Post Processing Drone Panoramas
Let's go into processing a panorama. So I'm gonna go into my leapt up here right now, and I am going to create a panorama right here. Sweet. Okay, so here we are in adobe Light room. Now I use three tolls predominantly is light room and Photoshopped and Premier Pro. From my video, you can do some video in Photoshopped as well. And I actually have a course here in creative live video and photo shopped a whole day. If you want to learn about that, check it out. And so what we're gonna do here is we're gonna create a panorama in side of life room. Let's start with the light room. So what we're going to do is see this shot here. This is the very same shot we did right there. That is the shot. See that we're in Hawaii. So that was a different shot. Someone around notice they're not even level sometimes. Doesn't matter. Light room is really good at that, But there is one little key you have to do. I'm going to select all these images and what I'm gonna do, So just right. Click and make sure ...
just to show you I'm going to choose the developed settings, and I'm gonna choose Reset some recent in these photos. I've done nothing to them right now. This is what they look like directly out of the camera. This is where you will be starting. Okay, So the first thing you need to do is get rid off lens distortion as we're progressing later and we're getting the newer lenses were not getting as much distortion. If you're using a GoPro, you definitely need to do this. The earlier phantoms and sometimes when they get a little wiggly, you need to make sure you get rid of the lens distortion. Otherwise, they won't stitch. You know what I'm talking about? Like they bulge a little bit. You want them nice and smooth. So I'm selected all of these images, and I'm going to get into the develop module. Fortunately, it's really easy to do this because Adobe has been working with DJ I to create lens per Faus. So if we go under lynch correction and we turn on enabled perfect correction, it doesn't automatically. It sees that this was shot on a d g I Phantom three and you can choose the different types of cameras. You profit familiar after your canon and Nikon on your Sony, your Olympus and your Pantex. And we can go down under the model here, and you can choose the model off the Dern and that will automatically fix that distortion. And if you want, you can get rid of the chromatic aberration. And the other thing it works really good on is the, uh, around the edges that have been yet you'll notice the wider lens as you get a little vignette ing and it's just pops it right out. So that's one I've taken one image, and I want to make sure see, those images will selected there five of them right there. I want apply that to all of them. So I'm just gonna choose a sync button, and I could check non article that if you want to just take none, you can see what we want here. Is that lens correction was just gonna be up here. Boom. So I won't apply that to all of them. But honestly, most of the time I just leave check all turned on. Unless this I want to specifically copy one attributes like sensor dust. I want to get rid of that one spot across all the pictures. I'll only do that. Nothing else. But in this case, do that hit Synchronize and Pau. Now it's applied that lends curse until all those selected photos. In fact, if I had a whole folder of photos from my Phantom Free, I would just synchronize them all. Just be done with it. The whole folder on one hit very easy. All right, cool. So now we've done that. We want to put these together. Let's go back to the library panel so you can see it a little easier. What's going on? Even I did make these thumbnails humongous. So there they are. Selectively. Want a stitch in to get it? So what we're gonna do is right. Click in the middle here and in choose photo merge panorama and you could use control shift as she reduced. Control em to do it or control shift em. If you want to do a bunch of them in the background, you could actually have them processing multiple ones at the same time known as headless mode. So headless mode means you can run it without it having to bring it up and take of your screen. You could be doing like 10 of them at once. So when I'm doing big panels and HDR panels, I'm doing a lot of that stuff. In fact, I have that little palate. You have seen the little palate thing. It's like the little buttons and slide is the stuff that fun. And I've got like, a button, and it's like a video game button. And I have that said to that keyboard shortcut. And when I lined up, I just slammed that button, and that's what I do. I select them and I slime that button and I select him. Slash It was fun, and it's moving my panels together. I love it. You got a damn if I things a little bit. You know, games are not just the 12 year old. All right, so here we go, And but, uh, see how quickly it did it but hasn't actually done it yet. This is why I love using light room for panels. When I first heard that library was gonna do panels, I was like, There's no way that live room is going to do panoramas get I'm just gonna keep using fundamental photo shop to get it. And I start doing this. I'm like, man, this is great because you can put it together like, instantly. It's not stitched it. That what is doing this? Giving me a preview. Photoshopped can't do that. You got to stitch the whole thing to decide if you like it or not. And then change projection types. Forget about it. So here, you can do it. But typically, speaking spherical always works political. Stretches them like so, um, no, I don't like that, son, if it game okay, perspective never works, so don't worry about it. Um, not for drones stuff. They do other things. Just prefaced actor. Somebody's gonna be like, Dude, I used perspective all the time for May, um, architectural shots with my camera. Yes. All right. So order crop. This is what a panorama actually looks like. These little wiggly things that looks like remember the globe. You know, when you stretched out the globe, it kind of looks like that because it's wrapping around. That's what those photos look like when it's stitched together. Right? So you can crop those out. Um, and we can just hit order crop animal do for you now Sometimes you do order crop It gets too small Like maybe you wanted more sky. What if there's something really important on the edges which it is not noticed? I do a little ever let give myself a little breathing space so don't another tip Don't shoot everything right? Hide up against each of the frame. You can crop it out later. So here's the thing If I turn off order Crop is this think will balance the warp now basically have you ever got like remember that silly putty you haven't like And you had stamps you could stamp under the silly putty is even done them things like that drawing on it, you know And then you get your kind of stretching it out Come, you can do the same thing here Inside of light room is this thing called boundary work? Someone was playing with silly putty when they were young And take this out I conduce and will stretch the whole photo and I can take it all the way up to literally I'm losing no pixels and as stretching that whole photo to fit their and I'm losing nothing. So you know, sometimes you want to do that. Sometimes you want it depends is getting a little bent. You know, sometimes you find a compromise in the middle, sometimes your crop. So these air tools that you're gonna use at your discretion now this tool here, the boundary work is Onley available at this point in the process. The minute I click merge, I cannot go back to boundary warp without merging again. So that's a decision. You want to make it that time just for now, just for fun. Even though I kind of like that, I'm just gonna not do it and we're going to choose merge, and I just want to show you something here. So it's gonna merge. Now, here's something that happens in here. When you're doing light room and you've got these images, have you ever done it and you're merging emerging panels emerging hdr You got 50,000 footers in there? You're trying to find it like where is it like in your scrolling around trying to find it? Here's a tip changed this from capture time to added order, and if you do add it, order the new one is gonna be the very last one at the bottom seeking Always find it because it was the most recently added. All right, so you can do that. Now, if we click on here, we can go into the develop module. We could make this look nice, but notice it's not crap. You can still grab that crop tool at any time and constrained to image. See, that's what it was doing before when we were doing the order crop. So another way you can do this to actually, right click. I'm gonna edit this in photo shop, but I'm not just gonna eat it and foot a shop. I get it. It is a smart object and photo shop because if I entered as a smart object in photo shop, it's gonna maintain its ruinous means. It's still gonna be a raw file. So here it is. And here we are inside of photo shop, and we're looking at this so there's another tool that I can use to fix this more. And it's amazing that this tool works on a smart object. Let me show you the layer. You can tell us a smart object cause it's has that little icon there. See, that means it's a smart object. Nondestructive still a Row five. If I double click it, it'll take me into camera Roy settings and here exactly the same as the ones in light room. So I mean, just clean up a little bit. Let me just brighten it up. Let's do a little white balance is making a little warmer than we dio. It's open up. There's highlights. Now I push recover the highlight. Sorry. I pushed the highlights a lot very, very far to the left because there's a lower dynamic range of some of these. The Phantom for Pro has a higher dynamic range, but you want to try to recover some of that sky detail now. Don't take the shadows and push them all the way up all the time. Sometimes it works, but be careful. Push the shadows too high. It could start to look really faking bad. So I'm going to do that. Whites see the hissed a gram right there. I want those basically at the start finish in the history. If you hold down the out or the option key, there will also show you where it starts to clip. So we're just gonna go there? I want to open up. There's highlights a little bit. I want to get those blacks option key Boucher when it starts to clip so that we get have added a bunch of contrast. So, you know, maybe I'm just going to do that. Maybe I'm going to doom, or, um, you know, this is not really a light room course. I'm not gonna go through every single sitting in light room and I don't think you want me to. Uh but essentially, a lot of what you're gonna do is in the basic panel. Now, one of the things is, you know, you look at all these adjustments in this basic penalties. Only a couple of things to really think about this 1st 1 is color only changes. The color doesn't change anything else. OK, then we've got exposure. Forget contrast. Exposures. Brightness makes a brighter or darker shadows and highlights those of recovery. Slightest, you do not use shadows and highlights. To make things brighter or darker, you use shadow and highlight to bring out details. If the highlights are blown out, you use highlights to bring back those details. in the highlights. If the shadows are plugged up in dark, you use the shadows toe Open that up. So what you're basically doing is increasing the dynamic range in your shot dynamic range is the amount of shadows and highlights simultaneously in the photograph. So shadows and highlights here I'm quite aggressive news. Flash these air. Not now they're starting to be. But up till now these are not as good a senses and lenses as you're used to having on your $ DSLR. You have to wrangle these pixels pretty aggressively sometimes to bring out a good shot. Look at your picture. Don't look at the slider. Don't get intimidated cause you push the slider a little further in my own man, I pushed e No, don't get hung up on how far you move that slider. Get hung up on what your photos looking like. If you have to push the slide all the way, push it all the way. No one's going to see you. You know the purest will say, Oh, he moved this like who cares? No one looks that they put yours anyway. Like have you ever gone on Facebook and YouTube and the trolls of people and you get a look at the gallery. Seriously? Did you know, like, the people that actually good artists do not like, say that looks like crap. They will offer constructive criticism, but they're not gonna like taking. And if they do, you know what? There's a little button called Unfriend. Sorry, I don't have time for trolls. Do you mean so? Move. That's like as far as you want to. I don't have that little nagging voice in the back. Your head so you can't do it. You can. You can do anything you want. Okay, so we've done that, and now I'm gonna click. OK, we can apply it. And so we've got that. They're now, let me just recent my workspace because it's complete. Miss, I have this one called photo editing Minimum that I use, and I just have almost nothing there. That's how I like to work. Um, so I just used the layers, properties and brushes, panel sometimes, and library. All right. So control zero will make that fit. The screen control one will take you to 100%. You can also get the same way by double clicking on the I or the hand so that hand will make it fill the screen. So make it fill the screen, have a look at it. See, it's nice because, um, we have warping going on here. Let's fix it. So we're gonna go into filter, and we're going to use this thing called, um, nothing, because I'm not a filter menu. So we're gonna go to this aptly named Adept of Wide Angle. This definitely is an engineer who named this. I mean, I could have called it a party tool or something like, way more exciting. The net. Okay. So anyway, what we want to do is we're gonna change this. Sometimes it works in Panorama, and sometimes it works and fisheye. Why? I don't know. So we're gonna take this scare. We're gonna go down so we can see the whole image. This is important that you see the whole image you can grab this little handful thing to do, but over. So you want to see the whole image? This is the panorama. We want a kind of straighten a little bit. So you got this told school to constrain toe or the tool that's I'm buying to fault. If you don't know what it is, it's the one that's gonna be selected when you open this. So what we're gonna do is we're gonna take it from the very corner and now we want to drag. It's about the middle. Not Is it kind of bins a little bit to bend with the shape that's going to straighten it up. So if I release this is gonna take that little bend and it's gonna straighten it to a nice straight line. But there's another tip. If you hold down the shift key to things gonna happen. One, it's gonna turn yellow. Yellow means it's about to do something. And number two if I release, not the shift key. But if I release the thing that will strain it. Animal Set that to a perfectly level horizon. No, you want to go to the other side? Grab it. Now make sure this lines up. Otherwise you're gonna have, you know, Panama, Panama, come out better. Panama Canal. It's a tongue. Twister never knew it. And I hold the shift key and now it's gonna level it. And both of those are gonna be level at the same level. And, um, you know, you look OK, bump. So now we're starting their horizon. Sweet. Okay, So what else do we want to do? I think it's glaringly obvious what we need to do here. We need to crop this down and get rid of all those transparency is now. As you saw before, we had the opportunity to do that in light room. And that's great. But this is a little bit more advanced when you want to do a little bit more manual work on here. Get rid of the distortions in those kind of things, which is what we're doing that we move it moving forward. So we're gonna grab the corrupt first thing we want to do is we want to crop. But before I do because I know I'm going to do something later. I am going to now change this from a smart object. Don't need to be in a smart object anymore, because I really did my ruinous. I really did my adjustments, right? So, no, I'm just gonna change it to pixels so I can wrangle those a little bit more aggressively, so I want to right click and I'm gonna choose rast arised layer, and it's no going to bake it in notice. We got one layer all night. Sittings air there. We're gonna crop it. Grabbed the crypto seafood crop and just drag it down. Make sure we sit here. Does it clear? I don't want anything constraining it. And then we're just gonna drag it down. And what we're looking for is something that's going to corrupt into here. Nicely thinking there is good. We get some little edges there. No problem. No problem. I've got my composition. That's what I wanna crop. I'm gonna hit. Enters can apply the crop. Now we need to fill the gaps. Anyone been to London? Mind the gap. All right, so what we're gonna do is win. Isolate the transparency the way distillate. The transparency on any layer is to kick down the control key on Windows Command key on Mac and click that thumb. Now, boom. Now we've got the selection. That's the transparency command shift. I will inverse this. So now we're selecting just the transparent portions. So with these transparent portions, we want to have a little bit of overlap. We don't want to have seems so. What we're gonna do is expand their selections. We choose, select everything to do selections is under the select menu. And if we want to modify that selection, we weren't going to the modify menu, and we're gonna expand their minds by five pixels and click OK, Now, we use Adobe Magic shift, delete or shift backspace on windows. We're gonna use content aware fill. So because click content where And, uh, we've filled in those gaps and we've now completed a panorama and it's 16 16 bit file.