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Student HDR Example

kind of overdo it is. We're gonna try and looking good anyway. But the purpose is to go through this whole sequence again just to kind of make sure we know we're talking about, Okay, Drag. Just just drag him into the dock for automatics is in the dark way. Get Okay. I stuck it way. Okay. My God. Right. So where do you think when it's changing thing here, kind of a key. The key step here is we've got a person climbing up offense, so remove ghosts is kind of essential for this one. That's too long. Um, we've gone through it previously. So thes air kind of my default settings. Unless to be any specific reason to change them. I kind of run with these settings. Eso Yeah, just hit the pre process. But have a quick question, actually, is coming from a chat room that I also question, Do you use presets or do and make a preset within Votomatics for all the sliders that you know, you always it. And how many of this lighters would you adjust? Like any typical here for that? Would you go through? ...

All of them? Might do. OK, Um Typically, I wouldn't be changing the Black point slider because normally I don't want to clip any of the shadows. I do that in photo shop again. It would depend. Certainly all of the top states. I'm going to scroll down on it. Yeah, Um, probably the gamma. Probably the micro smoothing. Probably the saturation shadows and highlights. Maybe the shadow smoothness. So most of them. But it would depend on the image. Okay. And some, if not all of those would be. You could accomplish that in photo shop as well, right? All of what? Those sliders on all? No, because you can't. You can't. Very The tonal range, compression info. Chocolate you can alter black clipping and things like this. What kind of shadow smoothness is is taking out some of the contrast and kind of making a little bit more natural. Um, so, yes, you could kind of do that photo shop, but I try and get reasonably close when I'm kind of taking the picture. OK, Right. OK, so here we have your picture. So to seeping. Zoom in on, see if there's any movement. I suspect there's almost banged Baidu. Oh, that might be It's not really noticeable, but I would suspect thats kind of minimal movement because you're shooting manual. It must have taken, what, two or three seconds to take the sequence? Yeah. Yeah. So if you imagine you were taking a two or three second exposure, is he like to move during that? Probably a little bit. Almost inevitable. So do you have a go? Just kind of click and draw Rendon, including a shadow. You could Yeah. Yeah, my missing. I think I got him. Yeah, you're getting okay. I know, right? Right. Click with dotted box on mark selections goes to the area on, then previewed it. Note, you know, already viewed de ghosting. Let's see if it makes a difference. I do not like difference. It's telling off again. He's like a statue. Yeah, you got ninja skills. Good. Yet I suspect this a minimal actually. Look at the edge. Look at the age of his jacket there. Watch Softer. A little bit harder is mine. And you did a really good job stand so that you get the staying still prize for the weekend, right? Put him. Yeah, yeah, yeah, a case. Um, yeah, I think I think That's a very minor movement. There were nothing serious. So anyway, it's worth doing because I do think kind of sharpens up a little bit. Right, So almonds. Okay, so when he says extracting ghosting information, it doesn't mean it's kind of taken outfit. What it's doing is it's trying to pick one of the original exposure sequences to slot in in place off kind of this blurry, blurry stuff. Although you're right, it wasn't very blurry. Yeah, that was a good job. David, Do you have any books or websites that you would direct people towards for working with Somewhere I was suggested by mind Book on practical HDR, which is based on folks Matics kind of one. The reasons I wrote it, I didn't much. I'm not going to comment on individual books, but I kind of found there are a little bit patchy in terms of the way that covered every aspect and stuff, the stuff that's not mentioned in my book. But I do like my book s, I would definitely recommend it. I've also got summation er tutorials on my website as well, so people sign up for those kind of need updating because they're using an older version of Automatic, said the interface is slightly different, but the site exactly the same principles apply. Um, there's a lot of interesting people, actually, I looked like Trey Ratcliff. Ben will more. Ah, whole whole raft of people. But I prefer my book to everybody else's. But I wrote it. Some been to say that I asked, asked people online, Can it? Well, I'll ask them how many of you read my book on? Would you recommend it? So, for the answer is yes, but we'll we'll see. Anonymous says Right. So here we are. We've got our 32 bit HDR file and then just kind of hidden away in the shadows name. We've no deterrence guy, so, um, we won't save it. This taste just 1% of this machine anyway. But this would be the stage where you save it is a dot hdr file. Um, yeah, If you go well, actually, I'm wondering no, because that's not the right one. That's kind of for the other image that's open on. Oh, right. Kind of start again. I just mess it up. Other is right. It wants that. So tone mapping. If you go, I guess. A little bit confusing. And you've got Yes. That's not looking Too bad a tourism. If you've got more than one image open at once, you have to be careful which palette goes with which image in Votomatics prokes be dragging the sliders about on your actually affecting one image that you can actually see. So just bear that in mind. Uh, yeah. Get the sister around. Yeah, Cold history kind of pointy hats history. Okay, so I'm gonna ask you, I guess for a little bit of advice as I'm going along. OK, well, let's let's go back to Let's go to default. First click, click the default button on. We'll go to something that looks a little bit more natural, Right. Okay, so we'll start to look a little bit. Kind of more like a normal photographic there. I'm all right. Let's show we just sing out a little bit. Let me get the whole whole image in. Yeah, I got a whole thing, that discovery of axes that were useful, right? So we've got something that's reason natural again. This would have been quite difficult to do with single frame. It wasn't hugely bright out there. But you can kind of imagine the detail down here on the sky was quite bright. So what effect you weren't gonna want to go for? What do you want, arterial? Not surreal. Right? Right, right. We don't. You don't I don't want some right photo Realistic. I mean, I think that's what we're doing. Okay, say that you didn't like that. Not so much. No, no, it's kind of a bit. Gordy isn't really right. Run back to default. Actually, let's just take a minute to look at these presets. Now, we'll give you this. Come for second on. We've got a variety of things you can click. So we looked at the tone compressor, So we've got the standard tongue breast of settings. Especially, quite nice. If if you're going for kind of the criminal element of the war, Look, that's not too bad Anonymous. Yeah, yeah, yeah. On the enhancing default is kind of one we've just been looking at on. We look to enhance a grunge on Kind of a mismatch. Here. You've got buttons that say surreal on you Got a preset that says grunge. But basically, can I say crap online? Basically they're both bad in the do kind of the same sorts of things. It is this very over the top, over processed, you'll notice kind of hail owing around the chimney and along the top of the wall. There, this kind of some really odd stuff going on around the wire along the top of the fence colors area was saturated. This is kind of too much detail on it's not very nice enhancer painterly. On the other hand, if you kind of wanted to creates and then edging towards surreal on but not Bette, not quite. Certainly not grungy is grunge enhancer pain till it can be kind of regional place to start now. All these precepts of doing, obviously, is setting thes sliders over here, so it's kind of moving these arounds. If I click grunge, you'll see that luminosity jumps right up to 10. Quick, painfully, the luminous to goes down, but the strength stays at 100. Always I click default. It goes to the folds. They're not very useful, but kind of if they can be useful. If you're looking through when you think well, actually that's quite close, you know. Let's explore that so kind of, you know, enhance a smooth is probably gonna bay. Not quite enough, I'm guessing. Would you a bit more effect than that? Yeah, maybe I feel like I Well, maybe just cause I was looking at grunge and painterly before that, and I'm associating them because I look at that and I think each year Yeah, that's absolutely not what I want. Right? So let's look, perhaps we use this is a certain point point. Yes, right. A good reason to use. Yeah. Yeah, you don't. You wouldn't use the presets to get thin. Result on kind of. You can't. You can use the presets, but you don't understand. This slide is you can't and moderate effect, which is kind of what I started with sliders that's uses a starting point. When I want to do now is bring up your history and again because I suspect it was almost some highlight keeping not quite kind of. You kind of see up here on 20 donors and enhance a smooth a set strength to 80 color saturation amid value. Luminosity is positive value, but not totally high detail. Contrast is reasonably low. Kind of a mid range lighting adjustment. It's smooth that you were saying about the sky. So what? Right. Yeah, if I could actually get hold of that slider. Oh, yeah, yeah, yeah. That's for the lost highlights coming from. Yeah, so kind of way. Find a little? Yeah, kind of. I think it needs to look fairly bright, but it doesn't. It doesn't want to look like that, because visually, this is kind of one of the things we're talking about yesterday. The brightest area of a shot is the one. Draw your attention. So you kind of immediately drawn to nothing in the middle of the sky at the top of the image essay writing your spokesman slides? No, no, no. This is especially chilling out resting for a minute. So drag that down and then let's check Lance, I want to take a little bit more than I would. I was thinking about 70. Looks a little more. Yeah, because you kind of get the definition on if you drag it all the way down, this guy's really flat, right? Just kind of know what? We're okay. So on already thinking ahead to folks, shoppers? Well, right, because kind of we need a bit more brightness, a round figure and maybe a thin yet because it's kind of about him at the moment. It's kind of about the structure on the bright sky. I feel like there's sort of flat all the way across the Maybe because I remember that we had black and some shadows down in here. Yeah, yeah, But that that studies to do. Fact shop is exactly the same principle as your shot from yesterday with ball, right? That this time, probably when I start with this is kind of a big, sweeping vignette around the edge. Kind of again, if we think about in terms of lighting, take them being down, pushing lines him, then maybe just bring up the middle of that section of the wall there to kind of pull a man right and putting that been yet on here. This highlight up here will Yeah. Yeah. She died in its corner. Yeah. Yeah. So you kind of don't need to worry about not too much of this, Ted. Right? Okay. Okay. So what else do you think? I am hoping that you're gonna tell me what I should be thinking. I can't tell you what you should think. I'm hoping you'll suggest e actually think in terms of what you said you want to achieve. You're actually quite close now, which is kind of why you dithering about it. But I don't think there's much more to do right if you're kind of going for a photo realistic result. What you've done is you've used a set of settings that are fairly conservative on your tone, down one of the conservative settings, which was the smooth highlights because he ended up, it was kind of more natural. So folks in it in a photo realistic sense, having the very bright skies fine right. But it doesn't fit with what you want to say with the image in the end. So it's kind of worth turning that one down to bring in a more on natural sky because he kind of getting a flatter, flatter, top of the image. You get more detail on your eyes, not kind of sucked in the top right corner, right, And like I said, I would like to darken this up here, but you said for the shops, what better place to? Well, you can't you can't do anything like vignette ing and for automatics pro. There's no option to do that. So what you're trying to do is get to a point where you know that you can take into folks shop and make any further changes. And we don't have any clipping here. You get a good range of tens. You can tell us well that you've ended up with fairly natural result. Because of this diagram, you kind of know this twin peak of stuff again. Eso kind of now the sky is that peak on the right. On everything else is a peak on the left. When it's when we first opened, it defaulted to kind of kind of like witches hat right, it right. And that would be a typical over the top hdr instagram. So everything has been shoved up into the middle and then distribute equally down the sides. So that pointy if you imagine it as a witches hat rather rather than the bell, shaped that really rigid compression into the middle. That's kind of the overtop hdr image andan. You could take the intervals shop and make it even more over the top. The kind of we got the dual distribution here. It's not. Get some feedback. Does that look like it looks more natural? Image imagined doesn't. Here. It's kind of got a slight edge of something different about it. But would you necessarily identify that as an HDR? No. Could we have shot that image today, not shooting next year? I Okay, let me say what I think. You know, I would say that if I was gonna try to do the shot, what I would have done was taken in the middle exposure of the HDR, Siri's. And by looking at that one individual images parent to this absolutely not. There was a lot of highlighting the upper right. A lot of chatter on the lower left. That's why we added the yeah. So what we've done in this occasion is we've used three hdr process to kind of just smooth out the light across the soon So you're absolutely right. It was very dark. What's the bottom is shadow was very dark on. That probably wasn't a lot of detail, although didn't look kind of on the face of the chimney. That we're seeing kind of in this plane on the sky was very, very flat and featureless, So you kind of bounce the image. Before you start on, you've dealt with the problem, and we can Then unless this process that night. So when you click the process bottom, I should have been a bit of a drumroll left because kind of the end, it kind of works through these settings on generates you file. Now, this one kind of looks pretty much like it did in Fota Matics Pro. Sometimes when you get to this stage, particularly applying fairly extreme settings, you could get Oh, no, I didn't work on it would come out looking different. The more moderate the image, the more likely it is to be close to what you see on the screen. So on this occasion, that doesn't look radically different. If you don't like what's happened at this stage, if you do undo tone mapping it kind of jumps you back again. But if I click tone mapping on what you'll see is the settings are used are still there, so you won't do it. You go back, you click tone, mapping you back where you were kind of jiggle it about a bit, make some minor changes on then process it again. Kind of this process it and then very quickly on my show What I mean about first shop file because we're kind of moving on certain little while anyway. So that time and, yeah, put it in your folder. Rather anything's watch out for the stage. Is this dialogue down here? It should default to 16 bit tiff tiff 16 bits if you're finished. So if you've nailed your image if aromatics prayer and you want to email somebody, by all means go for J Peg, um, or night bits. If. But if you're gonna do any subsequent editing, the kind of same rule applies as when we're talking about a CR. Leave it as a 16 minute. If Okay, let's just find the file here somewhere. I'm losing track, Andi. So that way out on so pretty flower shop instead. Can't be much editing in preview, right? So has your image. What do we want to do? Add even yet? Actually, that's just what you gonna move that way? Um, try it. So what I'm gonna do is quite big vigna at this time. We might amend it, but after his but kind of something like that on. This was a process we went through yesterday. Creation vignettes of creative selection, the middle of image. I'm going to select the inverse on. Then I'm going to kind of refine the edge. So let's just click that up to 250. Andi will have a curve. Then what kind of bring that down? What I'll do now is getting a raise change capacity to about 18%. Slightly bigger brush. Kind of bring the sky down a little bit. Here. This document. Damn on. What we do now is add another curve to kind of bright in the middle of image on. Let's try. I'm gonna load this selection now. I didn't invert this mask the first time round, but I'm doing that backwards now. So I've loaded that selection and I've got the paint buckets. All my foreground. Carter Black. I'm gonna fill that selection, so I kind of s the inverse mask with a slightly different way of doing it. Um, Kinda looks a bit. Think in tow. You can at the moment give me one second kind of the reason you can tell. I think it is too bright down then. So what we do is at round about 45%. Kind of. It's lessen the effect on Bring it off the top there as well. So you kind of can't quite telling them. Right? So what we've done is gone from the lights changed. It's kind of jumping into the middle of the illusion and we're bringing down sky. So you kind of got the photo. Realist result. Two very simple curves in photo shop on. You've got from A to B. That's great work. Yeah, that was really fast. Okay, how about you guys said that all makes sense? Yeah, that's pretty cool. Yeah, so not not again. Not difficult. Kind of. The key step is when you're working. In fact, a Matics is working through something that again on time is kind of understanding how you can use these sliders to kind of mitigate or increase the effect of the various changes that you can make. So those changes are in terms of the amount of detail you can add kind of the balance between different areas and natural sky looks have natural colors. Look on. You can kind of just choose the settings to get the result. You wanted I may have, probably. If this was my image and pushed it a little bit harder, it would have been slightly more surreal. But that's a question of preference, Kind of. What you've got now is an understanding of how we can use thes different sliders to create slightly different results, depending what you're after. So we're about ready for a break. But have you got any questions online? We dio Charlie Providence would like to know. Hey says I'm pleased with the intermediate files out of photo merge pro. Are these results comparable to automatics pro on to be a useful much prime on So in terms off quality, probably back in the early days when on HDR software first came along, the results off nearly all the private, quite poor, I think part that was doing to try to understand how to shoot the sequence and making sure you've got this kind of dark data. But generally they were kind of like a blender kind of just messed up the data, and they didn't look very good these days. Most program so wish programs that you use for your shots of New York. That was a year on. But what is it? Nick affects HDR pro Kind of. Yes, that the words might be slightly wrong on there. Yeah. Yeah, That produces very good results as well. If you're getting good results with a different software package, carry on using it on kind of what we're trying to do today. Just make sure the people in the stands Votomatics pro, mostly because it gives you a great deal off flexibility to kind of Did you find a style in there that would suit you? Kind of a bit like the ones that you were doing in New York. You got those raw files with you? Yeah, it's It's actually interesting. Normally, I gravitate towards the more realistic styles, But in that case, I think I picked one of the most serialised effects, Uh, called Granny's Attic, and it just gave me the right starting point. It was a night shot. So the surreal effects and shine through as much. Yeah, but have you got those raw files with you in baggage? If you're trying to be a photo Matics, I have not like to try that process control after the break. Oh, if you want to try it. Now, I want you to see how it compares for you. Because you saying you preferred next software because it would produce more natural results more easily brats. Now we've gone through all these sliders. I'd be interested to see whether you can more easily achieve what you had. Any minds are using Votomatics again. That's kind of what we're trying to do this weekend. These last three days is give you the tools to get from what's in here. What? What's out there now with an HDR? This kind of this intermediate step that the world clearly didn't look like that because you got this whole range of different times. So you shot your explosion sequence. But yeah, I just like to know whether you can do it now whether you can go through Fota Matics on go. All right. I understand the slides a bit better. I can now shift these and direction I want to get It's not good. That's great. Thank you. And I actually misspoke. It was Photoshopped CS five, right on. Merged pro on and, um, file automates yet on yet merge to HDR pro. Yeah, yeah, yeah, on. I don't like the results with most of HDR pro slightly better than the previous version. So the version was in CS four. But it doesn't give you a great deal of control. We mentioned your alignment. Sometimes it doesn't slightly better job of aligning if you can't do it. In fact, a Matics broke. I'm but generally the scope you have with photo shop. It's kind of like the arguing between levels and cars on. I would always use curves because it will do what levels will do. I would always use for automatic because it will mostly do what fun to matter what photo shop would do. But then it is a whole lot more as well, so I typically wouldn't spend much time if I'd shot processing. If people think would be useful, we could weaken briefly. Look at it, but I I can never find a good reason to use it. There's not one single of my HD Amish images that I've tried that works that I ended up leaving it in the ocean. Okay, okay. Do you ever have clipping your Yes, yes, but only if it's intentional. If I kind of deciding for a shop that I want to clip some of the shadow detail are blasting the highlight details then yes and okay, The way I've been presenting out of the last few days, it sounds like something inherently evil about clipping as though you know, it's kind of the last thing you would want to do. It's not. It's a creative decision, a lot my high key portray. It's the backgrounds of completely white on a lot in my Loki portrait's and backgrounds. Completely black clipping is no evil but clipping by mistake because he didn't understand that tool you were using. It is kind of unfortunate. So normally, when I export out of Fota Matics, bro, there won't be any clipping I didn't clip. The original exposure was shot them on. I choose not to clip point export from Fota Matics Pro if I want to have some really dense black clip shadows in the shop, I would do that with the curve in Folks shop and say with the highlights. If I kind of wanted to blow you the highlights, I'd rather do it intentionally than kind of by accident or kind of pretty prices and stuff. What I'm doing with for automatics, prayer is much what I'm doing. The raw file is I'm sending it into photo shop in a kind of nudged in the right direction sort of way, so I can then do so for the work.