I shoot virtual tours & Panoramas so I always have 7 + images that need to exposure / colour match when output from ACR ready for stitching. This hasn't been a problem for the thousands I've done, but I just bought PS CS3...
When I use the Recovery or Fill Light in Bridge I get different results for each image even though the ACR settings & images are identical in terms of exposure etc. Obviously these new modifiers change each image to a different (relative) degree (depending on the image content I gather) for the same settings in ACR.
Now to my question, is it possible to lock down these functions so that the numbers entered in ACR are absolute values, rather than relative values?
If not I guess I will have to forgo these great tools.
(I have tried stitching my VR's first to 16bit tif's then opening in ACR to do the exposure adjustments 2nd, but it doesn't work as I think my panos are too big for ACR. 10,600 x 5300 px. I also doubt the seam would match from the left/right sides of the image & finally if it did work it would massively increase my stitch times (16bit vs 8bit) so I'm not sure I'd do it anyway :)
Thomas, forgive what may seem like an obvious question: Are there any other than these two functions that are adaptive? The reason I ask is that I sometimes see rather large discreptancies between manual exposed and synched files (without Fill or Recovery or special processing). I see the discreptancy in assembled panoramas before stitching, and it's mostly a luminosity (exposure) problem. I've often wondered if the camera is inaccurate exposure-to-exposure, if my method is at fault or if the Raw software is 'playing tricks' on me.
Note the discreptancies are not so bad as to show after blending the panoramas, so it's mostly for informations sake that I'm asking.
BTW, I quickly found out that Shadow / Highlight were adaptive, and should not be applied before assembling a panorama. This has more or less forced me to only do 16-bit panos, which can take a long time to process (sometimes impossibly long).