Hand held (carefully braced against barrier!)
Slight Clarity and Shadow Fill adjustment
Tad of USM
Zero noise reduction.
I took this at 17:50, Sunset for that day is 18:25. Very overcast, so there was no "Big Fat" favourable MFD light. Just muddiness!
I think a lot of people would like to see a higher rez version. Even a processed tiff could be set to jpeg compression 11 and that would only make about a 5 mb file which is pretty easy to download.
Saturday I was in a large camera store (yes there are a few camera stores left) and since this was Saturday you know it's not B+H. Anyway, this store sells most medium format backs and cameras and the sales person who I have known a long time said Phocus is now quite good, except for the fact it uses a lot of video card power or video ram.
What I would love to see on a u tube video (honestly . . . not in a way to trip anyone up) from you and your competitors is set up your camera connected to either a new clamshell powerbook or I Mac (no towers as towers do not travel well) set up with a 23" mirrored monitor and approx 30 ft. of firewire cord, that's around 9 meters for your rest of the world folk, ( and shoot about 800 frames, all named to about 11 different folders.
Go through the real world process of naming the folders before hand, renaming some of the shots because the AD decided to change the inset to the feature, shoot, shoot and keep shooting, then somewhere in the middle of all of this pull the firewire cord to make it disconnect, (so we can see how long it takes to reconnect), shoot some to cards and put them in sequence of the shoot, then reconnect shoot some more, then somewhere in the shooting process background process some smaller jpegs or tiffs (so the client can e-mail a few to the boss), with it not interrupting the shoot.
When briefly shooting non tethered, have the photographer show the AD the shot on the back of the camera and zoom in on the AD's reaction. Does he squint, does he say great, does he say "what the hell is that"?
Now keep the video camera running and have the digital tech copy these to two different portable firewire drives for backup, then follow him/her to his room, office, van, and (keep that video camera running) have him/her put the images (from tethered and portable) in proper naming, correct and process out 800 jpegs for web gallery use at 900 to 1000 pixels on the longest side.
I'm serious (well as serious as I get which probably isn't that serious), that this is what makes or breaks a system in real world use.
Now please on that U tube video have a preproduction meeting where nobody on set is allowed to say the words fabulous, fab, cool, groovy, sick, or marvelous. No back slapping, two cheek kissing, holding glasses of wine. Just let them stick to the facts man.
Now the final segment of the video is where you put the digital tech into one of those curtained rooms where his face is in shadow and his voice distorted and you ask him these question.
1. How did Phocus work on set. Any glitches or crashes?
2. How was it shooting to card, renaming and inserting them into the master shoot folder.
3. Did he see any weird stuff in the files, moire, alaising, artifacts?
4. How long did it take to correct, process and insert these jpegs into web galleries.
5. What time did he go to bed.
P.S. Now not to start a rumor though I was told that soon Phocus will soon process Canon and Nikon files. Any truth to this . . . because if it does that would be fab, cool, sick and marvelous.
If it tethered to these cameras that would be even better and I'm sure a lot of people will give you the two cheek kiss.