I'm gonna recover the highlights of that in the sky there started we covered that a little bit open up these shadows a little bit so we're just kind of saying ok, what is it we want to see as faras detail? You may sit your exposure first you may not you know it depends really I can't do that I mean we buy exposure up just a tad and him from here you know it's a balancing act between exposure highlights and shadows. So what I always do is I start with those three, and what I'm trying to do right now is I'm tryingto just revealed the information. So it's, like what details we want to see in the shadows, what details we want to see in the highlights, you know, that includes recovering skies or opening up those dark areas. So what we're doing right now is just simply revealing the details that we want, you know, it could be two washed out or whatever. It doesn't really matter at this point, because that's, when we go down to the whites and the blacks so the whites and the blacks what they do is they sit the hard black point and sit the hard white point just like working in levels when you use the black and white slider and levels, they work that the history of history graham's up here's a little gap there tells me, there's nothing in the shadows. I looked on the highlights. We've got stuff on the highlights, here's a little bit of a gap there, which is obviously where it clipped in the sky, and I pulled it back and I recovered in a little bit. So, you know, we could push that back if we wanted, but what I'm going to do is I'm just going to the black point, so if I hold the option key and I click and drag, you can see you get this clipping here that shows you where things are being forced to pure, black says is a quick way to work with the history graham's I'm going to go there just to some areas of stunt had black there, and you see now that's put the body back into the photo because it looks kind of without blacks and looks like you're looking through a dirty window. And when you put those blacks back in it's like, just pulling out a squeegee and cleaning the window, putting, bringing the contrast back, so those are the main adjustments and we're gonna do a little clarity on general little punch of clarity here. Just what that does is it takes the midtown contrast and basically create you know, when you create a curve you want about curves, you create a nascar. For contrast, mid tone contrast is like just taking a little snippet in the middle and creating a little whisker thin there be kind of like that, and in vibrant we're getting of vibrance, a little touch of vibrance. Just to bring back some of the color especially in those areas that were previously blown out, I find sometimes recovered areas of shadow and sometimes recovered areas of shadow can have too much I'm saturation but recovered areas of highlights tinto lack in saturation so that's why I'm kind of using the vibrance rather than saturation to saturation moves everything across the board vibrance looks in areas that are already saturated and preserves those and areas that are not so century or not so much color boots those more and typically works really well with skies if you look you see the blue in the sky will be affected more than almost anything because it's uh this kind of help works there, so you're pulling up a little bit more you see these little red dots appearing here that just means it's clipping here in the highlights see that says not an artifact in the photos, so if you wanted you could pull back the highlight of a little bit, recover it a little more if you were worried um and that looks pretty good, so I'm just going to click ok and apply it and then we'll see the before and after right there let's have a look here before and after this you can see we have opened it up a lot we've done a lot of kind of cool things to it so essentially that's that's the work for but then there's all kinds of crazy stuff that you can do after their, you know, like color toning. And I love to do stuff with values a lot, so play around with curves or maybe even, you know, he's, just a real basic kind of a thing you could do with color is I'm just, you know, you could put a solid color over the top of this thing if you wanted. And let me just do that because there's a little trick. I do sometimes, and I'll changes to keller blend mode. Now pull us all the way back to zero, and then just maybe just put just a little caesars that slight touch in there before and after, see how it just gives it that nice little golden glow. A lot of time I like you have curves and stuff, but we don't have time. I talk curves last year photoshopped weeks. If you want to know about curves, watch that one, but this is a quick way to add a little bit of color feel to it.