Then came panchromatic films - also sensitive to red light. Orthochromatic films were introduced later, and were also sensitive to green light also. Early black and white films were in fact only responsive to blue light (so skies looked very light). But not all black and white films respond to light in the same way. Black and white film is usually used to generate a monochrome print (black and white, or sepia and white for example). The most obvious example is black-and-white film. Like digital cameras, most colour film is sensitive to light in ways which try to approximate what we see with the eye. Spectral Responseĭigital camera sensors try more or less to mimic the colour response of the human eye in order to help make familiar-looking, believable photos that reflect our own experience of the scene (before they're transformed in Photoshop.). So I'll make a long answer and divide it into sections. To those from whom I have borrowed, thanks.Ī short answer to this question is "very little" but that hardly does justice to the intent of the question. This is a nifty feature, but the downside it cuts down by half the max time duration of your original shot.įirst an explanation this answer extensively borrows from and combines points from a number of the existing answers to this question. One of the nicer features I've seen on my Nikon D700 is the in-camera Long-exposure Noise Reduction, which follows up your shot with an equally long "blank" shot, which it then subtracts out from the initial image to eliminate the noise. There are ways to prevent this, such as taking several shorter shots or using post-processing, but they are inferior to taking one nice, long, clean shot on film. DSLRs heat up the longer they expose for, so if you expose for too long you end up with a fuzzy layer on top of your image. A film camera can expose indefinitely without using any additional battery usage, which is helpful when you want to expose for a few hours. A digital SLR will expose for an hour if you're lucky before the battery dies, depending on your power setup (extra grip vs no). Whether a beginner or advanced Slate Digital VCC user, or you’re just looking to see what a console plug-in could do for your tracks, watch “VCC 2.Star trails ( Google images search) are much easier to photograph using film equipment, for a few reasons: Marcus wraps it up with a tutorial on creative uses for VCC 2 using a bass guitar track as his example. Then Marcus returns to the plug-in, exploring the Noise Reduction, Group Bypass, and Gain Staging in VCC 2.
#Slate vcc pro tools 11 how to#
Since one of VCC’s strength is it’s ability to be recalled by your DAW, he shows you how to store default settings in Pro Tools. From there, Marcus jumps right into using VCC 2 in a Mix, using different consoles and grouping options. Marcus begins with an overview of the new GUI, comparing it to the previous GUI, and then explains the various Meter Calibration options new to VCC 2.0.
#Slate vcc pro tools 11 series#
Slate Digital puts 6 classic analog consoles in your DAW, and studio guru Marcus Huyskens shows you how to use them! This series explores the significant difference between VCC 2.0 and the previous version, and how to make the most of the new plug-in version.
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