Adobe Digital Imaging How-Tos

Apologies for the prolonged absence from the web-o-sphere; this week I put the finishing touches on a new book (Peachpit, Adobe Press), called Adobe Digital Imaging How-Tos. It’s been quite a challenge but with the help of some talented editors and layout professionals, we made it!

Over the last three months I’ve been working hard to get nearly 300 pages worth of professional tips for Photoshop CS5, Lightroom 3 and ACR 6.1 into published format, as well as taking time to get nearly 7 hours worth of  video tutorials published. Needless to say the web site took a back seat for a while. :)  The  book will be out in August, just in time for the new school year, and I hope you will agree that it’s packed with a lot of good information, tips and shortcuts for getting the most out of your digital photos and imaging workflows.

Features like the new Noise Reduction controls, Lens Corrections, and (Film) Grain effect are covered as part of the raw side of the workflow. Once your’ve massaged your raw data and are ready for more retouching, you can jump into 50 tips on Photoshop CS5, including: Content-Aware Scale, Content-Aware Fill, Merge to HDR Pro, improved PhotoMerge, Puppet Warp and many more!

Check back in the weeks ahead for updates on more Adobe titles and free tips! I will be uploading free tutorials to my Vimeo account, as well as posting some free content that is part of the book, on Peachpit.com. Details will be forthcoming once those URLs are available. You can follow my daily updates for software and important tech happenings (as well as news beyond our mortal computers and software!) @Colortrails.

It’s been a busy spring and summer! Since March, I’ve been working to produce a new series of  Adobe tutorials for macProVideo.com; two have been released so far, with a third title right around the corner! If you haven’t worked with macProVideo before, I recommend you head over there and take a quick look. Every tutorial has free sample videos so you can experience their powerful streaming and subscription system, as well as the ability to view tutorials on any device, including iPhone and iPad! There are some seriously talented trainers there, including authors of Apple’s famous courseware, Emmy winning audio professionals and more. It’s a great group of people, who are dedicated to bringing you some excellent training titles at a very reasonable price.

A few words about my new Adobe video tutorials:

Photoshop CS5: Image Retouching & Adjustment provides 4 hours of detailed techniques for getting the most from Photoshop CS5′s image adjustments and new photo editing features. Content-Aware tools, key image adjustments, retouching tips, creative effects… if it’s a core part of the Photoshop photo editing workflow, it’s in there!

Just released, Core Lightroom 3 training provides nearly 3 hours of focused instruction on the latest advancements, including core raw editing techniques. Learn how to get organized quickly and start making precise raw edits with the Tone Curve, HSL, Lens Corrections and more. Even get some pointers on working with Slideshows, Contact Sheets, and more!

Finally, Mastering Adobe Camera Raw 6 is right around the corner, providing 2 hours of detailed tips for getting the most out of your raw edits with this popular Photoshop “plugin”. As the summer continues we’ll be bringing you more announcements for great Adobe tutorials as well as other titles, so I hope you’ll keep an eye out! -Dan (@Colortrails)

Adobe Photoshop Lightroom 3

Good news; Adobe Photoshop Lightroom 3 is finally “in the house”, finished and ready to roll. Many people have already given Lightroom 3 a look in the public betas but there’s a lot going on in this update. Here are a few of the biggest plusses in my book:

• Incredible Luminance Noise Reduction – it still amazes me, even after testing the product for many months, how easy it is to breathe new life into old photos with this tool. You can clean up so much of the noise while leaving details intact (and which can be enhanced as well with improved capture sharpening) that it really changes the whole NR / sharpening workflow for me. Cuts out extra steps.

• Improved Import – the new import dialog is fantastic. Gets the pictures into my catalog quickly, the way I want them set up. The only missing thing here is a Favorites option for the Drive / Folders list but hopefully that will be available down the road in a future update.

• Lens Correction – like the Photoshop and ACR versions there are still some kinks to be worked out here but the idea that Lightroom can auto-detect which lens was used and if a profile exists, correct for geometric or CA problems on the fly, is great news. Especially for a lot of wide-angle architectural shots.

I will post more information on Lightroom as the week moves on, to tell you about my upcoming book and training video! Thanks for dropping in, as always. -Dan

I’m very proud to announce that I am authoring a new book for Peachit and Adobe Press, focused on Adobe Digital Imaging products (that’s all I can say for now), which will be released later this year! I’ve been working with the Adobe alpha and beta teams  since CS2, and can say as a photographer and hard-core Adobe fan, this is a dream come true for me. CS5 is such an impressive upgrade and more great stuff on the way; it’s just a very big year for digital imaging all around.

I’m excited to be able to share my favorite imaging workflows with all of you. If you have any particular topics you’d like to see covered, now is the time to ask! : )

You can leave comments here, but the best way to ensure I get the message is to direct message me @colortrails on Twitter. Keep your eye on the blog as I hope to post more updates and maybe even a sneak peak or two, in the coming weeks. Thanks for dropping by! – Dan

You know good things are brewing for the weekend, when you start your Friday off with the news that Creative Suite 5 from Adobe has begun to ship to customers today. Now that we’ve got our Flash soap opera commentary out of the way, let’s focus on the fun stuff! (Round 2 can’t be far off; Microsoft came out today on the side of Apple (standards) but we all know MS’ track-record when it comes to early adoption of standards. Yikes!)

Below I’ve listed a few of the new features -as someone who works a lot in the realm of photography, video and motion graphics- that I will use most often, and why. Later today I hope to have a couple new tutorials up for you to check as well. Thanks for dropping by!

Photoshop CS5:

There are a couple features (as a photography lover) that really stand apart for me. First is the new HDR Pro function, and the second is the new Mixer Brush with Bristle Tips. Oh and that “little detail” of using as much RAM as I can throw at Photoshop because it’s now 64-bit on the Mac (though some filters and many plugins are still 32-bit for now).

HDR Pro: Prior versions of photoshop did allow for some tone-mapping and processing of high-bit images, but if you wanted to do real multi-shot HDR in Photoshop you had to use a 3rd party plugin to get results. HDR Pro in CS5 provides a large array of tone-mapping features that allow you to precisely control contrast regions, glow effects, and highlight / shadow details, as well as overall color balance. The de-ghosting feature is also extremely helpful. Every landscape shot I have that has water in it, uses this feature to good effect. Also helps with trees / leaves blowing.

Mixer Brush / Bristle Tips: Another fantastic feature for photographers is the new Mixer Brush with Bristle Tips. I am not a painter and I never will be a painter in the formal sense of the word. Some people just have that in them, and some don’t, but the Mixer Brush makes it so easy to convert a decent photograph into a really interesting photo-illustration that I will be using this tool all the time. You’ll be glad you kept a lot of your “almost” compositions — ones you perhaps would not be able to sell, but liked nonetheless. Photo-illustration is a great way to give those types of photos new life, and maybe even to the point where you can sell them at agencies like Shutterstock.

The Mixer Brush almost makes me feel like a painter, without having to pay for the college level courses (and years of dues to actually feel like I know what I’m doing). I can work with the colors and texture of my images in an way that allows for intuitive paths and creative experimentation, rather than following a rigid workflow or formula. That and the UI is about 10x more intuitive than anything I’ve seen from Corel. Digital Painting Gurus John Derry and Tim Shelbourne have recently provided some insights into just how cool this feature is for those more versed in formal painting (and Corel Painter) technique.

(Be warned: you’ll want some beefy hardware to get the most from CS5 apps, but that investment will be worth it too. If you’re in the market for a new Mac Pro and can wait a few weeks, I would. In fact, I am!)


After Effects CS5:

64 Bit: Since most of my time in AE is spent styling up DVD menus, creating motion graphics effects for title sequences and other intro / outro media, probably the biggest improvements for my workflow is that fact that AE is now a true 64 bit app on Mac, and allows for true multi-core performance in many areas. If you’re a big fan of plugins like Trapcode Particular 2, don’t worry; Red Giant is on the case. All of their core plugins will be moving to 64-bit and an affordable upgrade path will be available.

Speed makes all the difference when test rendering and working in AE, especially since I have a 2008 generation Mac Pro. Now if Apple would release those new Mac Pros with 12 RAM slots, we’re on target.

DigiEffects Freeform: For those not aware, this plugin lets you take 2D shapes and warp them into 3D shapes, which can then be manipulated in ways that simulate true 3D. This is a pretty cool thing for FX and motion graphics pros because it used to be a pay-for-it plugin in the 3rd party space and we’re now getting it as part of AE.

RotoBrush: If you’re stuck with roto work, you will definitely appreciate the new RotoBrush. John Dickinson has a nice overview you can look at here.


Illustrator CS5:

Perspective Drawing: As a non-illustrator by trade who likes to occasionally set up bits and pieces of a scene in Illustrator and then move them to AE or other apps like C4D, the ability to draw structures in correct perspective with these automated guides and tools is really helpful. Not to mention it’s just fun and feels like it’s opening up a new area of illustration and drawing not previously accessible to me .

Bristle Tips: Yep… they’re in Illustrator too, not just Photoshop. Realistic brush strokes and styling FTW.

Draw Behind / Draw Inside: This was the kind of stuff that always used to drive me nuts when trying to use AI (as someone who didn’t have formal training as a drafter or illustrator. It’s these type of little details that make Illustrator more accessible for everyone IMO.


Premiere Pro CS5:

If you went to the Adobe booth at NAB, you already know the answers to this one. Improved AVC support, GPU-acclerated editing and rendering while you work, and I can attest first-hand, overall a FAR more stable and speedy product than the CS4 variant when it was originally released.

The Premiere Pro team made a decision to buckle down and really tackle the most common user comments and requests: reducing the buggyness, greatly increase overall speed and performance of common workflows, and new workflows like AVCHD.

Adobe nailed it. I think every app in the Adobe arsenal would benefit from having one cycle like this Premiere cycle, maybe every third or fourth release, to really hammer on performance and reliability across a variety of hardware configurations.


Bottom Line: Adobe’s Creative Suite 5 is the single best upgrade I’ve used since they started bundling everything as the suite, and for apps like Photoshop, the best upgrade I’ve seen in a decade or more. You are doing yourself a disservice if you do not upgrade or at least closely investigate the new features of your favorite apps, because most likely you’re going to be costing yourself time and in some cases output quality vs. older versions. Get it.

Apr 292010

In case you haven’t yet been bombarded by retweets, emails or newscaps on Steve Jobs’ detailed comments on Flash, and why Apple isn’t using it on iPhone and iPad currently, Steve has laid down the proverbial gauntlet. I was surprised to see such public comments, but my opinion is that they are largely valid; I’ll go through some of them below.

Openness / Standards

Adobe’s Flash products are 100% proprietary. They are only available from Adobe, and Adobe has sole authority as to their future enhancement, pricing, etc … they are controlled entirely by Adobe and available only from Adobe. By almost any definition, Flash is a closed system.

… Though the operating system for the iPhone, iPod and iPad is proprietary, we strongly believe that all standards pertaining to the web should be open. Rather than use Flash, Apple has adopted HTML5, CSS and JavaScript – all open standards. Apple’s mobile devices all ship with high performance, low power implementations of these open standards. HTML5, the new web standard that has been adopted by Apple, Google and many others, lets web developers create advanced graphics, typography, animations and transitions without relying on third party browser plug-ins (like Flash). HTML5 is completely open and controlled by a standards committee, of which Apple is a member.

Apple even creates open standards for the web. For example, Apple began with a small open source project and created WebKit, a complete open-source HTML5 rendering engine that is the heart of the Safari web browser used in all our products. WebKit has been widely adopted. Google uses it for Android’s browser, Palm uses it, Nokia uses it, and RIM (Blackberry) has announced they will use it too. Almost every smartphone web browser other than Microsoft’s uses WebKit. By making its WebKit technology open, Apple has set the standard for mobile web browsers.

My Take: Though Jobs says he saves his most important point for last, I think the first point is actually the most important because of the medium in which Flash operates (the web). Flash is undeniably a closed system, regardless of whether you think it works well or not on your platform of choice. Adobe decides (solely) what it does, how it does it and on what platforms. Adobe decides how and when things get fixed or if they get fixed. There are no third parties who have a hand in any of these decisions, ultimately. This is the opposite of how web standards work, where multiple companies and other interested parties define common capabilities and over time implement a stable standard that stands for a number of years, until revised to meet new technological capabilities and user needs.

You can suggest Apple is selling HTML 5 here and maybe they are, but what their selling is something that stands to make everyone’s products and the web in general a more enjoyably experience for developers and users alike. There’s not much getting around where users’ interests lie long-term. It’s with robust, standards-based applications and designs. Adobe can either embrace that idea and bring Flash into the fold somehow, or they can say “Flash player is free, Flash content is great, Flash is everywhere; why should we change?” That would of course, miss the larger point about what’s best for customers long-term.

Missing the Good Stuff

Adobe has repeatedly said that Apple mobile devices cannot access “the full web” because 75% of video on the web is in Flash. What they don’t say is that almost all this video is also available in a more modern format, H.264, and viewable on iPhones, iPods and iPads. YouTube, with an estimated 40% of the web’s video, shines in an app bundled on all Apple mobile devices, with the iPad offering perhaps the best YouTube discovery and viewing experience ever. Add to this video from Vimeo, Netflix, Facebook, ABC, CBS, CNN, MSNBC, Fox News, ESPN, NPR, Time, The New York Times, The Wall Street Journal, Sports Illustrated, People, National Geographic, and many, many others… .

Another Adobe claim is that Apple devices cannot play Flash games. This is true. Fortunately, there are over 50,000 games and entertainment titles on the App Store, and many of them are free. There are more games and entertainment titles available for iPhone, iPod and iPad than for any other platform in the world.

My Take: Jobs is essentially correct here regarding H.264-enabled viewing of existing content, but this is sort of an academic point and more speaks to a CEO hitting the talking points on all the cool stuff his company’s gadgets can do. Point taken but tell us something we don’t know.

A Sturdy Foundation?

Third, there’s reliability, security and performance.

Symantec recently highlighted Flash for having one of the worst security records in 2009. We also know first hand that Flash is the number one reason Macs crash. We have been working with Adobe to fix these problems, but they have persisted for several years now. We don’t want to reduce the reliability and security of our iPhones, iPods and iPads by adding Flash.

In addition, Flash has not performed well on mobile devices. We have routinely asked Adobe to show us Flash performing well on a mobile device, any mobile device, for a few years now. We have never seen it. Adobe publicly said that Flash would ship on a smartphone in early 2009, then the second half of 2009, then the first half of 2010, and now they say the second half of 2010. We think it will eventually ship, but we’re glad we didn’t hold our breath. Who knows how it will perform?

My Take:  Security holes aside (all platforms have them, including OS X) Jobs’ phrasing “why Macs crash” is misleading. In my experience and in listening to that of others, Flash doesn’t cause the entire Mac system crash, but rather the browser it’s operating within to crash. The larger point is that there is substantial evidence pointing to a real performance problem for Flash on OS X and iPhone OS.

The good news is, it appears Adobe is already preparing to do something about it, offering a new Flash player beta for Mac that utilizes some of Apple’s new developer tools to leverage GPU processors to decode video.

IMO, if Apple’s goal is to keep their mobile devices standards-based and to use processing and battery resources efficiently, they are justified in avoiding Flash for now. If Adobe makes meaningful strides towards improving performance and openness of the Flash platform, Apple will certainly be less justified in maintaining such a position over time.

Battery Life

To achieve long battery life when playing video, mobile devices must decode the video in hardware; decoding it in software uses too much power. Many of the chips used in modern mobile devices contain a decoder called H.264 – an industry standard that is used in every Blu-ray DVD player and has been adopted by Apple, Google (YouTube), Vimeo, Netflix and many other companies.

Although Flash has recently added support for H.264, the video on almost all Flash websites currently requires an older generation decoder that is not implemented in mobile chips and must be run in software. The difference is striking: on an iPhone, for example, H.264 videos play for up to 10 hours, while videos decoded in software play for less than 5 hours before the battery is fully drained.

When websites re-encode their videos using H.264, they can offer them without using Flash at all. They play perfectly in browsers like Apple’s Safari and Google’s Chrome without any plugins whatsoever, and look great on iPhones, iPods and iPads.

My Take: It’s difficult to argue against the benefits of adopting hardware-based H.264 encoding / decoding. Whether the 100% difference in battery life is true is up for debate and study. Sounds like some  RDF leaked into the final paragraphs there,  but I wouldn’t be surprised if the percentage was significant either way.  That’s not a slam, simply an observation from my readings in various forums, blogs, etc.

Relying on 3rd Party Technology

… We know from painful experience that letting a third party layer of software come between the platform and the developer ultimately results in sub-standard apps and hinders the enhancement and progress of the platform. If developers grow dependent on third party development libraries and tools, they can only take advantage of platform enhancements if and when the third party chooses to adopt the new features. We cannot be at the mercy of a third party deciding if and when they will make our enhancements available to our developers.

This becomes even worse if the third party is supplying a cross platform development tool. The third party may not adopt enhancements from one platform unless they are available on all of their supported platforms. Hence developers only have access to the lowest common denominator set of features. Again, we cannot accept an outcome where developers are blocked from using our innovations and enhancements because they are not available on our competitor’s platforms.

Flash is a cross platform development tool. It is not Adobe’s goal to help developers write the best iPhone, iPod and iPad apps. It is their goal to help developers write cross platform apps. And Adobe has been painfully slow to adopt enhancements to Apple’s platforms. For example, although Mac OS X has been shipping for almost 10 years now, Adobe just adopted it fully (Cocoa) two weeks ago when they shipped CS5. Adobe was the last major third party developer to fully adopt Mac OS X.

Our motivation is simple – we want to provide the most advanced and innovative platform to our developers, and we want them to stand directly on the shoulders of this platform and create the best apps the world has ever seen. We want to continually enhance the platform so developers can create even more amazing, powerful, fun and useful applications. Everyone wins – we sell more devices because we have the best apps, developers reach a wider and wider audience and customer base, and users are continually delighted by the best and broadest selection of apps on any platform.

My Take: All except for the third paragraph (which is typical Jobsian misdirection and hyperbole), I agree with everything in general terms. Apple would be foolish to hinge the user experience of their devices on a third party media platform or technology. This isn’t limited to just Adobe; it makes good sense for Apple, if they’re concerned about guaranteeing the quality of user experience on their mobile devices, to control the APIs, the hardware and how content is accessed. They can’t just cross their fingers and hope Flash is good enough to provide a smooth user experience for a variety of interactive media and video online, from one release to the next.

As for adoption of Cocoa, Jobs is taking a rather narrow view of “major third party developer” here. Adobe has been slow to adopt it, but many other companies have been also. Microsoft for starters, has only now begun re-writing one small part of their Office Suite in Cocoa (the new toolbar “Ribbon” UI). The underlying code of all the core functionality, is Carbon and has essentially remained unchanged going back about 12 years  if my counting is right. Anyone who has used Office 2008 knows what a sluggish, buggy POS it was when it first came out, and is now (after several updates) barely tolerable for simple productivity workflows. Documents open and save slowly, apps crash and quit slowly. If Apple wants to wag their finger at someone who has missed the Cocoa train in a way that cost users time and frustration, look no further than Redmond IMHO.

The point of all this is that many developers avoid the Cocoa transition like the plague. Transitioning from Carbon to Cocoa is a non-trivial thing and it’s nowhere near as easy as Apple made it out to be way back when, with their “click a button to compile for Cocoa” gibberish at developer conferences, etc.

I’ve been fortunate enough to  work with Adobe’s development teams as a software tester over the past several years, and I know at the developer level, Adobe is a company packed with intelligent, driven people who are extremely passionate about the products they make. I have no doubt if they take an honest look at this situation -in isolation, without respect to their distaste for transitioning to Cocoa- they will realize Jobs is making some valid points which need to be addressed. Hopefully today’s announcement of a GPU-accelerated beta is a step in that direction.

If you missed it, Adobe has released updates for Camera Raw and Lightroom, bumping things to ACR 5.7 and Lightroom 2.7. Aside from support for additional camera types (including the Panasonic G10 and several medium format digital backs), the new versions provide new demosaic algorithms to improve compatibility with the new processing and tools in Lightroom 3 Beta 2. You can read more here.

There’s no denying that the Iceland Volcano which has been erupting and spreading a cloud of airliner-unfriendly ash over Europe, has caused some serious headaches for travelers of all stripes across the continent. However there’s also no denying the inherent beauty and sense of power that comes with volcanic eruptions on Iceland. Because of its unique geography and history, even Hawaii can’t quite match some of the pictures and videos we’ve seen.

Yahoo Editorial has put together a Flikr Gallery of some of their favorite shots.

Here is a collection of incredible lightning-in-cloud shots from National Geographic.

Iceland Volcano Pictures: Lightning Adds Flash to Ash.

And below I’ve also included a video link from photographer and videographer Bryce Lowry.
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I am posting this for no other reason than a recent twitter post reminded me of it, and some of the photography and video is amazing. This is Mike Parsons surfing some of the largest waves ever recorded, off the Cortes Bank, about 100 miles off the coast of San Diego. A huge underwater sea mount causes the swells to rise up and create monster waves. By far the coolest surf video I’ve ever seen.

This video gives an excellent explanation from Parsons and another surf / ocean expert, of how the swells are created and what it’s like to surf there. Seriously extreme environment.
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This CS5 announcements has been a long time coming, and as someone who fortunate enough to work with Adobe as an alpha and beta tester, it was a bit of a relief! :) There is so much cool stuff in CS5 that not being able to share the new capabilities with creative professionals and others like myself, was a test of willpower this cycle. Let me give you a few of the highlights from the new CS5 Production Suite.

Adobe CS5 Suites

Photoshop CS5 in particular is a really excellent upgrade. Probably the best single improvement I’ve seen in 15+ years of using the app. During that time I’ve enjoyed (along with the rest of the pixel-pushing community) the advent of History, the Brush Engine (Ps 7), and many other cool features like Vanishing Point. But CS5 takes the cake. Not only is it fully 64 bit for the Mac and PC now, but the new features are outstanding and applicable to several workflow types.

Photographers: for me the most impressive new capability is the HDR Pro function, which now provides Photoshop users with a truly professional solution for combining exposures to create high dynamic range images. There tone-mapping controls are much improved, there is a deghosting function to remove ghosts from overlaid exposures of moving subjects like trees, clouds or plants. There is also an excellent corner point feature in the Curves that allow for very precise control over image contrast region-by-region.

But that’s not all for photographers by a long-shot. We also have a more accurate an intelligent Refine Selection / Refine Edge command that uses Smart (Edge) Radius technology to quickly isolate your subject from background clutter or color bleed. And you’ve no doubt seen the retoucher’s dream by now, the Content Aware Fill command. Now there will be a lot more creating and a lot less clone, patch, heal… clone, patch, heal. :)

Still not done though. The new Luminance and Color Noise Reduction technology you’ve seen in Lightroom 3 Beta, is available in ACR 6 as well. Photoshop CS5 also has a brand new Lens Correction capability, that profiles individual cameras and lens combos and makes automatic corrections. This feature will become bread-and-butter for many photographers, as Nikon, Canon and others provide robust profiles for their pro zoom and wide angle glass. Last and certainly not least Adobe has created a new Mixer Brush and live Bristle Tips, which allow photographers to create beautiful digital paintings and photo-illlustrations from their pictures!

You can learn about all of these features and more in my upcoming  title: Photoshop 105: Retouching & Image Adjustment!

Designers: if you’re a graphic designer or work with more creative workflows in Photoshop, there are three huge additions to CS5. First the Puppet Warp tool allows you to take a subject that is isolated on a transparent layer, and warp it in realistic ways (not dissimilar to AE’s Puppet tool), while filling the hole in the background layer with Content Aware Fill. There’s also Repousse, which addresses the long-standing request for a text and shape extrusion tool in Photoshop. Be warned though: you’ll want to use a computer with a pretty powerful GPU to get the most from Repousse or other Photoshop 3D features. And the same Mixer Brush and Bristle tips noted above, can allow Photoshop artists to create painterly creations from scratch, without the need for 3rd party apps. Or at least the need will be less frequent.

After Effects and Premiere Pro CS5 also have major improvements to offer for video editors and motion graphics artists, including both being optimized for 64 bit computing, GPU acceleration and in some features, multi-core CPU acceleration. For Production Suite users, you’re going to want to have at least 12GB of RAM available on your machine to get the most from Photoshop, AE, and Pr at the same time. Remember: RAM is still relatively cheap so it’s a great way to boost performance for not a lot of money.

Video / FX: For those who are given the unenviable task of Rotoscoping, the new RotoBrush in After Effects allows you to intuitively paint around a subject and as the frames advance, using various slider settings and brush tweaks to let AE “fill in the blanks” and follow your subject around. Maybe more important in my mind is the improved performance and stability across the range of functions for Premiere Pro, and the improved speed of Dynamic Link workflows for AE – Premiere and Encore.

In the weeks ahead I will be posting free demos over various CS5 functions and linking them up here at Colortrails, so check back often!

This short film from Patrick Jean and One More Production was originally listed at Daily Motion I think. I caught site of it at Motionographer. This is one of those concepts that is so original in its design and execution that you can watch it over and over and not really tire of it (at least from the perspective of a curious artist). It incorporates both video (obviously) and motion graphics / 3D to create a barrage of 1980s and 1990s video game “bits” that convert to pixels a modern city an ultimately the planet. Fantastic stuff! Hope you enjoy it as much as I did.


PIXELS by PATRICK JEAN.
Uploaded by onemoreprod. – Watch original web videos.

Want to learn why 64 bit processing is important to you as an After Effects user? John Dickinson has posted an exclusive interview with Michael Coleman, Product Manager for Adobe After Effects. I will post a link to the second part of this interview as soon as it’s available.

[Here is Part 2 of the Michael Coleman Interview!]

It’s almost here folks, and you’re going to love it. Adobe’s Creative Suite 5 will be launched at a media event (you can register for the Adobe TV feed) on April 12. You can read more about the new CS5 products and see some demo and promotional videos on their new CS5 Launch Site. Including the new Mercury playback engine (which is GPU accelerated) in Premiere Pro CS5. Additionally, keep your eyes peeled for brand new content from Colortrails.com the week of April 12. I’ve got some great stuff I’m cooking up, so I hope you’ll drop by!

Beta 2 shows you a more finalized version of the impressive new Luminance Noise Reduction controls, as well as other enhancements not seen in the previous beta. Definitely worth a look, especially if you’ve been using the first beta part time for the improved Develop features. Probably the most exciting development is the addition of new Tethered Shooting controls (which  work well with a D700 in my testing). Below are the official bullet points from Adobe.
• Improved performance throughout the application for faster importing and loading of images

• Native tethered shooting support for select Nikon and Canon DSLR cameras

• Luminance noise reduction has been added to the previous color noise reduction improvements available in the first public beta

• Support for importing and managing video files from DSLR cameras for better overall photographic workflow control

• Improvements to the import experience in the first beta to reflect public feedback

• Improved watermarking functionality from the first beta to reflect public feedback

Mar 162010

Today Intel released its latest workstation and Xeon server CPUs, using the new Westmere micro-architecture. Westmere is a “process shrink” of the previous Nehalem architecture, which provided many performance improvements over prior generations. This means not only will we see higher performance and clock-speeds from the new Xeon parts, but also, lower power consumption on some models.

It seems likely Apple will be announcing new Mac Pros with both single CPU quad, single CPU hex (6 core), and dual hex CPU configurations in the near future. Having 12 processing cores at one’s disposal will make a big difference for Cinema 4D users, and users of other multi-core-aware applications. Hopefully Apple will have listened to the many complaints that arose about the prior generation’s odd RAM configurations and inflated price points. Who knows, maybe there will even be a fast SSD option for the first time!

Mar 022010

Yesterday I found (via retweet) a site called Timescapes.org, which is run by an independent filmmaker, Tom Lowe. He has posted some samples on his web site, and has announced on his that he’s just hit the road for some extended shooting opportunities for his first film “Southwest Light”.

Timescapes Timelapse: Mountain Light from Tom Lowe @ Timescapes on Vimeo.

Saw this on Twitter from MoGraph TV linking up to it. This is a real-world video that blends perfectly suited music into a series of landscape video clips, most presumably from South America. This is further motivation to find a way to get down to Chile and explore the region of Patagonia one day. Before I kick the proverbial photo bucket! Enjoy.

Feb 192010

Happy 20th, Photoshop! It’s amazing to think that roughly 17 years have past, since I tried Photoshop for the first time (and later tore the shrink-wrap off my first copy (version 3, left). I was introduced to Photoshop while working  at the University of Iowa’s Mac computing lab. Weeg, the source of all digital goodness in the known universe. Well, it was for me, anyway.

Seventeen years is a long time in software terms, but I can still remember the excitement of installing Photoshop on my “bad-ass” PowerPC Mac, clocking in at a massive 66MHz and sporting a whopping 16MB of RAM (I think). Any faster and I’m pretty sure that computer would’ve warped the space-time continuum, making time travel possible. Truthfully, tech specs weren’t the rage back then as they are today. All that mattered was I needed to ace my magazine and newspaper layout class, and Photoshop (along with the venerable Aldus Pagemaker) were going to help me do that. No more long trecks to the lab.

Apple Quicktake by H.G. Wells?

It was around that time Apple had also introduced the very first digital camera. It was about the size of a ham sandwich and looked a  bit like one of the alien ships from the original War of the Worlds. I think it clocked in under 1 megapixel and many images turned out noisy and a little blurry from the tiny lens. But that didn’t matter either.

What mattered was the sense of possibility that it brought. To that point I hadn’t been formally introduced to the art of taking pictures, and it would be another five or six years before I decided to take that career path in earnest, but the idea… that we could snap pictures without film, bring those into our fancy Power PC computers right away, and work with them in Photoshop. That… that was just the BOMB. Think about the buzz surrounding the iPad today, and multiply the initial euphoria by five. Today we expect to be amazed and given perfectly functional products from day 1. Back then it was all new, all an experiment.

I remember one of the first images I created with my “digital arsenal”, Photoshop at the tip of the proverbial spear. It was a logo for a product concept that we had to invent, and then create some basic packaging and collateral for. Our journalism professor was nothing if not pragmatic. She knew that having the ability to design and layout commercial concepts, as well as double-trucks for a newspaper or magazine, would be important for her students. So I came up with a futuristic software company, and I used Photoshop to create a simple graphic. It was actually a pretty cool looking, orange and yellow spiral galaxy, on a black background (to blend in with the brochure background). Used up a lot of ink! So with just a little bit of color, texture and pattern applied to the canvas and this thing called the Twirl filter, my journey had begun.

Save Ferris (from Windows Paint)

Thereafter, many a flat-looking scan and layout were bettered by the inclusion of Photoshop in my workflow. Without so much as a darkroom and cheap enlarger, I quickly learned how to improve color and contrast, crop away distractions, apply subtle (and sometimes no-so-subtle) effects. Remember that back in the early 90s, this was pioneering stuff. Prior there had been Windows Paint, and that’s about it. Remember Ferris Bueller’s masterpiece?

Fast-forward more than 15 years and I’ve photographed places as far flung as the Napali Coast and the Welsh Highlands, taught photography classes, and authored several training videos, with more on the way. Photoshop is just as big a part of what I do as my camera and keyboard, and helps to make every good shot I create, and every tutorial, that much better or more interesting.

Thank you, Adobe, for 17 (really 20!) years of amazing software advances and creative possibilities!

Feb 122010

Blizzards, blizzards everywhere! It’s the dead of winter and for many photographers who don’t work in studios, that means a reduced travel schedule and fewer days in the field. Sometimes the gray skies and snow can keep us locked up in our offices, doing other things for weeks. But I think winter is a great time to reinvigorate your sense of purpose and to find new sources of inspiration for what you love to shoot. Take a look at what other photographers and publications are doing, and start planning for the first spring thaw! Maybe take a long weekend somewhere you’ve always wanted to photograph so when the weather turns you’re back in the mindset of capturing the people, places or moments you most want to capture! Or, maybe take a look at your current gallery and think about how you might want to change the vibe or new directions you might want to take for 2010.

Feb 112010

Nikkor 24mm f/1.4G ED Prime

Earlier this week Nikon USA announced two newly designed professional wide angle lenses. For anyone who needs to match up their latest Nikon DLSR with a fast, light weight wide angle prime, there is the AF-S NIKKOR 24mm f/1.4G ED. This should be a really excellent street photography lens, capable of bringing in large structures and other surroundings, and in very low light. It’s not cheap though, at over $2000. B&H is listing no ship date as yet.

I’ve always had mixed feelings about  prime lenses. On the one hand they can produce slightly cleaner and sharper images than the equivalent focal lengths on competing zoom models. (In this case the AF-S NIKKOR 24-70mm f/2.8G ED, or the lens I’m about to discuss below, also new from Nikon this week). The other obvious advantage is that they’re much lighter and allow you to be more nimble with your DSLR. Anyone who has lugged around a backpack or Pelican case full of Nikkor Zooms knows how nice it would be at times to walk around unencumbered by packs or cases, shooting as you find things. Less to worry about in terms of theft as well, especially in urban areas.

The downside is, if you realize you can only get so close to a subject or you want to abstract away some of the background, you’d be better off with a zoom in many cases. Convenience and some extra clarity vs. creative flexibility and extra weight, that’s what it boils down to. One of my photography professors also used to note that sometimes, to really learn to see things with one lens, and really explore with that lens, can make you a better photographer. You don’t rely on the zoom capability as a “crutch” for getting close to something or choosing a better angle. I’ve found this to be true at certain points in my career. Zooms can make you lazy, even as you’re walking around, exploring a given area.

AF-S Nikkor 16-35mm f/4G

The other new wide angle lens Nikon announced this week is the AF-S NIKKOR 16-35mm f/4G ED VR, which can be seen as an alternative to the popular ultra-wide AF-S NIKKOR 14-24mm f/2.8G ED. The newest offering is about $600 cheaper, while offering arguably a more practical focal range for things like street photography, landscapes and the documentary work. Also the VR capability is huge when you’re in tight spaces where a tripod just isn’t practical. I think I’d go for 16-35 and VR at one less stop, vs 12-24 in most shooting scenarios….

The only minor drawback is that you lose a stop, making this perhaps a less practical choice when photographing in dimly lit areas or at night in the city. Then again, it’s very easy to push DSLRs like the D700 and D3 series to ISO 1600 and beyond, and achieve really clean looking results even in low light. Add a bit of judicious noise reduction in ACR or Lightroom and perhaps losing that extra stop doesn’t mean as much as it used to for certain types of photography. This lens is definitely on my B&H watch list. If I make the purchase I’ll be reviewing it right here, probably in late spring. Will keep you guys posted.

Feb 102010

Motionographer posted a piece on this amazing video (which I think was made for a Massive Attack song, though I’m not familiar with their recent work). Basically it’s an entire city, frozen in time during a moment of destruction and chaos, and the camerawork flies you through it, showing everything from a flock of birds fleeing from the top of a light pole, to tank blasts and people panicking on the streets. Really amazing work. The abstract style is really interesting as well, dropping cinematic realism for more angular, symbolic shapes and visual relationships.

Apple has announced the long-awaited Aperture 3 upgrade at this week’s Macworld Expo. Many photographers, myself included, were starting to wonder if Aperture was dead in the water. Thankfully there’s still a real competition in this space. I strongly believe that products like Aperture and Lightroom will be much better from rev to rev with both players actively pursuing market leadership. This was true of Freehand and Illustrator back in the day, for those old enough to remember Aldus (and later Macromedia, which was acquired by Adobe). So this is good news for photographers, regardless of which product you have preferred to this point.

A free trial version will be available soon. The $99 upgrade for existing users brings a pretty nice array of new features, including native 64-bit support, comprehensive GPS support with an enhanced version of the Places feature we have in iPhoto, comprehensive video support, non-destructive adjustment brushes and a bunch of other cool-sounding additions. (We’ll see how cool they actually are in practice soon. I’ll be ordering a copy today and reviewing it here in the coming weeks.)

Aperture 3 From Apple

I haven’t had much time to look into it but the Nikon D3s has in recent weeks finally become available from some retailers. It’s a very similar camera to the original D3, however it has a newer sensor with a higher ISO capability (comments I’ve read on noise performance are promising), and new HD 24fps video capabilities.

There is some vignetting (to be expected in such low light situations and likely very long lenses being used) but this video is really pretty remarkable when you consider how clean it looks. Makes me think twice about ever springing for a new video rig from Sony when it is so much more natural and convenient to shoot video with the same camera you use for stills….

…because they’re getting screwed by Hollywood it seems, despite their work being almost omnipresent in any succcessful film you see today, critically acclaimed or otherwise. Tim Clapham (of Cinema 4D and FXPHD fame) Tweeted this morning about an open letter to James Cameron (creator of movies like Titanic and Avatar, which have had enormous box office success  and which rely as heavily on CG and VFX as much as they do upon a good story being told).

To my amazement (I have no Hollywood connections so rarely hear about these issues), Visual Effects Artists and CG production people still do not get paid royalties for these amazing films! Executives, actors, writers, musicians… they all (rightly) receive royalties, but somehow the system is so screwed up that the people who create the very worlds and characters that make a movie like Avatar possible, do not get paid royalties. This is borderline criminal IMHO, and well past the boundaries of unethical.

Sometimes the big shots who make the rules in Hollywood need to have their bells rung a little and reminded that we -the people who pay their salaries by going to the theater, buying DVD and Blu-Ray discs and buying PPV movies from our TV providers – care about this issue. But the larger problem here is most people don’t know how badly VFX and CG artists are being shorted here, even creative professionals. That’s why I’m posting this on my blog; I encourage you to do the same or at least Tweet about it. It’s the least we can do, given all the amazing experiences these artists have given to us.

Feb 032010

High Dynamic Range imaging (also called HDR or HDRI) is a way to “bridge the exposure gap” for scenes that have too great a tonal range to be captured by today’s best DSLRs. For example you may have a sunset where the highlights, when properly exposed, do not allow for the detail to come forward in the shadow areas (or vice-versa).

HDR imaging was designed to circumvent this problem by leveraging your camera’s bracketing features to get a good exposure for each of the highlight, midtone and shadow regions, and then merging them together. From there special software algorithms are used to “tone map” the camera data into a visually appealing shot.

Now, photographers who use OS X can add a new HDR tool to their digital photography arsenal. HDR PhotoStudio 2 offers a completely self-contained solution for selecting, merging and tone-mapping raw files on the Mac. After working with the trial version for a couple hours, I think this software has real potential. There are a couple quirks and bugs, but that’s to be expected with any new software, and considering they’ve knocked $50 off the price for a limited time you can’t beat it. The feature set is pretty deep, including sharpening and noise reduction, and all of the tools are fairly straight-forward.

Feb 022010

Who says motion graphics types have all the fun? Thanks to Motionographer for posting this. It’s an excellent combo of real footage and CG, seamlessly wrapped together. If I were to ever get a job in video production and FX, this is exactly the type of thing I’d want to work on, short of cinematic projects. Short, simple and really effective. Then it’s onto the next project! Enjoy.

FX Coaster Commute FTW.

Jan 292010

I’m not normally what you’d call a Daring Fireball junky, but he does definitely bring an interesting perspective to certain Apple events and products. Wednesday he penned a pretty interesting and insightful overview of the iPad experience and what it means for Apple and for all of us. Aside from his description of the iPad’s app performance and responsiveness (“It is fast, fast, fast.”), he correctly notes the huge implications of Apple using its own A4 chip, both in terms of what it could mean for iPhone and for mobile computing in general.

I will go a step further and say that with the economics of social networking pretty much an uncontrolled wild-fire right now (it’s the reason why this 30-something re-built his blog and joined Twitter for the first time this year), Apple could truly become the driving force behind all or most of the computing hardware we use in the years ahead. Funny to think about that, after 20 years of listening to people say “Apple is dead.” Well, maybe 15 years… no one has said that in at least five years as far as I can remember!

Creative types, say hello to the Netbook Killer and the next big advancement in indie publishing and learning: the Apple iPad. A big part of what we all do in the digital imaging world, is share knowledge about our artistic works, and of course our favorite creative software. Apple is going to change how we look at creative training, as well as sharing our art, with their new “tablet”, called the iPad.

For starters this probably spells the end of bulky, less-than-engaging text books. Five major publishers have already signed on with Apple, more are sure to follow. This will change the way we enjoy novels, newspapers and even tutorials!

A few of the highlights include: custom Safari browsing and email apps; iBooks with graphical bookshelf and built-in bookstore; GPS with Google Maps; calendar software; iTunes with built-in storefront; games; custom iWork Suite for getting work done; Wi-Fi + 3G; IPS display at ~130ppi; 10 hours battery life; and quite a lot more.

The FCC hasn’t finished approving it yet so we won’t be able to get one until March or April, but this offers so much value -even the highest end model is under $900!- I’m sure they will be back-ordered almost immediately once the availability notice goes out. :) I for one will be ordering on Day 1 so I can test it out and see what’s possible as both a creative professional, and author / instructor. Definitely have plans to bring my new book to this medium if the ePub format allows it. More to come soon!

PhotoTuts author Andrew Gibson has posted a nice tutorial that demonstrates a simple means of “combining exposures”, by creating two different files from the same raw file and then bringing them together in Photoshop. While this technique typically won’t produce as dramatic a result as exposure-bracketing a scene from your DSLR, and then using HDR techniques to bring them all together, it’s also much quicker than most HDR techniques. So if you don’t have a lot of time to dedicate but want to get more from a scene you captured that has a higher dynamic range, it’s worth a look.

Canon has opened up a fun contest for photographers and video enthusiasts. The idea is to show an interesting still image, and then capture with video the story behind it. At least that’s how I’m interpreting it! Vincent LaForet shows us how it’s done, though he likely used some type of production crew, cast and lighting setup for this demo. Many won’t have that luxury but still this is a great chance to show what you can do if you’re into story telling and cinematography. Grab your gear (or borrow some), get your friends and go for it!

Jan 162010

Since Adobe’s recent announcement that Premiere Pro and After Effects will be 64 bit applications, and other developers are following suit with their plugins, some have wondered if they will have to fork out the money for a brand new computer. In most cases, if you’re already using a decent machine for your digital photography, 3D or motion graphics work, the answer will be “no”. :)

SOME 64-BIT BACKGROUND:

• The primary benefit of 64 bit applications is NOT speed. In other words 64 bit processes do not magically run twice as fast as 32 bit processes (don’t let any sales wonk tell you otherwise; they’re in business to sell, not inform). However, the 64 bit applications gain access to (basically) unlimited RAM! That’s a really big deal if you’re opening up huge project files with lots of images, audio, etc. With 64-bit, fewer operations rely on the (relatively slow) hard disk data rates that 32-bit apps often require. Instead, your open file data and operations are piped directly into and out of RAM, assuming you have enough installed.

• For Mac users and PC users who have a Core 2 Duo or later processor, your machine should already be 64-bit capable. For that reason most creative types will NOT need a new computer, unless their computer is quite a bit older (say 4 or 5 years). However, you WILL want to install more RAM if you have space for it. You may be forced to remove (and eBay) old, smaller capacity modules (say 512MB or 1GB) and replace them with higher density modules (2GB or 4GB), especially on laptops. As much as you can afford, get it. RAM is cheap compared to other components or a new Mac / PC. Also IF you are buying a new Mac or PC anyway, DON’T load up on RAM from Apple, Dell, Alienware, etc. If you know how to install it yourself, buy RAM from Crucial.com, Other World Computing, or other reliable retailers. They usually offer much better prices than OEMs. :)

• For Mac and PC users, both Snow Leopard (10.6) and Windows 7 are full 64-bit operating systems. While parts of older systems are 64 bit, these two are the ones you’ll want to use if you’re going to be using mostly 64 bit apps like AE and Lightroom going forward. Especially on the Mac side. On the PC side sometimes people find a “perfect setup” with their XP Pro and don’t want to tinker with it for fear of crashes or viruses, but generally these are both good systems IME and probably worth an upgrade. Note that many 64 bit applications mayoffer the option to run in either 64 bit or 32 bit mode, so you’ll want to check that on an app-by-app basis before deciding what to do with your system. Your buddy’s priorities may be a little different than yours in that regard.

• For AE users, be aware that all of your favorite plug-ins will probably require an update to run properly in the 64 bit version of AE, so they may not be available right away. The good news is Andrew Kramer over at Video Copilot, is going to do just that (upgrade his plug-ins right away), and the cost to you will be nill!

Broadcast Slang 101

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Jan 152010

John Dickinson of Motionworks put together a fun list (way back in the summer of ot-8… when broadcast wuz simple, sonny!) of  production phrases and definitions that might be helpful if you’ve ever wondered what the hell a “bumper” was, if not the front or rear end of a car. :) Check it out.

FXPhD instructor and Luxx founder Tim Clapham has some cool videos up on Vimeo, including a look at a piece that he did for 3D World Magazine, which is something I just learned about for the first time. And here I thought all the C4D learning avenues out there were on the web! :)

Jan 142010

… there are many thousands of people suffering from the earthquake that struck Haiti (a place whose citizens were already very much in need even before the quake).  Hop over to your favorite news outlet and have a look at some of the stories and pictures from the last few days. The BBC has some painfully stirring photos on their site and I’m sure the NYT and others do as well. It’s a heart-breaking situation and one that all of us can pitch in a little bit to make better, even if indirectly.

I’ve donated in the past via the International Red Cross, for the tsunami disaster a few years ago as well as other disasters. This organization mobilizes quickly and has the resources necessary to bring medical aid, food and shelter anywhere in the world. If you can spare even $10, it can help. Help the people of Haiti.

Jan 132010

Resistance is futile, I guess! Never thought I’d end up tweeting about stuff (thought that’s what a blog was for!) but so many of my peers and businesses in general are doing this now that it makes sense to put forth a bit of effort and link things up a few times a week. Hope you guys get something from the tweets. Ironically, right now the only thing I’ve tweeted about is this blog! But that will change soon enough. Just getting things underway today. In the weeks and months ahead, I’ll throw some more fun / opinion stuff on the Colortrails tweetosphere.  -Dan

One of the things I’ve mentioned in my training videos, articles and in forthcoming tutorials, is the quality of lighting and how important that is. Just watching videos like those from Gkaster and Alex Roman, we can see that the quality and character of the light plays a huge role, not just in traditional photography but in motion graphics and 3D renderings as well.

I was thinking about this over the weekend and it dawned on me that I should mention a really fantastic educational resource for lighting, which will be useful to anyone who is an aspiring photographer, cinematographer or effects artist. There is a great book written on Lighting, called Light: Science & Magic, from Focal Press (one of my favorite publishers for creative books, along with Peachpit and Lark). This book does a fantastic job of explaining characteristics of light and methods for manipulating and controlling in in specific situations. It’s definitely worthwhile, especially if you’re a student and your prof’s chosen text isn’t really brimming with good information on lighting. Few texts are in my experience. :)

Thanks to Motionworks’ John Dickinson for linking up to what I think is one of the more inspirational motion graphics portfolios that I’ve seen in a while. Seems between this chap, Alex Roman and others it’s been quite a motivational week. Nothing like snapping out of the holiday funk with some real projects to get your creative energies flowing! The portfolio in question belongs to French MG shop Gkaster. Here’s the Gkaster Vimeo Index, and their 2009 Reel, seen below.

The thing that really strikes me about this work is the attention to small details in the textures and particles, and especially the lighting. Further proof that as in photography and cinematography, lighting can be everything in motion graphics and is everything in 3D. There’s a lot to learn from here and is further motivation to look into technologies like Vray for C4D if you haven’t already. ;)

Jan 092010

Hoping for some improved editing capabilities and improved playback and rendering performance in Premiere Pro? Adobe has developed something called the Mercury Engine, which simultaneously leverages the power of both multi-core CPUs and Nvidia GPUs (Quadro 4800 and GTX 285 for Mac users), to dramatically improve the responsiveness of Premiere Pro’s real-time editing and playback capabilities. Adobe offered up a preview of this technology, showing a future version of Premiere Pro, in December. Can’t wait to tell you more about this new 64-bit beast in the months ahead!

DP Review is reporting that Nikon recently released a slew of firmware updates for their high-end DSLRs. The key thing about this particular set up updates is that it’s much more substantial in terms of the number of functions it affects, vs. a typical update.

White Balance and ISO Performance, Auto-focus performance, GPS support, long-exposure support, and several other areas have been tweaked. Definitely worth a download to keep your camera performing at its peak, and something I’ll be doing shortly for my  D700….

3rd & 7th Update

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Jan 072010

Well it appears that this has been a work in progress for many months (maybe years), and that our 3D guru Alex Roman actually uses a pseudonym for publishing public works. There is quite a nice interview, complete with screen caps of his model wireframes and finished renders,  and some explanation of how he created this amazing work, at autodesk.com.

But probably the biggest point of interest for 3D artists who want to follow in Alex’ footsteps, is that if you use Cinema 4D (which is generally a much more friendly application than 3DS Max), you can take advantage of the amazing Vray rendering technology just as 3DS and Maya users can. There is a plugin called VrayforC4D that is available for C4D R11, and R10.x. The latest is version 1.1, and it is a little pricey (over $1000US) but the plugin has been tightly integrated with the Cinema UI and makes it very easy to use in your workflow. Version 1.2, which will be the version that supports C4D R11.5, should be out in the near future I’m hoping. Gotta start saving some pennies for this as architectural photography is a big part of what I do.

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