ACR for TIFF & JPEG's

When I open a RAW file in Photoshop CS5, ACR automatically comes up. Can I "force" or get ACR once JPEG's and TIFF's, are open on the screen?

I had these settings selected already. I can get RAW, JPEG, and TIFF's to open up in CS5. My question centers around being able to use ACR for all file formats.
As mentioned, when I open a RAW file in CS5, the photo automatically comes up in ACR (that's good). When I open up a JPEG, it does open up, but not in ACR. I'd like to know how I (if that's possible) to open up the JPEG and TIFF's with ACR ?

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Just upgraded to Mavericks. Now I cannot access scans from my hp scanner. After it complete the scans and I try to save as tiff, jpeg or pdf I get a either a grey blur or a message that says cannot save because the file cannot be written to.

Just upgraded to Mavericks. Now I cannot access scans from my hp scanner. After it complete the scans and I try to save as tiff, jpeg or pdf I get a either a grey blur or a message that says cannot save because the file cannot be written to. I did not have any problems before the upgrade. I would greatly appreciate any light shed on this.

Go to the HP site and look for drivers for your scanner. It apparently needs an updated driver to work with Mavericks.

TIFF/JPEG storage format

Cheers,
Using TIFF/JPEG-12 (Photoshop CS3/CS4) for long term image storage format - are there any cons? Images will be in both RGB/CMYK/gray tagged/untagged and subsequently used in printed advertisements (layouted using InDesign) - high image fidelity is not the goal.
Thanks.
Best wishes,
Rasmus Olsen

Gentlemen, allow me to explain:
I have a partner with somewhat low bandwidth. This partner will receive images with layers/transparency and return images with layers/transparency. I started with lossless formats like PSD and TIFF/ZIP, but this takes way to long to upload/download. TIFF/JPEG seems to be the only feasible way to solve this. Besides, preliminary tests show no visible difference when comparing highres JPEG with PSD on printed paper.
When I wrote cons I wasn't thinking of image quality degradation (JPEG is a lossy format - I allready know that). Obviously TIFF/JPEG is supported by Adobe and InDesign, but are there be any compatability issues regarding for instance TIFF/JPEG-embedded ICC's? Any possible trouble with TIFF transparency? Etc?
BTW When working with advertisements you will inevitable receive untagged material. Later in the workflow these images will have a profile assigned.
Best wishes,
Rasmus Olsen

Blurry smart objects in Photoshop Save for Web jpegs

I create graphs, etc in Illustrator, place them as Smart Objects in a master Photoshop file before outputing Save for Web jpegs to use as PowerPoint slide backgrounds. Everything created in Illustrator or Photoshop through that process (Quality 80 or 100 with any of the SfW options on or off) Save for Webs are blurry when imported (at 100%) into PowerPoint. The only way I have been able to get anything crisp in PowerPoint was saving a Photoshop pdf. However, that was only the text created in Photoshop. The Illustrator Smart Object part was still blurry. Anyone have any idea on the best process to combine Photoshop and Illustrator files into one file for import into PowerPoint as a clean, crisp background? At this point I am open to all suggestions.

There are parts that are being added in Photoshop, hence going from Illustrator through Photoshop as a Smart Object and then onto PowerPoint. If I wasn't 5 months down the line and just nearing deadline, I would recreate everything in Illustrator. Assuming that I have to continue at this point down the Illustrator through Photoshop line of working, how do you designate pngs or jpegs to be 220ppi. Jpegs have a 1-12 quality (and 12 is still blurry).
Note regarding PowerPoint, I embed the full-page image into the background so others that are using this can't move (by accident or on purpose) the background.

Call method http_client- response- get_header_fields for PDF and for TIFF

Hi,
I am using a Function Module..
APAR_EBPP_GET_INVOICE_DETAIL to display the TIFF images on the Biller Direct side.
The above function module is used to retrieve the PDF documents from the document repository.
In Similar way I am trying to do the TIFF Images too.
But in this method
call method http_client->response->get_header_fields
    changing fields.
For PDF the table fields is as follows
            NAME                                       VALUE
    1     ~response_line----
|HTTP/1.1 200 (OK)                         |
    2     ~server_protocol----
|HTTP/1.1                                  |
    3     ~status_code----
|200                                       |
    4     ~status_reason----
|(OK)                                      |
    5     content-length----
|7136                                      |
    6     content-type----
|application/pdf                           |
    7     server                                |Microsoft-IIS/6.0                         |
    8     x-powered-by                    |ASP.NET                                   |
    9     date                                 |Tue, 24 Feb 2009 18:09:35 GMT             |
   10     connection                       |close                                     |
For TIFF the table fields are as follows:
    1     ~response_line----
               |HTTP/1.1 500 (internal server error)        |
    2     ~server_protocol----
             |HTTP/1.1                                    |
    3     ~status_code----
                 |500                                         |
    4     ~status_reason----
               |(internal server error)                     |
    5     content-length----
               |105                                         |
    6     content-type----
                 |text/plain                                  |
    7     server----
                          |Microsoft-IIS/6.0                           |
    8     x-powered-by                 |ASP.NET                                     |
    9     date                         |Tue, 24 Feb 2009 18:26:39 GMT               |
   10     connection                   |close                                       |
The error message is Internal Server error..
This is in HTTP2_Get Function Module.
What would be the reason for HTTP/1.1 500 Internal Server error.
Any suggestions are welcome..
Thanks,
Chaitanya

Hi Niranjan,
can you please check if you have imported the whole chain of certificates. Certificates usually diplayed in 3 levels in the Explorer. like
Verisign - L1
>>> Versign-- L2
>>>>>>>>>>>>XYZ.com -- L3
Extract all the 3 certificates and Put in Strust and do exit soft and hard in SMICM and restart the service.
Its better to create a RFC destination of Type H and Do the Connection test for HTTPS configuration. If the connection test comes OK then u can be sure of the configuration.

How do I find and download ACR for Elements 9

Having trouble finding and downloading ACR for Elements 9

ACR is only updated for a particular version of Elements until the new version of Elements comes out. A new version of Elements comes out in the Aug-Oct timeframe of each year. PSE 11 came out in the fall of 2012 so PSE 10 came out in the fall of 2011. Look for the last version of ACR that came out before PSE 10 came out. You can find the various versions of ACR for your computer’s OS by going to http://www.adobe.com/downloads/updates/ and choosing Camera Raw – your-computer-platorm at the top. On the camera-raw versions page that comes up click on the links for a late-summer/early-fall 2011 version of ACR. In my estimation this could be either 6.5 or 6.4 depending on whether PSE 9 was replaced by PSE 10 before or after 9/28/2011 when ACR 6.5 came out. The way to check is that once you’ve clicked over to the download page for a particular version of ACR, there are two more links on that page, one for PSE and one for PRE and click the PSE one to see what version of Elements that version of ACR is for. Check this until the version of PSE is higher than the one you have and then one back one version.

Is it possible to save metadata to both files in an imported pair? (Tiff & Jpeg).

I imported many files that were tiff & jpeg pairs (with the import preference box checked 'Do Not treat as seprate files when file names are the same') into LR3. Since then, i have been unable to write new metadata, such as captions, keywords, etc., to both the JPG and Tif files. LR3, and now also LR5 both only seem to want to write to the tiff files. How do i get the metadata easily saved onto the jeg files as well? (preferably without re-importing as separate files). Thank you.

To separate them:
0. Make sure the 'Treat JPEGs separately' box is ticked in Lr preferences, and
1.   Invoke the 'Separate Jpegs from Raws' feature of RawPlusJpeg, *iff* it recognizes your tiffs as raw, or
2.1   Rename the jpegs temporarily (to an invalid extension), then resync the folder(s) (that will force Lr to forget about the sidecars).
2.2   Rename the jpegs back, and resync again, reimporting the jpegs.
That way, you won't need to re-import your tiffs, thus losing photo standing (e.g. collections, publish services, ... ) and edit-history...
Rob

Interlacing for photo-jpeg movie

I originally posted this in the compressor forum. Forgive me for posting again here - I had no response at all on the compressor forum...
I'm encoding a DV movie into photo-jpeg. I chose this codec as I believe it provides more accurate frames, rather than the keyframe technology in stuff like h.264, or sorenson etc. I am writing music to picture and accurate sync is essential. (feel free to correct me if my format choice is wrong!). The movie needs to frame sync perfectly (if this is possible from a DV source?) with Logic Pro's timeline.
On export there is an option to "de-interlace source". As I'm viewing the footage on my computer monitor I checked this option in the belief a de-interlaced movie would produce better results. With the option checked the burned-in-timecode looks blurred. When paused the frame number looks like a combination of the current frame and the previous frame - so for eg if I pause the movie at the 18th frame the bitc display looks like a number 18 over the top of 17. Indeed the "weirdness" reminds me of the sort of effect one gets when viewing interlaced footage on a progressive scan screen.
If I render the movie ~without~ the option of "de-interlace source" checked, all looks sharp and as it should be.
I am currently encoding my movies without the option checked.
does anyone know what is going on here?
(I'm wondering if that option just needs to be checked when the source is already de-interlaced?)
TIA

Edit: Go ahead and read this, but it occurs to me that this is neither a Compressor nor an FCP question. This is what Logic people deal with every day. Ask on the Logic forum what works best for those purposes.
When I say DV I don't mean digital video. My video is
delivered on DV tapes from a TV production company.
(for some reason they wont provide any other format).
I use FCP to capture and then export the movie to use
in Logic to create sync music.
Are you only doing this to create a visual for music production? i.e. this video won't be used in the end product? If so it really doesn't matter what format you use, and it sounds as though there's no real place for FCP in this beyond capturing the video.
Are you sure DV is all keyframes?
I'm sure, and I'm pretty sure that Colin is sure.
What I do know is that DV is not the best of
formats where sound sync is absolutely crucial
DV has no inherent sync problems. There are sync problems that can some up with poor practices in capturing, but it DV is in sync when it starts out in FCP it will stay that way.
I'm working in PAL 25fps for the record - but of
course your info equally applies. In my case I
obviously can't stipulate the shooting formats used
(shot on digibeta for broadcast).
My main question though is just what does
"de-interlace source" check-option in the export pane
in QT for motion-jpeg codec mean? Do I check it when
my source footage is de-interlaced, or when I want to
produce a de-interlaced file?
You would use it to produce de-interlaced output, which is irrelevant in your situation and should be ignored. De-interlacing is only called for when moving to final distribution format, and when that format will only be seen on web or computer screens.
My problem is described in my original post regarding
the BITC frame numbers looking "doubled up". Its like
the previous frame gets superimposed on top of the
current one.
It's VITC - but DV doesn't use VITC.
In any case, it's relevant to know where your window burn came from. Is it burned into the tape you receive, or are you using TC Generator or Reader in FCP?
What it indicates is a time code offset by one field (half a frame). It may also indicate that there are fields which are not only in the wrong order but in the wrong frame. If your tape has hard cuts in it, park at one of those and see if you get half the lines of the outgoing shot and half of the incoming one. That would indicate such a problem.
Most likely it's just a problem with whatever device did the window burn. If it's a problem for your work, ask them to fix it.
If this is a reference tape, most likely there was an analog transfer from DBeta, with one or both of these issues introduced there.
Is there relevant DV timecode on the tape itself? If so you should probably use that and ignore the window burn.
I am wondering its a field order thing. There is a
de-interlace process going on and instead of
combining field 1 and field 2 of frame5 say, it
combines field 2 of frame 4 with field 1 of frame 5.
Another possibility is that there was a standards conversion in the chain, which would spread some source fields over two frames. Did the program originate in NTSC?
I can post examples of the issue if the problem needs
to be "seen". With "de-interlaced source" checked I
get a more blurred result with messed up BITC.
Don't do the deinterlacing, you'll confuse yourself more. At best you'll cover up a problem which may really be a problem. You don't need deinterlacing.
The Animation or None codec
create movie files that are too big and unwieldily.
This is why I've been using photo-jpeg. I'm not sure
how the Motion-jpeg A or B codecs you mention work -
any info would be useful.
You also likely have no use for any of these codecs. Most of them will actually degrade from DV somewhat. Don't fix what ain't broke. For your purposes DV is the native format you have to work with. Everything will work best if you keep it that way.
I need my movie to be as undemanding on CPU ~and~
disk as possible, while supplying true frames. Logic
needs every clock cycle and disk bandwidth it can
get! Picture quality is less important - I can always
look at the DV stuff if I need too.
Others with Logic experience will have other suggestions. If you need to see every field for timing you will need an interlaced signal and an interlaced display, which pretty much leaves you using standard PAL. Might as well be standard PAL DV. If the machine can't hack that there are other formats to consider including even MPEG-1 or -2.

Best Workflow for TIFF Sequences

Hi There,
I have my ideas but I would like if anyone had an advice to give when working with TIFF Sequences
1) Which Sequence Preset should I use, or better yet which custom settings should I go with when creating the sequence for TIFF use...
If anyone working with PPRO and TIFF sequences has any great advice like what to 'watch out for' or whatever, I would be highly appreciative !
PS - I tried searching the PPRO CS5 forum but no matter what I enter in the search field, it always renders "No Results Found"
This is happening across all adobe's forums - perhaps the search engine has a BUG ===
I am using Safari on Snow Leopard !

I knew about the trick of dragging the media to the seq icon to have premiere pro create the 'right' sequence.
Just thought there might be some better settings for using tiff sequences...
Thanks though..
Regarding batch import of tiff sequences.
For the world of me, I cannot figure out why drag n dropping an image sequence to PPRO would spark the app to import all the tiffs as individual files, instead of setting the "Image Sequence" bit... if the folder contains 1200 tiffs.
Definitely A LOT of improvement that can be done "Image-Sequence-Wise" in PPro - especially when considering the PRO-name in the application name.
Workflow for image sequences is very un-pro in PPRO :-))))
Anyway, I am an AVID Quickeys user and I have programmed a Quickey-Script that will batch import the 100 tiff sequences that I have residing in 100 folders. I click one shortkey and Quickeys iterates through the 100 folders and half an hour later as I came back to the Mac - they had all been imported.
That beats having to manually import 100 times. Imagine I had had 700 clips - ALL - Tiff or other Image Sequences...
Anyway, quickeys is a VERY useful tool for repetitive tasks and saves me HOURS literally every day....
It is made by startly and is worth EVRY penny ! Works with OS X and Windows

Extension for tiff files - tif vs tiff

I have encountered some (for me) confusing behavior. I have been working with both aperature and photoshop cs4. When I take a file from aperture to cs4, aperture creates a file with the extension.tiff. when I then save the file after working on it in photoshop it saves with the extension .tif. that is to say, Aperture uses 2 'f's and photoshop uses 1 'f' which results in two files. Is this related to option choice in the Tiff save panel or something anomalous with aperture.
Thanks for any suggestions.

I have played with this a little more and this is what I found. The file created by aperture has the tiff extension. If photoshop is set up to open all tiff files using camera raw, then when editing is complete and the file is saved it will be saved using the save as dialog even if save is selected, and the tiff file saves with a single f by default. The second f can be added in the save dialog box in which case it asks if you want to save the file that already exists. Save over the original tiff file and the edits will be visible in aperture.
On the other hand if camera raw only opens tiff files with adjustments, the the save command saves directly in which case the two f extension is maintained.
Apparently use of camera raw causes the save as dialog box to come up the first time the file is saved. Thus one can either add the second f in the dialog or forgo the use of camera raw for tiff files being brought in from aperture.

Camera Raw Preferences- Tiff / JPEG Handling -CS 3

In the Camera Raw Preferences > JPEG + Tiff Handling Section I have " Always open TIFF/JPEG Files with Settings Using Camera Raw" UNCHECKED. Yet, when I double-click on an image in Bridge to open it, it opens the Raw window. I want the image to open directly in Photoshop. What do I need to do?

There are other preferences to be UNchecked. Carefully examine Camera Raw prefs, Bridge prefs and Photoshop prefs.
Then relaunch Bridge and Photoshop.

Most recent ACR for Photoshop CS?

What is the most recent Adobe Camera Raw plug-in that is compatible with Photoshop CS?
My CS does not recognize CR2 files from a Rebel XT. My loaded version of ACR is 2.0. Is there a ACR update that is workable with CS? If so, where is it? I can't find it on the Adobe support site.
Thanks for any help!!
Richard

This is one reason I don't use ACR for RAW development. You're forced to upgrade Photoshop to keep up with ACR. Photoshop CS is still my favorite version in terms of its feature set, relatively small footprint, and integrated file browser (rather than the bloated Bridge). I've spent about $100 on plugins and actions that give me the features from CS2 and CS3 that I'm interested in, and about $130 on Bibble (and some Bibble plugins) for RAW development, so I'm several hundred dollars ahead of the game compared to 2 Photoshop upgrades, and I have a good workflow.
In fact, with Bibble and its plugins, I don't need to use Photoshop as often. Since I plan to migrate away from Windows and into Linux in the foreseeable future (I'm finding that PCLinuxOS is very transition-friendly), this is increasingly important.
It would be cool if Adobe made a "legacy" version of Photoshop (like CS, because of its full 16-bit capability) available for Linux, for a small fee. But I don't see it happening. On the Linux side of the world, Krita looks promising in the absence of Photoshop.

Getting JPEG Library Error for Corrupt JPEG Data using CS5

After recently upgrading to CS5 I am getting JPEG Library Errors for corrupt JPEG data. I have my old PC still in use that uses CS4 and does not generate these errors when accessing the same site. Could someone please assist me in how to get rid of these errors using CS5? I can't find help out there anywhere for this!
Thanks in advance!

You could use Photoshop's Image Processor to open all of your jpegs in a given folder, make a slight tweek and resave them in the hopes of cleaning out any errors that DW is hitting. It's worth a shot maybe.
1. In PS go to File > Scripts > Image Processor
2. For Step 1, browse to a folder in your site with jpeg issues
3. For Step 2, choose save in same location
4. For Step 3, choose Save as JPEG and check Convert File to sRGB
5. Click Run
This will create a sub folder called JPEG with the images resaved there. You can drag them into the parent folder to replace the originals.
If you haven't already, make sure to report the bug here: https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
At least the right people will be made aware of it then and if it's common enough to trip whatever quantity/user reports system they use, it would get included for repair.
I honestly don't think it's a "bug" per se, since the forum isn't absolutely flooded with the problem.

Which version of ACR for CS4 on Intel Mac, OSX 10.6.8?

Which version of ACR for CS4 on Intel Mac, OSX 10.6.8?

Moving this discussion to the Adobe Camera RAW forum. You may want to review the updates available at http://www.adobe.com/support/downloads/product.jsp?product=106&platform=Macintosh.

CS2 message: "Clipping Path Limited Reached for TIFF Preview"

I searched the forum and knowledge base and did not find answers than can help me with a message I received while saving my Illustrator CS2 .ai file to .eps file. The message said "Clipping Path Limited Reached For TIFF Preview". The file size is 500KB and is a chart of black and white symbols. The chart is 52 squares wide X 126 squares long, each square 1pt each.
I had split the chart into 2 separate files and the message appeared again before finishing the save to .eps format. I am running Wins XP and just recently upgraded to 2gig of memory.
Would anyone know what this message means? Any help is appreciated.
J.Chin "newbie"

I don't know exactly what that message means (or what one would have to do in Illustrator to get it to appear), but you might try saving without the TIFF preview. (Select "none" under the preview section when you are in the EPS options dialog box.)
A potential problem with that workaround (assuming it helps at all) is that some applications rely on the low-res TIFF preview for on-screen representation. EPS artwork with no preview, in such cases, will usually be represented by a nondescript placeholder box. Output to a PostScript device, however, will be unaffected.

ACR for TIFF & JPEG's

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