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Learn how to speed up time and create compelling visual effects with time-lapse photography. Join Rich Harrington in the field as he captures nature's patterns at Red Rock Canyon in southwestern Nevada, and shows how to frame your scene and choose the proper camera settings. He'll show you how to capture great images, whether you're using a DSLR camera and a motorized slider or just a smartphone you have handy. Then join him back in the studio to transform your still footage into a storytelling time-lapse video, using tools like Photoshop, Premiere Pro, and Final Cut Pro.
This course was created and produced by Rich Harrington. We are honored to host this content in our library.
Rich: When you shoot with a camera, you're going to have lens distortion and every time you change that lens on the camera, its going to distort differently. That's because lenses are not human eyes and what'll happen is that you'll see bending or pin cushioning. You also might see unwanted vignetting at the edges or chromatic aberration. The combination of lens and camera could be a really complex relationship, but fortunately Adobe actually tracks these and provides automated tools to fix some of the most common problems.
When you have a time lapse sequence, you could choose one of your images and the sixth tab over is the lens corrections tab. Now, you start with the profile tab, and simply enable lens, profile correction. In this case, it recognized that I was shooting on a Nikon with a 35mm lens, a 1.8. And it plugged that in. Now, it may actually get specific enough and recognize additional details depending upon the camera and the manufacturer.
This database is downloaded by Adobe, and you'll see updates periodically, particularly when you update camera raw. If the auto amounts are not enough for you. You can go in and manually tweak the distortion amount. And you'll see how the edges are unwrapping. Typically, though, I'll leave those at the base value of 100. But a useful option is to turn on the grid, so you can really see how things are going. Now, we don't have any strong geometric lines here, so it's a bit difficult to tell exactly what's supposed to happen.
But I could see some ridges here. And I have a pretty good idea that this is looking properly unwrapped. The second tab allows to remove chromatic aberration. Now, chromatic aberration is typically seen at high contrast edges. And if we zoom in here to 200%, lets toggle that off and on. Notice here a very small shift. This is a good instance of it, right here on the edge. Turning on Remove Chromatic Aberration removes the fringed color. As you turn that on, the Color Fringe is removed.
Now, you can adjust how much, with the Amount slider to make it more aggressive. But be careful not to go too far. The goal, is that you remove the color spill at the edges. And you'll typically see this. When you have a hard transition. Such as from sky to land, or sky to building. The last tab is Manual. If you're using bridge five or newer, you'll find Upright. And this is an exciting option for correcting perspective problems within the frame.
Besides that though, are several manual controls, so you can adjust the overall pin cushioning. Notice how I can pull the image in or out and this can be useful to remove apparent distortion. Here it feels bulged. But I like this. Feels like a better ridge line there. You can also tilt the image in vertical space, to compensate for perspective issues if you're shooting at a higher or lower angle. So, a slight adjustment there compensated for shooting from a downward angle. Now I like that angle, so I'll restore it.
But I think that's a good balance. You have the same controls for horizontal perspective issues if you're shooting off angle. You could of course Rotate and there's even a tool for that, that allows you to drag along a line and force that to be straight. Notice there, I just compensated for the rotation problem. And I can even further scale the image if needed to fill up the frame.
All right. That worked really well. And I'll just finesse this by adjusting the vignette controls. The lens vignette control is designed to lighten or darken the edges, if you're seeing fringe. Sometimes lenses or sensors will cause a bit of darkening at the edges of the frame. That's looking better. And I can toggle that off and on, and you can see that that's a pretty dramatic fix. We've removed the bulge distortion and removed the darkening at the edges.
If you decide you want to stylistically add darkening, do that with the post crop vignette effect. And you can dial that in, but I'll often add that afterwards in the editing tool or after effects in order to control its position and placement. Because I might add an animated zoom or move. So for now, lets leave that Post Crop Vignette off. Like all adjustments, be sure you select all of the frames in your sequence, click Synchronize. And globally apply those across all frames, and then click Done to store the results.
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