Particle Illusion. Instantly add preset-driven photorealistic particle effects for titles, lower thirds, and background graphics. Track and mask particles quickly with integrated Academy Award-winning Mocha. It will soon be available as a standalone application with a render engine.

Conoa 3D Twelve 3D geometric primitives rendered with a true raytracing renderer, featuring transparency, texture mapping, shadows, and environment mapping. Six unique plug-ins for adding effects to your film or video. Wrap and unwrap spheres, bend, and flex cylinders and explode cubes.

All shapes are rendered with an advanced renderer featuring texture mapping, shadowing, and transparency. All Conoa EasyShapes plug-ins integrate with After Effects’ lights and camera, in addition to their own lights and camera.

A Graphic UI is available and the plug-in supports 8-, bit and bit depth. This plug-in allows you to create a vignette on the source clip. Both rectangular and elliptical vignettes are supported. Vignettes can be repositioned and rotated, applied in any color and blending mode available, to the inside or to the outside.

Alternatively only the mask can be rendered, replacing the source layer altogether. In After Effects, only 8 bit and 16 bit depth is supported so far. CyberLink VR Stabilizer.

This plug-in works with Premiere Pro and After Effects versions and newer. For over a decade, Delirium has been the standard for essential visual effects, and motion graphics capabilities.

These effects let you inexpensively add greater control and quality to the built-in features of your host application. Damage v2. To all of you who thirst to wreak more havoc, the scores of you who want to take all that is beautiful and render it visual debris, and for those of you who have been writing us about all the electronic carnage you daydream about if only you had a way to do it faster, with more options.

All the ancient evil of analog signal defects in Skew and Interference; the modern, coldly unsympathetic digital malfunction of Artifact and Blockade — and now, you can harness the incompetence at the source. Two new effects in the Damage toolbox — Aged Film, Destabilize and Overexpose — allow you to go back in time and not only corrupt your footage, but also ruin the image of the camera operator.

Beauty Box automatically identifies the skin tones and removes blemishes and wrinkles, while leaving important facial details sharp. HD and 4K show more detail than ever, including blemishes and make up problems. Beauty Box solves these problems and keeps your talent and clients looking great. Flicker Free.

Flicker Free is a powerful new way to deflicker video. It solves common problems such as time lapse flicker, slow motion flicker, and rolling flicker caused by LED lights, fluorescent lights, or computer monitors.

Various presets deflicker common problems and a few parameters give you the control to easily modify things as necessary. The results are remarkable, so try the free demo on your footage. DFT Film Stocks is a unique set of filters that simulate different color and black and white still photographic film stocks, motion picture films stocks, and historical photographic processes.

Based on their experience in creating special effects for hundreds of feature films, and expertise in film scanning and recording techniques, Digital Film Tools has laboriously researched and analyzed different film stocks to create a set of interesting analog photographic, motion picture and vintage looks for your own projects. By analyzing brightness, color, tone, detail, grain, and texture of some of the world’s greatest movies, paintings, photographs, and historical photographic processes, Digital Film Tools has created a way to apply these looks to your video projects.

The color, tone, and brightness of the original work are replicated while the texture, grain, and detail are simulated. You can also use your own pictures and movies to create and reapply new look profiles.

This plug-in allows you to add drama, polish, and style with stunning and realistic light ray effects using volumetric lighting and crepuscular rays. Add shafts of light streaming through clouds, rays filtering through a forest canopy, beams of light on a foggy night or rays shooting out from text.

Each image is decomposed in three detail layers coarse, medium, and fine which then can be manipulated separately in various ways including sharpening and smoothing.

Together with masking this technique is powerful for creating sophisticated masterpieces. Uniquely crafted and powerful video effects and transitions — Ready to improve your video editing projects every day.

Essential Transitions. The perfect starter collection of video transitions for Premiere Pro. Spark your creativity and experience blazing fast render speeds. Lights and Blurs. Instantly apply beautiful blurs, shimmering bokeh’s, enchanting glow, and lights to your video. Drive your story forward. Get soft and elegant video transitions for Premiere Pro.

Creating the right mood has never been easier. Express your personal editing style. Energize your cuts with the Film Impact Distortion series.

Stylize your transitions and use captivating effects like the kaleidoscope or glass distortion effect. Discover powerful distortion effects like shake, glitch, grunge. Slice up your video to reveal the next scene. Stretch your clips and dynamically transition into the next clip. Create 3D Rolls and apply 3D transformations to your scenes. A brilliant set of transitions for creating professional logo reveals within minutes. Easily animate using adjustable visual curves like Bounce, Overshoot, and Beziers.

The animation series is designed to create dynamic animations quickly. Add a dazzling amount of 3D motion blur to emphasize each movement. Smart Tools. Discover smart and time-saving editing solutions for Premiere Pro. Stop wasting precious time. Edit faster and be creative! Among them are shine, glow, and sparkle effects with bit and multi-CPU support.

Curves is a versatile and precise color correction tool. This plug-in provides more control and accuracy beyond the built-in curves tools in Adobe Premiere Pro, so you can get the most out of this basic tool.

Lenscare moves depth-of-field and out-of-focus generation to post-production. If you need high-quality camera blurs with the flexibility of 2D postprocessing, Lenscare is a great choice. It can get rid of long extra 3D rendering times. The key aspect during the development of these filters was to match the real thing as closely as possible.

Visual effects toolbox with unmatched features and performance. FxFactory Pro effects are accelerated using the graphics card for unbeatable previewing and rendering performance. FxFactory Pro plug-ins ship with many built-in presets, a time-saving feature to try new looks with minimal effort.

Save your own presets to disc and re-create the same look later. Create stunning slideshows. The principle behind Photo Montage is simple: select an animation style and a few of your photos, and let the plug-in do the rest.

Rearranging photos or changing the duration of each can be done in seconds, thanks to an intuitive configuration UI. Ease of use does not imply limited functionality. A full array of effect parameters allows expert users to create unique animations. Create the photo animation style made popular by Ken Burns. Achieve stunning results without a single keyframe.

Flickering is a common problem in time-lapse or stop motion footage captured using a digital still camera. Frame by frame variations in lighting or in exposure lead to perceptible brightness fluctuations, or flicker. Decimal Counter. The color spill of the background photographed with the subject is automatically adjusted to match the composite image, and variations and shadows due to uneven lighting can be cleanly removed.

Rendering is as natural as it can be for curved glass surfaces like wine glasses and transparent liquids. It allows users to add a stereoscopic 3D effect to text subtitles created on their stereoscopic 3D video.

Parallax can be adjusted, and operation is easy. Not only text but also any 2D graphics can be stereoscopic 3D video. ISP 3D Preview, included in the product, allows users to quickly check how the effect would be seen. It allows users to remove false color, which is a destiny of videos shot by DSLR cameras equipped a large sensor.

Even though there are many reasons to produce false colors, the answer is here. By applying this plug-in, any false colors get corrected to true color, even night scenes. It allows users to add an HDR effect in videos by applying this plug-in. Or expand their creativity by adjusting parameters only three to get a taste of results from supernatural to superartificial. Levels and Curves. Film Transitions. Elements 3 Ultimate.

NewBlue Elements 3 Ultimate includes over presets in 21 video effects that simplify multi-step compositing tasks. Easily generate split screens and drop shadows. Add a viewfinder overlay and key green screen footage inside your editing application.

Essentials 3 Ultimate. NewBlue Essentials 3 Ultimate includes over presets in 24 workflow-enhancing video effects that stabilize shaky footage, remove flashes, and sharpen details in an essential go-to toolkit. Designed to address everyday post-production needs such as color correction or stabilization, you find life-saving tools like Noise Reducer, Lens Corrector, Stabilizer and Flash Remover, or image enhancers such as Skin Touch Up, Detail Enhancer and more.

NewBlue Filters 3 Ultimate presents over presets in 22 video effects to instantly enhance video through an array of distinctive looks like Fish Eye and Day for Night, and color enhancers such as Colorize and Selective Tint. You can do these without sacrificing efficiency. Stylizers 3 Ultimate. NewBlue Stylizers 3 Ultimate features deliver colorful and imaginative art, paint, and light effects in over presets in 23 imaginative video plug-ins.

Discover rich painting styles with Cartoonr, Air Brush, and Watercolor. Use light-oriented effects, such as Neon Lights to Glow Pro for stunning accents and atmosphere. And explore the boundaries with surrealistic filters like Metallic, Impressionist, and Paper Collage. From impressionist styles to energetic blurs and flickers, you always find the perfect look with NewBlue Stylizers 3 Ultimate.

Transitions 3 Ultimate. NewBlue Transitions 3 Ultimate features over presets in 37 plug-ins that provide cutting edge video transitions of 3D, light, color, and motion to deliver stunning scene-to-scene cuts. From Cartoonr Plus to Color Wash, Neon Lights to Metallic, Shake to Shredders and much more, you can engage your audience with this comprehensive collection of unique, stylized video transitions for every mood or circumstance. Create colorfully retro and metallic images with Duochrome, or simulate a drawing at the end of one scene that morphs into the next with Colored Pencil.

Whatever you choose, count engaging your audience with this comprehensive collection of unique, stylized video transitions for every mood or circumstance.

NewBlue TotalFX delivers over presets in plug-ins in the most sweeping collection of titling, transitions, and video effects available.

This premium, all-encompassing suite of professional tools tackles practically every editing task hands-down. DissolveMaster is a great enhancement even if you are a “cuts and dissolves” editor, providing subtle ways to lead your audience’s eye within a scene using the unobtrusive, clean aesthetic of the dissolve transition. SpiceMaster also can organically animate any effect or key in Premiere, using the power of all your other effects built in or third party.

You also can organically animate titles, picture-in-picture effects, backgrounds, and graphics. SpiceMaster gives you complete creative control over all effect parameters, and thousands of instantly useful presets.

Subtle motion acceleration and transparency changes in all the transitions provide an amazingly natural look. These 11 affordable effects plug-ins provide hundreds of fresh, aesthetic video effects for Premiere users. CreativEase includes color, blur, depth, grain, and time-based effects — all customizable.

CreativEase also can quickly and easily solve everyday editing problems, such as selective softening to remove facial blemishes; creating beautiful dreamy looks; generating color-accurate cartoon animation directly from video; producing glossy 3D titles; adding subtle film looks and film grains; cropping frame edge noise without image distortion; and more.

FilmTouch 2 Pro. A wide range of controls can fine-tune color subtleties — or build a freshly evocative look from scratch. A large, visual Effects Browser enables you to easily compare and choose presets interactively. Blur-Sharpen Tools. Includes many customizable controls, powerful randomization features, and easily-adjustable masking to place the blur exactly where desired.

Smart Blur Pro’s blur effects retain scene details; likewise Smart Sharpen Pro sharpening minimizes artifacts. Both include unique masking controls to easily apply the effect only where desired. All feature a large visual Effects Browser. Adorage is the ultimate special effects library, with more than 17, effects in 13 effects volumes, offering endless possibilities with the shortest learning curve.

Simply select an effect and Adorage does the rest. Windows only. Mercalli V2 Pro. This is available on both Windows and macOS. By placing the cursor over the image, the user can drag the cursor to the desired area. Once the Enter key is pressed, the area outside the rectangle will be cropped. The area outside the rectangle is the discarded data, which allows for the file size to be decreased.

The slice and slice select tools, like the crop tool, are used in isolating parts of images. The slice tool can be used to divide an image into different sections, and these separate parts can be used as pieces of a web page design once HTML and CSS are applied.

The move tool can be used to drag the entirety of a single layer or more if they are selected. Alternatively, once an area of an image is highlighted, the move tool can be used to manually relocate the selected piece to anywhere on the canvas.

The marquee is a tool that can make selections that are a single row, single column, rectangular and elliptical. This tool can also crop an image; it allows for better control. In contrast to the crop tool, the marquee tool allows for more adjustments to the selected area before cropping. The only marquee tool that does not allow cropping is the elliptical.

Although the single row and column marquee tools allow for cropping, they are not ideal, because they only crop a line. The rectangular marquee tool is the preferred option. Once the tool has been selected, dragging the tool across the desired area will select it. The selected area will be outlined by dotted lines, referred to as “marching ants”.

To set a specific size or ratio, the tool options bar provides these settings. Before selecting an area, the desired size or ratio must be set by adjusting the width and height. Any changes such as color, filters, location, etc. To crop the selection, the user must go to the image tab and select crop.

The lasso tool is similar to the marquee tool, however, the user can make a custom selection by drawing it freehand. The regular lasso tool allows the user to have drawing capabilities. Photoshop will complete the selection once the mouse button is released. The user may also complete the selection by connecting the end point to the starting point.

The “marching ants” will indicate if a selection has been made. The polygonal lasso tool will draw only straight lines, which makes it an ideal choice for images with many straight lines. Unlike the regular lasso tool, the user must continually click around the image to outline the shape.

To complete the selection, the user must connect the end point to the starting point just like the regular lasso tool. Magnetic lasso tool are considered the smart tool. It can do the same as the other two, but it can also detect the edges of an image once the user selects a starting point.

It detects by examining the color pixels as the cursor moves over the desired area. Closing the selection is the same as the other two, which should also should display the “marching ants” once the selection has been closed. The quick selection tool selects areas based on edges, similarly to the magnetic lasso tool. The difference between this tool and the lasso tool is that there is no starting and ending point. For this reason, the selected area can be added onto as much as possible without starting over.

By dragging the cursor over the desired area, the quick selection tool detects the edges of the image. The “marching ants” allow the user to know what is currently being selected. Once the user is done, the selected area can be edited without affecting the rest of the image. One of the features that makes this tool especially user friendly is that the SHIFT key is not needed to add more to the selection; by default, extra mouse clicks will be added to the selection rather than creating a new selection.

The magic wand tool selects areas based on pixels of similar values. One click will select all neighboring pixels of similar value within a tolerance level set by the user. If the eyedropper tool is selected in the options bar, then the magic wand can determine the value needed to evaluate the pixels; this is based on the sample size setting in the eyedropper tool.

This tool is inferior to the quick selection tool which works much the same but with much better results and more intuitive controls. The user must decide what settings to use or if the image is right for this tool. The Eraser tool erases content based on the active layer. If the user is on the text layer, then any text across which the tool is dragged will be erased. The eraser will convert the pixels to transparent, unless the background layer is selected.

The size and style of the eraser can be selected in the options bar. This tool is unique in that it can take the form of the paintbrush and pencil tools. In addition to the straight eraser tool, there are two more available options — background eraser and magic eraser. The background eraser deletes any part of the image that is on the edge of an object. This tool is often used to extract objects from the background. The magic eraser tool deletes based on similar colored pixels.

It is very similar to the magic wand tool. This tool is ideal for deleting areas with the same color or tone that contrasts with the rest of the image.

Using simple combinations of keys video layers can easily be modified, with other features such as adding text and creating animations using single images.

With the Extended version of Photoshop CS5, 2D elements of an artwork can easily become three-dimensional with the click of a button. Extrusions of texts, an available library of materials for three-dimensional, and even wrapping two-dimensional images around 3D geometry. Third-party plugins have also been added to the most recent version of Photoshop where technologies such as the iPad have integrated the software with different types of applications. Applications like the Adobe Eazel painting app allows the user to easily create paintings with their fingertips and use an array of different paint from dry to wet in order to create rich color blending.

The program will feature cloud syncing with other devices and a simpler interface than the desktop version. The plug-in allows users to remove noise without the side-effect of over-sharpening, add grain, and even perform post-crop vignetting. From version Artists can add color, adjust the shape or rotate the angles of imported models, or design original 3D models from scratch.

The Color Replacement Tool allows the user to change the color, while maintaining the highlights and shadows of the original image, of pieces of the image. By selecting Brushes and right clicking, the Color Replacement Tool is the third option down. What is important to note with this tool is the foreground color. The foreground color is what will be applied when painting along the chosen part of the image with the Color Replacement tool.

Photoshop and derivatives such as Photoshopped or just Shopped have become verbs that are sometimes used to refer to images edited by Photoshop, [47] or any image manipulation program. The same happens not only in English but as the Portuguese Wikipedia entry for image manipulation attests, even in that language, with the trademark being followed by the Portuguese verb termination -ar, yielding the word “photoshopar” to photoshop.

Such derivatives are discouraged by Adobe [6] because, in order to maintain validity and protect the trademark from becoming generic , trademarks must be used as proper nouns. Photoshop’s naming scheme was initially based on version numbers, from version 0. Adobe published 7 major and many minor versions before the October introduction of version 8. In February Adobe donated the source code of the 1.

The first Photoshop CS was commercially released in October as the eighth major version of Photoshop. Photoshop CS increased user control with a reworked file browser augmenting search versatility, sorting and sharing capabilities and the Histogram Palette which monitors changes in the image as they are made to the document.

Match Color was also introduced in CS, which reads color data to achieve a uniform expression throughout a series of pictures. Photoshop CS2, released in May , expanded on its predecessor with a new set of tools and features. It included an upgraded Spot Healing Brush, which is mainly used for handling common photographic problems such as blemishes, red-eye, noise, blurring and lens distortion.

One of the most significant inclusions in CS2 was the implementation of Smart Objects, which allows users to scale and transform images and vector illustrations without losing image quality, as well as create linked duplicates of embedded graphics so that a single edit updates across multiple iterations. Adobe responded to feedback from the professional media industry by implementing non-destructive editing as well as the producing and modifying of Bit High Dynamic Range HDR images, which are optimal for 3D rendering and advanced compositing.

FireWire Previews could also be viewed on a monitor via a direct export feature. Image Warping makes it easy to digitally distort an image into a shape by choosing on-demand presets or by dragging control points.

The File Browser was upgraded to Adobe Bridge, which functioned as a hub for productivity, imagery and creativity, providing multi-view file browsing and smooth cross-product integration across Adobe Creative Suite 2 software.

Camera Raw version 3. Photoshop CS2 brought a streamlined interface, making it easier to access features for specific instances.

In CS2 users were also given the ability to create their own custom presets, which was meant to save time and increase productivity.

CS3 improves on features from previous versions of Photoshop and introduces new tools. One of the most significant is the streamlined interface which allows increased performance, speed, and efficiency. There is also improved support for Camera RAW files which allow users to process images with higher speed and conversion quality.

The Black and White adjustment option improves control over manual grayscale conversions with a dialog box similar to that of Channel Mixer. There is more control over print options and better management with Adobe Bridge. The Clone Source palette is introduced, adding more options to the clone stamp tool.

Other features include the nondestructive Smart Filters, optimizing graphics for mobile devices, [53] Fill Light and Dust Busting tools. CS3 Extended includes everything in CS3 and additional features. There are tools for 3D graphic file formats, video enhancement and animation, and comprehensive image measurement and analysis tools with DICOM file support. As for video editing, CS3 supports layers and video formatting so users can edit video files per frame.

They were also made available through Adobe’s online store and Adobe Authorized Resellers. CS4 features smoother panning and zooming, allowing faster image editing at a high magnification. The interface is more simplified with its tab-based interface [56] making it cleaner to work with. Photoshop CS4 features a new 3D engine allowing the conversion of gradient maps to 3D objects, adding depth to layers and text, and getting print-quality output with the new ray-tracing rendering engine.

It supports common 3D formats; the new Adjustment and Mask panels; content-aware scaling seam carving ; [57] fluid canvas rotation and File display options.

Adobe released Photoshop CS4 Extended, which has the features of Adobe Photoshop CS4, plus capabilities for scientific imaging, 3D, motion graphics, accurate image analysis and high-end film and video users. The faster 3D engine allows users to paint directly on 3D models, wrap 2D images around 3D shapes and animate 3D objects. Photoshop CS5 was launched on April 12, In May , Adobe Creative Suite 5.

Its version of Photoshop, The community also had a hand in the additions made to CS5 as 30 new features and improvements were included by request. These include automatic image straightening, the Rule-of-Thirds cropping tool, color pickup, and saving a bit image as a JPEG. Another feature includes the Adobe Mini Bridge, which allows for efficient file browsing and management. A new materials library was added, providing more options such as Chrome, Glass, and Cork.

The new Shadow Catcher tool can be used to further enhance 3D objects. For motion graphics, the tools can be applied to over more than one frame in a video sequence.

Photoshop CS6, released in May , added new creative design tools and provided a redesigned interface [65] with a focus on enhanced performance.

Adobe Photoshop CS6 brought a suite of tools for video editing. Color and exposure adjustments, as well as layers, are among a few things that are featured in this new editor.

Upon completion of editing, the user is presented with a handful of options of exporting into a few popular formats. CS6 brings the “straighten” tool to Photoshop, where a user simply draws a line anywhere on an image, and the canvas will reorient itself so that the line drawn becomes horizontal, and adjusts the media accordingly.

This was created with the intention that users will draw a line parallel to a plane in the image, and reorient the image to that plane to more easily achieve certain perspectives. CS6 allows background saving, which means that while another document is compiling and archiving itself, it is possible to simultaneously edit an image. CS6 also features a customizable auto-save feature, preventing any work from being lost.

With version Several features of the Adobe Premiere family are non-linear video editing , metadata and ingest logging, media output encoding, and more. From Wikipedia, the free encyclopedia. Video editing software. June Retrieved August 5, Adobe Premiere Pro system requirements. Adobe Systems. Retrieved December 21, Retrieved March 25, MediaSilo Blog. Archived from the original on November 23, Retrieved May 27, Press Release. April 16, Archived from the original on May 13, Retrieved May 2, Customer Stories: Video, Film, and Audio.

January 14, Archived from the original on March 24, Retrieved July 25, Digital Content Producer. August 2, Archived from the original on February 7, Retrieved July 6, July 20, Archived from the original on August 10, Retrieved August 25, Post Magazine. Archived from the original on December 31, Retrieved March 14, Adobe Photoshop Elements tutorials”.

Retrieved April 26,

 
 

Adobe flash professional cs6 definition free –

 
ActionScript is the scripting language used to create interactivity and object movement in Adobe Flash Professional CS6 games. A property keyframe is a frame in which you define a change to an object’s properties for an animation. Flash can tween, or automatically fill in, the property. Developer’s Description. By AcademiaApps. The fastest, easiest, most comprehensive way to learn Adobe Flash Professional CC and CS6.

 

Adobe flash professional cs6 definition free.Adobe Creative Suite 6 Master Collection

 

It uses the same 16 megapixel Four Thirds sensor as the E-M5, though doesn’t offer that camera’s weatherproofing. Clearly, the E-M10 leans on some highly capable genetics. The E-M10 doesn’t have all the enthusiast trimmings of the E-M1, but it is targeted to a slightly more serious or developing photographer, rather than a casual snapshooter.

With a built-in viewfinder, dual control wheels and number of customizable controls, it’s aimed for the photographer who wants to take some control over shooting settings, though it does have an Auto mode for shooters not yet ready to take that step. It presents all of the light-and-compact benefits of Micro Four Thirds, with a few more SLR-like touches viewfinder and direct controls that an enthusiast will appreciate. The first of Olympus’s OM-D models, the E-M5, impressed us a great deal when it was launched, and struck a chord with our readers – comfortably winning our first annual ‘camera of the year’ poll.

And the cause for the excitement? A combination of the best image quality we’d seen from a Four Thirds sized sensor and a well-considered set of controls that offered an enthusiast DSLR-style experience in a much smaller body, which was genuinely unprecedented.

Overall it was the most complete and coherent mirrorless camera we’d seen up until that point. The E-M10 offers almost everything the E-M5 did, plus a bit more, at a much lower starting price.

Looking through that list, you’ll see that the E-M10 is essentially an un-weather-sealed E-M5 but with a better rear screen and the ability to easily send images off to a smart device. And, in use, that’s a pretty accurate way of looking at things.

But just looking at what’s new or different risks downplaying how much is carried over from the E-M5. Despite its fairly modest mid-range DSLR level pricing, the E-M10 retains not only a full twin dial control setup, giving you plenty of direct access to exposure settings, but also a touchscreen that helps make it quick to change secondary settings gradation, white balance, ISO, etc. As usual, Olympus hasn’t made any moves to simplify or dumb-down its menu system, with all the advantages and disadvantages that brings.

In the negative column, you can see that the E-M10 misses out on the E-M5’s 5-axis stabilization – which means it’s not quite as effective particularly when shooting close-ups. The good news is that we didn’t find it to be prone to the image shake that can occur with the PEN E-P5. However, the things the E-M10 adds are rather nice – the rear screen is a noticeable improvement, as is the inclusion of the ‘Adaptive Brightness’ viewfinder technology first introduced in the E-M1.

This brightens and darkens the viewfinder panel, based on the ambient lighting conditions. As a result, the viewfinder ends up being bright in bright light without then being blinding in low light.

It’s a little thing to the point that you don’t necessarily notice it happening , but it helps provide a more OVF-like experience. In the UK, the E-M10 is sold with the m. Zuiko mm F3. It’s a very compact lens even smaller than Panasonic’s Vario X powerzoom but despite its size, finds room for both a zoom and focus rings. Our test unit includes a clever sprung-iris lens cap that gives a compact-camera-like experience. This is late, but I want to thank you for your interesting review. I wrote a detailed user review of the E-M10 covering many things not covered in your review and I updated it with more info in the thread:.

It is seldom used only for long hikes and always kept in a camera case. Its never been dropped, exposed to extreme conditions or otherwise abused. Nonetheless, shortly after its warranty lapsed ,it stopped working due to the shutter not opening. Now about 1. I was looking at the comparisons on the studio shots.

I realise this is way after the E-M10 came out. My comment is I reckon the D samples are not in focus or something else was wrong. The D comparison pics [same sensor, mostly the same everything else] look markedly sharper. If anyone at DPReview is reading this What lens is used in this review for the “Studio comparison”? Is it the RII, or perhaps some 2. Oly 45 1. Thx to any thoughts from users of both. The main thing I’m hung up on right now is the noise at high ISOs.

I want this to be somewhat of a DSLR replacement for traveling, and I’m concerned about the camera’s abilities in low light. I’m using an old D right now, which for me, maxes out around ISO Zuiko 12mmmm lens because it’s faster. At that point though, why wouldn’t I just buy a Fuji X-E2 for a bit more money, since it handles low light better and the kit lens is already pretty fast?

Plus, the larger sensors allows for better out-of-focus backgrounds. Any thoughts from anyone? I like the idea of having a tilting touch screen though, so that’s something that draws me to this camera. If you use prime lenses, the Olympus will have the Edge over the Fuji, be cause the Fuji lens have no OIS, and you will get at least 3 stops better performance from Olympus IBIS, which makes the Em10 end up about 2 stops better in low light at same aperture.

Love the M Despise Adobe. Being a troglodyte of the cave dweller, not the stupid variety , I continue to use XP on my main computer. I also use Photoshop Elements Adobe now refuses to provide RAW support to either. Adobe’s refusal to accommodate my occasional desire to utilize this feature is, at best, a mere inconvenience. I suppose not being as fussy as other folk does work to the advantage of my wallet.

This program will read your RAW files Zuiko both rented during a recent week-long trip to New Orleans. Its performance was, for all practical purposes, flawless. I’m thinking about the E-M10 in combination with the M. Zuiko Digital mm I would like to know how this combination performs. I have been using my EM for about 6 months now and love it!

While on vacation last week, I shot with it for two days without problems. On the third day I pulled out the camera and it was dead. I tried two other freshly charged batteries and still got nothing. When I got home two days later I pulled out the camera ready to call olympus and it worked fine.

Has anyone else had or heard of this problem? I bought this camera bout six months ago and I couldn’t be more happy with it. It just works like a charm, always, period. Good viewfinder, fast and super accurate autofocus, decent ergonomics, tilting LCD, highly effective in body stabilization and a wealth of high quality compact and lightweight lenses to choose from.

This is a mature camera system and I love it. I shoot RAW and I see no significant difference. What I do see is that the output of the X-Trans sensor is cooked. RAW files look soft and processed. Any difference there might be, comes from in camera processing. I wish people wouldn’t use this phrasing.

No one “looks” at RAW data, any comparison is simply between a jpeg image created from sensor data in camera and images created by processing the sensor data on a computer. Just another feature of this nifty and versatile camera. I have been using the camera for about 2 weeks now shooting almost every day outdoors and indoors, mostly with the honest Pana mm lens.

My brain has no doubt that it is a great camera, especially for its price and size. My gut is taking its time to get used to it. It is simply hard to believe that this little thing can be so absolutely brilliant and fun to use. My main camera has been a Pentax K5 and, hey, that’s a real camera, right? I have a ton of part-time pro experience and know what I want from my gear. So, as soon as I got the camera I checked out all the controls, fixed and customizable, and set them up just right.

Now I can change settings without taking my eye off the more than decent EVF. Between the Sony A7 and this camera, there is no doubt in my mind that the future is mirrorless and EVF.

Todays EVF are soooo much better than the pentamirror finders we have been peaking through for so long! I love the feel of this camera as I’m not a fan of large camera grips. This camera reminds me of a Pentax ME from As a matter of fact, I pulled a Minolta Hi-Matic F a fixed lens rangefinder travel camera from the ’80s yeah I’m old off the shelf and they are roughly the same size with the EZ lens on the EM This is a brilliant little camera.

I bought this camera last week. Pictures are excellent and the auto-focus is really fast. It’s super lightweight; nice to take on walks and hikes.

I am a complete neophyte and I’m using the camera to learn how to use the manual settings. I’m very happy with my purchase. My question: I bought the camera with the kit Olympus mm lens and used it for a week without problems.