ACR conversion of CR2 to DNG = 14-bit Not 16-bit :Why?

If I open one of my Canon 5D Mark II CR2 raw files (several in different folders and taken at different times were tested) in ACR (7.2) and save it as a DNG file (with no ACR edits) Bridge shows the DNG as being a 14-bit file whereas if I save it as a PSD file it has a 16-bit depth. Exactly the same thing happens if I convert the CR2 file to DNG using the Adobe DNG Converter (7.2 version). You might answer that as a raw file, it does not yet have a bit depth because it has not been rendered, and the 14-bit description really has no meaning. But if that is the case then Bridge's reporting that all my original CR2 files are 16-bit is also meaningless.
Why is there a difference in the reported, and presumeably actual, bit depths?
Interestingly, if I then open the "Bridge reported"14-bit DNG file in Ps (CS6) and save it as a PSD, the new PSD is shown, presumeably correctly, as being 16-bit.
Please help a poor confused soul.

Andrew_Hart wrote:
But that can't be the whole story.
Well, as it relates to Bridge, is is...as Eric said, the bit depth reported to Bridge is non-standard unless the file has been processed as DNG.
Andrew_Hart wrote:
So if the DNG shows the correct bit depth stored in, as you say, "the standard TIFF header location", why can't the CR2, now rendered as a TIFF, do the same?
Because...Bridge isn't reporting the correct info (which I tried to explain and you seem to refuse to accept)...
Andrew_Hart wrote:
This logic seems to me to be strengthened further by the fact that, as we all know, there is no viewing of a raw file without rendering. So when viewing a preview/thumbnail of a DNG in Bridge, you aren't actually viewing the DNG at all, you are viewing a preview/thumbnail of something which has been demosaiced, had a tone curve applied to it, et cetera, namely, I presume, another TIFF. If that TIFF can report its correct bit depth to Bridge, then why not the TIFF rendered from the CR2 as well?
Because, well, the headers are not standard and Bridge kinda reads the wrong thing with many raw/rendered files (unless you convert to DNG).
Not sure why this is so hard to understand...Bridge is a browser app that tries (but often fails) to display the "right thing". But often can't due to the file's metadata.
This really is not a thing to dwell on...you may think there is a tempest is a teapot, but it means nothing. Again, these are not the droids you were looking for (do you even understand the reference-Google it).
This whole thing is a red herring...you may as well give it up. Seriously, you are not getting anywhere here...raw is raw and you should generally ignore Bridge for most reports...because, well, Bridge isn't accurate because the standards for reporting bit depth are not standard...that's what is causing the differences. [Edited to keep this thread a friendlier place.]
Message was edited by: TerriStoneCHL

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Batch conversion of CR2 to JPG

I am trying to automate a batch conversion of CR2 files to jpg files in Photoshop CS4. I have converted them to dng. When I open them in CS4, it opens the Canon photo editor, but will not record the actions. Is there another way to automate this? There are a lot of photos, I can't change all of them one by one. Thanks.

Have you tried using Bridge to raise Image Processor?

CR2 to DNG. Any loss of quality or funcionality?

Hi.
So, the same questions arise with me but I can't get a definitive answer...
1. Adobe Bridge CS3 (and I presume CS4 as well) will "Convert to DNG" upon importing from your card reader. It's a simple checkbox option. Will this function convert 5DMK2 CR2 files to DNG properly or do I need to use the standalone Adobe DNG Converter because only Bridge CS4 will do it right?
2. If I process a CR2 file in ACR and make adjustments, then convert the CR2 to DNG, what happens to my edits saved in the XMP sidecar? Does it come along for the ride or is the XMP file now ignored forever?
3. Are there any features/benefits/downfalls in converting to DNG first then processing it in ACR? Anything that a CR2 file offers that a DNG file does not? Is there an ACR function that is now grayed out or something?
4. Is the quality of a DNG identical to the CR2 file? Same file size too?
5. Will presets I've created in ACR to run against CR2 files also run against DNG files?
6. If I convert a CR2 file to DNG and open it in, say DPP, then make changes such as sharpening and noise reduction, then open that DNG in ACR, are those changes seen or ignored?
7. People have said "Convert to DNG. Who knows how long you will be able to read CR2 files." I'm not sure how this statement holds water -- the DNG format was only released in late 2004. It's not a long-standing standard. I could make the argument that both CR2 and DNG files have an equal chance of becoming obsolete or changing drastically. Thoughts about this?
I've worked with raw files and a 40D for a long time now and my workflow is great for me: Import into Bridge --> Edit in ACR. If I get the new 5DMK2 I would hate to lose this functionality and I'm willing to upgrade to CS4, but why bother if CS3 Bridge's "Convert to DNG" function will convert it upon import, or if the new DNG Converter will do a whole directory in a few minutes... but I need to be sure that I don't lose any quality or functionality by doing this... and, if I decide to convert a whole year's worth of CR2/XMP files to DNG for long-term compatibility reasons, I need to be sure that all my XMP edits come along for the ride. If not, that's hundreds of hours of work gone... I might as well export to hi-quality JPG.
Thanks,
-Dave

> It's a shame that an edited CR2 file contains the edit information embedded in the file instead of within an XMP DPP can store the adjustment in a parameter file, but other raw processors would not recognize that. > Many times I'd like to use, say, DPP to apply NR and Sharpening, but I'd like to use ACR for the rest You seriously misunderstand how this works. We are talking about i parameters for the raw processor. Here is a crop from the XMP parameters: <PRE> xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"> <crs:RawFileName>40D01784.CR2</crs:RawFileName> <crs:Version>4.5</crs:Version> <crs:WhiteBalance>Auto</crs:WhiteBalance> <crs:Temperature>2850</crs:Temperature> <crs:Tint>+21</crs:Tint> <crs:Exposure>-1.20</crs:Exposure> <crs:Shadows>1</crs:Shadows> <crs:Brightness>+10</crs:Brightness> <crs:Contrast>+50</crs:Contrast> <crs:Saturation>+15</crs:Saturation> <crs:Sharpness>50</crs:Sharpness> <crs:LuminanceSmoothing>0</crs:LuminanceSmoothing> <crs:ColorNoiseReduction>0</crs:ColorNoiseReduction> <crs:ChromaticAberrationR>0</crs:ChromaticAberrationR> <crs:ChromaticAberrationB>0</crs:ChromaticAberrationB> <crs:VignetteAmount>+20</crs:VignetteAmount> <crs:VignetteMidpoint>50</crs:VignetteMidpoint> <crs:ShadowTint>0</crs:ShadowTint> <crs:RedHue>0</crs:RedHue> <crs:RedSaturation>0</crs:RedSaturation> <crs:GreenHue>0</crs:GreenHue> <crs:GreenSaturation>0</crs:GreenSaturation> <crs:BlueHue>0</crs:BlueHue> <crs:BlueSaturation>0</crs:BlueSaturation> <crs:FillLight>0</crs:FillLight> <crs:Vibrance>+15</crs:Vibrance> <crs:HighlightRecovery>28</crs:HighlightRecovery> <crs:Clarity>0</crs:Clarity> <crs:Defringe>0</crs:Defringe> <crs:HueAdjustmentRed>0</crs:HueAdjustmentRed> </PRE> LuminanceSmoothing and ColorNoiseReduction are the parameters for noise reduction. If DPP would do the parameters in this or some other but metaformat, ACR or other raw processors could interpret the setting. However, the result would be ACR noise reduction. In order to get the DPP noise reduction result, you have to convert the raw file in TIFF or JPEG by DPP.

D3 NEF/ACR Conversion

I notice that there are now two ACR Profile options in the Camera Calibration panel for the Nikon D3. Namely 4.3 and 4.4; the latter apprearing to be the default. I have to say to my eye the conversions each make on a sample NEF file appear remarkably similar - although I have no doubt some who know better will tell me otherwise.
Notwithstanding that, I also notice from a thread in the LR Beta2 forum the hint from Eric Chan that moves are afoot to improve the ACR conversion performance nearer to that of Nikon, Canon etc. A hint supported by Thomas Knoll no less in the same thread. As my local farmers say, relative to rumours of the Beast of Exmoor: 'thar mut be summut init'.
Looking at the timeline of these postings and the release of ACR 4.4, my supposition is that such 'improvement' was not incorporated therein, and there is more on the way. Unless, of course, someone knows better.

There were some improvements made to all profiles in Camera Raw/DNG 4.4/Lightroom 1.4.
From the release notes:
Previous camera profiles identified in the Calibrate panel of the Develop module may have displayed poor results at extreme ends of the temperature and tint ranges. A new camera profile identified as Camera Raw 4.4 is now available and will be applied by default to all images without existing Camera Raw or Lightroom settings. The creation of new default profiles will also include the updated Camera Raw 4.4 profile.
So there might be a slight improvement for all your files in 4.4.1/1.4.1 (the current release). I created a preset to enable batch conversion, which is available on the site in the sig.
The 4.4 release isn't the same thing that Thomas and Eric are talking about.
Richard Earney
[commercial link deleted]

EXIF time altered on conversion from PEF to DNG

Converting Pentax PEF files from my *istDS to DNG using the Adobe DNG converter (4.1) results in the EXIF date/times all being shifted forward by six hours. I gather that the camera and the converter are miscommunicating regarding time zone. But the question is: short of running a batch operation to correct the times after the fact, what can be done about this to prevent this from happening in the future? I've also asked in the Pentax forums, in case someone there knows about any answers from the camera side of the equation.
One workaround I've found is to generate XMP files for my images before running the converter. I have discovered that if the EXIF info is present in the XMP file - and ACDSee Pro 2 will do this for me by default as soon as I try to write copyright info or anything else to my PEF - then DNG will use that instead of the "real" EXIF info to populate the EXIF fields of the resulting DNG file. Actually, I'm kind of guessing it is still messing up the "real" EXIF version of the info in the DNG, but it is also reproducing the XMP version info, and ACDSee is using the latter, and that's probably good enough for now. Still, I'd prefer other alternatives.

I still don't understand the issue *fully*. But examining my files with ExifTool, I see that the DNG converter is *not* in fact altering the EXIF info per se at all. What it is doing is adding an XMP block to the DNG file that contains a modified version of the DateTimeDigitized field. This modified version actually contains the time as shot, but it has the current time zone offset appended to it. That is, if the original EXIF dates read 09:00, and I am located in a time zone 6 hours behind GMT, the new DateTimeDigitized field created by the DNG Converter reads 09:00-06:00. Some applications will still display this as 9:00 AM, but others will display it as 3:00 PM - the GMT equivalent of 9:00 AM for folks in this time zone. In the case of the application I have been using (ACDSee Pro 2), if it sees time zone info on this field, it goes ahead and displays *all* times for the file in GMT, making it looks like the converter has modified more than it has.
I don't know if the converter is wrong to append the current time zone offset, or if ACDSee (and, apparently, some other applications) are wrong to display the time in GMT. The folks are ACDSee are looking into whether and how they should change the behavior of their application. I would also suggest Adobe consider whether appending the time zone info from the computer on which the conversion is being run really makes sense (perhaps it could be made an optional behavior). But I am inclined to suspect the real problem is an overly-vague specification - there may be no definitively correct behavior here.
So for me, this is enough understanding to feel like my workround is the way to go for me here. It actually suits my workflow better to generate XMP files before running the converter - it's the most convenient time for me to enter location information. Another workround would presumably be to run ExifTool to delete the XMP:DateTimeDigitized field immediately after running the converter.

Intermittent "Unsupported image format" message with either CR2 or DNG

I am seeing "Unsupported image format" messages once files created by a Canon EOS 1Ds Mark iii (+stored in Canon's CR2 file format or when the same file is converted to Adobe's DNG file format+) have been imported into Aperture.
Some files will import and be viewable. However, most of the time the files are not viewable. This occurs even after updating Aperture to 1.5.6.
Is anyone else seeing problems with CR2 or DNG files created by Canon EOS 1Ds Mark iii?
Has anyone see a solution?

I think Support is confused with the Canon camera models.
10.5.1 supports 1D Mk III, but only 1Ds Mk II.
(http://docs.info.apple.com/article.html?artnum=306835
http://www.apple.com/aperture/raw/cameras.html)
I don't believe that 10.4.11 supports anything that 10.5.1 doesn't support. In fact, the docs at http://docs.info.apple.com/article.html?artnum=306297 say "Adds RAW image decoding support for the following cameras: Panasonic Lumix DMC-FZ50, Leica V-Lux 1, Olympus E-400, Olympus EVOLT E410, Olympus EVOLT E510, Canon EOS 40D" (the 1D Mk III came in the 10.4.10 update.)

Color change in RAW file from CR2 to DNG

I recently got a new Canon camera, the 60D and when converting from the CR2 file format to the DNG format using the latest 7.2 version of DNG Converter I notice a color change between the original image (CR2 file) to the new DNG file. Once I open it into Camera RAW (version 4.6 with CS3) the color issues go away and if I save it as a JPEG the color issue is no longer a problem but if I were to resave the DNG file to another DNG file it reverts back to the color changed view in MacOS. Is this something that I need to be concerned with for future use of the RAW files or is it a display issue in MacOS and iPhoto. The DNG file also shows the color change in iPhoto. Below are the two screen caps.
RAW CR2 file straight from the camera
Converted RAW CR2 to DNG using DNG converter
This issue only appears to occur in preview mode or in iPhoto.
Thanks,
Nathan

Try changing the CAMERA’S color-profile settings from sRGB to Adobe RGB or from Adobe RGB to sRGB, switch to the opposite one, and see if the previews are any closer for new CR2 you convert to DNGs. The theory is that the preview is in terms of the camera Color Profile setting (sRGB vs Adobe RGB) and when the image is converted to DNG that profile is lost for iOS to see, and it is defaulting to the wrong profile.
In the end , what matters is how Camera Raw converts the file.
Also DNGC 7.3 is the latest version: http://www.adobe.com/downloads/updates/

Camera Raw 5.2 and DNG Converter Available - Note from Adobe

Camera Raw 5.2 and the DNG Converter is now available:
http://blogs.adobe.com/lightroomjournal/2008/11/camera_raw_52_and_dng_converte.html
Lightroom will be updated to version 2.2 with equivalent camera support in December.
Regards,
Tom Hogarty
Lightroom, Camera Raw and DNG Product Manager

Well, I managed to locate and download both the ACR 5.2 and the DNG 5.2, but it was a bit of a challenge. I have a couple of comments regarding the DNG installation.
As a sometime OS beta tester, I have developed a habit of keeping C:\ for the operating system only. When a new OS or beta is issued, I just format C: and install the new OS. I try to keep applications off C:. It is hard, though, with all the default installations. It would be nice to have the option to install DNG.exe in my applications partition.
My workflow involves importing NEF's from the memory card to a folder, and at the same time converting those NEF's to DNG's and putting them in a different folder in a different partition. Both these NEF's and DNG's are archived. A copy of the DNG's are used as working images. The virtue of DNG's is that there are no sidecar files to keep track of when exporting images. Unless I really mess up, I never go back to the NEF's again. I guess that I am an "outlier" too. I guess that this is essentially the 5 - A "double DNG-only" workflow, using type 2, the native-DNG-DNG system. This is discussed in detail by Barry Pearson at http://www.barrypearson.co.uk/articles/dng/safety.htm#personal
I do like the camera profiles. I previously have used the Fors script. My Nikon D200 lacked red and the Fors script fixed that. Not surprisingly, different profiles are appropriate for different image types. Is there any way of determining the methodology and reasoning between the different profiles, and what specific problems each one is designed to correct. This might permit better matching profiles to image types, with less trial and error.

ACR 3.7 works better than 4.2 with RAW NEF - Why?

I've got CS3 with ACR 4.2 on my Mac. When I open RAW camera files in ACR 4.2 they end up desaturated. The reds in particular have mostly disappeared, but all the colors are annoyingly pale and wan. I then have to punch up the saturation, and often go into Camera Calibration to reinstate colors that have gone.
If I take the same images to my PC and open in CS2 via ACR3.7, the images have proper color saturation. I've checked the preference settings and they don't seem to be any different. And no, I'm not using the NEF plug-in on CS2 (which isn't available for CS3).
So why do my images end up so much better via 3.7 than via 4.2? Anyone got a theory? Is it because the default camera calibration in 4.2 is narrower than 3.7? I'm shooting with a Nikon D80 and a D200.

Tony, Tony, Tony
 
 Got your four images.
 
 First, there's the issue of the one you
erroneously claim to have converted in ACR 3.7 on your PC, especially since the metadata reveals it to be a NIKON SOFTWARE conversion and it has a NIKON profile embedded (Nikon sRGB 4.0.0.3001) as does the one specifically named Nikon View NX.JPG, yet the ones converted in ACR have sRGB IEC61966-2.1. embedded.
 
 The truth is that that image was NOT converted in ACR 3.7 at all.
 
 There can only be two reasons for that egregious error:
 
 1. you are being disingenuous, which I do not want to believe; or
 
 
2. you had the Nikon plug-in installed on your PC, which overrides ACR, and you were using the Nikon plug-in all the time without realizing it. Even though you thought you were using ACR, you were using the Nikon software all the time in Photoshop CS2.
 
 That has happened to many, many Nikon users. The Nikon plug-in sort of looks like ACR with a "simplified" interface, as users have described it. Nikon software installs that plug-in behind your back.
 
 In any event, without the RAW image as I've been suggesting from the beginning, all I can tell you is that your images look a lot more natural to me in the ACR conversion, and the oversaturated two developed in Nikon View NX (again no Raw Converter metadata) are within the parameters I would expect.
 
 c
<a href="http://www.pixentral.com/show.php?picture=1JtzFpfaH0PbDPPUd3skXfpZuxP2Rg1" /></a>
<img alt="Picture hosted by Pixentral" src="http://www.pixentral.com/hosted/1JtzFpfaH0PbDPPUd3skXfpZuxP2Rg1_thumb.jpg" border="0" />
 
 
 c
<a href="http://www.pixentral.com/show.php?picture=1WIr6Milnyj71JfyFEz2SB3ilq072" /></a>
<img alt="Picture hosted by Pixentral" src="http://www.pixentral.com/hosted/1WIr6Milnyj71JfyFEz2SB3ilq072_thumb.jpg" border="0" />
 
 
 In short, Tony, you are NOT seeing a difference between two different versions of ACR (as the title of this thread suggests) but ONLY between "the over-saturated, over-contrasty and over-sharpened images that appeal to most amateurs generated by the camera manufacturer's software", as I've been saying all along, and ACR's more natural rendition. Noise is also hidden by compressing the shadows so you don't see much of the noise inherent in the image.
 
 Adobe Camera Raw, ACR, on the other hand, comes with default settings designed to give you the most detail possible (even if this sometimes means revealing some of the noise hidden by the camera manufacturers in their RAW conversion software), as well as the most natural images.
 
 That being said, you can calibrate your camera to ACR and come up with your own settings to produce exactly what you want, including the JPEG-look of the camera manufacturer, and save that as your profile.
 
 The key is to learn how to use ACR properly and to calibrate your camera to ACR.
 
 
<a href="http://www.amazon.com/Real-World-Camera-Raw-/dp/0321334094/sr=8-1/qid=1156891468/re f=pd_bbs_1/104-7285664-9941543?ie=UTF8" style="padding: 4px; background-color: #00caff; color: #eeeeee; font: bold 10px Verdana, san serif;" target="_blank">CLICK HERE</a> for some essential reading. [Get the rervised version for CS3 by Jeff Schewe coming out soon.]
 
 The ACR defaults are nothing more than a suggested starting point.
 
 The color temperature won't necessarily match either.

ACR 4 installed in three places but does not show in "About Plug-ins"

1st gen MacBookPro / OSX 10.4.10 / 2 gigs of mem / 20+ gigs free disk
Installed the plugin in ... CS/File formats/ , the PE 4.0 plugin folder and the Bridge plugin folder.
But nothing works. The DNG converter works just fine. But DNG files are not read either.
I still have PE 3.0 installed. No RAW plugin installed there.
What needs to be changed to make the ACR 4.02 plugin work with my brand new, arrived today, Photoshop Elements 4?
Thanks,
Jock

Jim,
Adobe has several different instructions online! Very confusing. A key point is that you MUST have upgraded to Elements 4.01. This should be made much more explicit. If this is not done, it makes no difference how or where you install the plugin.
Once the upgrade is installed, placing the plugin in ONLY the CS folder in the root directory, not the user's directory, works exactly as one of the Adobe instructions reports.
I have now removed the plugin in from both Elements 4.01 and Bridge and have ONLY one copy in the CS folder. This works great.
Now if only digital cameras had better dynamic range -- esp. my old Oly E20.
Thanks,
Jock

I want to edit my raw images on cs5 photoshop. But when I go to open the .CR2 file it says '' Could not complete your request because the file appears to be from a camera model which is not supported by the installed version of Camera Raw. Please visit

I want to edit my raw images on cs5 photoshop. But when I go to open the .CR2 file it says
'' Could not complete your request because the file appears to be from a camera model which is not supported by the installed version of Camera Raw. Please visit the Camera Raw help documentation for additional information. ''
When I go to updates in photoshop help i try to update photoshop and photoshop camera raw but it then says
'' Updates could not be applied the error log file may help you in identifying the problem. Then, try updating again. If the problems persist, contact customer support for further assistance.
Photoshop Camera Raw 8.7.1(CS6) There was an error installing this update. Please quit and try again later. Error Code: U44M1I216 ''
I dont know how to get around this please help

CR2 files from which Canon camera?
Supported cameras are listed here
Camera Raw plug-in | Supported cameras

Conversion of type "u" to type "v" not supported (cl_abap_tabledescr)

Help! I am struggling with implementing a solution using cl_abap_tabledescr.
At below statement :
<f_interim_data> = <f_ref_data>.
I get the error:
Conversion of type "u" to type "v" not supported.
Coding:
DATA:
 l_r_tabledescr TYPE REF TO cl_abap_tabledescr,
 l_r_itab type ref to data,
 l_r_data_ref type ref to data,
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field-symbols:
 <gt_itab> TYPE ANY TABLE,
 <gt_itab_BCCMP07> TYPE STANDARD TABLE.
field-symbols:
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 <f_new_data> type any,
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gd_tabnam = 'I_TH_REF_DATA'.
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 " Build fieldname
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"Generate ref record
create data l_r_data_ref like line of <gt_itab_BCCMP07>.
assign l_r_data_ref->* to <f_interim_data>.
loop at i_th_ref_data assigning <f_ref_data>.
 <f_interim_data> = <f_ref_data>.
 append <f_interim_data> to <gt_itab_BCCMP07>.

Hi ,
Check the code below which is similar to waht you are doing. It gets the existing fields from a structure and then adds some extra fields to it ( decimals 3 )and creates a dyn table. If you need it with decimals 2 then use WTGXXX data element
DATA:lf_startdate TYPE sy-datum,
 li_index(2) TYPE n,
 la_datum TYPE type_date.
DATA:i_comp TYPE cl_abap_structdescr=>component_table,
 i_tot_comp TYPE cl_abap_structdescr=>component_table,
 lf_struct TYPE REF TO cl_abap_structdescr,
 lf_element TYPE REF TO cl_abap_elemdescr,
 la_comp LIKE LINE OF i_comp,
 lf_new_type TYPE REF TO cl_abap_structdescr,
 lf_new_tab TYPE REF TO cl_abap_tabledescr.
CLEAR: lf_startdate,li_index,la_datum,i_comp[],i_tot_comp[].
*--Getting Compoents from existing type
lf_struct ?= cl_abap_typedescr=>describe_by_name( 'TYPE_PUT' ).
i_comp = lf_struct->get_components( ).
APPEND LINES OF i_comp TO i_tot_comp.
*--Adding weekly bukets fields based on date in selection screen
DO.
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 EXIT.
 ENDIF.
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 PERFORM get_first_day_of_week USING s_lfdat-low
 CHANGING lf_startdate.
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 lf_element ?= cl_abap_elemdescr=>describe_by_name( 'MESXXX' ).
 CONCATENATE 'MES0' li_index INTO la_comp-name.
 la_datum-field = la_comp-name.
*--Field Type
 la_comp-type =
 cl_abap_elemdescr=>get_p( p_length = lf_element->length
 p_decimals = lf_element->decimals ).
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 CLEAR: la_comp.
 APPEND la_datum TO i_datum.
 CLEAR: la_datum.
 CONTINUE.
 ENDIF.
 lf_startdate = lf_startdate + 6.
 la_datum-dat = lf_startdate .
 lf_element ?= cl_abap_elemdescr=>describe_by_name( 'MESXXX' ).
 CONCATENATE 'MES0' li_index INTO la_comp-name.
 la_datum-field = la_comp-name.
 la_comp-type =
 cl_abap_elemdescr=>get_p( p_length = lf_element->length
 p_decimals = lf_element->decimals ).
*--Fill the component table
 APPEND la_comp TO i_tot_comp.
 CLEAR: la_comp.
 APPEND la_datum TO i_datum.
 CLEAR: la_datum.
ENDDO.
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TRY.
 lf_new_type = cl_abap_structdescr=>create( i_tot_comp ).
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ENDTRY.
*--Create Table type
TRY.
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 p_table_kind = cl_abap_tabledescr=>tablekind_std p_unique = ' ' ).
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CREATE DATA wf_data TYPE HANDLE lf_new_tab.
*--data to handle the work area
CREATE DATA wf_str TYPE HANDLE lf_new_type.
*--Assign to fs
ASSIGN wf_data->* TO <fs_tab>.
ASSIGN wf_str->* TO <fs_line>.

Canon file RAW CR2 and mac book pro not working ...?

Canon file RAW CR2 and mac book pro not working ...?
I'm using Digital photo professional software
and i'm using canon camer 5D mark2 and mac book pro 13inch last version
i'm trying to shooting directly by Digital photo professional, Remote shooting but the RAW file con't open by the software or mac preview but with photoshop Cs5 can open
is any one have the same issu ? and how fix it please
What i did :
- update camera RAW
- Update Mac software
- update Digital photo professional
Regards,,
Bandar

Dear all
is there any solution for that ?

In IOS7; I am trying to delete a picture from an old text message conversation, and it keeps coming back in a second. Why?

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Lightroom 5.7 will not convert .nef to dng from my Nikon d750. Stand alone dng converter will not recognize or convert the files.

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