The key is to maximize the bracketing range, from way under to way over exposed. Anything else will increase your time fiddling. For the near full Moon, I find that a 6-bracket set at 2EV adjustment per image works quite well. I would do 5 at 2. Recent experience has led me to fake an underexposure to create a 7th image after the fact because 6 wasn't enough! Why such a huge range?
|Published (Last):||10 September 2010|
|PDF File Size:||14.55 Mb|
|ePub File Size:||9.49 Mb|
|Price:||Free* [*Free Regsitration Required]|
The key is to maximize the bracketing range, from way under to way over exposed. Anything else will increase your time fiddling. For the near full Moon, I find that a 6-bracket set at 2EV adjustment per image works quite well. I would do 5 at 2. Recent experience has led me to fake an underexposure to create a 7th image after the fact because 6 wasn't enough!
Why such a huge range? You must remember that fundamentally, the Moon is a rock sitting in full sunlight, but the grass under a streetlight is extremely dark. Options: Exp 1. For a wider range of subject that includes foreground and sky, I have landed at Exp 1. I could not have done this without the help of the generous folk out there! Unless you are running 2 or 3 cameras, high-end lenses, professional image processing and time-lapse software, you will have to choose your settings carefully to avoid critical problems:.
Refine as needed based on trade-offs. This adds up to Gig of images for a 2-hour session! In a pinch, one could probably do a bracket of 5 at 3EV, but then the Moon at some point is 1. Enfuse settings : exposure 1; saturation 0, contrast 0, mu 0. This is a tad dark, but in post you can gamma 1.
This also works well : Exp 1. It would be nice to have some form of gamma built in, to minimize the whites blowing out while bringing up the darks. Perhaps this is a particularity with astronomical subjects. Over the Canada-Day long weekend I spent a considerable amount of time playing with the enfuse parameters using Erik Krause's droplets. I had badly wanted to prevent the overexposed parts from contributing to the final enfuse, so I spent a lot of time varying one parameter while holding the rest constant, starting off in a minimalist way.
A big part of the problem is that the lunar highlands are the brightest things in the image, apart from city lights, so when I use exposure-cutoff, I am up at out of anyway. Then I discovered what Chris see below had told me from the start - I need to include shorter exposures! When I turned the mu down to 0. I have put in a suggestion for a gamma weighting to bump up the faint end while keeping the top end under control.
De-flickering : generally not a problem thanks to the inherent smoothing built into the enfuse process. How to fake a short exposure. You may want to set the saturation weight. A bit channel width of the input images probably will help, too.
Zone 4 to 6, to dig up Ansel Adams. See the fundamental weighting equation. So, just feeding Enfuse "overexposed" input pixels invariably leads to an "overexposed" output pixel. However, you can try to tilt Enfuse's notion of optimum exposure and make it prefer darker values instead of exactly the middle of the.
Consult the manual for the meaning. Search this site. Camera and Enfuse settings for the Moon. Updated September The key is to maximize the bracketing range, from way under to way over exposed.
Combine into:. Some cameras will not allow a set of 6 images in 5 seconds with an interval of 6 seconds and still preview the last image before the next set is triggered. Some cameras may not allow rapid fire bracketing while in direct view mirror up , so you can't track how things are going Ideal HDR enfuse settings before sunset are going to be different than twilight and darkness - unless you are a sucker for punishment, accept "all-round" settings to cover the entire holy grail time-lapse.
Fewer images in a bracket will force you to be more careful and use ramping. A 7-bracket set covers you from day to night! Discussion from Chris Spiel: "To improve on the brightest highlights try e. You may want to set the saturation weight to zero to get a clean response, while playing with the cutoff.
See the fundamental weighting equation in the Enfuse manual. Consult the manual for the meaning of "normalized luminance", if it sounds all greek to you.
Report abuse. Google Sites.
Camera and Enfuse settings for the Moon
In image processing , computer graphics , and photography , exposure fusion is a technique for blending multiple exposures of the same scene bracketing into a single image. As in high dynamic range imaging HDRI or just HDR , the goal is to capture a scene with a higher dynamic range than the camera is capable of capturing with a single exposure. By using different exposure parameters on the same scene, a wider dynamic range can be represented and later merged into an image with better dynamic range. After correcting for small shifts that may inadvently happen with hand-held devices, the full-image can be fused in two ways: . The former method assumes a linear response from the camera, which may be provided by DNG or other raw formats. Some variants can take developed images, but the process of reconstructing the intensities is complicated and noisy, compromising the effective dynamic range. The latter method [Mertens-Kautz-Van Reeth MKVr ] only cares about aligning features and taking the best parts, automatically by contrast, saturation, and well-exposedness or manually, so it is immune to this drawback.
This manual uses some typographic conventions to clarify the subject. The markup of the ready-to-print version differs from the web markup. Enfuse merges overlapping images using the Mertens - KautzVan Reeth exposure fusion algorithm. This simplified process often works much better than tone-mapping algorithms. Enfuse can also be used to build extended depth-of-field DoF images by blending a focus stack.