Відео

Futsal, being a sport similar to soccer (football), is somewhat difficult to shoot in manual mode, I will admit as there is a lot of movement and action. It’s not impossible, but does offer some challenges. Try shooting in 1920x1080 60i FH mode (17Mbs) to start to see if there’s sufficient lighting in auto. If not, shoot in manual starting here: 1920x1080/60i FH mode f1.6 Shutter: 1/60 Gain: -3 PICTURE PROFILE SETTINGS: BLACK LEVEL: master -4, r 0, g 0, b 0 GAMMA: ITU709 BLACK GAMMA: range middle, level 0 KNEE: auto 95% middle COLOR MODE: ITU709 MATRIX, level 8 COLOR LEVEL: +3 COLOR PHASE: 0 COLOR DEPTH: all 0's DETAIL: level +7, manual - v/h balance 0, b/w balance type 4, black limit 3, white limit 7, crispening 7, hi light detail +2 SKIN TONE DETAIL: Off Use this guid to help you: www.annenbergprograms.com/IMPACT/resources/NX5Guidelines11.pdf

Check description.

You are free to expose however you would like once you get the exposure correct for middle grey.

@@jimcostafilms that's right. But 18% is not a standard for middle gray exposure

@@user-ok8xx8wf2c That I disagree with. Middle gray is the very center tone between absolute back and absolute white which is 18% grey.

@@jimcostafilms The situation is truly unclear. It appears that the 18% gray value comes from the print world. Light meters are calibrated at the factory using ANSI standards. The standard has always been for a luminance value that is roughly equivalent to the reflectance of 12% gray. Moreover, Sekonic's web page mentions 14% and claims Minolta uses a higher setting, while Minolta's English pages claim yet a different value. So, the truth is out there...

@@user-ok8xx8wf2c See if this helps: www.greatphotography.com/blog/2016/6/14/18-gray-the-middle-value#:~:text=18%25%20gray%20cards%20have%20been,of%20light%20that%20they%20receive.

Thank you. I appreciate your kind words and support.

I guess a camera mode could be confused for filled dumplings...

Thank you. I appreciate the kind words. I have some free cheat sheets available and I'm currently re-doing the DSLR one into a full e-book then will be free as will once completed. It's about a150 pages currently with more to come as I have time to work on it. The courses mentioned int his video are no longer available, but I'm working on a new one that is partially completed on shooting different types of videos solo such as sports, weddings, tv commercials and others.

I'll take it. Thanks for tuning in.

I appreciate you tuning in. If you have any questions, ask away. I'm happy to answer them for you.

@@jimcostafilms thanks...I am a Nikon user with a D7100 and D500 and I use P mode frequently as I battle with either S or A mode to get better photos...P mode always seem to give great exposure without the fidling around with adjustments when out & about taking pics... cheers 😀

@@robertdavis1255 If it works for you, then I encourage you to stick with it. As long as you're happy with your images, then keep it up. I did do a tutorial on Aperture Priority vs. Shutter Priority Mode that might help you a bit to work out the kinks. Check it out here: ua-cam.com/video/6edog-CKQIU/v-deo.html

It's true. it's an old video and not as relevant today as it used to be. Still, thanks for tuning in.

And that works wall for the type of work you shoot?

Sounds interesting. Thanks for tuning in!

1) I appreciate you tuning in & I’m glad to hear that you found the info useful. 2) You didn’t mention the type of only camera you’re using so I can’t explain exactly how to set the zebra pattern on your specific model, but generally, on Sony A series, the zebra helps avoid overexposing images which causes bright spots to loos detail. The detail in overexposed areas is often not recoverable. The zebra pattern appears over areas on the image that meet the brightness level you set. The Zebra Pattern is a highlight warning indicator that is common in cameras. It does not control exposure but just warns you that your highlights are blown out. It is not recorded into the image. Zebra Pattern is a camera feature that overlays some stripes into the image that indicate exposure levels. It is a function that aids exposure by showing a striped pattern over areas that are close to overexposure. If the maximum brightness that can be expressed in shooting is defined as 100, use the Zebra function to check the amount of brightness to which the subject has been exposed. The Zebra Pattern will appear over the part of an image if the brightness level exceeds the Institute of Radio Engineers (IRE) that you set (IRE level can be set between 70 to 100). IRE is the measure of the video signal level that is used as the basis of brightness. How to avoid a white object become dark (underexposed): Set the Zebra setting between 90 and 95, and adjust the exposure so that the Zebra pattern appears on the white subject you want to shoot.
 How to take a photo of people with optimized brightness: Set a Zebra setting between 70 and 80, and adjust the exposure so that the Zebra pattern appears on the face of the subject.

@@jimcostafilms A73

@@DeanVincent1960 Use the general value settings I mentioned above and then set the zebra according to the instructions here: helpguide.sony.net/ilc/1710/v1/en/contents/TP0001667679.html

You do have a point. It's always best to use a higher quality card to assure the most accurate colors.

I appreciate you tuning in. If you have questions, please let me know. I'm happy to answer them.

The short answer is yes to both. The long answer is a bit more complicated. Regarding a white sheet of paper for the white balance: If your goal is to get the white balance pretty close to spot on in most situations, then, yes, it’s fine to use a white sheet of paper. However, some say that white paper isn't a very good reference because standard printer paper contains bleaching agents that can affect the color balance. For example, most bright white office papers contain OBAs, which makes them unsuitable for white balance targets when exposed to UV light, like outdoors. Just remember, white paper reflects its environment. Thus holding paper near a red curtain will give a red cast. Regarding a grey card: This is always the best choice to use in either situation. A gray card is 18% gray, and the camera's meter perceives the light reflected from this as “normal” exposure. This can help you get good exposure in almost any situation, especially for portraits and products. It will give a near perfect exposure in almost any situation.

@@jimcostafilms ah I see. So basically use grey card for both, but a white paper if you have to for white balance. By the way, I understand that you can use grey card for exposure on a subject, but what about if I'm doing landscape shot when it's sunset or dusk time, do I still need to consult the grey card for exposure and white balance?

@@smann7236 Golden Hour: Yes, you can use a grey card to white balance during golden hour, which is when the sun is near the horizon and has a warm 4000 Kelvin range. You can use the grey card as a reference image to correct your colors in image editing. For example, you can use the Lastolite 12'' Grey Card to isolate the sky color temperature from the sun color temperature. It can be a bit tricky to get proper white balance during golden hour but will work provided the card is lit by the same light as the subject. For easy reference: During golden hour, you can manually adjust your white balance to 6000-6500K, which is within the Cloudy or Shade mode of your camera. This setting enhances the reds and oranges, creating a cozy, inviting atmosphere in your images. You can tweak the white balance up or down to bring out the warm, rich colors of the landscape while making sure your images reflect real life. Blue Hour: When taking photos during blue hour, you can set your white balance between 3400K and 5000K to boost the blues. Some recommend setting your white balance to capture the temperature of light as your eyes see it, which is more blue. Others recommend setting your white balance between 6500K to 7500K to keep things cooler, or 9,000K to 10,000K to render the light more neutral. You can then add warmth to the image in post. I like 4000K - 5000K, personally. Don’t use auto WB for Blue hour as you’ll loos the rich blue hues.n If your camera doesn’t allow for setting the WB in degrees Kelvin, try using the fluorescent light preset instead, I did a couple videos on Golden Hour and Blue Hour shooting: ua-cam.com/video/sYnae_Zb7qI/v-deo.html

@@jimcostafilms thank you so much for details! I always love shooting low light magic hour and dusk..I will try it out. ♥

@@smann7236 Let me know how it goes.

Thanks for tuning in!

I appreciate you tuning in!

Wow! Thank you! Your comment made my day.

@@jimcostafilms The information is straight forward, easy to follow, and doesn't veer off in to tangents like many other channels, which becomes annoying. You have a great way of explaining. The whole channel is a treasure trove of information, that I will revisit frequently! Know that there is someone in Stockholm, Sweden who appreciates your work! Im glad I stumbled upon you! Tim

@@timothy790110 If you have any questions, please let me know. I'm happy to answer them for you.

@@jimcostafilms Absolutely, thank you. Im just setting up my Epson P900 with an xrite spyder elite and a passport color checker 2!

@@timothy790110 Here’s the manual for your printer: files.support.epson.com/docid/cpd5/cpd58636.pdf How to adjust color: download4.epson.biz/sec_pubs/sc-p900_series/useg/en/GUID-0B1FCBDF-9262-42FD-ABBE-7E4098BC1F68.htm

That is a good idea for a tutorial. I’ll look into it. For now, you haven’t mentioned the program you use so try this for Photoshop 2024: Adjusting image color and tone with adjustment layers 1) In the Adjustments panel, click the tool icon for the adjustment you want to make: ◦ For tonality and color, click Levels or Curves. ◦ For adjusting color, click Color Balance or Hue/Saturation. ◦ For converting a color image to black and white, click Black & White.
 2) In the Properties panel, adjust the adjustment layer tool settings. Adjusting image color and tone in Camera Raw 1) Choose File > Open. 2) In the Open window, select one or more camera raw files, TIFFs, or JPEGs, and then choose Camera Raw from the Format menu.

3) Click Open. 4) Use the controls in Adobe Camera Raw to adjust the settings. You can use the Adjustment brush to apply edits to specific areas of the image. 

Enable editing of JPEGs and TIFFs in Camera Raw 1) Choose (Windows) Edit > Preferences > Camera Raw or (Mac OS) Photoshop > Preferences > Camera Raw.

 2) In the JPEG and TIFF Handling section of the Camera Raw Preferences dialog box, do any of the following: • In the JPEG menu, choose Automatically Open All Supported JPEGs. • In the TIFF menu, choose Automatically Open All Supported TIFFs from the TIFF menu. For Lightroom to apply local adjustments: 1) Select a photo to edit in the Library module and press D to switch to the Develop module. To switch to a different photo in the Develop module, choose it from the Collections panel or the Filmstrip.
 2) Select the Adjustment Brush tool or the Graduated Filter tool in the tool strip of the Develop module. 3) Choose the type of adjustment you want to make from the Effect pop-up menu, or drag the sliders: 
 Temp 
Adjusts the color temperature of an area of the image, making it warmer or cooler. A graduated filter temperature effect can improve images captured in mixed-lighting conditions.

 Tint 
Compensates for a green or magenta color cast

 Exposure 
Sets the overall image brightness. Applying an Exposure local correction can achieve results similar to traditional dodging and burning.

 Contrast 
Adjusts image contrast, mainly affecting midtones

 Highlights 
Recovers detail in overexposed highlight areas of an image

 Shadows 
Recovers detail in underexposed shadow areas of an image

 Whites 
Adjusts the white points in a photo

 Blacks 
Adjusts the black points in a photo

 Texture 
Smoothens or accentuates textured details in your photo. Move the slider to the left to smoothen details; move it to the right to accentuate details. When you adjust the Texture slider, the color or tonality does not change.

 Clarity 
Adds depth to an image by increasing local contrast

 Dehaze 
Reduces or increases existing haze in a photo

 Hue 
Adjusts the hue in a photo. Select Use Fine Adjustment for precise adjustments.

 Saturation 
Adjusts the vividness of the color

 Sharpness 
Enhances edge definition to bring out details in the photo. A negative value blurs details.

 Noise 
Reduces luminance noise, which can become apparent when shadow areas are opened.

 Moiré 
Removes moiré artifacts, or color aliasing

 Defringe 
Removes fringe colors along edges

 Color 
Applies a tint to the area affected by the local correction. Select the hue by clicking the Color swatch. The Color effect is preserved if you convert the photo to black and white.

 Other effects 
Additional effects are available for specific tasks, such as whitening teeth, enhancing irises, or softening skin tones. 
Note: If Burn (Darken), Dodge (Lighten), Iris Enhance, Soften Skin, or Teeth Whitening is not available, choose Lightroom Classic > Preferences (Mac OS) or Edit > Preferences (Windows). In the Presets panel, click Restore Local Adjustment Presets.

4) Drag the individual effect sliders to increase or decrease the values.
 5) (Adjustment Brush tool only) Specify options for Adjustment Brush A: Size Specifies the diameter of the brush tip in pixels. Feather Creates a soft-edged transition between the brushed area and the surrounding pixels. When you use the brush, the distance between the inner and outer circle represents the feather amount. Flow Controls the rate of application of the adjustment. Auto Mask Confines brush strokes to areas of similar color. Density Controls the amount of transparency in the stroke. 6) Drag in the photo to apply the effect. A pin appears at the initial application point, and the Mask mode changes to Edit. For a Graduated Filter effect, three white guides represent the center, low, and high ranges of the effect.

How to see all Adobe RGB colors when Converted to SRGB… Without actually seeing it for myself, It’s a bit hard to say, but try this as a start/sample and let me know how it works. I will say that your suggested solution at the end of your question should work (having SRGB calibration in another slot and toggling between them), but it is an additional step. I think you could do that for simplicity or try this below. I’ve done something similar to this (although not for print) for web export and done the following: I open the Adobe RGB image > Export > Save for Web > Embed Color Profile, Convert to sRGB. This way the conversion should happen automatically during export. This seems to be a similar issue to what you re having. I can only see the changes after export, not before. I have tried (in a few cases) to do the conversion first, prior to export like this: Open the Adobe RGB image > Edit > Convert to Profile (sRGB Profile ...) > Export > Save for Web > Embed Color Profile, Convert to sRGB. Yes, there is a slight difference when viewing a histogram, although just looking at the images on a computer, they look the same. After further research in the described case, I found that the conversion uses the same color engine whether you convert in Save for Web or in Edit > Convert to Profile. However Convert to Profile offers additional control over the rendering intent. This affects how colors that are out of gamut, i.e. colors that exist in Adobe RGB but cannot be contained in sRGB, are treated. The two options applicable here are Relative Colormetric and Perceptual. Simplistically, Relative colormetric moves out of gamut colours into the smaller gamut, Perceptual does the same without of gamut colors but also moves some in gamut colors to maintain a perceptual difference between them. Which is best depends on the individual image. You can turn on proof colors and see where those changes as you switch proof on and off and then adjust the image accordingly. Save for Web will use your defaults but will not give you the functions to override them (provided the profile contains the tables to do so). This article is old, but still has relevant info: ninedegreesbelow.com/photography/srgb-profile-comparison.html Another consideration: Standard sRGB profiles only have a relative colorimetric table. You could try an sRGB profile with a perceptual rendering table (generally found in output printer profiles, not working space profiles): www.color.org/profiles/srgb_appearance.xalter www.color.org/srgbprofiles.xalter Once converted to sRGB using both methods and viewed in a web browser, you can then make your own call.

Right here: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/ I'm currently updating it to an ebook with a lot more information (still free), but it's not ready for release yet. It's about 70 pages now and could get up to 100 when done. I plan to send out an email to everyone who gets my old one with a link to download the new one when it's completed.

@@jimcostafilms Thank you very much for your reply and for the good news about the new update on ebook! I'm looking forward to read it! Just to let you know, I just tried the above link you sent, it opens and it lets me enter my email address. But after clicking the "send me the guide" button nothing happens, I mean I received no email yet. I also entered a second different email address using two different browsers but still the same result.. any suggestions? thank you!

@@robertolotti2669 I'll send it out momentarily.

Much appreciated. it's kind of you to say. Thanks for tuning in.

Some of the listed sites are free and others are pay sites. Go to the websites listed in the description to join.

Go to the websites listed in the description to join.

I'm glad you found the info useful. If you have any questions, please feel free to ask. I'm happy to answer them.

2 reasons: First, I originally started my channel years ago to help teach senior citizens about technology. However, it didn't grow as well as I'd hope so I later changed the focus. Second, A relative worked for in the railroads his entire life and died from a disease caused by the exposure to the chemicals, diesel fuel, etc. associated with trains in the USA. I made this particular video early as an aid to seniors, but also to honor someone important to me in hops that others don't have suffer a slow agonizing death as he did.

I appreciate you tuning in!

I watched minutes open minutes to hours of your videos today. I will try and get you Mr course

@@godwinkenny1436 I very much appreciate that. I'm happy to answer any questions you have. The courses mentioned in the video are no longer available. I'm working on a new one that will be ready soon.

I'm happy to hear that you found the info useful. If you have any questions, please let me know. I am always willing to answer them.

You can find the manual for your camera here: cam.start.canon/en/C013/manual/c013.pdf I believe the MODES start on page 34. You can start with these settings for landscape photography: www.adobe.com/creativecloud/photography/hub/guides/camera-settings-landscape-photography.html I’m certain it’ll take you less than 10K hours to improve.

Great to hear. I appreciate you tuning in. If you have ay questions, let me know. I'm happy to answer them.

Sir: Thank you. I’ve two iKan Monitors: iKan D7C and iKan VV9w I don’t know how to use it. Do you have any courses that I can buy?

I don’t have training courses on those specific monitors, but I looked them up on line and found the user manuals for you to you can review the manuals and learn the features of the units. Ikan Delta D7C Manual: www.manua.ls/ikan/delta-d7c/manual Ikan VX9W Manual: ikancorp.com/Downloads/VX9w-QSG.pdf

Sir: Thank you very much for helping me. Now can you tell me which course I should buy?

@@danielsahagun4367 What do you need to learn?

I'm happy to hear that you found the information useful. Thanks for tuning in.

Very kind of you to say. I appreciate you tuning in!

Thank you. Your comment recognizing all the effort I put into my tutorials is much appreciated.

You need to go to the web sites online and sign up from there.

They absolutely are. Thanks for tuning in!

I appreciate you tuning in. Links are in the description for Camera and Premiere Pro cheat sheets on all my tutorials. I am currently updating them with more info and will be releasing the updated ones soon.

I'm glad you found the info helpful. Feel free to ask any questions. I'm happy to answer them for you.

Very kind of you to say. I appreciate you tuning in!

Everyone has their own style. Thanks for tuning in.

I have to say, this is a really unique and original question and one I didn’t know the answer to. I’m a professional photographer and video producer, not an artist, so I had to research this. I couldn’t draw a straight line (or a perfect circle for that matter) to save my life. As far as I could find, there is no one-to-one comparison for printed colors vs. oil paints. I suspect that this is because the color profiles discussed in the video are for digital media formats and printer inks. Since your images are to be printed on a canvas, the profile/gamut to use is CMYK. To me, CMYK photos, when printed, look duller than RGB, but this is just my opinion. I tend to adjust contrast and saturation to offset this, but again, that’s just me. Your opinion of your work may differ. RGB colors can often be “out of range” / oversaturated compared to real pigments for PRINTER INKS as the CMYK color gamut is adopted to a real printing ink colors. In CMYK mode all available colors you have on your computer screen can be printed using offset or ink jet printers. RGB mode doesn’t have ink color limitations. The only limit is display color range ON SCREEN. However, this doesn’t always directly translate to what you see printed when compared to what you see on screen. This is probably similar to the issue you are having. If you don’t want distortions in color when you print, you always send a CMYK file to the printer. You get more real control of what the actual print will look like, that said, you need a calibrated monitor and Photoshop/Lightroom to set up the file that you end up printing. The first rule in printing is that you can never fully proof on a monitor, no matter how calibrated it is. Ask for/make yourself a match proof that is printed on a printer that is calibrated to the color profile of the printer used for the final clients print. Make any needed adjustments and then make the final client print. As to my video, the diagrams included are chromaticity diagrams, which are more directly useful for showing the colors of light (seen on screen or printed) than for the colors of objects (seen in your paintings). You can use a chromaticity diagram to plot colorimetric readings of the light reflected by different paints, ignoring luminance (amount of light), if you want to simplify the comparison to a two-dimensional plot. An example comparing modern and older pigments comes from S.R. Jones “The History of the Artists’ Palette in Terms of Chromaticity”, from “Application of Science in Examination of Works of Art” (Museum of Fine Arts, Boston, 1965). There are also examples in some classic textbooks on color like Ralph Evans’ An Introduction to Color (1948) and George Agoston’s Color Theory and Its Application in Art and Design (1987). I also found useful info in my research to find you an answer here: www.kindofdoon.com/2020/02/paint-palette-to-color-gamut.html theartsquirrel.com/46/colour-gamut-mapping-for-painting/ ua-cam.com/video/OGfkNq8MyGk/v-deo.html gurneyjourney.blogspot.com/2011/09/part-2-gamut-masking-method.html mchesleyjohnson.blogspot.com/2019/08/master-class-color-palettes-and-color.html I suspect that your best bet is to use the Gamut Masking Method mentioned in a couple articles and in the video to solve your problem.

I appreciate you tuning in. I'll look at what you mentioned and, if I make another video on the subject in the future, I'll do a better job on the graphics.

I don't know what to tell you.

I was looking at the manual for the Canon XA-40 for you. It’s here: www.usa.canon.com/support/p/xa40 There is a listing of adjustments when in Manual Exposure here: www.manualslib.com/manual/1592317/Canon-Xa40.html?page=42 I’m thinking you can roughly adjust the aperture and shutter speed to what you need and then add (or remove the ND Filter AND combine an increase in the Gain setting to compensate. Thoughts?

@@jimcostafilms Ya thank you, i am surprised at this as well there were two different manual's ? cause one said i had it then i downloaded a new one and said i didn't ? like it was a typo error they corrected, but it seems like i do have it going to check my camera thanks again

@@jimcostafilms Turns out i do have 1/48 funny the manual i have right now says it doesn't marry go round with this thank you again !

@@christopherdunn317 Good. I thought that seems odd, but not impossible.

@@jimcostafilms This is it Aperture 1 F1.8, F2.0, F2.2, F2.4, F2.6, F2.8, F3.2, F3.4, F3.7, F4.0, F4.4, F4.8, F5.2, F5.6, F6.2, F6.7, F7.3, F8.0 ND filter When the aperture value is F4.0 or higher: ND1/2, ND1/4, ND1/8 Shutter speed 2 1/6, 1/7, 1/8, 1/10, 1/12, 1/14, 1/17, 1/20, 1/25, 1/29, 1/30, 1/33, 1/40, 1/50, 1/60, 1/75, 1/90, 1/100, 1/120, 1/150, 1/180, 1/210, 1/250, 1/300, 1/350, 1/400, 1/500, 1/600, 1/700, 1/800, 1/1000, 1/1200, 1/1400, 1/1600, 1/2000 Gain 0.0 dB to 24.0 dB (1-dB increments

Very kind of you to say. I appreciate you tuning in. If you have any questions, let me know. I'm happy to answer them.

Hello, Thanks for checking out my channel.

The company I used to use to get you the cheat sheet went out of business. I use a different US based company now. The new link for it is: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/ As to the message you got, I don't know what's up with that. You're the first person to mention it. I have been working to remove the now dead links form all my blogs, but I have hundreds so it's taking some time. I'm up to March 2020, currently and working backwards. This video I haven't gotten back to yet.

@@jimcostafilms Hello again Jim and thanks for your clarification! have a good day!

@@edycafe No problem. Thanks for letting me know about it. I'll work harder to remove the old links.

I can't please everyone. I appreciate you tuning in, however.

I'm happy to heat that you found the information both understandable and useful. Consider using Sports Mode on your camera when shooting soccer matches. It might help. I discuss it here: ua-cam.com/video/4kvfRXfO1sg/v-deo.html

I used to have a T5 and that was the setting i used all the time, now i have a 7D mark II so I'm trying different things, so far I haven't seen much difference between fully Auto and AV or TV but since the situation chenge from one sec to the next for me is hard to really see the difference, portraits and family pictures are easier to see the difference, thanks for the link, i will watch it.@@jimcostafilms

@@ademosthenes4911 Since in Aperture Priority (Av) mode, you choose the aperture (f-stop value) and the camera provides the shutter speed needed to properly expose the image, Consider shooting sports in Shutter Priority (Tv) mode since you will be choosing the shutter speed and the camera provides the aperture (f-stop value) needed to properly expose the image. Generally, for shooting fast moving sports, a very fast shutter speed is needed 1/250th of a second or faster to prevent blur in the image. They this first to see if you like it better.

I have tried Tv and for some reason feel a lot more confortable using Av because i like the background more blurred that when i use Tv, thanks for the tip about the speed, I usually set it around 1/500 and I like the results, but I'm not even close to being a pro so don't think my pictures will win an award. Thanks for taking the time to answer and for your videos. @@jimcostafilms

@@ademosthenes4911 If you have any other questions, please ask away.