Posterization of light scene in Lightroom
Whenever I have to import images with bright, saturated stage lighting in LR, images are highly posterisees and lack the detail in saturated areas. I tried all kinds of settings, but nothing seems to get rid of. The straight JPEGs out of the camera (a Nikon D600) are not of this. Also, if I put the RAW Capture One files, images are not Posterization, as you can see in the grabs screen example below.
Any ideas why this is? Thank you.
Try different camera profiles. If this does not help, I think that there is nothing you can do. Profiles DNG do not handle too saturated colors very well.
Tags: Photoshop Lightroom
I am looking to buy a new macbook pro when it comes out this fall and use it in my Camper while I travel in North America. There will be a lot of times, when I have no internet service, and I want to be able to work on my images on my mobile photo studio of treatment and have not been able to get answers as to whether if I will be able to work in lightroom on my lap top when I'm not connected.
Lightroom installs locally on your Mac and your LR catalog must be local to Lightroom, which is the internal drive or external hard drive. Your images can either be stored on your hard drive, internal or external.
If your main images are offline for a while, you can always modify intelligent previews.
See the light travel with Lightroom Smart Previews | Lightroom training Laura shoe, tutorials and tips
So it won't be much, if any, of the difference between the home edition, in the studio or on the road.
As far as Lightroom is concerned, the only part of cloud on the Cloud version is the periodic checking of licences which can be up to 99 days between checks.
Why won't my external drive light not light up in lightroom [turned]
He has in the past and I can see the drive in the import dialog box. I use the USB port, it all started with the new lightroom 4
After reading a few comments on the problems with the (secondary) SD card controller into the famous camera of 5 d MarkIII, I decided to test my new unit 6 d.
Speed tested with the same composition and lighting (poor tungsten), same frame parameters: exposure 1/200 @ f/1.6 on iso 800, object of shooting was my window air conditioner mounted (LOL, I know ha ha!):
Since I have already spent some time on the preparation of the information for my part, I thought I'd share here
Size of the files with a band bandwidth approximate writing to the camera s max 4.5 FPS (continued in shooting mode):
GROSS 20M 5472 x 3648 - size 22 814 KB file ~ 100.2 MB/s
mRAW 11M 4104 x 2736 - size 16 581 KB of the file ~ 72.9 MB/s
sRAW 5.0 M 2736 x 1824 - size 11 228 KB of the file ~ 49.3 Mbps
L high 20 M 5472 x 3648 - size 5 303 KB file ~ 23.3 MB/s
L 20M 5472 x 3648 - average file size 2 488 kb ~ 10.9 Mbps
High M 8.9 M 3648 x 2432 - size 2 463 KB file ~ 10.8 MB/s
Average M 8.9 M 3648 x 2432 - size 1 090 KB of the file ~ 4.8 MB/s
S1 high size 1 470 KB of the file 5.0 2736 x 1824 - ~ 6.4 MB/s
Average S1 5.0 2736 x 1824 - 643 KB file size ~ 2.8 MB/s
S2 2.5 M 1920 x 1280 - the file size of 766 KB ~ 3.4 Mbps
S3 0.3 M 720 x 480 - 155 KB file size ~ 0.7 MB/s
* about write bandwidth calculated with the formula (FILE_SIZE_KB * 4.5) / 1024, results in rounded Mbps
observation, it seems that file sizes adjustable by all about 50% discount for JPG (high quality) or sRAW at certain composition & light scenes.
Maximum size of the files that I saw was 27 800 KB for RAW (calling to more than 122 MB/s in view write speed 4.5 FPS burst) and nearly 8 MB for large JPG in high quality (equivalent of 35.1 MB/s burst mode). Former was spend with Sandisk have SD (afte 13 executives bus), it went through without a problem for about 30 seconds (more than 130 frames).
Phew... essential is that I was able to shoot continuously all sorts of images JPG infinitely (tested up to 30 seconds) with my SD Sandisk Extreme 45 Mbps card... but it's much too slow for any type of images RAW - literally after 13-16 frames, you will see a shutter speed and 'BUSY' message will fall by 0.9 FPS until you release the shutter button and let the unit registered the buffer to the map then you can repeat.
I thought actually buy the fastest on the market SD card, I could find, but gives up after that I came back to find only Sandisk SD Extreme Pro cards rated up to 90 MB/s write speed, they are no doubt good, maybe to mRAW, but not yet enough for RAW... hoping the fastest SD cards get put to the point some time in the future I like really pure RAW... mode and sometimes want to make an ofshots of the series executives 13 formorethan
Does keep me in shooting mode every day for more than 13 images of each? No, not at all, but could someone and if you do then your only real option is 5DMIII (with similar full frame sensor) camera and a blazing fast CF card that could support infinite shots up to the capacity of the card.
Good news is that the SD cards work great (as advertised) in 6 d camera!
It will be useful.
The 6 d supports the UHS-1 cards. The UHS-1 standard allows a theoretical bus of 312 MB/sec speed. I say 'theoretical', because the bus have raised (usually a 'big' file transfer faster than many 'small' folders) but also and above all... no one does in fact card technology SD which can transfer data as fast. So, really, it is the physical speed of the card which becomes the barrier and not the speed of the bus.
I've seen maps UHS-1 with speeds estimated up to about 100 MB/s (this is a rounded value).
The 5 d III is different... it's CF slot is quick (slots for CF cards are usually always fast) but the SD card on the 5 d III is _not_ a location of bus UHS-1. So, it doesn't have the fastest transfer speed. If you _need_ this on a 5 d III faster transfer speed then you would want to make sure that you have configured to write to the CF card and buy a suitable size CF card that can follow.
So far, I think that only 6 D and the new 70 D SD UHS-1 slots.
If you have a 6 d or 70 d and you want speed then you want to make sure that your SD cards are cards UHS-1. The symbol is a letter "U" with a "1" inside the "U".
I was wondering during the upgrade, it automatically imports your presets or you reinstall your presets?
It is not done automatically: d-models http://www.lightroomfanatic.com/tutorials/behind-the-scenes/exporting-lightroom-presets-an /
Is it possible to change the opacity of a cache?
I shot a recital in a gym Friday that has windows that could not be covered. Light on the public and the curtains etc. is very distracting in the static wide shot.
I tried to use a cache of transparency at 4 points to cover everything except the scene, but I would change the opacity for "dim" in these areas. Is this possible? Or is there an easier way?
I tried to send a screenshot, but it keeps giving me an error.
An error occurred trying to retrieve data from the server. Please try again in a few minutes. Error code: object does not support property or method 'createContextualFragment '.
Here's a way to do...
1. your original video is on track one.
2. a copy of the video is on track two.
3. change the brightness of the video of a track to something much more dark, using levels and other effects to get to where you can only see outside the window maybe? Or see the people in the audience, but not to be overwhelmed by the light?
4. then you use your cache of transparency on the track two video to isolate and to show the lighter scene on that darker. So to get the step you may need the matte of eight points, or even the matte of sixteen points.
OK, I find it very confusing. During a session here with Sony support chat, told me "dynamic lighting is the same as the local dimming.
So wait, then.
If I understand correctly and according to the product pages, the technology of lighting for the following models of 2013 are as follows:
(Note: DELB = dynamic Edge LED backlight)
Framework of gradation
Gradation of frame (actually listed on the Spec tab)
OK, page of the 802, DELB + framework gradation means "Dynamic Edge LED backlight with gradation of framework offers scenes of dark and illuminates the light scenes. Rather than illuminate the entire screen, contrast is reinforced in all the right areas for a more realistic picture. »
If it stimulates clear areas, but also with the entire framework, which should theoretically control each region the same way that stimulate clear areas, gradation and (local) drive other areas don't?
I mean, if the 802 choking back the entire screen (this brings all regions down) and then compensate with stimulation from other regions, how is it different?
Sony R550A series and W802A series televisions incorporate the following display features.
LED backlight type
Type - Frame of gradation of gradation
However, the series of W900A TVs has Dynamic Edge LED backlight with local dimming.
All LCD TVs need lighting behind the actual LCD Panel any. The type of lighting affects the TV picture contrast, color range and black level. Some models put the LEDs on the edges of the screen; more advanced models use a grid of LEDS behind the screen divided into sections that can be activated independently on and outside, a feature called "local dimming".
The Local Dimming function refers to the ability of a LED TV to independently control the backlight for different parts of the screen. This allows the display to produce more deep contrast black and several scenes or images with a combination of dark and light elements.
Gradation of the frame is the equivalent of a light local dimming, but with even less areas. Instead change the light for a specific region of the screen, it is the frame of the screen that changes in intensity.
NOTE: The Local Dimming function works only when the image Mode is set to Standard.
If my post answered your question, please mark it as an "accepted Solution".
I'm editing a movie and extra video features for the primary school my daughter 11-scene set Shakespearean. Video was recorded on 10 year-okd miniDV Tape cameras installed at 29.97 FPS, 720 h 480v and the pixels.9091 NTSC format and features and the movie will be produced for DVD. Am using the first Pro CS5.
I am in the phase final cleanings edit and only now realized that I put all my footage at a different rate: 23.976 fps. Otherwise, the size and pixel size are the same. (Apparently I used the model of sequence DV - 24 p instead of the model DV-NTSC and repeatedly cloned my mistake. I am a true lover; I only use Premier Pro for the annual school play.)
To get the best quality possible, based on what I've read I think I need to go back and recreate sequences using the frame corresponding to the sequence rate. Quality is important because I have no margin for degradation through the use of old devices of remote recording and recording in some low light.scenes.
Epecially, reconstruction of the sequences will be a miserable prospect because I nested several sequences and used multicamera editing.
Or I would create unnecessary work for me?
I noticed that export to MPEG2-DVD allows two cadenzas. I don't know the video technology enough to understand the implications to produce the film at a lower rate, if we DVD can be read on both modern and 12 years, TVs CRT televisions. (Guess which vintage I.)
I appreciate any guidance, even if to confirm the bad news. I want to create the best possible DVD even if it needs work; the DVD will be a keepsake that will be cherished by these children and their families for years.
The nested sequence frame rate plays a role. Everything will, of course, be in line with the pace of your sequence of destination / final (or at least export your settings), but if you go to 60i to 24 p, then back to 60i won't look right at all.
The short answer is start more... at least on your blocking edits. Assuming that you did not have a TON of changes, this shouldn't be too much of your time, it's the BEST way to ensure your final export as good as possible.
Otherwise, because you put all your sequences nested in multicam 24 p sequences, if you don't have any time to do anything to solve this problem, you can just match your sequence settings to 24 p and the results will be not terrible. However, affecting your multicam sequence final 60i when all your nested sequences are 24 p is a good bit less than ideal.
I think at the VERY least you should look into it. just test a segment short if you are short on time, but you should test it however. If you can't tell ANY difference, then it should be fine.
I'll tell you with your 60i footage, a lot of freedom on the set regarding the mussels / reclining and other camera movements. As you conform to all the shots at 24 p, you will find CERTAINLY some stuttering on your camera movement, if it is far from slow smooth movement. It's just a part of the workflow for a 24 p film, it isn't a bug or a technical error.
But yes, you will really want to get everything back to the source frame rate if you have the time. Otherwise, choose your shortcut and be done with it.
I am the owner of a 50L 7333 3D and I noticed that when there's a darker scene on TV, a person in a background dark / night or something, the overall brightness down a the duration of this shooting (2, 3 s).
It is really noticeable when there is the station of TV Logo... He's going too dark is not because the scene is dark so there is less light, the TV fades in all and I can really notice when it does, for a fraction of a second that it is normal, then it fades.
It's a bit sous-compensant, instead of clarify a dark scene, it it fades.
I tried to disable the backlight and twisted around with brightness and image controls, but none seem to get this. She really is and delivers with the films in 3D because of the already dimmed image glasses, if you add this on top, we can miss second of a film.
I really think that it is a parameter, but I can't understand Witch one.
I guess you have to change the option automatic light sensor and control backlight assets.
When the * automatic light sensor * is activated, it will allow to optimize levels of backlight automatically depending on the ambient light conditions
When the * backlight on control * is activated, it will control backlight levels according to different scenes as movement of the image, bright scene or scene is dark.
More details how change it and where to find these options are in the 39 user manual page:
I just bought this TV and noticed on dark/poorly lit scenes either in a Blu - Ray player or even Netflix it fades and brightens.
It becomes quite boring because on some scenes, he is very sensitive and darkens.
I did some research and it seems that this problem is not unique and occurs on other Sony TVs. I tried the following:
-turn off the light sensor
-turn off the auto contract
-turn off the dark setting (I forgot the exact name)
Despite all these solutions he still dims lights on dark scenes.
Would be grateful if anyone has a work around for this problem?
It turns out it was a bad tube. He comes back for another and off black and contrast (I forgot the names) and it goes dark and light during dark scenes.
Thank you all.
I have a complex 3d scene with different details (start here)
Every detail loaded from the stl file.
I found correct light position and parameters, but scene have a bug.
There's the scene with attenuation: linear attenuation = 2
You can see the bright wheels and cable track. There are also parameters liht.
And there's the scene with attenuation: linear attenuation = 30
You can see the normal wheels and cable channel but too dark all other elements.
Wheels and cable track made in Solidworks, but other details in 3Dmax (or 3DS).
Also all the scale details = 0.02 but wheels and cable rail weighbridge = 0.0014
May be that is the reason for the difference, but how the same way for all the details?
Here is an example of something similar to what you are doing: DOC-46561 .
Something that I found is that the reflected light intensity is proportional to the amplitude of the normals of model. Normals must be normalized (amplitude equal to 1) to get a consistent look.
If you're lucky, join the Group of 3D Vision,
I have PSE14 and Lightroom 4. You want to use 'open as layers"in lightroom. It is not high lighted. I thought that you can use this function to go to PSE. Any suggestions?
I have PSE14 and Lightroom 4. You want to use 'open as layers"in lightroom. It is not high lighted. I thought that you can use this function to go to PSE. Any suggestions?
Ask in the forum of elements Photoshop Elements
I notice strange color casts in the nuances of light on the images, I open Lightroom cc to CC PS.
My monitor is calibrated, and two color management applications on. The files are RAW of Nikon since a D810.
I get a separate green/blue dominant showing on paper background (grey seals) in the shade, and where the main light goes off around the subject. When I with the pipette sample there is a small amount of extra blue in RGB but not otherwise in other parts of the backdrop - so I think (hope), is a display problem only.
When I choose to test in sRGB, the casting, disappear when I choose to work in CMYK, it persists. I wonder if the PS may be using labour CMYK to display my image on the screen - if so, how to spend it to sRGB or is there an alternative?
OK, as long as you can trust what you see, it's good.
In all cases, the fundamental problem is the same: somewhere along the chain of (the conversion of source in display profile profile) display color management, something breaks down and does not have the right result on the screen. It is usually the profile, but it could also be the conversion of profile itself, such as calculated by the GPU.
Turn off travel, the logic of color management back to the CPU, GPU, which is much more robust and reliable.
I have the license for 6 Lightroom, Photoshop and elements first. I tried the ambient light CC CC/Photoshop product, did ' t like it, uninstalled and installed my belonging. Adobe maintains my products and treat them as the product of the CC.
I have the license for Lightroom 6, 14 Photoshop and first of 14 elements. I tried the ambient light CC CC/Photoshop product, did ' t like it, uninstalled and installed my belonging. Adobe maintains my products and treat them as the product of the CC. These updates disable my products and get back on the 30 day trial. How can I fix it. I have an iMac
uninstall all your problems adobe programs, including the application of cc office.
Restart your computer and reinstall your programs perpetually under license.
First of all, I'm working on an image in Lightroom. Then, I sent a copy with LR changes in Photoshop, where I continued to work on the image. When I did edit in Photoshop and Save - image dates back to LR, but the copy Photoshop Tiff in LR is much lighter than the image that was saved from the retouching in Photoshop. If I open the image of the PS from the finder, it sounds good - it is darker than the same file as seen in LR.
Good suggestions! I checked and everything seems fine. I think I found the problem, however. I've set up a new user account on my mac and started working from there and things seem to work well for this new account. Thus, there may be a corruption in LR which has been corrected with the new account. Once again thanks for the reply.
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