Colorcast’s new syncing feature allows Casters and listeners to sync their casts accordingly. The Austin-based app has found a way to circumvent those issues. What about lag times? Ideally, everyone would be on the same network and streams would be aligned 24/7/365. Just react to what’s happening on the screen. And that’s it, you’re already “On Air.” Worried about what you’re going to say? Commentators, also known as “Casters“ on the platform, don’t have to worry about planning what they’re going to say because everyone - listeners and Casters - are watching the same thing at the same time. Step two: Click the event that matches what you’re watching on TV. So how does it work? Step one: Download Colorcast. Watching Dak Prescott drive down the field for a comeback win? Fire up Colorcast and get rowdy with Cowboys Nation. Watching the Oscars red carpet and have some major thoughts about Angelina Jolie’s dress? Users can let their opinions fly on Colorcast. But how do we share those thoughts in real-time without the disruption or inconvenience of video?Įnter Colorcast, the first of its kind social audio-only broadcasting app that allows anyone with a smartphone and a hint of wit to share their opinions, their analysis, and their emotions in real-time. We all have opinions, thoughts, and feelings about what’s on the TV, whether we’re tuned into an NBA game or the latest episode of The Bachelor. Not social like you’re sitting next to a buddy on the sofa social, social as in social media, social. Interesting concept, yes? Let’s say it again - Live TV can be social. Lesson: Always have a few little shoe mount flashes and gels in your camera bag, and either place them judiciously around the room, or use one of them to paint the room with light (separate exposures for each flash) and combine them in PP with other exposures for ambient and window light.Live TV can be social. My conclusion: A royal PITA with very little to show for the effort. I then pasted the window area onto the stack that I had been working on. Then, a brought in a new copy of the image from ACR, xcept this time, I concentrated on trying to recover as much as possible from the window. I then brought the image into PS, cleaned up the patchy noise that was creeping in (because of all the processing), painted in some of the regions of blown (or nearly-blown) channels, and further pulled back on the yellow color cast. I started with ACR tweaks (both the eyedropper and tweaking the saturation and luminosities of individual colors). I decided to try to concentrate on the interior of the room, but let the bluish cast (mostly reflections) from the window stay because I thought that looked somewhat realistic. This doesn't help fix the problem, but it may help explain what happened. My recollection is that it has only a modest vibrance adjustment. It looks like I played with PP to jack up the saturation to unnatural levels, but I didn't. It's a 2-minute exposure at about 9:30 at night. I've assumed that it is a function of the color mix of the light at those low levels, but maybe it is the sensor's behavior under those conditions. For example, skies often turn out a very vivid, almost artificial-looking blue. I do a bit of night photography, and one of the things one runs into there is that the color cast from a long exposure under very low light is often quite different-and often much more intense-than what one gets with more normal lighting. They are only 'lit' by virtue of a long exposure. The walls are actually a neutral, almost off-white color. I have a different hunch about what may be going on: Exposure fusion is not supposed to alter colors much.
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