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Living In Layers - The OFFICIAL Layers Magazine Blog

Exposure Blending in Photoshop | Adobe and Red Support | Adobe Max on Mon | Blog Contest Winner

CATEGORIES: Living In Layers | RC | November 14, 2008

Happy Friday everyone. Its just a few days away from Adobe Max out in San Fransciso, CA November 16-19, and I have to tell you.. it’s still not too late to register for this amazing event. There is an incredible amount of speakers and content available there.. and I already have my schedule pre-printed for the classes I want to go to. I’d be very serious to see about what’s in store for the other Max venues.

Now.. if you are going to check out anything on the site, check out the Maxing of the Max website link. It’s a neat little clip on how they made some of the interactive components on the site.

To visit the Max Site, click on this link.

Sean Duggan on Exposure Blending
This is a great article from Sean Duggan on exposure blending with Photoshop. If you are shooting RAW, this is definitely something to check out:

“One classic technique that digital cameras make very easy is blending more than one exposure together for contrast control, increased dynamic range, or creative purposes. A variation on this technique is to apply different RAW-conversion settings to a single RAW file and then combine the files into a single image. Let’s explore both approaches and look at the proper camera technique behind the scenes.

Click here for the Rest of the Article

Adobe and RED Support
Right after posting my article on RED yesterday, I received this cool bit of news in how Adobe is going to be supporting RED stuff in Premiere:

“Adobe Systems Incorporated and RED Digital Cinema Camera Company are partnering together to bring a truly native, color-rich, 4K tapeless workflow to desktop tools, allowing filmmakers to harness the full potential of high-resolution raw digital cinematography.

RED and Adobe share the goal of developing a native raw workflow that keeps filmmakers close to the lens, so that you’re always working with the sensor data the camera captured. By always working close to the lens, without proxies or other restrictions, editors can adjust the look and feel of their work all the way through the production process, knowing that their changes are completely accurate.

The first step of this long-term partnership is the importer plug-in bringing native support for RED R3D files to Adobe Premiere Pro CS4, Adobe Encore CS4 and Adobe After Effects CS4, allowing 4K resolution native R3D files to be dropped straight onto the timeline without transcoding or rewrapping. It is now in beta and available for download at www.red.com/support .

Continue Reading this and this week’s Contest Winner after the jump!

Adobe and RED Support (Cont):
RED is making the beta plug-in available as early as possible to provide customers a more flexible workflow immediately, and in order to obtain feedback from the community on how best to develop this workflow. Over the coming months, you can expect to see new developments that move both companies closer towards our shared vision for advanced raw workflows.

Adobe Creative Suite 4 Production Premium software is an indispensable part of a film and video professional’s toolkit and leads the way in tapeless and raw workflows. The alliance with RED underscores Adobe’s commitment to integrate tapeless camera formats into its line of professional video products, and will enable advanced post-production workflows to be faster and more flexible.

Hollywood-caliber digital cinematography made more affordable: RED cameras have taken the digital filmmaking world by storm, making high-resolution digital cinematography accessible to many more productions. RED cameras capture extremely high resolution raw files, opening up the possibility of a digital production workflow that allows filmmakers to make image processing decisions throughout the post production process because raw files keep the image sensor data directly. Until now, a truly native, nondestructive workflow has not been possible in desktop video tools

A native, raw workflow today: Importing R3D files directly into Adobe Premiere Pro, Adobe Encore and Adobe After Effects without conversion delivers a faster, color-rich workflow that gives users control of the look when they edit. Filmmakers can dynamically change the resolution; applying color correction to the footage in full resolution for example, and then lowering the resolution on the fly to gain better performance from their hardware as they scrub through edits.

A more powerful, streamlined workflow tomorrow: Because Adobe Premiere Pro works directly with the sensor data, editors can work with footage as close to what the lens saw as possible, opening up much richer, more powerful ways of working non-destructively on the color and look of their work.

Customers who want to get started with the RED and Adobe workflow today can download the free Adobe Premiere Pro CS4 and After Effects CS4 trials for Mac OS X or Windows at www.adobe.com/downloads and the RED importer plug-in at www.red.com/support

http://www.adobe.com/products/premiere/upgrade/ http://www.adobe.com/aboutadobe/pressroom/pressreleases/200804/041408AdobeCinemaDNG.html

Blog Contest Winner
Congratulations to Sean Canady for winning this week’s blog contest. Hurray! That’s it for this week.. we’ll be sure to see you guys back here Monday morning.

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