Hey, this is Matt with Blue Mantle Films, and today I’m gonna go through my post production workflow for making hyperlapses. This video is a follow-up to my last video, which I released a week ago. This one is how to take the raw images that the Mavic 2 captures, and to post process them until you get awesome-looking hyperlapses. Now the response to last week’s video was really, really positive. There are 1500 new subscribers since last week, which is easily the fastest this channel has ever grown, and so I just want to take a moment to say welcome to all the new subscribers. Thank you for being here. So, I don’t use Lightroom very often, other than to process these hyperlapses and so I’m sure there are more efficient workflows out there. But I’m hoping that regardless that there’s some value in this. Hey guys, so I just hyperlapsed a storm that is off in the distance, I don’t know how it’s going to turn out, but I think it looked kinda cool when I saw it on the screen. So I chose the wrong hyperlapse to use for this video. There are definitely a lot cooler ones, but unfortunately I already spent hours and hours editing this video to this, what ended up being a pretty mediocre hyperlapse. The process is still the same, so as you watch this video, just know that this applies to cooler-looking hyperlapses also. One little tip, overarchingly, is that I think it’s a good idea to be aware of keyboard shortcuts. Using shortcuts can really speed up your workflow, and help you to get through these edits faster so that you can get more videos done. Okay, so let’s go through a daytime edit! I’ll load up Lightroom. We’re going to import a new one. Here. 172. These are the ones we’re importing, so go ahead and click “Import”. And then even though it’s still importing, I’m just going to start this. So press “D” to go into “Develop”. Okay, now obviously this is overexposed. We’re gonna bring the exposure down. Also going to bring the highlights down, so we can get rid of this glare that’s up here in the upper lefthand side. We’re to bring the shadows up a fair bit. Let’s add at a little bit of contrast. This gives you an idea of why it’s so, so valuable to shoot in raw. You can pull so many details out of an image, by processing it from the raw files. I feel like this is too warm so we’re gonna cool it down just a tiny bit. Command Z to undo, Command Shift Z to redo. And then you can see the difference. Okay, I’m also going to add a little bit of Clarity. Not too much, that can easily be overdone. And the other thing too with Clarity is that it affects images differently, depending on what is in the image, and so it can make your image flicker over time, so you have to be pretty mild with how much you use that one. Maybe even just a tiny bit of saturation. Okay so I like that so far. This image by itself is pretty boring. It doesn’t have good composition right now, but it’s the full movement that I’m hoping ends up looking good as it goes through and kind of circles around this little island that was right here. Alright so now we’re gonna go down here, We’re actually going to do some lens distortion correction. I think around 8 gets rid of some of that barrel distortion. And then “Constrain Crop” so that gets rid of the white that you see on the edges. Also going to zoom in and take a look at noise reduction, see if there’s anything that we needed to do for that. Maybe just a tiny bit. You can see some noise in the sky. And then I also I want to do a tiny bit of sharpening. Okay, now this one’s going to be interesting, and one of the reasons why I chose this one to process is because the light changes pretty significantly from the beginning to the end. So we’re gonna have to see how to find the happy medium, and split the difference. So we’re gonna go back to grid mode, press “G”. Select this one. “Command Shift C” copies the settings. Hit “Command A”, And then Command Shift V. will paste the settings to whatever you have selected, so in this case to the whole sequence because we have the whole sequence selected. Now we’re going to go to the end and see what those edits look like on the end. Way too dark. Holy cow. Now I will say this is gonna be kind of interesting, this may be one that I end up using LRTimelapse for. LR Timelapse is something that allows you to keyframe your metadata of these raw images, which means that from, say, from the beginning of the sequence to the end of the sequence, I can have exposure set at a negative, 1.2 at the beginning of the sequence, and then by the end of the sequence I can be increasing the exposure slowly, throughout the whole sequence, until I get a much more proper exposure by the end of the sequence. I don’t want to use LRTimelapse in this tutorial. I feel like I’m already throwing enough at you with Lightroom and Premiere, so what I’m going to do is I’m going to try to split the difference, and then in Premiere, once I have a fully-exported video, then I will increase the exposure. So we’re gonna put the exposure at -0.5, and we’re gonna take a look at that. So that’s obviously dark and we don’t want it to be that dark at the end. But we’re going to see how it turns out. Let’s try increasing the shadows a little bit. There. So, “Command Shift C”, “Enter” to select everything. “Command A” to select all of them I’m gonna go back into grid mode. Okay, and then “Command Shift V”, or “Control Shift V” if you’re on a Windows. All right there. I pasted all of the settings across all of them. We’re gonna go to the top, and look at the first one. Let’s see how this turned out. Definitely too bright. Okay we’ll try -.75. That’s — that’s acceptable. I’m going to increase the contrast a little bit. It’s not quite what I want it to look like but that’s acceptable. So then again… Now we’ve pasted the settings across all of them and now we’re going to go to the end one. Hmmm… I think that’s the best we’re gonna get without using LRTimelapse. The light changed too much between the beginning and the end, and so we will keyframe in Premiere to try to get the exposure right. So go back to grid view, and then I’m going to export. Choose our location. Choose. I’m going to save them as JPEGs. At this point I’ve already done the post processing, I’ve already pulled out the digital information that I hope to pull out of it, and so I don’t mind as much saving this as a JPEG. It’s still not perfect. If I had a faster computer I would try to do a better one, but for this, a JPEG is is sufficient. And then we’re going to export. So I’m going to skip ahead and I’ll pick it up again once it finishes. Okay so it has now finished exporting out of Lightroom. So we’re gonna import Downtown Sarasota 2, just the first, one make sure that “Image Sequence” is selected. Okay, now we drag this to a new sequence. You go down into the effects panel, and you type in “warp”, so that you can load that up, and drop that on there. Now again this is gonna take some time, so while that is processing I’m actually going to get started already on trying to keyframe the exposure, because you can still look at the frames, even while it’s analyzing. So we’re gonna go to the beginning of the sequence. We’re going to go into the “Color” panel. So we actually are going to adjust this just enough so that it makes Lumetri active on the clip. And go back into “Editing”, go down here to “Basic Correction” And we’re going to keyframe the exposure. Make sure you add a keyframe. Let’s go to the end of the clip. Yeah, so this is where it’s really dark. So we are going to keyframe the exposure up significantly. Let’s try 2. That’s closer. I’m gonna bring the highlights down a tiny bit. And then maybe 2.3. Alright, so that’s how we’re going to do it. Let’s go back in here, Let’s see how Warp Stabilizer is doing. Okay. So what I want to do is, I’m going to change the smoothness down to 25, and what I’m looking at is this Auto-scale. I want that to be — there we go — around 102% or less. Because I don’t want a lot of distortion in the corners of the image. So I’m gonna hit “Preserve Scale” and that will keep it consistent across the whole clip. Alright there we go. So this point depending on what you want to do — once you get to this stage — what you want to do with the clips, One possibility is that you just want to export individual clips, and save them out as their own individual video files. Which I do sometimes. I do for the sake of stock footage, and then I do also for the sake of having, sort of a clean, finished version of the hyperlapse. But if I know that I’m working on an edit, and I just plan on using the clip in that edit, I have it here in the timeline. These are technically their own sequences, but they act like clips, and then I can drop them into my edit wherever I would like them to be. Okay, so that’s it! If there are any suggestions that you guys have for this workflow — ways that I can improve it — I would love to hear that. Just tell me in the comments below about some of the things that you do as part of your post-production process, your post-production workflow. As I said, Lightroom is something that I’m still kind of learning. And so I know that there must be ways that I can improve this process. I think that’s all. I’m going to cut this here — I probably have an hour and a half of footage for this tutorial now. So please like, comment, subscribe. All the normal YouTube stuff. I’m really hoping that this channel can keep growing, that we can keep building this community. So thank you for watching, and I’ll see you in the next one.