Removing Lens Distortion for Panoramas
He has a shut from last year's us when we were creative life san francisco and this is as flying off the roof there and there's a few of us waving and see it's I'm spying on you know I can you know I can totally make out who they are you know it's it's ridiculous anyway so it's just a look at taking an image I'm going to start with this one here so this is a d n g image that I shot directly out of the camera and it's another thing I do do you want to bring to mind we shot this in the middle of the afternoon see the quality of that and in this one here I shot during magica so much better, right? And as this is un persist, you know, so good lighting still applies you know if you're not going to go out if you do landscape stuff and you're not going to do landscape in the middle of afternoon why doing a quad copter because it's, you're not going to get any better photograph you know it's it's still about lighting is still about magic black you know when you get that golden hour, everything...
looks better from any angle, all right? So what we're doing right now is it's a d n j and I'm just opening this up directly inside camera roy and this is s o creek area I think that's like the ritz carlton or something down in southern california down my area so there's a few adjustments that we pretty much due to every single image now one of them is optional and that is getting rid of the lens distortion because as you can see, there were these little cameras to get this fish I effect so some of these are working camera bro sometimes I work in light room and I'll get babies and ford's even in this class will probably be beneficial most of the time I'll be honest with you, I work from light room just it does the same thing, you know, his camera, roy essentially for what we're doing here, but the library just is great to have the catalogue and have everything there and indexing and all that stuff is much better, so one of the things we'll do is get rid of the winds distortion so their arm lindsay profiles built in. So if I click on here and abel linz profile, your notices selects a t g I under here and we've got the phantom vision here and the vision and a vision plus a using the same profile so as you can see it soon as I did that it guarded in the lands distortion now if you don't like it like some images look good with the lens distortion and sometimes I like that affect a little bit other times you don't depends on the image and sometimes what you might do is actually go in here and reduce it a little bit so you can change the correction amount manually here see that so sometimes what I'll do is I'll start with the profile maybe back off a little bit because what it does is it stretches around the edges sometimes it looks a little weird and when you do that what you might want to do is actually go in here and just create a preset and would call this distort and on and actually encourage people to do that a lot is just find the land's correction that works best for you and then just say that is a preset and then you can come back and use that apply that any time is a starting place and then you're going to do adjustments you know? The first thing is probably going to do is you're gonna do a white balance adjustment and you'll see here you know, we've got all the options here because I shot in d n g ross I could actually choose the different white balance settings here I'm officiating inner j peg those options and out there and all you do is just got pia grip eyedropper look for an area that should be neutral white click on it and or gray and that will given of that color distortion this is kind of a yellow things it's not gonna work click here on the rocks I'm looking for something gray there we go and so you just kind of click through there zoom in maybe find an area mutual great roads usually work quite well and I'll give you a mutual shop in this case it's magic hour and I kind of like that little golden kind of look on it so we could actually get back then let me just go back on here has shot and I'm just going to keep that because I kind of like it on then there's things that we always do on here like one of the things you want to do is immediately has recovered your highlights you're going hear you recover your highlights a little bit open up your shadows now one of the things about doing it here versus working on something like a full frame you know, twenty megapixel image is that, you know, like kind of five years I mean just don't and you can really push it and not really worry about it too much in here because you got the smallest sensor you've got to be careful because if you stop pushing things too far you get out affecting so you would be a little bit what gentle that's kind of like you know and enough any of you remember some of you will remember the days before we had really good digital cameras and, you know, we would take photographs and may be scanned the men on this tough scanners and stuff like that. So the kind of leniency you have with the photographs is a little bit more like that again, you can push him a little bit, and they look really nice that you push him too far, and they stopped looking nice anymore, so they're a little more fragile than maybe what you used to. Unless you're used to working with good pros all the time, then what matter? So we go here, we can change that contrast, which we can add contrast to reduce it, which will, you know, just make it look more snappy or less snappy. It's more of a creative option here, and we said that whites and blacks so, you know, just essentially up here we can see we've got a big holder and the black so there's no shadows, we just move it over there, so we start to put some shadows and it gives it a little bit of body to the image. So generally speaking, these are the adjustments that pretty much always do, and then the other one I always do is usually give it a little kick of clarity, not too much and a little touch of vibrance and in this case, ill leave that they're so these are the basic adjustments that pretty much every photo and this case was good because we've got really good lighting, so really didn't have to do that much with this one, but a lot of the other ones that you'll get, you know you'll see it's because sometimes they can look really flat and they really need to be pushed to bring back some of the some of the strength to those photos. So that point here we just click, you know we can open is a smart object or open it is an image, and if you had the shift key, that will toggle between an image in an object and weaken just up in it. And so you know what, here's a photograph here? And I think I've got it going is a smart object right now, so what? I'm going to just I'm just going to right click on here just for fun even though this will work is a smart object, I'm gonna rest arise the layer because my next session, I'm doing a smart filters, so I'm not really going to get into smart filters right now, so here's a photo, you know, it's looking pretty good, but I want to show you this one plug in that I use for ariel stuff, and it just works like major league co for this. Some unis says this one no, I'm sorry for how many windows uses? How many of you guys windows users, mac users. All right. Sorry, windows users you left out. But for the mac it's called mac fun. So the name kind of tells you it's for for mac, and it could intensify pearl any you hit of intensive piper. So this is just really, really awesome for aerial images, because what it does is enables you to really pull out the detail in the texture specially you start sharing on social media like atop of you, put this thing out huge. It looks awesome, but you've got to do that to see the detail. I appreciate it. You start sharing this on facebook, people can't necessarily see all the details in the textures. So this is a plug, and I just absolutely love for it. And it's got, you know, we can create presets. I've got my own process actually made one this morning on this, because I think it's called a perfect ariel and you can see there what I was able to do, just moving a few sliders. Um, you know, versus just let me recently go back and show that the slight is that really mattered for this under the adjustment is you know, this does a lot of things and we're not going to go through the whole thing. I'm just going to show you the two areas that matter is pro contrast, so we can actually adjust the contrast individually. So you've literally got these sliders here, which are like the clarity slider in camera royal by this, but I'm making me a little more options. I could do the highlights here, and I can pull this up notice you can see the color and stuff coming back into the rocks, I could do the mid tones and I can do the shadows and so we can open the shutters up, but then we go under the offset and just fine teen these different areas here, and just so what we're doing right now is just sitting over all tony's if I click, you can see before and after seeing how much richard, we've laid a lot of color, maybe a little much in the midsize, bring them back a little, and then the other thing I'd like to play for a structure structure here is we're able to bring out some texture and some details in here, and the details will also do that, but let's, if we look into here in destruction notice, look at the sand, the highlights like this, it brings out their texture in a detail right there so if the midterms, we could do that little bit, a little in the shadows. And so now look at this before, and I have to see how much detail you're able to bring out here and his other settings. But I'm just going to click apply right now to apply this, and I'll be honest, it's, pretty much the only at the moment, the only plug in. I'm really using a lot with ariel stuff, because this just conduce, um, really nice things with it. I don't use it on every image, but I just put it was worth mentioning. In case you do want to get a little bit more out of there because of the limits of this answer, sometimes you need a little help.