Taking Flight: Drone Photography & Video

Lesson 16 of 23

Lens Distortion Removal in Premiere

 

Taking Flight: Drone Photography & Video

Lesson 16 of 23

Lens Distortion Removal in Premiere

 

Lesson Info

Lens Distortion Removal in Premiere

What we've got on screen here is the panorama that steve week craft shot with his five d mark three on dh he did a several several frame shot from his s one thousand drone with the with the five demark three on it and he stitched this together and photoshopped the senate to me this morning right before we started this show so he just got it in there s so this is the result of our last flight of the day yesterday and I've also got some video clips from that same flight let me close this out and I just did some rough some rough at it clips on these sell well take a look at him you see there's ah, another plane going up there over the bay big see how smooth ah I didn't stabilize any of this this is right out of his camera so that's how smooth this thing moves around quite beautiful nice nice detail very steady it's almost like it's on a tripod right there and I think at the time he was demo in different moves and stuff that he may have been rotating the craft and showing how smooth it is ...

so if you're just flying and trying to get nice still ah steady shots this is just an amazing platform here and if we scrubbed through this a bit I did just grab some some rough shots there there's another segment here yeah being able to see the island in the bridge there it's quite beautiful it's you know it's it's actually quite relaxing it's it's you just see the waves coming in there's very little motion at all in the craft self if you wanted to lock that off you could definitely do that with some stabilization and I might try that a little bit during the segment if we have time and yeah let's go and take a question while we're looking at this with the air speed because it was really windy yesterday evening the wind yeah, it was uh this is in twenty plus mile per hour gusts so yeah, this isn't a nice calm day even more impressive that footage came out so rock solid well and again this is why with that craft with the landing gear that go up the cameras hanging down low enough on the gimbal that it's out of the way of any movement of the craft very rarely every going to see the the the arms dip down or see any proper motion or anything like that with this particular craft so it makes it really a great vehicle for videography uh a cz well a ce filmography so that's a nice long clip there on dh here's the one where you can see he was still flying in our designated space but because he's got uh that lens on that that camera that it I can get a little more detail than we can with the gopro but there's no distortion on this either like you do with a gopro you were going to ask a question talk to us we're looking at some of these some of these images about the composition and the framing because that was also and maybe even if you know what type of move he was doing relatively well someone here might be where he was trying to get into get in position behind that I know he was he was a little was a little less weary of those telephone wires there as you should be so on and not being able we were so far away from this there was trees between us and the statue typically if you wanted to fly and get a nice shot of the statue like I've done in some of my other examples I've been standing right out there under the statue see the little black box off to the right there that's typically where I'll stand and I'll fly a smaller craft of course but you can fly all around the statue if you're right there you've got great line of sight to see it but we were pretty far away is tryingto not lose sight of his craft who couldn't dip too low way also have some of calling gwyn's examples to which I think he did do a line up forces well couple different specific shots and he was showing us how to fly through tight spaces and get close to things by using line of sight school and you can see the result there was a little harder to see with just the pv view yesterday but here's the recorded examples and that takes practice to do that and that's how you practice you practice on something that's not going to hurt it andi, if your craft is durable enough if it does accidentally make contact and you just keep working on it I like to practice over grass or something small a small level of of a drop s so if it does drop it lands on something softer but this is unstable ized I might use a bit of this clip to stabilize some of this in premier just use a little short piece because it does take a while for the stabilizer work and this he was flying like a rocket with the y six and you can see that for cinematography purposes. Probably not great because there's a little bit wild and we were getting some vibration from some of that but I did want to show how exciting the video clips khun b with an experienced pilot let call in at the helm and being able teo do these kind of maneuvers I would never try to do anything like that was my skill level of comfort level isn't quite a that point yet but I have great confidence in his abilities because he has he's flown for so long and it's flown much, much harder to fly craft than these and I know like in that last shot I remember him talking about getting the tree in the big front of the frame and really through it very cool people in chat rooms are shot right in here where he wanted to try to line that up and get that typically you're going to want to get a little lower than that. And I think some of that that clip that we tried to get we had some technical issues with so I had some issues with gimbel had a question it wasn't using ah your ah yeah, well, you see you're a little nervous, right? Be honest, I was just lying like a nut no, because I figured if he crashed it they just buying me a new one hey works for three d robotic, so I know where to get another one, right quick question. Was that the two point seven seven k? Well, what was the active dot on this? Um I believe this is to seven. I think he was flying these air all sixty s o maybe it's ten eighty sixty I believe I think about believing he's all ten eighty sixty because he was shooting all sixty on the I I take that back I'm not sure if he if he changed the settings on mine or not I think he may have left mine alone the y six was two point seven cakes I always shoot two point seven k thirty which is probably a good segue way to talk about that I mean, most of these were flying gopro's on um and if you're if you're using a gopro hero three plus black or even the hero three black you're you've got cem cem nice options for shooting with a lot of people I have had the tendency teo over crank where they want to shoot sixty frames per second and then play it back slower so smooths out the video I think it's more impressive to not have slow mo in your video special if there's other objects moving cars or people are or anything else in your frame that give off that oh you're slowing this down to give me a smooth smooth video I think if you've got a really stable camera that's the key stabilize that camera and shoot at a normal speed twenty four or thirty frames per second and get his much resolution as you possibly can that's why shoot twenty seven are two point seven thirty frames per second primarily that's my my first go to uh is that and people also ask about pro tune or not I'm kind of on the fence without shot both pro tune is as a gopro setting it's their algorithm forgetting what they kind of it's kind of there version of raw but I know I don't use their software I go right and just take it right off the cargo right into premier or after effects so a lot of times I'll leave pro tune off and then just just, uh, work with with the files from there because I go in and tweak it from there, but the only time I go I deviate from two point seven thirty is if I'm shooting for somebody who's doing their whole project in twenty four then I'll goto go to twenty four frames per second instead just so that we've got the same same look and feel some kind of motion blur in the images and it's easier to edit just keep everything all twenty for the whole work flow it's really nice another reason why I shoot two point seven is because it gives me room to crop I can crop I can scale I can do image stabilization, which I'm going to show you here in a minute and when you do image stabilization sometimes if there's a lot of shaking your image it's going to reese ice is going to crop and resize teo keep the boundaries of all the crazy going on I'll show you that in a minute what I mean but that alone gives me gives me some headroom so then when I put that into my project that's a ten a teepee project I can bring it down you can always scale you know something down and still haven't looked nice and clean and tight but if you take something that was shot lo rez and you try to stretch it out you know it's like printing on a rubber sheet you stretch it out it's going to look worse right? You have all the compression damage everything is going to show up now on the vision in the vision plus uh let me address that here with a couple of examples um the vision well actually the vision in the vision plus pretty pretty similar in in the uh in the video part of it as far as the photos are concerned, I think the vision plus is probably even up the ante a bit, especially since you've got raw capabilities you're shooting photos and russell brown's going to cover that later he shoots a lot with his vision plus and he gets just phenomenal panos and images out of that thing and as far as that's concerned photos it's really, really good you can shoot some really dynamic photos with that because you're shooting and raw and you can take them into light room or photo shop and edit them there and you've got that great raw data they're not compress too much video, however ten a teepee video but you don't have a whole lot of options as far as uh you know, you're your quality control in there so I find that the video's come out a little uh, I guess it's probably overly compressed is the best way to say it. Um, I've got a video clip here, let's, see which one would probably be this one here. Um, as we look at this as coming around the lighthouse here, um, if he zoom in on that a bit less if I can zoom in little bit started, see, we get a lot of blow out in there. There is some of the image deborah diggory degradation is showing up in there. He starts saying a lot of noise in some of these areas and that's not really good uh, in the long run. Also, if you get something like there's, the one example I showed yesterday where I'm flying over the field toward the lighthouse if you freeze any of those single frames, the leaves on the bushes look like little exes and l's because the compression just writes little squares. But you know, when it's moving and you can kind of get away with some of that until you blow it up big if you were to show it on a really big screen than all of the all of the problems show up here so you can definitely see there's there's there's issues with compression in there so for video I wouldn't consider this really broadcast quality video on blessing just a very quick shot you khun you manipulated a bit so I typically for something that's a little more serious production I wouldn't try to use um a vision or a vision plus with however with that said when the vision first came out I did a ah a flight down with my friend barry blanchard down in santa cruz we went out and we flew a couple of these things over the surfers down in the, uh down in the surf area there and let me show you this this does have audio but this was all shot with the vision but I did have to do a lot of stabilization on the footage way didn't have again belongs wait, wait, wait. Okay, so you can see in there we had some some jelly issues in several places and that's just because with the warp stabilizer some of those shots were just so insanely shaky because again, this is before the gamble version division plus, this is what the first vision and there's a few areas in here that's really predominant I think it was toward the beginning more um and it is there's certain amount of work that the warp stabilizer will do in premiere that will rectify that but it doesn't work miracles. So, um let me let me go ahead and open up one of these files let's go ahead and open up. Um clip here we're opening up a premier pro cc here. Now let me preface this with, uh, this segment this, uh, this segment for people who already have some some working knowledge or some experience with premier pro we've got courses here on creative life for a premiere pro for beginners that will definitely help you out. Just go and do a search in our catalog in our library, you'll find them there some great instruction on there. This just assumes that you know how to bring in import. Uh, different video clips do some basic editing. I just want to show you a few tips and tricks for using some of the new features like the lens profile in here. This is what the twenty fourteen version of the latest update of premier pro cc. So I've got a clip here that I broad and this is one I shot just a couple of weeks ago up in chico canyon and I was up close to the ridge rests a creek that runs down there, so I was just a couple hundred feet up here up around the ridge, and we see that we get the typical er the typical boing effect or you know, we people call it the curvature of the earth well, it's not really the curvature of the earth especially at this low altitude this is an anomaly of the widening of lands on the gopro. So, uh, there's a lot of ah lot of different the different levels of gopro different different flavors the different they're different color silver, white, black three three plus they all have a little bit different uh, lens uh, aberration that happens in there so adobe has gone in and made pre sets for us. They allow us to automate some of that lens correction. Well, I know which which one I have here. I've got the three plus black, so I come down here to in my effects panel I opened up presets and I scroll right down here. It says lens distortion removal I troll that down and notice here they've got two in there right now that are already done. I'm sure they're going to be making mohr. Maybe they may open that up the community tohave people share them or you make your own and save them here but they've provided these so they've got the phantom to vision uh and the different different sizes of videos in their different formats and of course the gopro as well I've got the hero three black and then I can look down here and see I it does require you to know which which format which size which scale you are shooting in I usually shoot in two point seven k wide and that's another thing about shooting with these things is a lot of times people say well why not use narrow or medium and you won't see the legs or the props as much well because I shoot a lot of video almost everything has a specific sixteen by nine aspect ratio so if I shoot narrow and I'm doing my f p v flying I'm doing everything thinking in a very narrow space well I'm going to have to stretch that out to fill the sides anyway which means I'm cropping off the top and the bottom and I may be losing all that great uh detail that I want in there so for me I'd rather shoot wide let some of that other stuff happened in there a lot of times I'll angle the camera down just a little bit just a few degrees so that pulls it out of the proper range so it minimizes the effect of having that prop show up but in this whole clip here we can see we don't see the props at all show up in here I'm just doing a spin around didn't have too much wind to deal with either that day so it did help but that's why I shoot wide and you'll see here in a second that even if I did have some props coming into the corners out there if I do this lens correction it's going to straighten everything out it would push them out of frame anyway so I've got this er two point seven k wide pre set here I can just drag that over my footage clip wait a couple seconds and the magic happens that automatically does the lens correction to straighten out that horizon line where it's more usable footage now to your own taste it may add a little maybe a little too much flair on the ants maybe you want a little bit of the curvature this does allow you to, um change some of that because what the preset is is basically a preset condition of an effect and this effect is actually a an effect in premier pro it's a lens distortion um you can manually apply lends distortion and do the same thing but in this case adobe has figured out what algorithms what settings fit best for each different lens profile. So in this case they've got a minus twenty nine on the curvature say I don't want that much curvature I can tweak it a little bit and come up to twenty four maybe it doesn't squeeze it as much gives me a little bit of that still gives me kind of this epic feel for my horizon line so having a little bit of curvature sometimes gives it a little more natural feel and there's a little less distortion and flare going out to the sides and because it's an effect, we turn it on and off just by clicking the little fx button so there's before theirs after before and after. So yes, you lose some things off the side, but again, if you were shooting in narrow mode and you were to do this and then stretch it out, you just be stretching out pixels that aren't there. So that's again reason why I'll shoot high, I'll shoot it two point seven k l shoot wide if I do lends correction that still allows me to then take this footage ah, and then bring it into my ten a teepee project and then scale it back down or crop. It gives me a crop option, too. Maybe I want a crop in tighter, then I'm not dealing with any pixel loss in there, so that's a great pre set, I really applaud them for putting that in because it makes it really easy for people, especially people who are getting getting into premiere that are new to it that's the beauty of the creative cloud, we've talked about this in the creative cloud weeks with the c c suite of tools that people have access to now if you're a photo shop user, light room user, you know, that's, your world has been in photo, but now you've got a dslr that shoots video. You've got a gopro on quadcopter now, and you've got it and learn how to do this stuff. They've made it accessible. You don't have to go out and buy more tools. The tools air there, too, for youto use. So having things easier to use and simpler and make it less steps teo, to get in there and do some of this work really, really helps.

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!


Reviews