The first is lack of support for Pentax in-camera HDR RAW (both PEF and DNG) and the second is the poor implementation of pixel-shift resolution from the K-3II and other supporting cameras. The current version of 6.x should support both Pentax PEF and DNG transparently without the need to convert anything.* There is only two Pentax-specific gotchas regarding LR that I am aware of. When I try again to load the PEF files Lightroom takes a long time and then says it does not recognize the files.Are you sure about your Lightroom version? K-3 PEF support has been available since v5.x and both K-3 and K-3II PEF are definitely supported in v6.x. In Lightroom I first got thumbnails of the pictures and nothing else. My biggest challenge right now is learning Lightroom 6 and the problem I'm having trying to upload about a hundred photographs that I mistakingly shot in PEF instead of DNG. If anyone has a simple explanation as to why Lightroom won't recognize PEF and convert it to DNG I'd sure like to know what it is. I would be THRILLED to pay someone to sit down with me and teach me how to use all this stuff but I need a Pentax person. The nearest dealer is at least 300 miles from where I live and I feel like I've bought into a camera from Mars. I've taken a number of photo workshops and not only have I never seen another person with a Pentax, the fella who offers the workshops has never seen another Pentax user. I am extremely frustrated and have nobody to show me how to do this (or anything else with Pentax for that matter). I can see in lightroom where it says to convert files to DNG but that is never highlighted. When I try again to load the PEF files Lightroom takes a long time and then says it does not recognize the files. While I am having fun with this amazing technology I am "digitally" challenged making the transition from film photography learned 50 years ago to the new applications. This not only provides extended recorded times for long form productions or recording events, but gives you the added security of always having a back-up to your camera recording.I have a K3 and a K3ll and am still learning all the ins and outs of modern digital photography. SSD media also provides more GB per $ than camera media cards. A core principle of Atomos devices is to provide much more flexibility in terms of recording codec, resolution, and frame rate than is normally available with internal recording. With Ninja V the only limitation to how much you can record is the size of the SSD. Alongside SSDmini we also qualify a range of 2.5-inch SSDs that can be used in conjunction with the MasterCaddy III which are required when using the ATOMOS CONNECT. There is an optional SSDmini adaptor that allows CFAST II cards to be used, enabling you to recycle older media cards or align with your camera media. Measuring 8cm long, 7.5cm wide and weighing as little as 88g, the custom-built drive neatly fits into the Ninja V without impacting the overall footprint of the device. The AtomX SSDmini drives are able to record up to 150 minutes of 4K ProRes. They support up to 4TB storage, sequential read speeds of up to 550MB/s and write speeds up to 500MB/s. AtomX SSDmini drives are more compact than standard SATA SSDs and offer an affordable alternative to an SD card of similar capacity or performance. Ninja V supports removable SSD drives which provide the space and sustained performance to meet these needs. The ability to record up to 6K using advanced edit-ready formats including ProRes RAW, ProRes, and DNxHD/HR requires fast, robust, and expansive storage. Optional via ATOMOS CONNECT or AtomX SDI modules Ninja V is designed to maximize the quality of your videos and allow you to extend every aspect of your creative vision. Additionally, if you’re shooting Log footage, the ability to bypass internal compression will offer the best possible dynamic range. Ninja V can record more color information and immediately add value to your production with your existing camera rig. If the camera is able to output video via HDMI, the quality can often be preserved in a 4:2:2 8-bit or 10-bit format. To save space and support longer recordings, many cameras record compressed 4:2:0 8-bit video internally.
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