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Processing and I also recommend assigning this to a function button or the function menu for quicker access. You do not need to make any custom adjustments or tweaks to white balance. A boost to the red in the mid-tones, mainly affecting skin-tones 2.
A boost to contrast. Please refer to the user operating instructions for your NLE e. By default this is not checked and FCPX will automatically apply a gamma correction curve to your HDR material which causes the clip to appear far too bright and too saturated.
Quicktime is also used by Mac OS to preview video clips in the Finder with a press of the spacebar key. You will see the exposure shift between live-view and the start of a recording. Using manual white balance? White objects will no longer be white, but take on the warmer cast of the light source nearby. Indoor incandescent light and most electronic light outdoors at night may look too warm at k, unless scene is in a heavily shaded or very dark part of a room.
Too cold for most outdoor light so I prefer to use k onwards outdoors. In the white balance menu, three custom presets are available and you can apply different white balances to these to vary the warmness or coolness of the shot in typical interior lighting conditions. This is useful if the automatic white balance applies a temperature which looks too orange, or too cold.
Step 2. A lower temperature than K will render a clinical, cooler look to interior scenes. If this is your creative intent, try for a white balance of between K and K. Step 3. As step 2, set Custom 2 but this time try to obtain K from a shaded area of the room, or from an area of the room lit also by the light from an exterior window. Repeat for Custom 3 K. Step 4. You may also need to use a custom white balance of approximately k outdoors, on a cloudy day.
Before recording, set a Custom white balance in the same way as the previous steps but outdoors under shade or cloud.
For sunny weather, try K. Select Custom 2 for a warmer ambience indoors. Select Custom 3 for daylight exterior scenes. You may also select a Custom Temperature of your choice or dial the C. Custom 2 K can also be used in daylight if you want a cooler daylight tone than given by Custom 3. I also recommend assigning the white balance menu to a custom function key so you can quickly toggle between Custom 1 to 3 during a shoot. Different light source give a different temperature of light, from the white glare of the sun to the warm tones of fire or a incandescent lightbulb.
The color of light varies so much that we must always apply some form of white balance to the image. If we just shot at one white balance, then either interior scenes would be completely orange and outdoor scenes correct, or outdoor scenes would be completely blue and interior scenes ok. The camera can automatically adjust for this, but also offer manual control of the color temperature compensation applied to the image by the white balance system.
Filmmakers use different kinds of light to give different moods, styles and feels to a scene. To stop the camera overriding this mood, sometimes it is necessary to dial in the exact white balance we want.
On some Sony cameras there is a recently added Ambience Priority white balance mode, which Canon cameras have been using for years. This prevents the camera from rendering a clinical image and keeps some of the natural color cast from the light on the subject. Different lighting falls roughly into three categories. Approximately K helps balance this and stops things looking too hot.
Since it is often important to maintain the ambience of this light depending on what the script calls for, at least I prefer to use K, giving a warmer look that is truer to how the human eye sees the scene. The Sony cameras store up to 3 custom white balance temperatures. Rather than dialling in the numbers you have to point the camera at an actual scene to set the white balance temperature for that particular light. Optional: settings explained S-Gamut3. Cine S-Gamut3. Cine is a wide color space designed for high dynamic range cinematic recordings originally developed for the Sony CineAlta cameras.
The brighter the color the sooner it will distort and clip for example a bright blue might clip to neon green before it hits the white point. Using the wider color space of S-Gamut3. Cine also reduces clipping.
To take the example of blue, using -7 will destroy the deep blue hues of a sky. The primaries such as red, blue and yellow benefit from deeper luminance, whereas colors that tend to be lighter in character such as magenta pink and cyan light blue benefit from appearing more pastel.
Reds benefit from an increase in the color depth setting so they appear deeper, and to reduce incidents of a salmon-tone or orange look items which are actually deep red under bright light.
Saturation Saturation is related to the gamma curve. A gamma curve with high contrast does not need as high saturation as a low contrast curve like Hybrid LOG Gamma. The phase is necessary to find a balance between a green tint and a magenta tint. When set too high, it will result in a milky image with poor contrast and shadow definition - a balance is required. A lower black level can be used with a Hybrid LOG Gamma curve to give more contrast straight off the card whilst maintaining highlight detail.
Black gamma is used to further adjust the gamma curve of the image. It works on the lower half of the gamma curve pushing it down for deeper blacks and more contrast, or pulling it up for lighter blacks and more shadow detail. The reference to Wide, Middle and Narrow refers to what amount of the curve is affected by the adjustment. Knee is a bit like the black gamma control but for the bright parts of the image. It can be used to adjust the point at which the image reaches the brightest values of the scene and true white.
Extra digital sharpness will lend a more video-style look and viewer fatigue. It is necessary to turn the detail level to -7 with the option to increase it in post using an effect filter in your NLE. The edges of bright highlights for instance can be left along while the edges of details in the shadows can be boosted. Too much black detail for example can emphasise skin imperfections and too much white detail can introduce aliasing and strange artefacts to the highlights.
Crispening Default 0 - This setting is used to prevent image noise from being emphasised. It works on parts of the image that have the characteristic film-grain from the use of high ISOs. It is best to turn off all forms of noise reduction for the most filmic detail reproduction.
Hi-Light Detail Default 0 - This control is used to emphasise the edges of a brightly lit subject in front of a bright background. This is my home which I check on a daily basis to see what other filmmakers have been doing. The best YouTube or Vimeo footage will be featured on the blog of course, with your permission ….
Also included is an optimised S-LOG profile. Pular no carrossel. Anterior no carrossel. Enviado por Carlo Genilo.
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