Connecting your devices with a cable is the fastest and most reliable way to transfer files between them. Now that most Android devices have either USB Type-C or a Micro-USB port that supports, phones are capable of importing media files directly from a camera using a simple (and cheap) adapter. This nifty feature allows you to shed your laptop for a tiny plug that you can use on the go. A photographer, for example, can now take high-quality photos with a DSLR and transfer them to his or her phone via USB cable, where they can then post artwork to social media sites like Instagram directly.
If that sounds like something you'd like to try, I'll show you how it works below. But as I mentioned, this method requires one of two adapters, depending on whether your phone uses USB Type-C or Micro-USB. If your phone didn't come with one of these adapters in the box, though, it's nothing to worry about, as you can get everything you need for less than $10.
Don't Miss: Requirements. Android device with a USB Type-C port or. Digital camera with USB cable.
or for Micro-USB devices Step 1: Plug Your Camera into Your Phone First off, make sure your camera is on. After that, it doesn't matter if your phone has a USB Type-C port or Micro-USB because the adapters will work the same way. So plug in your camera's USB cable, then attach the other end to your adapter. From there, simply plug the smaller end of the adapter into your smartphone. Don't Miss: Step 3: Transfer Photos to Your Phone After your phone has finished scanning your camera's contents, you can now pick which photos and videos you wish to keep on your phone. Some phones won't recognize RAW image files from certain camera models, but at the very least, all of the JPG images and video files on your camera should be discovered. We tested out phones running various versions of Android; Phones like the Nexus 6P, Pixel, and Galaxy S7 Edge worked without a hitch for all file types, while the Nexus 7, HTC One 8, and LG G3 only saw JPG and video files running on their latest software.
Basically, your mileage may vary. So from here, simply tap the photos and videos to select them, then press the 'Import' button in the upper-right corner after you've made your selection. Once the photos and videos have been imported, you'll find them on your phone's SD card or internal storage partition in a folder named after your camera's make and model. Most gallery and photo apps should automatically find this folder, so sharing the picture will be incredibly easy. How many photos have you imported using this method so far?
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Let us know in the comment section below. Don't Miss:.
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A full guide on better DSLR video is coming soon on Photograph IO. Let’s face it: DSLR cameras (and mirrorless cameras now) are not only great tools for photography, but they can also be excellent rigs for video. With the advent of the Nikon D90 in 2008, being the first DSLR able to shoot HD video, more and more people have been starting to get into cinematography using interchangeable lens cameras. With their large sensors, DSLR’s allow you to get that cinematic, shallow depth of field while still retaining a great amount of control over the final result for quite an affordable price. However, one major drawback of DSLR’s compared to dedicated motion cameras from Red, Arri or Blackmagic is in their mediocre, at best, output.
While high end motion cameras costing tens of thousands of dollars can shoot in near-lossless, Apple Prores 442 or even RAW video, most DSLR’s are limited in their output quality by the highly compressed codecs used not to mention a lower bitrate. Some of these limitations are hardware based (i.e.
Overheating, processing power), while some others can be cured by software and firmware. Unless you have a D800 or 5D Mark III capable of clean HDMI output, chances are that your output video is compressed. But there is a way of improving this. Canon cameras have historically (and still are to some extent) been better than Nikon at motion photography. Not only do they have higher bitrates, better firmware (full manual video) and hacks , but they also have professional, flat picture styles specifically made to maximize dynamic range in video. What about Nikon owners?
Although you could manually dial down contrast and saturation in camera, one of the most popular Nikon flat picture controls out there for cine is mady by Ulysse Tassin. While shooting using a flat picture control will look flat and contrast-lacking straight out of camera, flat footage will actually retain a greater amount of detail and dynamic range when it comes down to editing and color grading later on, which is great.
Another popular profile is Alvaro Yus. But there is now another contender in flat cine profiles for Nikon DSLR’s: Cineflat. What is Cineflat?
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Cineflat is our own Nikon flat picture control made for cinematography. Just like any other custom flat profiles out there, our flat profile is based on the principle of a to maximize dynamic range in-camera for better color grading. You then apply an S-curve and color grade your footage to restore a standard look in post-prodution. Also, there is no sharpening applied and saturation is set at 0 in order to minimize video compression artifacts. Why use Cineflat? To increase dynamic range in video files and faciliate color grading in post-production.
Cineflat will allow video to have about 11-12 stops of dynamic range on Nikon DSLR’s, compared to 10 for Tessinflat, 9 for Nikon’s neutral and portrait profiles and 8 for Nikon’s standard, vivid and landscape profiles. What is different about Cineflat (compared to other flat picture controls out there)? Photographio’s Cineflat Nikon picture profile is designed to maximize dynamic range at both the shadows and at the highlights. Theoretically speaking, a logarithmic curve of gamma 0.45 (2.2 inverse) should be enough to get a logarithmic (aka flat) transmission on any camera. However, no sensor has perfect light transmission and therefore a simple gamma curve is not enough. Also, there are other things to worry about when it comes to shooting compressed video, such as highlights clipping and shadow detail.
Therefore unless you are shooting RAW video, modifying the standard gamma curve is necessary to get optimal results. This is a standard 0.45 (2.2 inverse) gamma curve needed to produce a logarithmic sensor response. However, notice how prone the highlights are to clipping, which is absolutely something to avoid in compressed video codecs. Don’t get us wrong; Tassinflat and all other profiles out there are still excellent flat, logarithmic picture controls.
However, Tassinflat’s custom curve was specifically engineered to prevent highlight clipping, at the expense of dark shadows. Alvaro Yus, another flat cine profile, improved on Tassinflat’s shadows by focusing on shadow detail instead, at the expense of highlights. We thought, why not combine both? Tassinflat, although logarhitmic in the shadows, has a strong reverse curve in the highlights area to minimize clipping. Alvaro Yus is based on a 0.5 (2.0 inverse) gamma curve for better shadows but near-linear highlights, prone to clipping. Therefore we launched (an unofficial, online version) and modified Tassinflat’s curves (which is itself based on Nikon’s neutral profile) for a better shadow response while still maintaining the reverse curve in the highlight zone. Our goal here was to do a logarithmic curve while still preventing highlight clipping.
Theoretically at least, compressing both the highlights and the shadows should yield the best results in terms of dynamic range. After measurement, we found out that Cineflat indeed brings up about 1 extra stop of dynamic range compared to Tessinflat. We also made sure that there was no tonal overlap (e.g. Shadows brighter than highlights, or that mushy HDR look) even with such a strong curve.
Also, do note that our curve will tend to overexpose by 1/2 to 2/3’s of a stop. This allows shadows to be further boosted while slighly exposing to the right to maximize SNR (which is basically tech speak for minimizing noise), similar to the exposing to the right technique (ETTR) in stills photography. Our own Cineflat profile, based on a modded Tessinflat curve. Notice how the shadows are much more boosted in Cineflat. That being said, there are some caveats on our Cineflat curve. First of all, a heavy amount of shadow pulling is especially prone to noise even when exposed to the right, so you might want to denoise the footage in post-production first. Also, there is a strong argument that while dynamic range compression is vastly superior to whites/blacks clipping created by high-contrast curves, too much tonal compression might also means a slight loss of detail. Insidious chapter 3 full movie in hindi download utorrent.
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Because compression, remember, is applied to a whole picture or video, not just to highlights and shadows. Although midtones are much less compressed generally in both photography and videography, lumping too much data there isn’t the ideal solution either. The amount of data loss in the midtones is however, minimal. While the difference in low dynamic scenes was negligible, I was able to recover a lot more data with less noise from Cineflat’s flat picture control compared to Nikon’s default standard picture control when it came down to mid and high dynamic range scenes. Comparison pictures Here’s some comparison pictures between Cineflat, Tessinflat and Nikon’s standard picture control. All three pictures from each set were shot using the exact same exposure in manual mode. Click on them to go in Lightbox view.
Also, a video comparison is on the way. Cineflat Tassinflat Nikon Standard And here are some indoor shots; underexposing Cineflat and Tassinflat’s pictures to match Nikon’s standard profile will reduce a lot of the noise seen: Cineflat Tassinflat Nikon Standard The bottom line When it comes to DSLR footage, a flat look is a must to preserve the most detail possible. For Nikon users, there are a few options available under the form of picture controls: Tassinflat, Alvaro Yus and now Cineflat.
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Tassinflat has great highlights, Alvaro Yus great shadows, and Cineflat tries to make a compromise between the two at the cost of being the flattest profile of the three. While in most of the cases you won’t notice any significant difference after color grading between Cineflat, Tassinflat or Alvaro Yus, our Cineflat profile will have a slight edge if you tend to shoot regularly in high dynamic range scenes (mainly outdoors). A 3D LUT file for Davinci Resolve designed for Cineflat is on the way, but as for now, a standard S-curve should do the trick to “deflatten” the output.
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If you found Cineflat useful, please share it to other Nikon videographers out there who might need it too, and don’t forget to check Photograph IO regularly for more photo and video tips and techniques ? Don’t forget to follow Photograph IO’s and like Photograph IO’s Also, share your own images on our Filed Under:, Tagged With:,. It should be added that to get this to be seen by the camera firmware the whole file structure needs to be copied over from the SD card. So /NIKON/CUSTOMPC/PICCON01.NCP – not just the data file. Also for those not familiar with the process, you need to go to the Shooting Menu on your camera, then navigate down through Manage Picture Control menu item, to Load/save, then Copy to camera - and then ‘OK’ it. You will then be promoted to add the data file to a free memory slot – pick whichever one you want that is still free/empty.
Hello, I have a technical question about image processing during video record. I use Nikon D5200. If I change Picture Control settings in camera menu, these settings affects the frames before or after the camera compresses the raw images from its sensor? I know this camera does not save raw video files. My question: where is the manual Picture Control during image processing? After the frame compression or before? I recorded video with flat Picture Control, the result was not what I expected.
Ltte prabhakaran videos free download. Shadow areas got very noisy just like I would modified curves in post. I think, if Picture Control settings affects the frames before the compression in the camera, the result should be something like I raise a bit the shadows in a raw photo: no noise, fine result. I did a test: I shot the same scene with same light conditions and camera settings.
The first footage shot with the cameras Standard Picture Control setting, the second with a flat preset. In post I made modifications with the flat footage: contrast, colors etc. After that, I modified the Standard footage until it looked like the original Flat. Then I applied every settings from the modified Flat to the modified Standard, and the result was very similar to the colored Flat footage. The same amount of noise etc. So I think, manual Picture Control setting affects video frames after they come from the sensor and they compressed.
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