Images in Photoshop w/ Russell Brown

 

Taking Flight: Drone Photography & Video

 

Lesson Info

Images in Photoshop w/ Russell Brown

Well, I don't want to take too much camera time here because I really want to bring up uh russell brownies the senior creative director at adobe systems eyes a good friend and we've worked on this whole drone thing ah lot in the last couple of years because it's such a cool emerging technology so russell doc how are you want to be brought on get on up here come on down. Thanks so much for joining us I'm going to turn over the stage to you and I'm just jeff I'm glad you're staying here in the room with me I'll be referring to you and looking up to see if I got it right over there I got it wrong well, welcome I've seen I've been watching the show I've seen flying I've seen crashing way won't mention mark and romeo's name oh, we mentioned their name um I'm glad I'm not doing any flying and here today teo, talk to you about what you do with the images now that you have them and I'm gonna be taking you through photoshopped that's definitely where I live is inside of photoshopped many of the...

things I'm going to show you could be done with light room for adjustments to your images but I'm I'm going to take you through maybe the basics of what settings to use for your cameras for a photography is my focus after the settings how do you get how do you make that image look good and then we'll finish off today with combining multiple images together to create a panorama and I had two different types of panorama is a vertical panorama and a horizontal panorama and if we can all squeeze that in somewhere like a whole day event in and I should be which a local on the screen and if I had the if I had the command elke look I even know this um I'll just go through some of the images I've been taking over the last year of flying and must bring up a point um uh jeff made earlier about our first flights together was it a year ago little is about your half ago in a land we I said let's go down to this beach called baker beach sounds like a great place to go flying and we show open baker beach and of course we walk down there with our cameras and it's a nude beach on dh and a zoo I'm looking at it I'm going this is crazy we shouldn't be flying I have come to conclusion over the years though that it is okay to fly at a nude beach if you're in the nude I'm going to do this did you find that out? Well I'm going to do this sometime just goingto just go for it of course this shot is speaking of legal things today, this shot of course, is illegal now, but I took the shot when it was okay to do such things in the valley, but of course I'm in a helicopter in a real helicopter way closed with so there's just some of the things I've been taking on like my travels with with my copter over the years over the last year and a half and I've gotten better and better at it. I recall the first times I started my projects, um if you went up in the air and you took a photograph and you just got a one hundred feet in the sky and you looked at the golden gate bridge, everybody loved it, you got onto facebook, it's like hundreds of people love this because it was a whole new perspective and no one had seen it yet. Well, now it's getting more difficult to get people to like you, so I hope today teo, show you how to make people like you and really bring out the best in your images and think about photography. I want the day to come when you don't say that we used a quadcopter take that photograph, you're going to say, wow, that's a really great photograph, I don't know how they got that, but it looks really great now we're wondering, you know, uh uh, which copter did use was that a d d? I was at a gopro. Were you in legal space? Hopefully, that will all go away. Um, I'm going to start this off with let's. Start off for the basics, let's. See if this is going to run because, um, view well, teo and I see that enter full screen one application. Excellent. Here we go, let's, go back to the beginning of time. So I think the way to start this all off before you even start working in photo shop and I see writing some notes, I actually have this portion of my tutorial. I just recorded it the other day. You think you saw it online? I have this on video. You can search for russell brown on video so you can see this again. My settings so let's, start off with settings go from the settings cr photographs in bridge and in photo shop. But I think this is a really important part. Uh, setting number one uh, here or we're looking at what am I looking at here? Looking at my iphone display connected to my, uh, in this case, the deejay eye vision plus or the dj eye vision, you can talk to your iphone and control it, and I'm pretty much a I'm I think I'm like jeff I'm not the type is going to build my own copter I'm not going to construct it I don't want to get out of sauntering iron ever I want out of the box ready to go and that's what it's really happened with the vision cameras I can pull them out of box immediately I don't have to order monitor from china wow and configure it and buy a I don't have to be mark johnson or romeo ter shirt those guys know what they're doing I just want to get there and take a great photograph okay, so I pulled it out I've got my iphone I'm seeing what I I'm going to see in the sky on my iphone and I can adjust my camera with my iphone you could do the same with a gopro camera, but these are my favorite settings um that you should consider under settings preview is the first thing I look at I found that I want to have a consistent flow of images coming down from the sky. I don't want my screen to go blank while I'm coming in a difficult situation when I'm getting close to an area where I want to take photographs so I go into my preview quality and I drop it down from the six forty by forty for that's set to thirty frames per second I choose fifteen frames per second because um, you're bringing your shooting down fifteen fewer friends per second down from the sky and you of much better, um, connection to your image and there's none of this lag that's happening as the images come down and sometimes you'll see your screen freeze. This has eliminated all my screen freezes, so tip number one reduce it down the camera, your professional photographers I I have a problem with some of the things with the gopro um in that I can't go in and make certain adjustments, but I can hear I'm taking photographs, so I'm going to be in the single frame mode, but you can go into the time lapse modes taking three frames uh, taking a frame every three seconds every five seconds that is convenient when you don't have vision, you don't have any you can't see what you're photographing, but since I can now see what I'm photographing, I prefer just to hit the trigger on my phone, so I said it to a single frame, but there are occasions when you may want to go up and have it shooting all the time, I've often found that I send it up on the shoot all the time mode and have actually taken photographs that I would never have thought of and they're really good for us by mistake, so setting in those modes gets good mistakes what are these all about this large medium and small godel confusing to me so I went ahead and took a large medium and small watch the image carefully weigh it changes this is the full resolution the full crop of the sensor from the dj I camera um but watch what happens when I go to the a medium watch watch the image did you see it scale a little bit odd it's scaled it and its cropping it must have something to do with the sensor I'm not sure why now watching it scale again on the small and then let's look at all of them together and I often have to do this my my brain's a little slow and what happens after fifty five you have to sort of diagram things for yourself and now we can see all of the frames together and the answer ladies and gentlemen I'll look into the camera answer is large why would you let the camera do the cropping for you grabbed the full sensor and do your own cropping I think you could be a good judge of your cropping and I just I jeff jeff will cut away to jeff any reason why we would ever shoot less than our unless unless you're trying tio you'll save se space on your sd card in your shooting in that multiple just e cards no no good bad answer that a dancer is large I know. So I'm using him today. Thanks. Hey, look like I know what I'm talking about. You keep that up. All right? Give me all that. The wrong answer. Ah, j peg a raw next question. J peg, if you want to shoot very quickly, there is a feature as we call it with the deejay camera that takes thirty seconds for to capture and save a dmg raw image. Um, you have the beauty of a raw image, but it's very slow. You have the speed of j peg, but you don't get all of the data that you might want, so if I really need to go up quickly and get some photographs if I'm in time lapse mode it's j peg, if I need to quickly get some photographs it's the j peg mode, but typically I'm always a raw user. D j has adopted the adobe d and g format and I really love it. And why? Why russ, do you love the dmg formatting? Why let me show you first of all with the dmg format, you're not getting this artifact ing these crystals that formed in the image from a j peg image, and if you zoom in on it, you get a lot of noise with the dmg format that you can eliminate with camera or live room. But you get more detail and it's not how would you best describe j peg it it seems like somebody's gone in with little square cubes and tried to make a painting out of it um and you don't get those they're gone you can deal with the noise more detail less artifact ing love it I'm in control next down in the shadows down in which the dramatic camera down in the shadows down in the shadows you can see deep into the shadows you can also recover the highlights in the brightest areas of your image which is really, really fantastic using camera adjustments on the dmg image you're in control you can pull more out of this low resolution image and that's what's really important that's why shoot the n g? The audience is getting very quiet there either extremely bored or actually learning something what do you think it is? Whatever I say is give you wrong that's true okay, I'm gonna move quickly. This is boring. This isn't this is worthless information that was really good stuff. Okay, um okay where were we? Oh, I don't have my pictures. My raw pictures will show those later um I was going to show you the highlights the burnout point your camera at the sun inn dmg mode and you can clearly see that you have so many more gray shades coming in on the sun in the dmg format next three oppress you gotta you gotta say something worthwhile here today? Um I s so we're going down through these auto or um s o one hundred jeff oh it's just so wrong, he's ron, jeff knows that if you take it in otto and you, jeff doesn't know this and you're panning in the sky for a panorama, you point toward the sun or your point away from the sun in both the deejay camera and the gopro camera bingo the esso um uh it gets fluctuation and changes zero it in exactly on the value you want for your project and I go with one hundred cause I'm mostly show shooting in bright daylight fix it someplace, don't let it wander, especially for panorama shots click, click, click, click you don't want any variation between those you want that you want them to look a cz similar is possible when you're all done. The answer was not auto and you're smart and how how, how about like dallas? You know you know this one? The answer is not automatic white balance bad that bad I've seen color shifts go from green looking images to blue images as I rotate in the sky put a solid point on this when I go with, um, the daylight for my choice, I suppose, if or cloudy whatever it is be consistent with what you choose because then your color corrections will be consistent across all over images ok hurry up I just saw them yawning in the background okay uh white down um oh what about this one? You've got the averaging here now if I pointed this screen will anyone see me pointing its screen? I don't know all the do it here on the screen and I've got the averaging here and this is your area and your point meter reading the answer is averaging and here's why if you point you're averaging at a scene like this it's going to balance for exposure in the foreground in the shadow and try and pull some detail out in the sky if you go to the centered meter reading notice how you have a great exposure here in the shadows but burned out sky so once again um jeff what was the answer average average? Um I've tried it if you were pointing at the sun all the time maybe go for that one but you're a camera's moving around so much I say go for the averaging in most cases I could be proven wrong and they'll of course right in there right in our they're writing in and telling me I'm a fool yet not yet okay, we'll let you know when we get down is anybody tuned in at all? Oh there's okay, okay um exposure okay it's this interesting or interesting interesting audience and cover this oh, exactly so I think it's great good good keep on going um don't they know their prizes prizes um um exposure exposure this is so fantastic you get to change the exposure in mid flight okay, I like you guys in the back you smile and I like you um okay exposure you're in mid flight and you want to adjust the exposure is so fantastic to be able t dial in a different exposure if you're seeing a little bit of too much burnout or you want to bring in more detail in the clouds so you can just slide this down click on the check mark change your exposure you have to click on that check mark click on the check mark in order for it to take place and have your camera get that information and here's why you do it so good you guys think good good way is on his way to a prize. Okay, um plus two is the highest setting um I guess you can equate that f stops um now look what happens. I I'm pointing at a sky situation I go plus to get a great foreground exposure and then let's do a zero that remember we've got averaging happening but here's the coolest thing it's a relatively calm morning my camera's not moving around too much and so you see a little bit of shift there that was a pretty good morning um so now I'm a minus two great clouds great clouds so if clouds or what I'm focusing on I'm really picked those up so now imagine go back into photo shop um and blend the clouds back together with your foreground grab that of course I don't have that shot but you could then create a more dynamic range you could increase your demo dynamic range by blending two photographs together could you shoot hd are from the skai yes you can and if we got time today I will demonstrate that using hdr with the ghosting feature it will then um blend get rid of the camera movement on a calm day not on a windy day like yesterday question for you a question I never talk about the dj I time's up do you know if the good folks are asking the charms if you know if the gopro's if you can change the exposure remotely you can not very was one of them I wasn't going to bring that up uh hold to the camera wasn't going to bring that up but that's the beauty of this camera is that I can adjust these things I'd have to bringing I'd have to bring the camera back down and even start and stop the camera let's go to geoff cameron to jeff jeff there's no way to control the gopro camera from the ground in all my knowledge unless there's some some amazing third party stuff out there that people are developing right now. No, I've seen people controlling and trying to take a shutter release with the wifi connection to the gopro bad bad bad idea very bad idea because you'll end up with your plane in the ocean of fly away on so we've heard this the rumors are true using wifi connection with your go folks go pro go throw hope it it was bad it well, that was my early experience too I learned the hard way as well and I almost lost one because I was doing that but I didn't know any different so everybody should know now helicopters did you lose in the beginning of time? I've never lost one entirely I've crashed plenty I've had to glue them together and tape him and that kind stuff but I've never lost one I've had them one in the water and one just flew away it was very early days early days I remember that email wait okay none of that okay back gets focused focused standard hard soft okay well okay I don't know let's take a photograph. Close up view this is the sharpening that it applies to the j peg images standard you can see that little artifact ing there's that cubes forming um hard uh okay jeff there's gonna be a quiz at the end of this remember standard hard or soft um okay um yuck it's blurring it out if you wanted this art effect you wanted to take the detail out of your images and get rid of the noise fine. You want a lot of noise or you just want the standard? The answer was standard I leave it there moving on um finishes finishing this all up jeff and I both know that it's it's the card you're use I have nothing to do with samsung they're not sending me lots of money I don't know anybody there I don't have any stock in them but this is the card I've been using and getting really great results for both still and video I went up in the air with a gopro setting it at to k for the video and the card wasn't fast enough it has to be a class ten memory card did you go over this? No, no no thie class ten memory card is my really recommendation they're so small oh, I hate us too small um and you get the card adapter with it get the card never go over thirty two I'm going to give you my advice of the day I'd stay down to eight or sixteen get ready on the camera number two to go to jeff I goto sixteen or eight because too many eggs in one basket in the sky I've been I was flying over the ocean in maui and each flight I put on eight gig card in after each flight like I made it back, I learned it back because I got that shot I got that shot. Andi, I was so worried about going in the water. Jeff ready on camera to judge eight and sixteen you give green sixteen's, I usually go because I shoot video, you know, I'm a video guy, so on dh that's, why I brought you on because you're the photo guy and I do more video, but I rarely ever I've only wants done a sixty four and everything was corrupted, so I just haven't gone back there, so thirty twos and sixteen's, I'll do, but at the same thing, if I'm flying over water any time I'm flying over, what is windsurfers, anything like that? I breathe a sigh of relief when it makes it back and take a swipe card because we've witnessed that too many times with some of our colleagues don't there's in the ocean on dh, sometimes they'll get him back and get the card, but sometimes well and something to with this camera, if you don't mind me saying, please, if you're in the middle of recording video and the power goes out whether you crash, whether your battery runs dead, whether you turn the copter off before you stop recording, you'll lose all the day. All all of that particular recording data card. So if you drop it in the ocean while it's recording video, you'll lose that shot. Yeah, so that's that's. A painful thing about the phantom. A vision plus over the gopro for video.

Class Description


Drone photography and videography captures some of the most stunning images out there, but the tools, techniques, and gadgets used to capture the action are often confusing and difficult to master. Join Jeff Foster and special guests for an exciting and highly informative class and get a running start at unmanned aerial vehicle (UAV) photography.

In this course, you'll learn how to capture stunning aerial shots with an impressive range of aerial gear – including; 3D Robotics multicopters, DJI multirotors, GoPros, DSLRs and more. You'll get an introduction to the best tools for beginners and see demonstrations of the sophisticated gear used by the most in-demand professional photographers and filmmakers. You’ll learn essential skills for controlling a UAV flight; basic flight controls, necessary equipment for successful shooting, planning and lining up the perfect shots, flight prep and safety, waypoint navigation and more. You'll gain an understanding of the production and post-production techniques unique and essential to aerial photography – including how to stabilize video, create stunning panoramic photos, and remove lens distortion in your photos and videos.

If you're ready to explore this wonderful world from a new elevated visual perspective, then this is the course for you!

Guests include:
Colin Guinn - 3drobotics.com
Mark Johnson and Romeo Dursher - www.visual-aerials.com
Stephen Wheatcraft - www.aerovisionpro.com
Peter Sachs - dronelawjournal.com
Russell Brown - russellbrown.com

CreativeLive is proud to announce that Jeff Foster was a Bronze winner in the 36th Annual Telly Awards for this class.   With nearly 12,000 entries from all 50 states and numerous countries, this is truly an honor. Congratulations Jeff!  




What You Will Learn in This Course


1. Gearing Up: Intro to Aerial

    • Jeff will take us through some of the various quadcopters and multirotors that are commonly used in the hobby/commercial photography markets today. Basic concepts of pre-flight prep, safety, equipment, and terminology will be covered for various disciplines.

2. Basics of Flight

    • Colin Guinn from 3D Robotics joins Jeff in demonstrating the basics of good flight, best practices to improve your skills and get those important shots you want!

3. Practical Application – Commercial Flight

    • Jeff leads off with some examples of fixed-wing drones used for various commercial and environmental uses, such as precision agriculture, search and rescue, firefighting and land surveying. Colin Guinn shows us how 3D Robotics is already addressing these important fields with advanced technology.

4. Advanced Flight for Film Production 

    • Romeo Durscher and Mark Johnson of VisialAerials.com to show us the S1000 octocopter and how to use it to get those high-definition aerial video shots that filmmakers demand. Stephen Wheatcraft then brings his S1000 octocopter in to demonstrate how he gets beautiful landscape panoramas with his setup. 

5. The Future of Drone Flight: Laws 

    • We will be talking in the studio with drone expert and visionary, Colin Guinn from 3D Robotics about his vision of the industry – where it has come; where it is today and where he sees it in the near future. We are then joined via a live video feed from Maine with drone legal expert Peter Sachs, Esq. To discuss the recent mandates and restriction imposed by the FAA in the US and what that means to the industry on a global scale.

6. Processing Aerial Footage in Post w/ Premiere

    • Jeff will show us some footage from the previous day's flights as well as some examples that might need a little “help” with stabilization and color correction, using Adobe Premiere Pro CC.

7. Processing Aerial Photos in Post w/ Photoshop

    • We're honored to have THE Russell “Doc” Brown from Adobe join us for a head-spinning session in Adobe Photoshop CC with tips on working with drone-captured images and what projects he currently has brewing!

8. Processing Aerial Video in After Effects

    • Jeff returns to turn up the heat in Adobe After Effects to share with us some of his techniques for footage stabilization, lens correction, tilt-shift lens effects and much more!


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