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Although studying is considered a legitimate scientific nowadays, it is still a very young one. In the early 1970s, a psychologist named J. Guilford was one of the first academic researchers who dared to conduct a study of creativity. One of Guilford’s most famous studies was the nine-dot puzzle. He challenged research subjects to connect all nine dots using just four straight lines without lifting their pencils from the page. Today many people are familiar with this puzzle and its solution. In the 1970s, however, very few were even aware of its existence, even though it had been around for almost a century.

If you have tried solving this puzzle, you can confirm that your first attempts usually involve sketching lines inside the imaginary square. The correct solution, however, requires you to draw lines that extend beyond the area defined by the dots.

At the first stages, all the participants in Guilford’s original study censored their own thinking by limiting the possible solutions to those within the imaginary square (even those who eventually solved the puzzle). Even though they weren’t instructed to restrain themselves from considering such a solution, they were unable to “see” the white space beyond the square’s boundaries. Only 20 percent managed to break out of the illusory confinement and continue their lines in the white space surrounding the dots. The symmetry, the beautiful simplicity of the solution, and the fact that 80 percent of the participants were effectively blinded by the boundaries of the square led Guilford and the readers of his books to leap to the sweeping conclusion that creativity requires you to go outside the box. The idea went viral (via 1970s-era media and word of mouth, of course).

Overnight, it seemed that creativity gurus everywhere were teaching managers how to think outside the box. Consultants in the 1970s and 1980s even used this puzzle when making sales pitches to prospective clients. Because the solution is, in hindsight, deceptively simple, clients tended to admit they should have thought of it themselves. Because they hadn’t, they were obviously not as creative or smart as they had previously thought, and needed to call in creative experts. Or so their consultants would have them believe. The nine-dot puzzle and the phrase “thinking outside the box” became metaphors for creativity and spread like wildfire in, management, psychology, the creative arts, engineering, and personal improvement circles.

There seemed to be no end to the insights that could be offered under the banner of thinking outside the box. Speakers, trainers, training program developers, organizational consultants, and university professors all had much to say about the vast benefits of outside-the-box thinking. It was an appealing and apparently convincing message. Indeed, the concept enjoyed such strong popularity and intuitive appeal that no one bothered to check the facts. No one, that is, before two different research —Clarke Burnham with Kenneth Davis, and Joseph Alba with Robert Weisberg—ran another experiment using the same puzzle but a different research procedure. Both teams followed the same protocol of dividing participants into two groups. The first group was given the same instructions as the participants in Guilford’s experiment.

The second group was told that the solution required the lines to be drawn outside the imaginary box bordering the dot array. In other words, the “trick” was revealed in advance. Would you like to guess the percentage of the participants in the second group who solved the puzzle correctly?

Most people assume that 60 percent to 90 percent of the group given the clue would solve the puzzle easily. In fact, only a meager 25 percent did. What’s more, in statistical terms, this 5 percent improvement over the subjects of Guilford’s original study is insignificant. Brock Biology Of Microorganisms 14th Edition Pdf there. In other words, the difference could easily be due to what statisticians call sampling error. Let’s look a little more closely at these surprising results. Solving this problem requires people to literally think outside the box.

Yet participants’ performance was not improved even when they were given specific instructions to do so. That is, direct and explicit instructions to think outside the box did not help. That this advice is useless when actually trying to solve a problem involving a real box should effectively have killed off the much widely disseminated—and therefore, much more dangerous—metaphor that out-of-the-box thinking spurs creativity. After all, with one simple yet brilliant experiment, researchers had proven that the conceptual link between thinking outside the box and creativity was a myth.

Of course, in real life you won’t find boxes. Oshin Theme Mp3 Download. But you will find numerous situations where a creative breakthrough is staring you in the face.

They are much more common than you probably think. *From Copyright 2014 Drew Boyd. There are many theories of creativity. What the latest experiment proves is not that creativity lacks any association to thinking outside-the-box, but that such is not conditioned by acquired knowledge, i.e., environmental concerns. For example, there have been some theories such as those of Schopenhauer (see his remarks about Genius) and Freud (see his remarks about Sublimation) that propose creativity is something more like a capacity provided by nature rather than one acquired or learned from the environment.

Rather than disproving the myth, in other words, the experiment might instead offer evidence that creativity is an ability that one is born with, or born lacking, hence why information from the environment didn't impact the results at all. It's an interesting experiment, but the author's conclusion cannot possibly follow from the results of it. I conduct soft skills training and outbound training for Corporates and individuals. To enhance creativity we motivate the participants to approach the problems from variety of vantage points.

Even repeatedly checking the boundary conditions we are able to come up with variety of ways of solving the problem. This is akin to checking the walls of the box. Looking inside the box for additional information, additional resources also helps. Looking at the box from bird's eye view triggers some different creative solutions. Let us not get tied down to the mechanics but free ourselves to find the solution. I will give an example.

You are playing football with family and friends at a distant ground and someone gets bruised badly. No first aid kit is available.

Your priority is to get the person to a hospital ( at a distance of 2 hours ). The wound is bleeding and needs to be kept clean and bacteria free till the person reaches the hospital. What will you do? Think of a solution.

It is quite close to you. With all due respect, Professor Boyd, your argument is not at all compelling. It seems that you are taking the 'thinking outside the box' (TOTB) metaphor much more literally than it is intended (or, at least, as I and may others infer). Let me point out a few false and/or negligent statements that you make: 1. To refer to TOTB as 'dangerous' is naive, at best. I, personally, have seen the positive, tranformative effects of not only the 9-dots exercise, but also the occasional use of the term to remind individuals after-the-fact about the value of thinking differently. The experiment you refer to doesn't even come close to proving what you suggest that it does.

To use the term 'proving' in an argument like this is laughable. In real life, you absolutely WILL find boxes.that is, if you understand what the term 'box' refers to. Here, the term is not literal; rather, it refers to a mindset, a perspective, a belief, or an assumption. It is precisely how the human mind works. We all think in boxes all the time.

The 'sin,' if you will, is not in thinking inside of a box.but the neglect to readily switch from one box to another, nimbly (see Alan Iny's new book, 'Thinking in New Boxes'). A different -- and very healthy, positive, and productive -- way to think about TOTB is to understand that it merely represents an insight that can remind an individual to consciously become aware of limiting assumptions. And, upon such awareness, to open ones mind and imagination to actively explore new possibilities beyond the obvious or initial answer. If you don't regard this as valid contribution to creativity, then I suggest you consider spending a bit more time outside of that 'box' that you've presented here.

I couldn't have said it any better. TOTB is a beautiful skill to have. We are born into multiple boxes that are created upon social agreements (e.g. Illustrated by the hermeneutic circle) but the ones who dare to think outside of what is considered as social or scientific correct (all the boxes together) are the minds whom are absolute free and open towards new moralities, paradigms, innovations and creativity in general.

Saying that TOTB is a negative thing is a very conservative statement and someone who has such a belief is scared of change, scared of diversity and scared of anything that is abstract and out of order. I'm all about TOTB and the best way to TOTB is to fully understand the box in the first place and why some people are scared of TOTB hence also lacking the ability to do so.

Fold the paper so all the dots ovelap. Use four lines to connect four dots. Hold the folded paper up to the light.all dots connected; Thinking outside The Box. For that matter, you could fold the paper until all the dots overlapped and you would not need to waste any pencil lead; Thinking outside The Box. Use a very wide pencil lead or charcoal block for that matter, connect all the dots in one fell swoop; Thinking outside The Box.

Forego a pencil altogether and use a bucket of paint to create a huge blot over all the dots; Thinking outside The Box. Question the dots and why they need to be connected in the first place; Thinking outside The Box. Erase the dots; they are a distraction to Thinking outside The Box. Create your own dots and lines in any fashion you desire; Thinking outside The Box. People that say, it's a misguided idea,, do not know how to think outside the box, I can look /listen/ at anything an tell you how to fix it. I play chess with my pc, an beat it all the time, and the reasoning is I do not think logically, like the pc does. It has a set of rules that it was programed with an you were in college, I do not play by the rules, I can play without the queen.Also when you go the a school that teaches how to think about something, that is all you know how to do.I have had engineers come to my deck, hand me a set of blueprints, because that was the way they were taught.

They are never taught to look at it, in there mind to see it working. What I do is show them how wrong they are, an ask them what tool in the world can cut a square hole inside the middle of two long tubes. They can not think outside the box, that they were taught to do. If was going to tell you about an airplane the TR-3B, it travels a little bit under light speed, an it uses nuclear fusion, which turns into plasma an powers the craft, that was built outside the box. An if you do not believe me type it into your search engine, you can also look it up at the library of congress under new patients. You my brother, do not have the inkling of understanding to think outside the box. That's why you are a psychologist an nothing more.

Time-lapse photography has quickly become one of the most popular forms of creative expression in the past year. A ton of expensive gear and advanced methods exist to produce cinema quality videos like the opening sequence in ',' but this shouldn’t deter you from getting out and trying it on your own.

The simple truth is that all you need is a basic DSLR, a tripod, a cheap, and Adobe’s Lightroom. Video at its core is simply a series of photographs taken very closely together and combined to appear as one long sequence.

By understanding the speed of objects passing through your scene and the length of time-lapse needed, a simple calculation is all that’s left. Locate a Dynamic Scene You will first need to find a composition that lends itself to a time-lapse. This can be anything from moving cars, people, or even clouds. The speed of the subjects within your frame will dictate how long you will need to wait for the time-lapse to complete.

For example, to capture slow moving clouds you would need to stay put for much longer than you would need for moving cars, as they will not pass as quickly through your frame. Consider this in your decision as you may find yourself getting bored or simply not having enough time. Once you’ve got it, set your camera on a tripod and compose the shot.

Determine Your Exposure 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.

Determine Your Interval 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. Conversely, clouds moving slowly across the sky don’t need to be shot every 1/2 second as they will likely not have moved much since the previous shot. 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. • Moving people or cars = 1/8-1/2 second intervals • Moving clouds or waves = 1-5 second intervals • Star trails = 10+ second intervals Calculate Your Video Length 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 240 images total, or 300 using 30fps. It is always wise to shoot a few more than what is required just for good measure. Set your intervalometer accordingly. Create the Time-Lapse in Lightroom Now that your images are shot, import them into Lightroom and perform any necessary adjustments to exposure, contrast, or color. It is best to edit the first image in your sequence then apply those adjustments to the others by Shift + clicking the last image and using the Sync button in the develop module. 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 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 ratesHighlight all of the images to be used in your sequence.

Select the appropriate fps from the left template. Then scroll down to the far bottom of the right tab and select a quality of High.

Make note of how long your final sequence is in the bottom right corner of your image frame. Finally select Export as Video on the bottom left, create a file name, and choose 1080p 16:9 as your video preset. Save your timelapse accordingly and select a video preset of 1080P 16:9The time-lapse will now be generated and saved to your computer.

Be patient as this can take several minutes depending on your computer and the length of the sequence. Once Lightroom finishes sit back and enjoy your work! Make note of what worked and what didn’t and keep practicing.

It will no doubt be addicting. I’ve included some basic examples of work I’ve completed to give you inspiration. And as always, feedback is appreciated!

Great Intro Mark. Clear and well illustrated. LRTimelapse is great but it's a bit more complicated. It's not really a plug in but it requires LR to work. The whole point of LRT is to fix the flicker and allows to do holy grail sequence such as day to night and night to day transition. Basically you start LRT, select a number of keyframe image, edit them in LR and LRT will create corrective XMP files to ramp the exposure and any other settings in LR (WB, Shadows). It does a great job.

Then you can export a video directly from LRT or export normally with LR. Another big tip that I'm not sure if LR can do but we do in premiere is to export the time lapse as 4K. This allows you to then stabilize the footage if you have any slight movement caused by ground movement, tripod vibrations or if you forgot to turn VR off, and you can also Keyframe slight movements into your video which makes it even more dynamic. Of course you would need a video editor to do stabilization and digital zoom effects but if you are shooting 20-36 mp stills, you can imagine how much flexibility you have with the final time lapses. Sometimes you can even get 2 'unique' timelapses out of one sequence just by playing with the composition and key frames.