exposure blend like an expert raya pro 3.0

#Exposure blend like an expert raya pro 3.0 pdf#
#Exposure blend like an expert raya pro 3.0 download#

I usually shoot just about everything except people, so I can’t really comment on how C1 looks with people pictures.

I’ve spent a few weeks now using C1 Pro 10.2 demo and almost obsessively comparing it to LR. I’ve been using LR for years now, but since the announcement that Adobe will be discontinuing LR standalone I’ve been looking at other tools.

Much appreciated (you guys are cool!) – only three days to the photo walk. Thanks to everybody yesterday who shared my Worldwide Photo Walk details for this weekend. Looking forward to meeting some of you in Venice on Saturday. Hope you find that helpful. That’s it from here in Italy’s Dolomite Mountains.

#Exposure blend like an expert raya pro 3.0 download#

Here’s the download link to Martin’s article. SPOILER ALERT: In short: Martin shows you the difference between how Capture One Pro “juices” their RAW conversion, and how you can set up Lightroom to have the same look, if you want that “juiced’ look.” I think a LOT of people will be surprised and enlightened when they read this.

#Exposure blend like an expert raya pro 3.0 pdf#

The magazine is normally around 120 pages per issue, but I pulled out just Martin’s article for you to download in PDF format below. issue of Photoshop User magazine (published 10-times a year for KelbyOne members). His article is the cover story in the Sept. It's also worth noting that the groundbreaking DGO sensor in the EOS C300 Mark III and EOS C70 significantly reduces noise in the shadows, making Canon Log 2 just as practical as Canon Log 3 with those cameras.Martin did a just brilliant job on this eye-opening article, and I want you to be able to read it (even if you’re not a KelbyOne member). Canon Log 2 and Canon Log 3 have the same highlight performance – the difference is in how much shadow detail they retain. If you don't need quite as wide a dynamic range but still want an extended range, then Canon Log 3 might be better. If there are very bright highlights and deep shadows, Canon Log 2 is probably the best choice, with some additional work in post-production required to clear up noise in the shadow areas. The right choice often depends on the scene you're shooting. Canon Log 3 was developed to give you a slightly reduced dynamic range, which means you don't have quite as much depth into the shadows and therefore not quite as much noise to deal with afterwards.' If you come down too much into the shadows or you underexpose too much and you try to bring it up, you will introduce noise. 'If you go too much into the highlights and they're clipped, you can't get them back.

'The original Canon Log is a good all-round setting, while Canon Log 2 gives a lot more detail in the shadows,' Paul explains. Some Canon cameras give you a choice of Canon Log, Log 2 or Log 3 curves. 'I started to be more free, and really started to experiment and develop my style.' 'Using Canon Log really improved the way I work,' he says. Ivan started using Canon Log in the Canon EOS C100, then in a variety of Cinema EOS cameras. 'I always prefer Canon, as I feel the colours are really painterly,' he says. I prefer to find the truth of how I see things and not how they 'should' look.' He has shot with Canon since the start of his career, beginning with a Canon XH A1 camcorder, then a Canon EOS 5D Mark II (now succeeded by the EOS 5D Mark IV). With a background as a painter himself, Ivan describes himself as 'more like a macchiaiolo – one of the Italian impressionist painters. It should reflect the beauty of nature through someone's vision, as a painter does.' 'I want to create something that looks familiar and natural, but at the same time it shouldn't be just a perfect representation of nature. 'In a graded image, I look for my own interpretation of reality,' says Italian cinematographer and Canon Ambassador Ivan D'Antonio. This makes it possible to produce a stylish, cinematic look that can become the cinematographer's visual signature. It also increases flexibility in colour grading, allowing a creative editor to really go to work on a video's colour palette. While all of Canon's Cinema EOS Cameras, most XA and XF camcorders and some mirrorless and DSLR models offer a variety of Log-based gamma curves designed to retain detail in both the darkest and brightest parts of your footage, Canon Log is capable of far more than this. Shooting video using Canon Log is about more than just maximising dynamic range.