2 questions about RAW

I'm switching to shooting in RAW (Nikon D80) and read in The Missing Manual that the Photo Downloader in PSE7 may have trouble bringing them in from my card. Barbara suggests that there are other ways to do this and that they can be found on page 40, but I can find nothing there. So...
Does the Downloader work satisfactorily if I bring back a card with, say, 100 images on it? Or what is the best way to get them into Organizer?
After you've worked on your RAW images, what file format is best to save them as? Seems silly to save as JPEG unless they're going on the web. But what about TIFF? I see there's an option to save as Photoshop RAW.
Will appreciate any thoughts and opinions.

Hi, Jack. You can just use windows to import your photos to the computer, then use Get Photos>from Files and Folders. The problems with the downloader and raw have nothing to do with the number of images, only with the fact that people have more odd situations with raw than with other formats, particularly if you shoot raw + jpg. If you find that the downloader works for you, then it's fine to use it, but just be sure you're getting all the photos every time you download.
You can save your processed raw images in any format that the editor supports, so TIFF or PSD are both good choices. Photoshop Raw is an older Photoshop format, meaning raw PS data, not really an image format. Don't try to save anything as that.

Similar Messages

  • A Question about RAW and Previews

    I have just recently starting shooting in RAW (mostly for the post production editing abilities - I am an avid amateur photographer bent on learning as much as I can). I set my camera to capture in RAW + L. I don't know why I feel like I want it to capture both the RAW and JPEG file, and thus leads me to my first question: Is it necessary to have the camera capture both the RAW and Large JPEG? I am assuming the answer to be no, as I am sure if after importing the RAW file into Aperture, you could always export a JPEG if you wanted one? So no need to fill up your internal memory (if using managed masters) with the extra JPEG? Is this thinking correct?
    Next, if you do import RAW-only files and then want to export certain images, do you have a choice to export the original RAW image? It seems that it only allows you to export a JPEG Original Size. To answer my own question, perhaps you have to export the Master in order to export the full RAW file when exporting? If you want to export a JPEG, you have to export not the Master, but a version of the Master? Is this correct?
    Lastly, I wanted to ask a question about Previews. I have my preferences set so that previews have the highest quality with no limits to size. What is the significance of setting it this way? I just assumed that if I wanted to share an image at the highest quality without exporting it, this was the way to go. Is there any validity to this? The reason I ask is that I don't want to have all of these high quality previews taking up internal disk space if I really don't need to. Is there a way to change the preview size once previews are created? Meaning, if you have it set to generate low quality previews, can you change it dynamically to high and vice versa?
    I know this is a lot in one post. Thanks for tackling it.
    Mac

    You can change the quality of the Previews in the Preferences -> Previews tab.
    You can regenerate Previews with the Delete and Update Previews under the Images menu.
    Regards
    TD

  • Question about RAW to JPG file sizes

    Hello all, I have a question/concern in reference to file size changes when converting from RAW to JPG formats in PSE6. I've recently purchased a CANON 50D, and have started shooting in RAW format (actually RAW2+JPG). I have the CAMERA RAW 5.2 plugin and my workflow process is something akin to this:
    1. Separate all RAW and JPG images into their respective folders.
    2. Open the RAW folder in BRIDGE, and then open up a CR2 file. CR2 file is approx 15MB at this point, as reported in Finder.
    3. Perform various corrections in ACR52 to the file, then do as SAVE AS to a DNG file.
    4. Next step is to OPEN IMAGE, bringing it up in PSE6.
    5. Make any necessary corrections to the picture, and then do a SAVE AS to a new file name and folder, selecting JPG format.
    6. Selection MAX QUALITY from subsequent dialogue box, and SAVE.
    When the file is saved, its now down to a mere 2.1 or 2.2MB, and when viewing its properties (vs. the same file that came from camera in JPG format), its down from a 44x66" format, to somewhere around 4x6" and 240dpi.
    I've been doing some reading on this over the weekend, but cant explain away the severe loss in file size, and whether this is right, or if I'm doing something wrong in the process.
    Appreciate any advice or suggestions to help improve my work processes, and ultimately the final photos!

    Regarding your file size questions, have a look at this thread and see if it answers some of your questions:
    http://www.fredmiranda.com/forum/topic/741532/0
    > When the file is saved, its now down to a mere 2.1 or 2.2MB, and when viewing its properties (vs. the same file that came from camera in JPG format), its down from a 44x66" format, to somewhere around 4x6" and 240dpi.
    Dimensions and resolution are related and multiple combinations can be produced from the same number of pixels. For example, your 50D at maximum image size produces 4,752 by 3,168 pixels. This full-size image could be printed at:
    - 19.8 x 13.2 inches at 240 PPI
    - 47.52 x 31.68 inches at 100 PPI
    - 7.92 x 5.28 inches at 600 PPI
    As you can maybe see, talking about dimensions and resolution doesn't make much sense until you are ready to consider printing. Note also that I used "PPI" or Pixels Per Inch since this is the slightly more correct terminology. DPI or "Dots Per Inch" is usually a reference to how a printer lays down the ink drops onto the paper. Many printers actually put more "dots" on the paper than there are pixels. Many people and companies use DPI when they mean PPI.
    Now in your case you are apparently starting with an SRAW2 raw file. SRAW2 files from the 50D have a reduced number of pixels and are 2,276 pixels wide by 1,584 pixels high. At 240 PPI this would allow you to print the image at 9.9 by 6.6 inches. If you are ending up with something smaller than that, it means you have either re-sampled the image (changed the image so the same image is displayed with fewer pixels) or you have cropped the image.
    Hope that helps.

  • The question about RAW datatype in VBA with OO4O

    Hi all.
    I have developed a sort of VBA program with oo4o.
    When I issued "select rawtohex(saddr),saddr from v$session where rownum < 2" and I displayed the result on excel spread sheet.
    The result was below.
    RAWTOHEX(SADDR)      SADDR
    C0000000E14ADDF0     &#65533;
    I found I couldn't display a raw datatype result without using RAWTOHEX function.
    But, I query the table using "*",such as " select * from v$session" sometime. So I have to display the raw datatype result without using oracle function.
    I heard that the "RAW" datatype is a array of byte, so I used byte array.
    The following is my first idea and the result is wrong.
    The result is 'FF000000......', not 'C000000....'
    Is there any good idea?
    Dim oSession As Object
    Dim oDatabase As Object
    Dim oRs As Object
    Dim cntCol, cntRow As Long
    Dim rowNum, colNum As Long
    Dim sraw() As Byte
    Dim k As Integer
    Dim hexaString As String
    Set oSession = CreateObject("OracleInProcServer.XOraSession")
    Set oDatabase = oSession.DbOpenDatabase(gTargetServer, gUserID & "/" & gPasswd, 0&)
    Set oRs = oDatabase.DbCreateDynaset(gSqlString, 0&)
    cntCol = oRs.Fields.Count
    cntRow = oRs.RecordCount
    ReDim resData(cntRow, cntCol) ' the variant type array to store result
    'To store column title.
    For colNum = 0 To cntCol - 1
    resData(0, colNum) = oRs.Fields(colNum).Name
    Next colNum
    'To store data.
    For rowNum = 1 To cntRow
    For colNum = 0 To cntCol - 1
    Select Case oRs.Fields(colNum).Type
    Case 11
    sraw = oRs.Fields(colNum).Value
    For k = 0 To UBound(sraw)
    hexaString = hexaString & Hex(sraw(k)) '<= here.***********
    Next k
    resData(rowNum, colNum) = hexaString
    Case Else
    resData(rowNum, colNum) = oRs.Fields(colNum).Value
    End Select
    Next colNum
    oRs.MoveNext
    Next rowNum
    I hope I get helps.
    Bill.

    But, I query the table using "*",such as " select * from v$session" sometimeCan't you use
    select rawtohex(saddr) hexaddr, t.* from v$session t
    (if you really need '*' ) ?
    Rgds.

  • Question about RAW+JPEG in LR 1.1

    Hi,
    I just want some information on how LR handles the JPG+RAW files.
    1- When I look at the picture in LR, do I see the JPG or the RAW? (because the JPEG I get from my D50 is more punchy than the RAW, so I want to know which one I see)
    2- When I want to modify the photo, do I work with the RAW by default (I suppose)?
    3- Can I choose which one I'm looking at or working on?
    4- Let's say I haven't got the time to work on the RAW and I need to send the pic. Can I decide to export the JPEG (with the punchy colors)(and resize it) or LR will automatically export the RAW?
    5- Is there any advantage (in 1.1) to use old way (separate folder for RAW files, to have both in LR) than the new JPG+RAW capability?
    Thanks a lot again,
    Dany

    Here's some info regarding this from Mete Atamel, engineer on the LiveCycle Data Services team:
    When shared-backend=true, a single consistent view of data is guaranteed but this is not due to the shared-backend property itself but rather the fact that when shared-backend=true, there's a single DB used by multiple instances of LCDS.
    Imagine the scenario where you have two LCDS nodes in a cluster with two data management destinations, one on node1, and one on node2, and they are clustered (via JGroups). You can have those destinations maintain their own DB, and when a change happens in one node¹s destination, the other node's destination gets a JGroups message and updates its own DB. This works but it's not ideal because at a given time, you¹re trying to maintain the same cluster state on two different DBs and there are times when the connected clients do not get consistent view of the data.
    Instead, you can use a single DB and have the two destinations talk to the same DB, so you have a single consistent view of the data. When this is possible, you enable shared-backend property in LCDS destinations, that way when one destination updates the DB, and sends a JGroups message to the other destination, the other destination does not  try to update the DB again, instead it simply passes the update message back to the connected clients without sending it to the adapter.

  • Beginner question about RAW/DNG files and Aperture + Adove

    I used to use Microsoft Expression Media. When I would edit a .DNG file in Photoshop and update the sidecar or JPEG preview, EM would show the .DNG with the new adjusted preview in its catalog.
    I noticed Aperture 3.0 doesn't read these adjustments from my .DNG files. Is there a way to get Aperture to properly read my .DNG files?
    Conversely, when I make RAW edits in Aperture, can I view these on the .DNG master in Photoshop? How?

    Adrian:
    I have been using DxO Optics Pro in conjunction with Aperture. The easiest workflow that I have found is to run the images through DxO before bringing them into Aperture. I have DxO export the converted images as 8-bit TIFFs. (Sixteen-bit TIFFs are really big.) I, then, import the TIFFs into Aperture. There are two disadvantages to this approach: I do not get to bring the original RAW file into Aperture and using DxO on all images, even those that turn out to be rejects, takes a lot of time.
    I have also played around with adding images to Aperture, exporting masters before doing any Aperture image manipulation, running the exported images through DxO, exporting the converted images as 8-bit TIFFs and reimporting the TIFFs into Aperture. This can be done without Catapult. I think the advantage of Catapult is that it will automatically stack your processed TIFFs with the original RAW files in Aperture. The advantage of this approach is that I can use Aperture to decide which images I want to process in DxO. Remember that DxO will not see any work that you have done on the image in Aperture; this is why I do my DxO work before doing any Aperture manipulations.

  • Newbie question about RAW in LR?

    I have a Sony A550 and wanted to use image data converter for noise reduction on my RAW files and then use those modified Raw files in LR 2.5
    It seems LR is doing it's own interpretation without taking previous modification into account? Isn't it possible? shall someone do all the required modification under one single software before exportation?
    Can modifications be exported to another software in some way (enve from lightroom  to image data converter)
    Thanks for your Help!

    You don't say what NR package you are using, and how.
    Lr generally will not know that NR has been done on an imported raw image unless that previous NR was provided in an XMP-compatible manner.  If the image was altered in-place (essentially replacing the image data) then Lr will apply NR based on the metadata it reads in the image data. Usually, this means a small amount of one kind of NR and none of another (except for higher ISO.) (This is from memory, so don't assume this is gospel.)
    So, your best bet with this workflow is to create a develop preset with NR disabled and use that when importing these images.
    Or, find out if your NR tool has a Lr plugin, and use that.

  • Question About Raw and Photo Size

    I am beginning to work with raw in Iphoto. Nikon D300. When I edit the pictures I cannot tell what size they are as a jpeg. There must be a way but I have not discovered it. Any of the picture info I get refers to raw, not jpeg. When I email it to my self to see, it is reduced to a smaller size, like 385kb. I took the CF card to my PC and placing the cursor on it, I see the size, 10mb. Is there a way to see the size on Apple and can you determine the size and quality in Iphoto.

    Check out the Info Pane, lower left. Click on the wee ‘i’ to see it.
    Regards
    TD

  • Hi I have a question about shooting in Raw with my Canon EOS 6d. I'm in the process of learning photography and my goal was to start shooting in raw. I have Photoshop CS5. When I tried to edit my images in raw I received an error message stating, "The pho

    Hi I have a question about shooting in Raw with my Canon EOS 6d.
    I'm in the process of learning photography and my goal was to start shooting in raw.
    I have Photoshop CS5. When I tried to edit my images in raw I received an error message stating, "The photoshop camera raw plug-in did not recognize the format. If these files are from a camera, you may need to update your camera raw plug in."
    In researching the issue I read that to edit in raw you need a camera model requirement of at least 7.3 which only works with CS6. My version of CS5 is 6.0.0.205. Being new to all this I see that my options are to upgrade to CS6 or convert by using DNG converter and paying a monthly fee. Two things I know nothing about and don't know which is would be more beneficial.
    I'd appreciate any advise on which route to go and how upgrade and what it may cost. THANKS in advance!
    Heather

    In researching the issue I read that to edit in raw you need a camera model requirement of at least 7.3 which only works with CS6.
    That is correct. Your camera was first supported by Camera Raw 7.3. Camera Raw 7.3 will not work with CS5. You need CS6 or CC.
    Being new to all this I see that my options are to upgrade to CS6 or convert by using DNG converter and paying a monthly fee. Two things I know nothing about and don't know which is would be more beneficial.
    I'd appreciate any advise on which route to go and how upgrade and what it may cost.
    It all depends on your preferred workflow and your budget.
    Using the DNG converter is free. There is no monthly fee. You use the converter to convert all Raw files from the EOS 6D to DNGs then edit the DNGs in CS5. That's an extra step every time - every photo. Some people don't like the extra step. Others don't mind.
    Camera raw, DNG | Adobe Photoshop CC
    Or you can upgrade to CS6 (non-Cloud) and pay the upgrade fee
    Creative Suite 6
    Or join the Cloud and pay the monthly fee
    Or join the Photoshop Photography Program (US9.99/month) and get PS CC+LR

  • Some question about communicating the usb RAW device

    I have some question about USB communication: I want to make my VI communicate
    TI-DSP by USB, now, the driver of USB on DSP have done, and  there are a test
    program writen by VC and a driver fold(with a .inf and a .sys files), when I
    install the driver and run the test program, the driver program on DSP run
    regularly. And then I want to program a VI which have the same function as the
    test program, so I unload the driver on PC firstly, then install the DSP in
    NI_VISA according to "Using NI-VISA 3_0 to Control Your USB Device - Tutorial -
    Instrument Drivers". When I sent the standard control request using the VISA test panel, the status below happened. I don't know what wrong with my step.
    Dev  Phase  Data                       Info           Time   Cmd.Phase.Ofs    
     15  CTL    80 06 03 00 - 00 00 04 00  GET DESCRIPTR  5.2sc        56.1.0       
     14  CTL    80 06 03 00 - 00 00 04 00  GET DESCRIPTR   11us        57.1.0       
     14  USTS   00 00 01 c0                canceled       2.0sc        57.2.0       
     15  USTS   00 00 01 c0                canceled         5us        56.2.0 
    PS: the software I use to capture the data is BUSHOUND
    1、Do I have to install the .sys driver file in VISA? How can I install the driver file without losing the device in MAX?
    2、Someone told me it must be done by calling .dll fies in LV, but I want to know if LV can program the function directly without calling .dll file?
    Thank for any reply~~!

    逍遥浪子 wrote:
    I have some question about USB communication: I want to make my VI communicate TI-DSP by USB, now, the driver of USB on DSP have done, and  there are a test program writen by VC and a driver fold(with a .inf and a .sys files), when I install the driver and run the test program, the driver program on DSP run regularly. And then I want to program a VI which have the same function as the test program, so I unload the driver on PC firstly, then install the DSP in NI_VISA according to "Using NI-VISA 3_0 to Control Your USB Device - Tutorial - Instrument
    Drivers". When I sent the standard control request using the VISA test
    panel, the status below happened. I don't know what wrong with my step. Dev 
    Phase 
    Data                      
    Info          
    Time   Cmd.Phase.Ofs     --- 
    -----  ------------------  15 
    CTL    80 06 03 00 - 00 00 04 00  GET
    DESCRIPTR  5.2sc       
    56.1.0         14 
    CTL    80 06 03 00 - 00 00 04 00  GET
    DESCRIPTR   11us       
    57.1.0         14 
    USTS   00 00 01
    c0               
    canceled      
    2.0sc       
    57.2.0         15 
    USTS   00 00 01
    c0               
    canceled        
    5us        56.2.0  PS: the
    software I use to capture the data is BUSHOUND 1、Do I have to install the .sys driver file in VISA? How can I install the driver file without losing the device in MAX? 2、
    Someone told me it must be done by calling .dll fies in LV, but I want
    to know if LV can program the function directly without calling .dll
    file?
    This thread
    contains already a related answer and explains what a sys driver is.
    While you could theoretically use the Call Library Node to call all the
    necessary Win32 API kernel functions to connect to a device driver,
    this would be very cumbersome and not doable without a real good
    understanding about C programming. Writing an interface DLL instead
    won't need more C programming knowledge at all but will give you a
    clean interface to that device driver which eventually could be used in
    other programming environments as well.
    Rolf Kalbermatter
    Rolf Kalbermatter
    CIT Engineering Netherlands
    a division of Test & Measurement Solutions

  • Several Questions about Aperture Problems

    Having used Aperture for some time, and being a Mac user since 1985, I have a list of questions about Aperture that I need help with.
    1. Periodically operating the sliders will make an image turn black. Sometimes this is early in a session, sometimes late. Various workarounds will bring the image back, but once this starts, quitting seems the only option. Can anyone help me with why this happens and how to stop it?
    2. About 20% of the RAW files from my supported camera display the Unsupported Image Format error screen. These files operate perfectly in the manufacturers software and in other image management software that does not use the OS RAW libraries. Can someone help me with the cause of this and the solution (not a "workaround" but a way to make it stop happening).
    3. ALL of my RAW files from my supported camera, when I try to lift metadata, return the error message that there is no metadata to lift. But in fact, the metadata inspector displays metadata. How can I stop this from happening and experience normal metadata lifting?
    4. When I use the DNG format from my supported camera, a great many EXIF fields do not display, such as lens data. Can someone help me with DNG files, since these never generate the UIF error screen (cf. #2 above) as the manufacturer's RAW files do. I'm forced to use DNGs to have all my shots, but the EXIF data is not fully displayed.
    5. Today I opened Aperture and no previews would display. Aperture froze while updating thumbnails. I'd not done any non-routine edits or imported any unusual files or formats. Aperture then would not quit. Is it safe to attempt to restart Aperture?
    6. At times Aperture slows to the point of not working at all. Long pauses simply in trying to enlarge the selection circles for redeye removal, for example. What would cause Aperture to slow down without warning at any point in the workflow? How can I experience a more consistent operating speed from Aperture.
    7. How do other image management programs like Lightroom compare on these points? Is Aperture typical or should I seek a change in my workflow, improvement in my hardware, or some adjustment in my installation?
    Info: MacBook Pro, 4 GB RAM (apple), 320 GB drive, 45 GB free on drive; library of 3800 images. Fewer than 12 projects.
    Thanks for your assistance.

    n #3. It looks like you're absolutely right on this. I went back and checked on photos I'd edited and there was the altered metadata. +Many thanks for dispelling that concern!+ I love being a happy camper. Check that one off the list!
    On 1, I've followed the black-screen issues and pretty much all we know is that a workaround exists--usually selecting the crop box restores the picture, but a lot of times it blacks out again. Having used Apple products over 25 years, all of which was in my adult professional life, I haven't seen Apple willing to just let users tolerate an irritating "workaround." I think this is something that needs fixing.
    On 6--I don't understand how the rotational speed would produce erratic performance issues. I can go a month of reasonable performance, and then suddenly things bog down. Also, if that is the reason, this really ought to be part of the System Requirements, or at least, a recommendation. Maybe it is already--I should check to be sure. I confess this is one aspect I had not thought about.
    Thanks so much for thinking about these. I love my Apple products and have owned almost every generation of Mac since the "Fat Mac" (512K RAM! 800Kb Floppies!) and hate to stare at the screen and think I've been given a truly poor product--not in my DNA--but these things break my heart.
    Message was edited by: LawsonStone
    Message was edited by: LawsonStone

  • Basic question about storage and safety in iMovie '11

    A very basic question about storage and safety:
    I want to keep a backup of my raw footage on my external hard drive prior to begin working on the movie in iMovie. I want to do this:
    1. Upload the digital files from my camcorder to my Desktop *(as opposed to iMovie)*
    2. Duplicate that footage/clips.
    3. Put the duplicate clips/footage into a folder labeled with the name of that footage (like "Fun At the Dentist" or "Jimmy Learns How to Yodel").
    4. Drag the folder with the footage/clips into my external hard drive into a pre-existing folder titled "Backups/duplicates of all of my raw footage/clips." This big granddaddy folder will house all of the child folders of different movies.
    5 Then, open up iMovie '11 and import the raw footage/clips from my Desktop rather than from my camcorder.
    6. Then I want to make a duplicate of my finished movie and put it in my external hard drive in a "Finished Movies" folder.
    I know that the original raw unedited footage will always be in iMovies '11 but I want the original to also exist immediately accessible in my external hard drive.
    QUESTION:
    Is this viable? Is it wise? (I know it goes an extra unnecessary step, but aside from that.)
    *Do you have any precautionary advice?* Should I do something in my iMovies '11 preferences? What?
    In earlier years with iMovie '04 or '06 (cannot recall) I made many novice errors and ended up losing audio to my finished movie. I also lost footage.
    This time around with iMovie '11 I don't to make such novice, ignorant errors.
    Thanks so much for any comments to this question.
    -L

    Yes I'm sure it will work great for you.
    The iFrame format is something Apple has come up with. The reason for its existence is unknown to me so I can only speculate. But it seems to me that Apple "invented" this format in order to have devices such as Ipod/Ipad/Iphone/Ixxx create clips that are editable on consumer hardware such as already mentioned devices but also standard Mac computers, without the need for format conversion.
    iMovie converts most input formats during import, which takes a lot of time, and this need for conversion often comes as a surprise to most people new to home video editing.
    iFrame has a resolution of 960x540 which is long way from the common standards of 1920x1080 and 1280x720. If your end target is YouTube however, this may not be too bad though. However if you intend to go with YouTube HD, you may find iFrame footage to look wrong since they are effectively upscaled to a higher resolution.
    Technically iFrame uses the H.264 algorithm, a smaller frame size (960x540) and a rather low compression scheme. This will result in large files, but the plus side is that the files are ready for editing without the need for any conversion and iMovie will natively edit the files.

  • Several questions about oracle ASM in 11gR2.

    Hi, all.
    The db is 11.2.0.3 on a linux machine.
    I have several questions about oracle ASM functionality.
    1. V$ASM_DISKGROUP.ALLOCATION_UNIT_SIZE is the stripe size in bytes??
    2. V$ASM_DISK.DISK_NUMBER is unique to a physical disk??
    3. if the second question is the case,
    disk_number=0 (a physical disk) has 14 partition on it.
    And each partition belongs to several diskgroups.
    Is ths right??
    with q1 as (
         select /*+ use_hash(b,a) */
              disk_number,b.group_number,b.name,a.path,sum(os_mb) tot_size ,count(*) cnt
         from v$asm_disk a, v$asm_diskgroup b
         where a.group_number=b.group_number
         group by disk_number,b.group_number,b.name,a.path
         order by disk_number,b.group_number,b.name
    select disk_number,group_number,name,path,tot_size,
           sum(tot_size) over (partition by disk_number) disk_size,
           sum(cnt) over (partition by disk_number) parition_cnt_per_disk
      from q1
      order by q1.disk_number,group_number
    DISK_NUMBER     GROUP_NUMBER     NAME     PATH     TOT_SIZE     DISK_SIZE     PARITION_CNT_PER_DISK
    0     1     ARCH     /dev/raw/raw100     53256     454460     14
    0     2     AAAREDO1     /dev/raw/raw111     10240     454460     14
    0     3     AAAREDO2     /dev/raw/raw113     10240     454460     14
    0     4     CRS     /dev/raw/raw83     3000     454460     14
    0     5     BBBDATA1     /dev/raw/raw10     50232     454460     14
    0     6     BBBDATA2     /dev/raw/raw41     50232     454460     14
    0     7     BBBREDO1     /dev/raw/raw1     10240     454460     14
    0     8     BBBREDO2     /dev/raw/raw3     10240     454460     14
    0     9     CCCDATA1     /dev/raw/raw75     76400     454460     14
    0     10     CCCDATA2     /dev/raw/raw165     51300     454460     14
    0     11     CCCREDO1     /dev/raw/raw118     10240     454460     14
    0     12     CCCREDO2     /dev/raw/raw120     10240     454460     14
    0     13     CCCDATA1     /dev/raw/raw125     51300     454460     14
    0     14     BBBDDATA     /dev/raw/raw71     57300     454460     14
    .Thanks in advance..
    Best Regards.
    Edited by: 869578 on 2012. 12. 23 오후 10:05

    1. No. The stripe size always equals 128 KB in any configuration.
    (http://docs.oracle.com/cd/E11882_01/server.112/e18951/asmcon.htm#BABCGDBF)That is not a true statement. Please read the document, the stripe size depends upon what method of striping we using (fine-grained or coarse-grained)
    --from the same oracle document:
    To stripe data, Oracle ASM separates files into stripes and spreads data evenly across all of the disks in a disk group. The fine-grained stripe size always equals 128 KB in any configuration; this provides lower I/O latency for small I/O operations. The coarse-grained stripe size is always equal to the AU size (not the data extent size).
    --are we using fine grained or coarse-grained ? and how to change the striping method (using TEMPLATES)
    http://docs.oracle.com/cd/E11882_01/server.112/e16102/asmfiles.htm#g2223792
    also see following:
    http://oracletechlovers.blogspot.com/2012/06/asm-differences-between-corse-and-fine.html

  • Questions about video studio

    Hi.  Not an Abobe question per se, but I'm going to be setting up a video studio / green screen room  and thought some Abode users might be able to point me to an appropriate place to ask some questions about how this should be built.  (Planning a 16' x 16', room, but could be up to 16' x 20' if necessary, standard 8' ceilings (no way around that).
    Would like to film a weekly show in the studio with anywhere from 1-3 people sitting at a greenscreen desk; would also use the room to record singing and piano.
    Will be processing with Adobe master Suite CS6 (and Sonar X2 for music in conjunction with Audition).
    I've done some greenscreen work with a consumer grade digital camcorder and hardboard painted green, Keying with After Effects and using Premiere as nonlinear editor.  But I'd like to set up something more professional now, while trying to keep the budget under control.  Perfectly fine with DIY softboxes and screens as long as they work well.
    Have questions about lighting, cameras, preferred room dimensions, and any othter factors I should consider when having this built (and needs to accomodate the recording of piano and vocals as well).
    Thanks for any suggestions.

    Thanks Steven.
    I've been worried about the 16' being a little too tight - so will go with the 20' (even bigger might be better, but that's the most I can really do).
    A few other questions:
    1) I thought I was going to be limited to 8' ceilings, but depending how things lay, it might not be a big deal to put in 9' ceilings.  Would that help significantly with the lighting or is it not a big deal.
    2) Should I have electrician install lighting on the ceiling to illuminate the greenscreen (back wall) from above or to shine down on the talent from above and behind for backlighting - or should I just do all the lighting with standing softbox lamps?
    3) I've read that sound in a rectangular studio can be a big problem.  One recommendation was to hang black curtains on tracks that could cover all areas not in the shot - this would reduce bouncing of light and spill over from greenscreen, while also minimizing standing waves / echo.  Any advice on this or other economical things to consider as room is being built? 
    4) I have a HV20 Canon consumer grade HDV camcorder - it has an HDMI port.  Anyone have experience with Blackmagic Intensity Pro - which should let you capture uncompressed raw video from the camera?
    5) Any one have advice on the Sony HVR-V1U MiniDV Camcorder  - can get used for under $1000 - would this be a giant step up and make green screening / keying much easier (using Adobe Premiere and After Effects CS6) - or not worth the money?
    6) Any advice on what to do for microphpones during a show where 2-3 people are seated at a rectangular table facing one camera and talking?  Will also record some electric piano and vocals.
    Thanks for any suggestions (including advice about any other forums where I should post my questions)

  • Questions about the load processing of OpenSparc T1 Dcache

    Hi,
    I have some questions about OpenSparc T1 Dcache load processing.
    During load processing, subsequent loads to the same address need to search the store buffer for a valid store to that address. If there is a CAM hit, data is sourced from the store buffer, not from the D-cache, and no load request will be sent to the L2.
    What if there is no CAM hit. Would the load request be sent to L2? Or would Dcache be checked for the requested data?
    If the load request would be sent to L2, what next? Would the Dcache be updated?
    Thanks

    Store buffer is checked for Read after Write (RAW) condition on loads. If there is full RAW - i.e. full data exists in the store buffer - then the data is bypassed and no D cache access happens.
    If RAW is partial (e.g. word store followed by a double word load) then load is treated as a miss. Store is allowed to complete in L2 cache and then load instruction is completed.
    For the miss in STB, D cache is accessed. If hit, data is fetched from D$. If miss, data is fetched from L2$ and allocated in D$.

Maybe you are looking for