Exporting R3D file to 12-bit TIFF?

Done the max settings in 'general' when creating a project, and likewise in 'sequence', but whatever setting I try all I get are 8-bit tiff files.
Is there something I've missed?

So how can Premiere claim to be fully RED compatible if it cannot export at the same resolution?
Or am I misunderstanding something?

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Import 16 bit tiff files in premiere pro cs5 ?

When i try to import a 16 bit tiff sequence I get an error message "The video bit depth of this file is unsupported.".
I could not find how to set bit depth in project, however I understand from the help files that 16 bit workflow is supported.
What I am doing wrong?

Hi again Salazaroo....
Thanx for your answer...
I am working in a project shot with RedOne and the output will be 35mm and DCP.... we´ll made the prints with Cinevator system as well... same as yours...
What I did is open the Pr project in After effects and from there export the R3d as DPX to work in the compositings... I am trying different ways to do this... change the R3D settings to RedLog and RedSpace before to export as DPX OverRange, or PDLog985 and RedSpace before to export as DPX Standard (as Mark Christiansen says in THIS SITE) ...
Once I do it, I import the DPX to start the composition... so I change the Cineon Settings to OverRange or Standard (depending of the settings at export) and apply the Cineon Converter LogToLin... but then everything looks too overbright to work... I am working with the DPX and .psd and tiffs together so it is like crazy to match everything together...
I tried to export as PDLog985, RedSpace and OverRange Cineon Settings (instead of Standard) and it looks much better... I check the picture looking at the Info panel and everything is Ok, or close the 'Iris simulator' and detail appear in the image, ...but when I check different elements coming from matte painters and 3d artist, whites clip at 1... how can i match everything together in the same space color to work and then apply the Cineon Converter LintoLog before export???
This is the first time I work with DPX and I am reading a lot about it, but I could´t find a step by step explanation... and it is like there are many ways to deal with it... some people says to use a general Working Space, some people says don´t (See this Article) ...
Thank you man.... I really appreciate your help....

Can't export 16 bit tiff in A3.1.3 Lion

If I try to export a 16 bit tiff, the extension automatically changes to jpg. I can only export an 8 bit tiff. Thanks for any tips.

Aloha Tom and Ashley. Perhaps I should start another thread. This is my first time looking for help in this way. Thanks in advance Ashley are you going from Keynote to iMovie to FCE? Sure would be nice if we didn't need so many steps! The only reason I am in FCE is because I have been unsuccessful in getting a QT export from Keynote that marries sound file with movie and is stable.
Tom here is how I exported. Playback uses: manual advance, Compression H.264, Frame rate 29.97, keyframe - all, data rate automatic, compression quality - best. Then I imported to FCE, married music and movie (so easy), rendered and exported with same settings. Big black area around movie, little tiny movie in middle. Then I discovered on the Sequence canvas there is a drop down with the choices <image> <image with wire frame> <show overlays> When I select image with wire frame it looks like it is creating a larger letterbox. But the export output when it is large is both fuzzy and distorted even when I import a 1920 x 1080 version.
Tom/Ashley perhaps this isn't the program to use. All I need is a high res 16:9 QT with music and movie married into one file and stable being used on computers and LCD players. It will not be TV viewed. I could reframe the Keynote to 4:3 if I have to to get the viewing size and image quality.
What would you suggest. And again thank you. I have been fiddling with this for weeks, with progress but no success. Cathy

Aperture is exporting large file size e.g. original image is 18.2MB and the exported version (TFF 16 Bit) is 47.9MB, any ideas please

Aperture is exporting large file size e.g. original image is 18.2MB and the exported version (TFF 16 Bit) is 47.9MB, any ideas please

Raws, even if not compressed, Sould be smaller than a 24-bit Tiff, since they have only one bitplane. My T3i shoots 14 bit 18MP raws and has a raw file size of 24.5 MB*. An uncompressed Tiff should have a size of 18 MP x 3 bytes per pixel or 54 MB.
*There must be some lossless compression going on since 18 MP times 1.75 bytes per pixel is 31.5MB for uncompressed raw.

Exporting from 16 bit Tiff sequence

I am using Premiere Pro CC. I've imported 16 bit Tiff sequence that was exported from Lightroom. Each frame is 5472x3648 and about 115mb. I'm using the Red plugins so that I can create a UHDTV video at 3840x2160. Any attempt to export as dpx or even mp4 or even render the video crashes the program or the computer within seconds or at the most a minute. This same thing worked as long as the files were 8bit, but i wanted the higher quality. The computer is a:
Alieware R4 Aurora
Windows 7
16 Gb ram
3.6 Ghz Intel i7 processor
AMD Radeon HD 8950 (graphics)
Is it premiere pro or the computer hardware that is the hangup?

Just a follow up on what I found out for someone's future reference. If I reduced the file size to 4800x3200, a slightly smaller but still in the same 3x2 ratio as the originals, then Premiere Pro CC would render the files and export them without crashing. This still allowed me to do some pans and zooms within Premiere. Not sure if that is the largest size Premiere excepts or not, it just worked for me. Also, Premiere will only export 10bit DPX sequenses, which is still fine with me.

Save as a 16 bit TIFF file for Enlarging?

Question, a local photo developer told me that if I wanted to develop my photos at something like 16 x 20 or larger I should save my photos as a 16 bit TIFF file. Elements 4.0 does not seem to allow me to set the bits at 16, just 8. Is there any truth to what they are saying?
Also isn't the file size going to be massive when doing this. Most likely prohibiting an upload to their site?
I am shooting with a Nikon D50 in RAW format. Obvioulsy I have to open it in Elements from Camera Raw as an 8 bit photo to save it in either TIFF or JPEG format.
Any comments are appreciated.

Thank you for your comment.
When I save the 16 bit file in ACR it saves it as a .dng file. When I open the .dng file in Elements again the raw editor opens it as a 8 bit file automatically. This may be all well and good if I can have enlargements made with this file type but not good if what the developer is telling me is true. ???????

I have trimmed some R3D flies in Premier Pro and I want to export the trimmed versions in full res to my hard drive, i.e. I want to export the files so that they end up on my hard drive in the same native format. I don't see an option for this in Premier

I have trimmed some R3D flies in Premier Pro and I want to export the trimmed versions in full res to my hard drive, i.e. I want to export the files so that they end up on my hard drive in the same native format. I don’t see an option for this in Premier Pro when I go to export. Any help would be appreciated. Thanks!Premiere Pro

Aperture has the ability to work with files in their existing location. They are called "referenced masters." When you import images, you should select the "In their current location" in the "Store Files:" drop down box. Have a read of the documentation for full specifics. Unsure how you can resolve your duplication; might be some work but next time have a read of the manual first
Information for versions is stored in the Aperture database (library file). The masters can be inside the library file itself, or they can be somewhere else.

How to export the same mb size of my cr2 files into jpg or tiff files in Lr?

How to export the same mb size of my cr2 files into jpg or tiff files in Lr?
Let's say my file size is 22mb, when i export the file to tiff or jpg, although Iam careful with the settings- file size, dimension, resolution, I can't manioukate how I want it.
With jpg I tried everything, no matter what i do or change in files size or resoltion it remains the same size- 7mb as opposed to 22..
Please advise,
Best wishes,
T

I would noramlly opt for a tiff file, sending such a high res through the nest a nightmare
This is probably just an improper use of terminology, but the resolution of a JPG, DNG and TIF should all be the same.
The files differ in size, not resolution and not number of pixels.
Jpg is not that bad, but its a pitty they have to be edited under a jpg format..
Your raws are edited as raw. There is no loss of quality in the editing process. The files are then exported as JPG, which will cause a loss of quality. For just about any use, the loss of quality in the image when you export a JPG at quality level 12 is NOT noticeable. For many uses, exporting a JPG at a quality level of 8 will not be noticeable either, unless you intend to print the photo at a very large size. As twenty_one (not his real name) said, "Jpeg compression is fantastically effective".

32 bit tiff files

Lightroom 5.4 has been blacking out the whole image of some of my 32 bit tiff files in the develop module and sometimes in the library module. Has anyone else encountered this problem?

Alex LK wrote:
... Why is the camera only able to produce a fraction of the total 16-bit depth? Also, does this mean that if an image were 14/16 it would become 28/32 when converted?
The 16 bit channel is a carrier -- a standard 16-bit element. The information content of those data bits depends on the source data; that is, the camera sensor. A 16-bit container does not mean that any and all data placed therein has 16 bits of usable data. Will an increase or decrease of 1 value in a range of 4096 values (12-bit) actually represent useful image data -- a real light level difference -- or just noise? Larger, newer, and often more costly camera systems can discriminate between a greater number of steps from zero to maximum value; those that can discern a non-noise light level difference in a range up to 4096 (0 to 4095) use 12-bits; those that discriminate more than 4096 levels will require more than 12 bits. I'm not a camera expert; but my guess would be that either there is limited if any need for 16 bits of camera sensor data capture (more than 32K steps in range) or that a camera providing such useable precision would be more expensive than the value of the added precision.

12- and 14-bit Raw file conversion to 16-bit tiff

Does anyone know how Camera Raw converts the 10, 12, or 14 bit RAW file data(14-bit D3 .NEF here) into the 16-bit tiff files it can produce. I assume it either manages to leave empty space in the file, or interpolates by some means. If interpolation is the answer, is it by a method analogous to one of the spatial resizing methods(nearest neighbor or bilinear)?

Keep in mind that a 16bit image format (eg, TIF) is actually a container, and I've seen many variations on putting lesser bit depths in the format. EG, 10bits may only be stored in the first 1024 bins, or the same 10bit data may instead be stored in every 6th bin - the latter of which is the most common and best way. When I look at the 16bit histogram after ACR has converted 12bit RAW to 16bit TIF, it is as if 12bits has been converted to 16bits (actually 15bits), because every bin appears to have data in it.
As to how it's actually done, it may be proprietary ... but someone else may be able to draw conclusions from the open algorithms that are available (eg, dcraw).

PSE 10 as external editor for Aperture 3 - 8-bit TIFF and what color space?

Hi all,
I'm taking the plunge and trying PSE 10 as my external editor for Aperture 3. I understand that I need to export as 8-bit TIFF files (not 16) because PSE can't do certain things with 16-bit files. Is that right? Should I specify a color space in Aperture or leave it as "no profile selected"? (I don't know much about color spaces; I'm not a pro.) I print on an Epson RX580 Stylus Photo printer, if that matters.
I'll be grateful for any help and advice. Thanks.

Can I suggest you buy Philip Andrews book, Advanced Photoshop Elements 10. he explains colour spaces and much much more very clearly and exactly what can be done with 16 bit files and what you then have to change to 8 bit to accomplish. He's written basic and advanced guides for Elements since day one. Usually available from Amazon for under £20.

16 Bit Tiff Images Display Bug?

Question 1:
Is there a problem with Aperture 2.0 displaying 100 + mb 16 bit tiff images generated by a film scanner (nikon coolscan 4000 ed)? I am having trouble with my library that I migrated from Aperture 1.5. All of my images were working fine in Aperture 1.5 (and previously in iPhoto as far back as 2003). In Aperture 2.0 I am getting scrambled images and some images that read unsupported file format. The problem is sporadic. It effects some images and not others. Sometime images display correctly and sometime they become scrambled and unsupported, and then back again.
There is no trouble with the images themselves. I export them to CS3 with no distortion or trouble. The problem seems to be in Aperture 2.0.
I have re-built the library, tried migrating images, changed the color profile.... I think I have exhausted every trick I can manage from a user vantage point. The images work fine when converted to 8 bit files. This is not the solution for me - I need to keep these images 16 bit.
Question: Is this this just my version (I purchased downloaded upgrade), that is having trouble, or is this a wider problem that Apple aware of and is looking into?
Please advise. I have 1000's of scanned pictures that I have been working with for years that were fine and now are not. I purchased a new Mac Pro 2.8 so as to work more productively with these large images - and now it seems that the very software I rely on has failed me.
I have not been able to find any comments from Apple regarding this issue.

I've had this problem with images saved as 8-bit scans.
Are you using any compression in the TIFs? I scanned using Nikon Scan 4, cleaned up a bit in Photoshop 7, reduced the bit depth to 8-bit, and saved at TIFs with embedded colour profile using ZIP compression, Macintosh byte order.
This used to work with Aperture 1.5.6, but with Aperture 2.0 I see a kind of offset pattern, so a vertical line looks like this:
If export the master TIF, open it in Photoshop (where it looks normal) and save it with no compression Aperture displays it properly.
(I'm still using Tiger, so I don't think this is an OS issue.)

How to save RAW edits as 16-bit TIFF? Can't find in Aperture, easy on iPhoto

In iPhoto there is "advanced preferences" options to save RAW edits as 16-bit TIFF. Where is this option in Aperture?

I suppose I do not understand how Aperture saves processed RAW photos then; in iPhoto by contrast, the default saves them as JPEG unless the TIFF option is selected.
If you are shooting RAW, Aperture will always store the original RAW file and the sequence of adjustments to produce the image version. It does not render the edited image and create an image file. Only when you export the edited image or share it, will a file of the processed image created.
All editing is always done starting from the RAW file and adding all adjustments. You will see the resulting image in the browser, but the rendered image file will only be created when you need it outside Aperture, and then you can select a suitable export preset. Edited image versions do not take up much extra space, only for thumbnails and optional JPEG previews.

Re-edit 32 bit tiff in PS doesn't work?

Hi,
When I generate a 32 bit tiff (HDR) in PS CS5 from bracketed pictures within lightroom 4.1, import the tiff back into lightroom, adjust it in lightroom, and then send it back to PS (option "Edit a Copy with Lightroom Adjustments" selected) for further editing, the file won't open in PS. Opening the file directly in PS works, but without the adjustments made in lightroom.
I have tried the same with a 32 bit tiff from Photomatix. Same behaviour.
Has anyone else noticed this behaviour?
Haya.

Yep, same issue here. You can Export using 16 bit depth and ProPhoto RGB to create a copy, which is what you are actually working with in LR anyhow. It would be nice if 'Edit In' would give you a warning that "LR can only create a 16bit copy with adjustments applied, do you want to proceed," instead of simply failing. Perhaps log this a 4.1 bug?

Lots of 16 bit Tiffs & no idea how to delete

Hi,
I'm really new to photo editing & Mac's, but by following various sources of advice from the net, I think I've created myself a big problem - please advise!
I use Aperture 2.0 for my library & most of my editing of Raw files, but to interpolate these images, I "Edit With" Photoshop CS3. I have the default Edit With set to 16 Bit Tiff, which instantly creates a big TIFF file along with the Raw Master. I then interpolate in Photoshop & reimport an 8 Bit JPEG back into Aperture [I'm sure this is a really poor workflow, but I'm struggling with all this techy side to Photography & I know no-one with a Mac).
The problem, as I'm sure you can guess, is that I have lots (& lots) of unnecessary TIFF files in Aperture that I can't delete without deleting the RAW too.
I use CS3 for interpolation because this is a system that works for my needs (plus I know Photoshop from my pc past-life).
Can you advise of a better workflow that can get 16 Bit Tiffs from Aperture into Photoshop that allows me to delete it whilst keeping the RAW master? Any suggestions for a better workflow really, really appreciated.
Cheers!

BigDwarf wrote:
Hi,
I'm really new to photo editing & Mac's, but by following various sources of advice from the net, I think I've created myself a big problem - please advise!
Many people believe there are too much info - both correct and incorrect - out there. Filtering what you need can be difficult at times, especially if one is learning new material.
I use Aperture 2.0 for my library & most of my editing of Raw files, but to interpolate these images, I "Edit With" Photoshop CS3. I have the default Edit With set to 16 Bit Tiff, which instantly creates a big TIFF file along with the Raw Master. I then interpolate in Photoshop & reimport an 8 Bit JPEG back into Aperture [I'm sure this is a really poor workflow, but I'm struggling with all this techy side to Photography & I know no-one with a Mac).
Not sure why you do this. The default external editor is set to PS, and you are creating 16bit tif files - just fine. The odd thing is what you do after your edit in PS. When you say interpolate, I'm guessing that you are resizing the image? Going from 16bit to 8bit is not interpolation. Rather, it is data reduction in the file. By definition, jpeg is 8bit so I understand why you want to convert 16bit tif into 8 bit.
If you simply save your edit without doing save as, then the edited tif will go back to Aperture as tif file. You can export jpeg from Aperture to suit your needs.
Two different approaches exist to do what you want to do. Since you ultimately end up in jpeg, you can simply export jpeg from Aperture and open the file using PS, do your thing and save, then import jpeg into Ap and stack with raw. Sounds close to what you are doing now.
A different approach is to set your externally edited file preference to 8bit tif and use PS as an external editor and do your edits there (do not convert to jpeg and use save as), and simply save - which will bring you back to Ap environment. Images will already be stacked and all you have to do is export the edited 8 bit tif file as jpeg. Files will be stacked an need not worry where the file is.
The problem, as I'm sure you can guess, is that I have lots (& lots) of unnecessary TIFF files in Aperture that I can't delete without deleting the RAW too.
Depends. If you use referenced master files, then the newly created tif file will be saved in the same location is the master file is located. In which case, if you have no need for it, you can simply delete it from Ap and will get rid of the tif file also (as long as you unstack and check the box that say move the file to trash). Raw original will still be in Ap database as well as in your referenced folder.
If you use managed masters, then bit more complicated but using the same method should work. You can see how the files are kept within Ap Lib by showing content and dig your way into the folder structure, if you're willing.
I was going to suggest you can simply just delete the tif files, if referenced, but it would leave broken links in Ap, so bad practice...
I use CS3 for interpolation because this is a system that works for my needs (plus I know Photoshop from my pc past-life).
Can you advise of a better workflow that can get 16 Bit Tiffs from Aperture into Photoshop that allows me to delete it whilst keeping the RAW master? Any suggestions for a better workflow really, really appreciated.
You have constrained the problem by specifying 16bit tif and delete, as your current workflow dictates. Try thinking about the workflow from the perspective of what you'd like to get done. Not necessarily how.
If the objective is to have high quality jpeg from your raw and keep your raw files and jpeg related, then tif is just a intermediary file. Recall that jpeg is 8 bit by definition and the reason people don't like to edit using jpeg is because of truncation issue with compression, everytime you do something with jpeg. Tif does not compress so there is no loss issue with tif.
If you go from Aperture handled raw to tif (8bit), then edit using PS and save, you have made 1 translation from raw definition (12 or 14 bit in most cases) to 8 bit tif. Editing and saving tif will not degrade your image (there is a loss of IQ, if you up scale resolution, as data needs to be interpolated to fill in the missing data). Once back in Ap, saving as jpeg is simply format change.
If your objective is to enlarge the image beyond the raw size, then use 16 bit tif and interpolate to upscale in PS. That said, unless you have a small raw file (4~6mp) and are printing large images (say beyond 12x18), there really is no need to do so. Upscaling becomes quite noticeable beyond 25% past the original size, even using 16 bit data set.
This long winded response is really the short version Others will have different opinion so keep in mind that this is yet just another info on the web..
Good luck,
Cheers

Exporting R3D file to 12-bit TIFF?

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