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Creating Time-Lapse Video

Selective recovery with Adobe Camera Raw


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Creating Time-Lapse Video

with Richard Harrington

Video: Selective recovery with Adobe Camera Raw

Rich: Sometimes your situation that you shoot in will lead to really tough exposures. Maybe it was a dramatic change in lighting or just a tough situation to shoot. I'm going to show you two instances where I had a little bit of technology failure. The first is just the fact that the camera was left open for a really long time, shooting in low light. And things I couldn't see in the view finder showed up in the final shot. The other is a simple fact that I had my camera settings wrong. Well, I want to show you how Adobe Camera Raw can be used with RAW files to recover.
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  1. 3m 55s
    1. Welcome
      34s
    2. What you should know before watching this course
      1m 11s
    3. Using the exercise files
      2m 10s
  2. 4m 20s
    1. The end product
      1m 9s
    2. Why shoot with a still camera
      2m 0s
    3. What you're shooting for: Objectives
      1m 11s
  3. 7m 7s
    1. Frame size for delivery of time lapse
      1m 43s
    2. Frame size for acquisition of time lapse
      1m 45s
    3. Delivery frame rate of time lapse
      1m 36s
    4. Postprocessing choices for time-lapse photography
      2m 3s
  4. 17m 7s
    1. A solid tripod for time-lapse shooting
      4m 43s
    2. Using an internal intervalometer
      2m 15s
    3. Using an external intervalometer
      4m 37s
    4. Weather gear
      1m 6s
    5. Extending the power of the camera
      1m 28s
    6. Using a spare camera body
      50s
    7. Memory card selection
      2m 8s
  5. 5m 55s
    1. Shooting time lapse as JPEG files
      2m 15s
    2. Shooting time lapse as raw files
      2m 6s
    3. Shooting time lapse as movie files
      1m 34s
  6. 7m 34s
    1. Choosing a frame rate for time-lapse photography
      46s
    2. How long should you shoot?
      1m 10s
    3. Tracking the sun's position
      2m 50s
    4. Working the scene
      2m 48s
  7. 3m 4s
    1. Choosing the right aperture for time-lapse photography
      1m 6s
    2. Choosing the shutter speed for time-lapse photography
      50s
    3. Choosing the ISO for time-lapse photography
      1m 8s
  8. 10m 15s
    1. What does a slider add to the shot?
      2m 37s
    2. Building a slider
      3m 43s
    3. Basic moves on a slider
      3m 27s
    4. Keith's feature
      28s
  9. 8m 35s
    1. Stabilizing the phone
      2m 52s
    2. Setting up the shot with Lapse It
      1m 59s
    3. Using Lapse It
      1m 26s
    4. Using iStopMotion for iPad
      2m 18s
  10. 12m 8s
    1. Using a card wallet
      3m 9s
    2. Choosing a working drive
      3m 18s
    3. Transferring data
      5m 41s
  11. 8m 55s
    1. Using stacks in Adobe Bridge
      2m 29s
    2. Removing unwanted frames
      3m 2s
    3. Renaming and renumbering image sequences
      3m 24s
  12. 51m 54s
    1. Basic exposure with Adobe Camera Raw
      3m 30s
    2. Selective recovery with Adobe Camera Raw
      6m 25s
    3. Advanced recovery with Adobe Camera Raw
      5m 50s
    4. Reducing noise with Adobe Camera Raw
      2m 37s
    5. Removing spots with Adobe Camera Raw
      5m 41s
    6. Compensating for lens distortion
      5m 16s
    7. Stylizing the image with Adobe Camera Raw
      8m 49s
    8. Exporting the images to sequential files
      3m 42s
    9. Alternative workflow with Lightroom: Part one
      5m 36s
    10. Alternative workflow with Lightroom: Part two
      4m 28s
  13. 11m 16s
    1. Importing the image sequence
      2m 5s
    2. Refining the duration and frame rate
      2m 39s
    3. Adjusting the time-lapse sequence
      3m 35s
    4. Exporting the time-lapse sequence
      2m 57s
  14. 30m 22s
    1. Importing the image sequence
      1m 31s
    2. Refining the duration and frame rate
      3m 42s
    3. Frame blending
      3m 7s
    4. Adjusting the time-lapse sequence
      3m 33s
    5. Camera moves
      3m 54s
    6. Using flicker
      4m 59s
    7. Working with raw time-lapse sequences
      3m 35s
    8. Creating variable-speed effects
      3m 10s
    9. Exporting the time-lapse sequence
      2m 51s
  15. 11m 40s
    1. Importing the image sequence
      2m 23s
    2. Refining the duration and frame rate
      3m 39s
    3. Adjusting the time-lapse sequence
      2m 19s
    4. Exporting the time-lapse sequence
      3m 19s
  16. 12m 34s
    1. Importing the image sequence
      3m 17s
    2. Refining the duration and frame rate
      1m 53s
    3. Adjusting the time-lapse sequence
      4m 48s
    4. Exporting the time-lapse sequence
      2m 36s
  17. 1m 4s
    1. Goodbye
      1m 4s

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Creating Time-Lapse Video
3h 27m Appropriate for all Aug 14, 2013

Viewers: in countries Watching now:

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.

Topics include:
  • What is time-lapse photography?
  • Why shoot with a still camera?
  • Choosing a frame size and frame rate
  • Using an internal or external intervalometer
  • Selecting a memory card
  • Tracking the sun's position
  • Deciding how long to shoot
  • Using a slider
  • Shooting time lapse on a smartphone or tablet
  • Removing noise and spots with Adobe Camera Raw
  • Importing the image sequence
  • Refining the duration and frame rate
  • Blending frames
  • Creating variable speed effects
  • Exporting your sequence
Subjects:
Photography Video Shooting Video DSLR Video
Software:
After Effects Final Cut Pro Photoshop Premiere Pro Lightroom
Author:
Richard Harrington

Selective recovery with Adobe Camera Raw

Rich: Sometimes your situation that you shoot in will lead to really tough exposures. Maybe it was a dramatic change in lighting or just a tough situation to shoot. I'm going to show you two instances where I had a little bit of technology failure. The first is just the fact that the camera was left open for a really long time, shooting in low light. And things I couldn't see in the view finder showed up in the final shot. The other is a simple fact that I had my camera settings wrong. Well, I want to show you how Adobe Camera Raw can be used with RAW files to recover.

And I don't care if you're accessing it through Photoshop, Bridge, or Lightroom. It's all the same. In this situation here, lets press the spacebar to take a look at it. You'll notice that we're seeing the curtain reflected. Now what happened here is that I was shooting through a glass window. And despite the fact that we closed the curtains you're actually seeing the white backs of the curtain being reflected in the window. To get around this, I'll often use a piece of technology called a lens skirt. This is an easy way to attach to the camera and to the window to hide it. But, when I shot this shot, I didn't have that piece of gear with me. In fact, I didn't even know about it.

The good news is, is with Adobe Camera Raw, you could do a lot to recover problem areas. Let's open all these images. And we'll take a look. Again, you're just working with a small sequence. You'll notice that we have some clipping right there. Some of the highlights are blowing out. And that's to be expected because those are bright neon signs. The problem, though, really lies in the window here. So, let's do an auto recovery to start.

That's looking better. And what I want to do is pull down some of the highlights. That's helping. We'll continue to bring the exposure down a bit. At this point, we can lift up the shadows. And you see that we're getting pretty good at recovering these. However, what I need to do is further refine and start to clip some of my blacks.

So let's pull that down. And I have to be careful that I don't smash them, and lose everything. This is looking pretty tough. I have this challenging area here in the middle. And what I'm going to do is instead of applying a global adjustment, is switch to a localized adjustment. Now the contrast is helping quite a bit, and I got rid of most of that issue there. But, still pretty tough. So, let's brush in selectively.

Choosing my adjustment brush here, I can lower the exposure. I can also come in here and adjust the size and the feather of the brush. So now, very gently, we can stroke in and paint out those areas. So, where the reflection is coming in, we can remove it and you always have the ability to adjust the brush strokes after the fact.

So, by brushing over the problem areas I can hide some of the reflections. Let's adjust the size of the brush there. And really get into the small gaps. There we go. And I can even turn on auto mask and show the mask if I want to see what I'm doing. So I'm just painting in the problematic areas where it shows up most. And let's toggle that off.

That's lookin' a lot better. Before, after. So notice by brushing in strokes, I can go after the tough spots. And I'm just going to play a little bit more with the overall exposure. Let's dial that in. Looks pretty good. And the blowout neon is just going to be blown out. Not much I can do there, other than go back and re-shoot it. But I'll find a good balance. If you look at the two frames, you'll see that that's definitely improved. And I've been able to pull out that toughest problem zone. Alright, let's put a little bit of clarity in. Really pop those details and I'll play with vibrance. I have to be careful to not overdo it.

In fact, with this much neon I'm going to go with a negative vibrance setting and dial that in. That's looking pretty good. The good balance there, between saturation and vibrance. I'll come back to the adjustment brush and just brush a little more. There we go and I've managed to go over, the tough areas. There we go. Satisfied with that, so let's choose, "select all". and synchronize.

Making sure to synchronize everything. And now all those shots are repaired. Now that's just one way of fixing tough exposure, the key there is sometimes you have to get selective and brush in the problem zones. Fortunately, you're typically locked down when shooting time lapse. If this was from one of those motion examples where we attach it to a motorized rig, that would have been a lot more difficult. So I can't emphasize enough the desire to shoot it right in camera.

But before you give up on a shot, sometimes it's worth seeing if it can be rescued. In fact, let's take a look at just one of those types of shots. I'll click done to store these settings, and all of them will update, and we can go back to our recovery folder and take a look at a terribly overexposed shot.

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