Short Film - Yaadhumanaval

நீ எனக்காக மட்டும்

Shooting a Big-Budget Hollywood Film with Canon DSLR Gear

Shooting a Big-Budget Hollywood Film with Canon DSLR Gear

லைட்டிங் பண்னாம படம் எடுக்கலாம். ப்ளீச் ஆகாது, லைட் அன்டர் ஆகாது,.

The RED Report: Adam Wilt on EPIC, HDR and the Future of Cinemaphotography


It’s easy to forget with the constant barrage of DSLR news and videos that the originators of the “large CMOS chips can replace film!” movement are still hard at work behind closed doors. Yes, I’m talking about RED, whose first camera, RED ONE, has shot thousands of features and is set for an upgrade soon with the release of its successor, EPIC. Digital imaging titan Adam Wilt stopped by the RED studios last week, and he has since posted a pair of articles that give a terrific look behind-the-scenes at what’s going on in REDland. While I’m currently shooting with a 5D, lord willin’ and the creek don’t rise, I’ll be shooting on RED sooner or later. Here’s why:

From the very beginning, RED’s attitude has been similar to mine; that is, we both operate under the assumption that innovation comes from the outside because established corporations are too large to move quickly. Which is not to say RED is under-funded or is a tiny mom-and-pop shop, but compared to global corporations like Canon, Panasonic, and Sony, the Jim Jannard startup is much smaller and more agile.

Cinevate HDSLR Products

Wilt’s first article, on EPIC, is a good reminder that RED is hard at work on some beastly cameras sure to shoot hundreds of features in the years to come. EPIC is a 5K camera that claims 13.5 stops of dynamic range and has twice as fast a CMOS reset as RED ONE (meaning, rolling shutter problems are half as pronounced as they were on a RED ONE, which was already several times faster than my 5D). By comparison, in video mode the 5D gets roughly 10 stops of dynamic range, suffers from terrible line aliasing, and despite shooting 1.9K resolution files (1920×1080), really only gets about 1K.1 And of course EPIC shoots up to 120fps in REDCODE RAW format, as opposed to low-bitrate h.264.

While I’m not one to view resolution as the most important spec — I think some low-budget productions are actually helped by shooting in lower-def formats, because you can’t see, for example, how cheap the sets are — it helps to see just how much greater 5K is in terms of resolution:

Quite the difference. And while RED’s high-end EPIC cameras will be the first out the door, the indie-friendly, high-res SCARLET series will follow — and both are “DSMC,” meaning, they shoot stills as well as video. Comparing the EPIC build to DSLR ergonomics (or lack thereof), Wilt observes:

The handheld EPIC is half the weight of the RED ONE and a fraction of the size. By DSLR standards it’s a hefty thing; the body alone is something like five or six pounds, twice the weight of a top-end DSLR like a Canon 1D or Nikon D3, and three times the weight of a Canon 5D MkII or a Nikon D300. Add a still-camera lens, at something on the order of 1.5-3.5 pounds, and the differential is more favorable; the EPIC is more like half again to twice the weight of a comparably tricked out Canon or Nikon. Heavy, yes, but not armbreakingly so… The edgy, rectilinear lines of the grip have been softened just enough that I don’t feel any discomfort; indeed, the thing is easier to hold than five-pound handycam-style cameras like the Panasonic HVX200 or Sony EX1.

This smaller form factor comes at a price, however; the EPIC is half the size of a RED ONE and several times smaller than the competing ARRI ALEXA, and less space = more heat. So the camera uses internal fans to cool itself (this isn’t a DSLR, where the low prices justify overheating problems), and there are presumably noise and mechanical issues that can arise from such a system. Regardless, Wilt is a digital imaging genius, and has been consistently on point with his evaluations of cameras for the past decade (I used to buy cameras based primarily on his reviews in DV Magazine). So I don’t take it lightly when he says:

The more I watch, the more excited I get. The EPIC itself is exciting in the manner of any whizzy new hardware, but it’s an everyday sort of excitement. As I watch this clip I have the same sort of feeling I had when I first saw HD in 1982, or played back a DV tape in 1995: an Important Milestone sort of excitement; the impression that Something Is Happening Here.

It’s interesting, a few times at Independent Film Week I was asked what I was planning to shoot 3rd Rail on. Considering 3rd Rail is still very much in development, I couldn’t give anyone a definitive answer, because camera technology is changing so rapidly. If we were shooting tomorrow? My 5D Mark II, because of its sensitivity in low-light situations (3rd Rail takes place mostly underground on a New York City subway). If we were shooting in six months? Perhaps a RED with a M-X chip. In a year? Who knows. The only real answer I could give about what we’ll shoot 3rd Rail on would be, “not film.”

Which is not to say film doesn’t have its advantages, both obvious and less apparent. It’s because of gems like this (said in reaction to RED’s new HDR footage) that I put Wilt atop the heap of blogging digital video technicians:

I had the impression (also subject to further experimentation) that the image looked slightly more natural than run-of-the-mill 24p digital camera panning, more like a film camera’s image would. The blur of a moving image, captured on film, has a smooth “fade-in, fade-out” quality due to the penumbral sweep of the rotating shutter; the ends of motion trails in digital capture have harder edges from the “instant-on, instant-off” integration period of an electronic shutter, which give 180-degree electronic shutters a harsher, more staccato motion rendering.

Thank you Adam. Ever since RED debuted, I’ve always found the motion rendering of its 24p images to be too sharp. To my eye, pans always had some sort of jutter or staccato-like quality to them that film doesn’t, despite the fact that the frame rate and shutter speed should have been equivalent. For example, watch the HD trailer of Knowing, the RED-shot Nicholas Cage sci-fi film. The shots in the classroom look to “stuttery” to my eye — apparently because of this electronic shutter (I don’t see any reason why they would’ve shot that scene at anything other than a 180-degree shutter). Now I have my answer as to why — thanks to Adam.

As for the HDR (High Dynamic Range) functionality of EPIC, which allows shooter to get several more stops of dynamic range, RED posted a clip to the internet that anyone can download and watch. Download it here. Watch it. It doesn’t look great, right? Well, that’s because it’s supposed to look flat. The point of the clip is that the highlights, which would normally be blown out into electronic white, are retained. This gives you the most flexibility in post, when you grade the image into your final look. Here’s Wilt on the process by which RED is able to get up to 18 stops of dynamic range out of a scene:

This sample clip is flat, lacking in contrast; it’s probably not something you’d use directly. The point of it is to capture as much dynamic range in the image as possible, so you have more freedom in grading to play with the tonal scale as you wish. What RED has done is come up with a way (currently the subject of a patent application, so I cannot be more specific) of getting “two different exposures that are conjoined”, a normal exposure to capture the bulk of the tonal scale, and a much shorter exposure to capture highlight detail that would otherwise be blown out. These two exposures can be combined in-camera, which RED calls “EasyHDR”, or stored as two separate streams for combining in post with more control: “HDRx”.

Check out this fascinating frame grab from the file, which at first glance looks like a frame-blended image:

But it’s not frame-blended; what’s going on is the much shorter HDR exposure is accounting for the sharp highlights, and the blurred portion of the frame is what you’d normally see in single-exposed, non-HDR acquisition. Wilt sums up RED’s new HDR process by saying, “it’s actually a bit disturbing how well it works.” It looks like real-time motion capture of HDR images is here, and it doesn’t require two DSLRS tethered to a beam-splitter. I’m not saying everyone should buy a RED and automatically turn on HDR mode(s) — it’s a specialty tool for specific situations, but it should be a very useful one at that. Unfortunately, these HDR modes may not even make it into the lower-priced SCARLET cameras.

Wilt goes much deeper into RED’s HDR process, and his post on EPIC is also full of a lot of valuable information on where RED is headed. If you’re considering stepping up to something substantially more capable than a DSLR, I recommend checking out his explorations in depth:

"புதிய தொழில்நுட்பம் உங்கள் மீது உருண்டோடும் போது, நீங்கள் அந்த
உருளையின்(ரோட் ரோலரின்) ஒரு பகுதியாக இல்லாவிட்டால் தரையின் ஒரு பகுதியாகி
விடுவீர்கள்"



“Once a new technology rolls over you, if you're not part of the steamroller, you're part of the road.” - Stewart Brand

---------------------------------------------------------------------------------------------------------------

திரைப்படத் துறையில் நாளுக்கு நாள் தொழில்நுட்பம் வளர்ந்துக்கொண்டே
வருகிறது. குறிப்பாக 'டிஜிட்டல்' திரைப்படம் என்னும் நுட்பம் வளர்ந்துவரும்
வளர்ச்சியை நாம் கவனிக்க தவறிவிடக்கூடாது. 'டிஜிட்டல்' திரைப்படம் என்பது
ஒளிப்பதிவு, ஒலிப்பதிவு, வண்ணம் ஒழுங்கமைத்தல்(color correction) மற்றும்
திரையிடல் என அனைத்தையும் தான் குறிக்கிறது.


ஒரு திரைப்படத் தயாரிப்பின் மொத்த வேலைகளையும் 'டிஜிட்டல்'
தொழில்நுட்பத்தில் செய்துவிட முடியும் என்பது என்றைய நிதர்சனம்.
'டிஜிட்டல்' தொழில்நுட்பம் இத்தனை தூரம் வளர்ந்துவிட்ட பிறகும், நாம் ஏன்
அதை செயல்படுத்தாமல் அதைப்பற்றி பேசிக்கொண்டு மட்டும் இருக்கிறோம்? என்பது
மிக முக்கியமான கேள்வி.


எது எப்படியோ, டிஜிட்டல் தொழில்நுட்பத்தில் பிம்பத்தை பதிவுசெய்ய இன்னும்
இங்கே தயக்கம் இருக்கிறது. அதாவது ஃபிலிமில் படமெடுப்பதிற்கு பதிலாக
டிஜிட்டலை பயன்படுத்துவதிற்கு கொஞ்சம் தயக்கம் காட்டப்படுகிறது. இங்கே
குறைந்த செலவில் படமெடுப்பதிற்குகாக மட்டுதான் டிஜிட்டலை
பயன்படுத்துகிறார்கள். பொருளாதாரம் பிரச்சனை இல்லை என்றால் ஃபிலிமையே
எல்லோரும் முன்மொழிகிறார்கள்.


ஒரு துறையில் தொழில்நுட்ப வளர்ச்சி என்பது அத்துறையை அடுத்த கட்டத்திற்கு
கொண்டு செல்வதாக இருக்கும், இருக்கவேண்டும். அந்த வகையில் இந்த டிஜிட்டல்
தொழில்நுட்பம் திரைப்படத்துறையை அடுத்த கட்டத்திற்கு நகர்த்தும் விதத்தில்
இருக்கிறதா? இருக்கிறது என்றால் ஏன் இந்த தயக்கம்? இந்த தயக்கம்
நியாயமானதுதானா? போன்ற கேள்விகள் தொங்கி நிற்கத்தான் செய்கின்றன.


மறுக்க முடியாத உண்மை ஒன்று இருக்கிறது. ஃபிலிம் தரத்தை இதுவரை எந்த
டிஜிட்டல் தொழில்நுட்பமும் சந்தேகத்திற்கு இடமின்றி சமன் செய்யவில்லை. ஒரு
பேச்சுக்கு வைத்துக்கொள்வோமே, டிஜிட்டல் தொழில்நுட்பம் முன்பே
கண்டுபிடிக்கப்பட்டிருந்து, நாம் இந்தனை காலமாக அதைத்தான் பயன்படுத்தி
வந்திருந்தோமென்றும், இப்போது புதிதாக 'ஃபிலிம்' தொழில்நுட்பம் கண்டு
பிடிக்கப்பட்டிருந்தால் என்ன ஆகியிருக்கும் என்றால்? நாம் அத்தனைபேரும்
'ஃபிலிமை' தலையில் தூக்கி வைத்து கொண்டாடி இருப்போம். ஆகா இது ஒரு அற்புதம்
என்று அதிசயப்பட்டிருப்போம்.


உண்மைதான், ஃபிலிம் அத்தனை சக்தி வாய்ந்ததுதான், பல சாத்தியங்களை 'காட்சி
பதிவுசெய்தலில்' அது கொடுக்கிறது. அதை யாரும் மறுத்துவிட முடியாது.
என்றாலும் நாம் அதை தாண்டி செல்லவேண்டிய காலகட்டத்தில் இருக்கிறோம்.
முந்தைய படி எத்தகைய உறுதியானதாகிருந்தாலும் நாம் அடுத்த படியில்
காலெடுத்துவைத்துதான் ஆக வேண்டும், அப்போதுதான் மேலேற முடியும், அடுத்த
கட்டத்திற்கு நகர முடியும். அதை தவிர்த்து முந்தைய படி பாதுகாப்பாக
இருக்கிறது, நான் இங்கேயே நின்றுக்கொள்கிறேன் என்று சொல்லுவது அவரவர்
சவுகரியம், ஆனால் அது விவேகமோ வளர்ச்சியோ ஆகாது.


இப்படி நாம் பலவற்றை சிறந்தது என்றாலும் கடந்துவந்திருக்கிறோம், நம்
வாழ்கையிலேயே எண்ணற்ற உதாரணங்கள் உண்டு, மண்பாண்ட சமையல், கைகுத்தல் அரிசி,
பட்டுபுடவை, மருத்துவம் என பல நல்ல விஷயங்களை நாம் கால ஓட்டத்தில் தாண்டி
வந்திருக்கிறோம். அதற்கான நியாயமான காரணங்களும் உண்டு என்பது நம்
நம்பிக்கை.


அதேபோல் தான் ஃபிலிம் எத்தகைய சிறப்பு வாய்ந்ததாகிருப்பினும் விரைவில் நாம் அதை தாண்டி வந்துவிட வேண்டிய சூழலில் இருக்கிறோம்.


இத்தகைய பீடிகையும், சமாளிப்பும், சிபாரிசும் டிஜிட்டல்
தொழில்நுட்பத்திற்கு தேவையா? அது அத்தகைய நிலையிலா இருக்கிறது?. அதன் தரம்
சிபாரிசு தேடும் நிலையில் தான் இருக்கிறதா? என்று என்னை கேட்டால்...அப்படி
இல்லை என்றுதான் சொல்லுவேன்.


டிஜிட்டல் தொழில்நுட்பம் ஃபிலிம் தரத்திற்கு சில காரணிகளில் வேண்டுமானால்
ஈடுசெய்யாமல் இருக்கலாம், ஆனால் பெரும்பாண்மையானவற்றில் ஈடுசெய்துவிட்டது
என்பதும், சில விதங்களில் ஃபிலிமை விட டிஜிட்டல் மேம்பட்டது என்பதும், பல
சாத்தியங்களுக்கு வழியேற்படுத்தி கொடுத்திருக்கிறது என்பதும் இன்று உலகம்
ஒத்துக்கொண்ட உண்மை. அதுவும் குறைந்த விலையில்.

டிஜிட்டல் திரைப்படத்தயாரிப்பை தரத்தோடு செய்ய முடியும் என்ற எண்ணம் 'ரெட்
ஒன்'(RED ONE) வருவதிற்கு முன்பாக வெறும் நம்பிக்கையாக மட்டுதான் இருந்தது.
'சோனி' 'பேனாசோனிக்' போன்ற நிறுவனங்கள் 'HD' தொழில்நுட்பத்தை
முயன்றுக்கொண்டிருந்த காலகட்டத்தில் 'ரெட் ஒன்'
அறிமுகப்படுத்தப்பட்டது(2007).
'ரெட் ஒன்' 'HD' தொழில்நுட்பத்தை தாண்டி டிஜிட்டல் திரைப்படத்தை
கொண்டுச்சென்றது. அது 'RAW' format-ஐ பயன்படுத்தி 4K தரத்தை எட்டியது
இப்போது 'SONY' (F35), 'ARRI'(D21, Alexa), 'Panavision'(GENESIS) போன்ற பல நிறுவனங்கள் டிஜிட்டல் கேமராக்களை அறிமுகப்படுத்திவிட்டன.



இதில் இடைசொருகளாக, எதிர்பாராத ஆச்சிரியமாக 'Canon'
நிறுவனம் 'EOS 5D/7D' மார்கொட்டுக்கு கொண்டுவந்து இன்பதிர்ச்சி
கொடுத்திருக்கிறது. சிறிய வடிவத்தில் போதுமான தரம் என்பது இதன்
சிறப்பம்சம்.

CANON 5D


Red One 'EPIC':
'ரெட் ஒன்' கேமராவில் மூன்றில் ஒருபங்கு அளவு கொண்ட சிறிய கேமரா இது. ஆனால் அதை விட அதிக தொழில்நுட்ப வளர்ச்சி கொண்டது.


* 5K ரெசுலூஷன்.(5120 x 2700 PIXELS)
*120fps - நொடிக்கு 120 ஃபிரேம்ஸ் வரை படம் பிடிக்கலாம்(5K). 225fps வரை 2K-இல் படம்பிடிக்கலாம்(UP TO 225FPS @ 2K)
* ஒவ்வொரு ஃபிரோமும் 14MP கொண்டது.
*புகைப்படம் எடுக்கவும் பயன்படுத்தமுடியும்.
*13 stops 'native dynamic range' கொண்டது.
*3D படபிடத்தலுக்கும் பயன்படுத்தலாம்.
*'Multi-camera synchronization'
*MYSTERIUM-X® - என்பது அதன் புதிய 'CCD'. ஒளியை பதிவுசெய்ய பயன்படும் சென்சார்.
*இதன் format ஆன 'R3D'-ஐ கிழே இருக்கும் எல்லாம் எடிட்டிங் மெம்பொருளையும்
பயன்படுத்தி எடிட் செய்யலாம். (Final Cut Pro, Avid DS, Adobe Premiere and
AfterEffects, Sony Vegas, Assimilate Scratch, Filmlight Baselight,
Quantel Pablo, Da Vinci, Nuke, REDCINE-X, ROCKETCINE-X, DVS Clipster,
Nucoda, Mystika, Storm)

* லென்ஸ் மௌண்ட், பேட்டரி, சேமிக்கும் சிப், ஹார்டிஸ்க் என எல்லாம் பாகங்களும் தேவைக்கு ஏற்றபடி மாற்றி கொள்ள முடியும்.

*எலட்டரானிக் ரெட் லென்ஸையோ அல்லது 'கெனான்' அல்லது 'நிக்கான்' லென்ஸையோ பயன்படுத்தி 'Auto Focus' 'Auto Exposure' வைக்கலாம்.
*HDRx™ தொழில்நுட்பத்தில் 18 stops ஒளிவித்தியாசம் கொண்ட காட்சிகளை படம்பிடிக்கமுடியும்.
HDRx™ தொழில்நுட்பம் என்பது 'High-dynamic-range imaging' என்பதின்
சுருக்கம். அதாவது ஒரு வெளிபுற படக்காட்சியை பதிவுசெய்ய முயற்சிக்கு போது,
அங்கே பல அளவுகளில் ஒளி மாறுபட்டிருந்தால் அதை எல்லாம் ஒளி அளவுகளையும்
நாம் பதிவுசெய்ய முடியாது. ஏனெனில் அதிக ஒளியை சரியாக பதிவுசெய்ய நாம்
முயன்றால் குறைந்த ஒளிப்பகுதி பதிவாகாது, குறைந்த ஒளியை பதிவுசெய்ய
முயன்றால் அதிக ஒளிப்பகுதி 'Bleach' ஆகிவிடும்.
இந்த குறைய பாட்டை போக்க 'Still Photography'இல் 'HDR' தொழில்நுட்பத்தை
கொண்டுவந்தார்கள். இதன் மூலம் பல மாறுபட்ட அளவுகள் கொண்ட ஒளிகளை தனித்தனி
படங்களாக எடுத்துக்கொண்டு, பிறகு கணினியை பயன்படுத்தியோ அல்லது அந்த
கேமராவில் இருக்கும் வசதியை பயன்படுத்தியோ ஒரே புகைப்படமாக மாற்ற முடியும்.
இதன் மூலம் பல அளவுகளில் ஒளியமைப்பு கொண்ட காட்சியை சிறப்பாக
பதிவுசெய்யமுடியும்.
thanks- vijai amstrang

Canon 7D HDR Custom Settings

Zoom H2 test

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்: எமது நீ எனக்காக மட்டும் திரைப்படத்தின் இறுதிக்கட்ட பணிகள் நடப்பதால் என்னால் கட்டுரை எதுவும் எழுத இயலவில்லை. அதனால் இந்த போஸ்ட்.

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்: எமது நீ எனக்காக மட்டும் திரைப்படத்தின் இறுதிக்கட்ட பணிகள் நடப்பதால் என்னால் கட்டுரை எதுவும் எழுத இயலவில்லை. அதனால் இந்த போஸ்ட்.

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்: லைவ் ரெகார்டர்

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்: லைவ் ரெகார்டர்

Zoom H1 Handy Recorder Price, Specifications and Reviewshttp://www.latest-price.com/cameras-electronics-gadgets/wp-content/uploads/2010/12/zoom-h1-handy-recorder-now-shipping-storypic.jpghttp://www.latest-price.com/cameras-electronics-gadgets/wp-content/uploads/2010/12/zoom-h1-handy-recorder-now-shipping-storypic.jpg
Posted by Dimple

Like all Zoom recorders, the H1′s onboard microphones are configured in an X/Y pattern for stunning stereo imaging. Because both mics are arranged on the same axis, they are equidistant from the sound source for perfect localization and no phase shifting. The result is great stereo recordings with natural depth and accurate imaging.


SPECIFICATIONS:

* Simultaneous Recording Tracks: 2
* Simultaneous Playback Tracks: 2
* Functions: Lo-cut Filter, Auto REC Level Marker
* Recording Format: WAV(Quantization: 16/24bit, Sampling Frequency: 44.1/48/96kHz) MP3 (Bit Rate: 48/56/64/80/96/112/128/160/192/224/256/320kbpsSampling Frequency: 44.1kHz)
* Playback Format: WAV (Quantization: 16/24bit, Sampling Frequency: 44.1/48/96kHz) MP3 (Bit Rate: 32/40/48/56/64/80/96/112/128/160/192/224/256/320kbps, Sampling Frequency: 44.1/48kHz)
* A/D Conversion: 24bit, 128times oversampling
* D/A Conversion: 24bit,128times oversampling
* Signal Processing: 32bit
* Recording Media: microSD card (16MB – 2GB), microSDHC card (4GB – 32GB)
* Display: 127 segment custom LCD (with backlight)
* Built-in Stereo Mic: Unidirectional condenser microphone
* Gain: 0 to +39dB ( Minimum gain with digital attenuation: -28dB)
* Maximum Sound Pressure Level: 120dB SPL
* Mic / Line Input: 1/8″ stereo phone jack (Plug-in power supported)
* Input impedance: 2kO (Input level: 0 to -39dBm)
* Phones / Line Output: 1/8″ stereo phone jack Output Load Impedance: 10kO or more Rated Output Level: -10dBm
* Phones Output Level: 20mW + 20mW into 32O load
* Built-in Speaker: 400mW 8O
* USB Interface: Mini-B type (USB2.0 High Speed compatible), Mass Storage Class operation
* Power Requirements: LR6 or Ni-MH AA battery x 1, or AC adapter (AD-17, USB to AC type)
* Battery Life (LR6 batteries): 10 hours (MP3), 9.5 hours (WAV)
* Dimensions: 44(W) x 136(D) x 31(H)mm vWeight: 60g (without batteries)

Price in Rupees : Rs.6237 – (Rs.6486 with VAT)
Price in Dollar : $99 – $109
Price in Euro : 73 – 80 (Euro)
Price in Pound : 62 – 68 (Pound)
Price in Rubble : 2970 – 3182 (Rubble)
Price in Yen : 8250 – 8910 (Yen)
Incoming search terms:,h1 handy recorder cost,zoom recorder price in india,zoom handy recorder h1 price,zoom h1 specifics,zoom h1 spec,zoom h1 recorder review,zoom h1 mic spec,zoom h1 handy recorder review,zoom h1 handy recorder price,Zoom H1 Handy Recorder buy,zoom h1 bitrate,sony zoom H1 recorder specs,handy camera prices

More information at : Zoom H1 Handy Recorder Price, Specifications and Reviews | Latest Camera Price

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்: எமது நீ எனக்காக மட்டும் திரைப்படத்தின் இறுதிக்கட்ட பணிகள் நடப்பதால் என்னால் கட்டுரை எதுவும் எழுத இயலவில்லை. அதனால் இந்த போஸ்ட்.

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்: எமது நீ எனக்காக மட்டும் திரைப்படத்தின் இறுதிக்கட்ட பணிகள் நடப்பதால் என்னால் கட்டுரை எதுவும் எழுத இயலவில்லை. அதனால் இந்த போஸ்ட்.

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்

சேலம் நியூ மாடர்ன் பிலிம் மேக்கர்ஸ்

லைவ் ரெகார்டர்

டப்பிங் தியேட்டரில் தான் ஒரு படத்திற்கான ரெக்கார்டிங் செய்யப்படவேண்டும் என்பதில்லை. கைக்கு அடக்கமான சிறிய கருவிகளை கொண்டு ப்ரபசனல் தரத்தில் ஒலிப்பதிவு செய்ய முடியும். விவரமாக தமிழில் பிறகு எழுதுகிறேன். தற்போதைக்கு ஆங்கில பதிவு.

Product Description
From the Manufacturer
The latest addition to Sony’s family of portable audio recorders, the PCM-D50 recorder adopts many of its features and style from the highly acclaimed PCM-D1 model, including rugged construction and cool design. It’s the ideal choice for making live musical, nature sound and field recordings. The PCM-D50 is a 96 kHz/24-bit recorder fitted with two-position (X-Y or Wide) stereo microphones, 4 GB of internal flashmemory and a Memory Stick Pro-HG Duo™ slot for additional storage. Operating on four AA alkaline batteries, it provides 14 hours of record operation at 44.1kHz 16bit recording. Unique features such as a two-position stereo microphone, a prerecord buffer that records five seconds of audio before hitting the record button, digital pitch control, and A/B segment/ repeat offer great portable possibilities for songwriters, musicians and journalists. To complement the PCM-D50 recorder, new optional accessories include a remote control, tripod stand, and microphone windscreen.

Features:

* Superb Recording Quality
The PCM-D50 is a 96kHz/24 bit linear recorder that records in standard .WAV file format and surpasses standard DAT sound quality. A low signal-to-noise ratio provides virtually noise-free recording quality.
* Expandable Memory
With a 4GB built-in memory, the PCM-D50 records up to six hours when recording in 44.1kHz 16bit CD quality mode. And the Memory Stick Pro-HG Duo Slot provides up to 4GB memory expandability.
* Built-in Microphones
The PCM-D50 recorder comes equipped with a high sensitivity, built-in, two-position electret condenser stereo microphone with flexible rotation for either X-Y or Wide stereo positions.
* Playback Functions
The PCM-D50 recorder provides MP3 playback, a special Digital Pitch Control feature that slows down playback without changing pitch, and an A/B segment repeat feature that allows you to mark and repeat segments.
* Versatile Recording Functions
The Dual Digital Limiter feature helps prevent distortion, a pre-record buffer records five seconds of audio before hitting the record button, and Super Bit Mapping technology helps achieve, wide, dynamic range.
* PC/Macintosh Compatible
The PCM-D50 utilizes a simple drag and drop file transfer via high-speed USB connection.
* Rugged Construction
Constructed of lightweight metal (aluminum), the PCM- D50 recorder is built rugged to withstand the demands of pro applications.

Specifications

* Built-in Microphones -- Electret Condenser microphones. High sensitivity -35.0 dB/Pa 1kHz (typical); Maximum input level 120 dB SPL; Self noise level 20.0 dB SPL (A); microphone frequency response 20 Hz to 20 kHz.
* Recording Media -- Built-in flash memory 4 GB, Memory Stick Pro-HG Duo (Not Supplied), Stereo Recording. The PCM-D50 is compatible with Memory Stick Pro-HG Duo MS-EX4G (4GB), MS-EX2G (2GB) , MS-EX1G (1GB) and Memory Stick Pro Duo (High Speed) MSX-M2GNU (2GB), MSXM1GNU (1GB)
* Sample Rates -- 22.05 kHz, 44.1 kHz, 48 kHz and 96 kHz
* Quantization -- 16-bit linear, 24-bit linear
* Recording File Format -- Linear PCM Stereo .WAV
* MP3 Playback -- Compatible bit rates and sampling frequencies; MPEG Version 1 Layer 3: 32, 44.1, 48kHz with 32 to 320 kbps (VBR). MPEG Version 2 Layer 3: 16, 22.05, 24 kHz with 32 to 160 kbps (VBR).
* Maximum Record Time using Internal 4 GB Flash Memory:
o 22 kHz 16-bit Recording Mode: 12 hours and 55 minutes
o 44.1 kHz 16-bit Recording Mode: 6 hours and 25 minutes
o 44.1 kHz 24-bit Recording Mode: 4 hours and 15 minutes
o 48 kHz 16-bit Recording Mode: 5 hours and 55 minutes
o 48 kHz 24-bit Recording Mode: 3 hours and 55 minutes
o 96 kHz 16-bit Recording Mode: 2 hours and 55 minutes
o 96 kHz 24-bit Recording Mode: 1 hour and 55 minutes
* Frequency Response (Line Input to Line Output) -- For Fs = 22.05 kHz: Frequency Response = 20 Hz to 10 kHz; For Fs = 44.1 kHz: Frequency Response = 20 Hz to 20 kHz; For Fs = 48 kHz: Frequency Response = 20 Hz to 22 kHz; For Fs = 96 kHz: Frequency Response = 20 to 40 kHz
* Signal-to-Noise Ratio (Line Input to Line Output) -- 93 dB or greater (1 kHz IHF-A) when set to 24-bit
* Total Harmonic Distortion (Line Input to Line Output) -- 0.01% or below (1 kHz, 22 kHz LPF)
* Wow and Flutter -- Below measureable limit (less than +/-0.001% W. Peak)
* Microphone Input (stereo mini jack) -- Input impedance: 22k, rated input level: 2.5mV, minimum input level:0.7mV. Supports external mic plug-in power.
* Headphone output (stereo mini jack) -- Rated output level: 400 mV, maximum output level: 25 mW +25 mW or more, load impedance: 16 ohms.
* Line Input (OPT) -- Analog input - Input impedance: 40k ohms, rated input level: 2.0V, minimum input level: 450 mV. Optical Digiital Input - Input level: -24.5 dBm to -14.5 dBm, Absorption wavelength: 630 nm to 690 nm.
* Line Output (OPT) -- Analog output - Output impedance: 220 ohms, rated output level: 1.7V, load impedance : 22k ohms. Digital optical output - Output level -21 dBm to -15 dBm, Emission wavelength: 630 nm to 690 nm.
* USB -- Hi-speed USB, mass storage class
* Power Requirements -- DC IN 6V, Four AA (LR6) alkaline batteries (supplied), Four nickel metal hydride rechargeable batteries NH-AA (not supplied)
* Power Consumption -- 0.75W
* Dimensions -- 2 7/8" x 6 1/8" x 1 5/16" (w x h x d) not including projecting parts and controls
* Mass -- 12.88 oz (including batteries)

Product Description
The PCMD50 portable audio recorder is ideal for capturing live musical and theatrical performances, or for journalists recording in the field. Features include 96 kHz-24 bit recording capability, 4GB internal Flash Memory (records up to 6 hrs@ 44.1KHz) , removable Memory Stick Pro HG Duo storage (optional) and a built-in USB port compatible with Macintosh and WindowsPC operating systems. The PCMD50 is lightweight, free of all drive mechanisms, equipped with highly sensitive electret condenser microphones, and designed with circuits that process stereo sound with virtually no extraneous noise. Supplied with AC Adapter, 4 XAA Batteries, USB Cable and Operation Manual
Buy This Product and Rela

எமது நீ எனக்காக மட்டும் திரைப்படத்தின் இறுதிக்கட்ட பணிகள் நடப்பதால் என்னால் கட்டுரை எதுவும் எழுத இயலவில்லை. அதனால் இந்த போஸ்ட்.

Canon Rebel T3i / EOS 600D announced and previewed
Monday, 7 February 2011 05:00 GMT < Previous Ne

முன் வந்த hdslr காமிராக்களில் ஓளிப்பதிவு துல்லியமாக இருந்தாலும் அதில் சில குறைகள் உண்டு. முக்கியமாக ஜூம் இன் , ஜூம் அவுட் போக முடியாது. தற்போதைய புது வரவான canon 600d காமிராவில் அது நிவர்த்திக்க பட்டுள்ளது. இதல் வேறு சில முன்னேற்றங்களும் உண்டு. முக்கியமாக .. பேக் லைட்டை குறைத்து supject கு லைட்டை அதிகரித்து கொள்ளும். [ reflactor இல்லாமல் படம் எடுக்கலாம்.] மேலும் இதில் உள்ள வசதிகளை பற்றி பிறகு எழுதுகிறேன்.

Capturing stunning images and Full HD video has never been easier, thanks to a range of automatic shooting modes that beginners can use to instantly express their creativity. A Feature Guide has been added to the user interface to help you learn about the camera as you use it, helping to develop your photography skills. With an unrivalled range of EF lenses, Speedlites and other accessories to enhance your shooting, the EOS system holds the key to the perfect shot – wherever your journey takes you, and whatever the scene before you.

First-class image quality
The EOS 600D provides all the tools to capture beautiful stills and HD movies. Amazing picture detail is provided by a high-resolution 18 Megapixel (MP) APS-C CMOS sensor, which combines with 14-bit DIGIC 4 processing so you can capture the wonder of a beautiful blue sky and enjoy exceptionally smooth gradients between colours. The camera’s low light shooting capability enables you to achieve clear, natural images in darker conditions, with an ISO range of 100-6400 that can be further expanded to 12800.

Great for shooting pets, children or wildlife, the EOS 600D allows high-speed shooting at 3.7 frames per second (fps), enabling you to capture fast-moving action. Each shot will be captured in sharp detail thanks to the 9-point Auto Focus system, which can track subjects using the auto focus points across the frame. Even more accurate focusing is providing by an extra-sensitive central AF Sensor, while the iFCL Metering system from the semi-professional EOS 7D features a 63-zone Dual-layer metering sensor, helping you to ensure your shot is correctly exposed, even in difficult lighting conditions.

Easy shooting, amazing results
New fully-automatic Scene Intelligent Auto mode makes it easy for you to capture outstanding quality shots with almost no effort. Allowing you to focus exclusively on framing your picture, Scene Intelligent Auto analyses the scene for you and automatically picks the best settings to capture it. Your images will look better than ever thanks to a new ‘Auto’ Picture Style, which automatically makes fine adjustments to colours while you focus on capturing the scene you want.

The EOS 600D also makes it easy for you to instantly add creativity to your pictures. Change the atmosphere of a scene with Basic+, which allows you to pick the mood you want to achieve from one of eight options, including ‘Warm’, ‘Cool’ or ‘Intense’. Whether you’re shooting landscapes, portraits, or close-up macro shots, Basic+ makes it easy to capture the perfect image.

Simple, flexible, artistic
Ideal for beginners, a Feature Guide has been added to the EOS 600D’s menu system, offering a brief description of each key setting and its effect, helping you learn more about the camera as you use it.

You can also shoot overhead, at ground level or around corners with the EOS 600D’s
Vari-angle 7.7cm 3:2 ratio ClearView LCD. Rich on-screen detail is provided in 1.04 million-dot resolution, and the side-mounted hinge allows users to comfortably and creatively shoot from a range of unusual angles, or when using a tripod. A smudge-resistant fluorine coating and three anti-reflection coatings also ensure you can see the LCD in clear detail, wherever you are.

Allowing you to apply your own stamp to your shots, the EOS 600D is perfect for experimenting with different Creative Filters. Fish-eye-Effect creates a barrel-shaped distortion similar to a fish-eye lens, and you can instantly turn a scene into a small-scale model with Miniature Effect. Toy Camera Effect, Grainy B/W and Soft Focus offer additional options, allowing you to experiment with your images in a number of different ways.

Capture stunning detail with EOS movie
Capture your memories in superb clarity with Full HD (1080p) movie mode, while a dedicated movie shooting mode means you can switch between stills and HD video instantly. You can also reach distant subjects using new Movie Digital Zoom function, which crops the centre of the sensor from 3x to 10x while still maintaining Full HD quality – great for capturing wildlife on a safari holiday.

Enabling you to capture more engaging videos, Video Snapshot mode shoots video in two, four, or eight second segments, creating clips that are short, easy to edit and of similar lengths to clips used in most TV programmes. As they are recorded, the clips are saved to a Video Snapshot Album and combined into one movie. A soundtrack can be added by choosing from tracks uploaded to the camera and the result viewed on the camera’s LCD, or on an HDTV via the built-in mini HDMI connection.

The EOS system – unrestricted creativity
As your skills develop, the EOS 600D grows with you. As part of Canon’s EOS range, the camera is compatible with the unrivalled selection of EF lenses and a range of accessories, so you can add to your kitbag as your ability and style develops. Over 60 lenses provide you with unlimited creative possibilities: wide-angle lenses capture sweeping landscapes, macro lenses capture the most intricate beauty of the tiniest creatures, and telephoto lenses make distant scenes appear as if they are right in front of you.

Using Canon’s range of Speedlite flashes and the EOS 600D’s Integrated
Speedlite Transmitter, you can also experiment with different lighting techniques, or use your flash off-camera, to give your subject or scene a completely different look and feel. With the Easy Wireless function, the camera will also take care of the complicated settings whilst you focus on framing and lighting your scene as you wish.

Introducing the new EF-S 18-55mm f/3.5-5.6 IS II
Launching with the EOS 600D is the EF-S 18-55mm f/3.5-5.6 IS II – a new kit lens that provides excellent performance for beginners. A lightweight construction makes it easy to carry, and Canon’s acclaimed optical Image Stabilization also minimises the risk of blur, allowing photographers to use shutter speeds 4 stops slower while still maintaining a blur-free shot. The EF-S 18-55mm f/3.5-5.6 IS II will succeed the existing EF-S 18-55mm f/3.5-5.6 IS in Canon’s lens line-up.

EOS 600D – key features:

* 18-megapixel CMOS sensor
* Scene Intelligent Auto mode
* Full-HD EOS Movie
* On-screen Feature Guide
* 3.7fps continuous shooting
* Wide-area 9-point AF
* 1,040k-dot vari-angle 7.7cm (3.0”) screen
* Basic+ and Creative Filters
* Built-in wireless flash control

Technologies explained

Canon CMOS sensor
Exclusively designed and manufactured by Canon to work in combination with its own DIGIC processors, Canon’s CMOS technology integrates advanced noise reduction circuitry at each pixel site, delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.

Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting the signal to the image processor. Noise is reduced, power consumption is limited and faster frame rate potential is increased.

DIGIC 4
Image data captured by the CMOS sensor is processed by Canon’s purpose-built
DIGIC 4 image processors before being written to memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, tonal gradation, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times.

DIGIC chips work with a high speed image buffer, reading, processing, compressing and writing image data fast enough to keep the buffer clear during long continuous shooting bursts. In addition, because DIGIC 4 integrates all key processing functions, power consumption is kept to a minimum.

iFCL metering system with 63-zone Dual-layer Metering sensor
The iFCL system uses focus, colour and luminance information to determine consistently exposed shots. All focus points provide distance information to the metering system to determine the location of the subject and allow the algorithm to weight the exposure accordingly.

Both the EOS 600D and EOS 1100D models feature a metering sensor with 63 zones, compatible with all nine AF points. Typically, metering sensors are more sensitive to red subjects which can lead to overexposure. The EOS 600D and EOS 1100D counter this with the dual layer sensor, which has one layer sensitive to red and green light and one that is sensitive to blue and green light. The metering algorithm then compares the level of the two layers and adjusts the meter reading accordingly.

EOS Integrated Cleaning System
The new EOS 600D features the EOS Integrated Cleaning System, used to combat sensor dust in three important ways: Reduce, Repel and Remove.

* Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself
* Repel - Anti-static technologies, including a magnesium fluoride coating, are applied to the low-pass filter covering the front of the sensor so as not to attract dust
* Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately as the shutter release is depressed

The front surface of the EOS 1100D’s low-pass filter features a fluorine coating to minimize dust adhesion to the sensor. Both the EOS 600D and the EOS 1100D feature an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software.

Vari-Angle Clear View LCD (EOS 600D only)
The EOS 600D features a 7.7cm (3.0”) 3:2 Vari-Angle Clear View LCD screen offering approximately 1.04 million dot resolution – allowing high-quality viewing of images, and focus checks, in playback. With a wide 160º angle of view, images on the Clear View LCD can be easily reviewed in a vast range of environments with reduced ghosting and reflections, thanks to three anti-reflection coatings and a smudge-resistant fluorine coating. Marks on the screen are prevented and colours on the monitor appear natural and close to the sRGB colour space. The vari-angle screen has been designed to open sideways, enabling photographers to shoot from unusual angles, even while the EOS 600D is attached to a tripod or battery grip. The screen flips out 175° and can then rotate 90° forwards or 180° backwards, allowing the photographer to view the screen from low or high angles, and even from in front of the camera.

EOS Movie
EOS Movie allows users to record Full HD (1920x1080p) movies on the EOS 600D and HD (1280x720p) movies on the EOS 1100D. The EOS 600D offers full manual control of exposure and frame rates of 30, 25 and 24 fps at full resolution, with 60 and 50 fps available at 720p resolution. The EOS 1100D has a choice of 30 and 25 fps frame rates.

When filming Full HD footage with the EOS 600D, Movie Digital Zoom can be used to magnify the centre of the sensor by 3-10x while maintaining Full HD quality.

EOS Scene Detection Technology (EOS 600D only)
EOS Scene Detection Technology automatically analyses faces, brightness, movement, contrast and distance in the scene, with information provided as feedback to the Scene Intelligent Auto mode.

Scene Intelligent Auto (EOS 600D only)
Scene Intelligent Auto takes the information gathered by the
EOS Scene Detection System and determines the best settings to capture the scene. For example, when shooting portraits, the settings are adjusted to make the skin appear more natural.

Picture Styles
Picture Style presets can be likened to different film types – each one offering a different colour response. Within each selectable preset, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s Standard Picture Style is designed to deliver immediately-usable JPEG images without need for additional processing. When shooting RAW images Picture Styles can be revised with Canon’s Digital Photo Professional software.

The presets available with both the EOS 600D and EOS 1100D are:

* Standard: For crisp, vivid images that don’t require post-processing.
* Portrait: Optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones.
* Landscape: For punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines.
* Neutral: Ideal for post-processing.
* Faithful: Adjusts colour to match the subject colour when shot under a colour temperature of 5200K.
* Monochrome: For black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green.

A new Picture Style has been added to the EOS 600D – Picture Style Auto. This new Picture Style makes fine adjustments, based on the EOS Scene Detection System’s analysis, to create a Picture Style for the particular image. Three User Defined Picture Styles can be used to store customised pre-sets created using the supplied Picture Style Editor, or any of the pre-sets available for download from Canon’s web site: www.canon.co.jp/Imaging/picturestyle/file/index.htm

Basic+
Basic+ is a creative imaging function that was first introduced in the EOS 60D, which makes it easier to create the desired image effects when shooting a scene. With Basic+, photographers have the option to apply a creative intent to their images whilst using the scene-based modes.

* Shoot by ambience: exposure compensation and white balance are adjusted according to preset styles to create ambience or tone in the image
* Shoot by lighting or scene type: a simplified form of white balance, which allows new digital photographers to change the white balance settings according to more understandable terms such as “Daylight”, “Shade”, “Cloudy”, “Sunset”, “Tungsten light” and “Fluorescent light”

Auto Lighting Optimizer (ALO)
Auto Lighting Optimiser analyses the image and selectively adjusts the brightness to achieve a more even result. For example, when a person is backlit, ALO detects the face and increases its brightness to ensure a more pleasing image.

Lens peripheral illumination correction
The lens peripheral illumination correction function uses the power of the DIGIC 4 image processor to improve image quality by maintaining evenness of illumination from corner to corner, even when shooting wide open with a zoom lens. When shooting in RAW this correction can be further adjusted using
Digital Photo Professional.

Highlight Tone Priority
With Highlight Tone Priority the dynamic range of the highlight tones is extended. The gradation between 18% greys (standard exposure) and the highlights are improved, reducing loss of detail in highlights. This enables a picture with a large proportion of highlights, such as a brightly-lit bride in her wedding gown, to show greater detail in the white and grey areas of the photo, making the image more attractive and natural.

Feature Guide
The Feature Guide acts as an on-board guide by displaying a simple description of each mode and the functions on the Quick Control Screen.

Creative Filters (EOS 600D only)
EOS 600D provides a range of creative effect filters which can be applied to RAW images and all JPEG images. Since the filter can be applied after the shot is taken, users can apply different filters to the same image and see the effects:

* Fish-eye effect: Creates a barrel-shaped distortion similar to a fish-eye lens. The effect can be adjusted, and, depending on the level of distortion, the image periphery may be cropped.
* Grainy B/W: Creates a grainy, black-and-white image. The effect can be emphasized by adjusting the contrast.
* Soft focus: Produces a soft result. This can be increased by adjusting the blur.
* Toy camera effect: Provides colour cast typical of toy cameras. The four corners are also darkened. The image looks soft with a subtle grainy look. The colour cast can be changed to cool or warm colours.
* Miniature effect: Can be set by the user to make part of the image look sharp. The orientation (vertical or horizontal) of the area can be changed by pressing the INFO button.

Video Snapshot (EOS 600D only)
The Video Snapshot feature enables the user to capture short video clips of 2, 4 or 8 seconds in length. These short snapshots are then stitched together into one file as a Video Snapshot Album, creating a dynamic, fast-paced movie sequence. Once video clip duration has been selected, every time the Movie shooting button is pressed a video clip of that length will be captured. For example, if a 4 second Video Snapshot is selected, the Video Snapshot Album will be created consisting of 4-second movie clips. This creates a much more engaging movie and encourages the user to think about the shots they take.

When playing a Movie, Video Snapshot Album or Slideshow, background music (BGM) can be applied, whether on the camera’s screen, or on a larger HDTV using the camera’s HDMI connection. To do this, users must convert audio files*1 to the supported .WAV format, before using EOS Utility software to upload the files to the camera’s SD card ready for selection during playback. A choice of five music tracks supplied with the camera can also be used.

Digital Photo Professional Software
Digital Photo Professional (DPP) software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation, noise reduction and colour tone – plus the ability to view Auto Focus points on an image and apply un-sharp mask sharpening. The Lens Aberration correction tool allows precise correction of different types of distortion caused by certain lenses. Newly added is a set of distortion corrections for use with the EF 8-15mm f/4L USM Fisheye. These corrections allow you to produce fisheye images for different uses.

* Emphasize Linearity: Converts the image to a ‘Central Projection’ style image. This creates a full frame image from a circular fisheye image.
* Emphasize Distance: This converts the image into an ‘Equidistant Projection’ image. This method preserves distance relationships between objects, but removes much of the distortion. It is particularly useful for creating star maps and solar path diagrams.
* Emphasize Periphery: This converts the image into a ‘Stereographic Projection’ image. This allows positional relationships on a spherical surface to be displayed correctly, such as an image of a globe.
* Emphasize Centre: This converts the image to an ‘Orthogonal Projection’ image, enlarging the centre of the image. This is useful for city planners to measure the luminance of an area by the sky to ensure adequate lighting.

Images can be recorded in camera with sRGB or Adobe RGB colour space. Images can also be rotated and trimmed allowing photographers to correct framing and horizons as part of the RAW processing. Digital Photo Professional also provides full support for the rating system within the EOS 600D and EOS 1100D allowing star ratings to be added or edited for easier sorting.

Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and
Wide Gamut RGB colour spaces. ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied.

EOS Utility
The latest version of EOS Utility provides essential support for Live View remote shooting (with the ability to overlay an image to assist with alignment of subsequent shots during product photography), camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system. Images can also be tagged with EXIF data, including copyright information. Newly added is the ability to register background music, with users now able to add or remove .WAV format files from the playlist used by the camera*1.

Picture Style Editor
Picture Style Editor allows photographers to create individual Picture Styles that meet their personal requirements. Each Picture Style contains detailed information on how specific colours should be represented within an image. Once new Picture Styles have been created, they can be uploaded directly into the camera and applied to JPEG or RAW images. When working with RAW files in DPP, both personal Picture Styles and predetermined Picture Styles can be adjusted.

ZoomBrowser EX (PC)/ImageBrowser (MAC)
ZoomBrowser EX/ImageBrowser is designed to give photographers a quick and easy way of managing their images. Basic JPEG editing functionality enables users to adjust image brightness and colour balance, with an in-software connection to DPP for RAW image editing. Users can select, rename and resize multiple images at once, set star ratings and organise images by shooting date, making it simple to manage large image libraries. Photographers can also select, add comments and then print images via a range of simplified printing options, and direct uploads to
CANON iMAGE GATEWAY enables image sharing via personal online photo albums.

ZoomBrowser EX/ImageBrowser also offers support for video editing, including a new Video Snapshot Edit Task that makes it easy for users to manage, edit and share Video Snapshot Albums.

Video Snapshot Edit Task
This feature allows Video Snapshot Albums to be edited using a computer. Individual snapshots can be removed or reordered, and a background music track can also be added*1. The resulting file can be uploaded to YouTube™ quickly and easily using a new YouTube™ upload task.
*3Copyright laws in your country may prohibit the use of your recorded images or copyrighted music and images with music in the memory card for anything but private enjoyment.
Additional images

Ultimate sound recording in Canon 5D / 7D and Sony PCM-D50

How to Light a Green Screen

அடுத்த பதிவு இடும் வரை.... நீங்கள் பார்க்க இந்த புகைப்படம்.

Pugaipadam

hai

வணக்கம். இது என் முதல் படைப்பு. கட்டாயாமாக இதில் எந்த விசியமும் இருக்க போவதில்லை. எதிர் காலத்தில் இருக்கும்.

நான் சினிமாவை பற்றி தெரிந்து கொண்ட எல்லாவற்றையும் எழுத போகிறேன். முக்கியமாக டிஜிடல் சினிமா பற்றி.கேமிரா முதல் டிஜிடல் ப்ரோஜெக்சன் வரை. 

வார்த்தை ஜாலங்கள் இல்லாமல் இருக்கலாம். கண்டிப்பாக விசியம் இருக்கும். 

நன்றி.

hai

வாங்க சார் சினிமா எடுக்கலாம்.