There is a lot of hype, if you’ll excuse the pun, about hyperlapse at the moment. That’s due to two recent announcements: one from Microsoft, in the form of a Hyperlapse Whitepaper and video sample, and the other from Instagram, who has released a hyperlapse iPhone App.
But first, in case you have been on safari for the last few weeks, and have never heard of hyperlapse, a quick definition: Hyperlapse can mean simply shooting time lapse with a moving camera. But here we are referring to a technique to stabilize action video capture, while reducing frame rate. The result is time lapse (high speed video) that is very smooth, even if the original video was very jumpy.
The question for the serious photographer is: what does hyperlapse mean to me, and should I be investigating it for my own work? The answer to this takes several forms. Lets start with those of you already shooting time lapse.[Read More]
While the Nikon D810 is not a massive upgrade from its predecessor, the Nikon D800 (e-version), the sensor has been tweaked for improved color and dynamic range. The result is apparent in test results – with DxOMark rating it a new record 97, compared to 95 – and in images. I’ve been able to shoot in a variety of challenging lighting situations with excellent results. Similarly, images from the camera show excellent color, even before being corrected. Even starting from such an excellent base, there’s room for further improvement with a SpyderCHECKR-based profile, which we’ll cover later in the article. While even the D810 can’t create detail where there is none in the white sky, it is good enough to keep the detail in the shaded flowerbed in front, while also showing detail in the sunlit buildings in the background – all with no exposure compensation.[Read More]
Watch David Saffir and David Tobie as they discuss techniques, tips, and tricks for keeping your displays humming along and working properly for you. We’ll cover a variety of topics, including tips on studio setup, basic and advanced calibration cycles, effect on your workflow and prints, techniques used for both computer-driven and video-driven displays, and selected aspects of trouble shooting. We’ll also cover dual display setups and harmonizing multiple displays on a desktop and in the field.[Read More]
In Photoshop’s Color Settings dialog (Edit > Color Settings) you can specify a working space for RGB (the spaces for CMYK, Gray, and Spot pertain to to images that will be reproduced on a printing press). The RGB working space should always be set to a device-independent color space (i.e. Adobe RGB, sRGB, or ProPhoto RGB). Even though the profile for your monitor is available in this menu, you should not use a profile that represents a particular piece of hardware for your RGB working space.
In terms of which working space to use, and with what type of files, that is another article all on its own, and I’ll delve into that topic in more detail in another column. The important thing to understand is that the RGB working space you choose in the Color Settings is only used as a default setting for any new files you create in Photoshop (i.e., totally blank documents), or as a baseline for how to interpret a file that has no embedded color profile. You can choose to work in other color spaces on a per-file basis.[Read More]
This webinar is intended to cover concepts and techniques related to in-camera and post-production color management for still and video cameras. Use of the new SpyderCHECKR 24 from Datacolor will be the focus of this discussion. You will learn how to normalize and manage color in individual cameras and while using multiple cameras, on-set or on-location.[Read More]