Lightroom 5

Lesson 20 of 20

Video Optimizing Part Two

 

Lightroom 5

Lesson 20 of 20

Video Optimizing Part Two

 

Lesson Info

Video Optimizing Part Two

And I just wanted to mention that h s l and why we've spent time on it because it is incredibly useful especially for video I'm so glad that that is part of our video capabilities and again as a reviewer you come up here you can this is a little time lapse clip little iphone so remember that phone shoots and of course I phone dropped off the thing so I purposely did that just so I could show how to clip a video clip but remember your iphones and probably your androids and other phones beautiful ten adp high def video including using a little digital image stabilization built into it you have little aps like time lapse if you haven't shot you know time lapse of sunsets or sunrises and things like that you have that on your hip twenty four seven just like everybody else play with video whether that's on your phone or whatever else this is the time for you to expand your horizons and video is cool enough to do it so in review will just come up and we'll you know clip it to where it didn't...

feel like that shallow depth of field on the phone and that cool that's just because it you know somebody was in a drunken stupor but ok so there we got a clip we've got it we've got this is a representational representational seeing we come up here we say capture the frame it's going to create a j peg over here that j peg is what we can bring into the develop module without it barking at us we're going I can go right over here we'll go we could do the tango but just to show you the power of the h s l panel remember we have luminous and the t a t tools so I can take that sky and darken it down come over here to the aqua in the water lighten it up go over to saturation maybe take that sky and increase the saturation a little bit on the water certainly on the sand will add a little bit of that definitely appear in the green and go back to luminosity and take that yellow and the greens back in that island a little bit up hugh if I wanted to shift that so the things that are aqua I want to shift that a little bit toward the green you can see what I can do to lighten up that water and intensify it. Okay? I can fine tune these things here and again maybe even make that sky even a little richer so here's our before after before after doing nothing other than our hs l panel ok, so we have a huge amount at our disposal in one single panel when you captured the frame from the video so that you could get into the develop module on that appears that life room recognized that it came from a video could you tripped the program by taking like a picture with your iphone regular j pig, then shooting your video and then using the original j peg to apply all your adjustments to and then sink that to the video? Absolutely could there's I don't think there's a benefit to that just more available because it seems that you we're limited there were certain things that weren't available to you by taking the capture, but by taking an actual picture with the iphone and then pushing the record button using that as your reference photo you're trying to get around the limitations of what you can synch yeah, we're not I love the way you think you greedy bastard, you know that is not gonna work. I like that it's a just a j peg it really doesn't know that it's a video clip it doesn't it could care less that it came from a video the benefit of taking a grab from the video is it's the same color tonal range white balance is everything that's part of the video you can synchronize anything to a video clip you could shoot something with your camera you're a dslr whatever but there's the potential of that having a slightly different you know, color or tone or white balance so really what you do want is to edit the exact same information that's part of the video clip but I love the way you're thinking that's exactly what I want from this week because that's hopefully you see with how I work in light room that's the benefit of being a full time teacher you get a sit in darkened room and go what if you know you get to go so now you guys are part of the uh team of you know, geeky photographers ok and then again in review we're going to take this same clip and I'm going to uh take that and find our video clip I'm going to command a control click there not next to each other will hit the sink will come up here and synchronized everything we go back to our video clip it's still won't play but now when we come up here and play our clip we have it with the tweaked I obviously didn't actually crop it so in here we could crop that click think so um there you go this is an iphone clip so there's limited range the quality of the compression on your cell phone is not going to be what you're going to shoot with your dslr so you know there is that is something to take in mind since this is basically a j peg when you shoot video you're not gonna have that range that dynamic range that you would have in a raw file so as far as you can push, you could do a ton of stuff at some point you kind of go you're going to run out of stuff and it's going to start getting grainy you're breaking up that's because you're being too greedy that is a nice thing related to photo shop since photoshopped can do extra jiggery pokery you could use a filter that does noise reduction on your image you could use dustin scratches within as a smart filter basically any filter that works as a smart filter and photo shop which now is the vast majority can be run through a video clip, right? So a video clip acts just like a smart object when you bring it in and uh it's awesome. Speaking of if I have a video clip, can I just right click and say edit in photo shop no, you're going to have to do an export so export of a video clip is where you're going to get your stuff ready for export here's your video and the video format original, unedited file or in this case we're going to go up to our age to sixty four and quality max so if you know you're going to edit somewhere else, continue the work this is where you do it, we're now in the export module with inside of light room you have to cook your video before it goes out even into photoshopped it has to cook the video the one time you don't have to cook it before you play with it is in this slideshow module which we're gonna go into right now that's actually a really cool thing prior to like room five I would tweak the video in light will do all this really cool stuff exported out which did take a while with all these little thanks to it bringing into photo shop do all the multilayered things do the smart filters do the timeline do a bunch of stuff which again is quite elegant and then you process it again teo include all the transitions and everything else and then you finally get your product what we're going to be able to do now is every tweet that we just did is immediately available without any processing or cooking right in the slide show and all our cross dissolves and fades and adding of music and everything else is done right in light room without any pre processing on lee won already to share it outside of light will do we hit the export and we get our little you know final effect so it's actually really really elegant the fact that I can do everything without needing to do any interim steps of processing is very very cool ok so speaking of very very cool let's just do a quick overview in terms of how this works and it's really elegant what we're talking about here is going over remember that one of the main benefits of light room is that this film strip is going to follow us along wherever we go in any of the different modules within light room the one thing I'd recommend before you go into any of the output modules is make a collection related to what you want to work with ok and those of you who haven't been using collections we have our catalog are the entire collection of all our photographs, collections and that's what we're talking about right here we have our catalogue here we have folders I mentioned before by organizing your folders on the hard drive before you come into light room you actually have access to every way that you organized your work you know here's my expressive painting what we were looking at there I don't even bother making a collection that's a folder I just drug the photo older into light room and I have access to it so folders is a great way of organizing catalog is what all your images are I've got fifty four hundred right now in this catalog collections are where you are going to find tune what you're working on is you notice right here this collection is based upon this class in the three days of the class that we're doing I'm ready to now do an output on this one in this case slide to speed things up what you're going to do is come over here and I've actually got already starting in one so we'll do video which is all the video actually this is going to be a ton of video you can go back to your library module back to your grid view and come over here and choose what you want for the video or for the book or whatever whether it's your entire catalog or whatever start taking advantage of collections to narrow things down because doing it here and forget about what you want is going to be easier than going into the film strip once you're in the book especially the book or slide show or even web as a depot is going to want to use everything in your film strip and there's a good chance you really don't want everything you know in your film strip to be in your book and you don't want to hunting pick like you've seen me doing all week you know, digging around in my film strip so if I know that I want you know this one and I could use you know keys looks to me like I've got using flags so you can sort and just say give me all the three you know stars or something like that but I would just go ahead I'm doing video you may notice here one thing that's really cool about video oh, because I increase my thumbnails and I have a video clip if I come over here and just move my cursor have that ability to check what's in that video clip without that again, it's almost useless if you know that first frame, maybe black. So in this case, you can one set that frame what they call the poster framed whatever you want, but you also have the ability to just move your cursor left and right to see every frame that's in that video clip again, credibly elegant. So we've got that selected will do this one I tweaked its all use that one. Not this one will use this one and, well, I've got my few cbo tones that we did. We've got our clip that looks like it's a duplicate, some of these duplicates, and we've got our tweet you can see the difference between our tweaked andorran tweet one and that and that, and we'll say, we've already got that one. So the what else do we have down here? We have to have the jumping, baby getting so we've got that and we've got that I think thes air actually different cp atones ones we did like a half a dozen and ah, and we'll add this one that we just did here that may not be tweet what you do to add that to this own collection and what collections are our virtual folders, they don't actually move the images, they don't change what's in your catalog, they don't mess up anything, all it is is a organization of those images, and so when you come up here to the collections there's this little plus and minus so you can remove something from a collection once you're done with it, if you don't like having too many click create, create smart collection, create collections set, you see, I've got subsets in here so you could create a set, I'm going to do a collection and I'll just mention it here, I won't go into it based upon our time. A smart collection is where you set up a collection and you say automatically put everything of a certain parameter in that for me and those air great for if you use your colored labels or star rating or key words and it will go in there and look and say, well, we just go in here and say what you want to do is you're creating if then rules, so I say this is greater than or equal to five stars, so wait now I can create a smart collection I can call it five stars could be let's say that I use five stars for my portfolio pieces, right? That's all that I use the five stars on and I recommend that you don't get carried away with quality with going up to five save that because you're going to get better next year so if you jump to five right now the problem with using five right away is that you're going to go to five and you're going to going through your work and go well that makes those look like garbage and also he is one to in threes it won't go into that right now so five stars and if we don't say inside a collection said it's going to look at every five star in my entire catalog and automatically put those in a separate folder so I can find those any time I go there it could be that if if it's five star and purple it's my portfolio pieces so by doing that by labeling and star rating images as I go through my catalog even though it may have fifty different shoots over the last you know five years this smart collection will always have my portfolio pieces immediately in there because I've created a smart collection so whether it's a keyword or rating or a label or whatever you're doing and again what you do is you hit the plus so if it's going to be five stars that eye's not rating is a label color and you go purple than now this is what that smart collection is and again, I can isolate it to a particular within a collection so smart collections are awesome that that's where it's going to automatically do that for you? And we'll just go ahead and create that. There it is that actually created it for me, there's all my purple five stars, which I had ok, I didn't actually want that that was in the middle of something else, but that is great. We are still those images air selected I'm going to click on the collection button, create collection, and now what we're going to do is not smart collection. This is just basically a virtual folder that I can put anything in that I want to as a way of organizing the current project that I'm working on. Specifically, they're useful for these ideas of an output, uh, module going out to a print slideshow or web and those things. So we're going to call this tonga and we can put it inside. Go ahead, put it inside my over and through includes selected photos and make new virtual copies is an option what's the difference between having this clicked and once and not having it clicked? If I click on make new virtual copies, that means everything I put in that folder when I tweak it. It's just those tweaked versions of it if I don't create virtual copies if I am in this collection and I find two in an image wherever that image resides in my collection it will fix all locations of where that isthe so it's whether you are creating a collection it could be that you've got all these wonderful images and now you want to create a collection of expressive versions of them so you leave all your originals intact and now this collection is funky cool groovy you know, hip, cool, jazzy stuff or you uh that you would click it so you don't mess with the original or to u turn that off and, uh, make sure that what if you do tweet here it's going to tweak it wherever it is in your collection? Yes, so again, you're just basically making copies of metadata you're not actually duplicating and unique image absolutely that's what that term virtual they don't actually exist anywhere they're just part of this database that is known as your catalog yeah take up no memory and there as you can see right here when I'm doing when I'm organizing this, they're just essential beauty, you know, move stuff around and again they work just like folder, so it could be a lot of people rather than do that folder structure as I mentioned that like I use I'll start off and organize everything on the hard drive before I bring it into light room I like that that's how my mind works it also when I'm not in light room I know where all my images are ok no where the smith wedding cake cutting images are there right there but some people don't do that they dumping all their images and then they manually move them into collections after they're in light room and that works fine it's just not how I work okay okay so I, uh won't make virtual copies I want actually if I find tune something here I wanted to go back to the image and do that you can see it as a target collection here you can use a quick collection so there's a keyboard shortcut to automatically throws something into it but I'm not going to do that I'm going to say create and now here is my tonga image is ready to go to the slide show and the slide show module because I'm in that collection of tonga right here on ly those slides that I had already determined I want to work with her there so I've already just simplified that process I know those of the images for the slide show the first thing you do when you want to go in here is it just comes up with a generic template a format you want to come over here too the left hand side hearing one of things I mentioned the benefit of light room over something like bridge organized you work is that almost everything can be saved as a template and in this case there's a wide screen template here that is set up for video. So that's your hd video ten adp template so you have to tell it what you want it to work, so we've got that we've got a template. We know what we've got a video resolution. We're now going to go through these different options over here on the left hand side it's starting with that first image here, we can start off with whatever image that you like. Probably most of your photographs are not going to be in this wide screen, you know, aspect ratio so one of the first things you're going to have to determine when you do a slide show and again, your slide show is now video, even though we're thinking and I thought we were doing video that's how you access video on do edits for your videos in light rooms through the slideshow module. Probably what you're going to want is that zoom to fill is that first option, so I'm going to go zoom to fill and therefore we've got our image is set up for that frame if you click in here, you have the ability to find tune each one of those shots, if you'd like, you can just have it do it to the center, but as you go through your images you khun it will keep filled a zoom for every single shot here, and then you can find tune it to whatever you'd like in terms of individual frames. If you did not do that zoomed toe phil, you can you can actually still use this stroke border, but if you knew that you were going out to video, this is something that's actually going to be going on to a dvd or something like that. You're really not going to be seeing that in external last pixel if you weren't if you weren't interested in doing a video clip, if this was something that you're doing, maybe to your website and you're doing this in a smaller frame or something like this and again, it was brought up on one of the breaks that even if you're not using video for your clients, you should be using video for your own marketing, right? If you don't have a talking head that shows you out in the field, that gives you the excitement of what would be like to work with you if you're not doing a video blawg, which I don't do because I don't do people, but if you're not doing a video block is your smart is I'm not you're going to be missing out there's no reason the world where you don't set up your dslr toil on your portrait lens on their you know blur the background get out and just, you know, start yakking and you know give people your personality so if you're not even offering it to clients, use yourself as a guinea pig to get into video and but that's where you may do that stroke of the border if you want to mess around with actually adding a stroke to your video because you're going to use it outside of a tv set then that maybe makes sense for you to use a stroke if your video is not zoom to fill and you do have it you can change this background color you can do this cast shadow here that would presuppose that uh your background is something other than pure black because our backdrop so we can do a background color and there you can see that drop shadow so there's all sorts of cute see stuff again it's really appropriate for slide shows not is appropriate for probably video, but you do have that as an option and again I'd say that for most of the time coming up here and uh doing a zoom to phil is going to be appropriate for what you're doing it's going to give you a more video look as opposed to somebody who's doing a video slideshow ok, so we've got our first option. Zoom to fill. Yes. Is there a question over here? It's quick question not presume to fill and also just the data that you have inherent in the fall. So since this is a nineteen, twenty nine, ten, eight e file, I'm assuming that it's digging down into this raw image if you're shooting on raw and so you can probably punch in and move around quite a bit in there, is that is that correct? These are your full rez, you know, files, whatever your cannon or night kind of where we shot with your video is probably going to come in exactly the, you know, right sides for for how it was shot, but in terms of, uh, coming in and doing a zoom up to a particular image, um, what you can't do in here in terms of play back and this is one of the things that is beneficial for going into footer shop is something that's known as the king burns effect was known this pan and zoom, a benefit of working with high resolution photography in your video is that you have this huge amount of information. You may have a twenty four megapixel file, we're at roughly two megapixels when you shoot video. So you could at full resolution do this pan and zoom that ken burns effect where it comes in on the little girl's face where it starts off and as it transitions in this still picture your zoom out to show that she is on the dock of the bay and it's a sunset and you know the puppy is you know, whatever. So panning zooming is one of the benefits of photo shop doing your video editing and photo shop or premier anywhere else and that feature specifically the ken burns effect is built into photo shop is one of your options within the length of a still image. So but it's not in here so don't get greedy it be nice if they put, you know, premier pro inside of light room but this actually is going to find that this is so wonderfully elegant that it actually is great you do have guys that you can show in here it depends upon what you're going to do if you're using a lot of different type, you can add type to the images if you want to have them consistent you could have guides in here and basically you just you know, come up and move the's guides and this shows you you know, a reference point the's guides are also going to be used to reference if you do want that as I mentioned to have that phil we're still in this area of zoom to fill the guide is b is going to be where you kind of override that over ten adp and come in and, you know, leave yourself some outside room as I mentioned when you're dealing with video, probably it's, not something that will be your first way of working, but again that's up to you. Okay, that's question quick question going back to what you're saying about like, um, uh premiere not being in light room can you go in and out of light room to premier like he can to photo shop? No, I would have to render out any time video leaves photoshopped you're gonna have to cook it, ok, you've done tweaks to it, it takes a little while it does work it's exactly what you can do but there's no reason why you would probably go out premier start light room, then to premiere and then back you could do it. You could tweak your color and tone take advantage of it to sell and things like that synchronized your print work that's another thing that the reason why you would actually use a print photograph is the basis for fixing a video part is you're using the print images as part of the slide show you've got this big, beautiful print image and then office in it starts moving you know, that's the beautiful thing about doing something a wedding that we that hasn't been done before, you know, that's a right now since it's still a new kind of cool, groovy thing for you to have a video album people are used to seeing video slide shows and that's what you give the bride video video video that office on this still image all of a sudden starts moving that's pretty cool people still aren't used to that so using your high resolution video ah high resolution images and then synchronizing that back to the video you know as much of the settings as you can is actually really cool so that is where you would use you know, something that you've already done in print um you know, for sinking back to it, I don't typically do those training borders and frames and if you're going to do that, you know, take advantage of something like premier or even after effects um to do that after effects you can do, you know, three d compositing and fly around and you know adobes again what you get with a sweet it's awesome hey jack, just interrupt a quick favor could you reiterate the name of that book that you were discussing earlier, please that you were showing oh, that is my book thing that is at wow creative arts dot com while creative arts dot com and it's my one click while presets that happens just to be the pdf, the actual product is the nine hundred presets that is a reference pdf that showcases had to use all nine hundred presets, but it is great works with pretty much any version of photo shop and I like I spent years and years is basically all the presets that I've created over my lifetime and and ridiculously inexpensive the light room presets can they go into the home will be camera they can't very good question, even though the engine is compatible. The actual file format for those presets aren't what you can do if you have a really cool preset that you like that's in light room and you've made if that is his d n g file, you do that command s it'll right the pre set the snapshots you'd apply fifty different snapshots of all the cool presets if you right click on it's a show in finder you dragged that over to the bridge, you'll see exactly what you saw in light room. You open that up in adobe camera raw, you'll see everything exactly the same, including all the snapshots and then you just go to the snapshots and save a preset save a preset pre set, so when I have to create compatible presets and that's basically what you have to do good question, ok, so we've got our video clip here we're now in what is known as the overlay section of it, and this is where it starts to get fun. And this is why we spent this morning talking about creating water marks in photo shop because unless you know howto do with that, since you really don't have a type engine of any significance in here and you certainly don't have styles and you don't have, you know that trick excuse me, the layer cell palate you don't have, the subtle transparency is you don't have glows and things like that that's why we spent the time this morning on that because having that at your disposal is going to allow you to do a lot of stuff, so I'm gonna come over here, you can use your identity, play you can see this identity plate is what I set up here and so again that's up to you, probably not something that you're going to use a lot for your video clip, though it certainly could, um, your watermark is probably going to be a much more flexible thing to use, and this is when you come up here and what we did this morning in terms of things like my brush logo are now going to be accessible if you go, you know I don't need it big in the center like that how you work with water marks you can either come up here is we did before edit watermarks or that is also built right into this little menu here edit watermarks to edit watermarks it brings this up each watermark is going to be, you know, unique. So it would be nice if you could just yank stuff around and moving around when you're in there but you're gonna work within this watermark editor and come up here and I can change the size of the water mark I'll come over here and change that anchor so it's now going to be in that lower left hand corner I'm coming up here and doing that offset so here's that anchor so it's always going in the lower left here is that offset so it's not tucked into the corner it's not touching it it's up again I can take this and you know, fine tune its position I can rotate it well it's in here aiken, change the size of it in here or drag it inside the window I can find to capacity that's where I mentioned if you do do a watermark or anything maybe start off a little bit, you know, heavy a little bit more opaque because you can always take it down I can't make it more opaque I've purposely put in that transparency because that's, where I get that ability to have the subtle, you know, interior glow in the exterior shadow so that's part of my my concept, so I purposely started kind of muted, but just keep that in the back of your mind and again, we're using a graphic, but you can always set type. The problem was setting type and light room is you don't have things like that kerney option, and I mentioned that a few options between any characters and photo shop you can use your arrow keys to kern different letter forms, and if you do type, you know that if you can't current, you're not doing type, all right, let's, something that's uncovering to go out into the universe is just a just wrong. Ok, so I've just created another version of it. This one is down in the lower left that's the size of it. If I wanted to use this as a water mark, I could save it is going to ask me to name it, so we'll call this change d brush lower left and there's that watermark and that one as we transition in all these images here it's going to keep that water mark, I'm down there in that lower left, so there is it as it comes over. Ok so that is a watermark but in this case this is ah watermark that's going over everything all of your video is going to have this so it's something that you're going to keep on there if it's this is a promotional video for you then that's probably a good thing because that's their um but it may or may not you know be something that you want to do you do have titles were going to get to that in a second that a separate that's where you could have an opening and closing piece of type as opposed to this watermark that's going over everything but that is where you have that set up in terms of this watermark let's turn that off just in case we don't want to have that on everything you can show star rating if you were using you know a slide showed in orderto show the client you know what's going on that people use to typically a lot of people photographers have been using light room slide shows to actually show the client in the studio you bring in the laptop you do the slide show it's beautiful you have music and actually never send it out to video it's the slide show like kino is on your computer and that's the way you use it but you know showing the star rating is just you know, not what we're going for here in terms of our text overlay um being able to use this for adding text to the file and we're getting a refresh issue here so let me see if I can this is the wrong file we were having a re fresh let's and I may have to do a little refresher one thing that you'll notice with uh this file it's telling me something right here that it's an unsafe slideshow basically what you want to do with a slide show is your big he's basically creating a project that you want to have self contained and you want to be able to get back to it's a collection right here but in terms of the order of it and all this other stuff that I'm fine tuning on the right hand side I want to be able to save that and basically when you click over here on the they create save slideshow over here it's going to create another collection so it becomes basically a collection for you to work on but it's just the slide show and it's remembering all your parameters over here on the right hand side so we'll call this tonga slide show and I think this is too and again if I wanted to since it's like a collection I could make those virtual companies so they're not going to affect my original so again depend upon what I'm wanting to work on I can put it inside the tango tongue of collection so now, just like this one right here it's going to be its own, uh, collection, and now I have saved that it now has a name and now is residing, and now I can get back to these specific settings that I'm using here. If I continue to do this and fine tune different settings, especially when I get into framing or things like that, I can always save it as its own new template, so it could be that I've got my ten adp with my water mark, and I'm going to save that as my own custom template no reason to ever create one over again. If you're using the same basic concept, it could be again that you use it as a template for weddings and you put your, you know, your rice paper background and all this other stuff to it say that as a template, and you'll swap out the photographs for each individual wedding. Okay, back here, shadows I mentioned is on ly when you are going into, you've brought in your video inside the frame backdrops, same thing we're not even able to see the backdrop because I'm making it go to full frame, but if you do come up here let's, just show it because there are some nice features and here we go into our layout and we come up here and we do this here, you can come up here in terms of your backdrop and you can use a photograph for the backdrop of your image and you can take that and ghosted back, and since we've got a black background, you can do all sorts of cool, groovy things with doing this kind of ghosted back version of the image so again, in more elaborate video editor, you could have that, you know, move and change and do ken burns effect and do multiple layers, but the fact that you could take this this far is again pretty darn cool. You can also do what's known as a color wash, and that what is basically is a grady in't with a start and in point for the grady int and it's actually adding this subtle variation on color within this background background, usually that would not be with a background image, you're actually creating this grady in as a cool, groovy little funky thing again. It's cute for slide shows it's kind of our key note you know, power point esque effect and I typically don't use it, though that backdrop could be a nice effect if you want to use it or you can just use a background color let's, go back up and get to that hey, we're back to full frame uh titles this is where you have your intro screen and you're ending screen credits it could be well, you do your music, you know, triple scoop music. Thank you very much. You know, it's awesome again, you are going to have to make sure that you have access to copyright uh, music that you won't have the ability to use that cooperate triple scoop is the industry standard for doing that? So I how they recommend I'm taking advantage of them clicking on intro screen? Um, you are going to have your, um ah piece of text that will be just part of your first slide there you can have it either be just black so it fades in from black into the image or you could use your identity plate. Um, you can edit that identity plate so we can use a graphical identity plate. So even though this right here this graphical identity played, this is a piece of type that I'm using for light room, you can use identity plates like water marks as another way to use external information. So if I want to use a graphical one here I can locate my file which have put on my desktop and we have our tonga title here we'll do a png, theirs are graphic and that is going to be our tonga on transparency, okay so that is pretty cool and that's why we spent the time this morning people who wonder why we're spending so much time in push up that is really cool the fact that I just created another custom identity plate and I'm using that to bring in and augment with my um video is pretty darn cool so I absolutely love that and again the ending screen could be something where I just do a piece of type in here and we are going to edit it and we've already got two in here were edited in this case we'll do a piece of text and we just go thank you should see it's fun your size your color you know that you don't have a lot of options at it so there is our thank you with a scale and always misspelling is great as I mentioned before it proves to your client that you're creative and they're not okay and then play back last but not least audio this is where you're going to come in and decide whether you're going to using audio which I highly recommend especially when this one is going to be you know crummy audio of the jet plane and everything else and what balance you want between the ambient noise of the actual clips and the actual music itself for most of what you're going to do you cannot change this during the clip this is universal for the cliff is you're going to be using your music, it could be it's the wedding, the kids or giggling something's going on the music is at twenty five percent and the main thing is the wedding, right? You don't if the joke's going on and the you know best man is doing something, you're going to have it at seventy five percent and maybe you have a little music and the music is what's tying all the different clips together and make it not so annoying. The music will fade just as the clips will fade between clips that mean the sound based on the clip. So again, they've done a great job. We're gonna come up here and select some music, I think I have gone up here and we grabbed out a particular clip, so we'll do that so there you can fit the slide show if you knew that you had, you know, thirty images and you've got a three minute clip and you go ok that's getting close if they're each one is showing for five seconds, then you know and it's close enough, what you don't want to get is, you know, the music goes up to a crescendo and then all the sudden it cuts off so you can actually change the timing of the slides if it's close enough by saying fit to music so that would be the transition as opposed to coming up here and what I'm going to do is I'm going to say, you know, two seconds just for teaching purposes so we have our music we've given the music the emphasis on here, the fades it's this is you can change how quickly it fades between them, which is very nice you can't do adam random order remember the thought of this is that this is being used for, um on screen presentations that you maybe even leave running the thought is that this was never designed as a complete video editor, but the fact that these were going to do soft edged, you know transitions cross dissolves between these clips both still and video music overlay text opening credits, closing credits, watermarks for a lot of photographers there's no reason in the world why this wouldn't be a starting place for you to get into video especially remember full price of light room is one fifty it's just ridiculous the price this could easily be light room could be charged we could be charged the same amount it's photo shop for for the price it's it's where there is a professional to it more professional than you know most piece of software every photographer in the world is going, what did you just say don't shut your mouth we're already what you just said I agree with you one hundred it is the best deal on the planet. So anyway, well, not just that, but also what you said about there's. No excuse for photographers not beginning in the video there there's not there's not especially since you can now tweak it just like that little you know, seen on the beach we're all used to taking our stories and fine tuning them, polishing them. So we what we saw in our mind we can make in our print images we don't like video because what we see when we play get back video is just like that just does not cut it. Now you've got the tools to refine it to do really cool stuff and I I hope that all of you are going to be using a lot more video we have done all that we can come up here and do play right here within the screen. This is kind of a quick and dirty play back of the file you can do a preview of it that's going to go back to the beginning and this is our actually it's starting right there that is going back to not our first one let's go all the way back to the beginning of our clip and let's actually do a play and play is going to take over our screen there's our tonga across dissolves subtle fade right into a video clip full screen edge to edge no trendy borders cross dissolve that was where we took one clip and cut out it's actually one big clip I took out the boring parts when the alien comes down and takes the baby I thought that was into our beautiful images remember we confined to in the placement on our clips now we're on to second dissolves okay way turned off the water mark we could be having it could be using the watermark for this by the way, these clips john cornforth were all next to each other but john shot that because he's a professional and I was hyperventilating because this was my first time in the water and tonga so and john is actually going toe next year going to be leading a trip back down to tonga so if you do a google search for john cornforth photography I'm sure you'll find him and his video this looks like it's the clip pre we tweaked it but we'll say that that's fine just a short little clip these are little cp atones now, you know split tony here's our ridiculous shots uh over here in tonga and again music overlays what can I say it's a beautiful, wonderful way of going this when you're ready for it let's go ahead and hit escape you get the idea um jack, can I just say your photos are incredible? Thank you are really incredible, thank you very much and actually I don't consider those tweaked or ready for prime time I just grabbed my you know, that's actually a lot of those air iphone shots I grab those in there and thank you just amazing. I had a great, great great time in tonga and I you know, to be a photographer is pretty sweet, ok? So let's go quick question before we move on, I know you said that those were iphone photos. Are there any types of photos or video files just as a recap or audio finals that cannot work in light room for this? For this feature? Any limitations? There are a kind of different video formats out there. The majority of them are all supported in light room. You do want to take into consideration what you're shooting with last like like I said, an iphone because the compression is not going to give you the quality anywhere near the quality of a dslr. One of the nice things about shooting decent video on what is exciting about using your slr to shoot video as opposed to a traditional video camera is your ability to use your custom lenses, especially your what are known as your prime lenses your fix lenses that may have a faster glass open f stop your ability to change that depth of field have a very shallow depth of field is one of the sweetest things about shooting you know, nice quality video iphones and every other pocket camera on the planet are all going to be set up to have every single thing in focus that's what sets apart the point shoots and the camera phones from a professional photographer for everything if you look at it, the difference between a point and shoot and a professional one really comes down to things like f stop to be able to control the story by blurring out distractions. So that's one of the cool things about video and I would recommend that if you are going to get into it, get nice dslr that can shoot decent video. Like I said, I just picked up just for video the nikon seventy one hundred has audio in and out so you can check your audio where you're recording it. A lot of cameras have audio in, but they have no way few actually tow listen to the quality of the audio you use the little teeny rinky dinky speaker in the back and you have no idea whether it actually sounds good so something like that's the feature that you'd look for when shooting video is that your camera has both an audio in and out so you can check that also it has a full time focus on it so you can change focus what's known as a kind of iraq focus between it so as something moves in the scene it'll it'll change focus and ill will do it quietly so you're not hearing it the old original sl ours that were shooting video every time it would change focus to do something you're hearing the gears in the audio so having an external mike as well as having audio out having a quiet constant focus on it those sorts of things and then getting yourself what I would recommend is getting a nice you know fixed prime lens that has a very nice f stop on it and most both candidate nikon have inexpensive they're older lenses you know f one eight but are typically used for portrait lenses but there are fifty millimeter one eight nighttime is nothing lens it's dirt cheap enough wine for under two hundred dollars yeah, that might go to yeah it's a beautiful beautiful ends and again for video something like seventy one hundred which has a internal motor to control on older lens things like that so that's what I would look for you can shoot with anything, but at some point you're going to go this is so exciting just like you were saying you get so excited that's why I got the seventy one hundred just so I could shoot video because it really deserves to have that kind of quality as a starting point, what you can shoot with your iphone this, by the way, these will shots have done with the go pro again, this is a little two hundred dollars old gopro, gopro's and ridiculously cool camera the hero three is is amazing, so getting yourself a gopro is also a no brainer if you wanted to, you know, shoot kids or sports or underwater or anything else like that. So yeah, sure with anything, get into it and eventually get yourself a decent one. And again, you can get the seventy, one hundred nikon as well in the cannon equivalents for where the lens I just get the one I got was with an extra lens it's the eighteen to two hundred one of their top of the line lenses for seventeen hundred dollars, two thousand dollars lens and you're getting like the camera for seven hundred bucks. So however you want to look at it that way, you know it's a great time to get into video as well as everything else. Yes, what have you experimented with for? For video lens? For yourself, the lands a little better size well, again, it's nice if you have the defense point, what you're doing, I love the shelling of the field my fastest lens that I have is thiss nikon fifty and it's a fixed one it's beautiful for portrait's I use it for talking heads I'm going you know, start doing my own video promotional stuff so that's going to be you know, just a great lands for the eighteen to two hundred is going to have a huge range so if I want to you know, shoot the sunset and you know, do a little zoom during that process and come right in on the sun and do that so you know there's no set thing I just would do we definitely try and get ah fast piece of glass in there because that shallow depth of field is one of the coolest things about you know um shooting digital video yeah, good questions. Anything else over there? Well, I could interrupt you all day long, okay? Let's go. So those are just that's a quick overview of what I wanted to do remember those watermarks and also the fact that you can come up here in terms of these, you know, titles you can even use a new identity plate to bring things in to work with your video clips you can use photographs as a background all sorts of things I wanted to get back and talk about these presets um because I'm giving you guys a ton of, um and um I consider them a starting point for just a lot of work, especially for those of you who may not have been using light room to do um the special effects so let me find what would be a nice kind of vanilla image here and talk about these presets that I'm giving you specifically the ones that are available to everybody and that are those are the davis light room for well presets and to start off with one thing I already mentioned to you is that I love being able to do the before and after right to check whether this is working or not. So the first pre set of this set that I'm giving you is reset everything but crop so it's that I made a pre set of exactly what I told you I like to do okay take everything away after you've saved a snapshot, I see something cool save it don't revert and go of course you do have a history so you can undo and you know, like room is incredibly forgiving and remember it remembers your history state when you close and open it again it's not like photos show so you can have a history you have your history palate always available, so if you think about it that every single history state contains every single thing that you ever did to that file up to that point it's huge amount of computational jiggery pokery that they're doing which is going to be a sure quote to win something later on jiggery pokery reset everything but crop and then here we've got a serious of antiques I'm just going to mention it to you you have a serious of cross processing ones the's a role based upon the curves panel and again depending upon obviously portrait versus the landscape is a completely different story so what I try and do and these variations is some you're going to notice are would be work well with the portrait and some would work well with the landscape for an architectural work some of them are geared toward light images and some are geared toward dark images so it's obvious that they're not all going to work and everything hdr effects these ones right here one through six hi dynamic range is going to pull out a lot of detail and do a lot of edge exaggeration these are the exaggerated hurt my I kind of you know, hdr effects that we either love or hate you know these are definitely an interpretation of your photographs these air you going beyond the image to do almost an illustration so this what I consider these hi key ones we've already seen some high key these air can be beautiful things especially for portrait's but also for landscapes the thing with high keys because some of them do by definition increased contrast sometimes they're awful for a portrait we saw the one that I did on one did not work on another the's hs l the's ones I made because I'm so lazy and again this is mainly used these to stimulate your guys is thinking hs l darkened sky what's not going to do that's going to do exactly what we talked about allow you to come in here go to that h s l tap goto luminosity find the blues and darken it so that's what this precept that that's all it does is we darken rich if I our photos and of course anything in h s l you can apply that to video you just click on that and will automatically do that one thing will you find tune it yes because your sky will be a slightly different color but I want you to start thinking in terms of this idea of seeing something you like saving it as a preset all of these presets what you may do is fine tune them and we save them with your own name and like I said if you're smart we sell them on ebay okay do not give them away please don't give them away if you want to give them way send people to my site and they'll get the these are all free anyway so don't sell him anyway you get the idea it just l d set that's that little trick for doing the black and white conversion that we talked about so you got a preset for that instant cool little sexy re color something hit that button take your ta ti tool drag up boom! He sat just the cool colors you said just the warm colors lightened foliage darkened sky lighting foolish that's our little faux infrared lightened skin unify skin lightened skin okay, remember all skin, no matter what ethnicity fits into the all orange range okay doesn't have to do with the luminosity of the skin it's the color so it's going to lighten skin just by clicking on it. And this one lou unify skin what would this do? This was met friend of mine who had the you know yellow was to yellow and the red was to read. So all it's doing is a very slight tweaking of of taking the yellows toward orange and the reds toward orange they meet in the middle. So again, I'm using these for kind of instructional purposes so you can see that you can even use something like this is a starting point to speed up your thing. Lens correction thin if I ok now that you know that these air slightly different versions of identifying I was told that that's probably not the best term I should use splenda rise okay so I don't want to be derogatory again I think the vast majority of what's done to women in the media in terms of this fake view of what constitutes beauty is ridiculous I think it's a crime against humanity it's one of the reasons why I left advertising is this whole idea that you are not complete you are not beautiful you are not fulfilled unless you have our company product or service I get it I love advertising I don't get me started but that idea so when I retouch even though we did some liquefy and things like that when we talked about photo shop integration um I use this the same way that I would use it on myself I would liquefy myself I almost liquefied myself in the project here thinking that if you know love handles and stuff so I don't lose you know five pounds no problem so I get you know so that is I thought these were all using the light room for ability of doing that pinch they're not using the option in light room five that is now allowing you to just lengthen somebody probably on a vertical format those will be part of my life in five presets this will be part if you buy that if you bought the class next week after they finished editing the video and I take all the images that we've used during the week since I actually had fifty thousand images to use this week just the images we've used this week I'll make sure that we have all those snapshots in there and next week if you've brought the class you're going to get really cool stuff but that will include the lightman five presets that air just working in five painterly black and white that's using really excessive I'll show that one just because we haven't done it yet and it's basically using an excessive amount of luminous noise reduction to get rid of every detail to make it look kind of like a painting but right within right with in light room and it's black and white because it's you know bushing stuff in color does not look good but we do have painfully color and these air video presets antique cross processing d saturate high key high key red green on overcast color pop I did the's making sure that the only presets that I used or legal for video so again that is what and here's the start of our leg room five will turn that off because they're hidden until you're ready for him so as an example if we were to take this image here these are going to be some high key so let's open up our navigator because the nice thing about this is that all you need to do is hover your cursor over the image until you see what you want and click so here is our before after before after in high key and hdr fx o six ok so again these are starting points for you you go dude what's with the light you know that's got creeping me out for some people you know sandy push I was on tour there last year and uh and we had a great running joke about you know what people are allowed to use vignettes and what people should never be allowed to use them yet yes is your clarity is at one hundred on these clarity is the news going absolutely is better facts some of them some of them were going to have a double clarity if you really want hdr just throw this out you can you can look at these presets but if you need more and I know you do need more clarity you take that clarity up and use a grading the easiest way to get double clarity or triple clarity I ran out of clarity in the basic panel right? I need more clarity ticket governor I need more clarity uh is I'm going toe click and not drag down normal if we're doing a graduated indy would click and drag down I'm going to click and drag up and that meant that everything in the file and above which is everything has got it so I'm able to add another clarity on top of another clarity it get's volume twelve yes it's definitely turning on volume twelve so anyway so those are things like that preset if we're good we'll just come over here to some of the anti king ones so these have let's zoom out so here is an antique okay it's exactly what we did before we're settling that color using that saturation and vibrance we're doing the double vignette toe bring that in here and again it's my gift to you all that we've given you thes recipes and again since there are so many literally you know their thousand ways of doing anything rather than just showing you each one of these in class here's our first cross processing effect and again you're going to find tune these because it doesn't take into account your own you know what particular image you're working on so again you're probably going to the basic panel you know and doing things like this one you know, adding a little more shadow or whatever you're doing or limiting the vignette or something else if you go cash that's great, but almost not quite that's the great thing about light room everything is pliable, everything is flexible you're going to find tune it if adding a little bit more shadow and then going over to your um it looks to me like I'm using lens correction so there's the amount so I can come up here maybe move that out so if I find tune that you know then yet and fine tune maybe the white balance or something else like that in terms of here, I don't need it so blue, then you're going to come over here, click on your little preset plus and this is my, you know, cross processing that had nothing to do with jack and it's nineteen dollars and you can buy it now hit by on paypal and I'll sell it to ok, so those are the presents, the one thing that I haven't mentioned in terms of process that I need to, and that is this concept let's, go ahead and reset this image here, the camera calibration I didn't talk get a chance to talk about input presets in other words, are there times when you would actually actually on this these lands correction let's go over here that basic and hit pato because that's, just why, you know, do something that's not perfect when you have a button that automatically does auto, so you know or you could again do vertical and we'll do constrained crop, so I can't remember you have that don't forget that you have the new upright, but when we come into camera calibration over here, this is its purpose in life is to come up with, and I know where he is, allowing you to find tune the color of your image it is to calibrate your camera can actually come up with a profile and send it back to your camera if you want to but what most people are going to do is use these right here these profiles are built into um light room adobe has gone in and profiled every major camera from every major manufacturer going back. This is obviously again an antique nikon d two x when I was in russia in st petersburg where this was taken so they have got their different modes and they've got landscape neutral portrait standard vivid every camera when you go to this pop down will have a different menu because that camera will have a different set of pre cents since nikon as an example, shoots in its own proprietary format using things like its own portrait or landscape all these vivid these different settings what adobe did to get them as close as possible to match what you saw in the back of the camera is they profiled the cameras reverse engineered them came up with this looks like okay, this right here looks like the camera neutral this is the portrait this is their standard, this is their vivid so if you shoot nikon vivid, this is going to look a lot closer to the back of the camera than what you're going to get as a default setting which is going to default to adobes standard or one of their earlier standards, like four point for each one of these air, slightly different. So how do you use this? You go into this, you open up a series of representational images, landscape your studio studio lighting x portrait, whatever you think are representative to your workflow that you use on a regular basis. And I go, you know what? I love the, uh p d two x mode three whatever this is and we'll go one will go to david just knock it out of the park and we're going to come up because I love that when I'm shooting landscapes I'm going to do that may be, but, you know, I want to do this to this. I'm going to find too in the red sometimes you, you know, you shoot in your camp and your reds don't you know they're a little bit too much that's you fine tune it, you get it exactly like you want. This is my favorite flower profile. This does not change the basic panel. This doesn't do anything like that. It's actually at under the hood level. It's a profile so it doesn't change in your settings that doesn't change your h s l u still have access to everything else fine tune it if you can do something, you go you know what? If I could use this as a starting point for every one of my landscapes, I would be a happy camper, especially for you. You know what? When I do landscapes, I always use my detail tab at this sharpening with a larger radius and I don't like that detail and I do use this here and I always end up using a little bit of color and just, you know, five percent of luminous I do that all the time I find myself going back into that panel every single shot and that's my settings, whatever you do on a regular basis as part of your workflow, if you can do it, do it, come over here to your presets and this is going to be my landscape and you could do this for different cameras if you like, but my landscape and then you're going to go through this and you're going to come up here and say, ok, process for calibration that will now take exactly what you did to find tune that read a little bit to use the camera vivid profile, whatever you like, if you want to, you can just do it for your calibration so you do this is my landscape, this in my portrait this is what my my whatever so you do it just for the profile and then use those on import because on import you're going tohave preset over on the right hand side so that is a great option there but if you go that this is my landscape that I'm also going to go here you know what I what I said for noise reduction that'll work great it's a starting point you can still find tune it but if it got you ninety percent of the way there I love it if I also it could be some of us might use clarity ok on a regular basis I know I'm always going to give myself twenty five clicks of clarity for my landscapes just a done deal okay um whatever you see this coming up here so we've come up here we created and now when we go into our import module over here, you're going to find on the right hand side, develop settings and we can come up here and I'm not quite sure where I ended up putting that one here my my landscape and I can imply that to fifty images I just did entire shoot in the landscape and as they come in pop pop pop they all have that profile they all have fine tuned they all have the little sharpening you're doing a studio setting were always shooting the same camera the same lighting setup you're using the same basic thing if you can come up there. Especially those profiles when you get into portrait's and fine tuning skin tone, you know that's you doing it all the time? It's a huge time saver. So even though we're going over, I wanted to make sure that I covered that question there. And then you just real quick. Is there like a macbeth reference? Like read this big beth chart and make it so you can shoot a like a great tag macbeth or I use the color passport and basically, what you would do is remember when you go up into the develop module and you have your history graham and you come over here and you do not the lab color but the rgb, you shoot your great tag macbeth color chart, and then what you do is you hover the cursor over it and it reads the rgb value of a photograph, and then you change your settings because the great tag macbeth or the color passport it gives you written documentation for what the rgb value should be so that's exactly what you do that's, how you calibrate your camera is you match those settings, those sliders so they match what is supposed to be and that's given to you by great dignity, beth or color, passport or whatever yeah it's exactly what you do and then you can save that profile, but I would do as I typically don't even save that back to the camera because that's really based upon the shoot in the lighting and stuff it's so easy to make it as a as a profile that you apply on import, I don't want to change my camera permanently because it's actually it's just bugs made this time if it really is a broken camera and send it back if you always getting bad color than it's a camera to be tweaked, but you can you can actually upload the profile back to your camera do a google search on it, but I do it as a profile and it's so easy to apply on import that's what I do, but yes, that's exactly how you calibrate a camera. Yes, the first one is from billy photo from here in seattle and is asking about variable data and and light room does does lay room with either water marking or doing text have any access to variable data if you mean is if there's a way to automated through actions or scripting for you to be able to do that? No, not that I know there's no scripting engine built in the light room as there isn't photoshopped that's exactly what photo shop excels that is being able to do that on a great resource that I'll just give you that I think I mentioned the first day is julianne cost the head of angeles adobe with photo shop in light room her website is jay cost dot com that's k o s t j cost dot com uh her website uh actually lists all her light room and photoshopped presents and she has a video on using variables and footer shop in order to automate the process of say doing a photo book with a person's name on it or baseball cards where you take an entire team and then you have the database and the photographs and photo shop all slaps him all together for you so that's not something that's inherent in light room but it is excellent in photo shop and julian has some great stuff on that question from oh sorry question from jane three triple seven can you add the background or grady int you were talking about to just a few frames of the video or does it have to be the whole video its entire video you'll notice that that there's no way of specifying a frame or a particular you know frame or video clip I want this audio and I don't want the audio in this one it's universal for everything so good question and flush up again you can export it and um you can uh can do that without a problem ok? Jack gamble from south carolina asks other sizes that you recommend for the extraction of video in order to avoid cropping the image in the final product well, it video typically if you're wanting something that can play back on a television set there's you have two standards in the united states what's known as ntsc and hd ten adp or six forty four eighty in a variation on that nobody is doing standard ntsc resolution anymore so it's going to be your ten eighty was known as a ten eighty p or ten eighty I which is ten eighty by nineteen twenty so that's the resolution the template when you use the template in light room it will default to that size when you go into photo shop and create a new document as we did if you remember when I said command and in photo shop in the preferences I had video is one of the categories and within that I went to ten adp so that's what I would use that's going to be your standard one in terms of not cropping your image. Like I said, you're probably going to crop your image because by definition most slr za shooting by two by three aspect ratio and that's not the aspect ratio of hd video so it's going to be really hard for you to do that if you turn off in the slide show option under your options there zoom to fill then you're going to get your full frame so that's up to you, whether you want to have the black in the background, you know, which is fine, there's, no reason for you to zoom. If you're primarily doing a photographic slide show, don't crop all your images. That would be a nightmare, you know, so you can not zoom to fill. And that way, your video will fill the frame, depending upon the size. But your photographs will each of them have this beautiful black background, so you don't have to zoom to fill. But whatever your template is that you're set up over here in your slide show module is what size you're going to be using for the video.

Class Description

Lightroom 5. Master the tools needed to enhance, refine and even retouch your images using quick and easy non-destructive image adjustments! From glamour skin softening, to eye and teeth enhancing, to skin color unifying and special effects like luscious high key black & whites, selective hand tinting, cross-processing and even changing depth of field, there are incredibly powerful features in Lightroom that allow a huge amount of the polishing of your photographs to be done right there, without ever having to go into Photoshop!

Learn how to create magic presets and perform syncing tricks to quickly apply these optimizations and enhancements to multiple images (and now video!) all at once to dramatically increase your productivity. You'll leave this course knowing how to cut your processing time in half and craft even more stunning, creative, and profitable images at the same time.


Software Used: Adobe Lightroom 5

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