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Why Panoramas are Awesome Part 2

that again. We're getting funky here. That is a built in camera. Does 270 degrees a default, and then it stops. You may have noticed that will again, we'll go into the little all sorts of tips and techniques about the camera has some hidden features to it, but this is obviously looking down at the floor, and then we could probably shift that around and there is, I don't know, that's more or less disconcerting. There were looking down at the floor and, ah, this is a hotel in West Palm Beach and where I'm able to obviously go and all the way around. So that's the story you want to tell or not. It certainly does in terms of the vaulted ceiling. If you've been in enough museums, especially in Europe, it's makes it magnificent to be able to tell that this is the hotel that in front of that, just to kind of give the different perspectives of it. This is another panorama from the water. This is actually is the same pelican, So this is using it as a time sequence where I'm shooting a burst of ...

images and the to stitch it together to get the feeling of motion so very unique ways that you can do that. So these air just pretty pictures. I think they're pretty pictures and see if we've got full rez on these. Okay, so this again shows you the what you're gaining in terms of, uh, shooting the panorama. This here? I don't know if this is a big board camera. This is an IPhone. That's actually is a pretty cool thing is that you can look at it and kind of go because I'm shooting in a vertical format. When you shoot with that, that it's being able to get that much detail. I've got a funny feeling that this is probably a big boy camera, because that's pretty cool. That's that's gotta some significant resolution to it. But, um, again, this is all the Grand Tetons. Another panorama. This is the island of this is Molokai from way out. And as I mentioned before this, you couldn't see right. You'd never see this view if you looked out the window because I'm looking back down this way. Here's both edges of the window. So I'm looking down the side of the plane and getting the full wing. You know, you normally would see something like this If you've seen that sort of engine on, I'm looking straight out. I'm passing by this island. This island is actually quite long Molokai. And then I'm looking over here into the distance here. And the fact that it's all these lines are maintaining straight. If you've ever shot individual shots, you've probably done something similar. Quickly click Your likelihood of being able to maintain those The integrity of the lines is challenging. And to be able to do this with an app iss again. Just the technical term, as we all know, is bitching. Yeah, it's just kind of bitchin. Okay, I think you're getting the general idea in terms of that hair. Another one of those. This would be if you think of that tossed on the table collage, but now going click, click, click, click, click, click, click, click, click, click, click This. If you think of this as kind of a checkerboard pano on drugs, you're gonna get that idea where you're in this case, not just going click, click, click and following a grid structure. But in this case, I'm actually painting it and purposely twisting it, which, actually, when I do those sorts of collages, if I want this with, even with my big boy camera, if you've got enough light, there's nothing stopping you. Putting this in high speed burst mode and literally painting the scene. Click pressing it down and going. Click, click, click, click, click, click, click, click, click, click, click, click, click. Even though the cameras moving during the process and it's unlevel and it's not on a tripod, you can get away with murder. If you've got enough light, you're gonna make sure that you're shooting at, like 5/100 of a second, maybe even a thousands of a second. You've got significant light. You can paint a scene either. This way, click, click, click, click, click, click, click and this way that is so illegal in terms of all the rules of shooting a panorama, especially even. I'll do that with my infrared shot. The nice thing about point and shoot most of your point and shoots if you if you shoot it, go in a scene and you press your shutter halfway down. You know that does your focus and exposure lock. There's two rules for shooting a panorama. You do want to lock your focus, and you do want to lock the exposure if you can will break that rule. But by focusing by locking the focus that as you sweep around, if you have something in your foreground, something in the distance, you really don't want it to change. Focus doing that because then the I am close up will be in focus. Your background is in focus is out of focus, and then if that changes during it, you don't want that background scene to change. So there are a few rules that are good to have. The nice thing about even a point and click is that if you press halfway down, that is gonna do a focus, lock and exposure luck recomposed. Press all the way down and let it do its chick click, click, click, click, click, click. If you've got enough light, it will freeze the scene, and you can get a panorama without doing anything in the sense of you'll have the individual shots that you will then take into photo shop. So being able to shoot a panorama go, let's go back to that family vacation. Um, where you're about the Grand Canyon. Families already 100 yards down literally press halfway down on your main focal point, recomposed all the way down. Click, click, click, click, click, click, click. You'll have the shots. When you get back to the hotel, you've got yourself a panorama breaking every bloody rule that you can. So you do have my blessing to break the rules and get funky with that. This actually isn't the cave. This is over in Molokai on the Momo Me Bay. It looks because of the fact that I'm taking in the scene. It looks like a cave. This is actually a break in it, and it's just kind of an art. But again, talking about a challenging exposure directly into the sun, this case actually was doing a HDR multi exposure panorama. We're doing that which is a challenge and typically something that I don't do normally when you're doing something like this. With such a you weren't able to do a change of exposure throughout the shot, and especially like this, where you have what should be jet black and bright light. This is where I would take advantage of the magic of the shadow slider inside of adobe camera are light room. In other words, resuscitate the dead shadows using software infidel easier than trying to bracket multiple shots. Stitch them together because they were never really gonna line up virtually impossible for you to shoot seeing. Basically, you have to shoot three shots, create an HDR, shoot three shots, create an HDR, blend them together and then, even though each one of those shots has a little bit of illegality to them, in the sense that there three shots, not one. But you can do that. That is the way how you would do a true HDR Panorama is complete the HDR for each one of the shots and then put that together, at least stitch them together. So you get what's known as, ah, high bit depth file, 16 bit file and then stitch them together and then manipulate that high bit depth resulting from okay, a little hips, dramatic instagram lump. This this is also part of a video. So the love, then one of the nice things also about videos but panoramas is what's typically known as the Ken Burns Effect, right? If you've got something like this, and you're wanting to use it within a video. Even though it's a still file, there's nothing stopping you from panning within that scene as part of a video clip. In other words, you just bring it in and you have a start in in point and you end up with a video clip of a still 10 burns made this famous world of Civil War documentary's and places where there is no video footage of the Civil War. Therefore, you take these high resolution images and pan and zoom around within a shot. The case of a panorama. Obviously you have this wonderful ability to zoom around within an image, obviously, and that's maybe not. Obviously, that's used a lot in Hollywood, where they're locked down a scene, do special effects and whatever they do. But it's high resolution, and they can push or pan the camera in. You think that it's a live shot when in reality it's just a still image that they're zooming in on and that allows them to simplify the special effects process. So okay, going back to the drug related trips, you've got abs that do things like what are known as polar coordinate panoramas, and this one is called Tiny Planet. There's all sorts of little APS that shoot this, and basically it takes what is a horizontal panorama and then does a polar coordinates warping of the image. It's a different way of doing a panorama. Kind of funky, kind of like it. Little prince, you know, kind of thing. And, uh, okay, you get the you're getting the idea when you, um this is the exact same shot. The great thing about this little apple just kind of neat talking about technology, is it takes all the individual shots, keeps them in its memory. And then, after the fact you say I want it, could you put them all together like this? Or can you put them all together like this? Or do that transparent background or in black, you could do Rainbow Star fields. It keeps all the images and it basically using the process. It remembers the images. It changes the process on how it puts them together. So it's 11 set of images. In this case, I didn't purposely twist it. You'll notice the twisting their the horizon line is staying consistent. It's doing that for me so all sorts of things you could get away with. Okay, so I think this is Ah, infrared hand tinted one we talked about yesterday. Again. Wonderful. In terms of our force perspective, this is a panel taken with a drone with a quadcopter, actually, probably 400 feet up in the air. By the way, for that class will talk about the legality things like Yosemite banning the use of drones inside the valley there and, um, commercial uses of drones. So we'll go into all that stuff. I don't think that changes the cool factor of it because we're always gonna be able to use them. But it certainly helps to know what rules are possible. Has never one of the rules as you can't go about 400 feet because that's where airplanes can't go below for mid feed. Drone isn't supposed to go above 400 feet. So I'm out over a cliff looking back at myself. I'm right here on the shoreline, and but the drones are basically like grope GoPro cameras. I used the phantom vision to plus, which has its own built in camera, and it's a fisheye. One of the things you can't do as I mentioned. You can't stitch official, but you can. If you know a few tricks, that's one of the things will do this afternoon as well is we'll take either go pro or drone photographs, and we will stitch it together. Adobe, actually, the maniacal genius creative director for Adobe Russell Brown, is such a freak on a lot of these things. He is a creative photography freak, and I mean that in the nicest way. Russell, uh, is that he's been a champion of drone photography for a long time, and so much so that he made sure that light room and adobe camera raw have the lens profiles for the Phantom vision. D. J. I cameras built into a CR in light room. So now you can get rid of some of that lens distortion right from within our beloved software. This another stitch panorama from the drones, and then how it actually is a series of gallery wraps that I display came so again, Panorama is from There's my house right there and, ah, just absolutely love it. You can't go wrong with a panorama of sushi back to drown or where the sushi came from. And, uh, vertical Spano's again Things that you may not think of this is that HDR This is part of our issue or class of this is a panel, but taking advantage of tone mapping techniques, the Hotel del Coronado looking, this is downtown San Diego, Coronado Bridge, the Hotel del. And again, whether you use this a still image or push it in, do that Ken Burns effect Also office. I was shooting video. That's nice thing with these drones is you can switch between Here is the more high rez version of that with the ice rink on the sand Christmas time at Hotel Del. But you can switch before you're actually seeing everything that you that you're seeing with the drones. They use APS that actually work with a mobile phone so you can see it so you can switch between stills and videos. Even shooting raw files with most of the phantom visions allow you to shoot raw single images. So love it. OK, any questions? I'm going through a bunch of samples here, uh, questions either here in the studio audience or in TV land. We do indeed, sir. So Max wanted to know. Can you talk about or recommend any completely dedicated panorama cameras? Okay, Uh, hit me in the sense that I mean a 60 gyroscope, you know, built into what you have in your pants are already pretty darn cool. That's pretty dedicated in terms of cameras in the olden days, especially with film. Um, you definitely wanted to have that because of how it was going to expose film you've seen. If you remember back in the high school days back in high school, they would shoot the entire school with with a camera. You have to stay still. Susie, Billy, Jimmy, you know, and that it would actually pan she one continuous piece of film as it would expose around with this automated little panhead. So in the past, dedicated panorama cameras were were essential just because of the entire process of stitching pre digital. The closest thing that I would say two devices that are devices, not cameras, would be things like the Giga Pan is ahead for automatically doing that. I can't imagine if you really wanted dedicated pen rams. I'd say the gig Japan is one because it will work with your different cameras it is guaranteed that gives you the flexibility of having multiple cameras toe put in use in conjunction with it. Eso I wouldn't actually By dedicated camera per se, you could get obviously dedicated lenses. If you want to use your fish eye lenses, get a 10 millimeter lens or something like that with, you know, a full size sensor and just this one stop shop. We're gonna crop to create your panoramas. The other thing is this This motor m o t t r is the name of the m o T r r. I'm sorry. Mot are our motor That makes this Galileo. I would also put this is kind of is in a dedicated because for most people what it creates, especially with this three pan, your resulting image is actually a very, you know, nice sized image and the fact that you have Ah, probably a dozen different acts that are used in conjunction with this that lets you do time laughs. Not only can you do time lapse, you know, sweeping like this, which I'll show you in a bit, but you can track it with spine and say, I would like you to come up here, pan up over. And actually, could you do that all day and follow the sun and then have it come back down so that in these minute little one degree increments again chicken skin so that sort of thing to be able to have that ability to shoot 10 80 p high def. Actually, you can use it with another app called Time Labs, which shoots four K video because these air doing individual shots, there's nothing stopping an IPhone from shooting four K 4000 line video time labs pitch in. I mean, it really is because it's shooting individual shots. Technically speaking, you could save those in. I don't know what would be the eight k you know, an eight megapixel file, every single one. And you could put that into any size video that you like. And then on that resulting video, you can pan and zoom inside of that video because that's one of the things that's really cool. Some people are shooting and Fourcade knowing that they're never going to display at four K. They have got this huge video file that they pan around inside the video inside of their edited video So anyway, so a very good question. I don't know of anybody who is shooting with a dedicated panel camera. I would say the closest thing would be a fisheye lens or some sort of, um, panhead automated panhead that would allow you to shoot it. Very good question. Um, that's going back to our disgusting IPhone here that shooting a vertical Pano again, totally illegal, shooting one and expecting the little you're seeing little teeny lines here was going a little bit fast. But the fact that it is getting all the riggings of this giant star Clipper Square rigger lined up let's see if we've got some other ones here is just amazing To be able to get the rigging. I'm all lined up on a find like this that if you've ever shot individual shots on a panorama, you know you don't shoot wood planks. You don't shoot square tiles on the floor. You don't certainly shoot anything with lines and wires in it, because you just there's no way they're gonna line up. And this is where the fact that it's shooting in tiny little slices is allowing it to not only lineup things like the you know, wood planks on the on the floor Comptel that I focused on the top to set my focal point, but it also the same thing. It allows you to shoot motion like waves on a beach, right? If you ever go click, click, click, click. And you've shot a panorama. That wave moved from one shot to another, in this case, by your sweeping it. As that wave comes in, if you're shooting with something like a mobile device in the little teeny slices, that wave is one smooth, continual line inside your resulting panorama. As we say in Japan school early this, you should all know how to say hello. Goodbye. Great. Thanks. And no problem in every language. Okay. Hello. Goodbye. Great. Thanks. No problem. Or you're welcome. If you could do that in every language you condone, go around the planet. Okay, so there's a little tip there. Expect more Japanese. You can swear in Chinese all the better. You need to have some. We won't go into Firefly. I told you on Lee audiences that no firefly right, John Sweden's TV show Firefly Scifi Western. I'll even go for agents of shield. Ok, if you guys know agency season, season finale Just okay, Back to you With this here three up, 300 feet up in the air at in the Crow's Nest. And again, we've got verticals that are in perfect sync with different exposures Along the way. You get the idea. This is all back. This is down in the Caribbean on a trip. I'm done with the filmic pro crew of shooting there and again in terms of storytelling what's not to love. But if you're not shooting Panos, which probably the fact that you've tuned into this class means that you probably already are interested in it. But if not, hopefully have driven in the point that it's an amazing way to tell a story of an environment of a scene of an experience of a moment. But if you're not, you will be No, this. Obviously you can see that this is doing multi panel multi, you know, up and down. And this is a pre retouched one. This one has got some challenges that I would do just because of the speed in which I was doing it. But they're magnificent. This again in the Caribbean, this is shot with a fish islands on the IPhone. And because of that, it's able to do a stitching of a fish. I in real time with movement frozen and get the scene That's just wrong in so many ways. And wonderful. Okay, because it also means this this phone is limited to, um, 270 degrees out of 306 degrees of a circle. If you do this, it can't go all the way around. It stops. But what happens with fish? I see it really doesn't know the lens that's on here by mess around with the IPhone and put on a fisheye. This right here is this bench right here. We're over 3 60 degree Pano in the IPhone here. That bench there is this bench here. This has passed 3 60 because I cheated by extending the field of view of the lens, and yet it goes. Okay, I'm still going to stitch it because that's what I do. I mean, we're not even stitching it. Remember, It's shooting it in the slices, you chicken skin, okay, and mawr motion, as I mentioned before being able to sweep a panel with something like the mobile device is awesome. Directly into the sunset, directly away from the sunset, That is the other thing is the default that this does is it changes exposure as you're shooting. Sometimes if you go really slow, it does a better job. Depends on how fast it will change the exposure, but it actually changes exposure on the fly. So that is also and there is doing a little crop on it. This showed this the other day when we talked about creativity. This is handheld IPhone night. No tripod. Um, Panorama Strong police should come up behind you. See? Sorry, sir. You can't do handheld nighttime panorama over the mobile device. That's just way. Don't allow that here. You know, it's just cool. Now, is it a challenge trial in terms of things like noise reduction and stuff like that? Yes. That's why God made, like, room and a CR an amazing ability to sharpen into noise reduction. So that will come up this afternoon when we talk about post processing. Sometimes when you are using these, you know, less sophisticated ways of grabbing. Seen this again. This is a point and shoot camera here that was taken on here even on this 10 foot panorama here, I'm using special sharpening techniques to be able to pull out a huge amount of detail in the file. So this is why we combine not only why you would shoot but how you shoot and how you process. Because it's going to allow us to take this creative creative photography where we are still enjoying life. Still doing the hike, Still enjoying our family, still doing all this stuff and telling ridiculously fantastic, giddy She did in grin stories. And, um, you know, not just locked into taking one shot a day because it took me five hours to set up my tripod and get it all right. Nothing wrong with that. But I'm going to use a lot of post techniques. Teoh take advantage of the ability that I can do these things again. A night handheld. You know of the Las Vegas Strip those air just, you know, you get the idea. This is one of the shots we did yesterday in infrared. You were in that class. Now you can see that this is going into the more expressive. This is the shot with a little bit of antique ing done to it and then using mirroring techniques. In this case, this is again the drug related story telling Did have one question about that specific pan on. I know you talked about it a little bit, but can you talk us through how I mean what camera used, Maybe how many shots you took to get that absolutely loving? I'm to just absolutely, you want here. This will bring it up on the computer screen here as well. Um, it's again the south shore of the island of Molokai. We've gotten why we have our apostrophe Hawaii, and it's a sacred Palm Grove there because of the fact that has a barrier reef. That means it has a lagoon. That means that I can walk out into the water. I'm using what would be the equivalent of, um, this camera here. Actually, in the last time I was over there, I killed my favorite can. And Jeanine that was converted to infrared. So I went and got the G 15 we can use. The G 16 is the current once a G 15 doesn't have WiFi, but you can get them on eBay, and I think I actually got this from Canon and they're used camera. You know, you could buy online recondition one so 303 50 for a awesome raw shooting camera manual controls, which has some wonderful panorama capabilities built into it. So the answer. The question. It's a converted G nine. It was converted by life pixel dot com. There's people who I worked with for infrared photography. I'm out probably 100 yards from the shoreline and in this case, in one of the scene modes there now, in the seed moment, used to have its own special dialling McGee nine for Panorama, where it will go ahead. And again I may have been using. I do use this sometimes when I'm shooting this Are you something like this? Speaking of toys, that was very, very Batman athlete was. Should have been a utility belt in any way. This is a little teeny monta pod with a spike on the end with a little ball head on it so you can shoot horizontal or vertical. And, um, in this case, I'm pretty low down on the water. So I actually may have used this or something like it in terms of Amona pod. And, um, the G series has this ability to shoot a panorama where you'll go in this mode, you'll set your exposure. You'll do that halfway down to seven exposure lock, recompose, click and will keep a consistent exposure across the the film plane. And it also shows you a shot. And then as you take that shot, it does a ghost for you. What's kind of known as an onion skin? We moved the other one and you line up the edges. So says, Okay, there is that tree there is that tree and allows you to see it. So, um, that onion skin just helps with it. Basically, you don't need it, but it would allow me to do that. Overlap. I really nice. Probably 1/4 to 1/3 of an overlap on the image. I do recommend. Should I do recommend, whenever possible shooting in a portrait mode as opposed to land escape mode? Because again, that's always gonna give you a greater field of view versus this. So I'm probably doing this I'm taking advantage of on the G nine. It had both checkerboard horizontal and vertical panoramas is an option, so literally I'm going through and probably since I'm zoomed in a little bit on it. I wasn't using it at the wide angle because I knew I wanted some more resolution. There's probably, uh, 10 shots on this one here with the G nine. You look at the computer screen, you're going to see the shot with the CPS guy and the scion water. This was just simply flipping. It was one of the tricks we did yesterday in our infrared class. And it was just together inside of put a shop, this one with water when you've got ripples because this, I mean, these aren't the seems obviously that seems that throughout. So there's probably some retouching in the foreground to get alignment of the individual ripples, but really not a difficult shot. And if you've got if we have our video, you can, um, look at our palm fronds up here and see with the jiggery pokery that we're gonna do after lunch. We'll talk about sharpening and blowing up a file. Um, what sort of detail that you're able to get even in what would be considered a point and shoot camera