Dynamic range of exposure for t3i/600d
can someone help me by providing the dynamic range of exposure for t3i. (dynami range - Lowest and highest exposure range in terms of f-stops for a given scene)
Solved!
Go to Solution.
See: http://www.dpreview.com/reviews/canoneos600d/12
Their testing seems to indicate that it's about 5 stops below and 3&1/3rd stops to 4&1/3rd stops above (depending on if highlight tone priority was swtiched on.)
I think those were JPEG tests (I didn't see any indication of RAW and they usually go out of their way to let you know when they're doing RAW.) There is substantially more bit depth in RAW so it's likely to do a bit better if you shoot RAW.
If you're shooitng anything where you are worried about dynamic range then you should probably be shooting RAW anyway.
Tim Campbell
5D II, 5D III, 60Da
Similar Messages
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Hi,
This is slightly off topic, but I'm hoping someone might be able to shed some light on issues that I'm experiencing with noise and and posterisation in the shadow areas of shots taken in dimly lit situations. The effect is most noticeable on indoor portait shots - and is common despite correct exposure information in my Canon 5D. I understand the need to bias exposures towards the right of the historgram to ensure maximum dynamic range, but I'm finding this quite challenging to accomplish in practice, without blowing out the highlights.
I'm using fast and expensive glass (e.g. EF24-70 F/2.8 L), and am lead to belive that the 5D has one of the best low light sensors around.
No amount of tweaking in Aperture seems to help (e.g. Chroma Blur) - so I'm running out of ideas (I've tried a variety of ISO settings etc. on the camera). Is this a case of camera technique ? Should I surrender to the flash - or is there anything else I can try.
Thoughts appreciated.
PaulHi Paul
Do you have an sample image uploaded some ware that I could have a look at.
I am making the assumption that you are shooting RAW. I am not studio based but have shot a lot of low light images with the 1D/1D MKII/s and I tested a 5D that I had on loan from Canon, the 5D is probably the best low light camera I have used so far.
One trick you may wish to try is running your image trough Noise Ninja!! This seems to pull detail out of the shadows as well as cleaning the noise.
Powerbook 1.5, PowerMac Quad, MacBook Pro Mac OS X (10.4.8) -
Is there a update for Photoshop Elements 8 that will support raw files from a Canon T3i 600d?
Is there a update for Photoshop Elements 8 that will support raw files from a Canon T3i 600d?
You have two alternatives:
(1) Upgrade to PSE 9,10 or 11. (2) Download and install the free Adobe DNG converter to convert your raw files to the Adobe universal Raw format and the files will open in all versions of PSE (keep your originals as backups and for use in the camera manufactures software)
Windows download click here DNG Converter 7.3
Mac download click here DNG Converter 7.3
You can convert a whole folder of raw images in one click. See this quick video tutorial:
You Tube click here for DNG Converter tutorial -
Dynamic Range Compression for Gam
Hi, all, thanks in advance for any help with this.
I've recently acquired an Audigy2 Value card, and the specifications on the website stated that the card could perform Dynamic Range Compression. However, now having it home and looking over the software, it seems that that is only true as long as you're watching a movie. Since my PC game-playing room is loud, I have to keep the volume really high. And since I play first person shooter multiplayer games online with my friends, I have to put up with deafening gunshot sounds in order to have it loud enough to hear my sneaky friends' footstep sounds as they sneak up on me in the games.
The ideal solution would be range compression to either lower the loud noises, or increase the volume of the quieter ones, so I could keep the total volume level more under control.
Does anyone know of a way to do this, either with the help of the Creative Labs software or some third-party software?
Thanks!
e-cheddarI don't know if this is possible with your card, but the x-fi has an option called Smart Volume Management, which does what you want.Message Edited by the_One on 0-2-2006 08:6 AM
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Best iso for a7s mechanical shutter? what about the dynamic range in stills from s-log2 video?
for s-log2 video the best iso apparently is 3200.(or higher)
if i shoot stills using the mechanical shutter, what iso gives the best dynamic range?
how about if i use s-log 2 silent shutter while exposing still photos,
or if i use s-log2 video, capture a frame, and output using an LUT,
how does the dynamic range in those scenarios compare to that of a still photo?
how can i get a sony supply an LUT for s-log2 video?
thanks,
chrisNote that AutoCad is not an avanced software, it only uses one cpu thread (so if you have a fast solo processor that's all AutoCad makes use of) but the cpus mentioned above are the fastest cpus per single core. I don't know about the Premiere Pro i.e. what this program does in the regard of utilizing all cores and threads, but AutoCad for sure does not. So an AutoCad machine only needs a fast CPU, good memory and a graphics card that AutoCad knows how to make use of in 3D (if you are using AutoCad for 3D) but AutoCad is definitely not the program to consider for use in 3D modeling. AutoCad is still vector based program (and probably will continue to be in future, since there will always be some need for vector based design software) but Autodesk does have software that is not vector based like Inventor.
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How does "High Dynamic Range" Photos work?
I see that I'm getting two photos from each shot. I suppose that's because I tabbed "on" the selection to keep the regular photo.
What's going on with "High Dynamic Range" photos and how can I tell which photo is the regular photo and which is the HDR Photo?
Also, is that something new with iOS 8?You're welcome. Here's the HDR from the IOS 7 User Guide.
“HDR
HDR (high dynamic range) helps you get great shots, even in high-contrast situations. The best parts of three quick shots, taken at different exposures (long, normal, and short), are blended together into a single photo.
Use HDR. (iSight camera on iPad 3rd generation or later) Tap HDR. For best results, keep both iPad and the subject still.
Keep the normal photo in addition to the HDR version. Go to Settings > Photos and Camera.
HDR versions of photos in your Camera Roll are marked with “HDR” in the corner.”
Excerpt From: Apple Inc. “iPad User Guide For iOS 7.” Apple Inc., 2014. iBooks.
This material may be protected by copyright.
Check out this book on the iBooks Store: https://itun.es/us/fJctQ.l -
How to create high dynamic range image in Photoshop Elements 2.0?
I wonder if it is possible to Photoshop Elements 2.0. Any advice would be greatly appreciated.
If you are talking about the idea of merging exposures IN ELEMENTS 2 and you are shooting RAW, you can do what Barbara suggests: Open the file once with favorable settings for the bright parts of the image and a second time for the shadows and merge. In Elements 2, the images will not open in 16-bit, and will be converted immediately to 8-bit. You will find that registration is right on, but there will be issues with the process if you want to retain higher bit counts (which to me is really the only way to have higher dynamic range in reality). I don't know where these started to be called 'high-dynamic range', and I think it is really a bit of a misnomer--especially in 8-bit. Even Elements 5 will not support 16-bit images with layers, so the opportunity to get true accentuation of dynamic range is...limited.
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First, a disclaimer. After 23 years of PC use, I converted to Mac only two months ago (why didn't I do this years ago???). I am a photojournalist and am now heavily into using Aperture, which I L-O-V-E. What I'm trying to say here is that I'm a newbie!
Question: Is there a way to combine 3 bracketed images to create one High Dynamic Range (HDR) photo within Aperture? If not, is there a software add-on or plug-in that I can buy for Aperture to accomplish this? I also use Photoshop Elements 4.0 for Mac as my External Editor, so do I need to use something for PSE to accomplsih this?
Any help would be greatly appreciated.I didn't think it was too hard, but I don't know how others would find it. I think you can download it and use it unregistered with a watermark to test it.
Basically, you export your 3 (or more) images from Aperture using 16 bit tiff. Then drag them into Photomatix. You can then have about 5 different ways to convert an image, but there is only one that I really bother with most of the time. I have it generate an HDR file from the 3 tiffs, and then use "details enhancer" under "tone mapping". You'll have a few sliders to play with to get it how you want.
Here is my favorite I've made, I used 5 exposures (-2,-1,0,1,2)
http://homepage.mac.com/cookiemonster/fallconference2006/large-11.html -
I have been looking at dynamic range tests on dpreview.com for different cameras. I'm particularly intrigued by the "RAW headroom" graphs. They have things like "ACR Best: Exp. -0.85 EV, Shadows 0, Bright. 70, Contrast -25, Curve Linear" (Pentax K10D), "ACR Best: Exp. -1.3 EV, Shadows 0, Bright. 70, Contrast -50, Curve Linear" (Canon 30D) "ACR Best: Exp. -1.0 EV, Shadows 0, Bright. 70, Contrast -50, Curve Linear" (Canon 400D). The "RAW ACR Best" curves for all these cameras are very different, and I don't think I understand their real meaning, so here are a few questions:
- What is a "linear curve" in ACR? Does it mean no curve at all is applied to the RAW data, and so what we see is the actual sensor response? Or, does ACR apply a standard curve to RAW data from all cameras, even when a "linear curve" is selected? Or even yet, are there different default curves (even with "linear curve" selected) for different cameras in ACR, and what implications would this have when comparing graphs from different cameras?
- Since these cameras have most likely been processed with different versions of ACR (since they were released at different times), could ACR's algorithms and defaults have been changed in any way that might prevent these tests from being readily comparable? For example, the noise reduction and highlight recovery algorithms might have been improved in the latest versions of ACR.
Thanks,
Marcos>- What is a "linear curve" in ACR? Does it mean no curve at all is applied to the RAW data, and so what we see is the actual sensor response? Or, does ACR apply a standard curve to RAW data from all cameras, even when a "linear curve" is selected? Or even yet, are there different default curves (even with "linear curve" selected) for different cameras in ACR, and what implications would this have when comparing graphs from different cameras?
ACR will not give you the actual sensor response with no white balance or gamma encoding; for this purpose you need a specialized program such as DCRaw. If you convert into sRGB or aRGB, the image is encoded with a gamma of 2.2, whereas a gamma of 1.8 is used for ProPhotoRGB.
If you want to linearize the tonal response in ACR you can set the sliders on the basic tab to zero (Exposure, Brightness, Contrast to and Shadows). Curves was added in ACR ver 3.X and you should also set the curve to linear. The Medium and Strong Contrast in the curves tab adds to the Contrast slider in the basic tab, and I think that the two were not merged for reasons of backward compatibility. In all cases, the resulting image is gamma encoded. To learn more about these controls, I would recommend Bruce Fraser's Real World Camera Raw for PSCS2 book. The Exposure and Black sliders set the black and white endpoints respectively. The contrast control applies an S curve around the midpoint, which is set by the Brightness control (see p 81). Jeff Schewe is revising the book for PSCS3 due out shortly.
Dynamic range is limited by the noise floor and improvements in noise reduction in the current version of ACR could affect the results. Phil's dynamic range measurement uses highlight recovery with the Exposure slider (negative values). ACR 4.1 also has the Recovery slider, but he apparently does not use this control. -
ACR Defaults and Dynamic Range
The tone curve in ACR has a profound effect on the dynamic range of the rendered image, and often this is not appreciated by users. To demonstrate the effects of the tone curve on DR, I photographed a Stouffer step wedge with the Nikon D3 and rendered the image into a TIFF with various tone curves and determined the resulting dynamic range with Imatest.
Here is the target rendered with the ACR defaults for this camera, which include a black point of 5 (downsampled and shown as a JPEG):
http://bjanes.smugmug.com/photos/422699368_FRdKT-O.jpg
Shown below is the resulting characteristic curve as determined by Imatest along with the DR and other data. The total dynamic range is only 7.64 stops. This low DR results from the default black point of 5, which rolls off the darker tones as shown on the graph.
http://bjanes.smugmug.com/photos/422697342_tnUFo-O.png
By setting the black to 0, the total DR is increased to 12.3 stops and the useful photographic DR according to various quality levels is shown.
http://bjanes.smugmug.com/photos/422697338_5e8pv-O.png
One can also use a linear tone curve by setting all the basic settings to 0 and the point curve to linear.
http://bjanes.smugmug.com/photos/422697332_u59B5-O.png
For convenience, the tone curves are shown together here.
http://bjanes.smugmug.com/photos/422697328_26BFV-O.gif
One might wonder why Adobe chose a default black value of 5 for the D3, since it severely limits dynamic range by rolling off the blacks. The probable answer is that the full DR can not be reproduced on screen or in print without using a tone curve that would give the image a flat and unattractive appearance. Note that the darker steps of the Stouffer wedge are not distinguishable on the screen but differences can be noted if one measures the values with the eyedropper in PS. The default setting of 5 rolls of shadows which would not be reproduced and enhances contrast in the remaining image.>Why? Real World Camera Raw is platform agnosticaside from the fact that most all of the images contained in the book happen to come from cameras Bruce and I had/have and those are Canons. To the best of my knowledge, there is nothing in Camera Raw that is camera model dependent except for the DNG Profiles and the baseline demosiacing and noise reduction which vary camera by camera. Why should I care about the Nikon D3 specifically?
In 35 mm style dSLRs (which I would venture to say are used by the vast majority of ACR users) Nikon and Canon are the two major brands. One thing that is camera specific is the baseline exposure offset that ACR uses for these cameras. For the Nikon D3 (and other recent Nikon cameras), ACR uses a baseline exposure offset of +0.5 EV. If you don't know this and try to expose to the right as much as possible, the histogram will appear overexposed in ACR when in reality the channels are far from clipping.
This is demonstrated in the following screen capture using ACR defaults with an Exposure value of 0. The highlights of the target appear blown.
http://bjanes.smugmug.com/photos/423897106_wvzqw-O.png
They also appear blown using the new beta profile, which does not take the baseline exposure offset into account.
http://bjanes.smugmug.com/photos/423897066_xeHoi-O.png
Looking at the raw histogram with Rawnalize, we see that the channels are not blown:
http://bjanes.smugmug.com/photos/423898181_md3kC-O.png
And here are the actual raw values for the red, green and blue channels (highlighted) of Step 1:
http://bjanes.smugmug.com/photos/423901972_MguxL-O.png
The raw headroom in each of the color channels (as shown in the raw histogram) also has something to do with the amount of highlight recovery that is possible. I would think that these considerations would be of inerest to the readers of your Camera Raw book. -
hello everyone,
i came accross this video which i can't find again that shows some kind of a technic of handeling images.
and it's as follows:
taking the highlights all the way down to -100
takingthe shadows all the way up to +100
than,
move the whites up with the alt key pressed untill clipped highlights occur.
move the blacks down with the alt key pressed, untill clipped shadows occur.
now i do see what it does to the image, but i wondered if someone is familiar with this technic and can explain furthuer what can be the uses of such a technic?
thank muchShacharOren wrote:
you said it all
And yet I could go on for days (but don't worry: I won't - or at least I'll try not to ).
Perhaps another formula which also has some redeeming qualities (oriented toward more natural results which incorporate exposure and contrast adjustments too):
* If obviously over-exposed, reduce exposure some, else pass.
* If obviously under-exposed, increase exposure some, else pass.
* If obviously overly contrasty, decrease contrast some, else pass.
* if seemingly under contrasty, pass (note: the distinction here: it's often impossible to tell if a photo is under-contrasty until blacks and/or whites are adjusted).
then
* adjust blacks
repeat.
The take-aways so far:
* you can't adjust exposure and contrast in any meaningful (or near-final) way without blacks in the ball-park, so don't try.
* you must use -contrast to knock overly contrasty shots down, lest you end up with a very unnatural looking photo.
* you don't want to use +contrast unless a shot really needs it, which you can't tell until blacks (at least) are in the ball-park.
If I've relayed the importance of not deferring blacks slider too long, then you got most of my point so far.
Now do something similar but different:
* If not occupying full (enough) dynamic range on the right, increase whites some.
* if too bright, reduce exposure.
* if still overly contrasty (or lacking in highlight/shadow detail), -highlights & +shadows.
repeat.
Conceptually:
* you don't want to rely soley on -contrast for reducing contrast, lest you end up with an anemic looking photo (that's where the -highlights +shadows comes in).
* You want to use whites slider for maximizing dynamic range without overexposing (and if you crank whites up, you may need to compensate by dropping exposure down - and in doing so, you'll reveal more highlight detail, and thus not need so much -highlights).
The astute reader will have noticed: I left +contrast out of the formula. Not sure what to say, except in my opinion, increasing contrast is more of a "fine-tuning" activity, than getting blacks/whites/exposure balanced, which is primary. In other words, once one has basic dynamic range and brightness established, they can play with increasing contrast, and/or adding clarity, and tweak the others in concert.., to finish.
PS - skewing (asymmetrical) highlight and shadow values I also consider a "fine-tuning" activity, at least for normal photos where a fairly normal result is desired.
Examples:
* if you want a brighter photo without excessive shadow brightness/detail, and with recovery of stubborn highlights, you may need:
+exposure -highlights -shadows.
But if you want a relatively dim photo but without closed-out shadows, you may need:
-exposure +highlights +shadows.
If you are after artistic effect, then forget all of this - no rules! (except maybe #5: have fun).
UPDATE:
=======
The original formula, set forth by Adobe/Eric-Chan, Lee Jay, Victoria Bampton, etc. went more like this:
* Adjust exposure as if it was the only adjustment you'd be allowed to make, until photo looks as good as possible with only exposure adjusted, then
* Adjust contrast as if it was the only remaining adjustment you'd be allowed to make, until photo looks as good as possible with only exposure and contrast adjusted, then
* Maybe adjust highlights and shadows...
* Only adjust blacks & whites if necessary to set clipping points.
Please forgive if I haven't paraphrased 100% accurately (in the interest of making a point), but the formula was known as "top-down" - and it had that name because the sliders were considered to be pre-ordered as they should be adjusted: most bang for buck at the top, and on down...
I think this formula was invented due to dependent behaviors of PV2012 sliders (e.g. you don't want to dive into +shadows before considering +exposure because exposure influences range of tones affected by shadows slider), and I also suspect it was at least partly influenced by Revel, which has same sliders as Lightroom, but without the blacks & whites. Nevertheless, such formula so does not work for me, again: YMMV.
=======
Cheers,
Rob
Message was UPDATED by: Rob Cole -
Dynamic range: NEED SOME HELP (any help i can g
here's the reason i am here:so lately i've decided to dump the idea of playing movies on my xbox360 and started using my hometheater PC to play it. since it has a X-fi extreme Music on it. and i do like it better because the xbox360's decoder down samples everything to 640kb Dolby Digital 5.. i want to experience the full quality (if not as high as i can get) of Dolby Digital Plus, and DOlby True HD (both lossless soundstream), and the only way to do that these days are through HDMI or analogue output, since SPDIF nor Optical toslink can provide enough bandwidth required by both DD+ and TrueHD soundstream. so now you know the reason i am here. i do understand Xfi currently does not offically support DD+ nor TrueHD, but at least through the analogue output i believe i can get a better fidelity than my 360. here's my problem:like i said, the sound quality is MUCH better through the Xfi than the Xbox360's internal decoder. but i do havve one problem. because the dynamic range is so high, i find myself regulary adjusting the volume several times through the whole movie. so i started playing with the "Smart Volume" setting, since it alters the dynamic range by compressing it. the result is a HEAVILY compressed dynamic range which is not very ideal. because i can hear the level shifts when there's a high volume element followed by a low bolume element, i can hear a very unatural alteration. is there anyway to adjust the level of the dynamic range? because smart Volume only allows for "on" or "off", i wish there's a level slider. another side problem i just found out with my card is that, apparently, my card is a Dell's Xfi Extrmem Music card, that means i am missing the DOlby Digital EX audio console control, and the DTS ES audio console control panel. i understand that both supposely would allow me to adjust the dynamic range levels. i only found this out when i tried to look up the dynamic range option in Xfi on google and there're?A LOT of angry people who are missing those two features in their Extreme Music card. apparently it has to do with Dell's cost cutting strategy in which all their Xfi cards audio decoder are license from Sonic instead of creative, so hardware wise, there's no differnce. but at a software decoding level, there're som features missing. and the people who bought these cards from Dell are real pissed off because they speficied on their page that's it's an Xfi Extreme Music card just like the retail, what they shoud've done is putting the "Dell's" logo next to it stating it's a Dell's Xfi Extreme Music card, meaning some features might not be the same. anywho, i realize it's a lot to read, but i searched the forum and googled the net, can't find any solution. would it be possible for the next driver update to include a slider option for adjusting different levels of Smart Volume?thank you.Message Edited by howzz854 on 04-08-200704:50 AM
and i forgot to list my hardware specs:?Athlon64 3200+ @2.6ghzGskill PC4000 2XGB ramGeforce7800GTXFI Extreme Music (Dell's crap_ missing some features that's suppose to be there in the retail versions)DFI NF4 Ultra-D moboDual 0,000 RPM (2 X 74GB)?WD raptors, 0 array, + 2 Maxtor 200GB (for storage)Enermax 600watt PSUNEC 6X DVD romToshiba external HD-DVD dri've?WinXP SP2?Message Edited by howzz854 on 04-08-200704:28 AM
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How to populate the ranges using FM for the SELECTs
Hi,
I am still working on the FM to create a generic extractor. I went through the debugger but I am still unable to determine how the ranges are populated. RSA3 always gives me zero values for the results.
There is a RANGE statement in the sample FM and the following statements for SELECTs
RANGES: L_R_CARRID FOR SFLIGHT-CARRID,
L_R_CONNID FOR SFLIGHT-CONNID.
and...
LOOP AT S_S_IF-T_SELECT INTO L_S_SELECT WHERE FIELDNM = 'CARRID'.
MOVE-CORRESPONDING L_S_SELECT TO L_R_CARRID.
APPEND L_R_CARRID.
ENDLOOP.
LOOP AT S_S_IF-T_SELECT INTO L_S_SELECT WHERE FIELDNM = 'CONNID'.
MOVE-CORRESPONDING L_S_SELECT TO L_R_CONNID.
APPEND L_R_CONNID.
ENDLOOP.
My question is how is L_R_CONNID and L_R_CARRID populated with low and high values for the SELECT statements? I tried to find the DS 0SAPI_SFLIGHT_SIMPLE to run and see how it is set up but there is no such DS.
Would someone take the time to say something about this in several sentences? I have my own code and it seems that it is not populating the values for the SELECTs when I debug from RSA3 when I provide the low and high values.
Would I normally populate the low and high values from the InfoPackage 'Data Selection' tab once I have implemented in BW or ready to test in BW? That would mean I have to choose those fields as selections from RSO2. Anyway, I think I have asked about this but I am hoping to get an answer to get this going...
Appreciate any replies.Hi
Here is an example of an extractor that uses
both method's, if the InfoPackage selection exist's
it overrides the TVARV selection (which is the default).
FUNCTION ZBW_TC_FORECAST_SO_EXTRACTOR.
""Local interface:
*" IMPORTING
*" VALUE(I_REQUNR) TYPE SBIWA_S_INTERFACE-REQUNR
*" VALUE(I_DSOURCE) TYPE SBIWA_S_INTERFACE-ISOURCE OPTIONAL
*" VALUE(I_CHABASNM) TYPE SBIWA_S_INTERFACE-CHABASNM OPTIONAL
*" VALUE(I_MAXSIZE) TYPE SBIWA_S_INTERFACE-MAXSIZE OPTIONAL
*" VALUE(I_INITFLAG) TYPE SBIWA_S_INTERFACE-INITFLAG OPTIONAL
*" VALUE(I_UPDMODE) TYPE SBIWA_S_INTERFACE-UPDMODE OPTIONAL
*" VALUE(I_DATAPAKID) TYPE SBIWA_S_INTERFACE-DATAPAKID OPTIONAL
*" VALUE(I_PRIVATE_MODE) OPTIONAL
*" VALUE(I_CALLMODE) TYPE ROARCHD200-CALLMODE OPTIONAL
*" TABLES
*" I_T_SELECT TYPE SBIWA_T_SELECT OPTIONAL
*" I_T_FIELDS TYPE SBIWA_T_FIELDS OPTIONAL
*" E_T_DATA STRUCTURE ZBW_TC_FORECASTING_EXT_STR OPTIONAL
*" EXCEPTIONS
*" NO_MORE_DATA
*" ERROR_PASSED_TO_MESS_HANDLER
*" HIERARCHY_NOT_FOUND
Change History *
Mod. # | Date | Developer | Description *
*RD3K915762|06/21/2005| SRangaraj | Change selection of open SO *
| | | data to include deleted matls *
| | | and obsolete items too *
RD3K915888|06/29/2005| SRANGARAJ | Add ext matl grp and lab offce
| | | filters for data-selection *
The input parameter I_DATAPAKID is not supported yet !
Auxiliary Selection criteria structure
DATA: L_S_SELECT TYPE SBIWA_S_SELECT.
Maximum number of lines for DB table
STATICS L_MAXSIZE TYPE SBIWA_S_INTERFACE-MAXSIZE.
Parameter I_PRIVATE_MODE:
Some applications might want to use this function module for other
purposes as well (e.g. data supply for OLTP reporting tools). If the
processing logic has to be different in this case, use the optional
parameter I_PRIVATE_MODE (not supplied by BIW !) to distinguish
between BIW calls (I_PRIVATE_MODE = SPACE) and other calls
(I_PRIVATE_MODE = X).
If the message handling has to be different as well, define Your own
messaging macro which interprets parameter I_PRIVATE_MODE. When
called by BIW, it should use the LOG_WRITE macro, otherwise do what
You want.
Initialization mode (first call by SAPI) or data transfer mode
(following calls) ?
IF I_INITFLAG = SBIWA_C_FLAG_ON.
Initialization: check input parameters
buffer input parameters
prepare data selection
The input parameter I_DATAPAKID is not supported yet !
Invalid second initialization call -> error exit
IF NOT G_FLAG_INTERFACE_INITIALIZED IS INITIAL.
IF 1 = 2. MESSAGE E008(R3). ENDIF.
LOG_WRITE 'E' "message type
'R3' "message class
'008' "message number
' ' "message variable 1
' '. "message variable 2
RAISE ERROR_PASSED_TO_MESS_HANDLER.
ENDIF.
Check InfoSource validity
CASE I_DSOURCE.
WHEN 'ZBW_TC_SO_EXTRACT'.
WHEN OTHERS.
IF 1 = 2. MESSAGE E009(R3). ENDIF.
LOG_WRITE 'E' "message type
'R3' "message class
'009' "message number
I_DSOURCE "message variable 1
' '. "message variable 2
RAISE ERROR_PASSED_TO_MESS_HANDLER.
ENDCASE.
Check for supported update mode
CASE I_UPDMODE.
WHEN 'F'.
WHEN OTHERS.
IF 1 = 2. MESSAGE E011(R3). ENDIF.
LOG_WRITE 'E' "message type
'R3' "message class
'011' "message number
I_UPDMODE "message variable 1
' '. "message variable 2
RAISE ERROR_PASSED_TO_MESS_HANDLER.
ENDCASE.
Check for obligatory selection criteria
READ TABLE I_T_SELECT INTO L_S_SELECT WITH KEY FIELDNM = 'PGMID'.
IF SY-SUBRC <> 0.
IF 1 = 2. MESSAGE E010(R3). ENDIF.
LOG_WRITE 'E' "message type
'R3' "message class
'010' "message number
'PGMID' "message variable 1
' '. "message variable 2
RAISE ERROR_PASSED_TO_MESS_HANDLER.
ENDIF.
APPEND LINES OF I_T_SELECT TO G_T_SELECT.
Fill parameter buffer for data extraction calls
G_S_INTERFACE-REQUNR = I_REQUNR.
G_S_INTERFACE-ISOURCE = I_DSOURCE.
G_S_INTERFACE-MAXSIZE = I_MAXSIZE.
G_S_INTERFACE-INITFLAG = I_INITFLAG.
G_S_INTERFACE-UPDMODE = I_UPDMODE.
G_S_INTERFACE-DATAPAKID = I_DATAPAKID.
G_FLAG_INTERFACE_INITIALIZED = SBIWA_C_FLAG_ON.
Fill field list table for an optimized select statement
(in case that there is no 1:1 relation between InfoSource fields
and database table fields this may be far from beeing trivial)
APPEND LINES OF I_T_FIELDS TO G_T_FIELDS.
Fill range tables for fixed InfoSources. In the case of generated
InfoSources, the usage of a dynamical SELECT statement might be
more reasonable. BIW will only pass down simple selection criteria
of the type SIGN = 'I' and OPTION = 'EQ' or OPTION = 'BT'.
LOOP AT G_T_SELECT INTO L_S_SELECT.
CASE L_S_SELECT-FIELDNM.
WHEN 'PRDHA'.
WGF_PRDHA_LENGTH = STRLEN( L_S_SELECT-LOW ).
IF WGF_PRDHA_LENGTH = 6. "PARTIAL PRDHA
WGF_PRDHA = L_S_SELECT-LOW.
CONCATENATE WGF_PRDHA '%' INTO WGF_PRDHA.
ELSEIF WGF_PRDHA_LENGTH = 12. "FULL PRDHA
MOVE-CORRESPONDING L_S_SELECT TO L_R_PRDHA.
APPEND L_R_PRDHA.
ENDIF.
WHEN 'MATKL'.
MOVE-CORRESPONDING L_S_SELECT TO L_R_MATKL.
APPEND L_R_MATKL.
ENDCASE.
ENDLOOP.
reset the index of where we are in the gt_header table
g_tabix = 0.
perform populate_default_variables.
perform get_data.
perform build_detail.
EXIT.
ENDIF. "Initialization mode or data extraction ?
Data transfer: First Call OPEN CURSOR + FETCH
Following Calls FETCH only
First data package -> OPEN CURSOR
IF G_COUNTER_DATAPAKID = 0.
Determine number of database records to be read per FETCH statement
from input parameter I_MAXSIZE. If there is a one to one relation
between InfoSource table lines and database entries, this is trivial.
In other cases, it may be impossible and some estimated value has to
be determined.
DESCRIBE TABLE LT_DATA LINES l_count.
IF g_tabix GE l_count.
RAISE no_more_data.
ENDIF.
*CLEAN UP THE OUTPUT TABLE
refresh E_T_DATA.
LOOP AT LT_DATA FROM G_TABIX INTO LS_DATA.
APPEND LS_DATA TO E_T_DATA.
Set global counter
g_tabix = g_tabix + 1.
ENDLOOP.
G_COUNTER_DATAPAKID = G_COUNTER_DATAPAKID + 1.
ENDIF. "Initialization mode or data extraction ?
ENDFUNCTION.
Forms
***INCLUDE LZBW_TC_FORECAST_SO_EXTF01 .
*& Form populate_default_variables
text
--> p1 text
<-- p2 text
FORM populate_default_variables.
data: wlf_name like tvarv-name.
clear: R_prdh3[], wlf_name.
*get the exclusion range from tvarv for the product hierarchy in
*question
concatenate 'ZBW_EXL_' WGF_PRDHA(6) INTO WLF_NAME.
SELECT LOW FROM TVARV INTO R_prdh3-low WHERE
NAME = WLF_NAME.
move: 'I' to R_prdh3-sign,
'EQ' to R_prdh3-option.
append R_prdh3.
clear R_prdh3.
ENDSELECT.
{Start of insert by SRangaraj on June 29, 2005 >>RD3K915888
CLEAR L_R_LABOR[].
SELECT LOW FROM TVARV INTO L_R_LABOR-Low WHERE
NAME = 'ZBW_TC_FORECAST_LAB_OFF'.
move: 'I' to L_R_LABOR-sign,
'EQ' to L_R_LABOR-option.
append L_R_LABOR.
clear L_R_LABOR.
ENDSELECT.
}End of insert by SRangaraj on June 29, 2005 >>RD3K915888
ENDFORM. " populate_default_variables
*& Form get_data
text
--> p1 text
<-- p2 text
FORM get_data.
data: wlf_lmeng like vbep-lmeng.
*get all deliveries for date range for either a range of product hrchy
*or a like value
refresh int_records1.
if wgf_prdha ne space.
select ivbeln iposnr iKLMENG jvkorg i~werks
imatnr imeins mprdha mmatkl
from vbap as i
INNER JOIN VBAK AS j
ON ( jvbeln = ivbeln
and j~vbtyp = 'C' )
INNER JOIN vbuk AS k
ON ( kvbeln = ivbeln
and k~lfgsk <> 'C'
and k~gbstk <> 'C' )
INNER JOIN vbup AS l
ON ( lvbeln = ivbeln and
lposnr = iposnr
and l~lfgsa <> 'C'
and l~gbsta <> 'C' )
INNER JOIN mara AS m
ON ( mmatnr = imatnr
{Start of insert by SRangaraj on June 21, 2005 >>RD3K915762
and m~lvorm eq ' '
and m~mstae ne '99'
{Start of insert by SRangaraj on June 29, 2005 >>RD3K915888
and m~extwg = '080' )
}End of insert by SRangaraj on June 29, 2005 >>RD3K915888
INNER JOIN marc AS n
ON ( nmatnr = imatnr
and nwerks = iwerks
and n~lvorm eq ' ' )
}End of insert by SRangaraj on June 21, 2005 >>RD3K915762
into table int_records1 where ( i~abgru = ' '
and i~klmeng > 0
and m~prdha like wgf_prdha
and m~matkl in l_r_matkl
{Start of insert by SRangaraj on June 29, 2005 >>RD3K915888
and m~labor in l_r_labor ).
}End of insert by SRangaraj on June 29, 2005 >>RD3K915888
elseif not l_r_prdha[] is initial and wgf_prdha = space.
select ivbeln iposnr iKLMENG jvkorg i~werks
imatnr imeins mprdha mmatkl
from vbap as i
INNER JOIN VBAK AS j
ON ( jvbeln = ivbeln
and j~vbtyp = 'C' )
INNER JOIN vbuk AS k
ON ( kvbeln = ivbeln
and k~lfgsk <> 'C'
and k~gbstk <> 'C' )
INNER JOIN vbup AS l
ON ( lvbeln = ivbeln and
lposnr = iposnr
and l~lfgsa <> 'C'
and l~gbsta <> 'C' )
INNER JOIN mara AS m
ON ( mmatnr = imatnr
{Start of insert by SRangaraj on June 21, 2005 >>RD3K915762
and m~lvorm eq ' '
and m~mstae ne '99'
{Start of insert by SRangaraj on June 29, 2005 >>RD3K915888
and m~extwg = '080' )
}End of insert by SRangaraj on June 29, 2005 >>RD3K915888
INNER JOIN marc AS n
ON ( nmatnr = imatnr
and nwerks = iwerks
and n~lvorm eq ' ' )
}End of insert by SRangaraj on June 21, 2005 >>RD3K915762
into table int_records1 where ( i~abgru = ' '
and i~klmeng > 0
and m~prdha in l_r_prdha
and m~matkl in l_r_matkl
{Start of insert by SRangaraj on June 29, 2005 >>RD3K915888
and m~labor in l_r_labor ).
}End of insert by SRangaraj on June 29, 2005 >>RD3K915888
endif.
sort int_records1 by vbeln posnr.
delete adjacent duplicates from int_records1 comparing
vbeln posnr.
*remove unnecessary records
if not r_prdh3[] is initial.
DELETE INT_RECORDS1 WHERE PRDHA+6(3) IN r_prdh3.
endif.
*get the schedule lines for all of the above records and
*get the lowest schedule line date per so line item
if not int_records1[] is initial.
refresh int_records3.
select vbeln posnr etenr mbdat into table int_records3
from vbep for all entries in int_records1
where vbeln = int_records1-vbeln and
posnr = int_records1-posnr and
lmeng > 0.
sort int_records3 by vbeln posnr etenr mbdat ascending.
loop at int_Records1.
loop at int_records3 where vbeln = int_records1-vbeln
and posnr = int_records1-posnr.
int_records1-mbdat = int_records3-mbdat.
modify int_records1.
exit.
endloop.
endloop.
refresh int_records3. free int_records3.
refresh int_records2.
*get the deliveries and calculate the open quantities
select vbelv posnv vbeln posnn rfmng plmin
from vbfa into table int_records2
for all entries in int_Records1
where vbelv = int_records1-vbeln
and posnv = int_records1-posnr
and VBTYP_N = 'J'. "Dels
*calculate open quantities next
loop at int_records1.
clear wlf_lmeng.
clear int_records2.
loop at int_records2 where vbelv = int_records1-vbeln
and posnv = int_records1-posnr.
case int_records2-plmin.
when '-'.
wlf_lmeng = wlf_lmeng - int_records2-rfmng.
when others. "just add
wlf_lmeng = wlf_lmeng + int_records2-rfmng.
endcase.
endloop.
int_records1-klmeng = int_records1-klmeng - wlf_lmeng.
int_records1-vbeln_dl = int_records2-vbeln.
int_records1-posnr_dl = int_records2-posnn.
modify int_records1.
endloop.
endif.
delete int_records1 where klmeng le 0.
refresh int_records2. free int_Records2.
ENDFORM. " get_data
*& Form build_detail
text
--> p1 text
<-- p2 text
FORM build_detail.
LOOP AT int_records1.
*DO INDIVIDUAL MOVES - ITS FASTER THAN MOVE-CORRESPONDING
move: int_records1-vkorg to LS_DATA-VKORG,
int_records1-werks to LS_DATA-WERKS,
int_records1-matnr to LS_DATA-MATNR,
int_records1-klmeng to LS_DATA-KLMENG,
int_records1-mbdat(6) to LS_DATA-YEARMONTH,
int_records1-meins TO LS_DATA-MEINS,
int_records1-vbeln TO LS_DATA-VGBEL,
int_records1-posnr TO LS_DATA-VGPOS,
int_records1-vbeln_dl TO LS_DATA-VBELN,
int_records1-posnr_dl TO LS_DATA-POSNR,
int_records1-mbdat to LS_DATA-WADAT_IST,
int_records1-PRDHA to LS_DATA-PRDHA,
int_records1-matkl to LS_DATA-MATKL.
APPEND LS_DATA TO LT_DATA.
clear: LS_DATA.
ENDLOOP.
ENDFORM. " build_detail -
ok i'm a video editor. how the heck can i set the dynamic range? its a project starting/ending in FCP, i want it to be broadcast safe, ostensibly want to limit the dynamic range to 7db (-12 to -6 or so) i theoretically understand the compressor/limiter can limit the peak here (altho i haven't really made that work) but is there an effect to bring up the bottom too? or another effect where i can do both? i'm stumped. & in dire need... thanks!
ok i'm a video editor
Nothing wrong with that
is there an effect to bring up the bottom too?
Usually that's not a good idea. How would your video look
if you brought up all the blacks to 50%. Yuck.
The idea is to increase your audio "gamma".
There are 3 types of processing for audio:
"Crushing the blacks" In audio terms that would be expanding
or gating out background noise. Room tone is great,
but if it's distracting, an expander with a low threshold (say, -40dB),
will make things sound a little cleaner.
"Boosting gamma" In audio terms that would be a light overall compression.
Set the threshold for, say, -20, and the ratio to about 4, to bring those
details up. Note that this will affect the overall perceived loudness of the track,
so typically TV commercials crank this up to get it "louder" than the show.
"Making luma broadcast safe" In audio terms, this would be limiting your
audio to never go above 0dB. For this you need a limiter, with a high
threshold, e.g. -3dB, a large compression ratio, e.g. 8, and set very fast.
Like the video broadcast safe filter, it shouldn't affect the perceived
loudess (luma) too much. You should already be in the ballpark
before you apply this safety net.
There are plug-ins which will do all three, but you can also just
combine single filters to get the same result.
Keep in mind that an audio level meter is sampling a moving target,
so that you won't see all the peaks. For that reason, it is considered
good practice to set your levels so that speech peaks around -12
(or -6 for commercial rants).
Another thing to remember is your intended audience. Are you
selling cars or telling a sensitive story?
Bottom line: get digital examples of other videos in the same genre.
Take a look at their levels. What sounds good? What fits with the genre?
Hope that helps,
Les -
What's the dynamic range of PCI-6289?
Dear Sir:
Could you tell me the dynamic range of PCI-6289?
Is there any difference using PCI-4472 or PCI-6289 when measuring vibration signal?
Thank you!
Regards,Hello,
The PCI-4472 would be best suited for vibration measurments. It has 24-bit resolution, Simultaneous Sampling, Hardware Time-to-Frequency Domain Conversion, 110 dB Dynamic Range, and hardware filtering. See the following Link for more details on the 4472: http://sine.ni.com/apps/we/nioc.vp?cid=10572〈=US
The 6289 was not built with vibration analysis in mind, the the dynamic range is not spec'd.
Let me know if you have any further questions.
Sean C.
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