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this week I'll show you four ways to get rid of long exposure noise generally

there are two different types of noise there's high ISO noise and long exposure

noise in today's tutorial we're talking about long exposure noise if you want to

learn about high ISO noise click on the I in the corner or the link in the

description long exposure noise is very different to high ISO noise it's

basically lots of hot pixels all over your shot and they tend to be brighter

in the shadows they're normally made up of red green or blue pixels and they

really stand out especially when you try and bring the shadows back when you

leave your camera on and take a number of shots they'll normally be in exactly

the same place throughout those shots every now and then depending on what

camera brand you have the camera will remap the sensor so basically the

pattern of these hot pixels will change over time also if you click on sensor

clean in your camera I think then it also remaps the sensor so you'll get a

different pattern of hot pixels this isn't so important for certain

techniques but when you're taking a dark frame it just means that you'll need to

take your dark frame at the same time as you took the photographs but more about

that later so these are the ways to get rid of long exposure noise there's an

option in most cameras nowadays called long exposure noise reduction and this

basically gets rid of these little hot pixels however if you're under a time

constraint or you're shooting a time-lapse or ding star trails this

really isn't an option when you take a photograph with this setting switched on

you'll have to wait exactly the same time as the length of exposure that you

took so if you've taken a 1 minute exposure you'll have to wait another

minute before using the camera and this is completely locked down the camera

won't let you do anything at all it'll sit there with processing image on

the monitor now on this first shot I went down to the marina and I took a

long exposure shot so this one was about 4 minutes

I put the long exposure noise reduction on so I had to wait another four minutes

for the shot to be processed if I look at the shot where I don't have long

exposure noise reduction switched on you can see all of these hot pixels in the

shadows and then we go back to the one where long exposure noise reduction was

switched on in the camera you can see all of these hot pixels have gone so you

can see when you have long exposure noise reduction turned on the camera

does a really good job dark frames are really well known in Astro photography

but if you've come from the photography side of things you may not know what

they are it's basically a way of getting a readout from the sensor with just

these hot pixels on it's really simple but you have to do it at the location

where you've taken the photographs for best results what you basically do to

get a dark frame is put the lens cap back on your camera and take another

photograph with exactly the same settings for this example I've only

taken one dark frame but let's say if you are stacking a lot of

astrophotography shots you may want to take a series of dark frames as well

then a program like starry landscape tracker would then use all of these dark

frames and then work out what exactly are hot pixels and what are stars this

is the process of stacking in Astro photography and I'm going to cover this

in a future episode so by taking a dark frame you're separating out water hot

pixels and what are pixels that make up your photograph once again for dark

frames I've taken a shot down the marina I have this shot which I took over four

minutes this was the one where there's noise in that corner and noise pretty

much all over the frame after this shot I took another photo with the lens cap

on and this is my dark frame all the

settings are exactly the same just with no light getting into the camera so to

make these hot pixels stand out I've bumped up my exposure and I've opened up

my shadows what I'm gonna have to do before I take them across to photoshop

is drop these levels back down so go on this one I'm gonna drop the exposure

lights and the shadows back to zero and the same with a dark frame can see all

those hot pixels but again I'm gonna take them all back to zero now what I'll

do is I'll select my photograph and the dark frame and then edit in openers

layers in Photoshop once it's brought them across into

Photoshop make sure your dark frame is on the top and then on this blend mode

click on subtract and then save your image once it's saved go back into

Lightroom and then it'll open this new image as a tiff file so this is the

blended file and this is the original again if we look down in that bottom

corner what I'm going to do is bump up the exposure and the shadows so we can

really see into those shadows and see what's there select the other one that's

sick now if we switch over to the TIFF you can see not all but most of this

long exposure noise has gone so this was before the dark frame this is after the

dark frame there are still a few of these hot pixels but nowhere near as

many as there were to start with so as you can see getting a dark frame in the

field is really worth it it's a very quick and easy process to get rid of

these hot pixels in Photoshop this is the most tedious way of getting rid of

these hot pixels but sometimes it can be the most effective so for manual removal

I've got this image here I did some short star trails above my car you can

already see by the name of this image that I've edited it a couple of times I

blended the image to get the star trails I think I've blended about 400 images so

I've zoomed in on this area where these hot pixels are being quite stubborn so

I'm gonna zoom in probably four to one and you can really see those hot pixels

there so to manually remove them go to this tool here which is the spot removal

to you want to make it as small as the

pixels pretty much then literally just click on these pixels this is a bit of a

tedious task but if you want the best-looking image possible this is what

it takes if the hot pixel falls on a line of a darker and a lighter area just

watch where it samples the image from as you can see here it's sampled a similar

part of the dune as I said this takes a long time to do so all you want to do is

be patient have a cup of tea or coffee or a beer and then just plunge your way

through it if you use this in conjunction with the next technique that

we're going to use all the dark frames it'll really speed up the process and

you'll only have a few of these hot pixels to remove if you don't have the

patience to manually remove them you've forgotten to take a dark frame and you

didn't have long exposure noise reduction on then this is another way to

do it so this is the image that I've got and you can see there's quite a bit of

this long exposure noise in the shadows so what I'm gonna do is right click on

the image edit in Adobe Photoshop I'm going to edit the copy with Lightroom

adjustments so this is a fairly straightforward way of doing things

probably want to do let's click on filter noise dust and scratches you get

your radius to two and then play around with the threshold with this little

preview box if you actually click and hold on it it'll show you what the image

was like and then when you let go it'll show you what the image will be like

once you put this filter on so you can see it's getting rid of a lot of that

noise in the shadows all we want to do is make sure it's not getting rid of too

many of the stars and it really is so I'll bring that threshold down now if

I okay on that you can see this really affects the Stars so if you're doing

Astro shots you've really got to watch what you're doing with this filter and

this is why taking a dark frame at night is really important it's so that the

computer can distinguish between these hot pixels and the stars when the a7 r2

came out there was a firmware that came out that ended up being nicknamed the

star eater and I think this is what it was doing in camera so the way to get

around this is to split up the ground from the sky and they not can just edit

the ground without affecting the stars in the sky

first of all I'll unlock this layer and then I'll duplicate the layer so right

click duplicate layer ok then click on this little box here what I'm doing here

is a bit more technical but if you don't have any stars in your shot you can just

use the dust and scratches filter with this more advanced technique it means

that I'm protecting my stars and getting rid of all of these hot pixels in the

land the foreground and anywhere where there aren't any stars so this is known

as a mask what this does is anything that's white it will show anything

that's black will not show you so in this mask I'm going to create a gradient

I'm going to make sure it's selected from black to white I'm going to hold

down alt or option and click on the mask and this brings up the mask

so I've just got a line up the mask with the ground that's about right

so now with this top layer with this mask all of this white area will be

affected by anything that I do to this top layer and then nothing can be seen

on this black area above so I'll click back on the layer I'll click on filter

noise dust and scratches again you can see when I click and hold I can see the

noise when I let go it's not but it's not affecting the stars anymore so I'll

click on OK now when i zoom in on the ground I've

made that top layer invisible and you can still see all of this noise around

here when I click back on it the majority of that noise is gone once it's

saved go back into Lightroom and then ill open this new image has a tiff file

so you can see with the original image we've still got this long exposure noise

on it and you can see that clearly zoomed in on a one-to-one scale if we go

to the one where I used the dust and scratches filter it's a lot cleaner and

when i zoom out even at this scale you can see it is a lot cleaner now because

I used the mask to block out the sky the stars haven't been affected the problem

with a dust and scratches filter is it can very quickly degrade your image and

make it look a little bit strange so what I try and do is get it just on the

boundary of getting rid of most of the hot pixels and then I'll manually remove

the rest of them and that's about it this long exposure noise can be really

annoying and if you don't know how to get rid of it it can ruin your

photograph however by using at least one of these techniques you can pretty much

get rid of all of that long exposure noise as always if you like what you see

give me a thumbs up if you didn't give me a thumbs down and for weekly

tutorials hints and tips in photography and videography subscribe and turn on

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For more infomation >> 4 ways to get rid of long exposure noise in your photos - Duration: 12:37.

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Your Novel on Screen - How to Get Product Placement - Need a Literary Agent? #PitchChris Episode 8! - Duration: 5:13.

On this episode of Pitch Chris

I'm going to talk to you about

if you just wrote a novel

what do you do next to make it a TV show?

What is the best way to get product placement

in your film or television show?

and do you really need a literary agent

or can you do it on your own?

Welcome to Episode 8 of Pitch Chris

where you guys ask me questions about the entertainment business

and I'm going to answer them for you.

To ask me a question simply find me on social media

#PitchChris

and I'll be sure to answer all the question that you guys send me

if you are watching this on a post

post your questions below and I'll make sure you guys get on the show

Let's take that first one.

I wrote a novel, but I think it would make a great TV show... now what?

Well, my first question back to you is...

Do you possess the skills to create

a screenplay, adapt a screenplay from your novel

because a lot of times, it is two different skill sets

writers might not posses that so in that case, take it to somebody

if you do, if you do

and you are able to actually create a screenplay from your original novel

The next step is to refine it and you want to ask friends

friends and family and the people that are closest to you first

to get really good feedback

and then you want industry professionals to start refining it down

after you've done that you'll have a rock solid script

you gonna want to build your 60 second pitch

where you're going to be able to tell the story

in 60 seconds or less

if you are in an elevator with a producer

or you finally get in the room

you're going to pitch this to an investor a producer

a studio or whatever might be

and that would be the next step you take it

before you actually turn it into your TV show.

How can a producer get product placement in their movie?

It's great that you think about product placement because

that s a big thing that most producers don't realize

you can actually get some extra money from.

But, to get it is whole other animal.

Number 1

You have to have a relationship with advertisers

or else you will be knocking on doors and doing a whole heck of cold calling

and if advertisers don't know you

it's going to be a little bit harder to get in the door

Number 2, there is a lot of agreements that have to go back and forth

to actually successfully get

the product, the brand in your movie.

and then the third biggest thing is

think about this way

if the advertiser is looking for the most exposure for their business

well, you have a narrative you want to tell a story

you're going to have to give up some of that

to work them into your script

and if you're not careful and advertiser

could turn your entire script into a commercial

and you don't want to do that.

So, you got to be mindful of those things

it is a balancing act between that

or you can go out there's companies like ours

like agency 850

we do product placement product integration, brand integration

in movies and TV shows,

we work the go between. So, we work with the advertiser

on the exposure but we work in line with your production

to not take away from that entertaining value

that obviously, you know

we understand filmmakers we want to make sure is there

But we also want to make sure we get the most exposure

for our advertiser.

So, there are companies out there like ours

that will actually help navigate those waters for you

Great question!

In this day and age,

Do you think literary agents are important

for screenwriters and what's the best way to land one?

Nobody, nobody is going to work

harder than you

for your career than you

no matter what agent you have.

So, my first thing for you if you are just starting out

so got to hustle you got to go networking events

you've got to go to industry panels

you've got to meet producers provide value to producers

maybe offer to do some script coverage for free

for a producer helping out a little bit.

Build up your network,

build up your connections in the industry

and then after you get to a certain point,

then you want to go to a literary agent

because literary agents

they'll be able to open the doors

for you in some capacity

that you're not going to be able to do in your own

so, the first step is to hustle,

then you get your agent and then you can start keep progressing in your career.

So, I hope that helps

That's all for today's episode

I want to hear from you guys

so the way you can send me questions is,

if you're watching this in a post

go ahead and post your questions down below

if you want to get on the show

take a video of yourself ask your question

sixty seconds or less,

post it in the comments below

and I'll make sure to get you on the show

and I'll get you IMDB credit

just for helping out.

So, I look forward to hear from you guys

Keep asking me those questions and I am going to answer them.