Add a nostalgic look to your next movie using Nostalgia Suite ($49). Choose from 10 vintage color presets or even create one of your own. Add a natural, organic lens flare to your footage with the included Flare Builder, a powerful light flare tool. Choose from 13 different real light flares. Control the opacity and color of the flares to give it a strong or subtle look. Nostalgia also comes with a choice of 4 different slide effects and a slide sound effect.
With Screen Stitch ($49), you can choose from 36 different split screen effects right from the convenience of your generators browser in Final Cut Pro X. Vertical split, horizontal split, diagonal…two clips, three clips or more, change background color, scale images…
The colour processing that we shall be using is the subtractive method. Using the subtractive filters of yellow magenta and cyan. In practise you will only use two filters at any one time, as a third filter will simply reduce the effect of the other two. In practise you will only use the filters magenta and yellow. 8230;see full text
Exposure: Aperture 8211; start at f8, First Test Strip: 5,10,20,40 sec, Adjust aperture to target 20 sec exposure8230; see full text
A ring-around chart for neg/pos colour printing
Filtration data shows what to subtract from present filter settings if a print showing this cast is to revert to correct colour. centre of chart. Extreme colour shifts of SO a r e included here t o clarify differences between the six colours 8230;see full text
This chapter discusses how our light-sensitive camera materials work, especially colour films. It traces the way that ingenious principles have been put into practice and compares how films record relative to the way our eyes see subjects directly. So the chapter begins by describing how eyes and brain receive and interpret the sensation of colours and comparing this with the far more fixed chemical response of colour films. Differences between seeing and photographing are important to grasp in order to control results. 8230;
If you’re lucky to have two or more Macs in your home or office, you no doubt find occasions where you would like to remote control a Mac either from another room or from another part of the country. You probably know that you can use the Shared feature to remotely control another Mac on the same network. But by creating some simple AppleScript commands you can control a remote Mac much faster, alleviating the need to open the Shared screen feature.
If you have never worked with AppleScript before, don’t fret. The following Mac remote control scripts are very short and easy to use.
The photojournalist generally responds to a situation, whereas the studio photographer creates a situation to fit a pre-conceived image. The ultimate control that the photographer has is the manipulation of the image itself. At its most sophisticated, the photographer can take on the role of an director. By combining studio techniques with photo-composites and re-touching, for example, you can achieve the graphic freedom of an illustration yet retain the basic realism of photographic images. Sophisticated image manipulation such as this is found mainly in advertising, where the commercial results justify the often high cost and lengthy technical work.
Combining images: by Sandwiching, Projection, and Multiple exposure
View cameras come in a variety of sizes, ranging in inches from 2 1/48243; x 3 1/48243; up to 11 x 14 formats. There are larger models, but those are usually used only for special-purpose photography because of the limits imposed by their massive size and weight. The two most popular sizes are 4215;5 and 8 x 10. All monorail cameras are modular in design. These can be specifically configured in terms of bellows, monorail length, and type of back and front components to serve a wide variety of photographic needs. 8230;
The view camera is unique because its lens and back are not rigidly fixed in one position; they can be moved readily. These movements change the relationship between the film and the lens and consequently reposition the area of sharpness or alter the shape of the subject. Each movement produces a specific effect and is defined in relation to the camera8217;s neutral position. 8230;
These movements alter the position of the image-up, down or sideways with respect to the film (Fig. 50). Identical results can be achieved with the swings and tilts combined with a change in the angle of the camera bed. There are two reasons for using the risingfalling and lateral adjustments, however. 8230;
Either the lens or the back adjustments can be used to control the plane of sharp focus, whereas the shape of the image is controlled solely by the back. Both the lens and back can be adjusted when either one alone does not provide sufficient control. However, if it is necessary to control shape and the plane of sharp focus on the same photograph, the back must be used to control the shape and the lens to control the plane of sharp focus, and the back must be adjusted first. 8230;
As the bellows on the camera are extended in order to focus and magnify the image, the amount of light reaching the film decreases rapidly. To ensure an accurate exposure it is vital to compensate for this loss of light by opening the aperture in the lens or by adding more time onto the shutter speed. This can be calculated using the following method 8230;