Jul 31 2010

On Sorting Diverse File Formats — Simple Version

Category: AfterCapture & Rangefinder Articles, Technology Insights, Workflow & DAM — Ethan G. Salwen @ 4:05 pm

AfterCapture Blog_100730_Sorting Files_1We’re all shooting multiple file formats with multiple cameras. Even when photographing with only one camera we can easily end up with: Raws, Raw + JPEGs, JPEGs (only), and movie files. Yikes.

If you’re photographing with two (or more) cameras, super yikes — when it comes to efficient workflow, for archiving and processing.

Actually, there are some simple solutions.

For my last AfterCapture column, I provide some solutions. For “Sorting Out Diverse File Formats” I turned to Richard Anderson for advice, who applied dpBestflow.org knowledge to a real-life workflow dilemma I was facing. The article is valuable, but to be honest, the most pertinent advice might have gotten lost in the shuffle.

The bottom line, most important concepts you should consider for dealing with multiple file formats in your workflow are these:

• Separate each different file format into its own folder. Anderson explains that this is helpful because each type of file will (likely) require different workflow processing steps.

• Name each archive folder with the same base name used for you image files. Anderson explains that this best practice is important for archive sanity (although he didn’t phrase it that way.)

• Bring images together in a cataloging program – for organizing, editing and outputting. Catalog programs rule! They don’t care if your images are separated into different folders. In cataloging software — such as Lightroom and Expression Media — you can bring them together, seamlessly organizing by file name, capture time or any other metadata.

If this sounds complex complex or confusing, these images will show you what I mean:

AfterCapture Blog_100730_Sorting Files_3

See how all my “100302″ captures are divided into “DNGs”, “Jpegs” and “Movies”?

AfterCapture Blog_100730_Sorting Files_4

See how there is a gap between DNG 0174 and 0179?

AfterCapture Blog_100730_Sorting Files_5

No problem! Files 0175 through 0178 are JPEGs and, as you can see, they are in their own folder.

Just because these DNGs and JPEGs are in separate folders, they all come together seamlessly in my Expression Media catalog. If you are over 18 and don’t have a weak stomach, you can see an example here: Continue reading “On Sorting Diverse File Formats — Simple Version”

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Jan 04 2010

Smooth Photoshop Compositing Requires Clear Pre-Vision

Category: Creative Process, Photoshop & Lightroom, Workflow & DAM — Ethan G. Salwen @ 1:08 pm

ACB_100104_Compositing_1“There’s really not that much magic to it,” Aaron Goodman recently told me regarding compositing in Photoshop. “If you shoot everything properly in camera adhering to your original sketch, the digital can go extremely smoothly.”

Goodman’s comment makes perfect sense. As a New York-based photo illustrator working on tight deadlines, he always works from a concept sketch that has been approved by his client. There is no time to sway from his original vision and so he stays focused, and so his compositing goes smoothly.

Although Goodman’s comment about there not being much magic to his compositing might make sense, it still came as a surprise to me. For one thing, my compositing skills are basically nil and so Goodman’s techniques do seem like magic. For another thing, I have talked to a number of skilled compositors who often don’t know exactly what they are going to get until they delve into postproduction.

Andrew Matusik is photographer who is a postproduction über wizard, and whose aesthetic depends on the composting magic he works. Like Goodman, Matusik often needs to get in and out of post fast — sticking to a plan. But he’s  shared with me how much he relishes the opportunity to explore his vision while compositing, discovering unique possibilities for a specific image in an organic, unplanned manner.

Clearly there are two polar extremes to how one can approach a compositing workflow in Photoshop. One is to have a crystal clear vision going in, stick to it, and then get out as fast and smooth as possible. No digressions allowed. The other extreme is to have an open-ended vision going in, and to have the time to make discoveries while compositing. Digressions expected.

Photoshop compositing of this image was easy fro Aaron Goodman because. . .

Photoshop compositing of this image was easy fro Aaron Goodman because. . .

Clearly there is a whole spectrum of composting workflow options between these two extremes. What seems most important is that we know exactly where we are on this spectrum of compositing approaches for each project we are working on.

This might seem like a obvious statement. But I think Continue reading “Smooth Photoshop Compositing Requires Clear Pre-Vision”

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