Ph: Kirill Gorozhanin
Geo: Teriberka
Usually, post-production rendering of studio images after trips feels like manna from heaven. 3, 5, or even 15 renders — not impressive at all. The thing is, from one day on the road, I end up with about 500−1800 raw frames. Multiply this by the number of days traveling. It amounts to a formidable figure.
How to work with such volume? Here, as with the visualization of voluminous scenes, only systematic work helps. Before we get to the stages, here’s the premise: we’ll consider processing using Lightroom, without LUTs, as I don’t use them. Let’s go:
This is not a quick process, but it’s the most effective way to handle such a task.
Geo: Teriberka
Usually, post-production rendering of studio images after trips feels like manna from heaven. 3, 5, or even 15 renders — not impressive at all. The thing is, from one day on the road, I end up with about 500−1800 raw frames. Multiply this by the number of days traveling. It amounts to a formidable figure.
How to work with such volume? Here, as with the visualization of voluminous scenes, only systematic work helps. Before we get to the stages, here’s the premise: we’ll consider processing using Lightroom, without LUTs, as I don’t use them. Let’s go:
- Import material and frame-by-frame review of the shoot with marking and deleting defective and unnecessary frames;
- Application of common parameters: crop ratio, details, etc.;
- Converting all images to black and white (why is this needed?);
- Frame-by-frame calibration of crop and perspective parameters with marking and deleting defects;
- Frame-by-frame work on tone with marking and deleting defects;
- Converting all images back to color;
- Frame-by-frame work on color with marking and deleting defects;
- Exporting the final material.
This is not a quick process, but it’s the most effective way to handle such a task.