How to Choose A Computer For Video Editing

If you intend to capture and edit any of your video footage, a computer system is a must. 
It can, however, be confusing for the beginner video enthusiast. Should you use a desktop or a laptop computer? How much processing power is needed? How much hard disk space is needed?

There's a whole multitude of components in a computer - choosing the best components can be tough.

Well, the way I'd approach this problem would be to consider your budget and video editing needs. Let's take a look at the various options.

1. Desktop Computers

When buying a desktop for video editing, try to get a model with a good, large monitor for viewing your video. Ideally, the desktop should also come integrated with a FireWire port so you don't have to buy a separate FireWire card.

The other thing to look out for is a fast enough CPU with ample RAM, so you can run your video editing software smoothly. You don't want a computer which lags when you're opening a video frame or dragging clips on the editing timeline. I'd also look out for a BluRay writer if I intend to create BluRay discs, others you can stick with a normal DVD writer.

Budget Desktop Computer

If you're a budget user, I'd recommend the getting a reasonably powerful computer with an affordable price tag. A budget desktop computer, in my opinion, should come with the following specifications:

• CPU: Intel Core 2 Duo
• RAM: 2 GB DDR2
• Hard disk: 500 GB
• Video card: Integrated with motherboard

These specifications give you the power to handle almost every video editing task. An excellent choice for those who are just starting out in video editing.
 

Mid-range Desktop Computer

If you have a bit more spare cash, or have heavier video editing needs, you can go for a slightly more expensive system. Look out for specifications like:

• CPU: Intel Core i5
• RAM: 4 GB DDR3
• Hard disk: 750 GB
• Video card: Integrated with motherboard

Brand name manufacturers like HP and Dell make very good desktop PCs of practically any configuration you desire. You can also choose to build your own.
 

High-Performance Desktop Computer

For those with quite a big budget, you can go for a system that will provide the ultimate in video editing performance.

• CPU: Intel Core i7
• RAM: 4 GB DDR3
• Hard disk: 1 TB
• Video card: Dedicated graphics card with 512 MB VRAM

2. Laptop Computers

For the mobile user, getting a laptop system may be a better choice. Even if you're at home, getting a laptop for video editing may be better as it allows more freedom of movement.

One good thing about laptops is that the mid to high-end models tend to come with FireWire ports already built in. Many of the high-end models also offer BluRay writer drives which is a boon for video editors.

Of course, laptops come with a bigger price tag. Let's take a look at what laptop systems are suitable for video editing. Again, I classify them according to budget and video editing needs.

Budget Laptop Computer
For a budget laptop computer, you should look out for specifications like:

• CPU: Intel Core 2 Duo
• RAM: 2 GB DDR3
• Hard disk: 250 GB
• Video card: Integrated with motherboard

If you buy a budget laptop, the money you save can then be channeled to buying better video equipment like a camcorders and accessories.

Mid-range Laptop Computer
For a mid-range laptop, I'd say the specs are something like:

• CPU: Intel Core i5
• RAM: 4 GB DDR3
• Hard disk: 300 GB
• Video card: Integrated with motherboard

If you get a mid-range model, it usually comes with an integrated FireWire port - which is good news for video editors.

High-Performance Laptop Computer
Well, those who can afford a bit more will do well to consider the high-end laptops with specifications like:

• CPU: Intel Core i7
• RAM: 4 GB DDR3
• Hard disk: 500 GB
• Video card: Integrated with motherboard

These models come decked out with not only FireWire ports but also great graphics and audio capabilities - usually with gorgeous screen displays.

Conclusion
Hopefully, this article has given you some insight on the choices available when buying a computer for video editing. My suggestion to most people is to go for a system which meets their needs. You also need to consider other users for the computer. Will you use it to play graphics intensive games or do only simple word processing tasks?
Don't waste a ton of money on a super powerful system if you don't need it. Considering these factors will help you choose a proper computer system.

Top 5 Video Editing Software Programs For Video Hobbyists

If you're new to the digital video hobby, one of the things you'll very quickly realize is the need for a good video editing program. A video editing program allows you to add special effects to your otherwise boring video.

You can add in things like titles, transactions, time lapse, audio and even use advanced techniques like chroma key to enhance your video production.

Here are my top 5 recommendations for video editing programs that are suitable for video enthusiasts. Pick one of these programs and learn it well. Once you master the basics, upgrade to more professional level suites and you can really begin editing broadcast quality video.

	Corel VideoStudio Corel VideoStudio is a real gem of a program. You get professional level editing capabilities for a very reasonable price. Some of the special effects I like in the VideoStudio suite include time lapse and stop motion animation. Of course, you can access a huge variety of ready-built templates for titles, transitions, DVD menus and more. Top-of-the-line software and it sits high on my recommendation list.
	Movavi Movavi is a nice little video editing tool for beginners. This video editing and disc authoring application features an intuitive interface and seamless workflow so that you can easily create professional looking videos. Don't be deceived by the brand. While it is not as well known as Adobe, Corel or Pinnacle, Movavi has been getting a lot of rave reviews on the Internet. Find out more about Movavi here.
	Adobe Premiere Elements Adobe Premiere Elements is considered by many as a 'lite' version of its more commercial cousin Adobe Premiere Pro. Premiere Elements offers the perfect combination of creative control and reliability for home video editing. Whether you just quickly edit your footage, add fun effects, and create custom DVDs, or experiment with more complex effects, this software package will allow you to do it. Very nice option for those intending to upgrade to Adobe Premiere Pro at some point.
	Nero Software I used to love Nero for its DVD burning software. Nero has now moved on into video editing and the outcome is no pushover. You get solid capabilities like basic editing tools, transitions, effects also also a nice variety of output formats for your video production. Again, not as well known as your Adobe, Corel or Pinnacle video editing suites, but a solid option if you just want a small, neat video editor.
	Pinnacle Studio Pinnacle Studio is a full fledged editing tool which competes directly alongside Corel VideoStudio. In my view, Pinnacle Studio can let you do everything you want with your digital video at the beginner and intermediate levels. Whether you want simple transitions and titles, or complex options like chroma key, Pinnacle Studio has it all. One of the better video editors and also high on my recommendation list.

Conclusion

Which of these video editing programs would you pick? Well it's a close fight between Corel VideoStudio and Pinnacle Studio. Both of these products are simple enough for beginners yet have sophisticated features for intermediate level users. I also like Movavi for its amazing and fun approach to editing videos.
These programs will satisfy your video editing needs for a long time to come. Once you get comfortable with these programs, you can then venture into professional video editing with suites like Adobe Premiere Pro or Final Cut Pro.

Top 5 Free Video Editing Software Programs

There are many free video editing software programs available for download today, but not all of them are good.

Many programs simply don't do what the manufacturers say that they will do, and others don't provide enough - or any support.
Of course, most free software does not include the same level or quality of support that you would expect to find with software that you purchase commercially.
While it is true that you get what you pay for, there really are some good free video editing software available out there.

Here are the top five that we have found:

	Microsoft Movie Maker Already installed on newer computers that are running Windows XP, Movie Maker has drag and drop features to make creating and editing your movie easier. Microsoft has many add-ons for this software, and upgrades are available through the website. This is one of the best free video editing software programs available.
	Apple iMovie Apple iMovie is comparable to Windows Movie Maker, but Apple iMovie is used on the Mac operating system. Apple iMovie has many advanced features and add-ons. Unfortunately, the software is only free if you buy a new Mac system. If you want the software without buying the system, it is available for purchase separately. One of the best free video editing programs available for Mac users.
	Avid FreeDV Avid FreeDV is available for both Windows and Mac operating systems, and includes basic video and audio editing capabilities, as well as up to two streams of real-time effects. On the whole, a solid video editing program that is slightly hard to use, but very powerful once you learn its ins and outs.
	Wax Wax is a high performance and flexible free video editing software program. It started out as a college project, and has since grown. Wax is good for both home users and professionals. It can be used as a stand-alone application, or as a plug-in to other video editors. The software also features unlimited video and audio tracks with top-down compositing.
	Zwei-Stein Zwei-Stein is great free video editing software, but the user interface is very technical. It is full featured, offering many different effects. It can edit up to 256 video, audio, and still image clips. There are up to 64 effects, which can be chained serially. An interesting program that's worth looking at.

Conclusion

Microsoft Movie Maker for Windows users, and Apple iMovie for Mac users are probably the two easiest to use free video editing software programs available. Both products will allow you to very quickly perform simple video editing tasks.

However, if you want to able to add more interesting effects and transitions to your videos, you might want to check out commercial video editing software. These programs provide very intuitive user interfaces to complete basic editing tasks, but are also complex enough to let you experiment with advanced video effects.

Guidelines for Shooting Quality Videos

Have you ever had this experience? You grab your new digital camcorder (replete with the latest features) and happily shoot that wonderful family event or vacation.

Only later do you realize that the video footage was too dark, or the video quality was terrible. Isn't that a terrible feeling? What makes it worse is that you can never re-shoot that video as the happy moments are now gone. The best way of avoiding these problems is to learn some basic video shooting skills. You need not learn complex cinematography or directorial skills, of course. But you should have some fundamental knowledge of what goes into a good video shoot and doesn't.

Let's take a look at these shooting tips in turn.
 

1. Avoid Zooming In and Out Too Much

Many digital camcorders come with a super duper 1000X zoom in and zoom out feature. This is a good thing, but the problem is, many people get carried away. I've seen countless videos which keep zooming in and out during the shoot - they generally succeed in giving me a bad headache. Use the zoom in and out feature sparingly. Even if you must use it, do it slowly. A slow, well-controlled zoom is much more professional looking than a quick zoom. Another tip is to restrict the usage of the zoom in between scenes.
 

2. Steady Does It

The professionals always say "Keep It Steady". There is no doubt that when we're shooting videos, our hands tend to vibrate a little. If the vibration is too much, it will badly affect the quality of the video footage. There are two ways to overcome this.
One way is to do it like the professionals - get a good tripod stand. These can be obtained rather cheaply. Another way is to brace yourself against something like a wall, or perhaps stoop down on your knee while filming.
 

3. Where Are You?

One tip that I've picked up while shooting family vacations is to always, always look for a landmark, a sign or natural monument that tells the audience where you are.
Do you notice the professionals do this as well? For example, in the movies, you may see the camera zooming in on the Statue of Liberty first, before cutting to a scene that happens within. Or there is a shot of the White House before the director cuts into a scene within the Oval Room. Another tip is to make the people you're filming talk or smile. This makes the whole video much more lively and interesting.
 

4. The End or The Beginning?

Another good video shooting trick is to use the end of the story at the start of the video. Again, experts do this all the time. If you're filming a wedding video, you can start off with an interview of the happily married couple on the wedding day before you cut off into scenes of how they met, how they grew up, etc.
 

5. Keep Them Short and Simple

Never, ever, shoot long, drawn out video clips of more than two minutes. It bores the audience to death! Using many short clips of 5 to 10 seconds duration is much more effective. It also brings variety to the audience. Imagine if a television commercial lasted two minutes focusing on the same video scene - wouldn't that be boring?
 

6. Lighting, Lighting, Lighting

Of all the factors listed here, nothing spoils a video shoot as much as poor lighting. Sure, you can use video editing software to brighten up the scenes, but they can only do so much.
I've seen many innovative videos marred by poor lighting. One important tip is to shoot video with the light source behind you, shining on the subject. An example is an outdoor shot where the sun is shining. Make sure the sun shines on your subject and not on your camera lens! Another tip is to use the camera's backlight feature if there is one. It allows you to compensate for overly bright light.
 

7. Change Your Perspective

Don't limit your shots to one angle only. Approach your subject from all angles. Come from behind, come from the top, whatever. Perhaps you can even film yourself walking up the steps and opening a bedroom door before reaching your subject.
 

8. Learn from The Movies

You'd be surprised how much you can learn about shooting video from the movies. Very often, we just sit down and let the movie scenes come at us without considering what went through the director's mind. Try it - for once, when you watch your next movie, consider how the director framed that shot or scene. You will learn a lot and maybe even get interested in directing films!
 

9. Conserve the Battery

I've seen or heard so many people forgetting about the battery that I must emphasize it here. Please buy extra batteries! Preferably two extra batteries. Nothing is worse than shooting a video outdoors and having the battery die on you. Also, always bring the AC adapter too - so that you can charge your current battery whenever time permits.
 

10. Check The Sound

This tip may not be important for the average home user. But if you're a serious videographer, you'll have a microphone attached to your camcorder. Microphones are an essential tool for sound focusing and result in better audio quality during video shoots.
 

Conclusion

It's not tough picking up better shooting skills. Once you've learnt the basics, I assure you it will come to you very naturally, almost like riding a bicycle or swimming. If you're truly interested in enhancing your shooting skills, I'd recommend you check out some books on the topic. This was the way I learnt digital videography - reading, reading and more reading - then constantly experimenting with what I learnt.

Digital still cameras

Introduction

This tutorial covers principles of digital photography in general, but refers to these Canon cameras as examples:
PowerShot G1, G5, Pro1, Rebel XT
If you have a different camera, you'll find that the same functionality is present on your camera, though buttons and menus may be in places other than those shown here. Consult your owners' manual.

About Digital Cameras

Digital still cameras store photographs as digital bits on a memory card or tiny hard drive, as opposed to the film used in traditional cameras.
Rather than developing and printing film, digital images can be downloaded easily to a computer. A photographer also can instantly review shots on an LCD (liquid crystal display) monitor built into the digital camera. The memory cards can hold a large number of images. After downloading the images to a computer, the flash cards can be erased for reuse.
The main drawbacks to digital still cameras are:

• A slight delay that occurs between clicking the camera's shutter button and the camera actually taking the picture. The better the camera, the shorter this delay will be. Professional digital cameras do not suffer from this lag time, and the problem is becoming less pronounced even with cheaper consumer/pro-sumer cameras.
• A battery is required for operation, so you'll need to periodically recharge it (this can be done by connecting the camera to an AC power adapter and charging the battery in the camera, or by purchasing a separate AC battery charger).
• Photos that are not quite as high quality as what you get with traditional single lens reflex (SRL) cameras, unless you purchase a very high-end (and expensive) digital camera. But even a mid-range digital camera produces photos that are suitable for the vast majority of purposes, including Web publishing.

SLR vs. Non-SLR

There are two basic kinds of digital cameras: Digital SLR (single lens reflex) and non-SLR. Digital SLRs are generally more expensive and more accurate than non-SLR cameras, and include more professional features.
SLR cameras -- whether film or digital -- use a system of mirrors to take the image coming through the lens and reflect it up into the eyepiece. Thus, what you see in the eyepiece is exactly what you get on the camera back, where the image is recorded. In contrast, the eyepiece on a non-SLR camera looks out through a separate hole at the top of the camera. As a result, what's seen through the viewfinder is slightly different from what comes through the lens. What you see is not exactly what you get.
While we sometimes think of the ability to preview a shot as a hallmark of digital cameras, there is an interesting side-effect of using an SLR camera in the digital world: The mirror that reflects light from the lens up to the viewfinder blocks the digital image sensor on the camera back until the image is shot. Therefore, digital SLR cameras generally do not let you frame and preview your shot on an LCD screen before shooting -- you must frame your shot in the viewfinder, as you would with a traditional SLR camera.
Here is an animation showing how SLR cameras work.
Here is an animation showing how non-SLR digital cameras work.
There are a few digital SLR cameras that have come up with clever workarounds for this problem, but most digital SLRs, including the Canon Rebel, do not allow for LCD preview.
In this tutorial, the Canon Rebel is a digital SLR with no LCD preview; all other cameras are non-SLR with LCD preview.

Ten Tips to Better Video

So, you want to make your videos better, but you don't want to read every article on the camcorderinfo.com website. Well, improving your videos really isn't that hard, and if you follow just some of the advice in this article, you'll be well on your way to making them better. Here are ten tips for making your videos better:
1. Get a good Tripod, and Use It - The first step in improving your videos is stabilizing them. Your camcorder may have built-in image stabilization, but it can only compensate for so much motion. One of the best ways to improve the appearance of your videos is to get a quality tripod. While some camcorders come with tripods, very cheap or give-away tripods tend not to provide a very good shooting base. $100-200 is the starting range for tripods that will be sturdy and offer smooth movements. Be sure to get a tripod with a head specifically designed for video.
2. Learn When to Pan, Zoom and Use Other Moves - One of the most common video mistakes is making constant movements and adjustments. Be deliberate when making adjustments, don't make changes without a reason. Take a shot of something and leave it there for 10-20 seconds, stop the recording and take another shot. Don't quickly pan the camera from one subject to another. When panning and zooming, use slow, smooth, and deliberate motions. This will make your videos much more watchable.
3. Do a Little Shot Composition - The purpose of taping something is so you will be able to remember and enjoy it later. Before you hit the red button, look at your shot and see if you have everything in it that you want and that it is framed nicely. Do this as you would if you were taking a still picture; prior to pressing 'record,' not after. Good shot composition uses the 'Rule of Thirds.' This is where you treat the screen as being divided into a tic-tac-toe pattern (see figure 1). When framing a person, you want their eyes on the top line and the center of their head on the left or the right line (i.e., facing inward). Although this may cut off the top of the subject's head, it will provide the proper balance and really make your shot look professional.

4. Learn Your Camcorder Like the Back of Your Hand - The best videographers know every function of their camcorder and could operate it with their eyes shut. Having good knowledge of your camcorder's features and functions is a necessary element of making better videos. The most obvious need for this knowledge is to allow you to always have your eye in the viewfinder or on the LCD screen, not looking away at the controls to zoom, focus, or make other corrections. More than just knowing where each control is, you should learn all the how image settings like white balance, exposure, and backlight affect the image.
5. Tell a Story - If you don't have the time to formally edit your videos, use in camera editing (i.e., the fancy name for pressing record and pause at just the right times) to neatly follow some chronological path and tell a story. People will more likely feel compelled to watch your videos if they tell a story. It matters less what the story is about than how well it's told. You don't have to narrate your videos to tell a story; the pictures can do that. Take a wedding for example. First, we get a shot of the outside of the church. Then, we get some good interior shots of the church to show what it looks like. During the ceremony, get shots of the bride and groom as well as family members' reactions. You've now told a story about the wedding that will be interesting to watch. (see figure 2.)

6. Put a Tiny Amount of Money into a Lavaliere Microphone - The best audio purchase that you can make if you're mostly doing home videos is a lavaliere (lav) microphone (see figure 3). It's designed to clip onto the clothing of the subject (e.g., lapel, tie, or collar), near their mouth, and plug into the camcorder to pick up the best possible speech audio. Lavs are also small enough that you can hide one somewhere in a scene to pick up better sound than a camera mounted mic. If you really don't think you would put a lav to any use, then consider some other external mic, such as a shotgun or handheld. The reason for doing this is simple; your on-camera microphone cannot be placed any closer to the audio source than where the camera is. Even the best on-camera microphones will not do an adequate job of picking up soft sounds at a distance. Additionally, the unwanted sounds between you and your subject will be picked up, and with many on-camera mics, this can include sounds to the side and behind the camera as well. External mics start at around $30. It's great to have one in your bag if a situation that calls for a mic comes up.

7. Look Into Lighting - A lot of image quality problems can be solved by employing some simple lighting techniques. You may not want to invest in or have the desire to carry an entire lighting kit with you where ever you go, but you can make the best of the natural or available lighting situations that you face. Whenever possible, shoot in a well-lit area. Make sure there is not bright light like the sun behind a subject. If your subject is standing in a bad lighting situation, have them move into better light if possible and the video will look much better.
8. Interviews - A great way to improve your videos is to interview subjects. Interviews can provide good insights through the actual words of the people involved. No matter what the event is, a baseball game, picnic, wedding, or party, interviews can add a nice touch. When doing an interview, frame the shot with the head and upper chest showing and with the subject off-center to one side or the other. As the interviewer, you do not need to be in the shot, but rather stand next to the camera. Stand on the side of the camera that will be the open side of the shot, and have the interviewee face you. Tell the interviewee NOT to look at the camera, but just carry on a normal conversation with you and keep eye contact. This may seem awkward but it works really well and it is how almost all professional interviews are done (see figure 4). Remember to leave plenty of space in the shot to allow for the interviewee to move naturally and nod. This way they won't slip out of the shot.

9. Pack Well - Every videographer has their favorite video goodies that they keep in their bag, but there are some basic things that every camcorder owner should carry with them. One thing is a special lens cleaning cloth that does not scratch the lens, commonly used for glasses these cloths are great for wiping down the camera lens or LCD screen. Another is an extra battery (put the money into buying an extra long life battery so you 'never' run out). A pen, pad of paper, and extra labels are also essentials. Bring as much extra videotape as you can comfortably carry. It's also good to carry a set of RCA cables (video cables) because you never know when you'll need them. A roll of tape to secure cords and other things is a good bring-along, as well as anything else that you think will make shooting videos easier.
10. Have Fun! - They key to making good videos is enjoying yourself. Always find new and interesting things to do and to shoot to make your camera experiences fun and exciting. Experiment with your camera and see what you enjoy and what works well for you. Remember that if you're having fun, so will your viewers!
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Camera

Introduction

This tutorial is an overview of video cameras as they pertain to the newspaper industry. As newsrooms become more converged, investment in multimedia equipment is becoming a major factor in purchasing decisions.
Since most print-based newsrooms have little experience in video technologies, this tutorial will help demystify some of the lingering questions regarding video camera equipment purchases.
When purchasing video equipment, one must first break down all of the elements that should be taken into consideration with video capture.
Here are some considerations to make:

What level of camera does my paper need?

A high-end professional camera can actually put an undue burden on an organization with limited resources and staff with technical ability. In some cases, higher-end cameras actually come with fewer automatic features and fewer accessories than their consumer counterparts. Some require the separate purchase of microphones and lenses that usually come standard with consumer-grade cameras. A news organization should be realistic about its needs and funding capabilities. On the other side, a high-end camera offers a huge amount of flexibility to people who are familiar with video or photo camera equipment. Most photojournalists would likely opt for professional-grade equipment.

What media type does the camera capture to?

This is often a difficult choice to make, because there is no best answer. The various media that each camera records to offers different advantages and disadvantages — and at different price points. Most of the time the decision revolves around convenience, durability, capacity and longevity. Hard drive cameras are popular because it makes video transfer a simple process; however, they are well known to be more fragile than tape and solid-state media. DVD cameras are convenient, but have limited storage and also suffer from some durability issues. Tape seems to be one of the best solutions, even for archiving, but isn't very convenient as the logging process is done in real-time. Memory cards, or solid-state media, is quickly becoming a popular choice, but limits the amount of footage you can capture at any given time. We currently recommend purchasing a camera that uses either MiniDV tapes or a solid-state memory card, like SDHC.

Do I need a high-definition camera?

Anyone in the broadcast industry will tell you that HD has become the standard today. While primarily used in the broadcast industry, the Internet is also seeing a proliferation of HD content on sites like YouTube. A news organization could choose to be proactive and start capturing HD content now, or wait until it really gets traction in the industry. The down side to going HD is that it presents a host of challenges with storage and processing, and could end up being a major investment. Either way, no one doubts that HD will play a big part in the future of all media delivery.

What types of accessories will I need to purchase along with the camera?

This is often the most overlooked aspect of purchasing electronic equipment. Most vendors actually sell big priced equipment like cameras at cost and make their money off of the accessories. Often the accessories alone can add up to half the cost of the camera, if not more. Consider the following accessories which might cost more than you think: camera bag, extra batteries, microphones, filters, memory cards, tapes, chargers, tripod and earphones.

What software will I be using to edit this footage?

Software may not typically be part of the discussion in purchasing new equipment, but it should be. You must first make sure the camera footage is compatible with the software solution you plan to choose. Most video editing software can log tape footage, but not necessarily DVD or the newer AVCHD (memory card-based footage). Find a software solution that is right for your organization and is compatible with your computer systems. Consider the workflow before you purchase the camera.

How this tutorial is written:

In this tutorial, we have narrowed down current video cameras into three grades of complexity and price:

• Professional
• Prosumer
• Consumer

Some could argue what this tutorial considers "professional" is less than such by high-end broadcast standards; so note that this was written to pertain to print news organizations attempting to purchase video equipment for the first time.

Topaz Adjust 5 Review

Topaz Adjust just got better. Released today, the popular photo adjustment program was upgraded to include more powerful functionality and many new features. Many professional photographers have started using Topaz as a part of their post-processing for stunning yet subtle improvements.
For the launch of this new version they are offering 30% off until November 30, just use the coupon code ADJUSTME at checkout: Topaz Adjust Can be Found Here

Some of the new features found in Topaz Adjust V5:

• Auto-create layer. Automatically creates a new layer where your adjustments will be saved to.
• Apply button. Stack multiple effects and presets during the same workflow.
• My Collection. Users can now save their presets under My Collection.
• Preset Collections. Presets are organized into 5 unique collections.
• Local Adjustments. Intuitive selective adjustment brush for burning, dodging, smoothing, and brushing out (erasing) added adjustments – plus edge-aware options.
• Histogram. Shows the tonal range of your image.
• Curve Tool. Easily adjust image tonality to help emphasize tones, contrast and brightness.
• Finishing Touches Tab. Features options for diffusion, grain, borders, vignettes, tone adjustments and overall transparency adjustment.

Topaz Adjust 5 Interface:

Interface of Topaz Adjust 5

1. Presets/Effects Preview – Displays previews of presets & effects.
2. Presets Panel – Provides “snapshots” of pre-defined effects.
3. Preview Window – Displays the preview of the original and adjusted image.
4. Preview Navigator – Displays the region of the preview image you are currently focused on. Also displays histogram.
5. Settings & Parameters – Sliders to adjust and fine tune the various effects.

Sample Photo Edit in Topaz Adjust 5:

In this sample edit, we take a look at a quick example going through the workflow to show you the layout of the program and help you get acquainted with the tools and setup of Topaz Adjust.

Photo retouching with Topaz Adjust 5

As you begin, you can choose a Collection type from the Effects menu and then apply one of the included presets or you can start your work manually using the tabs and sliders in the tool panel. Whether you decide to work with presets, manual adjustments or both, you will be able to customize your enhancements using the tools in the three adjustment tabs.

Adjust 5 Guided Workflow

So let’s take a look at the purpose of each tab and what tools and features are inlcuded in each.
Global Adjustment: This step includes basic tools (original Topaz Adjust tabs) for adjusting exposure, detail, color and noise. It also includes the new curve tool.
Local Adjustments: This step allows you to selectively apply image adjustments using an advanced brush. Adjustments include burning, dodging smoothing and erasing/brushing out applied adjustments.
Finishing Touches: This final step is for applying important finishing touches to your image. It includes toning, vignettes, grain and more.
Important: Next to each sub-adjustment tab is a small checkbox. To enable the effects in this tab be sure that the check box is Checked. You can also uncheck it at anytime to disable the effects.
Each sub-tab also includes a local reset button. Clicking this button will reset all of the sliders in that tab to their default values.
So let’s get started…
1. Click on the Global Adjustments tab to reveal the individual adjustment tabs and then click on the Exposure tab.
Adaptive Exposure is a very unique tool which makes it easy to add detail and depth to your image. The Adaptive Exposure tab uses an adaptive technique to enhance the dynamic range of your image…giving it that WOW factor.
Here you can apply a variety of tone mapped effects using the unique sliders to adjust the range of the highest and lowest luminance regions where detail is visible. You can also correct exposure, balance lighting and redefine tonal values.
The Regions tool offers added flexibility for your Adaptive Exposure Adjustments.
The Regions slider determines how your Adaptive Exposure selection is disbursed across your image.
The value of the Regions slider determines how many regions to divide your image into. The Adaptive Processing settings will then be applied locally to each of these regions.
The larger this number is, the more localized tonal balancing your image will have.
2. By increasing the Adaptive Exposure and Regions sliders we can increase the local contrast in the image and introduce more variations of color and detail. You can see that the background looks less flat and is starting to show some definition.
You can also adjust overal image contrast using the Contrast slider, or reveal lost details hidden in shadows and highlights using the Recover Shadow and Recover Highlights sliders.

Topaz Adjust 5 Global Adjustments

3. Moving to the Detail tab, we can increase the detail in the image and aslo use the small boost slider to give it more texture. Be sure not to over use the Detail Boost slider as it can often create an unwanted noise-like effect.
Process Details Independently: Adjusts exposure and details separately. When enabled, only underlying exposure will be adjusted through the Exposure tab. The details will only be adjusted through the Details tab. This tends to reduce the overall noise and amount of “gritt” in the final image.

Increasing Detail and Texture

For this example we will not be making any adjustments in the Noise Tab or the Curve Tool Tab, however you are welcome to use these tools in your workflow.
The Noise tab offers basic noise reduction capabilities. This tool often comes in handy because Adjust can enhance the noise that is already there or sometimes create noise as a side effect of the adjustments made. It is best used as a mid-workflow tool specifically for eliminating the noisy effects that can occur while working in Adjust.
The Curve Tool offers additional control and flexibility over image contrast, brightness and tone. You can make adjustments here manually or use any of the pre-loaded curves presets. There is also a built-in histogram for added convenience.
If you look at the boxer’s face and arms you may notice that the applied effects are too harsh on his skin. We can use the brush in the new local adjustment tab to fix this. By brushing out some of the effects we can create a more pleasing effect and detail balance. I’ll show you how to do that shortly.

Moving on to Local Adjustments

The Local Adjustments tab allows you to selectively apply adjustments using an advanced, yet very intuitive brush. Adjustments include burning, dodging, smoothing and brushing out applied effects.
4. Click on the Local Adjustment tab to reveal the slider tools.
The Dodge and Burn adjustment types are used to lighten (dodge) or darken (burn) specific areas of your image by increasing or limiting the exposure in those areas. Use the Overall Strength slider to determine how strong or weak the dodge/burn is applied to your image.
The Brush Out tool allows you to selectively taper or erase applied adjustments anywhere in your image.
The Smooth tool allows you to smooth out areas of your image. It is great for cleaning up skin and sky.
Edge Aware controls how edge aware the brush is. Higher values indicate an increase in awareness, which is good for precise selections. Lower values indicate less awareness, allowing for a more natural brush stroke and transition.
5. Select the Brush Out option. This will allow us to brush out (or erase) the applied effect in any area. Be sure to set the brush parameters.

• Brush Size – Sets the brush size
• Opacity – Controls how much of the effect is removed.
• Hardness – Determines the hardness of the brush.
• Edge Aware – Controls how edge aware the brush is.

6. Once the brush settings are made we can go ahead and brush over the boxer’s face and arms. If you make a mistake or erase too much detail then you can use the local Undo/Redo buttons to move backwards and forwards through your brush strokes or you can select the Eraser button which will bring back that brushed out detail. There is also a reset all button that will reset any adjustments made in this tab.

Local Adjustments and Using Brushes on Certain Areas

If you are happy with your adjustments click OK to process your image and save it back to Photoshop or you are also welcome to continue making additional adjustments.
For this example we are going to make a few additional adjustments, but before moving ahead we are going to click the “Apply” button (located at the bottom of the tool panel). This will allow us to save the adjustments made this far so that we can stack effects.
7. Click Apply to process the current adjustments.
Now we want to add some color to the image to make it pop. The quickest way to do this is using one of the included presets.
8. Find a preset that you like or use the sliders in the Color tab. For this example we applied the Photo Pop preset to the image. You are also welcome to tweak the preset effects using the sliders to optimize the look for your image.
Again, if you are satisfied with your adjusments then click OK to process your image. We are actually going to go to the Finishing Touches tab
to make one last adjustment to this image using the transparency slider. The Finishing Touches tab offers additional effects like diffusion, grain, borders, vignettes and tone adjustments.
We are going to be workng with the Overall Transparency slider in the Transparency tab. This tool allows you to control how strong the overall effect that you have created is applied to your image.

Applying Finishing Touches to the Image

9. For this image we lowered to Overall Transparency setting to 0.60.
Be sure to compare your adjustments using the before and after tabs – or the spacebar (shortcut key)
10. Click “OK” to process the adjustments and save the image back to Photoshop.

Before and After

Video Tutorial on HDR Retouching:

Camera Exposure - Getting it right

As the sky was very bright, the only way to get a satisfactory exposure of the bird was to switch to manual.

In photography, 'exposure' means the amount of light that falls onto the sensor of your digital camera. In modern cameras the exposure is usually set to automatic by default and, most of the time, it can be left there and will produce beautiful pictures. There are times though, when the camera lets us down or we want to produce a particular effect and it would be nice to understand what is going on 'under the hood'.
Getting a 'correct' exposure means recording as much of the relevant information in the scene as possible. In the shot on the left, the important information is the bird. The sky has gone completely white as it was much, much brighter than the bird. If I had let the meter expose for the sky, the bird would have been rendered as a black silhouette.
Even when the exposure is 'correct' the problem with all cameras is that they cannot record the entire range of contrast (black to white) that the eye can see. Especially when you take into account that the eye is constantly adjusting to cope with high contrast. On a sunny day if you look into the shadows of a scene then into the bright areas, the iris in your eye will quickly adjust so you can see detail in both.
Faced with the task of recording as much information as possible, the camera will try to average out all the light levels and expose accordingly. As burnt out highlights are normally considered uglier than black shadows, the camera, left to it's own devices, will normally err on the dark side. Which is no good if you are shooting against a bright background. It's the subject you want to see, and you don't really care if the background is white.

Auto Exposure Modes

The camera manufacturers have come up with all sorts of ingenious metering systems to try to help, there are now multi mode metering systems, which give you a choice of 'center weighting', 'spot metering' or 'multi spot metering' on many of the better cameras, but none can guarantee to give you what you want every time.

Tip - using auto exposure to your advantage.

If you have a modern camera, the chances are that the default metering system is 'center weighted average', which means that, although it takes an average reading of the whole scene, it takes more notice of what is in the middle of the frame. Which is good news for us. The other good news is that it takes this reading at the time when you take 'first pressure' on the button to take your picture.

When you push it halfway down and it beeps at you, not only is the focus now set (on an auto-focus camera) but the exposure reading is taken and the aperture and shutter speed are set. So, if your main point of interest is not in the center of the frame, it's a good idea to put it there temporarily while you focus and take your light reading, then move the camera whilst still holding the button halfway down and compose the picture the way you want it to be.

A common use for this technique is when you are taking a close up shot of two people and there is space between their heads, if you're not careful the camera will focus on the wall or trees behind them. If the background is very dark or very light this can alter the exposure significantly and result in faces that are too dark or too light.
Skin tones are what most meters are set up to consider an 'average tone', they are also usually the part of the picture that we most want to get right. If I am photographing a group of people in difficult circumstances, like bright sunlight for instance, I will often move close in to the group and take a light reading from someone's face or, if we are all standing in the same type of light, I will take a reading from the back of my hand. This is no good, of course, if the subject is in bright sunlight and I am in the shade.

Manual Exposure

Now it's time to turn that dial away from 'program' mode and have a look at the dreaded 'manual' mode. There are also a bewildering array of other choices such as 'aperture priority', 'shutter priority', 'exposure compensation' etc., but once you understand the basics you will be able to select the most suitable mode.
The amount of light falling on the film is governed by four things.

• The amount of light reflected from the scene which, if you are outdoors, you can do very little about.
• The 'shutter speed' which is the amount of time the shutter is open, measured in fractions of a second.
• The 'aperture setting' which is the size of the hole through which the light enters. If you look at the lens of your camera you will see a diaphragm in the middle of the glass which the camera adjusts according to the light. This does exactly the same job as the iris in your eye. Aperture settings are measured in 'f stops'. For an explanation of 'f stops' click here.
• The ISO setting. This is the 'sensitivity' of the sensor. (see ISO Speed)

The shutter speed and aperture settings have other quite separate effects on the photograph which we will discuss in another article, but for the purposes of exposure, making the picture darker or lighter, they are interchangeable. Make the hole twice as big and open the shutter for half the time and you will expose the sensor the same amount.

Why use manual exposure?

The advantage of manual exposure is that the settings do not keep changing as your scene changes. Let's suppose that you are taking close up photos of cars passing by. Some of the cars will be black or dark colors and some will be light colors or white. If you are filling the frame with almost nothing but car, the meter will be trying to render each car as mid gray. Although it will probably not succeed, what you will notice is that the background is a different shade in each photo.
I often have to take portraits of people, some are wearing very dark clothes and some are wearing white. If I am not careful with my exposure settings will be affected by the clothes.
Although it is by no means always necessary to use manual exposure, an understanding of how it all works will save a lot of disappointment. Below are some links to other articles covering various aspects of exposure.

Tutorials on Exposure
Exposure	Getting away from the auto settings.
Shutter Speed & Apertures	An explanation of the mechanics of exposure and the side effects of choosing different aperture/shutter speed combinations.
Exposure Compensation	Overriding the automatic metering system.
Histograms	What they are trying to tell you.
Bracketing Exposures	Setting up your camera to take a series of pictures at different exposures.
ISO Speed	Another piece of the exposure puzzle.
Reciprocity Failure	An explanation, strictly for the jargon heads.

Photography Tips

Free photography tips to improve your photography. Hot tips on photography that make mastering digital cameras simple. Tips on lighting, exposure and composition technique and all aspects of photography.
For those people who don't like to read a lot, here are my 'Top Ten Tips'. Most of these tips appear elsewhere, in the tutorials. But here they are, all in one place.

1	Selection Select only the best of your pictures to show to others and leave the rest in the drawer. Showing someone every picture you have taken dilutes the effect of the best pictures and gets very boring. You may want to show twenty pictures of little Johnny at the park because they are all quite good and you can't decide which are the best but, trust me, you will be better off making that decision and showing only the few good ones. - go to Selecting Photos
2	Turn the Camera on it's Side At first it feels awkward holding the camera on it's side, but it is worth getting used to. If the shape of your subject, a person or a building, fits into an upright rectangle, you waste so much picture space if you shoot in landscape. You paid for all those millions of pixels, don't waste them. - go to Cropping and Framing
3	Framing One of the easiest ways to improve your photography is with careful attention to framing. Look into the corners of the viewfinder to see what is there. Do you need all that background? Can you get closer to your subject or zoom in? - go to Cropping and Framing
4	Direction of Lighting Photography is all about light, the direction of the light falling on your subject is most important, you must look at your subject carefully and see how the shadows fall. If you are able to choose the time of day to shoot your pictures, try to pick a time when the sun is low in the sky, either shoot in the early morning or late afternoon. Shooting pictures of people with the sun too high in the sky, tends to mean the subject's eyes will be in shadow and/or your subject will be squinting in the strong light, both of which tend to look horrible. A nice side effect of shooting in the early morning or late afternoon is that the color of the light is 'warmer', reds and yellows are stronger which generally gives a more pleasing effect. If you are photographing in sunlight, try to position yourself so that the sun hits your subject from the side, this will give you nice 'modeling' and help create a 3D effect in the picture. Sunlight behind the subject can give a very pleasing 'backlight' effect but be careful that you are not getting 'flare' in the lens, which degrades the contrast of the image. - go to Photography in Sunlight
5	Direction of Lighting (2) The very worst kind of lighting is provided by the little flash fitted into all modern cameras. Not only does it give your subjects the dreaded red eyes, but also flattens all faces into shadowless featureless blobs. Use the in camera flashlight only in an emergency, when there is no other choice.
6	In Camera Flash When you have to use the in camera flash, keep your subject(s) away from walls, especially light colored ones, if at all possible, and avoid that ugly black shadow which looks like an outline. This will not show up against a dark background.
7	Exposure Using auto exposure to your advantage. If you have a modern camera, the chances are that the default metering system is 'center weighted average', which means that, although it takes an average reading of the whole scene, it takes more notice of what is in the middle of the frame. Which is good news for us. The other good news is that it takes this reading at the time when you take 'first pressure' on the button to take your picture. When you push it halfway down and it beeps at you, not only is the focus now set (on an auto focus camera) but the exposure reading is taken and the aperture and shutter speed are set. So, if your main point of interest is not in the 'center of the frame, it's a good idea to put it there temporarily while you focus and take your light reading, then move the camera whilst still holding the button halfway down and compose the picture the way you want it to be. A common use for this technique is when you are taking a close up shot of two people and there is space between their heads, if you're not careful the camera will focus on the wall or trees behind them. If the background is very dark or very light this can alter the exposure significantly and result in faces that are too dark or too light. - go to Exposure
8	Shutter Speeds When the shutter speed is important as with moving objects, it's a good idea to set the camera to 'Shutter Speed Priority' mode. This is where you select the shutter speed and the camera selects the appropriate aperture according to the light reading. - go to Shutter Speeds and Apertures
9	Apertures If depth of field is important to either make sure everything is in focus or to throw some things out of focus, select the 'Aperture Priority' mode on your camera. In this mode you select the aperture and the camera selects the shutter speed according to the available light. - go to Shutter Speeds and Apertures
10	Neutral Density Filters If you are shooting in bright light and want to restrict the depth of field, use a neutral density filter in front of the lens to reduce the light entering the lens. These are available in different densities, 2x, 4x, 8x etc. each one cutting the light in half, quarter, eighth etc. In extreme circumstances you can screw a couple of them together. Although they are 'neutral density' filters and should not effect the color balance, if you use two or more together you might need a little color correction at the printing stage. - go to Shutter Speeds and Apertures

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See the experts' top Canon digital camera picks for different budgets, sizes, and desired uses.

Shutter Speeds and Apertures

Depth of Field explained. Panning at slow shutter speeds. Blurred pictures. Selective focus. Blur the background. Tricks and tips for working with shutter speeds and apertures.

Shutter Speed

Although, as discussed in exposure, the shutter speeds and apertures are interchangeable as far as exposure is concerned, they each have their own unique effect on the picture. Let's take a look at shutter speeds first as their effect is easily understood. We'll look at apertures further down the page.

The shorter the time that the shutter is open the sharper the photo will be.

If you are photographing fast moving objects such as cars or people running you need to select fast shutter speeds to capture the sharpest picture you can. One exception to this is when you are panning the camera with the subject, the object of the exercise here is to render the subject sharply and blur the background, so a careful selection of the right shutter speed to do both is necessary. I often find that a little blur in the right places on a picture gives a greater sense of movement than if everything is pin sharp. This blur, however, must be in the right places, normally we want to see the head and torso rendered sharply but, if the feet and hands are blurred, it can often be a good thing. Blurring the background can also get you out of trouble when there is a lot of clutter that will detract from the main subject. Getting the shutter speed right to render the correct balance of sharpness and blur on any given subject can really only be determined through trial and error. One of the great advantages of the digital camera with it's instant playback is that this learning process can be a lot shorter than it was before. If you have a zoom facility on your playback of pictures, now is the time to get familiar with it. I had my digital camera for quite a while before I realized that I could review my pictures and zoom in to check the sharpness.

Not only moving objects suffer from too slow a shutter speed. If you are holding the camera in your hand rather than having it mounted on a tripod, you will see the telltale signs of 'camera shake' (i.e. the movement of the camera) at shutter speeds longer than 1/125th of a second. A secure pair of hands will be able to get away with 1/60th or even 1/30th of a second but the camera would be better mounted on a tripod. Once again I will say at this point that the difference between a mistake and an effect is usually the degree. A small amount of blur would be considered a mistake, whereas really blurred streaks of light can be an interesting effect. It's all a question of convincing the viewer that you intended to do it.

Tip - When the shutter speed is important as with moving objects, it's a good idea to set the camera to 'Shutter Speed Priority' mode. This is where you select the shutter speed and the camera selects the appropriate aperture according to the light reading.

Of course, if you are taking photos of static objects like houses with a camera mounted on a sturdy tripod, you can leave the shutter open as long as you want without blurring. An interesting by-product of this, if you get to see really old photos taken in the first part of the 19th century, you will see that there are almost no people in the photos at all. That is because the exposure times were so long that the people had walked through the scene without being rendered. For the same reason the really early pictures, in the time of Niépce, the late 1830's, have almost no shadows because the plates took all day to expose and the sun moved across the sky illuminating the scene from both sides.
Click here for an example of using different shutter speeds.

Apertures

As well as letting more or less light into the camera the size of the aperture you choose governs the 'Depth of Field'. Depth of field means the amount of the picture, from foreground to background, that is in sharp focus. A smaller aperture will give you a greater depth of field and a larger aperture will give you a more restricted depth of field. This characteristic can be used to good effect in many ways.

If you are photographing vast landscapes on a sunny day, the chances are that everything will be in focus and you will not notice this phenomenon at all. Depth of field, or the lack of it, is much more noticeable when taking close-ups. As I mentioned in the section on moving subjects, it is often desirable to render the background of your picture out of focus. This is easy to achieve by selecting a larger aperture to restrict the depth of field.
Conversely, when photographing very small objects (as in the picture opposite) getting everything in focus can be quite a challenge and may require a very slow shutter speed in order to be able to use the smallest aperture available. The focal length of the lens makes a difference to the depth of field available, the longer the lens the more restricted the depth of field. A wide angle lens will give you almost limitless depth of field.

Tip - If depth of field is important to either make sure everything is in focus or to throw some things out of focus, select the 'Aperture Priority' mode on your camera. In this mode you select the aperture and the camera selects the shutter speed according to the available light.

Tip - If you are shooting in bright light and want to restrict the depth of field, use a neutral density filter in front of the lens to reduce the light entering the lens. These are available in different densities, 2x, 4x, 8x etc. each one cutting the light in half, quarter, eighth etc. In extreme circumstances you can screw a couple of them together. Although they are 'neutral density' filters and should not effect the color balance, if you use two or more together you might need a little color correction at the printing stage.

Technical Stuff - Shutters Speeds and Apertures
What do the numbers mean?

If you look at the exposure display in your viewfinder you will see two numbers. On a normal sunny day you might see something like '125 16' or '500 5.6'. The first number is the 'shutter speed' and is simply the time that the shutter will be open for, expressed as a fraction of a second. So 125 means that the shutter will be open for 1/125th of a second, and 500 means that it will be open for 1/500th of a second.
The second number, sometimes referred to as the f-stop, tells you the size of the hole (aperture) in the lens. This number is also a fraction. The number represents the focal length of the lens divided by the diameter of the aperture. So an aperture that is 10mm in diameter in an 80mm lens will have an f-number of f/8 and the setting f/16 on the same lens will be 5mm across.
From this you can see that if you change the lens to one of, say, 160mm focal length then the size of the f8 aperture will be 20mm. However, because the diaphragm is now twice the distance from the film the same amount of light will reach the film. This is a bit complex but if you have a mathematical bent and you draw it all on paper you will see why (see inverse square law). If not, just take my word for it. Now you can see that a larger 'f' number, say f/16, is actually a smaller hole and lets in less light than f/8.

	Large aperture = small f number
	Small aperture = larger f number

To make matters even more complicated, modern lenses, sophisticated beasts that they are, are not always physically the same as their focal length. So the good old f-stop acts as a nominal indicator of how much light will reach the film, rather than an accurate measurement of aperture size. This amount of light is independent of the focal length of the lens.
Also see my tutorial - ISO rating for Film Speed
Unbiased experts help you find the best Canon digital camera based on types of photos, budget, size, and desired features.

Tutorials on Exposure
Exposure	Getting away from the auto settings.
Shutter Speed & Apertures	An explanation of the mechanics of exposure and the side effects of choosing different aperture/shutter speed combinations.
Exposure Compensation	Overriding the automatic metering system.
Histograms	What they are trying to tell you.
Bracketing Exposures	Setting up your camera to take a series of pictures at different exposures.
ISO Speed	Another piece of the exposure puzzle.
Reciprocity Failure	An explanation, strictly for the jargon heads.

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