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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: Now that we've processed several images, let's get them out of Camera Raw. Now, you don't have to leave Camera Raw, because tools like Adobe After Effects can actually bring in Raw files. But, there is a certain advantage to baking your corrections in, and outputting a file that's easier for the computer to process. While Raw files are relatively tiny, they certainly have some overhead and the computer has to do a lot of on the fly computation. Turning your files into JPEGs or TIFFs makes it easier to work with them with most non linear editing tools. And can help your computer out if it's not a top of a line machine. Inside Adobe Camera Raw, I'll just select all of my images. And this is a great opportunity to make any final adjustments. So, if you need to, you can always Crop.
Perhaps you want to Crop to a 16 by 9 aspect ratio. And you can use this as an opportunity to finesse the framing. Remember, just apply a Synchronization across all the clips. So that they're unified. Before you output, you'll want to come down to the bottom here and click. This is the access to the workflow options. So, for example, I'm going to sharpen for the screen. And, I'll apply a standard amount of sharpening.
I could choose to save these out at full quality, at 13 megapixels. Although, if I look at those dimensions, 5,000 by 2,700 is a lot of resolution. If my intention is to go out to, say, standard HD at 1920 by 1080. Going to a 5 megapixel image might be more than enough resolution. Assign the color space that you need. Many folks stay with Adobe RGB, or SRGB.
I'll stay with Adobe RGB for this particular work flow. And I could write out 16 bit per channel files. Now, if going to After Effects, 16 bits per channel is a piece of cake. If you want to go to an application like Premier Pro or Final Cut Pro, you might dumb those files down to 8 bits per channel, and that's okay. Don't worry about resolution, this is just the print resolution, and you're not printing. So at this point, you can click OK, and it will apply those.
And now, it's as easy as clicking Save Images. Simply choose a folder. I've made a folder called Processed Frames and I'll call this Shot_01. Target it, a TIFF file that works great, no compression and I'll click Save. It'll count you down, and you can actually see the progress as it writes. If you've done a lot of adjustments using Lens Correction, it can take a bit of time but that's alright.
Better to pay this now and get the rendering over with so that the assembly goes faster. If you click, a dialog box will open and you can see what's happening on a per file basis. You enclose this at any point in time. I'd like to encourage you to keep working with the other images. Take all the files that you've processed in this lesson, and go ahead and export those images sequences. We'll use these later on in our lesson. Up next we're going to take a look at Adobe Photoshop Lightroom. And I'll show you some alternates to working in Lightroom. As well as some technology that allows you to use Lightroom and a third party piece of software to actually build the files right there.
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