Lessons

Lesson Info

iPhone Demo: Panorama and HDR Apps

um so here we have the IOS. Yet we can even zoom up on you guys, which, by the way, the zooming up on the five s is dramatically better. You can actually zoom up and shoot video, and when you zoom up, it now actually saves it back in eight megapixels. So it interprets the image up. It used to just crop in when you did this little digital zoom. Yeah. What? At what point in the zoom? Is there an actual physical zoom in those things or no. OK, no, it's It's all in Elektronik, not an optical zoom. So it really is just blowing up the pixels and doing that. But you can see that, actually, all things considered, it's still quite sharp. And in the past, it was useless for anything for almost anything. And it still is for the most part. If you don't need to zoom, don't assume up. You're not. There's no free lunch in this case. You are just blowing up pixels. It does take if you knew. You're only going to use that portion of the image when you do take the picture. It saved it as an eight megapix...

el file so as opposed to shoot it as eight and crop into it and end up with two. Even though it's interpolated, you're probably getting a little bit better quality. If you knew there's no chance of you needing the rest of that scene. That's all you're shooting with. I'll give you an app in a bit. That is, I'm awesome. It's called Clear Camp that will shoot multiple shots and interpolated based upon multiple based upon shooting multiple shots. And it does a really nice interpolation. You can actually get some razor sharp images using clear Cam in what they call their advanced mode. But anyway, a couple things related to our IPhone camera I can't see. It doesn't rotate that when we're marrying it, so leave it in this way. But specifically, let's talk on Panorama. First off, you look at the bottom where it says photo, you can push where it says square or Pano. But now I'm actually just swiping. If you can see I'm swiping in the window, you don't actually have to go down just swiping in the window switches your camera mode. Okay, you don't have to go down to the bottom because that's such a hassle to find three point type. So you just sweep inside the image and you can go between your different modes. Um, while you're shooting, so we'll jump back over to the Pano. Um, and the, um panel as a default is changing the exposure across the shot. So let's do this. Now. If I come over here and do this and I'm gonna tap the start button and I'm gonna rotate around the nodal point, I'm going faster. You see, it's telling me, Slow down. If you buy your phone in San Diego says Slow down, dude, I don't know why it says that it's on Windows phone. It's no anyway, So that shot this panorama here, even in basically low light. And you can see that my computer screen, all you lovely guys out there and my fingers on the tail end of it, and you can see that it changed the exposure across the entire scene. So even ism coming up here, it's getting brighter, but it's changing the exposure. The other thing that you can do in relationship to this idea of constant focus and the last one constant exposure if you want a consistent exposure. As an example, I can see if my priority is that desk and you guys over there looking just awesome, even though we've got a bright light right above you. Here's a little trick you can press and hold on the window, and it does an auto focus auto exposure lock prior to the start, so you can see there That may be too bright. Maybe that's what I'm going for so I can go anywhere. Press DoubleClick, and it's setting the exposure on whatever area I'm want. If I'm doing a little landscape and I've got flowers in my foreground and now I'm gonna recompose and do my panorama, I would definitely want to focus on the flowers and you'll see that in video clip. I was down on my my belly, shooting these wonderful flowers we had here, and so I'm going to make sure that I do a focus lock on what is pertinent. But if I come over here and let's just, you know I'll set my my exposure so it's gonna be a darker exposure. It's in that lock. You can see that. So now, as I come back over here, press the start and come back over, you'll notice that the exposure is not changing through the entire shot. So I'm getting a consistency. You're also going to see another thing. If you notice here. It's really hard for me to press the stop button because one I'm going around that nodal point and I'm holding the phone. So the thing is, when you shoot Panorama is because it has a gyroscope. If you go back one degree, it automatically stops the panorama so you don't have to hit the stop button because that means you're going like this and, you know, so simply go back the opposite way that you were going and you've stopped the panorama of every nice feature, much like cursive script on your egg drawer in your refrigerator. You don't know Brian Rig isn't as a comedian. Very funny. Skit. It's a very nice feature, like cursive on your egg drawer in your refrigerator eggs. OK, now you guys have to watch Firefly and you have to buy everything that Brian Regan has ever done as a comedian. I'm just saying, Okay, so another chip where we're here and we're talking about locking it is it could be that you want to not start over here, but you want to start over here and simply tapping the arrow or anywhere. Actually, that scene you're able to switch the starting point for the panorama. If you're not using that exposure lock, then that's really nice to know. Because if you want to make sure to get the sunset, you could just simply start at the sunset will use that as the starting point. Make sure that it's nice and correctly exposed. And as you come around, then that was your priority. So knowing that you can shift from left to right or right to left in concert with locking the exposure and the focus, if you like, is really nice. Yes. You don't want a 270 degree panel just 1 80 if you go back, which stops it. Yeah, well, that stop it at any point. So you have a smaller? Yeah, fat. And that brings up that. I mentioned it before when we were looking at the images. Is that, um if this is the scene and here's a little point right here, So right now I can get you three in here on our beautiful hosts in a individual shot. So let's get So here's a still shot right here. So I'm gonna go with a computer and everything. Click. I've got that. That's eight megapixels. Speaking to your point right here, sweeping over to Pano. Okay, rotating the scene. Okay, so now I'm getting that even Mawr vantage point. But this is now eight megapixel. I go like this and go over to you three. And what did I just do? I just went from eight megapixels to probably 12 megapixels. In other words, I have the same field of view from here to here. And I'm sure I'm getting a little greater cause I started over. I'm getting greater up and down. But I'm also getting mawr megapixels. So, um, and that, as I mentioned before, is the way that you can kind of cheat and use your panel. Not necessarily because you wanted more field of view, but that checkerboard click click, click zooming in, zooming in a little bit. Quickly. Click, click, click, click, click, click, click. You're still getting that kind of 43 aspect ratio. But you just got a lot more pixels at your disposal. So a panorama. It has nothing to do necessarily with this wide field of view you could use. It's strictly just to, you know, grab a few more pixels. Oh, absolutely, you can. Very good question. And I would do that. This is I've got something really close in the foreground. One of the rules, you know, especially hard lines grids. This is I'm not what you would normally want to do. I should probably shoot something with traditional shot shot shot and then stitched together to show you the challenges, as you probably noticed, of shooting things close up that have grids, lines, hard edges on it, something you normally wouldn't do. The fact that I can actually do this in any way, shape or form, and get anything that is even vaguely I'm lined up is bitchin. That's because it's grabbing in these tiny little chunks. Okay, a couple other things where we're here, that same sort of thing goes, if you want to shoot a vertical panorama, so I'm gonna start wherever it's pertinent, you'll notice that I'm rotating around my finger which is right above the lens go backwards to stop it. So there is my vertical panorama with no this mushrooming effect that I would get with an SLR. And let's see what else in terms of Panorama, really those the main tips. If I'm going up here, if for some reason, the desk. So now I'm looking down. Um, this again is breaking that rule because I'm no longer anywhere close to leveled, but you'll notice it's shooting, not with an arc. It's automatically compensating for that. And not if I was shooting with a different one. It coming up with a narc so you can shoot these, you know, situations even off leveled because it has the gyroscope built into it. Okay, next dance. The other thing that lets go back to our main camera while we're here quickly. And, um, just because you guys are interested in the auto HDR, you'll notice at the top where it says HDR auto. That's a new feature with the Iowa seven, the new mobile operating system from the Mac, and it will depending upon what phone you have. Um, will, any time you have a high contrast light area with the potential of blowing out highlights of playing of shadows, it will automatically now take three shots and combine it into a true high, dynamic range image and primarily what that's going to be used for. It can soften up a skin tone. It's really nice, because if you get in speculator highlights on the skin oily skin, which we all have, it will automatically reduce the oil on it because it's gonna balance out that speculum highlight. It will also, if you're shooting any kind of landscape where you've got white, puffy clouds, you're gonna instantly and see that all your clouds have detail in the highlight area. And, um, it's great. In the past, he used to shoot two pictures and kind of combining. It was a little bit muddy. Now it's actually really nice. And the fact that HDR auto means that if you can leave it on all the time and it, um, you don't have to go in and turn on HDR, you'll notice you also. When I tap on it, I can turn it off. I can turn it on, or Aiken, turn on auto. That's this is based upon IOS seven, the current operating system for the IPhone on an android phone. I don't know. All right, um, just because there's so many different flavors of Thea parading system based upon the phone in the manufacturer. Uh, the one thing I will mention, you'll notice that I have my grid turned on and let's go ahead and here and go into your camera settings because there's a couple things related to, um, that that is going to be useful. Uh, doctor, put it Ah! Ah! Photo and camera. And, um, Sharon summarize Pete Grid. This is where you can turn on and off the grid as we mentioned before and keep it the bottom keep normal. Picture saved the normal exposed photo in addition to the HDR version. So if you don't have that turned on, you get the HDR version. Sometimes what would be called the metered exposure? The single exposure that it takes may be preferable. You may not want that detail that speculum highlight. Maybe a feature, not a bug. So I would whenever it shoots in HDR, you'll get two pictures, one that will have a little label on it says hdr. And when not okay makes sense. Last thing that will do for the camera just for you guys, and then we're gonna do um, some show the videos of me shooting on the field is, um especially on the IPhone five s, which is ridiculously cool is in photo mode. You may have noticed it. And this actually relates very much to shooting panoramas. Because if you're really in a hurry and you've got bright light, I'm gonna press and hold down the shutter. It used to be that when you press the shut press the shutter button, it wouldn't take the picture until you let your finger off, which would help with vibrations. So you didn't tap it to take the picture. You lightly released it, and that did it. Now, if you press and hold, it's gonna shoot what they call burst mode. I'm gonna call up here, and I just shot 24 shots. Uhm, the cool thing about that is one. If you have bright enough light the speed at which you're shooting, they'll still be sharp. This case low light. It's gonna not be sharp, But you're looking down here the bottom where it says favorites. It's gonna show me that burst sequence and you'll notice down there the bottom those circles, those little teeny dots are gonna be the sharpest shots. So it went in and analyzed all 24 shots and found all the sharpest ones at the bottom. It's not automatically selecting them for me, but it's saying those of the sharpest, probably what should also say, Dude, what were you thinking? Low lights, sweeping pictures like that. It's mainly It's really nice if you're shooting a portrait you've got, you know, just you want to get a smile or a laugh or something like that. But it's also great for action sports. It does do great. You know, if somebody is doing a jump, it's wonderful. If that is my like that, if I come over here and I like that shot is just perfect. Then you tap that little circle in the lower right hand corner, and it marks it that it's going to save that one. It's also if I was closer up, it's doing a face recognition and a smaller recognition at the same time, and we'll also mark those at the bottom as ones you probably want to look at and see and consider. So in fraction of a second, it took all the shots, saved them, analyze them and giving you suggestions to it. At this point, I say, I only want to say that one right there. I say done. And it says, Would you like to only save that one favorite or keep everything out of the 23? So I can only say one and automatically tosses pictures Really nice feature? The other thing that I mentioned here in terms of, um, the camera as a default automatically every single time you take a picture. It takes three pictures and only saves the sharpest one every single time. I think, except for that burst mode, because then that would be shooting, you know, three shooting 10 frames a second. It's not shooting 30 frames a second, shooting 10 frames a second. So in burst mode, it's shooting all the individual shots. If you take one shot in here than every single time it goes, it took three shots and only save the sharp one, analyzed it and then only save that one, which is really bitchin. That's a smart use of computer technology. That's kind of what it's. Excuse me, and as opposed to doing optical image stabilization, it's just looking for sharp images and the other thing in low light. It will actually go in in low light, shoot multiple shots and combined multiple shots to extend the dynamic range. So in low light, not HDR, which is looking for high contrast in low light, it will actually basically do multiple shots and pixel sampling, too, to extend the quality of the images in shadows with very little noise. It's a ridiculously good camera. As you probably noticed. It's it's really I like it. Okay, I mentioned one other thing. What? We're here. The ah, under photography. I've got bracket mode. We used that the first day bracket mode will automatically Teoh do hdr. You take a shot, it goes, analyzes. It just saved two different shots at two different exposures. That is a nice camera. The other one is clear. Cam. I mentioned it also basically the current camera in the IPhone, and this may be on Android, which may be a nice thing to have when you're in quick mote, it goes four shots. It saved number four because it was the sharpest shot. So it does the same thing much slower than the built in can, but a shoes multiple shots and only saves the sharpest. So it's a great app in enhanced mode. It's really great because you come up here and you go this and it's taking all those shots. And now what? It's going to do what it calls putting it in a rock. You well process that it will automatically align the six shots. 5 to shots will say enhance, and now it's going up. Praise the file instead of eight megapixels. It actually up raises it based upon the different shots. Generates these tiles and you end up with. We can check to see what resolution of this file is going to be, but I believe it's in 12 or 16. So now that is the file in low light. Rest up and I'll check out with a lunch break. I'll check out, that is, but that is, if you want the money shot. You got the sunset going to clear Cam. Going to enhance it will take the multiple shots and create what it calls the raw file. Technically, it's not raw, but it is giving you a lot more information. Okay, questions about shooting with the mobile or the big Boy camera in terms of our panorama us. Okay, lets and in terms of the last one exposure the reason why I've got debt that down there in terms of a question mark, as we kind of saw with the IPhone, Um, one. If you change your exposure over the time you have the potential of having these large changes between its shot. If you're stitching individual shots that age, you're changing dramatic exposure. Urine asking an awful lot of Photoshopped to try and blend those together when it's looking for hard edges. Okay, it's not doing a soft edge transition. Whether you're using photo shop or any app, they're typically finding a hard edge. Where this image lines up is best as possible is this image and then it's doing a little bit of exposure compensation along that edge exposure and often white balances will see in photo shop. Um, but that's asking an awful lot. It does do a really good job of combining exposures if you do individual shots. The other app. If we jump back to this one here and I'll just do this, this is really more part of, um, I've got some shots for it so I'm gonna come over here and I'm going to do an individual shot. Individual shot individual shot, an individual shot, um, and use a application like this one right here, since you can't see where my finger is. That one auto stitch is like photo shops, foot emerge. And that one is a great app because it says, What would you like to do? You select your photographs, go into our camera roll, will find those last ones right here, and it's going to stitch him. And this is what pretty much every app aside from the built in camera on the IPhone does is it takes the individual shots, and then it figures out how it's going to match the edges of these completely separate photographs and put them into one image. In this case, I don't even believe that I went around that nodal point. I think I was just kind of being really quick and dirty, So it'll be interesting to see what we get at the bottom. This is basically what photo shop is doing when it does photo merge. The nice thing about this is you can shoot the individual shots and winter you get home to stitch them together. You have unlimited number of pictures you can take. You can also do that checkerboard situation to create your panorama. So foot emerge is an excellent program. It does a very good job of blending the edges. Each one in this case is probably a different exposure that wasn't doing any kind of lock on it. So it's really good apt to have in your bag of tricks very similar to what we're gonna be doing in photo shop after lunch, where we'll be using photo merge to do the same sort of thing. Okay, so that is, um, Auto Stitch will let that finish right there. Even while you're doing it, you can still look at it. Well, it's still doing its stitching, which is pretty darn good. As I mentioned, it's You can see there. There's some vibration because you're moving. But in terms of my subject matter and even things that have sharp edges like type where it's splitting that type, it's doing a great job. Yes, question. Yes, My question is once say, probably not so much in the IPhone because it seems to be putting it together in the phone But like if you're taking pictures with your camera, you take a Siris of pictures that you intend to sit together for a panorama. When you get back home and you're in light room or bridge, how do you remember which ones go together? That's that. Would we get into our digital darkroom after lunch? It's a very good question. There's all sorts of things you can do one of the standard ways here. So here's the resulting image and it actually I mean, that's amazing. The fact that it kept a smooth line between the individual shots that even straight lines. And it probably was because I'm so good. It's probably because I did rotate around that nodal point there, even while shooting those shots. But chance, your question. What will often be done is put in some sort of clue into the shot. You're doing a big series of images for Panorama. The last thing you want to do is start going through images ago. Garbage, garbage, garbage. You're tossing out images, especially if you really do toss, and all of a sudden you get to the subject matter. You go, Oh, that was a Pano or that was an HDR bracketed syriza go that was completely under exposed garbage. 00 that was my bracket it set. So there is something called stacking an auto stacking built into both the library in light room, as well as in the bridge where we're looks at when you took the shot. And if the images are within a second or two of each other, it says, Oh, that was a Siri's, and it actually will stack them together for you, either as HDR or Panorama pitch in. Or what you do is probably is a good safety net, because you may be taking your time. Especially you're shooting a panorama, as opposed to a set of rocket shots is take a reference shot of your hand, usually what most people dio and then click, click, click, click, click, click and then at the end, take another shot. And that way, whenever you see your hand in your stack of photographs, you go OK, that was a Siris of shots for Panorama, and you're not tempted to throw them away. Um, so very, very good question shooting some sort of reference in there to let you know that you're in the midst of a panorama. You know, especially you'll notice I did that on when the ones will stick afterward where it was one of those tossed on the table where I was going crazy. You know, you may have 2030 images as part of that panel, and most of them look like garbage until you stitching together. Okay? So back to our shooting scenario here, let's go into some videos. I'm just so you can see in the field later on, we're going to stitch him beforehand. But while we're at videos, let's go ahead. I mentioned our little Panos. That's not what we want. Well, what do from here? I don't know why. Okay, And this is a little time at time lapse. This one happens to be done with our little egg timer here, over in Mullick eyes is highly compressed. But that is, um, a sunrise. People didn't realize I was yelling at them people in this wonderful creative photography for the soul yelling at people you any it's get out of No, I was. But anyway, that's just a simple, little timed exposure in this case, using the egg timer and a knife phone but that gives you the concept of doing that with this one. This is new to my bag of tricks. The Moto is where I could go and, you know, start low, come up, go back down low and move it within the scene. So that is awful nice. Okay, so that is that related to that? This I don't think it's related to Pano. We won't go into our drone photography. Um, let's two. We're looking at our video specifically. Well, it's actually if we want Teoh. If we've got are still image here, we'll have, Um this one was started off the day and these are vertical panels that I ended up cropping. I don't have the post image because we'll do that later, but this is again looking that straight up that tree trunk and this in terms of our quick time video, um, is which I've got that tree believe that is our This is actually is another. I don't have the tree one, um, but it's very similar you're going to see here. We're doing a portrait. We'll do this one later on where I'm coming up and simply rotating around that nodal point, which is right at the beginning of the shot. There's wonderful Dakota, a model that you've seen in previous classes. In this case, she said she's standing on the log that's going across a little ravine and we'll go ahead and well show you that shot since we haven't used that one before and I should have that one here. This is similar to that one that, uh, this year ago. So there is what was taken with that shot right there. So that nodal point, I'm coming up above to kind of look down on the scene. This is the case where I would want to set that exposure lock whether I'm using the big boy camera. Otherwise, because I've got a very specific subject on here. I've got the eyes of Dakota, so I'm gonna want to. In this case, before I start my panorama, I'm gonna hold that finger down, do that exposure lock and started and then sweep any time. Remember, everything is related to storytelling. If you've got especially something in the foreground, make sure that you do that exposure lock when we're talking about our SLR or point and shoot. Remember figuring out how you can set your focus. Remember what I said was setting it, usually with autofocus turned on. I would focus on Dakota without doing vertical or horizontal, turned off auto focus and then do the rest of the scene this one also, I'm looking up and down. There's a lot of variation in terms of the lighting in the scene. So that's also where I'm going to make sure that I'm on that aperture priority eso As I go from Dakota and go off into the distance, it's not gonna radically change what's in focus. I don't want that. The log bridge, Teoh. I gotta focus as I'm moving away from Dakota in the fact that I'm also gonna be on a white balance lock, which I believe the IPhone. When you do that other exposure, autofocus, lock, little trick is probably locking the white balance as well. By the way, how does the IPhone change exposure? Most of these little teeny cameras are doing it all through. I s So it's not like they've got a big iris in there that's doing this sort of thing in here. Usually they're fixed or very limited in terms of the actual aperture range that they have. All exposure is changed in most of these little teeny cameras by simply changing the electricity that going through the sensor, which is known as the I S O. So that's how it does it is changes that sensitivity along the way. Okay, so that was that. Let's look at some mawr. Other little videos. Well, we have that speaking. Since we've been talking about IPhone this one and again, I'll show this image these just because you can get it. I'll go ahead and just play them right here within the bridge. So, um, right here, this as I mentioned. So there's a single shot that I was getting of this little telescope low light, um, little pair of binoculars appear in Southern California, and then, uh, you'll notice Now what I'm doing is a vertical pano. So now I'm keeping the camera down. I'm not panning it with my body. I'm going around that nodal point, and I'm now going up so that and here's another kind of view of that sort of thing. So now I'm sweeping up the panorama and again we'll take a look at some of these I'm after the fact, but the resulting image is this one, and you can see one. I'm getting a lot of resolution in the file, even on the mobile device. But I'm also getting unique looks. I'm looking down at the base of it as well as looking up at the bottom of it. So it's a unique. It is kind of a fish. I looked to the file. I don't have the tweaked shot here, so we'll look at that after lunch. In terms of, let's again go back to another kind of infield shooting. That's to find one using our big boy camera. This one again. I'm not on it. I should probably start off with a tripod. I'm shot in here. This is us here in Seattle. Beautiful day, just a little bit ago. Were first off, um, making sure that our tripod has said this was a nice tripod that had a dual bubble set up. I'm zoomed in a little bit on the scene. You can see here that is shooting it with the IPhone and with some ugly dolls. So here I'm going to, since I'm wanting just a portion of the landscape that is just the the city skyline in it. I'm actually zooming up on it and taking advantage of the fact that, um, I'm on the tripod and can keep a nice stabilized leveled seen throughout it. So this is just a wonderful videographer. Shouldn't there, And they're gonna here. I'm actually off the tripod, messing about another scene. We're gonna do another a few little tricks. This is also back in Malibu. Your see some shots from this one. This particular scenario here, will you pan to see it? We're looking down the coast of Santa Monica toward Palace for days. But one other little trick associated with panoramas and it kind of it fits into the panorama is and not one reason for doing the panorama is, as we've mentioned is higher resolution, right? Multiple shots is gonna give us high resolution. There's a little trick that you can do, and I think I'm doing it in this shot right here is, um take one shot wide angle, get the scene that you're interested in, but then tick and go into your subject matter. In this case, there's a point off in the distance that I'm shooting and shoot that zoomed in at a telephoto setting. Nice, crisp, clean all the detail in it and then merge those two images together. Now they're different resolutions. One in a census. High resolution. They're both the same resolution. If this is 24 megapixels zoomed in one is also 24 megapixels. But the two files are different in terms of the Narcan. Obviously, Lineup one is this field of view. When is this field of view? They both happen to be 24 megapixels. So the trick that we're gonna do after lunch, which is kind of fun, is you take your zoomed up view, which is going to give you all this detail that you would see on a print. Let's say that was the center portion of this print with people, maybe hula dancers in the center. I take only two shots rather than a panorama. And then I married the high resolution version to the low, resolute real Solution version. Basically, what you do is you open up your high resumed inversion, and then you bring in your low rez and you expand your low rez one to fill whatever would have it. A lineup with high risk makes no sense. I'll show you after lunch. But it's another technique. It's not sweeping a panorama, but it gives you an incredibly high detail as well as the entire scene. And we've got that in here as well. So, um, you go in terms of this. This is shooting one of those little tossed on the table collage. Panorama is so again looking here, that one. Because if you're going, if you know that you're doing that tossed on the table, your alignment, it really isn't the issue, right? If you know you're gonna keep these distant, distinct images, then you'll notice that you're actually conduce this. You can get away with murder because each one is separate. Each exposure could be different. Each vantage point, it can be slightly different. You've got this expressive I'm seeing that you're working with, and you can actually get away. Get away with murder as it were. And ah, and there again is our scene. This is in terms of panels is we're a group a my go pro on a stick, which I always have with me. I love it's the poor man's copter and see this pull off here. It kind of looks like you're in a helicopter, you know? So if you don't want it, I shouldn't tell you because I know your husband is already you and getting the copter, but a little GoPro on a stick is wonderful. You're probably gonna want to stabilize that which we'll talk about in our class. But anyway, go pro on a stick is a wonderful way of telling a story. One of the things that I did right here with this is Shot a series that will stitch together even with a fisheye after lunch of this scene from up here looking down into this little bay here in Seattle.