10 bit logarithmic format vs. 16 bit linear format

Hey!
I´m trying to figure out, if 10bit logarithmic files (DPX/cineon), in fact are as good or even better than 16 bit linear files...
Are Cineon (and DPX) files always 10 bit logarihmic?
Yours,
Christina

Se jPo anser under color

Similar Messages

16 bit linear footage bleached out after render

hey there,
i got a linear 16-bit multipass-layered psd sequence which i imported to after effects.
the ae-project is set to 16 bpc working space "sRGB" and "linearize workflow" on.
it looks great in after effects. i even got rid of extreme banding in ram preview (pref/previews/col-man to "more accurate").
but when i render my tweaked comp to quicktime, it appears extremely washed out:
i tried animation codec as well as h264, both in 100% quality.
only when i checked "preserve RGB" in the color management of the output module, it was not washed out. instead it looked somehow too dark. much better then the bleached version, but still not right.
what do i do wrong?
tyvm!!
edit: sometimes only the first few frames are "washed out" and the rest is fine... o_O

Footage looks and sounds great (sync is good) in iMovie 6 ... such as trying the same footage freshly inported into Final Cut Exp just to see if that would effect the outcome...nada!
Since you posted in the iMovie '08 area, specifically mention importing to both iMovie '06 and Final Cut, and specifically state the iMovie '06 sync was "good" when imported/captured, my initial assumption would be that you problem is not one of source "sampling." Basically, if the DV content is "in sync" on the camera and "in sync" when captured by one or more editors, then it would appear that the camcorder and import modules are both working correctly as this is when you should first see any sampling problem show up.
Since you indicate the final product -- the DVD -- is out of sync, then I would look at the intermediate files next to see if they are out of sync. If so, then you have a problem in the file output phase of your work flow and if not, then the problem is likely in the conversion/muxing of content in iDVD which could be the result of a bad install, update, or settings in applications or core system. Depending on your work flow, I would try opening either the "Media Browser", "Shared iDVD", or exported file in the QT Player and see if it displays the same synchronization problem as the final DVD. If not, would normally assume the data being received by iDVD is good which, as I indicated above, would point to a problem in converting the data to MPEG-2 and "muxing" it properly with the linear PCM (AIFF) converted audio. Have you tried inspecting the VOB file info in an application like VLC or MPEG Streamclip to see if anything is obviously askew or tried burning the DVD with an alternative application like Toast?

Color Space and Bit Depth - What Makes Sense?

I'm constantly confused about which color space and bit depth to choose for various things.
Examples:
- Does it make any sense to choose sRGB and 16-bits? (I thought sRGB was 8-bit by nature, no?)
- Likewise for AdobeRGB - are the upper 8-bits empty if you use 16-bits?
- What is the relationship between Nikon AdobeWide RGB, and AdobeRGB? - if a software supports one, will it support the other?
- ProPhoto/8-bits - is there ever a reason?...
I could go on, but I think you get the idea...
Any help?
Rob

So, it does not really make sense to use ProPhoto/8 for output (or for anything else I guess(?)), even if its supported, since it is optimized for an extended gamut, and if your output device does not encompass the gamut, then you've lost something since your bits will be spread thinner in the "most important" colors.
Correct, you do not want to do prophotoRGB 8bit anything. It is very easy to get posterization with it. Coincidentally, if you print from Lightroom and let the driver manage and do not check 16-bit output, Lightroom outputs prophotoRGB 8bits to the driver. This is rather annoying as it is very easy to get posterizaed prints this way.
It seems that AdobeRGB has been optimized more for "important" colors and so if you have to scrunch down into an 8-bit jpeg, then its the best choice if supported - same would hold true for an 8-bit tif I would think (?)
Correct on both counts. If there is color management and you go 8 bits adobeRGB is a good choice. This is only really true for print targets though as adobeRGB encompasses more of a typical CMYK gamut than sRGB. For display targets such as the web you will be better off always using sRGB as 99% of displays are closer to that and so you don't gain anything. Also, 80% of web browsers is still not color managed.
On a theoretical note: I still don't understand why if image data is 12 or 14 bits and the image format uses 16 bits, why there has to be a boundary drawn around the gamut representation. But for practical purposes, maybe it doesn't really matter.
Do realitze hat the original image in 12 to 14 bits is in linear gamma as that is how the sensor reacts to light. However formats for display are always gamma corrected for efficiency, because the human eye reacts non-linearly to light and because typical displays have a gamma powerlaw response of brightness/darkness. Lightroom internally uses a 16-bit linear space. This is more bits than the 12 or 14 bits simply to avoid aliasing errors and other numeric errors. Similarly the working space is chosen larger than the gamut cameras can capture in order to have some overhead that allows for flexibility and avoids blowing out in intermediary stages of the processing pipeline. You have to choose something and so prophotoRGB, one of the widest RGB spaces out there is used. This is explained quite well here.
- Is there any reason not to standardize 8-bit tif or jpg files on AdobeRGB and leave sRGB for the rare cases when legacy support is more important than color integrity?
Actually legacy issues are rampant. Even now, color management is very spotty, even in shops oriented towards professionals. Also, arguably the largest destination for digital file output, the web, is almost not color managed. sRGB remains king unfortunately. It could be so much better if everybody used Safari or Firefox, but that clearly is not the case yet.
- And standardize 16 bit formats on the widest gamut supported by whatever you're doing with it? - ProPhoto for editing, and maybe whatever gamut is recommended by other software or hardware vendors for special purposes...
Yes, if you go 16 bits, there is no point not doing prophotoRGB.
Personally, all my web photos are presented through Flash, which supports AdobeRGB even if the browser proper does not. So I don't have legacy browsers to worry about myself.
Flash only supports non-sRGB images if you have enabled it yourself. NONE of the included flash templates in Lightroom for example enable it.
that IE was the last browser to be upgraded for colorspace support (ie9)
AFAIK (I don't do windows, so I have not tested IE9 myself), IE 9 still is not color managed. The only thing it does is when it encounters a jpeg with a ICC profile different than sRGB is translate it to sRGB and send that to the monitor without using the monitor profile. That is not color management at all. It is rather useless and completely contrary to what Microsoft themselves said many years ago well behaved browsers should do. It is also contrary to all of Windows 7 included utilities for image display. Really weird! Wide gamut displays are becoming more and more prevalent and this is backwards. Even if IE9 does this halfassed color transform, you can still not standardize on adobeRGB as it will take years for IE versions to really switch over. Many people still use IE6 and only recently has my website's access switched over to mostly IE8. Don't hold your breath for this.
Amazingly, in 2010, the only correctly color managed browser on windows is still Safari as Firefox doesn't support v4 icc monitor profiles and IE9 doesn't color manage at all except for translating between spaces to sRGB which is not very useful. Chrome can be made to color manage on windows apparently with a command line switch. On Macs the situation is better since Safari, Chrome (only correctly on 10.6) and Firefox (only with v2 ICC monitor profiles) all color manage. However, on mobile platforms, not a single browser color manages!

How can I properly export video w/ bars to Rec709 (16-235 in 8-bit) from Premiere's RGB (0-255)?

I have hit some real frustrations in working with Premiere to meet broadcast Rec709 standards for DVD & Blu-Ray. Avid Symphony works in a Rec709 space and clearly operates with its video signal from 16-235 (which matches IRE 7.5 to 100), but Premiere doesn't seem to have this understanding in its programming and engineering. Here are my issues:
1) I can't manually enter in the digital values in the RGB Curve tool's points. Why would Premiere's engineers lock this basic feature out? It's in Photoshop.
2) I can't properly export Premiere's color bars. In order to export to Rec709 standards, to get around issue #1, I hack into the RGB Curves preset XML file to lift the Master Curve's point 1 from 0 to 16 and set the final white point from 255 to 235. If I use Premiere's bars, on the waveform, I can see the sub-black values, but when I lift the blacks with the curves preset, it clips all sub-black values upon export. WHY?! To get around this problem, I import bars generated by a camera (for example, by a Sony EX-350, i.e. XDCAM footage). All of this wouldn't be an issue if there were an export function that specifies exporting to rec709's 16-235 values instead of 0-255, as Avid does.
3) Particularly, the Waveform scope lies to me. The 7.5 IRE setup button does NOTHING for me, it's just a preview option that causes more confusion than clarity. Does Premiere map 0 out of 0-255 as 0 IRE or 7.5 IRE? I think it does the former and just uses that setup button to make you think that it's at 7.5. so if you do set it to 7.5, how then do you export it to match that option? Also, why can't the waveform scope have multiple options for the units - not just IRE, but also digital values (8-bit, 10-bit, linearized, etc.)?!
4) Speaking of importing the bars and footage. To continue the example of the Sony EX-350 - it imports the bars automatically by putting the black values at 0 IRE, not 7.5 IRE.
If Adobe wants industry professionals to take Premiere seriously, it needs to open up these options and clearly present what happens to tonal values in the image. It's very frustrating to figure out all of these problems and create cockamamy work-arounds.
http://www.avsforum.com/avs-vb/showthread.php?t=1090642
http://www.glennchan.info/articles/technical/setup/75IREsetup.html

Steve,
Thanks for your reply! However, I hope you don't take my response the wrong way, but, with no meaning of disrespect to you personally, the notion that curves are the wrong tool for numeric adjustments extremely infuriates me and displays a real lack of understanding of why a colorist or cinematographer such as myself would want to use curves in the first place.
First, any LUT generation program or coloring program, such as Apple Color, gives complete access to numerical control to give precise, repeatable changes that you cannot get with the drag of a mouse. Photoshop, Avid Symphony, etc. all have curves tools with the ability to manually enter points.
Second, on a user level, there should be no wrong tool for numeric adjustments, especially curves - they are the most precise means to obtain a specific contrast response. Levels or RGB corrector will only give gamma, pedestal, and gain operations, but curves gives every possible shape of a contrast response in between. If I wanted to create a very specific S-curve, I must use the curves tool to do so.
Third, the question at hand is not Premiere Pro's ability to process natively in Rec709 with signal from 16-235 - Premiere's native ability to process all types of video input is the sole reason why I've switched to it as a platform. 'Sub-black values are not necessarily clamped'?! How then can I export a TIFF, for example, of Premiere's bars, with the sub-black values left intact? How do I even access these sub-black values, when all footage clips below 0 IRE? The primary question is, how does Premiere handle and export these IRE values with respect to digital values, whether they are 8-bit, 10-bit, 12-bit, etc.?
Adobe's video workflow lacks a concise, cohesive FAQ or explanation of its numerical signal chain. At least, I have missed it and can't find it anywhere. If I want to properly color grade footage with a proper final output in mind, I need to know my end goals to take the proper intermediary steps.
SteveHoeg wrote:
Hey Tim - Premiere Pro can process natively in Rec709 with signal from 16-235 you do not need special adjustments. Curves are the wrong tool for numeric adjustments, try Levels or RGB Corrector. Sub black values are not necessarily clamped on export. --sh

8 bit / corrupted audio files on re-opening a song

See the post below. I'm having this exact problem with the latest version of Logic Pro on my intel mac. Is there a solution for this mentioned somewhere already? Please let me know soon.
Joshua Brown
Posts: 7
Registered: Aug 18, 2005
"8-bit" Corrupted Audio Files On Reload?
Posted: Aug 18, 2005 10:45 AM
A day after a recording session with my band the other night, I re-opened the song and recieved an error message "What kind of file is this?" and then another... something about the file being "8-bit" and unusable. This is the bass track from a very good session with my band and I'd like to try and recover it. Does anyone know how this happened, how to recover the file, and how to prevent it from happening in the future? Any help would be greatly appreciated.
More info: When opening the file in SoundHack, it says that it is a "Headerless" file. Setting the header to 24 bit linear and saving a copy results in an extremely distorted and unusable file, but you can kind of hear the recording in the background... sped up.

Hello and thanks to all for your replies. Oh and I did in fact copy somebody else's post. Sorry for the confusion.
I had a backup of the song on another disk with which I continued with my mixing. I am not worried about that particular song now. I am just worried that this might happen again.
About my sound/sample library, I just deleted the folders which had corrupted files and copied back from my backup disks.
Dropping corrupted file in a new .lso doesn't work. Haven't tried moving preferences yet but will do. I didn't have a mac before I bought an intel mac.
Can someone explain why this happened in the newest version when this was supposed to have been resolved in an earlier version? Isn't the latest version a cumulative one?
There's one other thing that also happened with me this week. I think it's related:
I had a Logic project open which was set at 96/24 and I had some audio done in it. I tried to open Reason rewired to Logic because I wanted a drum beat from Dr.Rex. Reason was set at 44/16. I tried to open some of the samples from my sound library. The files played just fine but later on when I checked, the folders which I went into looking for that drum beat got corrupted. In fact, it corrupted everything under root folder. It shouldn't have touched my samples at all, right? Why should this happen when I'm trying to just read samples or files?

How to save 12-bit RGGB RAW in 10-bit log Adobe DNG?

I am implementing a vision project, and want to save disk space by converting the 12-bit linear raw files to 10-bit log Adobe DNG files.
I went though the DNG document but could not find the formula or matrix to convert from 12-bit linear RAW to 10-bit log DNG.
Can someone kindly offer these details ?
Cheers!

I'm glad you mention the issues with packing bytes.
I had 12-bit RGGB raw saved as a DNG, but the colors were off.
The byte order in Adobe is different and seems to be undocumented.
I had not problems with 8-bit RAW converted to DNG.
https://dl.dropboxusercontent.com/u/9906333/12-bit.zip
I have code that writes packed data, but it would be nice to access the way that DNG expects the packed data to be written.
For 10-bit, I would be looking at 4 pixels in 5 bytes. I am unaware of any packing that would allow this, and if Adobe DNG actually supports this.
At least with 12-bit, 3 pixels in 2-bytes, there seems to be support - however, the actual pixel order is unknown.
I will go through the Linearization tables in the DNG spec now.

"8-bit" Corrupted Audio Files On Reload?

A day after a recording session with my band the other night, I re-opened the song and recieved an error message "What kind of file is this?" and then another... something about the file being "8-bit" and unusable. This is the bass track from a very good session with my band and I'd like to try and recover it. Does anyone know how this happened, how to recover the file, and how to prevent it from happening in the future? Any help would be greatly appreciated.
More info: When opening the file in SoundHack, it says that it is a "Headerless" file. Setting the header to 24 bit linear and saving a copy results in an extremely distorted and unusable file, but you can kind of hear the recording in the background... sped up.

If you search for "8 bit" in this forum, you will find at least half a dozen threads about this already.

Getting footage into SG (Linear space)

I'm working on my potential pipeline.
I have a number of files that are 'technical grades or vfx elements' that are being worked on in Nuke. However i'd like to finish in Premiere Pro and SpeedGrade for the creative grading.
My question is what containers/formats can be used in this way.
For example, the work within Nuke is linear, i have linearised source files with large dynamic range (14 stops). So i will need to find a format that i can export these in to bring over to the suite to work, but retain the high range.
Ideally i'd like to use a quicktime movie container. I could use cineform for example, 12 bit 444 but i would need to find a way to store the full range into that container so either
- There is a codec combination that maintains 32 bit linear float in quicktime
- I need to produce log based movies
If i produce a log based movie then in SpeedGrade what is the best, correct method to use to reverse that into Linear for grading?
Or does anyone really grade with EXR files on a large format show - with Premier/SG link?
thanks
Paul

I don't know what RAW footage is. I thought RAW as a digital photo format without compression.
On the chance you mean recapturing footage in it's original format,
1. take the footage you have now off-line
2. Open up Log & Capture
3. Select all your footage in the Browser and select BATCH CAPTURE
4. In Log & Capture make sure the settings are for the correct format for the footage you wish to capture
5. Capture
6. Make sure the settings of your sequence are changed to match the footage you just captured.
There is probably an easier way using media manager - but I never use MM ....
good luck.
x

Linear Color Space Issue

I've run into an interesting issue using 16bit linear exrs in AE.
All of my 3D footage is rendered in 16 bit linear space, and I am rendering to sRGB IEC611966-2.1 in AE.
I have various color corrections in the comp. When I export a frame from the comp, and then reimport that frame into the same comp, it is brighter than the comp that it was exported from.
I've exported to both png and openEXR with the same result.
In PShop, I've confirmed that the exported png and exr are identical in color (after reducing the exr to 8bit). I also know that the color corrections have been applied in the saved frames, because I screen captured the AE screen and pasted it on top of the saved frames in PShop - no color shift.
My guess is that the re-imported frames are not in the correct colorspace, but I've tried a few using 'interpret footage' w/no luck.
Any ideas?

Never mind.
I had an exposure effect on the layer...

Generating logarithmically spaced numbers

Hello,
I would like to generate a logarithmically spaced vector and a linearly spaced vector. Just like in in MATLAB: linspace and logspace. The code i have written so far is below. the linear-space number generator seems to work well when i call it. I know the logarithm-space number generator is wrong. :( So, it would be nice if someone could help me.
Thanks in advance.
PS: I started writing java code a month ago. So, i am still a java beginner. :)
import java.util.ArrayList;
//Create linearly spaced vector
public static ArrayList linearSpace(int start, int end, int count)
float delta = (end - start) / (float)count;
ArrayList ArrList= new ArrayList();
for(float i = start; i < end; i = i + delta)
ArrList.add(i);
return ArrList;
//Create logarithmically spaced vector
public static ArrayList logSpace(int start, int end, int count)
float delta = (end - start) / (float)count;
ArrayList ArrList= new ArrayList();
for(float i = start; i < end; i = i + Math.log(i))
ArrList.add(i);
return ArrList;
}

I think you should iterate count times and generate all the log values, without caring if the fit between start and end.
Now iterate again and scale them to fit your range.

Getting lag after change new mother board

i tried everything, installed my windows 5 times, upgrade all drivers, setting bios
but i still getting lag especially when playing warcraft tft game, all starts when i change my mobo ms-7313 v
please help me ,im getting stress b'coz of it .
please look at this, hope can help me with this prob!
Operating System: Microsoft Windows XP Professional 5.01.2600 Service Pack 2
Report Date: Friday 01 August 2008 at 03:48
<<< System Summary >>>
  > Mainboard : MICRO-STAR INTERNATIONAL CO.,LTD MS-7313
  > Chipset : Intel i945G/GZ
  > Processor : Intel Pentium 4 530J @ 3000 MHz
  > Physical Memory : 1536 MB
  > Video Card : NVIDIA GeForce 6600
  > Hard Disk : SAMSUNG (160 GB)
  > DVD-Rom Drive : TSSTcorp CDW/DVD SH-M522C
  > Monitor Type : RM170 -
  > Network Card : Realtek Semiconductor RTL8168/8111 PCI-E Gigabit Ethernet NIC
  > Operating System : Microsoft Windows XP Professional 5.01.2600 Service Pack 2
  > DirectX : Version 9.0c
<<< Mainboard >>>
  > Manufacturer : MICRO-STAR INTERNATIONAL CO.,LTD
   >> General Information
   Product : MS-7313
   Version : 1.0
   Serial Number : To Be Filled By O.E.M.
   Unique ID : FFFFFFFF-FFFFFFFF-FFFFFFFF-FFFFFFFF
   SKU : To Be Filled By O.E.M.
   Family : To Be Filled By O.E.M.
   Start mode : Power Switch
  > Mainboard : MICRO-STAR INTERNATIONAL CO.,LTD MS-7313
   >> General Information
   Manufacturer : MICRO-STAR INTERNATIONAL CO.,LTD
   Product : MS-7313
   Version : 1.0
   Serial Number : To be filled by O.E.M.
   Support MP : Yes, 1 CPU(s)
   Version MPS : 1.4
   >> Chassis Information
   Manufacturer : MICRO-STAR INTERNATIONAL CO.,LTD
   Type : Desktop
   Version : 1.0
   Serial Number : To Be Filled By O.E.M.
   Asset : To Be Filled By O.E.M.
   >> Sensor Information
   Hardware Monitoring : Fintek F71882FG
   >> On-Board Device Information
   Embedded Controller : Yes
   >> Slots Information
   >> External Connectors
  > Bios : American Megatrends Inc.
   >> General Information
   Manufacturer : American Megatrends Inc.
   Version : V1.1
   Date : 07/16/2008 (mm/dd/yyyy)
   Address : 0x0 on 512 KB
   Copyright : (C)2006 American Megatrends, Inc
   Motherboard ID : 63-0100-000001-00101111-071608-Lakeport-0AAAA000
   DMI Version : 2.5
   >> Characteristics
   Flashable : Yes
   Socketed : Yes
   >> Functionality
   APM : Yes
   ACPI : Yes
   ESCD : Yes
   PnP : Yes
   PCI : Yes
   ISA : Yes
   AGP : No
   USB : Yes
   PCMCIA : No
   Smart Battery : No
   >> Boot Information
   Selectable Boot : Yes
   CD-ROM Boot : Yes
   PC Card (PCMCIA) Boot : No
   I20 Boot : No
   LS-120 Boot : Yes
   1394 Boot : No
   ATAPI ZIP Boot : Yes
   Network Boot : No
  > Chipset : Intel i945G/GZ
   >> General Information
   NorthBridge : Intel i945G/GZ
   SouthBridge : 82801GB/GR (ICH7 Family) LPC Interface Controller
   >> NorthBridge Information
   Architecture : Direct Media Interface (DMI)
   Manufacturer : Intel (Micro-Star International Co Ltd (MSI))
   Codename : Lakeport
   Revision : A2
   Bus Speed : 201.7 MHz
   FSB Frequency : 806.6 MHz (QDR)
   FSB max. Support : 800 MHz
   RAM max. Support : DDR2 (667 MHz)
   >> Memory Information
   Type : DDR2-SDRAM PC2-4300
   Frequency : 268.9 MHz
   DRAM/FSB Ratio : 4/3
   Supported Channels : Dual (128-bit)
   Activated Channels : Dual
   ECC Diagnostic : No
   CAS Latency (tCL) : 4 clocks
   RAS to CAS (tRCD) : 4 clocks
   RAS Precharge (tRP) : 4 clocks
   Cycle Time (tRAS) : 11 clocks
   Bank Cycle Time (tRC) : 15 clocks
   >> PCI-Express Information
   Number of ports : 3 - (x16, x1, x1)
   >> Video Information
   Integrated Controller : No
   Enabled : No
   >> Functionality
   SATA AHCI Enabled : No
   RAID 0/1/10 Enabled : No
   RAID 5 Enabled : No
   PCI Express x1 Enabled : No
   Intel AMT : Yes
   Intel QST : No
   SPI Interface : Yes
   >> Device Capabilities (PCI)
   I/O Access : No
   Memory Access : Yes
   Bus Master Capable : Yes
   Special Cycle Recognition : No
   Memory Write & Invalidate : No
   VGA Palette Snoop : No
   Parity Error Response : No
   Cycle Wait : No
   System Error Line : No
   Fast Back-to-Back : No
   Detects Parity Errors : No
   User Defined Format : No
   PCI 66Mhz Bus Support : No
   New Capability List : Yes
   PCI Support : Vendor-Dependant
  > Physical Memory : 1536 MB DDR2-SDRAM
   >> General Information
   DIMM0 (RAS 0, RAS 1) : 512 (Single Bank)
   DIMM1 (RAS 4, RAS 5) : 1024 (Double Bank)
   >> Information SPD EEPROM (DIMM0)
   Manufacturer : Samsung
   Part Number : M3 78T6553BZ0-KD5
   Serial Number : 4601E3C3
   Type : DDR2-SDRAM PC2-4300 (266 MHz) - [DDR2-533]
   Format : Regular UDIMM (133.35 x 3)
   Size : 512 MB (1 ranks, 4 banks)
   Module Buffered : No
   Module Registered : No
   Module SLi Ready (EPP) : No
   Width : 64-bit
   Error Correction Capability : No
   Max. Burst Length : 8
   Refresh : Reduced (.5x)7.8 탎
   Voltage : SSTL 1.8v
   Prefetch Buffer : 4-bit
   Manufacture : Week 15 of 2005
   Supported Frequencies : 200 MHz, 266 MHz, 266 MHz
   CAS Latency (tCL) : 3 clocks @200 MHz, 4 clocks @266 MHz, 5 clocks @266 MHz
   RAS to CAS (tRCD) : 3 clocks @200 MHz, 4 clocks @266 MHz, 4 clocks @266 MHz
   RAS Precharge (tRP) : 3 clocks @200 MHz, 4 clocks @266 MHz, 4 clocks @266 MHz
   Cycle Time (tRAS) : 8 clocks @200 MHz, 11 clocks @266 MHz, 11 clocks @266 MHz
   Min TRC : 11 clocks @200 MHz, 15 clocks @266 MHz, 15 clocks @266 MHz
   >> Information SPD EEPROM
   Manufacturer : Samsung
   Part Number : M3 78T2953CZ3-CD5
   Serial Number : F10A5A5B
   Type : DDR2-SDRAM PC2-4300 (266 MHz) - [DDR2-533]
   Format : Regular UDIMM (133.35 x 3)
   Size : 1024 MB (2 ranks, 4 banks)
   Module Buffered : No
   Module Registered : No
   Module SLi Ready (EPP) : No
   Width : 64-bit
   Error Correction Capability : No
   Max. Burst Length : 8
   Refresh : Reduced (.5x)7.8 탎, Self Refresh
   Voltage : SSTL 1.8v
   Prefetch Buffer : 4-bit
   Manufacture : Week 12 of 2007
   Supported Frequencies : 200 MHz, 266 MHz, 266 MHz
   CAS Latency (tCL) : 3 clocks @200 MHz, 4 clocks @266 MHz, 5 clocks @266 MHz
   RAS to CAS (tRCD) : 3 clocks @200 MHz, 4 clocks @266 MHz, 4 clocks @266 MHz
   RAS Precharge (tRP) : 3 clocks @200 MHz, 4 clocks @266 MHz, 4 clocks @266 MHz
   Cycle Time (tRAS) : 8 clocks @200 MHz, 11 clocks @266 MHz, 11 clocks @266 MHz
   Min TRC : 11 clocks @200 MHz, 15 clocks @266 MHz, 15 clocks @266 MHz
   >> Memory Controller Information
   Memory Controller : DIMM, SDRAM
   Number of connectors : 2
   Supported Speed : Unspecified
   Supported Voltages : 3.3v
   Error Detection Method : 64-bit ECC
   Error Correction Capability : None
   Current/Supported Interleave : 1-way/1-way
  > LPC bus : Yes
   >> Bus Information
   Type : ISA - LPC
   Device : 82801GB/GR (ICH7 Family) LPC Interface Controller
   Revision : 01
   Number of ISA Connectors : 0
   >> Device Capabilities (PCI)
   I/O Access : Yes
   Memory Access : Yes
   Bus Master Capable : Yes
   Special Cycle Recognition : No
   Memory Write & Invalidate : No
   VGA Palette Snoop : No
   Parity Error Response : No
   Cycle Wait : No
   System Error Line : No
   Fast Back-to-Back : No
   Detects Parity Errors : No
   User Defined Format : No
   PCI 66Mhz Bus Support : No
   New Capability List : Yes
   PCI Support : Vendor-Dependant
  > PCI Bus : No
  > Bus PCI-Express : Yes
   >> PCI-Express Information
   Number of connectors : 1
   >> Bus PCI-Express
   Device : 82945G/GZ/P/PL PCIe Root Port
   Version : 1.0
   Port : 2
   Physical Slot : #0
   Slot Populated : Yes
   Link Width : x16 (max. x16)
   Link Speed : 2.5 GB/s
   >> Bus PCI-Express
   Device : 82801G (ICH7 Family) PCIe Root Port
   Version : 1.0
   Port : 1
   Physical Slot : #4
   Slot Populated : No
   Link Width : max. x1
   Link Speed : 2.5 GB/s
   >> Bus PCI-Express
   Device : 82801G (ICH7 Family) PCIe Root Port
   Version : 1.0
   Port : 2
   Physical Slot : #4
   Slot Populated : Yes
   Link Width : x1 (max. x1)
   Link Speed : 2.5 GB/s
   >> Bus PCI-Express
   Device : GeForce 6600
   Version : 1.0
   Port : 0
   Link Width : x16 (max. x16)
   Link Speed : 2.5 GB/s
  > USB Bus : Yes
   >> Device Information
   Device : 82801G (ICH7 Family) USB Universal Host Controller
   Version : 1.0
   Interface : UHCI
   Frequency : 48 MHz
   >> Device Information
   Device : 82801G (ICH7 Family) USB Universal Host Controller
   Version : 1.0
   Interface : UHCI
   Frequency : 48 MHz
   >> Device Information
   Device : 82801G (ICH7 Family) USB Universal Host Controller
   Version : 1.0
   Interface : UHCI
   Frequency : 48 MHz
   >> Device Information
   Device : 82801G (ICH7 Family) USB Universal Host Controller
   Version : 1.0
   Interface : UHCI
   Frequency : 48 MHz
   >> Device Information
   Device : 82801G (ICH7 Family) USB 2.0 Enhanced Host Controller
   Version : 2.0
   Interface : EHCI
  > SMBus/i2c Bus : Yes
   >> General Information
   Device : 82801G (ICH7 Family) SMBus Controller
   Revision : 1
   Frequency : 16 KHz
   Address : 0x400
   >> Device Capabilities (PCI)
   I/O Access : Yes
   Memory Access : No
   Bus Master Capable : No
   Special Cycle Recognition : No
   Memory Write & Invalidate : No
   VGA Palette Snoop : No
   Parity Error Response : No
   Cycle Wait : No
   System Error Line : No
   Fast Back-to-Back : No
   Detects Parity Errors : No
   User Defined Format : No
   PCI 66Mhz Bus Support : No
   New Capability List : No
  > Bus HyperTransport : No
  > Bus CardBus : No
  > Bus FireWire : No
<<< Processor >>>
  > Processor : Intel Pentium 4 530J
   >> General Information
   Type : Intel Pentium 4
   Internal Specification : Intel(R) Pentium(R) 4 CPU 3.00GHz
   Model Number : 530J
   Codename : Prescott
   Revision : E0
   Technology : 0.09μ
   CPU ID : F.4.1
   CPU IDEx : F.4.1
   Microcode : MU0F4117
   Number of Logical Processors : 2
   >> Instructions
   IA-64 Technology : No
   Intel64 (EM64T) : No
   AVX : No
   FPU128 : No
   SSE5 : No
   SSE4a : No
   SSE4.2 : No
   SSE4.1 : No
   S-SSE3 : No
   SSE3 : Yes
   SSE2 : Yes
   SSE : Yes
   Extended 3DNow! Technology : No
   3DNow! Technology : No
   3DNOW Prefetch : No
   3DNow! Pro Technology : Yes
   AMD MMX Technology : No
   MMX Technology : Yes
   Cyrix MMX Technology : No
   FMA : No
   AES : No
   OSXSAVE : No
   CLF - Cache Line Flush : Yes
   CX8 - CMPXCHG8B : Yes
   CX16 - CMPXCHG16B : No
   CMOV - Conditionnal Move Inst. : Yes
   MON - Monitor/Mwait : Yes
   POPCNT : No
   RDTSCP : No
   SEP - Fast System Call : Yes
   >> Miscellaneous
   XD - No-execute Page : No
   VT - Vanderpool Technology : No
   TXT - Trusted Execution Technology : No
   SVM - Secure Virtual Machine : No
   FPU - Co-processor Built-in : Yes
   FXSR - Fast Float Save & Restore : Yes
   xTPR - Send Task Priority : Yes
   DAZ - Denormals Are Zero : Yes
   FFXSR : No
   LAHFSAHF : No
   CMPLEGACY : No
   ALTMOVCR8 : No
   ExtApicSpace : No
   3DNow! Technology : No
   PBE - Pend. Brk. EN. : No
   LAHF - LAHF/SAHF Inst. : No
   ABM : No
   MASSE - Misaligned SSE : No
   OSVW - OS Visible Workaround : No
   IBS : No
   P1GB - 1GB Page Size : No
   SKINIT, STGI, DEV : No
   WDT - Watchdog Timer : No
   >> Features
   VME - Virtual Mode Ext. : Yes
   DE - Debugging Extension : Yes
   PSE - Page Size Extension : Yes
   TSC - Time Stamp Counter : Yes
   MSR - Model Specific Registers : Yes
   PAE - Physical Address Extension : Yes
   MCE - Machine Check Exception : Yes
   APIC - Local APIC Built-in : Yes
   MTRR - Memory Type Range Reg. : Yes
   PGE - Page Global Enable : Yes
   MCA - Machine Check Architecture : Yes
   PAT - Page Attribute Table : Yes
   PSE36 - 36-bit Page Size Extension : Yes
   PSN - Unique Serial Number : No
   DS - Debug Trace & EMON Store : Yes
   SS - Self Snoop : Yes
   ACPI - Software Clock Control : Yes
   TM - Thermal Monitor : Yes
   TM2 - Thermal Monitor 2 : No
   EST - Enhanced SpeedStep Technology : No
   HTT - Hyper-Threading : Yes
   SBF - Signal Break on FERR : Yes
   DSCPL - CPL qualified Debug Store : Yes
   CID - Context ID : Yes
   LT - LaGrande Technology : No
   PDCM : No
   DCA - Direct Cache Access : No
   EPS - Enhanced PowerSaver : No
   >> Features Hyper-Threading
   Technology : Yes - Enabled
   Physical Processor #1 : Apic ID 0
   Logical Processor #1 : Apic ID 1
   >> Addressing Information
   Physical Addressing max. : 36-bit
   Linear Addressing max. : 32-bit
   >> Advanced Settings
   In Order Queue Depth : 12
   Fast-Strings : Yes
   x87 FPU Opcode : No
   Thermal Monitor : Yes
   Split-Lock : Yes
   Performance Monitoring : Yes
   Prefetch Queue : Yes
   Branch Trace Storage : Yes
   C1E - Enhanced Halt State : Yes
   Temperature Control : 66 °C
   PRB - Performance Requirement Bit : No
   >> Mainboard Upgradeability
   Socket/Slot : CPU 1
   Upgrade interface : Unspecified
   Supported Speed : 3000 MHz (or more)
   Supported Voltage : 1.3V
  > Frequency : 3000 MHz
   >> General Information
   Real Frequency : 3024.85 MHz
   Multiplier : 15x
   Low/High Multiplier : 14x / 15x
   Multiplier Locked : Yes
   Marketing Frequency : 3000 MHz
   >> Front Side Bus Information
   Bus Speed : 201.7 MHz
   FSB Frequency : 806.6 MHz (QDR)
   >> Initial Frequencies
   Frequency : 3000 MHz
   Bus Speed : 200.00 MHz (QDR)
   Multiplier : 15x
   >> Control Clock Frequency
   Type : None
   >> Thermal Information
   Thermal Design Power : 89 W
   Core Power : 89.74 W (estimated)
   Resistance : 0.14 °C/W (estimated)
   Thermal control TM1 : Yes - Enabled
   Thermal control TM2 : No
   Thermal Control Circuit : No
   Digital Thermal Sensor : No
   Clock Modulation (ODCM) Enabled : No
   >> Processor Performance Information
   Throttle Mode AC : None
   Throttle Mode DC : Adaptive
   Current Configuration : None
   Throttle : 3025 MHz
  > Support : Socket 775 LGA
  > Data Cache L1 : 16 KB
   >> General Information
   Write Mode : Write-Through
   Place : Internal
   Correct : Parity
   >> Cache Information
   Data Cache : 16 KB (8-way, 64 bytes line size)
   L1 Context Mode : Adaptive
   >> Cache Parameters
   Type : Data Cache
   Ways of associativity : 8
   Fully Associative : No
   System Coherency Line Size : 64
   Physical Line partitions : 1
   Number of threads sharing : 2
   Number of processor cores : 1
   Number of Sets : 32
  > Trace Cache L1 : 12 Kμops
   >> Cache Information
   Trace Cache L1 : 12 Kμops (8-way)
   >> Cache Parameters
   Type : Data Cache
   Ways of associativity : 8
   Fully Associative : No
   System Coherency Line Size : 64
   Physical Line partitions : 1
   Number of threads sharing : 2
   Number of processor cores : 1
   Number of Sets : 32
  > Cache L2 : 1024 KB
   >> General Information
   Write Mode : Write-Back
   Place : Internal
   Multiplier : 1/1x (3024.9 MHz)
   Correct : Single-bit ECC
   >> Cache Information
   Associativity : 8-way
   Line Size : 64 bytes
   Bus : 256-bit
   Prefetch Logic : Yes
   >> Cache Parameters
   Type : Unified Cache
   Ways of associativity : 8
   Fully Associative : No
   System Coherency Line Size : 64
   Physical Line partitions : 2
   Number of threads sharing : 2
   Number of processor cores : 1
   Number of Sets : 1024
  > FPU Coprocessor : Present
   >> General Information
   Integrated : Yes
   Model : Compatible Intel
  > Processor activity : : 0%
<<< Video >>>
  > Number of monitor : 1
   >> Monitor Information #1
   Monitor : 플러그 앤 플레이 모니터
   Linked on : NVIDIA GeForce 6600
   Resolution : 1280x1024
   Working desktop : 1280x994
   Main monitor : Yes
  > Monitor Type : RM170
   >> General Information
   Product ID : SEG1A85
   Model : RM170
   Serial Number : H111701830
   Manufacture : Week 21 of 2002
   Video Input Type : Analogic
   Aspect Ratio : 16:10
   Gamma Factor : 3.55
   DPMS Active-Off : Yes
   DPMS Suspend : Yes
   DPMS Standby : Yes
   EDID version : 1.3
   >> Features
   Maximum Resolution : 1280 x 1024 @ 60 Hz
   Horizontal frame rate : 30 - 80 kHz
   Vertical frame rate : 58 - 75 Hz
   Bandwidth : 140 MHz
   >> Video Modes Supported
   Mode : 720 x 400 @ 70 Hz
   Mode : 640 x 480 @ 60 Hz
   Mode : 640 x 480 @ 67 Hz
   Mode : 640 x 480 @ 75 Hz
   Mode : 800 x 600 @ 60 Hz
   Mode : 800 x 600 @ 72 Hz
   Mode : 800 x 600 @ 75 Hz
   Mode : 832 x 624 @ 75 Hz
   Mode : 1024 x 768 @ 87 Hz interlaced
   Mode : 1024 x 768 @ 75 Hz
   Mode : 1280 x 1024 @ 75 Hz
  > Video Card : NVIDIA

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Feature Request: Raw-Lite for the F5/F55

Hi Sony Staff, Here's a feature request that I've been pondering for a long time now. Raw Lite on the F5(5). Is it a possibility? I'm a huge fan of the conventional 3:1 compressed 4K 16-bit Linear Raw from the AXS-R5. It provides a supremely high quality digital negative, with as much detail and tonality as you could ever really need. However the file sizes are very large. 1TB yeilds roughly an hour of recording time. And the storage costs associated with that are enough to scare away MANY producers from shooting Sony Raw (even with all of the benefits that doing so offers). You guys have addressed this issue nicely with the F65 by offering Raw Lite with it's 6:1 compression (which coincidentally, is a compression rate that many, many producers are content to shoot with on the most prolific raw cameras out their - the Red Epic/Dragon/Scarlet cameras). Being able to offer producers the option to shoot Sony Raw Lite, with it's massively more managable file sizes would greatly increase the uptake of Sony Raw for production - and that benefits everyone. It benefits the camera department with a superior digital negative, it benefits post-production with greater latitude for grading and VFX, it benefits producers with a superior end product, and it benefits audiences with better looking images. Given that the F65 was able to be upgraded to offer this additional raw recording option, I assume (and hope) that it's not an impossiblity for the F5(5). So I'd urge you to strongly consider this feature request, and the added appeal it would bring to the cameras as a capture choice. Cheers, Mark

I disagree that there is little difference between 12bit and 16 bit linear raw. The difference is huge. Shadows and dark areas from the FS7/FS700 are pretty grim, lot's of noise caused by the data rounding. Besides, in terms of bit rate it's not a question of simply reducing the bit depth, you need to increase the compression. For linear raw you need 16 bits unless you do an extreme amount of data rounding. For Linear raw, if the first stop is represented by just 2 bits of data (which results in very blocky noise as noise will be one of 4 luma levels and cannot be smoothly reproduced): stop 1: 2 bitsstop 2: 4stop 3: 8stop 4: 16stop 5: 32stop 6: 64stop 7 128 (8 bit linear limit, 128 + 128 = 256 bits)stop 8: 256stop 9: 512 (10 bit linear limit)stop 10: 1024stop 11: 2048 (12 bit linear limit)stop 12: 4096stop 13: 8192 stop 14: 16384 bitsstop 15: 32768 bits (16 bit linear limit) If you move this scale up so that the first stop is represented by using 4 bits of data you will still have pretty coarse shadows and noise (one whole f stop will only have 16 posible luma values). So rather than just use binary math most linear raw systems use floating point math to make more bits available for the shadows. But with 12bit there just isn't anywhere near the same amount of "spare" bits that you get with 16 bit, so the shadows and low key areas really suffer. Just go and look at the FS7/FS700 boards and all the compliants about unusable, grainy and blocky shadow areas in the raw. Sure raw lite would be a welcome option, but it wouldn't be one for me. The whole point of raw for me is a robust, bomb proof format that you can expose and grade as you wish without worrying about artefacts etc.

How can I record sound

I use this code below to record sound, but it failed. The output is :
Press ENTER to start the recording.
Recording...
Press ENTER to stop the recording.
Recording stopped.
After I pressed ENTER, it stoped recording immediately.
The code is:
*     SimpleAudioRecorder.java
*     This file is part of jsresources.org
import java.io.IOException;
import java.io.File;
import javax.sound.sampled.DataLine;
import javax.sound.sampled.TargetDataLine;
import javax.sound.sampled.AudioFormat;
import javax.sound.sampled.AudioSystem;
import javax.sound.sampled.AudioInputStream;
import javax.sound.sampled.LineUnavailableException;
import javax.sound.sampled.AudioFileFormat;
* <titleabbrev>SimpleAudioRecorder</titleabbrev> <title>Recording to an audio
* file (simple version)</title>
* <formalpara><title>Purpose</title> <para>Records audio data and stores it
* in a file. The data is recorded in CD quality (44.1 kHz, 16 bit linear,
* stereo) and stored in a <filename>.wav</filename> file.</para></formalpara>
* <formalpara><title>Usage</title> <para> <cmdsynopsis> <command>java
* SimpleAudioRecorder</command> <arg choice="plain"><option>-h</option></arg>
* </cmdsynopsis> <cmdsynopsis> <command>java SimpleAudioRecorder</command>
* <arg choice="plain"><replaceable>audiofile</replaceable></arg>
* </cmdsynopsis> </para></formalpara>
* <formalpara><title>Parameters</title> <variablelist> <varlistentry> <term><option>-h</option></term>
* <listitem><para>print usage information, then exit</para></listitem>
* </varlistentry> <varlistentry> <term><option><replaceable>audiofile</replaceable></option></term>
* <listitem><para>the file name of the audio file that should be produced from
* the recorded data</para></listitem> </varlistentry> </variablelist>
* </formalpara>
* <formalpara><title>Bugs, limitations</title> <para> You cannot select audio
* formats and the audio file type on the command line. See AudioRecorder for a
* version that has more advanced options. Due to a bug in the Sun jdk1.3/1.4,
* this program does not work with it. </para></formalpara>
* <formalpara><title>Source code</title> <para> <ulink
* url="SimpleAudioRecorder.java.html">SimpleAudioRecorder.java</ulink> </para>
* </formalpara>
public class SimpleAudioRecorder extends Thread {
     private TargetDataLine m_line;
     private AudioFileFormat.Type m_targetType;
     private AudioInputStream m_audioInputStream;
     private File m_outputFile;
     public SimpleAudioRecorder(TargetDataLine line,
               AudioFileFormat.Type targetType, File file) {
          m_line = line;
          m_audioInputStream = new AudioInputStream(line);
          m_targetType = targetType;
          m_outputFile = file;
      * Starts the recording. To accomplish this, (i) the line is started and
      * (ii) the thread is started.
     public void start() {
           * Starting the TargetDataLine. It tells the line that we now want to
           * read data from it. If this method isn't called, we won't be able to
           * read data from the line at all.
          m_line.start();
           * Starting the thread. This call results in the method 'run()' (see
           * below) being called. There, the data is actually read from the line.
          super.start();
      * Stops the recording.
      * Note that stopping the thread explicitely is not necessary. Once no more
      * data can be read from the TargetDataLine, no more data be read from our
      * AudioInputStream. And if there is no more data from the AudioInputStream,
      * the method 'AudioSystem.write()' (called in 'run()' returns. Returning
      * from 'AudioSystem.write()' is followed by returning from 'run()', and
      * thus, the thread is terminated automatically.
      * It's not a good idea to call this method just 'stop()' because stop() is
      * a (deprecated) method of the class 'Thread'. And we don't want to
      * override this method.
     public void stopRecording() {
          m_line.stop();
          m_line.close();
      * Main working method. You may be surprised that here, just
      * 'AudioSystem.write()' is called. But internally, it works like this:
      * AudioSystem.write() contains a loop that is trying to read from the
      * passed AudioInputStream. Since we have a special AudioInputStream that
      * gets its data from a TargetDataLine, reading from the AudioInputStream
      * leads to reading from the TargetDataLine. The data read this way is then
      * written to the passed File. Before writing of audio data starts, a header
      * is written according to the desired audio file type. Reading continues
      * untill no more data can be read from the AudioInputStream. In our case,
      * this happens if no more data can be read from the TargetDataLine. This,
      * in turn, happens if the TargetDataLine is stopped or closed (which
      * implies stopping). (Also see the comment above.) Then, the file is closed
      * and 'AudioSystem.write()' returns.
     public void run() {
          try {
               AudioSystem.write(m_audioInputStream, m_targetType, m_outputFile);
          } catch (IOException e) {
               e.printStackTrace();
     public static void main(String[] args) {
          if (args.length != 1 || args[0].equals("-h")) {
               printUsageAndExit();
           * We have made shure that there is only one command line argument. This
           * is taken as the filename of the soundfile to store to.
          String strFilename = args[0];
          File outputFile = new File(strFilename);
           * For simplicity, the audio data format used for recording is hardcoded
           * here. We use PCM 44.1 kHz, 16 bit signed, stereo.
          AudioFormat audioFormat = new AudioFormat(
                    AudioFormat.Encoding.PCM_SIGNED, 44100.0F, 16, 2, 4, 44100.0F,
                    false);
           * Now, we are trying to get a TargetDataLine. The TargetDataLine is
           * used later to read audio data from it. If requesting the line was
           * successful, we are opening it (important!).
          DataLine.Info info = new DataLine.Info(TargetDataLine.class,
                    audioFormat);
          TargetDataLine targetDataLine = null;
          try {
               targetDataLine = (TargetDataLine) AudioSystem.getLine(info);
               targetDataLine.open(audioFormat);
          } catch (LineUnavailableException e) {
               out("unable to get a recording line");
               e.printStackTrace();
               System.exit(1);
           * Again for simplicity, we've hardcoded the audio file type, too.
          AudioFileFormat.Type targetType = AudioFileFormat.Type.WAVE;
           * Now, we are creating an SimpleAudioRecorder object. It contains the
           * logic of starting and stopping the recording, reading audio data from
           * the TargetDataLine and writing the data to a file.
          SimpleAudioRecorder recorder = new SimpleAudioRecorder(targetDataLine,
                    targetType, outputFile);
           * We are waiting for the user to press ENTER to start the recording.
           * (You might find it inconvenient if recording starts immediately.)
          out("Press ENTER to start the recording.");
          try {
               System.in.read();
          } catch (IOException e) {
               e.printStackTrace();
           * Here, the recording is actually started.
          recorder.start();
          out("Recording...");
           * And now, we are waiting again for the user to press ENTER, this time
           * to signal that the recording should be stopped.
          out("Press ENTER to stop the recording.");
          try {
               System.in.read();
          } catch (IOException e) {
               e.printStackTrace();
           * Here, the recording is actually stopped.
          recorder.stopRecording();
          out("Recording stopped.");
     private static void printUsageAndExit() {
          out("SimpleAudioRecorder: usage:");
          out("\tjava SimpleAudioRecorder -h");
          out("\tjava SimpleAudioRecorder <audiofile>");
          System.exit(0);
     private static void out(String strMessage) {
          System.out.println(strMessage);
}

I've never used it, but I believe Garage Band has a recording option.

Getting Started with FCE - Problems with my imported files

Hi,
I'm trying to get started with Final Cut Express, but I'm experiencing lots of problems when I import my project from iMovie.
My project contains video, which I imported into iMovie at 960 x 540. It also contains some keynote animations, which I exported from Keynote as quicktime files.
When I export my files to FCE, I instantly get problems.
1) When I add the imported file to the sequence, I get an "Attention the clip does not match the sequence's setting or any of your sequence settings" error.
2) Whether I choose to translate my settings or not, I try to play the video in the timeline, but there is a continuous beeping sound, no audio from my video and when it hits the keynote animations, it just says "unrendered" or "media offline".
Please can you offer any advice on how I can get started with FCE more successfully.
Thanks!

Hi(Bonjour)!
(please specify iMovie and FCE version)
Well, your sequence settings in FCE should be DV-PAL 48 Khz.
Create a new sequence.
From iMovie and Keynote, export your movie with quicktime conversion andd select DV-PAL 48 kHz (*And Not* DV Stream...). This material should play without rendering because his format and codec match the sequence's codec.
Import your files and everything should be OK.
Michel Boissonneault
The audio should be AIFF 48 kHz 16 bit linear PCM

Converting raw to tiff brings a lose of quality

actually i have converted a canon raw to tiff image using ligthroom 2.6, the matter is... why once converted in tiff highlights, moving exposition ability and more are so capped?
i have converted a raw to tiff 16 bit uncompressed with pro photo rgb... this means that i should preserve all color tone of the image and i would be able to make the same adjoustments that i use normally with raw files...
this in theory... cause if i try to step down the exposure i see whites going to greens and stuff like a damn jpg srgb 8 bit for channel...
what's going wrong in it?

Rubberick wrote:
ok, but why loss of data...
canon say me i have a 14bit a/d converter for channel...
tiff 16 bit uncompressed with prophoto should contain all data included on a raw file...
am i wrong in something?
Rubberick,
When you convert to TIFF in LR you are 'burning-in' the current settings. That is what is shown as white is converted to white and what is shown as black is converted to black; any higher or lower values (off the edges of the histogram) from the raw file are truncated (thrown away) then the values between the black and white points have any tone curves or tonal adjustments set in LR applied and the gamma curve of ProPhoto applied to calculate the values to be used in the TIFF. Note that the original raw file values are in linear space whereas ProPhot is gamma 2.2 encoded, this means that more bits are required to accurately encode the original data, for a 14 bit linear file (16384 levels) you require a 16 bit 2.2 gamma encoded file to accurately represent all the levels, if you have not already thrown some away (a 14 bit 2.2 gamma encoded file would only be able to represent 11752 of the levels with the losses worse in the brighter parts of the image, an 8 bit JPEG can only represent 254 of the levels). [1]
The reason for strange colour casts when trying to reprocess the highlights is that my reference to black and white above oversimplifies the situation; actually what happens is that you are truncating each of the red, green and blue channels (usually by different amounts) when creating the TIFF. When you then try to change the colour balance or recover highlights or shadows LR does not have the data you have thrown away and thus makes a poor guess at the correct colour. You tend to only see this in the highlights although it can also happen in the shadows, however it is difficult to see small colour changes in very dark tones and you are generally losing much less data in the shadows when converting to TIFF.
Using a 16 bit TIFF compared to an 8 bit JPEG allows better representation of the data that has not been truncated so changes within the white and black limits will cause less degradation, however any attempt at highlight recovery or significant white balance changes will be bad for both. You are much better keeping the raw format (or converting to DNG which retains all the raw image data) until you need to print, export for screen use or export to Photoshop for further changes. For photoshop you may still be able to maintain the raw data by use of smart objects.
Nigel
[1] Figures for available levels obtained using Bruce Lindbloom's 'Levels Calculator' at http://www.brucelindbloom.com/
Message was edited by: CFNJ to include reference to Bruce Lindbloom's 'Levels Calculator'.

10 bit logarithmic format vs. 16 bit linear format

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