HDR Multi Layer Orion Nebula Processing

so as you can see behind me this is the famous Orion Nebula my other computer screen and I've shot it several times like a lot of times like this is like what I first started with and went from super ugly to to something better anyway so what I want to do is the last time I did a video and of a composite video this is just another kind of repeat but the first time I did it it was all with one filter was not a color filter is just two up along ylan hands so this time I shot it with the opt along L Pro to get some more to get better color and I've also shot more exposure Lang some shot 5 this time so I did a 10 second a 30 second a 62nd a 3 minute and a 5 minute so what we're gonna do here is we're not just gonna just go into Photoshop we're gonna go through deep sky stager we're in a stack each set with the calibration frames we're gonna get our raw data files or process each one of those individually and then we'll lay our man Photoshop to to bring out one composite image that has some lot of the outer nebulosity that you're looking for but also has that inner core detail that everybody is can so easily blow out when they're when they're shooting us for the first time he included so stay tuned we're gonna jump over here into deep sky stacker we're gonna go through my file management how I shoot them all and kind a little bit about shooting those and then stack them process them in Photoshop and process this out to one final image okay let's get over here into Photoshop and deep-sky stacker [Music] [Music] [Music] Cheers when you ask your photographers and ask your photographer processors pulling your hair trying to get this right especially during a Ryan sees em hopefully today we're gonna be able to help you out let me show you the way I've shot multiple exposures to blend this in to get some of the famous details in the core but some of the famous details outside of the core around the perimeter the nebulosity haven't gotten involved still working on that kudos to all of you people out there who get some of that really faint stuff I'm still working on that but hopefully this video will help you and show you what I did to capture the different exposure links process them all and we're actually going to go through a deep sky stack of over today it's been a while since I've done that one so let's jump into this so here we are in my folder here that's got all of my projects so we're going to go into the Ryan and I've got you see in here I've got five different exposures so I did a ten-second ten-second exposure set so if you click in here I've got the lights and the darks and then a 30-second exposure set a 60 a 180 and 300 so three minutes and five minutes to really get some of that famous death all of these were shot at ISO 800 I just kept that constant took that very well so basically what I did is I created a folder for each of my lights right here so let's change that vu to a large icons you can see a proof pretty small amount of data in there I've got a set of darks for each one so what I did is I basically shut my lights and then shot the dark so ten-second lightest sharper account that I wanted then shot my darks and then started the process on the 32nd in 60 seconds just repeated that and kept my darks grouped because trust me from experience when you get in here the next day tired and barely slept and you wake up you want to make it easy on yourself trying to pull those files off that color however you're getting over there then you've got all that stuff mixed up you're going to go through there and start searching and check properties to see to see what they are with our shot at so if you can try to group them together it really makes it easy the next day so let's minimize that just going here to deep sky stacker and look I got a new version in here so let's click on open picture files very top option up here so we're going to get over here to the ruining every low going to my 10-second folder lights click the top one scroll all the way down hold your Shift key down click the second one and click open let's grab the dark files so go back to that same folder oops I was on a different dog file so Ryan nebula ten-second dart files put the first one hold the shift key click the second one they open I have a dark library or a flat's library I'll shut the same focus so I'm going to go into my folder called calibration friends and I've got basically flats for month before o is f 800 flats shot at the same focus so I'm just gonna choose that first route there and then click open so I'm gonna check all now one thing I forgot to mention is I've gone into Lightroom and I have gone through and I looked at all of the images so far so my folders only contain good images I took out any planes where I Ryan and the rainy middle are right now for me I'm going to also warn you if you're in the northern hemisphere in the 28 degree latitude I think that affects it not really sure but I got a lot of geostationary satellite trails especially through the running man we like like this parallel like parallel at the same time so I'll show you what I've got checked to get rid of this okay so here in deep sky sniper we've checked all of our ten-second files it's doing here to register check pictures advanced and since there's not a lot of stars around the ride I like to bump that star detection threshold down let's compute that looking for that's when I send to setup stars let's see let's bump that down I like to get at least a hundred and fifty stars minimum keep moving that back down just a little bit when we should be able to set this once for the whole stack so hundred thirty five stars that's not too bad going here are stacking parameters and we want to go into those taxes lights and make sure that Kappa Sigma clipping is ticked or checked I always say that that definitely helped get rid of those geostationary satellites that were cruising through Orion as I was taking these you don't see how much on the shorter subs but definitely the three and five minute subs you definitely see them so we'll make sure that's checked everything else pretty much set the default click OK click OK to that we're doing five minutes so that's all you need so we're going to run that and we are going to stack that to registry because we want to go ahead and stack those so let's stop right here and pick it back up when the 10 second files are stacked okay so we were in here after the 10 seconds of sacked it's as a computing final picture applying the Kappa Sigma clipping it's aligning the background channels or the background colors you know basically what it's doing is it's going to save an autosave final TIFF file to the lights folder where all of my sub frames were kept and should be popped up here in a minute and actually the screen so see what it comes up with here so there we go nice dark image no idea that I could move that so basically I don't make any adjustments over here I just let it do its thing it saves off and we can close this out it's going to ask us if we want to save the changes which we didn't make any so let's close it back out over to pack up and then let's go in here back into open picture files you see we're in our 10 second folder right here the light you see now there's some information about each image and then there's your honour save so we're gonna go over here to the 30 second folder and go into lights just like the top one hold the shift keys like the bottom one open all go dark folders ready our files go back into the 30 second darts so like the first one just like the first one we hold the shift keys like the last one and let's grab our ISO 800 flats just arbitrarily picking them out and so now we've got our lights darks and flats I don't ever sheet bias I finally when I do that the background gets blotchy but maybe it's because I don't know how to shoot by his friends only anyway I think it looks okay without him for now so anyway a year right here to check all that basically checks all of them and we've got 30 light frames 10 dark frames and 7 flat frames so we got once again we check register check pictures I think we've I think we can just run this again should stuff at pretty much the same star count a few more stars and one of the why because it's 30 second so we can see more stars so we could bump that up just a little bit and we'll be increasing that with each set we just want a good amount of stars for it to align to so basically click OK it's going to tell you right here that you got 15 minutes total integrated time and one thing I want to want to show you because I'm not going to go through deep sky stacker 4e 20 sets this will be the last one and then we'll get into Photoshop it you see these groups here you have a main group which is what working on now and then you have group which will you have a group one if you were to load files and the group one you can get another tab in here that says group two and so on and so forth so I made a mistake thinking that a cool I could do my 10 second my 30 second my 60 second my three minute in my five minutes let them all together and it would stack them and give me five individual files now they just combine them all into one so if anybody out there is listening and watching this and knows why there's different groups or maybe that's has something to do a narrowband I don't know but it or how not to give them to combine in one file leave me a message I'd appreciate it so right now we're we're all set up to hit the okay button we're going to we're going to stack this set of 30 seconds and so what I'm going to do is I'm just going to repeat this process for the 60 second the 3 minute in the 5 minute and then I'll see you back over in Photoshop with flip it up okay so everything's done and things been stacked the thing I did is I went through each set and the last one I have to do is the 60 second so I went into the lights folder I found my autosave file open it up in Photoshop and then immediately I want to go in there and click file and save as and I'm going to make sure that I save it in the 60 second folder and I'm going to name it a 60 second you want to be able to keep these straight since we're doing so many quick okay for some reason in Photoshop figured out why but when you when you save a file the name doesn't show up here as the name that you just saved it as so I don't know how else to do that other than close it out and I'm gonna back up it sounds dumb but let me know on that too okay so now let's go in here open up we're going to go to our ten-second folder ten seconds and open so there is our ten second file open go into our thirty second folder and there's 30 seconds open that up we want to all load it up in here and process them you know in all the Photoshop all lined up here together file not you all the thing so file open let's grab our 60 second yeah look that's upside down so it's let's write that one that see that one's upside down is never going to like that so let's go to image image rotation 180 degrees and there it's better so file open let's grab our three minute set and our five minutes said and you can see every time that I'm opening these up you see this core just gets brighter and brighter and brighter open last one here this is our 300 second or five minutes you're gonna really see this gorgeous look BAM so there's our ten-second but our starters look at all the stars in a detail in a second and then our five-minute yeah nothing so so what do you do you do this up here so let me just double check one thing good sorry about that so let's do the ten second one first so basically these are all coming in as a 32-bit because I'm not really concerned about ain't doing any processing in 32-bit I'm going to go ahead and change it to a 16-bit make sure that the method here is exposure to gamma okay so let's just do a little level stretching we don't want to we want to be really careful with this this one here because what we don't want to do is lose this detail because this is basically all that we're going to lay our masks back in so it's bringing that white spy over to the start of the data there just a little bit and we're gonna bring the very slider in and click OK you can see just that little bit that we did is already starting to get that core pretty bright image adjustment levels and bring the black slider in just a little bit look okay so one thing this is a really dark background we're not really concerned about any kind of background alignment because I'm not using any of this like 95% of this I'm not using I'm only going to use this little bit right here so what we can do here is come up to image adjustment vibrance this is boost or vibrance in our saturation get some color in there okay and you can see we're starting to get some really good color then let's run this whole picture through the camera where I'll filter be really careful when we're doing this we're just going to boost our play already a little bit below there our vibrance and just a little bit of DJ's and contrast then come over to the details tab here and then just a little bit of luminance and color noise reduction and you can see you haven't made any layers we've just been working on this one layer here she can definitely see we've got a good color where our stars are already starting to morph into each other and come up here in the history see that I've got the stars pretty well-defined in just a tiny little bit of processing that we've done is already start to blend them in so we're gonna basically call that good merge that down we're gonna say that's it so we're gonna come here to our 32nd let's don't forget to save that file just in case something happens save so come in here to 1/32 so basically even at the 32nd now we've already pretty much lost that little group of stars so now it's just a matter of trying to get some of this detail out and trying to salvage some of the inner core details so same thing we're going to come up here to image mode 16-bit keep the method exposure and gamma okay and click OK and once the duplicate that copy so we can see our comparisons so right off the bat let's just do a quick little image adjustment curves we're just going to do a quick little curve stretch in this thing just a little bit and then we're going to make a little S curve on it we're going to bring right to the back of the data here you see that and that gives you a contrast you see our histogram is winding up there a little bit we can call this curves so I keep the info tab handy here just so I can see what's going on so if we really want to start working on the background which yet again I'm not going to be using any of this background or a little with a running man in here most of what I'm looking now the thirty second is blending some of these details in so let's duplicate that curves copy and we're gonna rename that Camera Raw camera run the whole picture filter Camera Raw filter we're dealing the whole image zooming on to this a little bit once again let's boost the clarity and the vibrance in the saturation let's boost that contrast sometimes the boost in the contrast you think would make things darker but it actually brightens it up just a little bit so let's boost it just a little bit little dozer come over here this tone curve tab but it's set to parametric and we're gonna bring the hot this high down and the highlights and the lights down just a little bit you can see that's kind of got some of our core details back again like okay you see what we've done here we brought those that tunnel curb you see it really brought it down and brought out a little bit more that detail too before it kind of washed out so let's duplicate that copy and then let's do an unsharp mask just to kind of give this a little bit of definition so come over here a filter sharpen unsharp mask and you can zoom in press that down just a little bit I've got it set on an amount of 44 and a radius of 4.4 just it just gives it a little bit of sharpening at 30 seconds I think pretty will process this out I think we can duplicate this one more time and call this curves yeah this time what we're gonna do is we're going to get rid of image adjustment curves and we're going to click this finger button and we're gonna see how this see this little every time my point I can't point it at the same time but when I point you see the little triangle right at the line and so this would be solid white this would be solid black so what I want to do is when I come right down and here somewhere and the anchor that point or set a point there and then I come right behind it put another one in anchor it you see how it's made an s-curve that's because I've clicked it offset so we could just even it up with a bottom one so one sixty eight and now we've got a nice straight and basically what we're saying with these two points is with anchored that bright point and we raised this up or lower down you see it's not it's not going to do anything to the image so let's grab that and snapped off so so we're here we want to pick that up just a little bit and then we are bright in our background so that gives us a little bit of contrast something like that okay so I think our 32nd is good file/save you've got these layers so it makes it a larger font size so we're really just grabbing some of these inner details in here it's all we're doing so now we're going to start really seeing the nebula here's over the 60 second now that we're not so concentrated on just a small portion we're going to start the 60 seconds gonna start being blended into some of this outer nebulosity and some of the Rainman because 60 seconds it's quite a bit of time and I don't think I mentioned each one of these sets I saw I shot about 30 frames except for the 5 minute I only think I did 15 Dinah's that's 5 minutes it's still quite a long time so basically with this 60 second open mode we're still in 32-bit mode we're going to leave it in that 32-bit mode we're going to come in here to image adjustment levels and bring this white slider over to the data here click OK we're going to do a little bit of level stretching in the 32-bit mode just a little bit and later because now we're going to start seeing we're going to start using some of our background so image adjustment levels it's going to bring that black slider over to the data click okay and one thing I'm not doing is I'm not cropping typically with an image I would crop this out before I do a lot of processing on it but I'm not doing that right now the edges look pretty good and I'm really not going to crop until I get everything blended together so let's go here to change this to a 16-bit mode to open up the rest of our tools so exposure gamma look okay so now is when the info tool comes in handy what we want to do is we want to set our background to even it up so what we do that is get this eyedropper tool over here left down there color sample - I have it set to a 31 by 31 average I'm just gonna click a point off here where I know there's no nebulosity in this image and that tells me that I've got a good line that background that's all 62 and what I want that to be is like 35 so bring the image adjustment levels and push this over and watch those numbers go down and I'll stand pretty even that like 35 so that's a good and that's the power of that I've noticed the opt along ill Pro is it's got a great color balance and you see that evident right there other filters I've shot you to tend to be heavy on the red or heavy on the blue this one's got great color balance so so the background is set to 35 we want to hold that number so we're going to duplicate that copy and we're going to start getting rid of some of the background lilies first so first we're going to enhance some of the nebulosity just a little bit and we're going to call this pre-curved and the reason we did pre-curved is we just want to pull some of this fainter stuff up so we can protect it when we use color range when we do our background noise extraction I think we do extraction in Photoshop I was from trying to learn pix inside the other day anyway so we're going here at image adjustment curves like this little finger tool click it right on the contour sample see it's that's a point we're going to anchor that point right behind it it's even up the numbers went dog in the background and then come just ahead of it and the data here and pick it up you can see that central core is blown out but guess what we've got it in the ten and thirty seconds we don't really care where we're going to get some of this stuff and they click ok let's duplicate that copy and name this PG noise and our noise really for sixty seconds isn't too bad but we can go ahead and get rid of some of it so let's go to select color range let's set the highlights and let's push that range slider down until we're just grabbing our main nebula and click OK and then we're going to go to select so let's look at our stars I think we've got a good selection around the start so obviously got a good selection around the nebula that we want to salvage or save and protect so basically let's go up here to select selected mask that looks pretty cool and then we're just going to feather that selection just a little bit and click okay so we don't want to do any noise reduction to it so what we do is we hit control J but to copy everything on top and we're gonna go back to this background the white layer and come over here to our showing the action tool set we activate it by hitting that and everything underneath is actions that we can do and what I do is the first thing is our web deep space noise reduction so that's what that run takes just a few seconds a little sip of my see it actually created a kind of a similar mask and we're really probably not there on your screen you'll be able to see much difference but I can see a little bit and the next one I run a space in the noise reduction so run that and we really would get into more heavier processing only five or three and five minutes set that's pretty clean a pretty clean background so what we do is now they've done that we're going to right click on that top layer and we'll just move that down so we've got a good look at an image going on right here so let's duplicate that copy and we're gonna name this selected mask so we know what we're doing and with a selected mask name there hit select color range but this time we're going to switch this to sample colors and let's try to bring up some of this darker stuff in here so we're just going to click right there and then push the fuzziness slider in until you see none of stars medicine in everybody click OK go back over here to select select the mask pretty cool if you movies there well it's better that quite a bit 37 pixels and put it okay so I want to run this to the camera raw filter in order to do that it has to be a home layer so we're going to do is hit ctrl J puts our selection I just point out like he can see me so put that selection with it selected there we're going to go in here to filter Camera Raw filter and crazy thing is you're kind of working in the blind but you just know what you want to do so what we wanted to do stuck Larry and the vibrance and a little bit of contrast and just to introduce a little bit of luminance in the color noise reduction click OK so subtle like that so one the way you got a lot of brightness and brightness was really diminishes depth and so one trick we can do is duplicate that layer and they come here and change the blending mode to overlay so little adds big big difference see how it's kind of bright and washed out now it's super dark we don't like that either so let's just adjust the pasty layer so it's chocolate all the way down and let's bring it back up so we're getting our amount of detail 18 percent so right click merge that down and one thing we can do is come in here another thing we can do is go to the image tab adjustments and selective color you go over here and choose the neutral colors we're just going to kind of just tweak these color values and work down and see that blows it out still looking for some good contrast and then click OK now I don't want it you see see clear let's say okay so now that we're done with that layer let's merge that back down you know think what we've got here is we're just really trying to pick some of this up here so let's duplicate that let's call this camera like some of my last steps is just to run the whole image to the Camera Raw filter so we've come here to filter Camera Raw filter and once again we're going to base the clarity just a little bit the vibrance and the saturation probably bring the contrast down just a little bit and bring some this.d hazing in here it'll kind of give you some good contrast coming here to the tunnel curve and let's drop those lights down and the highlights all the way see how that doesn't look right so they gotta bring it back up is what you don't want to do was this up the too harsh when a nice blue smooth blending and then go to the detail tab and introduce just a little bit of color and luminous moisturizing okay so once again we're starting to see some Running Man we've got some details you can start seeing some of this foot and have your loss today out here we could probably go here to image adjustment levels and maybe drop this down two notches to get a little contrast I like it file saved we're gonna call that good so where I live over here to the hundred eighty second and repeat the process so adjustments levels I mean that over to the data click okay we've got no core to work with so we're not gonna worry about that still in the 32-bit mode first that I we're trying to keep it under one point two nine one point three somewhere in there not too aggressive image adjustment levels and push that black slider over to get a little contrast that's about all we're going to do there we're gonna come here to you image mode 16-bits change the method click OK and then duplicate that copy so let's set a color sample point right here zoom in make sure we're not sitting on a star so you can see we're kind of off here so let's go to image adjustment levels which the black side are in so till we're at 35 I like 35 let's even that green and blue up and then this is like it didn't leave that blue just a tick higher so I'm gonna really affect us much so we're going to name that BG line is that's what we did so let's duplicate that copy let's go ahead and get our noise because one thing and I like to get rid of the background noise as quick as little quickly as possible because I don't want to stretch it I don't want to do a curves or a level stretch on that or do any processing to that noise when you get rid of it so what are we name this BG noise there's new ways new ways so once again we come up here to our select tab did I hear the color range and go over here to the drop-down list and choose highlights and just this slider and so they're like okay so now we are going to get the select tab let's check our stars see if we're getting a good selection around the star so you want to protect those two let's go here to select let's modify that selection and got a modify feather and other that by two pixels sted eliminated a lot of stars a lot of stars we're going to probably reduce anyway so we got a good selection so to protect that hit ctrl J that's a copy on top and back here to VG noise and run those two and the astronomy action tool set deep space noise reduction first let's do the one here it's probably really loud sorry about that so deep space noise reduction did it things let's run in the space noise reduction and it creates its own task but it does that but I still like pulling everything out I know it's protected so those two mentions have run i'm sure if you can see it hard to see the difference I even added those are some clean ones just right click merge down duplicate that layer let's call this pros do a curve stretch on this CT now we've got we're starting to see some this outer nebulosity in here let's minimize that so I come over here to image adjustment curves once again we want to keep our background levels the same so we're going to click right there on that marker we're going to anchor that selection Iger the numbers off then set a point right there and lift badass yeah that's crazy din click OK look what else he do got done so let's do that one more time image adjustment curves put the finger tool right on the marker anchor it and see if we can't pull some of that stuff up there pretty good so that's a pretty good look at image right there and we've got there's other ones to blend in so that's gonna be pretty good so basically let's duplicate that copy and do the select and mask process it's giving her a select color range scraps into that outer step change that to sample colors and adjust that range slider and you see it's basically grabbed all this we're out here it's a powerful powerful tool so we select selecting mask then we're going to blend that selection by just using the feather I like to try to keep some of the structure in there if I can let's protect it by going to ctrl J puts a copy on top we're going to get a filter or Camera Raw filter and we're going to say mr. Cleary the vibrance saturation the highlights bring the shadows down just a little bit and let's bring in a little luminance and color noise reduction so you can see that just that little bit made a huge difference all right so let's highlight some of that stuff another trick we can do is duplicate that copy and change the blending mode to color dodge by Emily are so strong click Cassidy all the way to bring it back up somewhere right in there and then let's works that down let's run this through the selected color so image adjustment selective color let's grab this neutral and see if we can't give this just a little bit of color pull out some of that cyan and add just a little bit of magenta we're going to touch the yellow and brighten it up just a little bit blacks see all the deals just basically what it did is it kicked up gives the illusion of picking up some of this purple red color in here we're zooming in here like that so see it's kind of faded so a bit see definitely seems to me like it's picked up some of this color that's down in here some of this purple magenta color so what's nerves that layer down [Music] duplicate that layer like I said camera camera raw filter filter Camera Raw filter and let's just increase our clarity and vibrance and saturation what our shadows do you know Daniel just a little bit more contrast in just a little bit and we're just going to do a little bit of minutes color noise reduction I mean this is pretty good like an image I am oh yeah all right so file save okay and our last one I'm five minutes set and it's the same thing image adjustment levels let's bring that in right there living the British Library and the black slider in just a little bit and click OK this is the one we learnt really want to grab some of this stuff out here so let's do an image mode 16 bits per channel exposure of gamma and click OK duplicate that let's go ahead and do the same thing with a background that we've been doing before she went out on a star and then here the levels adjustments adjustment levels and we're at 91 across-the-board nice and even push that down to already going nuts I won't get it together Steve we're just going to the 37 okay so we can rename that EGA line it's just of what we've known you can remind ourselves we save it with all the layers we know what each layer did so let's duplicate that copy and this one's gonna have a lot of noise because obviously there's a five minute shot since we're probably getting hot on it so let's go in here to select color range Heights so we've got a little more nebulosity in here try to grab a little bit of that click OK select select a mask did pick some of this a feather that selection quite a bit click OK ctrl J you know eg a line let's rename this a BG noise you guys run our two processes deep space and noise reduction and zoom in like these space noise reduction give you time to sit it looks like I got like a decimal or something on this one right here so let's zoom into it here look at the difference and now let's run a space and weight reduction you know my girlfriend a dog finding a living out there I swear he got the dog this one because there's a little bit more noise even than it did a really good job cleaning up the noise let's open up the Camera Raw filter and get my hearing the details tab and let's push that limits and color no introduction and let's just introduce you a tiny little bit of contrast and I tie a little bit of DA's let's see what that does to our background nice and smooth so let's merge that down minimize that spring so I used the optimum BL enhance I wanted to really try to get some the hydrogen output gas whatever was there trying to get some of those details because does such a good job with that so that's why everything looks kind of red so let's duplicate you only did that with a five-minute by the way let's duplicate that and let's rename those curves so you know the drill image adjustment curves finger click there on the eyedropper anchor it and adjust it to the bottom one and let's just Beach this somewhere in there looks good may our pores completely blown out but we're going to fix that so let's do that one more time image adjustment curves with the finger tool set it sigh right behind there you and those numbers up it's a lot of point right there that's what we want to pick out okay I like it it's pretty noisy right now so what I think I'm going to do is do a drop that down and we call this space noise and I'm going to run that space noise not doing any protection if I don't like it I can always adjust the opacity of how aggressive it is let's see what that looks like so you can run in detail put some funky here not sure what it is but we'll try to do a spotty but definitely starting to pick up some of this really faint nebulosity and I made a mistake once not too long ago I'm really trying to work that and bring it down and it looked awful I'm going to actually apologize to the people on Facebook okay even though I really didn't need to you look terrible so let's see yeah it didn't really diminish the details too much but I think what we'll do is we drop that down to 60% if you ever do that and you have a layer here and you've made an adjustment and you want to change it past they make sure that she merged that layer down into that one and just call it gone because if you duplicate that if I were to pull that down it's always going to be set at 67% we don't want that so let's right click merge that down let's down with a little folded paper and I think what we're going to do is call this selected mask so let's grab the Select tool like tab color range I'm going to hit that point right there we're here to our drop-down list and change that the sample colors and let's adjust that fuzziness slider right about there okay select selected mask it's pretty awesome-looking yeah that's better that selection okay push it up on top and it's good at the filter Camera Raw filter and then let's please type clarity and admire it to saturation and contrast and we're not going to do any color noise reduction keyword did basically a space noise reduction so let's see definitely kind of boosted things that's a pulls down and do the overlay trick change this to overlay I'm gonna color that brings in let's push that all the way down the opacity on the overlay I'm gonna back up just a little bit and then call that good merged and let's take this over to image adjustment and send a selective color tab once again she's neutral colors just for Donald and really a solid color [Music] so we could take some of that introduce some sigh and you see how that's kind of washed out you know I get a little detail let's pull something with Jinta out of there and we can add some or take away some yellow and it gives us that famous purpley blue color that you see a lot in Orion Nebula images and then adding some black it's going to give us some detail let's see that it's like flying into that thing see the change that we've made pretty much red and now we've got some good to find colors let's click OK I'll have at you and I'm really digging it back out of here so let's just worms that down duplicate that copy let's come in here to select our actually filter and go boys actually we're going to sharpen or go in the unsharp mask sharpen it up just a little bit you can see that you zoom in kind of smooth and all I did is just give us a little detail so cool look okay we're gonna call that done I'm going to push this too much saved alright so that was several minutes if you're still with me a lot to get to that point but I really want to show you processing each one of those so now all that work with the shooting and deep-sky stacker and processing each one individually so here's the fun stuff so we're going to start with the 302nd layer and we're going to come in here layer flatten and we're going to duplicate that copy on the top copy here we're just going to name 300 so we know that's the 300 second layer basically what we want to do is we want to make sure that an alignment our 300 second layer is like our master alignment layer and I think what I'm going to do is change it on you just a little bit I think I'm gonna make 180 second the master layer because I think all these right here were shot on the same night same rotation this one was maybe slightly different because I had to change the filter out together the optimal so I'm gonna make the 180 second the master as far as lining this up so let's go over here to the 180 second let's go to layer flatten image and then we're going to control a control C control layer selected all control C to copy let's come back over here to the 302nd control V and let's rename this one by double clicking on it 180 so far 180 is going to be our master alignment layer because it basically matches the rest of these I don't want to have to keep doing alignment each time I stack I'm gonna push that 300 up on top you see it changed so if I take it out I do have a substantially different alignment so with a 300 pulling let's drop the opacity down to highlight 50% and we're gonna click the move tool and let's just remove these stars around zoom in on them and now I get it close you can use the arrow keys to get it right there so let's see how bad our rotation so she our rotations off put that filter back in on a slightly on so what I want to do is try to find the center of the image which is probably going to be like that star right there let me kind of hard because it's a price yet snaps right to it so with that snapped I'm going to hit ctrl T it gives me this basically a manipulation border where you can really move this image around so if you come outside you'll see these two little circles and then you click and hold you can rotate let's rotate it right there let's go to the other side just a double check so we're still off now I want you to see something that is a phenomenon that I've noticed using the the L Pro and the LM hands the L enhance seems to have a different scale to it so the 300 stars or the 300 layer stars are outside see how they're outside of each one so you think oh just shift it over I guess why they're outside of this one here too so it's headed like a completely different scale along these outer edges I don't know why once again you know leave a comment I don't appreciate because it is something that I had to fight so this is a good thing if you had to see the way to do that is to right-click on it while you have it in this control panel here and click work and you get it basically go around and move these stars click these points and actually scale that top image in just lightly to match the bottom no but I have to do it every time it's a cool little nebula right there to you hmm so we so now it's just kind of going around I didn't have to do it much see these stars are up just a little bit just pushing that in that's the only way I've been able to before I knew how to do this man Tony when I was struggling trying to line these stars out because you could rotate it to your heart's about to explode and your brains mush and you're not getting no matter what you do I lined up so just going around to each one of these little points I'm pretty good make a little bit of a dozen here and down so basically just push that image in just slightly all the way around I don't know why it does that okay so take the 300 turn it off on nothing see if you jump in out of place let's push that opacity back up here just good because what we're gonna do is with that top layer selected we are going to click layer mask and over here in the reveal tab we want to make sure that that's set to black if you if it's not you just hit letter D while you're pointing at it and it'll set up black and white you can switching back and forth these two little errors here make sure that the forefront is set to black grab your brush tool I like my pasty set to light 24% my flevit about 40 % right now so let's just turn the 302nd layer off let's see what we want to grab so we're just basically gonna click those change that opacity just a little bit more make that just a little wire use the bracket tools so we're just kind of darken that up bring in some of these highlights and I'm talking so especially with a running man you know if you could clip this from obviously I've got a lot more blue with a top the long elegance I have a lot more red so I really want to hit that running man and get it bring that bull you back in there you're going to be amazed at how little I do this to blend these two together like I said I've got a little decimally area right here I can possibly hit this just a little bit to get rid of it I think that just made it worse probably some a horse so just give this a definition here hit some of these darker areas to give us some depth so you can see this is our composite image see someone's bringing up here that I really would like to get took it just a little bit more like it okay so make sure when you're done you liked it you merge that down rename this when I combined it now because we've combined the two and we're going to go to file save as you can stay right here in this 300 second folder and we're just going to call it Brian and bond that's going to be kind of our master file so the hundred eighty second we're done so we can close it out with no this is our combined so let's go over here to 62nd and right here hit ctrl a ctrl C I'm over here today Ryan combined and hit control V and now Orion combined is our master alignment so let's rename this one by double-clicking at 62nd and one let's drop the opacity down to 50% click our move tool and move this over zoom in on it and once again we're out to rotate some just a bit control T and bring it over and down takes a little bit to get this right so I think for some reason I think we're still gonna have to use our warp tool each time so it's just going to be a really long video so what I think that's looking pretty good we rotated it just a little bit you know we're gonna need to hit the work we're going to push these in a lot any stars up I don't know why I folks really don't it's gonna be a long video but yeah we could watch it when you're riding a car or work and you're stuck in traffic that's what I do so just going around here selecting these points making sure our stars and lined up get down here so that's the crazy thing you look good on the bottom no one I think that's pretty good let's turn it on and off let it set starting to be getting a pretty aligned let's turn it back on put the opacity 200 to put it on top safety six up 60 second sets on the bottom so this is what we're going to work on right here just don't know at the core yet so once again and again here with this little square little hole in it so our layer mask everything was still set from before click our brush tool to get a little bit bigger somewhere here now you can see we're just clicking and we're starting to bring that core back in yeah we really don't want to click out here is gonna race to the details on the outside either so it's real subtle I like to go out there and hit it one time so you can see a big difference we can narrow this up try to come along here and grab some of those details on these two little wings especially like right in here bring that back and then let's go over here to the running man a couple little clicks on him tighten him up just a little bit all right burned it down rename this combine over here so go ahead and delete our 60 seconds we don't need it open our 32nd huh totally ctrl C go here to combine final goal V ending this 130 and change the opacity we gotta line it back up with the move tool on our center star again so right in there it's actually pretty good once I had I almost had a different camera rotation for the 60 second to just in the little pontoon on those stars that is aligned pull so for a second let's turn it on we got to put the opacity back to 100% push that combined up click our layer mask and a brush tool so let's drop that opacity down to like now we want to get some fine detail 16 percent so here we can just kind of turn this on and off to see what we're going to grab which is right around here so you can see it is so we're trying to bring these stars back in make that just a little wider we don't want to get out in here too much just we're just working in this right in here it's like a face you see that face right there as he faces every time I show my image to somebody like honestly a face see your face alright and that's like it man all we were trying to do was get that little bit of detail in here let's run around here that 10 second is gonna the 10 second was just gonna bring that right there that's it okay where's that down this behind here are the lead our 30 second because we don't need a warm or 10 second control a control see you're just repeating the process and it'll be off the opacity so it's gonna be a little tougher to align just because it's so dark with our move tool use the arrow keys they get it in there tight I think our alignment is good so change the opacity back to 100% and then put the combined on top seems like it's lined up pretty good set a layer mask choose the brush over here and me and I'm telling you like all we want to do is hit this little area right in here and you can see how small they are we're doing this there's our star so oh it's a pretty good touch outside that's it so I merge that down delete that and there's our final composite image so we've done all the processing and stuff up front so there's really not a whole lot left to do we can just kind of run this through maybe get here to the filter it's for the camera raw filter may be real careful we want to protect what we've done already but we can kind of Beach the clarity just a little bit in the vibrance saturation contrast and then just give this a little bit of luminance in color noise reduction I mean honestly it's a pretty it's a pretty good-looking image we could duplicate that and then come in here here select to select the mask we want to work on some of this interior stuff in here who's not selected mask let's go here select color range to choose that right there don't that slider up will grab this inside core here select select the mask so get that selected let's see what else so let's ctrl J to move it on the top let's come right in here to our image adjustment select selective color let's look back into that neutral I'm going to stay pretty much in that neutral let's take some of that signing out get this a little more blue in there and we can hit our dish a little magenta actually be added some cyan sorry and then had a little black kind of take some of that some of the highlights out that kind of get rid of some of the details you can see it's kind of a little bit washed out now we have a little more detail everyone find so now what we want to do to merge that back down is it's coming here to our crop tool right in the corner crop out all those expose your links that be just layer together so his image crop and got some dark corners in here I would clean those up with maybe a gradient exterminator we can come in here to image levels kind of just push that black slider I've got this little decimal area here that I would spend a lot of time fixing but that's really not the point of the video the video with point video is to show you how to blend all these layers together to get this powder nebulosity detail all these little wispy clouds and stuff but then yeah we still have the poor and shooting a video obviously are kind of rush to it I think I would probably spend a little more time blending blues in but I just wanted to show you the basic steps and leave it up to you guys to to kind of tweak this yourself and then I would probably come in here and do a star reduction you know I'll go ahead and finish this image up and do some star reduction some other stuff you'll see at the end of the video so I know this is a long one but you know okay it's it's worth that the process is worth it so I hope you get out there don't you take a time set plan out a shoot for the around everyone it's a Senat great position right now and then take your time shoot these different links and blend them in watch this video go back go through it step by step and to get something that's you're satisfied with and be proud of so until next time appreciate you watching entering in space and clear skies and clear minds alright [Music] [Music]

Channel: Entering Into Space

Views: 3,611

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Id: yKJ-H9X6yoo

Length: 75min 57sec (4557 seconds)

Published: Sun Jan 19 2020