![]() Please contact the moderators of this subreddit if you have any questions or concerns. I am a bot, and this action was performed automatically. It can be found sticked on the front page of r/ps2. 31All tech support questions should go into the Tech Support Megathread. Other must play games would be Metal Gear Solid 2 and 3, Katamari Damacy, We Love Katamari, Sly Cooper 1, 2, and 3, Silent Hill 2, Okami, God of War 1 and 2, Shadow of the Colossus, Ico, Resident Evil 4, Star Ocean: Til The End of Time, Burnout 3, and Fatal Frame 2 and 3. Last 90 Days All TimeDisgaea: Hour of Darkness and Disgaea 2 sound like games you'd enjoy. ![]() The game story is about a young man named Wander who enters a forbidden land. SHADOW OF THE COLOSSUS SHADOW OF THE COLOSSUS is an action game made for PS2 which was Developed and Released in Japan originally as WANDER AND THE COLOSSUS and published by Sony Computer Entertainment.
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The most intresting is that a session is selfcontained and can very easy be moved if although I had my share of crashes during importing and applying a style for B/W “scans” (only RAWs from a Nikon Z 7 with a macro lens): Since version 22 of C1 (and 23 was introduced yesterday, but, welllllllll… nothing to go crazy about) and the replacement of my Intel iMac against a Mac Studio, simply no crashes anymore. Sessions also have other things going for them. ![]() That’s one of the main reasons to use session mode instead. I have a fast computer now but Photolab 6 has gotten so much slower rendering previews than I ever have seen before and that was really one of the most important reasons leaving it.Įven C1 has got a lot of bashing for it’s slow and unstable general catalog mode. Then Photolab wouldn’t need to suffer from the same compromises Lightroom has been suffering from for so long. Together with PM Plus it would be possible to inactivate the catalog for those using external solutions. A DAM like Photo Mechanic doesn’t need to scale previews and that is the main reason why it’s so much faster. It has never been a receipe for speed having to compromise between smaller previews in the catalog and the need for 1:1 previews in the converter. One of the main reasons leaving Lightroom before migrating to C1 was to get rid of that slow and single point of failure catalog. Photolab can’t still read the DNG-files I export from C1 after converting my Sony ARW to DNG - even from cameras that Photolab has profiles for. I have done so for years when I have felt Photolab wasn’t up to do the job but there is still that data interchange problems with DNG and the need to use these clumsy heavy TIFF-files. Or setting up one session you use for ad hoc jobs. It is to get access to them I have left Photolab. It has a lower learning curve than C1 but you will also find that some of the tools you have used is not there or a little bit less advanced. With this said it can for sure be reasons to migrate to Photolab. If you have used the XMP-metadata in C1 to tag your images, you also have to export the XMP-files and reindex them with Photolab. In fact, it´s far more convenient to index a straight folder hierarchy like the one in Photolab. It wasn´t an easy decision to go back again because I think the C1 sessions system is more complicated to use in a DAM-structure, since it relies on its own folder hierarchy. I also liked that Photolab is using the core filesystems folders straight on without any cumbersome import processes like Lightroom and C1. I did like Joachim and am back with C1 again after many years with Photolab but once I went the other way just like Joachim because at that time, I felt Photolab was more efficient and also had better denoise. Malcolm, is there any special reason why you are thinking of migrating? So far I haven’t regret both steps, it was interesting to see “how it’s done in another valley”, but comparing both apps I have no reason to continue with DxO products.Īnd I’m no subscriber of C1, I bought my licenses both in DxO as in C1 for one version. I also came from C1, tried PL and after the last version of PL didn’t improve what I missed, I went back to C1. If you’re using catalog functions of Capture One you need to prepare to do the image management with another tool as PL rather sucks in this area. Worse, once you eventually find out Capture One might be the smaller p.i.t.a., there’s also no way to get PL’s edits into C1. There’s no way to transfer C1 edits to DxO else than export all edited images and lose the abilities to re-edit. If a combination is not supported it can take extremely long (and sosmetimes long as in “never”) to get support for a certain combo. If you use PL trial version like suggests make sure to try out all your lenses and all your bodies as PL relies on “home-grown” sensor- and lens profiles. Unfortunately, nothing is cited clearly in that article (shocker!). WP states the camera aperture is 12.52 by 7.41 mm (0.493 by 0.292 in). ![]() The fact that I'm creating a topic of this nature may come to a surprise to many of you, but I feel it's necessary because I'm getting at least three different answers based on my own research. If any engineers want to hop in here, I'd be much obliged-or if your name is Alan Lasky, Phil Rhodes, or John Sprung that is, anyone with a history of technical knowledge on display here. On a slightly related note, why do digital camera ADCs have a linear response in the first place? Why can't someone engineer one with a logarithmic response to light like film? The closest thing I've read about is the hybrid LINLOG Technology at Photon Focus which seems like a rather hackneyed approach. Panavision's solution, Panalog, can show the relationship between linear light values and logarithmic values after conversion in this graph: So I guess my question is, is it better to do straight linear A-to-D coding off the sensor and do logarithmic operations at a later time or is it better to do logarithmic conversion in camera to save bandwidth when recording to memory cards? As you can see here, the brighter stops are more efficiently coded because we don't need ~8000 values to see a difference, but the low end gets an excess of code values when there weren't very many to begin with. Meanwhile, on our other camera, 14-stops would each get ~73 code values (2^10 = 1024 then divided equally by 14) if we assume there is a 14-bit to 10-bit linear-to-log transform. That's not a lot of information to work with. The darkest stop (-13 below) is only represented by 2 values (1 or 0). In a 14-bit ADC camera, the brightest stop is represented by 8192 code values (16383-8192), the next brighest is represented by 4096 code values (8191-4096), and so on and so forth. Let's compare one 14-stop camera that stores data linearly and one that stores data logarithmically: ![]() If logarithmic coding is understood to mean that each stop gets an equal number of values, aren't the camera processors (FPGA/ASIC) merely interpolating data like crazy in the low end? Now, with respect to linear to log coding, some cameras are opting for this type of conversion before storing the data on memory cards the Alexa and cameras that use Cineform RAW come to mind. Given that fact, how were they measuring 13.5 in the real world? Of course, many of the first sensors were used in RED One bodies, which only have 12-bit ADCs. Not to pick on RED, but for the longest time, they advertised the Mysterium-X sensor as having 13.5 stops (by their own testing). If most modern cameras, Alexa especially, are using 14-bit ADCs, how are they deriving 14 stops of dynamic range? I read that the Alexa has some dual gain architecture, but how do you simultaneously apply different gain settings to an incoming voltage without distorting the signal? A pretty good read through regarding this technology can be found at this Andor Technology Learning Academy article. I did a lot of research on pipeline ADCs (which I believe are the correct type used) and the best one I could find, as defined by the measured ENOB (effective number of bits), was the 16-bit ADS5560 ADC from Texas Instruments it measured an impressive 13.5 bits. ![]() However, when we do introduce noise into the mix (sensor, transfer charge, ADC, etc.) and linearity errors, there really isn't 14 meaningful stops of dynamic range. A 14-bit ADC can store, at best (and ignoring noise for the moment), 14 stops of dynamic range. 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