So there you have it.
So there you have it.
For more info on the facial recognition feature in Aperture 3, check here on Apple’s website.
I have about 16,000 photos in my archive, and though the process isn’t completely automatic, the facial recognition feature made it much more feasible to tag all the people in these photos. Even just the fact that the application can display an entire set of photos cropped and resized to only show faces alone would be a huge help, the fact that Aperture 3 makes decent guesses is a bonus.
Below is a screenshot of my version of assignment #3 running on my iPhone. Every control on that screen works as expected, it’s pretty neat. Most importantly, I finally understand how and why.
edit: I’m wrong about the resolution issue — see correction and link to a full-resolution 2729×733 180º panorama at the end of this post.
I just shot and stitched a panorama while waiting for a ride. Though the Autostitch iPhone app does a great job, I can’t help but wish it would save the resulting panoramas to the photo library at full resolution.
The screenshot of the app displaying a section of the finished panorama is at least twice the resolution inside the app as is the version it saves. If the iPhone APIs limit the resolution at which apps can export to the photo library, perhaps autostitch could save to its own db and offer some other method of export (email, built-in webserver a la ‘Brushes’, flickr export?).
Regardless this one limitation, ‘AutoStitch’ is a lot of fun, and is well worth its $1.99 price.
I used the ‘Multi-Photo’ email application, which can send multiple photos via email without resizing, to send this panorama to myself.1 Click the thumbnail below if you’d like to view the panorama at its full 2729×733 resolution.
Final Cut Pro and Motion both inherited a feature from Shake called “SmoothCam”, which is a motion stabilization filter. SmoothCam analyzes movement within a clip and moves the frame around to compensate for high-frequency movement while preserving the lower-frequency moves –i.e. it tries to remove bumps and vibrations while preserving smooth, intentional camera movements. I ran a few tests on some of my relatively smooth clips, and SmoothCam seemed very good at doing exactly that.
When the SmoothCam filter is applied to a clip, that clip is put into a queue and Final Cut Pro begins to analyze the motion in the clip. Once FCP’s analysis concludes1 , the SmoothCam filter will have data to use for its calculations and its effect will finally become visible. One can then adjust the SmoothCam settings and see the results instantaneously (with a computer of sufficient power).
I’m happy to note that it is possible to have Final Cut Pro analyze the motion of a batch of clips, and then later if the SmoothCam filter is applied to any of these clips its results can be seen without delay. The motion analysis data for each clip is written to disk alongside the clips themselves.
Since I may or may not want to use the SmoothCam filter on many of my clips, and I don’t plan to do any more editing on my computer tonight, I’ve set FCP to batch analyze the motion in all of my footage from the last week. To do so, I enabled the “SmoothCam” column in FCP’s Browser, selected all the clips I wanted analyzed, right-clicked in the column and chose “Run Analysis” from the clip’s contextual pop-up menu. Now the analysis is puttering away, and tomorrow I can play.
The things one can learn by glancing at the manual!