You can also import your keywords from any text file, and - die, Adobe! - you can assign your own keyboard shortcuts all you like! You can import your LR6 catalogs into C1 and even retain a few basic adjustments you've made in LR6, but not many. There are workarounds and roundtrips from LR6 to C1, but to me they seem a bit too clumsy, and by doing so you separate your original RAW files from the resulting DNG files, which means more external HDs by the day. ![]() So you can integrate some other apps into your C1 workflow, but you can't easily integrate C1 into anything else, in my case LR6. ![]() yep, two or more different files, none of which is HDR, and the actual HDR programme may or may not quit unexpectedly. But try to send two or more files to a HDR editor - and it returns. I use Nik and Macphun by a bucketload, and having standalone versions is a godsend - C1's "Edit in." command sends your file for processing to an external editor and then re-imports the result. Then there's plugin support, of which there's none. On a sweeter note, you do get hierarchical (nested) keywords - finally! IPTC is supported, but again, not to Adobe's standard. Cataloging options are many, but not as extensive as LR6 or PhotoMechanic. Confusing Catalogs and Sessions (although I see the pro's logic behind that), switching between catalogs takes forever and in rare instances can hang the programme. And it's not a good news, because its cataloging system is not in the same league as LR6, although not as appalling as in previous versions. Sharpening is excellent if you've got decent raw material (read "decent lens and steady hands") and just about passable if you haven't, but then it's your fault:)Ĭ1 has one huge disadvantage - it does not happily integrate with other software. The camera/lens database is where DxO outshines everything else on the market, but nearly all the decent lenses and bodies are catered for by C1. Noise reduction is perfectly adequate - in most complicated cases DxO "Prime" technology is better, but you can still tell NR has been applied, and let's be honest, with modern cameras' low light performance you'd rarely need to apply massive amounts of noise reduction. Its colour correction is the easiest to use and the most natural looking, unless you want to go mad with it - but even then you'll be pleased with the results. Then, out of sheer curiosity, I tried CaptureOne.Ĭ1 has one huge advantage - its RAW processing engine easily beats anything out there. This has been my setup for the last 16 months, and I was quite pleased with it. Hence DxO Optics Pro 10, which I use to treat RAW files from inside LR6 and then reimport them back for further manipulation. However, RAW conversion in LR6, although better than in Aperture, is still not enough for me. I would like to stress that I do not earn my living by photography and therefore have less stringent demands than most professionals. I've been using Aperture until its dying day, resisting Adobe "bloatware" and licensing policy like a lone samurai left on the battlefield surrounded by enemies:) I then bit the bullet (the sword?) and bought LR6, and was surprisingly pleased with it - it required minimal workflow adjustments, the metadata and catalogs management is way better than Apple's offering, and it's quite quick and more or less trouble-free. Media Composer is also now available in a new team plan, making it easy to manage, deploy, and add multiple licenses as needed.FYI, the software in question is now at v 9.1.1 - not yet reflected on MU. If you're a student or educator, you can now get Media Composer for FREE through the new Media Composer for Students program-get the details here > ![]() Customers and technology partners can use the Panel SDK to enable tighter workflows with direct access to third-party applications and services, enabling greater workflow speed and efficiency. Plus, with the new Panel SDK, Media Composer is now more open than ever to 3rd party integration via a set of APIs. Media Composer 2023.8 also adds several improvements to the editing experience including a new workspace option that shortens the ramp-up time for editors transitioning from older versions of Media Composer, audio punch-in support via 3rd party USB devices, and more. These extremely popular timesaving features are now even better, leveraging robust and powerful AI technology that does not require Internet connectivity and keeps your data secure. The latest release introduces a preview of new AI-powered tools, PhraseFind AI and ScriptSync AI.
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