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The latest version of One UI 8.5 adds a function to the default camera. This kind of detail may only be easily found by me. The default camera adds the white balance adjustment function.Please take a look at my demonstration. You can adjust the white balance of the photos...

26,415 просмотров • 6 месяцев назад •via X (Twitter)

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Friends, I’d like to seriously discuss a suggestion regarding the Galaxy camera. Please read this patiently. As we all know, HDR and the Scene Optimizer cannot be used in Pro mode. No matter how you adjust the parameters in Pro mode, photos taken under strong light conditions cannot activate HDR or the Scene Optimizer, which is a significant issue. So here is the solution we need: Samsung should add more manual customization options in the default Photo mode (where HDR and the Scene Optimizer are supported). Options such as saturation, contrast, sharpness, and HDR intensity should be available directly in the standard shooting interface. This would allow users to freely create their own shooting style and capture stunning photos without losing the benefits of HDR effects and AI-based optimizations. Currently, the industry leader in mobile photography—vivo—already does this. In vivo’s default Photo mode, users can adjust contrast, saturation, sharpness, and more. Many vivo users love this high level of customization because it lets them fine-tune the look of every shot according to their personal preference. Samsung, at the moment, cannot match this. In the default Photo mode, the only adjustable parameter is exposure, which is far too limited. Therefore, I strongly suggest that Samsung follow vivo’s approach and introduce more customizable options in the default Photo mode. Let’s take a look at how vivo implements this—please watch the video. If you want Samsung to add this feature too, please reply with: 1. Let’s make sure Samsung sees this demand and accelerates development of this feature.

Ice Universe

31,311 просмотров • 7 месяцев назад

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 просмотров • 11 месяцев назад