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Nicolas Claris
March 30th, 2008, 12:40 PM
Last week I had to shoot the entire interior of a 80 feet (24 meters) sailing yacht, a Shipman 80, built in Slovenia.

Below is the Salon, no added light, only boat's…

Schneider Super-Angulon PQ 3.5/40 mm - eMotion 75 - ƒ16 - ISO 100 - 8 sec. mirror locked

http://mnclaris.free.fr/forum/1F899098_AP.jpg

100% crop:

http://mnclaris.free.fr/forum/1F899098_AP_crop.jpg

Nicolas Claris
March 31st, 2008, 10:56 AM
The exactly same file, but processed with Capture One 4 :

http://mnclaris.free.fr/forum/1F899098_C1-4.jpg

100% crop:
http://mnclaris.free.fr/forum/1F899098_C1-4_crop.jpg

Cem_Usakligil
March 31st, 2008, 12:47 PM
That's some real improvement Nicolas! So how were the first set of pictures processed and what are the different process steps applied to the second set?

Cheers,

Cem

PS: I think that you have got the best job in the world, you lucky devil! <big grin>

Nicolas Claris
March 31st, 2008, 01:29 PM
Bonsoir Cem
the problem with these file is that, in Tiff 16 bit they're 190 Mb! each try takes long time…;-)

Sinar has a SW (Mac only) called CaptureShop, my findings are that there are some issues for me:
- Highlight clipping
- Difficult Kelvin settings (color wheel only) this is due to the fact that "normally" the former camera where mostly for indoor or controlled lighting, hence doing a WB is easy with a greycard. My conditions of working with interior mixed light or exterior always changing light make difficult, almost impossible, to work with a greay card…

But its demoisacing is fabulous…

Tomorrow (really) or within a few days the Sinar new SW called eXposure should be out and should resolve all my findings…

SO, after some research, my workflow came to use the Brumbaer tools to convert the original Sinar emotion back files to DNG, with an incredible capacit to recover highlights.

Then I could work the DNG with Apple's Aperture, Captue One 4, ACR or Lightroom.
It is not a secret for those reading me oftenly that I don't like (or don't know how to use) ACR nor LR.

So C1 v4 and Aperture were the solutions for me, but the results depends of the kind of shot (interior/exterior, high/low ISO, etc.) I still can't guess at first which one to start with…

I bet this will be rapidly forgotten as soon as I get my hands on eXposure :-)

To answer more specifically to your question, the main difference is the 1St attempt were with Aperture, the 2nd with C1 v4.
The difficulty was to catch and preserve the dynamic range which is large! from deep shadows to highlighted whites (below the table/white towels)

The files made by this camera/lens/back are amazing and I start to wonder how I'll be able to send them back to Sinar ;-)

I hope this answers to your question…

As far as:
PS: I think that you have got the best job in the world, you lucky devil! <big grin>

May I let you know that I should be in Istanbul for 3 to 4 days next week? shooting a fast 70 feet powerboat… <hehehe :->

Michael Fontana
March 31st, 2008, 03:13 PM
Nicolas, Bonsoir

I like that shot very much; it shows very good the interior of the yacht. Beeing othogonal, no big perspective distracts from viewing the boat and its design.

I personally prefer the C1, as my feeling is that the °built° of the shadow is nicer.
Doesn't Aperture slows down very much, with these big DNGs?

Please, could we see a crop of the outside's black? To have a öook at the noise...

Nicolas Claris
March 31st, 2008, 03:22 PM
Hey! Bonsoir Michael
Good to hear from you, hope you're well (and Roman too…)!

Yes Aperture is slowed down even the latest version (2.1)
I do also prefer the C1 version, C1 has better overall IQ, maybe because I'm a long time user of C1pro…

I'll post a crop of the black tomorrow, as it is on my office computer…

FYI I also have 3 vertical shots made with the Sinar, they stitch very well with autopano (were shot with RRS ballhead) but I want to rework them with files processed with C1 ;-)
As a result the final file is 125 cm x 60 cm @ 300 dpi straight out of camera (I mean without any PP enlargement)!

I'll post results soon…

Michael Fontana
March 31st, 2008, 04:11 PM
Wow, Nicolas

A stitch with 3 MF-shots - that must look great - I'm sure!

James Newman
March 31st, 2008, 04:59 PM
Wonderful images Nicolas. The second try is definitely my favorite of the two. The wood shows to be so much more rich and dark than in the first. Ah to be able to own such a boat. I keep being amazed at what you can do with that equipment. Speaking of, do you not think that Sinar will let you keep it once the year is finished? They should.
James Newman

Nicolas Claris
April 1st, 2008, 12:21 AM
Michael, as you asked :

http://mnclaris.free.fr/forum/1F899098_C1-4_Black.jpg

What about some wine?

http://mnclaris.free.fr/forum/1F899098_C1-4_wine.jpg

There is still margin for some improvement (re noise and a very few CA on the forks that it is easy to get rid of) with both the photog and the PP
…;-)

But I like the way the blacks and highlights are present…

Nicolas Claris
April 1st, 2008, 12:25 AM
Wonderful images Nicolas. The second try is definitely my favorite of the two. The wood shows to be so much more rich and dark than in the first. Ah to be able to own such a boat. I keep being amazed at what you can do with that equipment. Speaking of, do you not think that Sinar will let you keep it once the year is finished? They should.
James Newman
Thanks for the kind words James…
How I would like the Sinar people to read this!
But I'm here to report arrgggllll!

Georg R. Baumann
April 1st, 2008, 01:33 AM
I am curious about the difference from Capture Shop to the Capture One 4 results. - Then again, I know only very little about MFDB and my thoughts might not even apply here. - As far as I understand, Camera RAW or Lightroom for example do not work with camera profiles, capture one does.

Did you create and send a Hy6 Profile to C1 prior to development?

What about Capture shop does this work with profiles?

How did you set the whitebalance?

What colorspace do you use in general when you develop the eMotion data, ProPhoto RGB?

Thierry Hagenauer
April 1st, 2008, 03:25 AM
They are (I am) reading, Nicolas!

Bravo!

Amitiès,
Thierry

Thanks for the kind words James…
How I would like the Sinar people to read this!
But I'm here to report arrgggllll!

Nicolas Claris
April 1st, 2008, 08:51 AM
Now the owner's stateroom…

Schneider Super-Angulon PQ 3.5/40 mm - eMotion 75 - ƒ16 - ISO 100 - 5 sec. mirror locked

4 horizontal images stitched… 15000 (yes 15 thousand) pixels by 4723… do the maths… 70,5 million pixels image without enlargement (in fact about 10% downscale)!

Processed with Capture one 4, then assembled with Autopano:

http://mnclaris.free.fr/forum/Panos_4%20images_cab_C1-4.jpg

100% crop:

http://mnclaris.free.fr/forum/Panos_4%20images_cab_C1-4_crop.jpg

Tonight or tomorrow… Video of the making of…

Ron Morse
April 1st, 2008, 11:18 AM
The camera, your skills with it and the boat. I am totally in awe. That yacht is what dreams are made of and you show it so well.

I think I will go sulk into the storage garage and polish my boat now.

Nicolas Claris
April 1st, 2008, 11:50 AM
Thanks Ron

wait a bit more I am actually uploading the making of in video… stay tuned !

Nicolas Claris
April 1st, 2008, 11:57 AM
You can see the video of the "Making Of", shot, edited and music made by Romain Claris :

HERE (http://claris.fr/SINAR/Making_of/video.html)

Sound on!

Thanks for your patience while the video loads…

Nicolas Claris
April 1st, 2008, 01:04 PM
I am curious about the difference from Capture Shop to the Capture One 4 results. - Then again, I know only very little about MFDB and my thoughts might not even apply here. - As far as I understand, Camera RAW or Lightroom for example do not work with camera profiles, capture one does.

Did you create and send a Hy6 Profile to C1 prior to development?

What about Capture shop does this work with profiles?

How did you set the whitebalance?

What colorspace do you use in general when you develop the eMotion data, ProPhoto RGB?

Hi Georg
As far as I understand, as far as you use a DNG file, there is no need to profile in C1 v4

As of today and my knowledge, no other SW than CaptureShop can handle the Sinar back file (.sti).

If you want to use another SW for demoisacing these files, for now (still waiting for Sinar's new RD eXposure) the only way is to make a DNG of it user the Brumbaer tools (Google Brumbaer and you'll see the website).

If you read my post above, it explains the pluses of it and the issues I found in CShop…

WB is set to my taste in C1 (which is almost impossible in CShop)…

On the other hand, when shooting, a Black Reference is automatically calibrated with all exposure times and is automatically repeated every 15 minutes. With exposure times of more than 1 second, when altering the exposure time by more than 10%, automatically a new Black Reference is taken subsequently to an image capture.
Additionnaly, one can do before every new shoot a white reference shot, with a 10x10cm white diffuser, provided by sinar which one put in front of the lens.

Both Black and White references are used by CShop and Brumbaer DNG converter…

I use Adobe RGB whicj is AFAIK the native colorspace of emotion Sinar backs… of course 16 bits (190 Mb per file) and swith only to sRGB and 8 bit at the end if needed for web…

Nicolas Claris
April 1st, 2008, 11:49 PM
You can see the video of the "Making Of", shot, edited and music made by Romain Claris :

HERE (http://claris.fr/SINAR/Making_of/video.html)

Sound on!

Thanks for your patience while the video loads…

Sorry a bad code did set the buffering time for 600 secondes, which for a 2'30 film is quite long!

It is set now to 30 sec…

Bart_van_der_Wolf
April 2nd, 2008, 04:45 AM
You can see the video of the "Making Of", shot, edited and music made by Romain Claris :

Nicolas,

Thanks for sharing, it was fun to watch and Romain's music was well adapted to the environment. The video demonstrated the benefits of a waistlevel (or angle) finder when having to handle/rotate the equipment in a tight space and your RRS BH55 with pano-clamp (PCL1) is a good tool for this type of shooting (level the ballhead, lock, mount the camera, and rotate the camera around the PCL).

The video also showed your love for the subject and respect for the owner, since you removed your shoes and carefully manoeuvred through the ship on your socks. They picked the right person to do the shooting.

Bart

John_Nevill
April 2nd, 2008, 05:15 AM
Nicolas.

Nice video and interesting music, I thoroughly enjoyed it.

As for the images, superb!



As far as I understand, as far as you use a DNG file, there is no need to profile in C1 v4


I'm not sure on this, the DNG format is only a standardised wrapper for the RAW file. AFAIK, Colour profiling still needs to be done in C1-4. Well it did on my Ricoh GRD II DNG files.

The default neutral DNG profile was off the mark with serious magenta cast and oversaturation in primaries and secondaries.

Thierry Hagenauer
April 2nd, 2008, 06:13 AM
Nice Making-of, nice boat and wonderful images.

Well mastered, Nicolas.

Thierry



Sorry a bad code did set the buffering time for 600 secondes, which for a 2'30 film is quite long!

It is set now to 30 sec…

Ron Morse
April 2nd, 2008, 08:07 AM
Its hard to imagine how good this camera is. Of course it is only as good as the man behind it.

This post and the video have been very enjoyable.

Nicolas Claris
April 3rd, 2008, 10:26 AM
I'm not sure on this, the DNG format is only a standardised wrapper for the RAW file. AFAIK, Colour profiling still needs to be done in C1-4. Well it did on my Ricoh GRD II DNG files.

The default neutral DNG profile was off the mark with serious magenta cast and oversaturation in primaries and secondaries.

Bonsoir John

sorry to be late on this!

I guess you're right, but at least you may open "exotic" files… I found that the default settings were better with C1-4 than with the other RC…

John_Nevill
April 3rd, 2008, 02:20 PM
Nicolas.

I've also had it confirmed that C1-4 doesn't output embedded camera profiles correctly, by default it will colormetrically renders them to sRGB, even if one chooses the "embedded camera profile" as the output colorspace.

It's a another little buglet, that will hopefully be corrected in 4.02.

So no chance of building accurate custom profiles. I wondered why my little Ricoh's gamut fitted inside sRGB. It was remapped before profiling.

Sorry for the off topic!

Nicolas Claris
April 3rd, 2008, 02:28 PM
Thanks John
Workflow discussion for raw Sinar file is not OT here ;-)

The good news (at least I hope so) is that the new eXposure from Sinar should be out next Monday… (as announced by Thierry Haggenauer in another thread). Of course I guess it won't handle the Ricoh's files ;-)

Michael Fontana
April 3rd, 2008, 03:39 PM
Beeing rather busy, I' m responding a bit late....

Thanks Nicolas for the shadow and highlight image, as well as the stitch; and yes, the shadows in the singleshot and off course the pano, they both look very promising.

The pano, is it about 200 degrees, horizontal?

A side-question: when shooting the pano and the yacht °wabbles° a bit, doesn't the tripot is moving as well?

Nicolas Claris
April 3rd, 2008, 10:43 PM
Bonjour Michael
photographer busy: photographer happy! ;-)

The salon pano is a bout 120% (3 V shots)
The cabin pano, I'll check but I think it's about 170° (4 H shots with a lot of covering)

The boat was alongside a dock in a marina, so it was quite calm, but even when it moves a bit, the risk for the tripod to move are very little. It's a quite big boat :-)
What would be annoying is of they had an AC generator running because it creates some vibrations… this happen when the boat is anchored in a tropical mooring and we need airconditionning to ba able to work inside the boat… temp. may come very high !-)

Klaus Esser
April 5th, 2008, 05:44 AM
Beeing rather busy, I' m responding a bit late....

Thanks Nicolas for the shadow and highlight image, as well as the stitch; and yes, the shadows in the singleshot and off course the pano, they both look very promising.

The pano, is it about 200 degrees, horizontal?

A side-question: when shooting the pano and the yacht °wabbles° a bit, doesn't the tripot is moving as well?

Hi Michael!

Because the tripod moves with the boat, there´s no movement in the picture at all. If the tripod doesnt vibrate in itself or the camara´s mirror shakes it (i had that with a H3D recently . . )

The same is with cameras mounted in cars or on the car´s outside - the car´s interior doesen´t move in relation to the camera.

(sorry, Nic, for bumping in)

best, Klaus

Michael Fontana
April 6th, 2008, 04:11 AM
Klaus

off course I was aware, what you' re describing - the tripod moving with the boat.

Still, when the yacht moves, the tripod can slide a bit. So my question was relating to my experience that when stitching, I avoided the slightest move of the tripod/panohead/cam, and used a quite heavy tripod, to have some mass under the cam.

Nicolas Claris
April 6th, 2008, 02:25 PM
Hi Michael

I checked on a layout plan, the cabin pano is 140°.

Re. movement this boat when loaded (tanks full, and all gear being on board) should load about 35 to 38 tons… not so easy to shake! once inside a marina, no one can notice a movement… or should it be, it is very smooth and won't allow a good standard tripod to slip…

Mirror was locked cause of the low shutter speed…

Nicolas Claris
April 18th, 2008, 07:09 AM
Update:
We have created a new section on claris web site for the Sinar photoshoot series.

The section is here (http://www.claris.fr/sinar_uk.php)

The "making of" can be seen here (http://www.claris.fr/sinar_shipman_uk.php) click on "video "Making of"" on top right.

leonardobarreto.com
April 18th, 2008, 07:28 AM
Nicolas

Thank you for shearing your experience with the Hy6, my life is so much less complicated since I only use C1 3.7.8 (C1 4 light is not good for me since I work tethered). I like C1 so much that when I have to do something in Photoshop I feel like going back in time (the feeling of having to manually open a car window, you know?). What happens with C1 is that you set the white point, hue and color temperature in a non destructive way, after that, the rest of the color is done with profiles. I have a few custom profiles that I use to bring difficult colors and other Phase One canned profiles for other situations. For example: when I do an installation shot at a gallery where the lighting is mixed available hot lamps I use something called "EASY GREY" profile from Phase. This profile was developed to help product photographers that use white seamless background and produces perfect white walls while maintaining the color of the artwork.

I can't wait to see the next version of C1 with lens correction filters specifically designed for Mamiya lenses, that and the release of C1 Pro 4 will be big days in my calendar. The other interesting development is the new Combo wide camera designed for digital backs that will be much smaller --and maybe even cheaper -- than the current one... probably a must-have companion to the Hy6 owner...

The problem I have some times with stitching is finding that the two images don't match because of lens distortion, but probably what happens is that I use my 35mm when doing so. Now that I see your work I want to try to see if with my 45mm the procedure will be easier since that lens is more "normal".

Thierry Hagenauer
April 18th, 2008, 07:59 AM
hi Leonardo,

I don't want to parade, but this option (call it "profile") is available in Captureshop since more than 2 years: it is called the "Color Alchemist" and includes 2 plugins: the "adaptive color compensation" and the "Enhance Neutral Areas", which can both even be fine tuned with sliders. And those settings can be saved and used later on new files.

This was introduced at the time of the SB 54 with the Kodak sensor: this sensor is known for producing sometimes (under certain light conditions) some very "annoying" color shifts (mainly visible in the neutral tones), and the only possibility to correct it is with a specific correction. PO call it now a "Easy Grey" profile, we have given the possibility even to fine-tune it.

Best regards,
Thierry

Nicolas
... when I do an installation shot at a gallery where the lighting is mixed available hot lamps I use something called "EASY GREY" profile from Phase. This profile was developed to help product photographers that use white seamless background and produces perfect white walls while maintaining the color of the artwork.

leonardobarreto.com
April 18th, 2008, 10:02 AM
Thierry, I am sure there are many ways to do what I do, I basically stay in my corner of the woods where things work for me. You have a much broader view of everything that there is. The entire ColorEditor, a separate program that comes with C1 is there for me to explore. The interesting thing is that I asked other photographers about it and some --that work every day with C1-- don't even know it is there.

hi Leonardo,

I don't want to parade, but this option (call it "profile") is available in Captureshop since more than 2 years: it is called the "Color Alchemist" and includes 2 plugins: the "adaptive color compensation" and the "Enhance Neutral Areas", which can both even be fine tuned with sliders. And those settings can be saved and used later on new files.

This was introduced at the time of the SB 54 with the Kodak sensor: this sensor is known for producing sometimes (under certain light conditions) some very "annoying" color shifts (mainly visible in the neutral tones), and the only possibility to correct it is with a specific correction. PO call it now a "Easy Grey" profile, we have given the possibility even to fine-tune it.

Best regards,
Thierry

Nicolas Claris
April 18th, 2008, 11:05 AM
Hi Leonardo
So glad to hear from you! I'm sure we have a lot to compare and exchange as we do use different MFC …differently!

e.g. I never shoot tethered, just because I don't need.

And yes I agree C1 is a great software, I do prefer far more 3.7.8 (which I still use for my 1Ds3 files) than C1 4.

However when I do like C1 4 for DNGs files.

AFAIK, the Sinar software such as CaptureShop and the later eXposure works only for Sinarbacks.
I do like the new version of eXposure, very promising. With it, a few clicks and you just have to sharpen in PS and you're done.
Yes these files are really clean and easy to handle (just need some power to handle 190 Mb files !-)

I must add that Sinar's people are really helpfull and fast replying, that's another relief!

The pano has been made with the Schneider 40 mm and it is very difficult to see any distortion… You will certainly get better resutls with your 45 than the 35…

@Thierry anything similar to "Color Alchemist" in eXposure?

Asher Kelman
April 18th, 2008, 12:19 PM
Hi Leonardo,

Glad to have your experienced input. It's one thing for reviewers and "gurus" to give pages of reports/ Experience in a specific professional use of a camera, lens or software is vastly more valuable to us. So thanks!

For those who do not know Leonardo's work he is a fine artist, a painter, an experienced war photographer with compelling images taken at great live fire personal risk and hard wild terrain living. He is now in New York and specializes in museum quality fine artwork photography for leading galleries.
This requires being able to image efficiently a whole exhibition, deliver files on time that are color perfect for that work of art. The latter might be flat, hyper-reflective with specular highlights or have colors that challenge the gamut of photography. So Leonardo's ideas and hints are reliable.

Leonardo, I have split up your post by headings since it's rich and covers a lot:

Phase One RAW Conversion:......... I only use C1 3.7.8 (C1 4 light is not good for me since I work tethered). I like C1 so much that when I have to do something in Photoshop I feel like going back in time (the feeling of having to manually open a car window, you know?). What happens with C1 is that you set the white point, hue and color temperature in a non destructive way, after that, the rest of the color is done with profiles. I have a few custom profiles that I use to bring difficult colors and other Phase One canned profiles for other situations. For example: when I do an installation shot at a gallery where the lighting is mixed available hot lamps I use something called "EASY GREY" profile from Phase. This profile was developed to help product photographers that use white seamless background and produces perfect white walls while maintaining the color of the artwork.

I understand color temp. But how do you measure it. Do you use a Minolta color meter for color temp? Or do you use a WhiBal™ in one step for for color temp, hue and setting the white point? Can you show examples of a typical image with a standard then an "Easy Grey" profile?

Custom Lens Profiles or else select lens from several lenses: I would suggest that getting a custom profile might be worthwhile or else carefully checking lenses against color charts and photographs of grids to see if aberrations are really corrected for that lens. You may ask why?

Unfortunately a lens, even a very expensive lens may not be assembled properly! It may be out of alignment so the corrections and assumptions will not match your particular lens. How bad could that be? Very bad! I cannot disclose which MFR, but paying for a costly lens does not mean a the optics match the specs.

New Combo wide camera: The other interesting development is the new Combo wide camera designed for digital backs that will be much smaller --and maybe even cheaper -- than the current one... probably a must-have companion to the Hy6 owner...
..and other digital backs I expect? I'd like to hear more. When is it availalble and any price?

Stitching is becoming increasingly practical and advantageous in architectural, vehicle and other photography requiring extreme wide angle. Sometimes we simply do not possess a wide enough lens. Here in the Yacht picture, how far back can one go? Not much for sure. 40mm may not be wide enough. The next lens may be too distorted or expensive or else not available to rent.

Matching images with lens distortion:The problem I have sometimes with stitching is finding that the two images don't match because of lens distortion, but probably what happens is that I use my 35mm when doing so. Now that I see your work I want to try to see if with my 45mm the procedure will be easier since that lens is more "normal".

This is a common problem even with the very best lenses. For example the famous Contax Zeiss 21mm Distagon, MM, has "moustache" distortion, so it's a challenge to stitch. One way of dealing with this is to overlap much more and crop away the lateral 10% before stitching. That means needing more images. However, the extra work will pay off. If one has very good lens distortion testing software then maybe one could use the un-cropped images.

Thanks again Leonardo,

I remember I owe you a lot for sharing some of your secret locations in New york and your artwork.

Asher

Bart_van_der_Wolf
April 18th, 2008, 03:14 PM
However, if one has very good lens distortion testing software then maybe one could use the un-cropped images.

Most lens distortions are rather easy to correct with capable Pano stitching software. It usualy requires only 2 images with 50% overlap, rotated around the entry pupil, to build a profile. The 'only' variable might be when the lens utilizes internal floating elements during focusing.

Bart

Asher Kelman
April 18th, 2008, 04:03 PM
For sure! They are also lens correction software too! You are right to point that out.

Thierry Hagenauer
April 18th, 2008, 08:03 PM
As said, Leonardo, I did certainly not want to parade, rather put things in the right perspective and inform. As you say it yourself, very often "features" exist, some since a long time, and the users are not aware of it. It's sometimes disappointing to see such.

Best regards,
Thierry

Thierry, I am sure there are many ways to do what I do, I basically stay in my corner of the woods where things work for me. You have a much broader view of everything that there is. The entire ColorEditor, a separate program that comes with C1 is there for me to explore. The interesting thing is that I asked other photographers about it and some --that work every day with C1-- don't even know it is there.

Georg R. Baumann
April 18th, 2008, 08:08 PM
<whispers> This is a very interesting thread <leans back and listens> ;)

Nicolas Claris
April 18th, 2008, 11:55 PM
<whispers> This is a very interesting thread <leans back and listens> ;)

So my friend, write down this one, will be usefull one day and will be for Leonardo as soon as he reads it (unless he knows it already ;-)

In Autopanopro, there is a data bas for lenses, this database recognizes the exifs unfos such as lens focal, ƒ stops, sensor (crop/uncrop/MF etc) do determine what correction to bring to the file prior to stich…

Many DB don't bring enough infos or the data base is not updated…

In my case it didn't recognize (weren't into the DB, and exif is quite poor (though better handeled now thru eXposure))

So when you click in the left tab (just after importing images) on the icon with a hand pointing to a sheet of paper, you can manually enter the infos…

In my case, I entered 40 mm AND applied the most close phaseone back as a reference (this let's the SW to calculate the real focal…)

No more back and forth, no more poorly stitched panos, right on at the first try!

Leonardo, if you haven't used this trick retry your 35 m shots, you'll be amazed…

Hope it helps… ;-)

http://mnclaris.free.fr/forum/autopano.jpg

leonardobarreto.com
April 20th, 2008, 03:03 PM
I think that It is much better than my work flaw that is: develop in C1 and apply a CS3 FILTER>DISTORT>LENS CORRECTION and then make the stitch by hand. Before I used LensFix. normally the galleries want the files "as soon as possible" which means that I shoot, edit and raw-process at the same time. - Typically the images go to the web the same day-. So, thanks for the info (and I can tell that it comes in Apple flavor) I will google it.

The perfect solution for me would be to do the lens correction ON C1 -- or for someone working with Sinar system, on the Sinar raw processor -- so that the workflow can flow better and faster. That seams to be in the horizon with the coming of C1 4 PRO now that Mamiya lenses are in the same family of Phase One. I don't think that C1 will come with a stitch filter... and I don't have a problem with hand made stitching if the images are highly compatible.

In the ideal world you would tell the "mother program" to "auto correct" and give you a raw file that has the exact lens adjustments. This is probably what Hasselblad intended --or is using as alibi -- when going with a closed architecture system, so we can assume that other maker's responses will be "look, we do that too".

Thanks,
Leonardo
ps, than you Asher for your kind words, I had a terrific time when you visited ny city, I was impressed by your use of the 5D with the super fast normal lens, I am sure you got fantastic images...