Re: Adobe Camera Raw 10.4 Win X64
Edgars Rob
Just wondering... Is there an alternate to Adobe Camera Raw (ACR) in Affinity Photo? In tests done just now, I wasn't able to en masse open 244 images in AfPhoto2 like can be done from Bridge in ACR. Required Task Manager to kill the process.
Slightly more verbose explanation: After numerous tests this morning, it appears that Adobe Camera Raw (ACR) v9.1.1 creates the attribute DistortionCorrectionAlreadyApplied with a value of TRUE even when no CA is applied, nor any lens correction has been made. Additionally, in all tests, the attribute named LensManualDistortionAmount existed, and in all instances its value was 0 (false).
Where this is possibly relevant: In conversation with an application developer. I'm unsure why Reality Capture can't look for LensManualDistortionAmount instead. This has never presented an issue for PTGui when loading images corrected for CA.
Slightly more verbose explanation: After numerous tests this morning, it appears that Adobe Camera Raw (ACR) v9.1.1 creates the attribute DistortionCorrectionAlreadyApplied with a value of TRUE even when no CA is applied, nor any lens correction has been made. ...
Kelly, LightRoom writes a TON of metadata to RAW files, at least to DNG format. I assume ACR does as well. These extra metadata fields are there to record and recall all the various slider positions and settings used in ACR or LR. It is my experience that Affinity Photo Develop Persona completely ignores all those "extra" metadata fields that Adobe writes to the RAW files, but they are still retained inside the file's metadata, even when exporting from AP to other formats. I've always used LR and/or Bridge as my database, organizer and RAW developer (prior to Affinity), but any settings written into metadata by Adobe is ignored when opening in AP. You can choose to use LR/ACR to export to AP while including all LR/ACR adjustments. That uses ACR to convert the RAW file before it opens in AP, which means you no longer have a RAW file once it opens in Affinity.
... and they do mostly rely for camera RAW file processing and lens data handling etc. on the same used third-party opensource projects as APh does rely here, namely LibRaw, Dcraw, Lensfun, libexif ...
Its UI / UX is a tad more conventional than RT. As the developer puts it, "ART is a derivative of the popular RawTherapee, trading a bit of customization and control over various processing parameters for a simpler and (hopefully) easier to use interface, while still maintaining the power and quality of RawTherapee." Of course neither ART nor RT offer DAM, if that's a requirement. They're just pure raw editors only.
Yesterday (30 July 2018) I updated Lightroom Classic CC to the latest version (LR 7.3.1 ??) . I discovered that one of the new features has been changes to camera profiles. I opened the profile drop down menu and found that I had Artistic, B&W, Modern and Vintage. I was missing the Adobe Raw profiles and the profiles matched to my Nikon D750 (Vivid, Flat, Neutral, Landscape, Monochrome etc).
BTW it works fine in the previous Ligthroom version Lightroom CC 2015. Do you happen to have installed that version as well? maybe it is because we have two versions of lightroom installed and only one Folder in Application Support for both
I'm midway through a multcam edit and now want to synchronize into the sequence footage from a fourth camera. Is there a way to autosynch this fourth camera into the sequence for continued multicam editing? It seems that the only way to add footage from the fourth camera is to manually synch & edit it as another clip on the timeline. I've tried adding new clip into the Processed Clips bin, but it does not automatically synch or show up in my camera profiles for this sequence.
Thanks, Warren. This is the workaround that I deployed, because I found no way of editing the fourth camera into the multicam sequence. As you can appreciate, editing two separate tracks (the multicam and the fourth camera) on the same timeline is not the most efficient workflow. It would be much faster (and enjoyable!) to incorporate the fourth camera into the multicam track instead of cutting/stitching two separate tracks into one final sequence.
1. Select all clips in the timeline, then right-click in the timeline. Select "Synchronize" to synchronize the new clip in track 4 with the other clips in the timeline. Premiere renders a perfect synchronized result.
2. To collapse all the tracks together for continued multi-cam editing in the program monitor, I right-click on the multi-cam sequence in the projects window and select "New Sequence from clip." With this new multi-cam sequence in my timeline, I switch back to Multi-Camera view to give me all four cameras in the program monitor to continue editing.
For the images displayed on the camera's screen, they will be JPEG previews. Though I'm not 100% sure if you'd see a difference if the color space was sRGB or AdobeRGB since the display itself is most likely an 8-bit panel with narrow color space capabilities.
When you say "naturally sends RAW files" though, that all depends on what you've set your camera to capture. e.g. you can set it to capture JPEG only, RAW only or both RAW and JPEG. Be sure to always capture RAW for the most flexibility with editing, printing, etc.
That setting is just for the sake of JPEG files the camera produces. When capturing RAW images, you can then export to whatever color space you need. Generally, export with sRGB if the target is the web. And AdobeRGB or other color spaces for printing or other situations where wider color spaces are desirable.
Google began artificially blurring backgrounds with its Pixel 2 smartphone's portrait mode in 2017. Such computational photography technology will continue to flourish in its own camera app, Adobe believes.
"What I did at Google was to democratize good photography," Levoy said in an exclusive interview. "What I'd like to do at Adobe is to democratize creative photography, where there's more of a conversation between the photographer and the camera."
If successful, the app could extend photography's smartphone revolution beyond the mainstream abilities that are the focus of companies like Apple, Google and Samsung. Computational photography has worked wonders in improving the image quality of small, physically limited smartphone cameras. And it's unlocked features like panorama stitching, portrait mode to blur backgrounds and night modes for better quality at night.
Adobe isn't making an app for everyone, but instead for people willing to put in a bit more effort up front to get the photo they want, something matched to the enthusiasts and pros who often already are customers of Adobe's Photoshop and Lightroom photography software. Such photographers are more likely to have experience fiddling with traditional camera settings like autofocus, shutter speed, color, focal length and aperture.
Adobe is aiming for "photographers who want to think a little bit more intently about the photograph that they're taking and are willing to interact a bit more with the camera while they're taking it," Levoy said. "That just opens up a lot of possibilities. That's something I've always wanted to do and something that I can do at Adobe."
In contrast, Google and its smartphone competitors don't want to confuse their more mainstream audience. "Every time I would propose a feature that would require more than a single button press, they would say, 'Let's focus on the consumer and the single button press,'" Levoy said.
Levoy won't yet be pinned down on his app's features, though he did say Adobe is working on a feature to remove distracting reflections from photos taken through windows. Adobe's approach adds new artificial intelligence methods to the challenge, he said.
Adobe's success isn't guaranteed. A more discriminating market of serious photographers are less likely to be forgiving about computational photography glitches that can show up when performing actions like merging multiple frames into one or artificially blurring backgrounds, for example.
At the same time, mainstream camera apps that ship with phones have steadily improved, adding features like computational raw image formats for more editing flexibility. And Adobe doesn't get quite the deep level of access to camera hardware that a phone maker does, raising performance challenges.
Another concern: Smartphone cameras and processing capabilities vary widely. Plenty of computational photography tricks only work on the most powerful new phones, and it's hard to write software that copes with the bewilderingly broad range of hardware options.
Adobe Photoshop Camera is Adobe's new photographic tool. This impressive tool lets you take incredible pictures using your Android device. With a bunch of filters, many of them designed by the community itself, it's super easy to achieve amazing results with minimum effort.
One of Adobe Photoshop Camera's main selling points is that the interface doesn't include a bunch of elements that can distract your attention. The image-capturing button is located at the bottom of the screen, and your downloaded sets of lenses are just underneath. What's more, if you want more presets, you simply have to explore the packages available and store them in the device's various filters.
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