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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: One issue you'll see in time lapse shooting, is Noise. Now, there's lots of ways of getting rid of noise. You can do it after the fact, or you can do it during the development stage when you're working inside of Camera Raw. Let's start with the first place that you can tackle it. In this particular file, I've just revisited the one we previously fixed. And it's defintiely looking better, but what I want to do here is go in and take a look at it at 100% magnification. In fact, we'll jump to 200% to make it even easier to see.
Notice that we have some noise in the shadowy regions. You can particularly see it over here, in these gray tone areas. This was a long exposure, and as such, it was a bit prone to noise. This shot was made over a three second period at ISO 800, so the likelihood of noise is relatively high. Let's go over to the Detail tab, and take advantage of both Sharpening and Noise Reduction. I'll start with Noise Reduction here. And just bring up the Luminance Noise Reduction.
And notice as I do that, how the noise just melts away in those regions. I need to do a little finessing here, and bring some sharpening back, and as I increase sharpening, the noise becomes more visible. So, you may need to do a little bit of a tango here, balancing out the sharpening amount with how much you reduce the noise. Remember, you also have the ability to play, with how much detail is preserved, during the noise reduction. Take that down too far, and it will get very aggressive. Go up too high and it may miss areas.
So, find a balance, if you have noise in the color channels, you can also pull that out, specifically. Notice all the speckling there. And by bringing that slider over, a lot of the splotchiness goes away. Alright, that looks good. Holding down the Spacebar I'm going to pan and look at a few other areas. Toggle off the before, and after, and we're not having too many problems up here. It was really in the darkest shadows. So let's take a look over here, no reduction, with reduction. A big difference, so just find the balance as you work. Alright that looks great, I'll choose Select All and Synchronize those. And I just need to synchronize the Details category, which will take advantage of the Sharpening, Noise Reduction, and Color Noise Reduction. Clicking OK, applies it, across the board.
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