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In fact, the Grid view in Lightroom is modelled after a contact sheet. Contact sheets are a very useful way to show clients or photo editors a selection of multiple images. You can also use this function to create layouts of your photos. You can use these for marketing documents and other purposes. To get started creating a contact sheet, you need to choose the photos that you want to include on the contact sheet. You can choose images that you have in a folder, or saved as a Smart Collection.
You can even use certain search criteria in Lightroom. When you are in the Library module, click on G for Grid View. At the top of the panel you can choose the parameters by which you want to search. You can search by Text , Attribute , or Metadata. I recommend that when you upload or edit your images, you always input a few key words. This will help you find certain types of images at a later date. You can also search by date, camera, lens, and many other options from a series of drop-down menus at the top of the panel.
Once you have chosen your images, switch from the Library module to the Print module. Click the small triangle next to the panel title to expand it. These Lightroom templates come with the program. You can also create your own custom templates and save them as User Templates. These will appear in the section underneath the Lightroom Templates in the panel.
Lightroom gives you several options for different sizes of contact sheets. Also, note that Lightroom shows you a preview of layout of the template. You can see this in the Preview panel, right above the Template Browser. You can control which images appear in the contact sheet. Choose an option from the drop-down menu on the toolbar. This is right above the bottom filmstrip.
If the tool bar is not visible, hit T. I have chosen Selected Photos for control over the images I want on the contact sheet. If you have only one image selected in the filmstrip, then the contact sheet will display only one image. You need to select all the images in the filmstrip and add them to the contact sheet. You can also select flagged photos. You can also customise the template sheets. You can adjust the maximum cell width and size. And you can decrease the number of rows and columns.
This increases the overall cell size. You can change the paper size of your print and still keep the number of rows and columns you have selected. If you choose more images than the template can accommodate, then the images will roll over onto another page.
Consider this in your decision as you may find yourself getting bored or simply not having enough time. To keep things simple when starting out shoot at times of the day when the variability of light is not changing much. This can be mid morning, mid afternoon, or even night. Creating a time-lapse that spans from afternoon to dark can create complications that are beyond the scope of a beginners level.
Next, determine your exposure. The exposure should remain static throughout your shoot and set using manual mode. Again, consider the speed of the subjects in your frame and how you want them to appear in your time-lapse.
If capturing the movement of people, do you want them to appear sharp, or slightly blurred? Slowing down your shutter can create an ethereal look that is interesting if used correctly. Think about the shutter speed first then set aperture and ISO last. Finally, turn off your cameras high ISO noise reduction and image preview functions if possible. Both of these settings create a lag after each shot is taken which slows down your camera and interferes with short, back to back intervals.
Shoot in raw, lock your focus manually, and set a white balance that is appropriate for the scene instead of using auto. The interval is simply the time between each shot taken. In a scene with quickly changing movement, you will want to choose an interval that is shorter. For example, crowds of people crossing an intersection. The subjects in your scene will be moving quickly so taking your first shot and then another ten seconds later will appear choppy as all of their movement in between those ten seconds will not have been captured.
Here are some scene examples and intervals to consider as suggestions. Note, these are not hard fast rules. Only practice will help you become better at analyzing a scene and setting an interval. The math is simple. Say you need a 10 second time-lapse. Video in the US is typically viewed at 24 frames per second for cinema, or 30 frames per second for broadcast.
This means 24 or 30 photographs appear consecutively within a one second span. Therefore, to make a 10 second video you will need to shoot 24fps multiplied by 10 seconds, which equates to images total, or using 30fps. It is always wise to shoot a few more than what is required just for good measure. Set your intervalometer accordingly. Now that your images are shot, import them into Lightroom and perform any necessary adjustments to exposure, contrast, or color.
If the adjustments are not applied the same to every photo, it will be apparent when played back. By editing a single image first, those adjustment can quickly be applied to all other shots in our sequence using the Sync command. Proceed to the Slideshow tab. You will need to download and install a free preset that stitches together your sequence at 24fps or 30fps.
Download the file and look for the folder titled slideshow presets. Copy this folder then proceed to the folder that contains your Lightroom catalog. From there go to Lightroom Settings, Develop Presets, and finally User Presets where you can drag and drop the downloaded folder. Restart Lightroom and the presets will appear under your Template Browser tab to the left.
Once the preset has been added to your Lightroom folders, you will be able to export images as a video sequence at varying frame rates.
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