5.4 LRTimelapse for Automatic Modes
LRTimelapse is also a great tool for resolving issues created by shooting in automatic modes. In this video you’ll learn how to use LRTimelapse to apply transitions and remove flickering from sequences.
1.Introduction2 lessons, 05:36
2.Getting Ready2 lessons, 15:28
3.Pre-Production4 lessons, 19:55
4.Production3 lessons, 15:23
5.Post-Processing5 lessons, 39:38
6.Editing Time Lapse Video5 lessons, 45:07
7.Conclusion2 lessons, 07:45
5.4 LRTimelapse for Automatic Modes
So I'm back in LR Timelapse and I'm looking at the sunset time-lapse that I did up on the hill. This is the lapse that was shot using the aperture priority mode. So I have a shifting shutter speed overtime. So it begins with 1 over 160, and if I scroll to the end, you can see that it ended up about one-sixth. Let's preview the time lapse, see what we got. I've already initialized the sequence. And we can see there's a lot of flickering going on here, and the light just seems to be pulsing, but other than that it doesn't look so bad. What I want to do is create a number of key frames, and create a color transition overtime, because it stays relatively light when it gets to the end. I want it to darken a little bit, and also I want the hue to shift. So I'm gonna click on keyframes. Keyframe Wizard, ignore the setting about Holy Grail because I didn't use that technique. And it's gonna add a key frame at the end, but I also want to add a third key frame, this time, just as the sun sets, I want to add one about there. So, this is gonna come over here and click to add an additional key frame. Once that's all done, I'm gonna click on Save. Now I can dive into Lightroom and start playing with these images. So here's the sequence. Should, start to complain that there is conflicting metadata, so I'm gonna right-click, choose Metadata > Read from Files. And ignore the warning. And off it goes. So this is gonna load the sequence based on the LRT settings. What I'll also do is filter, so I'm only seeing the key frames and then I can get to work. So it's taking a moment to read them still and in a second we should have our freaky frame. So let's increase the thumbnails, so we start off there and then we end up here. So let's begin by developing the first image. Let's hit D. Now, if I look at my settings here, it's quite dark there, so when I introduce some brightness I'm gonna possibly introduce some noise as well. And I mistakenly left my ISO quite high. As you can see here it was set on 2000. So this was a slight oversight on my part. But lets begin by pulling in some of the shadow detail. And try to bring up the exposure a little bit, and I don't wanna do it too much. Let's try to compensate for the overexposure, and bring in the whites in, and that's looking a little more balanced. I want to make sure that the dark areas aren't too bad, and I just wanna make sure that I'm not bringing in too much noise. If I bring it right up, it's gonna look pretty nasty, but maybe I can use the graduated filters to fine tune that. So that's already looking better, but let's going in with our graduated filters and make this even nicer. So, begin with the sky and just drag the exposure in a bit. That should resolve some of the peaking we saw going on there. Maybe bring that up a little bit, and I'm gonna under expose that a little bit more. I'm also gonna introduce a little more warmth in the sky there to make the sunset a bit more powerful and maybe drag the purple over. I don't really wanna do so much more in the sky. Maybe I'll play with the contrast, so it's not so intense. Make it a bit softer, we get a bit more detail in the treeline there, and maybe I'll just push that up a little bit, let's see. See how that responds. So that's quite okay. And let's go to our middle area, and just bring a little bit more brightness in there, just a touch. Not too much. And then, I'll darken this area back down again. And maybe round about there is good, so we get a little bit of light in the middle there. Not too much. Maybe just push this over and that should be enough. Click on Done and let's examine. It's a bit of grain there. A bit of noise but I hope it's not too visible. What I might do is add a touch of noise reduction. I won't bother with the sharpness at this stage because I'm sure that's just going to make the noise more visible. So, I'll just put another little bit of noise reduction there. And let's see how that looks. Barely noticeable but there's a little bit of a fix there. Okay. So I'm gonna hit on G to return to the grid mode. And I'm gonna copy those settings and paste those over and let's put that on the middle one and develop. Paste. And that doesn't look so bad. I said D. What I want to do is cool it down a little beyond this point. So I don't wanna go too crazy at this stage. I might darken it a little bit more, get more contrast in there. And maybe just warm it up. A little bit, maybe I'll pull the purple in a tiny bit more. Maybe I'll just grab that graduated filter and see how that looks if I go a little more yellow. Maybe just a little more yellow over here as well. You're crazy, how's that gonna look, a bit too weird. So round about there. Not so bad. Maybe in the middle here, we'll start introducing a bit of a cooler temperature. Right about there. Okay. So, click on Done and, again, return to the grid. So we're going from this, to this and then I'll just copy these developing settings again and paste those on to the last frame. So, again I want to darken this one down a little bit. So I might just use the quick exposure setting so I can see them side by side. That's not so bad, let's go in again. Hit on D and I also want to add a more blue kind of feeling here. So it feels a bit more cool and lets go to the graduated filters again and just lower the value of the top one there. Go all the way over, that's going to look quite crazy. And also direct the exposure down a little bit to maybe about there. We click on Done, return to the grid, so we're gonna go from this to this, to this. See how that all goes together? So I select them all and go back to metadata and save the metadata to the files, click on Continue, jump back to LRT, reload. What we're gonna see is these key frames shift. This is much darker and this is much lighter. Same as before, if I click on Auto Transition, it's going to calculate the data between those and I now want to choose Deflicker. What you see there is that blue jaggy line, has got a green line composited over it that shows us this smoothness curve. But it says here don't forget to set the reference area. And what it wants me to do is draw a box somewhere where it can calculate a light value. So if I take the lake I think that's gonna be quite a neutral area. Now it's gonna recalculate that brightness value. And once that's done, we should see this curve change. Okay, so that kinda goes up and down a little bit. I think we can go with the default. Maybe I can just crank that up a little bit, but I'm thinking that looked pretty okay where it was. So I'll just click on Save. That's gonna update the XMP data. We see this looks crazy, cause it's compensated for all of these different bounces in light. If I go back to Light Room, and show all the key frames, all the full sequence, and select them all. It's complaining again that the meta data has conflict. Go back here and read, Click on Read again. Now it's gonna start loading all of these different frames based on the new values. So that's gonna take a moment. Once that's done, because I can't preview them in LR Timelapse, the only thing I can do is export it as a sequence and cross my fingers and hope that it worked. So I'm gonna do that now, I'm gonna just export the sequence and then we can have a look and see if there's any more work to be done in LRT Time Lapse. And here's the exported time lapse. So I'll click on play. Here it is, the deflickering is almost completely gone and we have our smooth transition from our warm sky to a slightly more blue sky. So join me in the next video where I'll show you how to export your sequences ready for editing in Premiere and After Effects.