Ignore 3:2 camera setting?

I took pictures (raw) with an ep1, firmware 1.4, at 3:2 aspect ratio (camera setting). However, I'd like to edit the whole 4:3 pictures now with Lightroom (v3.2). Lightroom shows the full sensor picture while loading, but squeezes it into a 3:2 frame. After loading the image "bounces back" into its originial aspect ratio and the crop is applied according to the lower image height at 3:2. The fact that Lightroom applies the crop exactly matches with what I expect it to do. Unfortunately, there is no way "back" to the whole image. I know it's there because I can see it while loading. How can I make lightroom to ignore the crop in order to recover approx. 400 images? Thanks for your advice!

It took me a while, but I finally found a solution to batch process a virtually unlimited number of raw files the way I want. Here is how:
Download ExifTool by Phil Harvey from
http://www.sno.phy.queensu.ca/~phil/exiftool/ (I chose the stand-alone Windows executable). Install the tool, open a command window, and cd to the installation directory. My test pictures were located in the folder c:\users\nils\documents\fotos\test\.
Then type the following
>"exiftool(-k).exe" "-AspectRatio#1 1" "-AspectFrame=30 30 4032 3024" -m "c:\users\nils\documents\fotos\test\_8200358.orf"
to edit the file _8200358.orf or
>"exiftool(-k).exe" "-AspectRatio#1 1" "-AspectFrame=30 30 4032 3024" -m "c:\users\nils\documents\fotos\test\*"
to edit all files in the folder, respectively. Please note the extensive use of double quotes.
It prints a "Warning: Error reading value for ImageProcessingIFD entry 146" which can be ignored; the -m option actually forces the program to write the file regardless of this warnig. The # requires numeric arguments rather than alphabetic characters. The first "1" means "4:3", the second argument remained unclear for me. "-AspectFrame=30 30 4032 3024" crops the original size to 4032x3024 pixel, ignoring the first 30 px on every side (which are used for interpolation in raw development).
Keep in mind that ExifTool backups the original files and overrides the originals! Thus, make some copies of your files first. For the many other options and possible edits please see the detailed online documentation.
Thank you all for your advices! And thank you Phil for this great piece of software!

Similar Messages

I use a mac ios and shoot raw in a cannon 5d mark ii and shortly upon import of my images lightroom darkens and changes my images. This has happened before but not every time. The strange part is my last shoot had the same camera setting but this did not

I use a mac ios and shoot raw in a cannon 5d mark ii and shortly upon import of my images lightroom darkens and changes my images. This has happened before but not every time. The strange part is my last shoot had the same camera setting but this did not happen. The images i have now i can not use after lightroom has automatically altered them even if i try editing back to how they looked upon import

First thing to do is to change the default camera profile applied in Lightroom to camera standard (assuming that you shoot Canon or Nikon). Also make sure that your camera is NOT set up to use any of the HDR modes. Nikon calls those Active Dynamic Lighting. On Canons you often see things like highlight priority mode or "Auto Lighting Optimizer". Make sure that the picture style is set to standard and that for newer Canons the HDR mode is turned off. Most of the HDR modes simply underexpose the image and then add an instruction in the raw file to compensate for this to prevent highlights from being blown out. This causes more noise in the shadows and if you know what you are doing there is no point to this as you should simply expose correctly and get the highest quality raw.
Lastly, make sure that in Lightroom you have not checked "Apply Auto Tone Adjustments" in Preferences->Presets. This should make the default rendering of the raw files the same as the in-camera jpeg (what the camera shows on the back even if you shoot raw) but still give you all the latitude of raw files.

Jpeg camera setting for Lightroom inport

Hi, I have a Canon s3is that I use to shoot maybe 1,000 pictures a week. I have been trying out the Lightroom demo and really love the way it help me process all the pictures. Most of the pictures are used to document processes, so gallery level images are not required. But for about 5% of the pictures I need to get the best possible resulting image within the constraints of the capabilities of the s3is. Ideally I would like the camera to support a raw format which would give me the most flexibility to get those perfect final images in lightroom, but the s3is only supports jpeg image output. Are there optimum camera setting for minimizing the processing the camera will do and then do any processing in lightroom. Or is it better to just let camera try and optimize the image and then do any remaining work in lightroom.
Getting a new camera is not an option at this time.
Thanks in advance for any help.
Jay

You have two choices.
I have an S3 and have come up with the settings I feel are best for post-processing. They are:
Contrast -2
Sharpness -2
Saturation -1
Green -1
Of course, always shoot at maximum resolution.
The other option is to get the CHDK hack for the S3, which gives it RAW mode. You can use a DNG converter to convert the resulting images to a Lightroom-readable format. http://chdk.wikia.com/wiki/FAQ

Best hi-def camera setting when delivering video on DVD?

I know this issue has been addressed here before, but for some reason I can't find the relevant thread using the search function.
The Sony EX1 (and most other hi def camcorders) has several shooting modes. Frame sizes available are 1920x1080, 1440x1080 and 1280x720. Frame rates at 59.94i, 29.97p and 23.98p. If I know in advance that I'm going to be delivering the video on DVD (after being edited in Premiere), which is the best camera setting to use?
J. D.

I usually shoot 1080p with my EX-1. 30 or 24 fps are fine depending on content and personal preference (30p for me) and always shoot in HQ (highest date rate) mode. Interlace? Not a chance for most of what I do.
The great thing about dropping HD shots into an SD sequence is that it gives you the ability to reframe your shot within a large canvas. Plus perfect zooms or edits to tight shots to hide jump cuts without resolution loss. So many options. You can shoot in 720p if you believe more data for fewer pixels equals better SD (a valid argument I suppose), but your canvas for reframing with be substantially smaller.
I like to keep an HD version of every edit even if I believe it will ever see the light of day. Who knows what tomorrow may bring. After editing, if I want to play with framing, I'll copy/paste the edit into an SD sequence and go to town. Otherwise, I'll just export the HD sequence to Encore or AME.

Save Camera Setting

Hi all,
Does anybody know how to save the camera setting so I won't have to manually turn off the flash everytime I using camera? The settings should be the same as last used.
Thanks.

hi
In camera mode, press options then settings, scroll down and look for memory in use...
CeS
"The best index to a person's character is how he treats people who can't do him any good, and how he treats people who can't fight back"

Using same camera setting for OpenGL

Hey guys,
I want make my scene animations using After Effects and then export keyframe data and use them directly in OpenGL. My question is regarding After Effects camera and coordinate system. How should I set view and projection matrices to have the same functionality as in AE.
I can make RightHand or LeftHand projection, look-at, rotation, ... but with the same settings it isnt the same as in AE. I tried to make same scene in AE and OGL with same object sizes and positions but camera behaved different way. Like Fov isn the same. I used standard DirectX matrix formulas, tried to transpose or not before loading to OpenGL...
Is AE using some custom transformation formulas or units? Is it right or left handed?
Thanks for your reply!
Kexik

My wife and I also share a camera. We use the D50. The D50 allows you to create seperate folders on the camera. We use this when shooting to seperate our picture into two folders. The only problem with doing it this way is that when importing them it ignores the folders. I have been manually importing the pictures rather than letting it pull them from the camera to get around this though.
I'm not sure if the D70 azllows this, but it may be an idea.

Need help with 4-5 camera set up for audio/video podcast

Hey guys. I'm overseeing the podcast/audiobook studio construction for my company's new entertainment venture. It will ultimately be my job to produce the podcasts and audiobooks. The catch is that they also want to film the podcasts as well. I'm trying to find the most affordable set up that makes the editing/conversion process easiest for me on FCPX.
As you'll see I'm a bit all over the place. The essentials for what I'm looking for is
1) The right Camcorder
2) The most efficient way to record, edit and sync audio
What is the most affordable camcorder to use that works really well with FCPX? I've been hearing rumors that some aren't compatable and require a tedious conversion process. The Kodak Zi8 seems perfect because it shoots in 1080p and has a mic input, but I'm not sure if it works well with FCPX. Now, I don't know if the mic input is necessary. I was thinking the easiest way to automatically sync audio is by plugging the 4 mics into the camera's mic input and record that way. That should sync everything up automatically right? I also watched a tutorial on the multicam editing option in Final Cut and that seems perfect for this project. Do I need a mic input if I use this method? It seems like the syncing is super easy with the built in camera audio and the podcast audio files together.
I also would like to be able to record directly into the computer but don't know if that's possible. The process of taking 4-5 SD cards and uploading it after each shoot that way seems super tedious. I'm not sure if there is way to do that.
Another option would be for us to buy a video switcher but all the options seem so expensive. Anybody know of good hardware that'd work? That way I could edit on the go and if we want to make this a live ustream we can do so. I was also thinking about switcher software and using MIDI. Not sure if that is possible either.

Lets ignore whether you should be doing this, but, if they are requesting that you do it, have at it.
Although, the simplicity of this is mind boggling, for them not to do it...ah well, you're donating for a non profit, they are probably the cheapest game in town, and lost the sole employee who could scratch their backside...
Choice one, I dont recommend this one - File > Print booklet, 2 up saddle stitch. Flip back and forth using the Print Settings button at the bottom to orient the page layout and set paper size. Set the printer as Adobe PDF. Keep checking the Preview in the main Print Booklet dialog, I had to set a page range of 39 pages in a 40 page book for this to work last week.
Choice two - If you have set a 44 page document with bleeds, export to pdf, toggle "Use ducument bleeds", no crops. Place those reulting pdf's in a new 11 x 17, landscape doc, with appropriate bleeds. How you defined the bleeds in the 44 page document dictates how much fiddling you will have to do at the center (fold line) of the new 11 x 17 "imposed" document. (If your 44 page was not set as facing pages, you might have defind inside bleed to zero. If it was not set as a facing pages document, it references top, bottom, left and right bleeds) (The use of pdf for this is not necessary, you could just as easily place pages from the original InDesign file as pdf's) Setting a blue line/guide line at the center would help to crop in bleeding frames.
All above seems too simple, you are only needing to impose pages 22-23 for these steps btw.
@Scott Falkner - I knew I was being to wordy.

3D Picture Control Orthographic View zoom - Camera Set up?

I am trying to display two 3D picture controls. One displays some objects in 3D (Auto Projection: Perspective, Camera Controller: Spherical). This 3D image works great and I am having no problems with it. The other Picture Contol is meant to simulate a 2D image of the 3D object, essentially a Plan View. To do this I made a 3D picture control with a Orthographic view. I set the camera to view from above (z-axis) and set the target to be positive y-axis.
I have attached an example vi (labview 2013 SP1) that creates some simple 3D objects and displays them in Perspective and Orthographic using the same Camera Position. On initial start, the Orthographic image is zoomed in heavily. If I manually zoom it (Hold Shift button and mouse up or down), then the Orthographic image will set itself to the correct Camera position. This is essentially the solution to my problem, but I can't assume the user will have the ability to manually zoom the image. So I need to set it programmatically.
If you manual adjust the view on either screen (rotate and zoom), then click the Set Camera button, both images will give a plan view, but only the Perspective Image will be at the correct camera zoom or distance. The Orthographic stays at the last zoom distance.
Is there any way to set the Camera distance for Orthographic projection programmatically? I have tried starting with the 3D picture control as perspective, set the camera distance and then changing it to orthographic, but this still results in a zoomed orthographic image. From the reading I have done, I think I am trying to the impossible. Does any one have another suggestion to get the same result. I have previously used the 2D picture functions to generate the image but found that method inefficient.
And suggestions would be great.
Thanks
Relec
Attachments:
3D_projection_Test.vi ‏38 KB

Hi Relec,
thank you (and Kudos) for that inspiring demo!
Took me while to work it out, but I might have found something that could help us with the orthographic projection.
Sometime back someone posted a way to collect the current Camera data. Sorry I lost the source. But here is my version as a Get3DCameraPosition.vi using the ModelViewMatrix.
Unfortunatly this doesn't return the current Target and so a bit of guessing in the right Direction is necessary.
I'm impressed you found a way to make the Shift-Drag Zoom-movement possible on the orthographic window.
It seems a whole thread at http://forums.ni.com/t5/LabVIEW/3D-Picture-Control-Doesn-t-Zoom-in-Orthographic-Mode/td-p/1544460/page/2 wasn't able to find that out.
In the meantime I've found a way using the ProjectionMatrix to create a zoom-effect which I build into your demo using the mouse wheel.
All in all I've tried to translate camera movements from the perspective window in the ortho - assuming this is what you were after?!
Again the missing target information doesn't make it quite right.
Regs
Jannis

Logging takes in the field for multi-camera set-up with OL

Is there any way to designate separate cameras or link shots (to be labeled as CamA or CamB) to advance takes and make notes simultaneously?
OL doesn't really seem set up to use with documentary style shooting with multiple cameras, but maybe there is some way around this?
I just want to be able to add takes in OL to multiple cameras without a lot of typing between each take...and add notes that are applicable to multiple cameras within one shot and one take.
Any ideas?

OnLocation CS5 has an entirely new feature set known as the File-Based Workflow that may be just what you are looking for. The basic steps are as follows:
PRE-PRODUCTION (IDEALLY)
1) Create a placeholder for one camera angle of a given scene/shot. (Consider using Adobe Story to prepare your script. Then you can hand the script off to OL and have it automatically broken down into scene-level placeholders. You will then still need to break those placeholders down to the shot level)
2) Use the Camera Name property to designate the camera for that shot. If you use the "auto-matching" process, which you will likely want to do if you're entering notes per take, then this data point will be used to automatically mate a set of clips from, say Camera A to the correct set of placeholders.
3) Fill in any other metadata that is common to other camera angles.
4) Duplicate the placeholder for other camera angles & shots of the scene. To do this, you can use either the Duplicate Placeholder command or, to create multiple duplcates, the Break Out Scene command, both of which are available in the context menu when you right-click a row in the shot list. Note that both commands work with multiple rows selected.
5) Customize each duplicate as appropriate.
6) Repeat for your other shots.
DURING THE SHOOT
1) [Strongly recommended] For multi-cam shoots, synchronize the date/time on all the cameras. Ideally, synch them all to the date/time on the computer running OnLocation. This greatly simplifies the auto-matching process by saving you the hassle of repeatedly changing the camera date/time in OnLocation.
2) Select placeholder(s) or clip(s) for the next shot.
3) At any time between starting and stopping recording of the take, click the Timestamp button (upper left corner of the Project/Shot List panel). This step applies a timestamp to the placeholder, which makes it possible for the auto-matching mechanism to determine which clip belongs with which placeholder.
4) Optional: Add temporal comment markers to timestamped placeholders, which will be aligned to the clip when you auto-match. (Note that PPRO does not recognize comment markers added in OnLocation.)
5) Repeat steps 1-3 for subsequent shots
AFTER TRANFERRING CLIPS TO THE COMPUTER
1) In the Media Browser panel, navigate to the folder where you copied the content.
2) Select the clips.
3) Click the Auto-Match button at the top of the panel. This opens the Auto-Match dialog.
4) if this is a multi-camera shoot, check the appropriate box and select the name of the camera that this content came from. The list for the Camera Name setting is populated from what you entered in the Camera Name field for all timestamped placeholders. [Be alert for unintended variants. For example, if you entered "Camera A" for some shots and "Cam A" for others, you'll see both versions in the list. Before proceeding, you should standardize the entries.]
5) Set the Camera Date/Time. If you synched the cameras' date & time to the computer's, then this step is not necessary (unless you previously set a Camera Date/Time offset in OL, in which case you will need to reset the Date/Time to match the computer's.)
6) Click OK to proceed with auto-matching. OnLocation will proceed to find the placeholder whose timestamp fits within the Start and Stop Recording times of one of the clips and, if relevant, whose Camera Name matches your selection. All metadata from that placeholder will be merged into the clip.
[Please note that all of the foregoing is from memory--I don't have OL CS5 installed on this home computer--so I may have gotten the names of some of the controls wrong. I'm pretty confident that the basic workflow is sound, however.]
Here's the help page for this feature. I'm afraid it's does not really cover the particulars for a multi-camera workflow. http://help.adobe.com/en_US/onlocation/cs/using/WS89e4fde9608114f41e5eb2de124b454ea2b-8000 .html
As for entering the same string in the Comment field (or any other metadata property) for multiple placeholders or clips simultaneously, simply select whichever rows in the Shot List that you want to edit, then in the Metadata panel edit whichever properties you choose to. Your changes will be applied to all selected rows (assuming they're editable--i.e., not read-only or offline, both of which apply only to clips, not to placeholders)

Raw files loose camera setting in ACR

Hi everyone,
I have been shooting raw (nikon d80). I used to open my raw images with acr without any problem. But lately the acr wont read my camera settings.
I opened my raw file in window viewfinder and it has my camera settings just ACR seems to strip them.
How can I fix the ACR?
thank you

Which "camera settings" are you referring to? CR will read the "as shot" white balance setting from the camera, but nothing else (e.g., Picture Control, sharpening, etc.).
Eric

Expanded EXIF info in iPhoto '11- like which camera setting was used, manual or automatic?

didn't iphoto '09 indicate what setting the camera was on in the EXIF information? iphoto '11 seems kind of skimpy. Am I mssing something or should I use different software?

Thank you Terence. I'm learning to use my DSLR camera using manual settings. I take the same photo in automatic, then in different manual settings, adjusting shutter, sperture and ISO. Before I downloaded iPhoto '11 and Lion OS X, 10.7.3, I could see all EXIF information with the inclusion of whether the camera was set on manual or automatic. If you're sure iPhoto never provided this, maybe I was using Picasa or something else. I'm pretty much an iPhoto user, tho.

Camera set to sRGB, Opens as Adobe RGB

I have a Canon 5D, color space set to sRGB. When opening RAW file in Camera Raw 5.0, it opens as Adobe RGB. How can I fix this?
Thanks!

> Wouldn't that be true only if you were targeting a smaller space, like sRGB?
Factual clipping, i.e. pixel saturation on the raw level has nothing to do with the intention regarding the processing of the raw image. If pixel saturation is reached, then the raw pixel value is invalid.
The issue is, how one can achieve an in-camera conversion, which resembles the closest the raw data, in order to be able to tell how the actual exposure was. There are several steps, which can not be neutralized for the in-camera conversion, one of them being the color space conversion. Furthermore, the spectral characteristics of the color filters play a huge role in this question, so my suggestion is camera model related.
For example re the Nikon D300 I suggest using Adobe RGB in-camera. This is, because Nikon changed the color filters for the D300 sensors from the previous models very much. They are almost always changed from one model to another, but this change was extraordinarily big: the transmissity of the red range is much larger in all three filters than with other sensors. This has lead lots of photographers believe that the "red channel overexposes" (which occurs very seldom, practically nie before green saturation). Thus my (unproven!) suggestion is, that the in-camera histogram and clipping indication of the D300 gets closer to reflecting the raw data with Adobe RGB than with sRGB.

How to ignore browser 's local setting ?

I use ADF to implement JSP Application ?
I am in Thailand .
Thai year = english year + 543 .
ADF display date according to locale that is set in browser .
I want to ignore locale setting in browser and always use Locale.ENGLISH
What should I do ?
and another question ?
if I customize ADF to display in THAI year by customize setter and getter method in EntityImpl . Can I know what is locale that is set in client 's browser in those setter and getter method , because ADF dose not pass request object to EntityImpl ?
thanks in advance

You can change ADF Model tier in the application Module :
getSession().setLocale(Locale.ENGLISH);
The default value of the locale is the JVM Locale
Don't code view problematic in EntityImpl. Entity are only for binding ViewObject attributes and persistence tier. you can code it in viewRow classes (you can generate it checking ¨the check box in the java menu editing the viewObject.
Regards
Rafael.
rrimbert

Camera Setting for Canon HFM31

I uploaded a whole bunch of video with my Canon Vixia HFM31 camera. I had set my camera for the second best setting recording mode FXp 17mbps, Frame rate 60i...I assumed this setting was 720 60i lite, but after I would upload I would place a picture on the work space and then I would get a warning that it wasn't the right setting. I think it reads HD1080. Anyway, my pans and tilts sometimes jumps or studders a bit, making the shot not smooth. When I watch in the preview it is smooth. I thought maybe by redering the clip it would show better, but it doesn't seem to render. So, I'm wondering if the work area format is correct. Can someone please let me know what the best uploading setting is for a Canon Vixia HFM31. I have over 2 hours of footage and 3 days of work, there must be a simple solution to make my camera movements look as smooth as they do on the camera.
thanks

Read Bill Hunt on a file type as WRAPPER http://forums.adobe.com/thread/440037
What is a CODEC... a Primer http://forums.adobe.com/thread/546811
What CODEC is INSIDE that file? http://forums.adobe.com/thread/440037
Report back with the codec details of your file, use the programs below
For PC http://www.headbands.com/gspot/ or http://mediainfo.sourceforge.net/en
For Mac http://mediainfo.massanti.com/
http://blogs.adobe.com/premiereprotraining/2011/02/red-yellow-and-green-render-bars.html
Once you know exactly what it is you are editing, report back with that information... and your project setting, and if there is a red line above the video in the timeline, which indicates a mismatch between video and project

Issues with White Balance and other camera setting...

I have found a glitch with the camera on the Lumia 800: When you try to change a different white balance setting- (try it with incandescent so you can see the difference) as well as changing the scene (ie to portrait mode) it will flip back to auto white balance, although it will say that it is still incandescent. If you change the scene first and then the white balance and save those settings, it will take one picture like that and then revert back to auto white balance again for the next shot, but again it will tell you that it is still incandescent. (You can clearly see the white balance difference between the 2 shots, even though the camera settings say they should be the same). The whole point of saving settings is so that you can take multple shots with the same settings. I have spent hours on the phone to Nokia trying to explain this to them and they have assured me that it will be fixed in the next update. I took the phone back to the Orange shop and we tried 3 different handsets and they all had the same problem.
I also have the same problem with video autofocus that lots of people have mentioned. Has anyone found a solution yet? The main reason I got this phone (only last week) was for the camera so I am diappointed. I am a photographer so I am really fussy about cameras! They have said in the Orange shop that I can change the Lumia for another phone, such as a Galaxy S2, which is also an awesome phone. The thing is, I really love the Lumia otherwise. I really like the fact that I don't have an iPhone anymore, for a start!!
Does anyone think the network you are on makes a difference? It's just that several people have suggested that there could be a conflict with the Orange software and the Nokia/Windows software. Does anyone else have this problem who is not with Orange?

Thanks for all of your valuable suggestions.
The problem was compounded when there were drastic shifts in the levels of ambient light also occuring at the same time.
Happy Holidays to everyone.
Bruce

Ignore 3:2 camera setting?

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