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Self-proclaimed vector monster, Rob Generette III, CG-master Rafael Vallaperde of Lightfarm Brasil, and Lotta Jurica from Adidas, discuss the uncharted territory of graphic designers who integrate 3D into their design workflows.
The brand-new Symfony development workflow unveiled by Fabien Potencier at the Symfony Live Paris 2014 conference.
The 3D Film Factory was recently hired by Breadtruck Films to provide 3D production services stereography services for their "Super Dentist" 3D film. The 3-day production utilized the 3D-BS Indie Rig (beam-splitter) Rig, two Sony EX3 cameras, and for viewing a Davio accopmpanied by a Panansonic monitor.
For more information visit www.3DFilmFactory.com
The 3D Film Factory is the leader in professional, affordable 3D camera systems and real-time 3D monitoring solutions. On a day-to-day basis we provide 3D camera rig and monitor rentals, expert stereographers ‘for hire’, and 3D post and 3D production services Worldwide. In addition, we offer intensive monthly 3D training workshops. Past clients include ESPN, DISNEY, NASA, Honeywell, HD Cinema, Pinewood Studios, and many others. For more information visit www.3DFilmFactory.com
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from bit.ly/115MICe
Through GoPro Through GoPro - They are heroes, look through their eyes
This video is primarily focused on a detailed workflow using GoPro CineForm Studio, Final Cut Pro X, and Compressor 3.5 with a little bit of a color grading …Enjoy this GoProHero video
GoPro Video, average rating: 4 / 5
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GoProHero3
Read more GoPro Hero 3 Black – Workflow and Color Grading Thomas
My Digital Tools for Photographers seminar tour (presented by Apple) kicked off today with a stop at the Henry's School of Imaging. More than 35 people attended the three hour session, which showcased Macintosh hardware and software, including Aperture 1.1, the new professional photo workflow software from Apple. Another session is scheduled at the Henry's school tomorrow, April 26, from 1:00 to 4:00 pm.
More seminars are also scheduled throughout Toronto and southern Ontario for May and June. Admission is free but pre-registration is required. Check seminars.apple.com for dates and locations.
Some useful links from today's seminar:
Apple Aperture professional photo workflow software and iLife '06 portfolio tools.
iView MediaPro photo and digital media cataloguing software.
UPDIG Universal Photographic Digital Imaging Guidelines for professional standards photo production and workflow.
controlledvocabulary.com/ for naming, keywording and metadata info for photographers.
The Dam Book for digital asset management for photographers.
The Mediaworks Meetup online forum for photographers and mediamakers.
The FlickrFotoForum group on flickr.com.
In the coming weeks I will post some of the seminar content in the flickrfotoforum for flickr friends who can't make it to one of the live seminars, and answer questions about digital workflow in this thread. So ask way!
By doing this, I basically vindicated my Epson v500 scanning workflow. At the far left, VueScan's automatic settings, with digital ICE and 10 passes. At center, Epson Scan's automatic scan, with digital ICE. At right, my standard workflow of 10-pass scan with VueScan stored as RAW, with conversion to positive via ColorNeg plugin in PhotoShop. No sharpening has been applied. All are scans of the same Ferrania Solaris FG-Plus 100 negative, which appears properly exposed and was shot with an Olympus IS-3 DLX camera.
My take:
1: VueScan did a good job with color correction considering there is no channel for Ferrania Solaris. This was using an old 3M film channel, likely to be closest to the current Solaris film. Sky is a proper sky blue, the clouds are white. The curve is funny, though, as much of the pic looks overexposed, but the duck's head looks black. Noise is very low. Wouldn't make a very good print, but might be correctable if enough info is present in the 16-bit TIF.
2: I'm not pleased with Epson Scan's version of this. Exposure/curve was much better than VueScan, but there's a definite magenta cast. Because it made only two passes (one was ICE), noise is very high. Would make a passable 4x6 print for sure with some color correction, wouldn't make as good a big print as 8+ megapixels would normally indicate.
3: Color is good, curves look properly chosen. ColorNeg has a channel for this film, and it was used. Sky is proper blue and smooth. Exposure looks correct, and noise is very low. Would make as good a print as this combination of scanner, film, and camera could do. Would certainly make a fine letter-sized print, especially with a little bit of unsharp mask. Easily the best of the three, and what I have been doing anyway.
So this is actually kind of fun I guess. This is my C41, color film workflow so far. It's been a bit of trial and error trying to maintain a consistent 102F for 3.5 min.
This is how I do it so far. Put water in this pot just enough to cover the 250ml of liquids in the measuring cups. Put pot on stove with flame on high to get a good rolling boil. Once it gets boiling, reduce flame to medium. When the temp in cups gets to about 95F, turn off heat otherwise the temp gets too hot and it takes longer to cool off than to heat up. Remove cups from water when they reach 102F. First step is just water for 1 min to heat up film and tank. This helps maintain temp for developer. 2nd, developer for 3.5 min. Developer will cool to about 95F in that amount of time which isn't good. So I put the tank in the water pot in between agitations. Keeps the temp from falling too fast. 3rd step is the bleach/ fix (blix) for 6.5 min. The good thing is that you can be between 95 and 105F for this step. 4th is wash for 1 min followed by stabilizer for 1.5 min. Done!
Also, I have always used Kodak black and white developers like HC110, D76 and Xtol for b&w film. To shake things up a bit and keep it interesting, I got some Rodinal. Never used it before and still haven't. Good times. This is definitely a labor of love.
Update: Roll number 3 following this method turned out some funky greenish colors on Portra 160. Not sure why. I'll keep this photo updated.
This view shows the various stages of my scenery building. Cardboard strips fill in the space between fascia, track, and backdrop. These strips are covered with drywall tape, which I then paint tinted plaster of paris over. After a couple of coats, or however many I think are needed, static grass and other foliage is added.
When a physician sees a person with 10 or 20 medications and they need to do renewals that will be expiring before the next visit, I can take some mental effort to get it alright and avoid unnecessary phone calls asking for renewals prior to the next visit.
These are fairly typical steps in the process of doing that renewal review and completion.
I recently purchased the ColorChecker Passport for an upcoming workshop with one of my customers that produces school yearbooks. I do a lot of work with colour management to integrate digital presses into customer's workflows so they can achieve accurate colour when printing and the ColorChecker is one of the tools from Xrite that I use. I also have Xrite's Profilemaker 5 and several sprectrophotometers for creating ICC colour profiles.
I have been using the ColorChecker with my own photography when I need to achieve accurate and predictable colour. I have used the Colorchecker with Adobe's DNG Profiler and this combination will certainly give you more accurate colour. Since I was familiar with using Adobe's DNG Profiler and a ColorChecker to create a camera profile, I was interested in testing the new ColorChecker Passport.
The ColorChecker Passport includes the original ColorChecker, a white balance card, the Creative Enhancement Target and an application to create DNG Profiles for your camera.
The DNG Profiler that comes with Passport is easier to use Adobe's DNG Profiler.
My initial testing has been very good and I will be doing more testing over the next few weeks.
Pros
I like the case and size of it. It is a little larger than my mini ColorChecker which is convenient as it will fit in my pocket or camera bag. The case snaps shut to protect the targets. When you open the case, it can be used as a stand to hold the targets.
It is a good way to check your exposure for accuracy.
My first test prints seem to be accurate and I'll be doing more testing to determine the best Delta E I can achieve.
This image should be very accurate on a calibrated monitor.
Cons
None specifically at the moment although the hinge is quite stiff.
I'll have more info in the future as I do more testing.