Lessons
Lesson Info
Working With 360 Images
Let me just go under here, and I'm just gonna choose 3D, spherical panorama and this is inside Photoshop CC, new panorama from selected layer and we just go, yeah, we can go to 3D workspace or not doesn't really matter, click OK and that's it. So it's gonna go there, and there I am. That's me, and there's the lobster hand (laughter) and see, there's the blind spot right there. See how it just like gets rid of that? So it's kinda cool. You know you can kinda look around later on. So let me undo that for a second and what I'm gonna do here is I'm gonna show you just how to do some basic adjustment. So here's a really cool one, shot by my friend, and I think you guys all know who he is, Russell Brown. And I'm gonna just open this one into Photoshop. So, I haven't done this yet, but I'm actually planning on doing it very soon. I'm just waiting for the mount it's to put the 360 camera on the drone. So, recently, I went with Russell and were at the eclipse Remember the Wyoming eclipse? And w...
e were there and he had one of these on the bottom and one on the top of his drone and he was flying around shooting 360's. So he was kind enough to let me use this photograph cause I just think it's a lot more exciting than one of me standing and holding the thing and if we look at this one here, and this is just a jpeg and this is shot on this camera the ricoh theta, wasn't the V it was the previous gen... No it was this generation and so we're gonna go in here and we're gonna go to the spherical panorama and this is a shot where we were contemplating shooting the eclipse. Look at that, isn't that beautiful? So this is where we were, this is us. Where's Waldo? He's probably wearing red right? And you can see there, so this is the shot all the way around, look at this horseshoe. Pretty epic huh? You know? So that, but of course we had the drone up here, look at that. It's pretty neat right? So that's, that's essentially the 360 camera and how it looks and how it works, we can look directly down and directly up so it's pretty amazing with those lenses how we can do that. Okay so we got some things we wanna do though. What if we wanna adjust this and tweak it make it look better? So let me go around here and one of the things I could do here's a little trap, is if I try to adjust this right now like say we go into here and we got filter camera raw and I try to make some adjustments, I'll show you, this is not gonna work. I'll just warm that up, just for fun cause watch what happens. Oh that's not what we wanted is it? Okay so we've gotta be smarter about this. So obviously editing it directly on screen is not perfect unless is the other part I forgot to mention about these 360 cameras, you know if we aren't doing AR and VR what are we doing with it? Well one of the great things is we can compose a photo like this. So we shoot everything, and then later on we decide, hey what do we wanna do for the photo? So you can actually just come in and you know recompose the photo, like I want it this angle you see what I mean? So you get your shot and you can literally frame your shot after the fact or you can take one photo and maybe frame four or five different photos out of it. So that's kind of really exciting and I think we're gonna see more of that in photography in the future so obviously I can't adjust it there what do we do? Well what's happening here? Let me explain what's happening here. Cause this is something we used to do not a lot of people know this but I went to visual effects school and I know went to photography and design yes I did, I did that as well. I just love digital imaging so anything to do with digital imaging, I'm into it. So a few years ago, I was at Gnoman School and one of the things that we did is we were working with 360 degree now the reason I'm telling you this is to explain a little bit better how this kind of works. So what we used to do then is get a camera on a tripod on a panoramic tripod point the camera at 30 degrees, take all the pictures point it down 30 degrees, take all the pictures and sometimes you'd do 80, 100, maybe more pictures and the reason for that cause we're also doing HDR's so we were bracketing all the shots and then what we would do is we would stitch them together and then we would go into 3D software, Maya and then we would create a big sphere and inside that sphere we would take this massive like two gigabyte file and then map the file to the inside of this sphere and then when you would do that then you would composite you're 3D models or objects or whatever in front and then use that as the background to move through it and then you could use that for lighting you could use it for reflections you could use it for background and that's actually how a lot of visual effects were created in movies, when you see all those environments and lighting it's just a massive photo or video mapped to the inside of that sphere and that creates that environment that you can move around. So that's kind of how we started doing that and the reason I explained that cause that's what's happening here. We've got that 360 degree photo and virtually Photoshop has created this sphere and has mapped it to the inside of that sphere and now we're just looking around inside that sphere so imagine you're inside a giant beach ball that's semi-transparent and there's light outside and there's pictures on it and your picture is like printed on that beach ball that's essentially what this is. So does that kind of, does that explain how it works? Maybe that helps some people. Alright so we wanna adjust it. The way to adjust it, see down here it says spherical map, did I not just say, that you mapped it to a sphere? These guys are listening to me and they named the feature right after that I guess it is a spherical map okay so what does that mean? It means that if we click on it double click on it, we go back to the original picture. So if we go here and see that and we look in there, oh you know what that is? It's just a smart object. So all we're doing, dealing with right now is like a smart object, it's actually a 3D texture but let's just pretend it's a smart object. So if we work everything we know about smart objects and if you don't know anything about smart objects that's not gonna help but if you know a lot about smart objects everything you know about smart objects is now applicable to the 3D so you already know how to edit a, we're done thanks, see ya. (laughter) Okay, alright so for the rest of you, what we're gonna do here is, now that we're in here, inside, actually you know what let me back up, let me back up cause if you don't know what a smart object, you probably don't know what just happened right? Who knows what just happened? Who doesn't know what happened? There's three people in this world right? People that make things happen, people that watch things happen, and people wonder what happened. Alright so let's not be that third group. Okay so essentially, so imagine inside of Photoshop right here, this is our main document there imagine inside of Photoshop we just you know you are familiar with 3D features right? Okay so you've created a sphere so basically there's a sphere, a three dimensional sphere inside of Photoshop and now all 3D objects inside of Photoshop have textures, you put the texture on it. So you know the sphere is called the geometry so the geometry is the shape, it could be a cube, a sphere, in this case it's a sphere and then the texture is the image that is attached to it. So if you were working with a 3D object inside of Photoshop and you wanna change that texture you take an image file, and then you load that image file so that, that's what this is. So when we go through here and we double click it it opens the image in a separate document so this image is the image that's mapped onto that sphere but this is what it looks like when it's unwrapped. So if we make any adjustments we make to this are gonna be updated inside the 3D image. Now there's a lot of things that are a lot easier to do in here than it would be to do inside the 3D image cause in the 3D you're working inside this big sphere and it's harder. So in this situation we can be like well let's do some things let's make this look good. So you know you could go in here and we could choose filter camera raw and let's do our good old recover our highlights, open up our shadows, although I don't know why I'm making adjustments cause Russell already adjusted this perfectly. It's impossible to adjust something better than Russel. You guys know who Russell Brown is? You should check him out he's, he's at Adobe and he's Adobe's resident genius. He is the principal creative director at Adobe so he's always playing around with things and just incredibly intelligent and cutting edge. So me thinking I can adjust a photo better than Russell is fictitious but I just wanna do that so you guys can see the change. So if we look at it here and then we go in now, we hit save it updates and boom, now we've got the updated image. So now if we wanted to get rid of this, notice I'm pinching, I can pinch in and out now we use our content aware technology and get rid of that if we wanted but I'm not gonna do it on here cause I want, I've got some other images I'm gonna show you some things.