Adobe CS4 Panorama tool much improved:Simpson’s Pano example

I used Sony Vegas 8 to slow down and capture indivudual frame of the new simpsons HD opening sequence.  Near the in there is a very very fast pan up and right I couldn’t make out the character so I clipped out twelve frame and stuck them in Lightroom 2.3 and used the new merge to pano shortcut and selected auto. A bit later I had the image below.

http://bayimg.com/hAoaMaabf

The Digital Photography Endpoint Singularity Shadowplay

I have been looking at the horizons of  the two dimensional still and moving image technology path and I’ve been trying to tease out what exactly would a perfect camera be able to give you.

So I guess I need to define what I mean by a camera.

I take a camera to be an instrument capable of recording light information that can then somehow be projected on a two dimensional surface that when seen by the human eye will resemble consciously the perspective of the instrument.

This being the case the reason why a Canon EOS 5D Mark II is more compelling than the  Canon Powershot SX10IS  is that it has the capability to record more information corresponding in a smoother and richer way with the actual full view of the object.

Here I think one should say that  part of the power of this medium is it’s ability to grant one a structurally privileged view.  Thus vast and rare views from all over the planet are available for people to hold in their hand. (I wonder why it is we can be amazed by the screen on a PSP, I-phone or Kindle and yet never strive to use the finer texture of a photograph or really to be amazed by their results.  There is a hell of a lot more information in a page out of the national geographic than has  ever has been on a screen the same size and yet magazine page is not nearly as compelling.

No. The point is that whatever the viewpoint the results must pop out of reality and that leads necessarily to its differentiation from reality.  But is it in the expliotation (through the instrument) of ever finer details that renders these kind of images their magic pop?

It’s really kind of hard to know.

HDR Capabilities of the Fuji FinePix S2000HD

Made from six exposures

I wanted a canon 5d mark II, in fact I even got on Calumet’s waiting list but then I found resources getting slim so I opted out.  This was pretty stupid considering I probably could have sold it for more that the 2,699.00 dollars i was going to pay for it.  In the mean time my partner needed  a camera right now so we bought the Fuji FinePix S2000HD.  It’s got a big zoom and can take the lower quality HD video but that’s not to exciting.  The only really nice thing I’ve found is the ability to take some interesting looking macro HDR shots (It doesn’t really work in the non macro mode).

Tessilative Orgone Misanthropy

I take a lot of HDR images and the results from the FUJI really popped right out.  I use Photomatix to combine the exposures into HDR images and then proccess them using the incuded tonemapping feature.  Taking the photos is a lot easier since all you have to do is push the shutter buttion once to get the camera to take 3 exposures.  I usually take 3 sets of three and combine them.  This is much easier than having to hold the shutter button down the whole time as I must do with my Olympus 410.  It’s easier to get all your shots without any movement which is really important In HDR photography.  Since it doesn’t take raw photos everything goes faster in the proccessing.

Moving Stills

I made this using sony vegas 8, Soundforge, Sample from annoying TTC intro
and stills from a niKon 4800 and an olympus e410

Nikon D3X Here But Way Too Much: 8000 bucks

Nikon D3X (preorder here)

Product Features

The D3X is an digital SLR featuring extreme 24.5-megapixel resolution and superb low-noise capabilities, which provides professional photographers with commercial-quality image performance.

The foundation of the enhanced performance of the D3X is its FX-format, 24.5-megapixel (6048 x 4032) CMOS sensor providing commercial, high fashion, fine art and landscape photographers with the extreme resolution, dynamic range, color depth, detail and sharpness that clients demand. The large 5.49-micron pixel size and high signal to noise ratio produces vibrant images with breathtaking image fidelity while reducing lost highlights and shadows, and ensuring smoother tone reproduction with minimized noise.

Image files can be recorded as TIFF, JPEG or NEF (RAW) formats in either 12- or 14-bit compressed or uncompressed formats, and recorded to UDMA compatible CompactFlash cards for optimum speed. Photographers can save image files directly to the dual card slots as overflow, backup, or as separate file formats to different cards.

Building on the D3X’s flexibility, users have the creative option to shoot in the 5:4 crop mode with 20.4-megapixel resolution, the ideal format for creating 8 x 10-inch portraits. While using DX-format lenses, faster continuous shooting of up to seven frames per second can be achieved at a resolution of 10.5 megapixels. Just like the D3, the D3X achieves a start-up time of a mere 0.12 seconds and a shutter release time lag of 0.04 seconds.

The exceptionally low noise of the D3X is essential to any professional commercial application, and it provides photographers with an ISO range of 100 to 1600, expandable to 50 (Lo-1) and 6400 (Hi-2). The ultra smooth tones and lack of grain at ISO 1600 as well as at low sensitivity settings result in smooth, natural skin tones and exacting detail that, before the D3X, required larger and far costlier studio-bound camera systems.

The D3X also features Nikon’s exclusive Scene Recognition System, which continuously analyzes information from the 1,005-pixel RGB light sensor, to further refine auto exposure, auto white balance and autofocus calculations. Nikon’s exclusive 3D Color Matrix Metering II helps ensure accurate exposures, even in the most challenging lighting conditions. Active D-Lighting, used in combination with 3D Matrix Metering II, helps to determines proper exposure, and creates realistic contrast while compensating for lost shadows and highlights.

Additionally, the D3X features Nikon’s exclusive Multi-CAM 3500FX focus module, with 51 AF points, 15 cross type sensors and 36 horizontal sensors that easily track and lock onto moving subjects, delivering fast and accurate AF performance. Users can select any of the AF points, making it easy to consistently attain accurate focus right on a subject’s eyes, frame after frame. AF is also available in one of two Live View modes. This feature allows the user to zoom in up to 27x on the LCD screen to ensure critical focus.

A bright and accurate viewfinder offers 100 percent coverage with 0.7x magnification. The body also houses Nikon’s acclaimed 3.0-inch super density LCD screen, now relied upon by so many photographers. The high-resolution 920,000-dot screen is viewable at wide angles up to 170 degrees, and will allow photographers to quickly zoom in to confirm critical focus. Users can also output the video signal to an external display via HDMI to allow client viewing. Thanks to incredibly efficient internal circuitry, the D3X can capture up to 4400* shots per single charge of the camera’s Lithium ion battery.

Features:

* Extreme resolution 24.5-megapixel FX-format (35.9 x 24.0mm) CMOS sensor
Large 5.49µm pixels capture astonishing detail and subtleties with outstanding dynamic range for demanding commercial applications.
* Nikon EXPEED image processing technologies
EXPEED extends and assures breathtakingly rich image fidelity and reduces noise, even at high ISOs.
* 138 MB* Processed NEF (RAW) 12 or 14 bit image files
Selectable bit depths of 12-bit (4,096 tones) or 14-bit (16,384 tones), both yielding incredible image quality through a 16-bit processing pipeline, for smoother tonal gradations.
* Low noise ISO sensitivity from 100 to 1600
Added ISO settings of Lo-1 ISO 50, Hi-1 ISO 3200 and Hi-2 ISO 6400 extend versatility.
* Two Live View shooting modes
Two Live View modes add flexibility, and up to 27x magnification in the Tripod Mode, acute focusing accuracy is easily confirmed.
* Continuous shooting at up to 5 fps at full FX-format resolution
Commercial image quality teams with speed and handling to create new shooting possibilities—in the studio or on location.
* Fast, accurate 51-point AF system
AF system features 4 Dynamic AF modes, including 3D Focus Tracking, for autofocus precision and razor sharpness.
* 1,005-Pixel 3D Color Matrix Metering II with Scene Recognition System
Two Nikon-exclusive technologies provide intelligent auto exposure capabilities, along with refined auto white balance detection and faster, more accurate AF performance.
* 3-inch super-density 920,000-dot VGA LCD monitor
Individual factory calibration assures the color accuracy of each D3X monitor for critical image review.
* 100% viewfinder coverage
* Nikon Picture Control
Four preset options: Standard, Neutral, Vivid and Monochrome, and 9 customizable settings provide advanced, personalized color control.
* Rugged, durable and precise magnesium-alloy construction
Effectively protected from invasive dust, moisture and electromagnetic interference with a self-diagnostic shutter mechanism tested to 300,000 cycles.
* Dual CF card slots with overflow, backup and copy options
* Virtual Horizon Graphic Indicator
* Up to 4,400 images per battery charge

Item Includes:

* D3X Body
* Rechargeable Li-ion Battery EN-EL4a
* Quick Charger MH-22
* USB Cable UC-E4
* Audio Video Cable EG-D2
* Camera Strap AN-D3X
* Body Cap, Accessory Shoe Cover, and Eyepiece
* Battery Chamber Cover
* USB Cable Clip
* Sofware Suite
* Supplied accessories may differ depending on country or area

*Approximate

No more Trivial Matters

THe Future Of The Moving Image:Modular Cameras

What we hadn’t imagined back then was a way to make “Obsolescence Obsolete” a much more broad concept. With Scarlet and Epic… it means being able to upgrade EVERYTHING as technology advances. Every component, on an individual level, can be upgraded and improved. The RED ONE is a modular system that can be upgraded. Scarlet and EPIC are completely modular and upgradeable in every way.

A DSMC is a camera that shoots stills and motion. Configure that camera any way you want.

Select a brain. Configure your body.

Qoutes From RED”s Founder Jim Jannard 11-13-08

What can a small company like RED expect to do?  How is it able to put out a Camera like the RED ONE™ with so much capability for such a small amount of money.  It seems it’s sensors are just astounding and the whole rest of the chummy company feel  gets it’s power from that one camera’s performance.  The be able to have in your hands a camera able to take motion picture footage of that quality for only 17,500 bucks seems amazing. But where are we going with this?  Are we going to have lot’s of new films to see?  Are we going to realize the advantages of higher frame rates and super high resolution footage?

Personally I’m getting a Canon EOS 5D Mark II because I can’t wait a year to begin making films.  A year suddenly seems like an eternity but I think it’s going to go much faster then you might think.   For one thing the Cinema experience might be kind of nice but in the end isn’t it just for children.  Don’t ALL the films that come out pander to children.  I’m  hoping to see something truly adult come out.  A new cinema to take film into the realm of art.  Certainly there have been some great films but there hasn’t been anything to compare to the literature that’s come out.  Pynchon, Burroughs,Proust, Joyce etc. created uncompromising works of art that were just as technologically up to to date today as they were when the were written.  Authors like Kafka could spend there lives not finishing some of the greatest novels ever almost written while still keeping a day job.  The most influential aspect of filmaking is budget.  Good looking films cost millions.  Film itself is expensive the camera’s and the crews all tie a film down to needing an audience with a fair amount of money to watch the thing pretty darn quick so no one goes broke.

But what if we reach the point where we are looking into mirrors.  When the image making device ends up better than the eye.  Well let’s hope there are creative people with these cheap camera’s making a real art form out of film.  The only bottle neck I see now is the distribution and display.  It would seem to me that The HD TV may be fine for watching football or the current films but I would hope the computer monitor Video card combination with it’s fluidity of capability and format would become the standard display medium.  HDTV is like console gaming it’s yesterdays news it’s mass market hysteria It’s gonna be needing some more resolution real quick.

And how are the huge amounts of data supposed to get to peoples monitors.  I would hope there are enough people like me out there who can see the inanity of having multiple overlapping data-pipes coming into their homes with the insane “Tiers” and ridiculous “Packages”.  Really information could be like water and all you need is enough bandwidth so you can watch whatever you want whenever you want.  I mean Netflix works just fine on my crappy Belsouth DSL line.  Instead of spending thousands of dollars a year on cable and phone and CINEMAX and HBO you could just use the internet to subscribe to a netflix type of service that would make available a large selection of stuff you might like all categorized and rated by real people  allowing you to watch stuff you will probably like.  Like who listens to the radio anymore?  They stopped being able to play things the audience wanted and started having to play things certain large corporations wanted.  That kind of mass media is going away quick.

I certainly feel bad for the poor shlubs who still live in mass media land.  It takes them two stolen elections to realize the media isn’t and wasn’t on there side yet they still continue to watch and take to heart the shallow meaningless pablum that passes for news and entertainment.  Bread and Circuses I tells ya!  But really it is very very sad that a human being can live in this society with so much apparent and actual freedom and still act like some programed Manchurian candidate when it come to independent thought.

Red Camera File Format To Be Supported By Adobe CS4-Encore,After Effects and Premiere Pro

A quote from our friends at Adobe…

“RED and Adobe share the goal of enabling the most advanced tapeless post-production workflows in the industry. With native support for RED R3D files in Adobe Premiere Pro CS4, Adobe Encore CS4, and Adobe After Effects CS4, Adobe is furthering the integration of tapeless camera formats into its line of professional video products, and making post-production workflows faster, more flexible, and more efficient. RED’s Digital Cinema camera line, the new RED plug-in, and Adobe video tools provide an exceptional solution for video professionals who want to harness the full potential of raw digital cinematography while tapping the efficiency of tapeless workflows.”

Simon Hayhurst, Senior Director, Product Management, Digital Video and Audio

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Canon EOS 5D Mark II:Now 3,999 Bucks On Amazon+Shipping In A Week?

Here YOu Go

Collection of Red Teaser Photo’s with one Money Shot