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Perfect Photo Suite
Perfect Photo Suite User Manual Copyright ©2015 on1, Inc. All Rights Reserved. Table of Contents Chapter 1: Welcome to Perfect Photo Suite 1 Chapter 2: Introduction 5 Using the Help System 6 Contacting onOne Software 7 Additional Help 8 System Requirements 9 Installation 10 Licensing and Registration 11 Opening Files 12 Smart Photos 14 Module Selector 15 Using as Standalone 16 Using with Adobe Photoshop 17 Using with Adobe Lightroom 18 Using with Apple Aperture 20 Using with Other Applications 22 Printing 23 Managing Extras 24 Preferences 27 Chapter 3: Perfect Browse 30 Getting Started 31 Browse Workspace 32 Using Perfect Browse 33 Photo Sources 34 Managing Files and Folders 35 Favorites 37 Albums 38 Recent Pane 39 Working in Thumbnail View 40 Persistent Thumbnail Cache 42 Working in Detail View 44 Navigating the Preview 45 Using the Info Pane 47 Metadata 48 Ratings, Labels and Likes 49 Filters 50 Sent to 51 Smart Photo History 52 Menus 53 Keyboard Shortcuts 56 Chapter 4: Perfect Layers 58 Getting Started 59 Perfect Layers Workspace 60 Perfect Layers Tool Well 61 Navigating the Preview 62 Navigator, Loupe, Histogram and Info 63 Preview Window Modes 65 Using the File Browser 66 Using Perfect Layers 69 Creating a New File and Adding Layers 70 Adjusting Canvas Size 71 Working with Layers 72 The Layers Pane 73 Transforming Layers 75 Crop Tool 76 Trimming Layers 78 Using Color Fill Layers 79 Perfect Eraser 80 Retouch Brush 81 Clone Stamp 82 Red-Eye Tool 83 Using the Masking Tools 84 Mask Preview Modes 86 Using the Masking Brush 87 Quick Mask -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Swissphotoshop Gesamtkatalog 2020
Swissphotoshop www.swissphoto.shop.ch Swissphotoshop Gesamtkatalog 2020 Swissphotoshop Sunday 08 March 2020 Swissphotoshop www.swissphoto.shop.ch Table of Content Adapter Ringe Objektive............................................................................................................................................................ 1 Adapter Ringe Objektive-->Adapter Canon EF / EF-S auf EOS M.......................................................................................... 1 Adapter Ringe Objektive-->Adapter zu M42 Objektiven ......................................................................................................... 1 Adapter Ringe Objektive-->Adapterringe mit Blende ............................................................................................................. 2 Adapter Ringe Objektive-->AF Micro 4/3 auf Four Third ........................................................................................................ 2 Adapter Ringe Objektive-->AF-Adapter Autofokus................................................................................................................. 2 Adapter Ringe Objektive-->Canon G1X Adapter ..................................................................................................................... 3 Adapter Ringe Objektive-->Canon M System Adapter............................................................................................................ 3 Adapter Ringe Objektive-->Male to Male Ringe...................................................................................................................... -
Filtering in Software
article.php Page 1 of 2 Filtering in software Why filter in camera when you can achieve the same results in post? Geoff Boyle takes a look at Tiffen’s DFX Filter Kit to see whether they really match the company’s optical filters. Article first published: July/August 2007 Using the center spot filter. With the infra-red filter. Tiffen has been threatening software that would emulate their filters for a very long time now. It’s been a kind of Holy Grail for DPs who shoot a lot of VFX and blue/green screen work. You want to shoot the main body of the film/commercial with filtration of some kind – I’ve always been partial to light Pro-Mist and/or very light Double Fogs – but you can’t use them on the VFX shots because they’ll bugger up the key. So what do you do? Shoot with the filters except for the VFX shots and trust the guys in post to match the look? Shoot with no filters and trust the guys in post to add the filtered look to the entire production? How do you communicate the look? Do the guys in post know what a Black Pro-Mist 1 looks like? Will they remember to add it? A long time ago, Tiffen started to work on software to emulate its filters, but it would only work on SGI machines and in Autodesk Flame. It required a huge amount of computing grunt and was never released. So imagine my surprise as I wandered around NAB this year and saw a finished domestic product – yes domestic! Not a really expensive piece of pro software, but software that costs between $99 and $499 depending on which version you get. -
The PENTAX K-1 Mark II: the New Standard of the 35Mm Full-Frame K Series
The PENTAX K-1 Mark II: the new standard of the 35mm full-frame K series Rich colors and subtle shades, and a beautiful bokeh and a well-defined sense of depth. When the photographer’s inspiration is truly reflected in all these elements, photographs will become more than mere records — they will evolve into truly impressive works of art. The PENTAX K-1 Mark II has been created as the flagship model that will fulfill this goal. It features a new, advanced image-processing system to deliver the beautiful image quality which all photographers demand. It produces images that are rich in color and gradation, high in resolution, and superb in bokeh rendition. The Pixel Shift Resolution System II — the PENTAX-original super-solution technology — now accommodates handheld photography. The AF system featuring a new algorithm assures high-precision focusing even with moving subjects. While inheriting the PENTAX K-1’s development concept, the PENTAX K1 Mark II has advanced technologies to near perfection. When your creativity is in complete harmony with the camera, your photography will truly come alive. Top sensitivity of ISO 819200 enhances image quality, and expands the creative boundaries of high-resolution digital SLR photography State-of-the-art imaging processing system Greatly improved image quality, even in high-sensitivity photography NEW To reproduce lively colors and rich gradations closeclose toto memorymemory colors in all sensitivity ranges, the PENTAX K-K-1 MarkMark IIII newlynewly incorporates an original accelerator unit, which efficientlyefficiently processes image signals output by the image sensor before sending them to the imaging engine. -
High ISO Heroes Which APS-C and Full-Frame Cameras Perform the Best in Poor Light?
Saturday 4 February 2017 High ISO heroes Which APS-C and full-frame cameras perform the best in poor light? All-new Passionate about photography since 1884 BUYING GUIDE COMPLETE GUIDE 550 cameras & lenses listed ISO & rated and How to get pictures as good as this at high ISO Get great low light images and keep noise right down ● What ISO and when ● Best noise removers ● Settings of the pros Digital ISO demystified Fujifilm Where noise comes from first look and how it relates to X-T20 mirrorless & sensor size & resolution X100F compact The high ISO king? We see how Nikon’s D5 copes with ice-hockey boot camp Ice on the black sand beach at Jökulsárlón.raw ON THE ICE BEACH IT’S A DARK, SOMBRE WINTER’S DAY. The grey cloud is low, and the rain is steady, but the muted light is just perfect for the subject matter all around me, namely waves lapping around the artfully sculpted blocks of ice on the black sand. Now I’ve seen many images of this unique combination before – it’s an Icelandic photographic staple – but there’s no resisting the appeal of such stark, elemental beauty. In fact it’s a beauty that is enhanced by the flat lighting, a cold scene of black and blue with simple graphic appeal. But as so often is the case here in Iceland the conditions are difficult: apart from the rain, salty spray is being driven inshore off the waves and onto my increasingly crusty camera, lens and filter. So be it, such adversity is now familiar. -
Australian Cinematographers Society V2.1 Now Releasedfirmware
australian cinematographer ISSUE #60 DECEMBER 2013 RRP $10.00 Quarterly Journal of the Australian Cinematographers Society www.cinematographer.org.au V2.1 Now ReleasedFirmware shootingHigh &frame much rate more! The future, ahead of schedule Discover the stunning versatility of the new F Series Shooting in HD and beyond is now available to many more content creators with the launch of a new range of 4K products from Sony, the first and only company in the world to offer a complete 4K workflow from camera to display. PMW-F5 PMW-F55 The result of close consultation with top cinematographers, the new PMW-F5 and PMW-F55 CineAlta cameras truly embody everything a passionate filmmaker would want in a camera. A flexible system approach with a variety of recording formats, plus wide exposure latitude that delivers superior super-sampled images rich in detail with higher contrast and clarity. And with the PVM-X300 monitor, Sony has not only expanded the 4K world to cinema applications but also for live production, business and industrial applications. Shoot, record, master and deliver in HD, 2K or 4K. The stunning new CineAlta range from Sony makes it all possible. PVM-X300X300 For more information, please email us at [email protected] pro.sony.com.au MESM/SO130904/AC CONTENTS BY DEFINITION of the Australian Cinematographers Society’s Articles of Association “a cinematographer is a person with technical expertise who manipulates light to transfer visual information by the use of a camera into aesthetic moving 38 images on motion picture film -
The Digital Photography Book, Volume 4 by Scott Kelby
final spine = 0.399" The Di The g Scott Kelby, author of The Digital ital Photography Book (the best-selling digital photography book of all time) Photography is back with another follow-up to his smash best-seller, with an entirely new book that picks up right where volume 3 Di g ital left off. It’s even more of that “Ah ha— so that’s how they do it,” straight-to- the-point, skip-the-techno-jargon stuff Photography you can really use today, and that made The step-by-step secrets for how to volume 1 the world’s best-selling book Boo make your photos look like the pros’! on digital photography. Book k This book truly has a brilliant premise, and here’s how Scott describes it: “If you and I were out on a shoot and you asked me, ‘Hey Scott, I want the light for this portrait to look really soft and flattering. How far back How to make your your to make How should I put this softbox?’ I wouldn’t give you a lecture about lighting ratios or flash modifiers. In real life, I’d just turn to you and say, ‘Move it in as close to your Scott Kelby is the world’s #1 best-selling author subject as you possibly can, without it actually showing of books on photography, as well as Editor and up in the shot.’ Well, that’s what this book is all about: Publisher of Photoshop User magazine, and you and I out shooting, where I answer questions, give President of the National Association of Photo- you advice, and share the secrets I’ve learned just like shop Professionals (NAPP). -
Perspective, 3 | 2008, « Xxe-Xxie Siècles/Le Canada » [En Ligne], Mis En Ligne Le 15 Août 2013, Consulté Le 01 Octobre 2020
Perspective Actualité en histoire de l’art 3 | 2008 XXe-XXIe siècles/Le Canada Édition électronique URL : http://journals.openedition.org/perspective/3229 DOI : 10.4000/perspective.3229 ISSN : 2269-7721 Éditeur Institut national d'histoire de l'art Édition imprimée Date de publication : 30 septembre 2008 ISSN : 1777-7852 Référence électronique Perspective, 3 | 2008, « XXe-XXIe siècles/Le Canada » [En ligne], mis en ligne le 15 août 2013, consulté le 01 octobre 2020. URL : http://journals.openedition.org/perspective/3229 ; DOI : https://doi.org/ 10.4000/perspective.3229 Ce document a été généré automatiquement le 1 octobre 2020. 1 xxe-xxie siècles Entretien avec Bill Viola sur l’histoire de l’art ; Giacometti ; l’urbanisme des villes d’Europe centrale ; publications récentes sur la couleur au cinéma et dans la photographie, le postmodernisme, les archives d’art contemporain et les revues d’art. Le Canada Développement et pratiques actuelles de la discipline : de l’histoire de l’art aux études d’intermédialité, le rôle des musées et de la muséographie ; Ancien et Nouveau Mondes ; chroniques sur art et cinéma, les revues, le patrimoine… Perspective, 3 | 2008 2 SOMMAIRE De l’utilité des revues en histoire de l’art Didier Schulmann XXe-XXIe siècles Débat Bill Viola, l’histoire de l’art et le présent du passé Bill Viola Alberto Giacometti aujourd’hui Thierry Dufrêne Travaux L’urbanisme et l’architecture des villes d’Europe centrale pendant la première moitié du XXe siècle Eve Blau Actualité Couleur et cinéma : vers la fin des aveux d’impuissance Pierre Berthomieu L’histoire de la photographie prend des couleurs Kim Timby Autour de Fredric Jameson : le postmodernisme est mort ; vive le postmodernisme ! Annie Claustres Les archives d’art contemporain Victoria H. -
Update Software Digital Camera Utility 5 Update For
Downloads: Update Software Digital Camera Utility 5 Update for Windows Thank you for using PENTAX digital camera. RICOH IMAGING COMPANY, LTD. wishes to announce the release of the Windows Updater for update the Digital Camera Utility 5. For correct update, you are required to be installed Digital Camera Utility 5 before hand on your PC. Please download the Updater file on your PC first, and update it. *It is not compatible with previous version of software included Digital Camera Utility 4 / PENTAX PHOTO Browser3 / PENTAX PHOTO Laboratory3. Name Digital Camera Utility 5 (Version 5.7.2) Windows Updater. Registered DCU5Updater_572(win).zip (84,808Kbyte) name OS : Windows 10 / Windows 8.1 (32bit / 64bit) / Windows 8 (32bit / 64bit) / Windows 7 (32bit / 64bit) CPU : Intel Core2 Duo or higher System Memory : 2.0GB or more requirement Free disk space : 100MB or more Monitor: 1280x1024 or more, Can be displayed 24bit full color or more Objective Digital Camera Utility 5 Version 5.0.0, 5.1.0, 5.2.0, 5.2.1, 5.3.0, 5.4.0, 5.4.1, 5.4.2, 5.5.0, 5.5.1, 5.6.0, App. Ver. 5.6.1, 5.6.2, 5.7.0,571 Objective S-SW140, S-SW150, S-SW151, S-SW156, S-SW160, S-SW162, CD-ROM for GRll, S-SW168, CD-ROM S-SW167 Release 2017/4/27 date Copy right RICOH IMAGING COMPANY, LTD. How to Update 1. Please download and save the file into appropriate folder on your Hard disk 2. Double click [DCU5Updater_572(win).zip]. -
Digitális Fotokamerák
DIGITÁLIS FOTOKAMERÁK 2020 augusztus blzs ver. 1.1 TARTALOMJEGYZÉK 1. A digitális kameragyártás általános helyzete…………………………...3 2. Középformátum………………………………………………………...6 2.1 Hátfalak……………………………………………………………..9 2.2 Kamerák…………………………………………………………...18 3. Kisfilmes teljes képkockás formátum………………………………….21 3.1 Tükörreflexesek……………………………………………………22 3.2 Távmérősek………………………………………………………...31 3.3 Kompaktok…………………………………………………………33 3.4 Tükörnélküli cserélhető objektívesek………………………………35 4. APS-C formátum……………………………………………………….42 4.1 Tükörreflexesek…………………………………………………….43 4.2 Kompaktok………………………………………………………….50 4.3 Tükörnélküli cserélhető objektívesek……………………………….53 5. Mikro 4/3-os formátum…………………………………………………60 5.1 Olympus…………………………………………………………….61 5.2 Panasonic…………………………………………………………...64 6. „1 col”-os formátum……………………………………………………69 6.1 Cserélhető objektívesek…………………………………………….69 6.2 Beépített objektívesek………………………………………………71 7. „Nagyszenzoros” zoom-objektíves kompaktok………………………..75 8. „Kisszenzoros” zoom-objektíves kompaktok………………………….77 8.1 Bridge kamerák…………………………………………………….78 8.2 Utazó zoomos ( szuperzoomos ) kompaktok……………………….81 8.3 Strapabíró ( kaland- víz- ütés- porálló ) kompaktok………………..83 9. A kurrens kamerák összefoglalása……………………………………...87 9.1 Technológia szerint…………………………………………………87 9.2 Gyártók szerint……………………………………………………..89 10. Gyártók és rendszereik………………………………………………....90 10.1 Canon……………………………………………………………...91 10.2 Sony……………………………………………………………….94 10.3 Nikon……………………………………………………………...98 10.4 Olympus………………………………………………………….101 10.5 Panasonic………………………………………………………...104 -
Lens Mount and Flange Focal Distance
This is a page of data on the lens flange distance and image coverage of various stills and movie lens systems. It aims to provide information on the viability of adapting lenses from one system to another. Video/Movie format-lens coverage: [caveat: While you might suppose lenses made for a particular camera or gate/sensor size might be optimised for that system (ie so the circle of cover fits the gate, maximising the effective aperture and sharpness, and minimising light spill and lack of contrast... however it seems to be seldom the case, as lots of other factors contribute to lens design (to the point when sometimes a lens for one system is simply sold as suitable for another (eg large format lenses with M42 mounts for SLR's! and SLR lenses for half frame). Specialist lenses (most movie and specifically professional movie lenses) however do seem to adhere to good design practice, but what is optimal at any point in time has varied with film stocks and aspect ratios! ] 1932: 8mm picture area is 4.8×3.5mm (approx 4.5x3.3mm useable), aspect ratio close to 1.33 and image circle of ø5.94mm. 1965: super8 picture area is 5.79×4.01mm, aspect ratio close to 1.44 and image circle of ø7.043mm. 2011: Ultra Pan8 picture area is 10.52×3.75mm, aspect ratio 2.8 and image circle of ø11.2mm (minimum). 1923: standard 16mm picture area is 10.26×7.49mm, aspect ratio close to 1.37 and image circle of ø12.7mm.