For Eric Chan - is Adobe using legacy (or Sigma's) code to do NR for Foveon raw files ?

Hi Eric,
is Adobe using legacy (or Sigma's) code to do NR for Foveon raw files ?
it was stated (I think it was either you or mr Schewe) that Adobe nowadays do not use NR behind the scenes when NR sliders are zeroed - however this is clearly not the case for Foveon raw files... hence the question - is it Adobe's legacy code that for whatever reason was not changed from old days or Adobe is using some SDK provided by Sigma ?
compare two screenshots - one is ACR, another is SilkyPix v5 Beta... we do not have any demosaicking for Foveon, so it is clear that ACR despite zeroed sliders does NR behind the scenes... can that be fixed and modern Adobe's NR made available for Foveon raw files, like Adobe has it for other cameras ?

> Is it possible that this file has defaulted to the 2003 process version by accident?
ACR shows "Process: 2010 (Current)"
I think that foveon related code was kind of neglected for quite some time... however if Sigma indeed will start selling SD1 that might cause some influx of new customers and it is time to dust off whatever is for foveon inside ACR/LR.

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Olympus E-M1 and CA corrections (or not), probably for Eric Chan

Hi
E-M1 is rumored to have (I'd assume in raw files) finally parameters for CA corrections (first for Olympus, always was the case with Panasonic cameras)... however upon conversion from .ORF to .DNG I still can see that "WarpRectilinear" has only the data for only one plane (while .RW2 to .DNG has that for 3 planes)...
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OR
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Thank you.

Closer to #1. Specifically, support for metadata-driven (opcode-based) lateral chromatic aberration for the E-M1 will be added in the next dot releases of ACR and Lr. However, note that we are almost ready to post the Release Candidate (RC) versions of the next ACR/Lr dot releases, and the CA correction will not be available in these RC versions (but will be in the final version).

Using the keyboard to select code malfunctioning in Flash, for you too?

Hi all,
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suffer this same issue, or better, have solved it! I believe the
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function(){return A.apply(null,[this].concat($A(arguments)))}
MadManChan2000 wrote:
The bands are introduced because uniform image noise becomes non-uniformly distributed upon image resampling (e.g., when spatially-varying optical corrections are applied).
With all due respect, I'm not sure I'm buying this...
If the resampling is done with a high quality algorithm I just don't see how a pattern would emerge from "uniform image noise". I can imagine that the noise might look more coarse in some parts of the image and finer than others, but that's it.
Resampling only adds patterns due to inaccuracies.
My money is on someone having made a "speed" vs. "quality" decision in the algorithm somewhere.
-Noel

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Greylensmanta wrote:
Thank you for the imput. I don't know what you mean when you say LR doesn't use Adoble Camera Raw. My LR2.7 is able to process raw files from my 20D. I don't care if it does it with ACR or some other processing software. The issue is whether whatever software is used by LR can be updated to deal with new camera raw files. It is pretty annoying if it cannot be. I would even pay a reasonable amount if that were necessary.
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I am using Photoshop CS3 on a Windows XP platform. My camera raw files are mostly kept on a Windows 2003 file server, which has a gigabit connection to my workstation. However, I have the same problems when using PS CS3 on my Windows XP laptop.
I take many hundreds of 'technical' photographs using an Olympus E1 and Canon G9 cameras. I usually bracket the exposures on the E1, specially when photographing white painted yachts, and then rate and select the images that I want in ACR 4.1.1. Unwanted images are deleted at this time.
The problem I am having is that the associated *.xmp files are not always deleted with the camera raw files, with the result that I now have literally thousands of these 'orphaned' files cluttering up the server. The only options I have are to delete the files manually, which is a pain, or to leave them on the server, wasting unnecessary space.
I have the same issue with Canon and Nikon raw files, so this problem is not specific to Olympus files.
This is a long standing problem, and I would be grateful if anyone has any answers?
If any Adobe programmers are watching, it would be handy if you could provide a simple utility to delete orphaned *.xmp files, or at least compress them into some kind of archive.
Thanks,
Nigel.

[quote] As far as Photoshop and ACR go, ALL raw files are treated as read-only.
Your original raw files remain untouched, no matter what you do to them.
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That is not quite correct. Camera RAW files can be permanently deleted from within Adobe Camera Raw. The problem with ACR 4.1 to 4.4 4 was that the XMP files were left behind. This now seems to have been rectified in the latest version (ACR 4.5).
Thank you Adobe!

CANNOT OPEN RAW FILES USING NEW CANON EOS 1D MKIII WITH PHOTOSHOP ELEMENTS 5

Hi, I have recently taken a number of RAW shots with my new Canon EOS 1D MKIII and have found that I am unable to import them into Photoshop Elements version 5 (using Microsoft Windows). Comments generated are: "the file is a format that cannot be included in the organiser" and "cannot open because it is the wrong type of file". The RAW file extension is .CR2 and I have been able to open these type of files taken on my older, and much cheaper, Canon 350D. I have spent hours considering different options but to no effect and am completely baffled. Do the two cameras produce different types of RAW files? Notably, the files do import into the Canon software 'Digital Photo Professional' but I want to undertake the more versatile manipulation in Photoshop Elements. I have managed to become even more baffled about Digital Negative ('DNG') files and wonder if there is some kind of converter I need. Would the solution be to purchase a more advanced Photoshop package like CS2? OR .......... do I need an 'Adobe Camera RAW' update? I have struggled to find the latest version for Photoshop Elements 5 to suit my Canon EOS 1D MKIII. There appears to be a 4.3.1 update but this only applies to Version CS3. Help!

You probably haven't had anyone respond to your question because it has been asked and answered so many times. However, I will try once again.
Adobe Camera Raw must have a profile for every model of every camera for which it supports the camera's raw format. It is not a matter of just supporting a file type such as your CR2 files. ACR needs to know specifically what model you are using. This is a problem that has been created by the different camera makers. They are the ones who are creating these proprietary raw formats. No, they do not cooperate with Adobe. That is why Adobe has to wait for a camera to be available, then obtain a raw file from that camera, and then create the profile so that ACR will recognize that camera. That is also why ACR is updated about four times each year, to provide support for newly released cameras.
In an attempt to create a "common" raw file format, Adobe has developed the DNG (Digital negative) file format. Adobe is providing a free DNG converter. You always want to download and use the latest version of the DNG converter because it will be the one that supports the most cameras. The DNG converter creates a digital negative copy of your raw image. It contains all of the original raw image data. The image data is precisely the same data that was in the original raw image. The difference is that the DNG file has a "standardized" file header that stores as much of the metadata as possible about the image. Metadata is the information that records the changes that you make to your image when you edit it. Some of the image data is proprietary, and is therefore not available to Adobe. Obviously, that information simply has to be ignored by ACR. There are no XMP files associated with the DNG files. The information is stored within the DNG file itself so the XMP sidecar file is not necessary.
If you decide to go the DNG route you want to make sure you are using the latest version of the DNG converter. It will convert raw files from the largest number of cameras. Those DNG files can be opened by any version of Camera Raw from version 2.4 onward. Consequently, someone who is still using Photoshop CS still has the capability of working on their raw files even if they have the most recent up to date camera.
Photoshop Elements will utilize ACR 4.3.1 and any subsequent updates to the ACR 4.x releases. Judging from past experience, there should be another release soon. No one knows for sure. These releases are never announced ahead of time. ACR is not as robust in Photoshop Elements as it is in Photoshop CS3. It is the same plug-in, but a number of options are not available. It will support the same cameras, however.
You don't need to worry about matching the DNG converter version number to your working version of ACR. The only relationship is that matching version numbers will support the same set of cameras. But the DNG files that are created can be used in any version of ACR from 2.4 onward.
Anyone who is involved with digital photography and shooting raw has become a victim of the arrogance of the camera makers. The camera makers want to protect their proprietary format, and they want to promote the use of their software. Some of that software has to be purchased, so it is another way for them to make money. Until such time as everyone agrees on a common raw format, the photographers are the ones who are at the mercy of the camera makers. And there will be a continual ongoing updating process that we will have to wait for.

Convert RAW Files in Your Aperture Database to Adobe DNG Files

The following describes how to convert all the RAW images in your Aperture database from manufacturer formats, such as Sony's ARW and Canon's CR2, to Adobe's DNG while retaining all the Adjustments already applied to your RAW files. In the example below I am assuming that your Aperture Library has ARW and CR2 files. These steps work with the latest version of Aperture, being Version 3.3, and have not been tested with earlier versions (in fact, it probably will not work because the database structure changed in 3.3 - however, this means that the steps below can also be applied to your iPhoto library). The steps are:
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2. Drag the "Masters" folder out of the Package and place it on your Desktop. The purpose of this step is so that Applications, such as Adobe DNG Converter, can "see" the "Masters" folder, which they cannot do if it is located within the Aperture Library Package.
3. Run the Adobe DNG Converter, select the above "Masters" folder with the "Select Folder" button, make sure you have selected the option "Save in the Same Location", it is also a good idea to select the option "Skip source image if the destination already exists", check your Preferences then select the "Convert" button.
4. Adobe DNG Converter will now convert all the RAW files to Adobe DNG files and save them in the same location as your existing RAW files. Once complete, take a note of (a) the number of files converted and (b) the types of files converted, such as if the conversion includes ARW, CR2, NEF files etc. In this example I will assume that the converter only found ARW and CR2 files; if your system is different then modify the steps below to make sure it covers all the RAW file types converted in your particular system.
5. Select the "Masters" folder and in the Finder Window Search Field search for all the files that end in .ARW and .CR2 (this filename search list should match the types of files found by the Adobe DNG Converter in step (4)(b) above). The number of files returned by the search must match the number of files recorded by the Adobe DNG Converter in step (4)(a) above. Do NOT put the .DNG files in your search criteria. Select all the files found in the search and move them to the Trash. This will delete all the original manufacturer's RAW files from your Aperture Library leaving behind all the new DNG files.
6. Move the "Masters" folder on your Desktop back to the root directory of the Aperture Library Package Content directory.
7. Select the Finder Window containing the Aperture Library Package Contents.
8. If there is a file called "ApertureData.xml" then open it with a text editor. Search and Replace ".arw" with ".dng", ".ARW" with ".DNG", ".cr2" with ".dng" and ".CR2" with ".DNG" (note, do not use the " marks in your search). Make sure you cover all the file types incorporated in your particular system. Save the "ApertureData.xml" file.
9. Traverse to the Database/apdb directory. Select the "BigBlobs.apdb" file and open it with a Hex editor. In this example I will use Hex Fiend by Ridiculous Fish (see http://ridiculousfish.com/hexfiend/). Once the file is open perform a Find and Replace ensuring you are finding and replacing Text and not Hex. In Hex Fiend this means selecting Edit/Find from the menu and then selecting the "Text" button to the top/left of the window. In your Find/Replace field you will need to find ".arw" and replace it with ".dng", make sure you select "Replace All" (note, do not use the " marks in your search). Do exactly the same for ".ARW" with ".DNG", ".cr2" with ".dng" and ".CR2" with ".DNG" (and whatever particular RAW files were in your system).
10. Perform exactly the same steps in (9) for the files "History.apdb", "ImageProxies.apdb", "Library.apdb" and "Properties.apdb".
That is it, your Aperture Library now contains DNG files instead of your original manufacturer files while still retaining all the Adjustments originally made in Aperture to those manufacturer files. Of course, you can repeat the same step and replace your DNG files with the original RAW manufacturer files if you wish. This process works because:
1. Aperture does not store the Adjustments in the RAW files, it keeps these in its internal SQLite database.
2. By using a Hex Editor you (a) don't have to play with SQLite to gain access to Aperture's data and (b) because you are replacing text that has exactly the same number of characters you are not invalidating the format of the underlying data file - this is why you use a Hex Editor instead of a simple text editor.
Think of Aperture as being a repository that holds Adjustments which then link to the original RAW source. Therefore, the above process simply replaces your RAW source and therefore all the Aperture Adjustments are still valid; same Adjustments, new source. In case you ask, no, you cannot transfer Adjustments in and out of Aperture because there is no standard to transform adjustments between different photographic applications.

A rather involved method, David.
I am sure it works, and compliments for figuring it out, but I think one critical step is missing in your workflow: Before you begin - backup, backup, backup!
And I think, all the edits in your database that you are doing so diligently, is what you bought Aperture for to do for you, why do it yourself?
I convert selected raw files this way - without manually patching the Aperture Library:
Export the originals of the raw images that I want to convert.
Run dng-converter.
Import the converted originals back, flag them, and move them to the project they came from.
Sort the project by capture date, so that identical images are show side by side.
Then I use the Lift&Stamp tool to transfer all adjustments and tags from the original raw to the dng copy. I check, if some edits are left to do, then delete the original.
It may take a little longer than your method, but this way all edits in the library are done by Aperture, and I am protected from accidental slips when editing the property list files. That requires a very careful work.
Patching the database files inside the library may be justified as a last ressort, when you need to fix and recue a broken Aperture library, and none of the provided tools is working, but not as a routine operation to do batch conversion of image files. It is very error prone. One wrong entry in the library files and your Aperture Library may be unreadable.
Regards
Léonie

Why do Sony DSC-RX100M3 raw files look strange in PE9 when flash has been used in the shot?

I have just bought a Sony DSC-RX100M3 camera and use it to shoot raw + jpeg. I want to use the raw files in my Photoshop Elements 9, which has the Camera Raw plug-in version 6.5.0.216 installed. I have downloaded the Adobe DNG converter version 8.7.1.311 so I can import my Sony raw files into PE 9 as they cannot be used directly. Most of the time these raw files look OK, but when I use the flash on my camera and then look at the raw files in PE9 they look far more pink than the corresponding jpeg files. The jpeg files look more or less as I remember the scene when I shot the picture.
When I look at the same raw and jpeg files in Sony's own Image Data Converter software (version 4.2.04.17270) the raw and jpeg files look very similar to one another, and there is no pink colour cast in the raw file.
What am I doing wrong in Photoshop Elements? I though the DNG converter keeps all the information from the original raw file and makes no changes to it, so why does the raw file look so different when flash has been used?
Thanks for any help you can give!
AVM

Looking at the pictures of the camera online, I'd say there is no lens shade--a device to keep light from the sides from causing lens flare--and the camera lens, itself, was just too far extended and there was a lens shadow. You probably can't use the flash that close up and should back off and zoom in further. Experimenting would give you a sense of what situations will have a shadow of the lens or not.
Your ACR plug-in is old enough not use have Process Version 2012, yet, only 2010 and 2003 so Adobe didn't have the idea to put the selector down next to the camera profile. The toning options are better with Process 2012 so that would be a reason to upgrade, but I am not sure that the Camera Neutral profile in PSE9 would be different than PSE13. If Adobe changed the camera profiles then people's pictures would look different once they upgraded to a new version and that's not something that's supposed to happen.
You can certainly download the PSE13 trial and see if things look any different, but they may not: Download a free trial or buy Adobe products | Adobe downloads There would be newer minimum OS version requirements for the newer versions of Adobe software so check those out before trying to install, unless you're on Windows 7+ or OSX 10.8+ then it should be fine.
One more thing, the White-Balance tint is set to +10 by the camera:
This As Shot WB is more magenta and even when using the Adobe Standard profile, moving the Tint down to +0 makes things a little more green like your camera JPG. So there is more than just changing the camera profile that you can do:

For Eric Chan - is Adobe using legacy (or Sigma's) code to do NR for Foveon raw files ?

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