Superior top quality Monster Headphones will carry you remarkable feeling so you can have confidence in that our monster beats will make you be the main focus. For those who possess beats, additionally you need fantastic handbags. How about Alexander Wang Bags and Tory Burch Sale . Both of these brands are great ample for us. You all know Cheap Coach Handbags is a popular model, and if you want to invest in footwear, we are able to exhibit you Christian Louboutin Outlet , you are going to be fond of them. We can tell you that you could believe that we could show you perfecg merchandise. Should you skip this chance, you'll regret.
I had a revelation today on how to handle my memory cards while shooting in the field. You see when shooting DSLR video, I can burn through a lot of cards. Plus I typically have a couple of camera angles going off at once. An easy mistake to make (but deadly nonetheless) is reformatting a card that you've already shot to. So here's my surefire plan to keep things straight.
Right Pocket – The right pocket contains all of my empty cards that I wiped before the shoot. All cards are erased before you get on-set so you know if you put the card in and it has something on it, then that's footage that needs to be backed up.
Left Pocket – The left pocket contains all of the cards that have been filled up while shooting.
You're probably saying.... "Ummm... what's the big deal?" Well here's the killer memory jingle to not screw things up.
"The Cards in my RIGHT pocket are the RIGHT ones to use.... The Cards in my LEFT pocket should be LEFT alone."
Okay... I won't win a Pulitzer for that... but hopefully it'll keep me from accidentally screwing things up when shooting.
Oftentimes you'll find yourself using more than one camera body while shooting footage. This may be to get an extra angle or to avoid having to change lenses in the field. The closer your camera settings the match, the more seamless it will appear when you edit the different footage together. Ideally the acquired footage will match as closely as possible. This means that you to adjust both the aesthetic and technical properties.
Look inside the camera and check your menu settings. You'll typically find several options that will aesthetic properties of the footage. Ideally, you'll closely match these settings across multiple cameras:
Color settings – Use the same color space for each camera if it's a choice.
Picture Style – Many cameras offer different modes that stylize the footage. We recommend shooting flat and adjusting your color with Adobe Premiere Pro or After Effects after the shoot for greater flexibility.
Shutter speed – Your shutter speed should typically be 1/60 if shooting 30 fps or 1/50 if shooting 24 fps. You can alter this number for different looks, but be sure the cameras all match.
You’ll also want to check several technical properties for each camera. Be sure to identically match the following properties across each camera:
Frame size – Your frame sizes must match. Be sure that you aren’t mixing 720p with 1080p.
Frame rate – All your cameras must match frame rate (exactly). Be sure to check that you have a precise match. Make sure the firmware of your cameras is also up to date.
Color calibration – Be sure that all angles color calibrate at the same time, on the same subject, under identical lighting conditions. Otherwise, you’ll have a lot more postproduction work.
Most professional photographers have grown accustomed to the flexibility that shooting with a raw format provides. When coupled with the great control of the Adobe Camera Raw plug-in, they have great control over highlights and shadows as well as the ability to recover exposure problems.
Unfortunately, your DSLR won’t shoot raw when it’s set to video mode. This means its like the old days (note we didn't say good old days) when you had to shoot JPEG. You’ll need to dig back into your past experience (be it film or JPEG) and retrieve the knowledge needed to help you make important decisions during acquisition.
When shooting outdoors, the use of a LCD viewfinder is highly recommended. These devices make it much easier to see a display as well as judge the quality of exposure. By removing all light pollution, you can make accurate decisions.
Just because you’re working with a movie file doesn’t mean all future options are limited. During postproduction, you can further enhance your footage. The first pass is color correction, which addresses issues with color and tone. Optionally, a color-grading pass can also be done to further improve the images with stylized adjustments that affect the mood and tone of the footage and thus develop the story. For more on the fusion of photography and video, check out From Still to Motion.
The Lens Correction filter in Photoshop is an easy way to fix common flaws in an image (such as barrel distortion, lens vignettes, and chromatic aberration). Usually the filter is run on 8 or 16 bits per channel still images. However it can also be run on DSLR video clips. The filter can also correct perspective problems caused by camera tilt. It also automatically looks up lens information from an online database.
Open a video file using Photoshop Extended.
Choose Filter > Convert for Smart Filters to ensure flexibility in editing.
Choose Filter > Lens Correction.
A new window opens. Look in the bottom-left corner for information about the camera and lens used for the shot. (This comes with the metadata the camera wrote to the original file.) If you’re using a movie file, this info may be missing. It's a good idea to also shoot a still image on set to capture important metadata for your video clips.
Click the Show Grid check box to make it easier to see perspective issues.
Choose a manufacturer from the Camera Make menu.
From the Camera Model menu, choose the correct camera model.
From the Lens Model menu, choose the correct lens.
From the Auto Correction tab, check the Geometric Distortion, Chromatic Aberration, Vignette, and Auto Scale Image check boxes.
Switch to the Custom tab for advanced controls. Use the Vertical Perspective and the Horizontal Perspective to compensate for keystoning or angled shots. Adjust the Vignette Amount to further brighten or darken the edges.
Click OK to apply the correction.
Because of the complexity of the effect, the video clip won’t play back smoothly. Choose File > Export > Render Video to process the file and create a new clip. Be sure to also save a PSD file for future changes. You can double-click the Lens Correction filter in the Layers panel to open the Smart Filter for future edits.
Into learning more about shooting DSLR video? It turns out you're not alone. My new podcast, Creative COW's DSLR Video show has rocked the charts.
It's always a good feeling to hit the #1 spot on the charts... especially when its filled with people you admire. Thank you all for your support (and if you haven't checked it out, please go fir it – it's free).
In this DSLR podcast Robbie Carman and Richard Harrington discuss the various frame rates available on today's DSLR Cameras such as the Canon 7D. Learn what rates to use for proper film looks, slow motion and other special effects, PAL or NTSC.
Creative COW's DSLR Video podcast brings you video tutorials and training relating to the world of DSLR Cameras. Topics ranging from camera reviews, techniques or discussions and comparisons of various camera models such as Nikon and Canon.
The great blog, Planet 5D has a nice review of our book, From Still to Motion. They had several nice things to say. "So, the first question is who is this book designed to help? Obviously from the title, it is aimed at a photographer (either pro or semi-pro) who is wanting to learn to make motion pictures. However, this isn’t a ‘movies for dummies’ book. If you don’t know anything about photography in the first place, you should start with a different set of books and come back to this when you understand more. And, everyone has different skill sets and experience so it can be tough to craft a book to help everyone."
They go on to say:
"I think another big advantage of this book is that it was written by a staff of 7 different people – each with their own skills and expertise with making movies. You don’t get the knowledge of just one expert, but seven! It is almost like getting 7 books."
This is a great event (and your chances of winning a great prize are very high).
DSLR Workflows – From Pre-Production to Post Join Richard Harrington, a Director and Editor as he shares practical workflows for DSLR projects. Seems a lot of attention gets spent on shooting DSLR video, but there's a lot more to a complete production. Learn essential planning techniques including planning for storage, synchronization, and gear selection. Rich will also demystify post production with a particular emphasis on native editing. Learn how to transcode less and edit faster (no matter which NLE you choose).
Rich is a certified instructor for both Apple and Adobe and offers practical advice for DSLR productions at all stages of a project. Rich will also share thoughts on a modern post workflow including new storage and archival options using Drobo. Rich is the co-author of "From Still to Motion" as well as numerous other books that have shaped the video industry like "Photoshop for Video," "Video Made on a Mac," and "Final Cut Studio On the Spot."
A really savvy editor I know will be hosting an online chat this Monday. He has been making the move from Final Cut Pro to Premiere Pro. Chris has lots of opinions... but they are very well informed. Here are the key details: Chris Fenwick will be our special guest in the planet5D HDSLR chat room on Monday November 29th at 8pm Eastern (02:00 GMT Tuesday). Some of you may know Chris as he has been on the blog before – but he’s recently been cutting some work for Shane Hurlbut, assisting Adobe with teaching folks about moving from Final Cut Pro over to Adobe Premier, and he’s also the co-host on the Digital Convergence podcast on 16x9cinema.com. Chris is an editor and will be coming online to answer any questions you might have about Final Cut Pro, Adobe Premiere or moving from one tool to the other. Chris is a user of both tho is recently advocating for Adobe Premiere because of the ability to edit HDSLR footage without transcoding. He also sent along these videos about switching to Premiere that you might be interested in.
It turns out that a lot of photographers are getting screwed. Photo buyers are demanding video. Clients are expecting professional photographers to just flip a switch in the camera and start delivering great video. Seems the age-old fallacy is kicking in again, just because the same machine can do several things doesn’t mean the operator can do them all well.
That’s not a dig at photographers. My computer has the capacity to do lots of things that I’d never even attempt (let alone sell to my clients). This view is unrealistic and disrespectful. I find it deeply disappointing that talented individuals are being asked to work under conditions that will lead to failure.
How do you fight unrealistic professional situations? Through client-education and personal development seems to work best. I’ve faced similar problems in the past... desktop publishing, nonlinear video editing, heck... even digital photography. All industries continue. But there needs to be changes and compromise... by both the clients and the working professionals.
I believe that education is the key to an industry evolving. That those looking to embrace a new art (as well as those who fear it) would be able to make their best career decisions through an extensive look at this emerging art. I do not judge those standing on the sidelines; rather, I recommend a deep exploration of the possibilities and opportunities.
In video, its important to keep the ratio of how much footage you shoot to how much footage you use as low as possible. This ratio is the biggest influencer on maintaining profit.
More footage means:
more storage – Hard drives cost money
more time searching – Time spent searching for the right shot costs you money
more time loading or transcoding – Even fast machines still take a long while to transcode
I always recommend rehearsing your shot if possible, then firing a few takes. Be sure to cut camera between takes as well so you can have shorter clips. If you're using a slate, hold it up at the start of each shot (then you can clearly see it in the clip thumbnail, which speeds up browsing).
You need to remember time equals money. More time searching means less time editing. More time recorded means more backups and hard drives. Look out for your best interests and you'll see more profitability.
How do you take a great still photo with your video-enabled DSLR camera? That's easy, shoot in photo mode. You'll get the best quality and even the option of using a raw format. But what happens if you've got the perfect shot, except you're in the middle of recording a video clip? The good news is that you can export stills directly from a piece of video. There's just a few limitations.
Resolution limitations of video
You might be thinking to yourself “Isn't video really low resolution?” Yes, when compared to the native size of photos taken with your DSLR, video pales in comparison. But for many uses, such as web or newspaper, you can get enough pixels out. Currently the highest resolution you’ll get exporting a still from a piece of video that originated on a DSLR is 1920 x 1080 or approximately 2.1 megapixels. While you aren’t going to make any panoramic prints of those frames you can still find a lot of great uses for them. If printing at 300 ppi, you can extract a frame that is about 6.5 X 3.5 inches. Read More...
Another way of saying this... audio is king! I can’t emphasize enough recording great sound is essential. Invest in a good audio recorder and plug microphones directly into that. A device like a Zoom H4N is a great dedicated audio recorder. Until DSLR camera manufacturers are will to raise the cost of camera bodies to cover real audio inputs (like XLR connections) you’ll still need to go this route.
Syncing up sound is simple if you use a clapboard (a large spike appears on both the camera audio and the synced sound). You can also use tools like Plural Eyes (available for Final Cut Pro, Sony Vegas, and soon Premiere Pro).
One more important piece of audio advice. Once you’ve edited your video rough cut... close your eyes and just listen to the edit. You should be engaged in the story without the use of visuals or transitions. A good edit works as a solid radio piece... adding pictures and graphics will only make it better.
For many, getting footage into their edit application is the easy part. It's getting the footage out that becomes tricky. While each editing application will all have its own unique steps for exporting a project, the process is pretty standard. Use these steps to create a master file.
Identify the final sequence. This sequence should be what is called "picture-locked" meaning that no additional changes will take place to the sequence.
Make sure that the whole sequence is rendered. Click in the timeline and choose Select All, then render the clips.
Mark and In point at the start of the footage you want, then mark an Out point at the end of the range. For most editing tools, you can use the keyboard shortcuts I and O for In and Out respectively.
Look in the file menu or application menu for an option to export the file. Choose this option.
Export the file using the same high quality settings that you were editing with, meaning the same frame size, frame rate and codec.
Save the file to a location of your choosing, keep in mind that the file you export will be large so choose a location that has enough storage space.
After exporting the file you now have your master file that you can make compressions from, pull stills from or archive.
More and more Final Cut editors are using Adobe Premiere Pro CS5 to make them more efficient. If you’re wondering if Adobe Premiere Pro is really worth the switch, join Adobe in this four-part web series featuring Final Cut editors and how and why they use Adobe Premiere Pro CS5. You’ll learn the real story on Adobe Premiere Pro’s Mercury Playback Engine, what it means to edit DSLR footage natively, and how you can remove bottlenecks in your pipeline when working with Adobe After Effects and Photoshop. We’ll follow up the series with a Q&A session so you can get your questions answered. November 16, 2010, 12-1 PM PST HDSLR editing in Adobe Premiere Pro with Richard HarringtonJoin Richard Harrington, author of From Still to Motion, as he shows you why he uses Adobe Premiere Pro CS5 for editing HDSLR footage. Rich will share his post-production techniques and editing strategies in Adobe Premiere Pro for HDSLR color correction, audio syncing, and camera calibration. You'll discover how to harness the professional-quality tools in CS5 Production Premium to natively edit, color correct, mix audio, and publish to the web and Blu-ray Disc. Register on Facebook: http://on.fb.me/PPro_2
Adobe has reposted my online workshop on how Premiere Pro and Photoshop Extended work together. This is a full 1-hour class and is absolutely free. The original had a few audio issues... this one is totally clean. Enjoy! In this workshop you'll learn post-production techniques to ensure a smooth edit with your HDSLR footage. Learn strategies for color correction, audio syncing, and lens correction. You'll also discover how to browse, load, and quickly organize your footage for editing. Finally, you'll discover how to harness the professional-quality tools in Adobe Premiere Pro CS5 Photoshop Extended CS5 to natively edit, color correct, and publish video.
Learn how to shoot better quality video by recording better audio in the field. Discover which microphones, tools, and techniques are best for shooting events or interview footage with your DSLR camera. Find out how to synch your audio and video in Adobe Premiere Pro as well as edit or remove background noise.
There is another handy tool that has showed up in recent years that is a type of mini-dolly. The original camera slider was developed for large movie rigs but has been adapted for smaller cameras like DSLRs. These are very useful for tight spaces where a traditional dolly would not fit. The sliding rods are made of lightweight materials like carbon fiber, aluminum, or chrome-plated steel. The camera plate will have a bowl adaptor to accommodate your fluid head from your tripod. These sliders travel well, and really can add some production value.
Learn the essential settings for lighting and exposure when shooting with DSLR cameras. Find out which lighting tools are available and the benefits of three-point lighting, filters and reflectors. You’ll also discover how to fix lighting problems in DSLR footage using Adobe Premiere Pro.
Learn how to setup your camera correctly for the appropriate white balance, color quality, and recording format. You’ll also discover how to get better focus and create more stable shots when shooting video with your DSLR camera. Find out how to review clips, drop clips into the timeline, and adjust levels, saturation or color in Adobe Premiere Pro. Check out the whole series.
Want to attend the PhotoCine Expo? I've got 50 free passes to the exhibit floor where you can learn all about the DSLR video revolution that's underway. I'll be there with Creative COW and teaching a class on creating Timelapse video. The conference is at the Los Angeles Film School on September 25th and 26th 2010.
Creative Timelapse Learn how to turn your HDSLR into a timelapse machine. With the addition of a few simple pieces of equipment, you can capture dynamic action over time. Even more importantly, you'll learn how to use Adobe Photoshop to develop your files and then assemble them in After Effects. Richard Harrington is the author of Photoshop for Video and the co-author of From Still to Motion: A photographers guide to creating video with your DSLR.
If you try to run with a “one-man-band” approach, you’ll likely miss critical action. Be sure to staff appropriately for your shoots. Thanks to shrinking budgets, we are asked to send out one-person crews all the time. Believe us, we’ve tried it (after all, you can’t say you don’t like Brussels Sprouts if you’ve never eaten them). What we’ve found out is that it’s a terrible idea to shoot alone. So many things can go wrong that if you're by yourself it is impossible to get the job done.
Consider the issues a single-person crew would face:
Who will watch the gear if you have to unload and then park?
If you do have to fly somewhere for a shoot, excess baggage charges are often more than a second ticket.
During the course of a shoot, how will you handle basic biological needs like food and restroom breaks? Walk away and leave your gear unattended and it will likely not be in the same condition when you come back.
If you blow a circuit breaker or have talent go missing, the second crew person can resolve the issue.
With a one-person crew, if that person gets sick or injured, the shoot is over.
So even if it just means hiring a warm body that’s not going to steal from you, do so. We’ll contact local grip houses, universities, or in a pinch use Craigslist. Spend the $125 and get somebody to be a babysitter of your gear and a gopher for the many needs that arise on set. Our standard approach is this: We try to use a three-person crew. We send two people from our office and hire one person locally. The local person will usually show up with things like lights and grip gear (which are affordable to rent locally). Our crew shows up with audio and camera equipment, which we know works and we’re familiar with.
Adobe offers some great primers on video technology. be sure to check these free e-books out.
Adobe Digital Video Primer (PDF: 9.8M)Whether you want to understand the differences between analog and digital, how to choose and set up a system that's right for you, or how to prepare and edit your content for delivery in virtually any format, the Adobe Digital Video Primer is a resource you'll use often.
Adobe HD Primer (PDF: 1.6M)This primer will help you understand what's involved in making the transition to authoring and distributing high-definition content and how to get the best results out of that transition.
Adobe Digital Audio Primer (PDF: 84k)In this primer, we'll introduce the basics of sound so you can work more effectively with Adobe® Audition™ and the rest of your digital audio or video toolkit.
Adobe DVD Primer (PDF: 6.3M)This in-depth primer will get you acquainted with DVD technology and teach you how to make your DVD content more dynamic. If you're already creating video productions, it will introduce you to state-of-the-art technologies you can use to repurpose your content for DVD distribution. If you're a beginner you'll find out how you can easily develop and author your own DVDs.
Adobe Streaming Media Primer (PDF: 1019k)The Adobe Streaming Media Primer offers a single comprehensive source for learning everything you ever wanted to know about streaming media — including pitfalls, costs, how-tos, and the basics.
Adobe DV Primer for Creative Professionals (PDF: 392k)Thinking about adding video to your repertoire? If you're a graphic designer, web professional, photographer, or other creative professional and you want to start working with video, this Primer is the place to start. You'll learn how video can expand your creative reach, the basics of the technology, and what you'll need to get started.
Just read a great article over at Creative COW called DSLRs A Time Exposure by Robert Primes. It is a great look at why even Hollywood is in love with HDSLR cameras.
THE INCITING INCIDENT
At some point in the evolution of today's DSLR, digital replaced film, and low light level photography became astonishingly clear. We saw our world in a whole new way. And then a seemingly innocent event occurred that for some would be the beginning of a whole new style, and for others, would be another nail in the coffin of quality cinematography.
Rather than schlep a real movie camera or camcorder around with your still outfit, wouldn't it be convenient if you could just lock the mirror up and shoot motion synced to audio? Canon added the feature to their marvelous 5D Mark II still camera, almost as an afterthought.
Their normally astute marketers calculated that no more than 3 or 4 percent of users would ever use the feature -- perhaps a few wedding photographers and single-person reporting teams.
"A 2-day training event in multiple tracks geared for production and post-production professionals in TV, video, film, motion graphics and new media. The conference features the latest advanced tips and techniques in producing, editing and delivering digital content.
Sessions are geared for intermediate to advanced TV, video, film and motion graphics attendees and are focused on digital video production techniques as well as post production using Apple, Avid and Adobe creative software tools.
Sessions are objective and are taught by FMC's world renowned team of Certified Instructors, power users and authors."
Learn how to create Timelapse movies with your DSLR camera and Adobe After Effects. Join Richard Harrington as he shows you how to create pans and zooms while controlling the speed of the shot as well.
From the book and DVD "From Still to Motion: A photographers guide to creating video with your DSLR."
If you missed the free e-seminar on using Adobe Creative Suite for DSLR video, you can check it out here. We cover Premiere Pro, After Effects, Photoshop, and Bridge. Be sure to check out the part on using Photoshop to color grade video files nondestructively. I'm also amazed at Premiere Pro's ability to handle native DSLR video with no transcoding or rendering (good stuff!).
We focus a lot on DSLR video, but all video pros and photographers will learn something. You can watch the class here online (give it a minute to load).
Working with DSLR Video with Adobe CS5 Production Premium Wednesday, May 26, 2010 — 10:00 AM - 11:30 AM US/Pacific Thanks to their exceptional image quality, low-light capabilities, and the fact that you can shoot using standard 35mm DSLR lenses that give your footage the look of expensive film-based cameras, DSLRs are finding their way into video productions at all levels.
Join Richard Harrington, co-author of From Still to Motion: A photographer's guide to creating video with your DSLR. He'll explore the options for creating and working with DSLR video in CS5 Production Premium which includes Adobe Photoshop, Adobe Premiere Pro, and Adobe After Effects. You’ll learn everything from practical shooting techniques and essential lighting to easy editing strategies and online sharing. You’ll also be introduced to the latest Dell Precision workstation and NVIDIA Quadro graphic solutions to help you make the best decision to outfit your editing needs – including taking advantage of the latest performance improving updates in CS5.
Peachpit press is giving away FIVE copies of the brand new book, From Still to Motion: A photographer's guide to creating video with your DSLR. The contest runs THIS Frida Prizes
How to Play
Follow @Peachpit (only followers are eligible). We’ll send a direct message (DM) to the winner, so you must be following us to find out if you won. (If you’re not on Twitter yet, just go to http://www.twitter.com and click the “get started – join!” button.)
Stay tuned on Friday. Throughout the day, we’ll let you know which prize we’re giving away and the number of response you need to be to win. (For example: “#FRIDAYFREEBIES: Autographed copy of A World in HDR! Be the 7th person to tweet to @Peachpit w/hashtag #FridayFreebies to win!”)
To enter, just send a message to @Peachpit with the hashtag #FridayFreebies and include the special key word (revealed in the video) in your tweet.
All followers can win any prize.
The winner will be announced on Twitter once we confirm eligibility.
Don't miss the Peachpit Photo Club. It's held on the third Tuesday of every month, from 8 to 9 p.m. EST (5 to 6 p.m. PST). It's a webcast featuring your favorite digital photographers, such as Scott Kelby, Chase Jarvis, Chris Orwig, Joe McNally, David duChemin, and many more!
The debut Peachpit Photo Club features Scott Kelby on Tuesday, March 16 at 8 p.m. EST! During this live webcast, photographer and bestselling author Scott Kelby will present some of his work, provide you with some insight and inspiration, and answer your burning questions! Then I'll be up with my co-authors on the new book "From Still to Motion." Join us April 20 8PM EST.
In this video you’ll learn to rank and sort images in Aperture. You’ll also learn about contact sheets and Web galleries for client review. You can also visit the website www.peachpit.com/videomac in order to download sample files.
Here's the Podcast – DIGITAL CONVERGENCE EPISODE 6 Episode 6 features Richard Harrington and Robbie Carman, who are two of four of the co-authors of the new book from Peachpit: From Still to Motion.
In this episode, Rich Harrington and Robbie Carman talk about what to expect from their new book. Taking a platform agnostic approach and covering a wide range of budgets, they discuss a broad range of topics including unexpected lessons learned, do-it-yourself lighting, camera support and motion, post-production and color grading, sound, stop-motion and time-lapse and a wealth of other topics. I hated to cut short this conversation - it's our longest episode yet. But it's well worth hearing.
Peachpit talks to James Ball, Robbie Carman, Matt Gottshalk, and Richard Harrington about their new book and DVD, From Still to Motion, what photographers struggle with the most when learning video, and how to stay up to date on the latest in the world of video.
Peachpit: What was the motivation behind writing From Still to Motion? Why this topic, and why now?
Authors: We've been thinking about and actively working on the book for more than a year. When we first starting seeing video-enabled DSLR cameras we were excited by their potential. They can be challenging to work with, but have great rewards with incredible visuals.
We decided there needed to be a definitive book and DVD that explored the entire process of using these cameras (from pre-production through delivery), and one that explored both the art and the technology. Camera models and features constantly change, but the process of creating video is relatively constant and we felt there needed to be thorough coverage on how to create video with a DSLR camera. What we've created is an in-depth case study that explores how we used these cameras for six months and all the cool things we learned along the way.
I've been quite happy with Aperture 3, but like many of you... I looked forward to the first update to address minor bugs. Well it's here! Apple released two updates: Aperture 3.0.1 which has several bug fixes and a digital camera update to add support for several camera models.
About Aperture 3.0.1 This update improves overall stability and addresses a number of issues in Aperture 3, including:
Upgrading libraries from earlier versions of Aperture
Importing libraries from iPhoto
Importing photos directly from a camera
Memory usage when processing heavily-retouched photos
Face recognition processing
Adding undetected faces using the Add Missing Face button
Printing pages containing multiple images
Printing photos and contact sheets with borders and metadata
Editing photos using an external editor
Display of images with Definition and Straighten adjustments applied
Zooming photos in the Viewer and in the Loupe using keyboard shortcuts
Accessing Aperture libraries on a network volume Selecting and moving pins on the Places map
Adding and editing custom locations using the Manage My Places window
Switching between masters when working with RAW+JPEG pairs.
The Digital Camera update also added several new cameras to Aperture and iPhoto.
With Aperture 3, Apple has fully embraced video acquired on DSLR cameras. In fact, you can now manage video and audio files as easily as any other image in your library. If you are used to using Aperture as part of your photo editing workflow, you'll find the addition of audio and video support quite welcome.
Video and audio files are added to your library in the same manner as any other image. You can import files directly from a memory card or from a hard drive. It is important to decide where you want to store the files before you import them. Follow these steps to choose a location and import your files: 1. Select a project or album then click the Import Files button in the toolbar. 2. Navigate to the desired files in the File Browser at the bottom of the main window (this can be files that already exist on hard drive or a memory card).
3. Select the check boxes for the desired clips. You can also click the Check All or Uncheck All buttons at the top of the window.
4. In the right column, choose a destination for the files. Specify where you want the files to be located in Aperture:
Click a project or folder in the Library pane to target it.
Choose New Project from the Destination menu to create a new project to hold the imported items.
5. Specify the media management approach you'd like to use. Click the Store Files menu and choose one of these options:
In the Aperture Library moves the files into a managed library. These files can be exported but will be copied to a new location.
In their current location leaves the files where they are located. This is the best approach if you've already copied your video files to an editing drive.
Your User folder is available (and is labeled with your default name).
The Pictures folder in your home directory is another option.
Choose lets you specify another location. This option works well when you want to target a specific drive (such as your project's media drive). The Choose option can be used to copy the media from the camera memory to an editing location.
6. Click Imported Checked when you’re ready to add the files to your project. The files are then added to your library.
"OK, it’s two weeks and one day, but you get the idea. The $100 early bird registration deadline is coming up, and if you want to join us in Orlando on March 24-26 for the world’s largest Photoshop training event, (and do it on the cheap) you can sign up or just get more details right here (By the way: if you’re a NAPP member, you can get a full conference pass for only $499 using that early bird discount)."
Hi all... happy news in the Aperture 3 was just announced and shipped. This is not a full review (I am slammed with Macworld and finishing up a book for print). But I couldn't resist playing with the new version and look forward to jumping in. Here are my top 10 reasons to upgrade for current users. More details soon...
Better Filmstrip and Fullscreen View – It's much easier to work with your images and really get at the details.
Backup on Import – Have your media go to two drives at once. This is HUGE.
Places – Yes it's in iPhoto... but now that GPS tag makes it so much easier to sort by location. I also use this as a tool for site surveys and planning from shoot scouts.
Faces – Again... was in iPhoto last year, but I'll take it. Facial recognition to organize your library. This is great for finding pictures of one subject. It's freaky good too.
Focus Points – Actually see where the camera used points to auto focus. This is very useful for evaluating sharpness.
Search on Steroids – Okay, that's not its actual name. But it's amazing... you can sort by usage, face, place, time, file type, all sorts of things. Literally search by Who, Where, When... I'm still waiting on Why.
Nondestructive Brushes with Edge Detection – Easily cleanup images with all sorts of spot adjustments. Completely nondestructive and editable, including the ability to view the selections mask and tweak it at any time. Oh... and they work with Wacom tablets too. The skin smoothing brush is dreamy good.
Curves! – 'nuff said.
Adjustment Presets – Useful starting points or make your own. Can even apply them upon import to batch fix problems.
Video – You can organize it, trim it, media manage it, drag it into Final Cut Pro, export out versions, use it in new slideshows. Uh huh... that's right... video.
When shooting a scene, you'll typically favor getting multiple shots. This process is referred to as getting coverage. Just as a single photo can say so much, combining multiple angles together can tell the story better (letting you show interesting details or emotions). This process is important because it allows for more flexibility in editing. You can choose to condense, action, cover mistakes, or even direct the viewer's attention with a variety of shot types. These shots have a language of their own. Knowing the most common shot types lets crew members talk to each other.
Wide Shot (WS) – A wide shot (also called an establishing shot) is useful to show the entire subject. With a person, this usually means seeing from the top of their heads to the bottom of their feet.
Mixed lighting makes it tough to get accurate color. Whenever we move a camera, change lighting, or switch scenes, a reference card or target is called for. It should have pure black, pure white, and middle grey on it. This will make it easier to color correct your footage during postproduction. Using a reference target on set allows you to move at a faster pace without fear. Read More...