Loss of precision vs loss of information

Hello,
Can anyone explain to me what is the difference between Loss of precision and Loss of information.
Thanks in advance,
Balteo

I think you can say Loss of precision == Loss of
informationWell I be damned, maybe the above's right after all.No.
At least not in the context of the JLS, which this discussion is based.
The terms apply to different things.
Search for the following in the above link.
The results for byte and short lose information about the sign and magnitude of the numeric values and also lose precision.
If I have the number -1.134 and I represent it as -1.100 then precision has been lost. Even though one might also say that information is lost that is not what it means in the JLS. And depending on where the number came from it might not be a loss of information for an application as well (if the number was only accurate to the 10ths place.)
On the other hand converting -1.10 to 1.10 is likely going to be a loss of information in all cases. And it is definitely a loss of information as defined in the JLS.

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Loss of Captions only in Olympus Camera photos

Loss of Captions only in Olympus Camera photos after migrating from Mac OS 10.5.11 and AP2 to Mac OS 10.6.4 and AP 3.03
I have had a problem where the captions written in Aperture 2 on a PowerMac G5 PPC running Mac 10.5.11 are no longer visible after migrating the photos to a new iMac running Mac OS 10.6.4 and AP 3.03. This occurs only in photos taken on Olympus Digital Cameras, no other brands are affected that I’ve seen (i.e. Nikon, Casio, Canon, Pentax). It occurs in both Preview and Aperture 3, replacing the previous Caption data with “OLYMPUS DIGITAL CAMERA”. However, if the same photo is returned unchanged to the older Mac, the correct captions are still visible. Also, Graphic Convertor and CS2 are able to read the correct captions in the IPTC data on the new system. Brand new photos imported directly into AP3 in the new system do not seem to be affected, although I have not used it enough to be sure that it will not happen in the future.
I believe that this is a problem with a change in how the new Mac OS reads IPTC data. I think the new system reads data from the EXIF (and XMP) fields in preference to the IPTC information, and if there is any information in those other fields, it will not read the IPTC caption. For most camera brands this is not much of a problem, because they do not automatically place any caption information in these fields. However Olympus seems to desire to place it’s name everywhere in the metadata, and their standard metadata include writing “OLYMPUS DIGITAL CAMERA” in the EXIF caption field (a very good reason never to use Olympus cameras in my opinion). If you ever have used Photoshop or Photoshop Elements (I have used fairly old versions only, this may have changed) to edit your photos in Aperture or previously in iPhoto and then migrated to Aperture, I noticed that the photos then have XMP metadata with “Olympic Digital Camera” written in many different fields, which also takes precedence over the IPTC caption in the Mac OS 10.6.x.
It is a very difficult problem, as once the AP2 library and referenced masters are brought over to the new system and upgraded to AP3, everything looks fine initially in the AP3 Library - even the captions are still there. However, pretty soon Aperture will start to realize that something has changed in the masters (even though nothing has really changed in the photo itself, just the way the system reads the IPTC metadata) and it will start to update the library, replacing your captions with “Olympus Digital Camera”. If you catch it early and try to stop the “updating” by using the “Write IPTC metadata to Masters” command, it will often not do anything, sometimes it will fix the problem for some photos and other times it will proceed to overwrite your previous captions with the Olympus caption - so don’t do that! I have tried all kinds of work arounds, and many of the more obvious options don’t help. I contacted Apple Support and Aperture, their response was that it was Olympus’ problem and a problem with the IPTC conventions. Olympus had no useful options either.
The best solution I have found so far is using ExifTool to remove the EXIF image description field, and the whole XMP box if the photo has been edited with Adobe products in the past. It’s time consuming process and a little intimidating for a terminal neophyte like me, but it’s easier than rewriting thousands of captions (and even if you do rewrite them in Aperture, Aperture will still change it back to “Olympus Digital Camera” once it decides that the master is somehow different than before). I will try to describe what has worked for me - some situations may be different. In particular, I suspect that writing the IPTC data to the masters upon exporting them for migrating to the new system makes this problem worse, as it causes Aperture 3 to realize that something has changed in the masters and make it update them; however often the masters without the IPTC will not be recognized for reconnecting. Consolidating the photos projects to be exported to the new system seems to help prevent problems within Aperture with the captions, but if you ever export the masters or use referenced masters, the problem will still be there until the EXIF caption is removed. I previously exported the masters (with the IPTC written them upon export in AP2) and then reconnected them in AP3, but this often seems to cause more problems with lost photos, time changes (mostly in the Adobe edited photos) and AP3 recognizing the master as “changed” and updating it, thereby losing the original captions.
Rule No. 1 - if at all possible, keep a copy of your original masters and Aperture 2 libraries as back ups (and it’s nice to be able to use them on your old system) - I’ve had to re-use them several times until I got things right. If your AP Libraries and masters are on a external HD, it may be best to make an exact clone of it (with the exact same name for the HD), so that you will not have to reconnect or relocate your masters.
You will probably want to see if you really have this problem before trying to fix it. Open the master taken with an Olympus camera that had a caption written to it in Aperture 2 in Preview and look at the caption information (command-I) under IPTC - if it says “Olympus Digital Camera” where you previously had something else, then it’s a problem. Under the TIFF (which is really from the EXIF data) box in Preview information, it will say the same thing under image description. With the same photo, if you import it into Aperture 3, it will also have “Olympus Digital Camera” as the IPTC caption. If it is already in Aperture 3 from a previous version, if you click on the photo for a full view, you may see the previous caption “update” to “Olympus Digital Camera”. Your actual master is okay (you can look at it in CS, Graphic Convertor, or an older Mac running 10.5. If you have never written anything in the IPTC caption, this problem is not visible, but you still have the EXIF Olympus caption waiting there to cause trouble in the future.
If you already have problems with changing captions on several photos in Aperture 3 Libraries, it is usually easier to just start over than to fix the photos one by one. Most fixes keep on reverting back until you get rid of the EXIF:ImageDesription box with “Olympus Digital Camera” in it. My process has been as follows:
Export the Aperture 2 Projects with consolidated masters to an external HD or your new computer.
2. Prior to opening an Aperture Library that you are migrating to MacOS 10.6 - Aperture 3, importing a project , or reconnecting to the masters from an imported Library or Project, use ExifTool to remove the EXIF image description in the masters. If you have used Photoshop or Adobe products which leave an XMP metadata field, it is probably better to remove this also at the same time.
To use ExifTool:
I will describe this in more detail for those of us (like myself) who know nothing about using terminal.
A: Download and install the free EXIF-tool. (Many, MANY thanks to Phil Harvey, I think that it’s thanks to people like him that the world progresses).
B: I found it helps to have just one folder where I run ExifTool on the same HD where I am planning to store my Aperture Libraries and-or referenced masters. Name it something like “EXIF-ProcessingFolder”, and then you can move the projects or the folders with your masters in and out of it without having to copy them, and you can always use the same script - which help prevent errors! Put the unopened projects or folders with the masters you want to remove the EXIF image description into this folder. Don’t forget to keep a back-up copy of your photos!
C: Open Terminal (under Utilities in Applications). You will see
“last login: xxxx on ttys000
Network name: ~username$” and an open box (which becomes solid grey when active in terminal)
Note that your mouse will not work in Terminal, you must use the keyboard and arrow keys to move around the text (copying and pasting does work).
D: First we will “change directory” to get to the place we want to work on:
-in the open box at the end of the last line in the terminal, type “ cd “ (space-cd-space, no quotation marks) - the space after cd is important - and then drag and drop the icon for the “EXIFProcessingFolder” that you made in the previous step on your HD to the open box after “ cd “. Before you hit return, copy the file path (it will look something like ” /Volumes/NameofYourHD\ Folder/ Subfolder\EXIF- ProcessingFolder”), and copy it into the PASTEFilePathHERE part of the command line below. (I keep several copies of the command line on a document to paste and copy from). THEN hit return, and terminal will tell you where it is at like this: “NetworkName:EXIF-ProcessingFolder UserName$”.
E: I like to check where I am at this point, so I type in “ls” (I remember it as “let’s see”) and hit the “return” key to see the contents of the folder where the terminal is at. It should return a list of the different projects, folders or files in the EXIF-ProcessingFolder. That’s good. (If it doesn’t do this, start over with the “ cd “ command to change directories until you’re in the right place).
F: Now copy the entire command line including the substituted “PASTEFilePathHere” from below and paste it into the open box in the terminal and hit return. It will start processing your photos. You can watch its progress if you want by looking at the Date Modified of the Subfolders (but not files). When it is all finished, there will be a message in the terminal stating how many files were processed, how many were changed and how many unchanged. It may take a while; often I will receive some error messages in the terminal while it is working, mostly about duplicate rotation information - I just ignore it.
G: When it is finished, type “exit” in terminal, it will reply with “logout [Process completed]”, and then you can quit Terminal. I have not found out the way to stop the process if I need to while it is running, so if I need to I quit terminal, and that stops the process.
Here are the command lines to use with ExifTool
(copied and modified from Casamagnolia-wSzxs8’s post)
To delete the EXIF:ImageDescription of photos in a folder without subfolders: (you do not have to paste the folder location with this command, but the terminal must be in the correct directory)
exiftool -P -overwriteoriginal_inplace -m -EXIF:ImageDescription= *.jpg
To delete the EXIF:ImageDescription of Aperture Projects, Aperture Libraries or photos in a folder with subfolders (i.e. if your folders are separated by dates) - (it’s all one line without a return, you need to paste the File Path from step D above over the “PASTEFilePathHere” and then copy the whole thing and paste it into the terminal; mind the spaces; if you include the return at the end it will run as soon as you paste it into the terminal.):
exiftool -P -r -overwriteoriginal_inplace -m -EXIF:ImageDescription= PASTEFilePathHERE
(an example of final script for recursive folders): exiftool -P -r -overwriteoriginal_inplace -m -EXIF:ImageDescription= /Users/userName/Desktop/EXIF-ProcessingFolder
please note that this script will change files in the file path pasted into the command, even if you are not currently in that directory from step D above.
To delete the EXIF:ImageDescription AND the entire XMP metadata fields (for files previously processed with Photoshop, which now have the Olympus Digital Camera in several XMP fields) of photos in a folder with subfolders (i.e. if your folders are separated by dates) - (it’s all one line without a return, you need to paste the File Path from step D above over the “PASTEFilePathHere” and then copy the whole thing and paste it into the terminal; mind the spaces; if you include the return at the end it will run as soon as you paste it into the terminal.):
exiftool -P -r -overwriteoriginal_inplace -m -EXIF:ImageDescription= -XMP= PASTEFilePathHERE
(my limited explanation of the commands are -P saves the date-time of the original format; -r processes the sub-folders recursively; -m decreases the number of error messages; -overwriteoriginal_inplace copies the original file and pastes it onto the changes; -EXIF:ImageDescription removes the EXIF:ImageDescription metadata box; -XMP removes the entire XMP metadata file (I couldn’t figure out how to get rid of just the fields with Olympus Digital Camera written in them, and I don’t see any loss of information that I use, and as an added benefit, I suspect that it helps prevent incongruencies in reading the time & time zone between Aperture and PhotoShop).
After processing the files with the ExifTool, I then move the projects or folders of referenced masters back to where I intend to keep them permanently (so that I don’t have to relocate them in Aperture later on after reconnecting with them).
Import the project or upgrade the library in the new system with Aperture 3. If the Aperture Library is already connected to the referenced masters, do not to open it before you have removed the EXIF:ImageDescription from the masters, as it will start to change the caption information in Aperture, and then you will have to manually change the captions back in Aperture.
If the library is using referenced masters and these are in a new place from the last time the library was open, reconnect to the masters by going to Located Reference Files under the File menu, and navigate to where the masters are and reconnect all. Sometimes some photos will not reconnect, in which case you’ll have to re-import them. You will not need to reconnect the photos if you have already been using the Aperture Library and the photos are already connected, but it would be good to make sure they are all still connected.
Check to see that the problem is fixed - open some of the previously affected masters in Preview and you should see the correct Captions now. If you had already been using the Aperture Library and the caption still shows “Olympus Digital Camera”, check the master in Preview to make sure it’s fixed, and then change the caption in Aperture. Check your library for captions with “Olympus Digital Camera” (in the search box - Add Rule - IPTC - Caption includes...); if you have used Photoshop in the past to edit your photos and didn’t remove the XMP boxes, check them also (by searching in EXIF:Software - Adobe in the search box) for “Olympus Digital Camera” captions and check the time of the photos (they may be 1 or more hours off). Be sure to click on a photo to make sure it won’t “update” and change the caption again.
I hope this helps other people with the same problem. It took me ages to get it figured out and it is a very tedious and time consuming process. I wish Apple would consider how this could all be avoided. Please feel free to add suggestions or comments.

Loss of Captions only in Olympus Camera photos after migrating from Mac OS 10.5.11 and AP2 to Mac OS 10.6.4 and AP 3.03
I have had a problem where the captions written in Aperture 2 on a PowerMac G5 PPC running Mac 10.5.11 are no longer visible after migrating the photos to a new iMac running Mac OS 10.6.4 and AP 3.03. This occurs only in photos taken on Olympus Digital Cameras, no other brands are affected that I’ve seen (i.e. Nikon, Casio, Canon, Pentax). It occurs in both Preview and Aperture 3, replacing the previous Caption data with “OLYMPUS DIGITAL CAMERA”. However, if the same photo is returned unchanged to the older Mac, the correct captions are still visible. Also, Graphic Convertor and CS2 are able to read the correct captions in the IPTC data on the new system. Brand new photos imported directly into AP3 in the new system do not seem to be affected, although I have not used it enough to be sure that it will not happen in the future.
I believe that this is a problem with a change in how the new Mac OS reads IPTC data. I think the new system reads data from the EXIF (and XMP) fields in preference to the IPTC information, and if there is any information in those other fields, it will not read the IPTC caption. For most camera brands this is not much of a problem, because they do not automatically place any caption information in these fields. However Olympus seems to desire to place it’s name everywhere in the metadata, and their standard metadata include writing “OLYMPUS DIGITAL CAMERA” in the EXIF caption field (a very good reason never to use Olympus cameras in my opinion). If you ever have used Photoshop or Photoshop Elements (I have used fairly old versions only, this may have changed) to edit your photos in Aperture or previously in iPhoto and then migrated to Aperture, I noticed that the photos then have XMP metadata with “Olympic Digital Camera” written in many different fields, which also takes precedence over the IPTC caption in the Mac OS 10.6.x.
It is a very difficult problem, as once the AP2 library and referenced masters are brought over to the new system and upgraded to AP3, everything looks fine initially in the AP3 Library - even the captions are still there. However, pretty soon Aperture will start to realize that something has changed in the masters (even though nothing has really changed in the photo itself, just the way the system reads the IPTC metadata) and it will start to update the library, replacing your captions with “Olympus Digital Camera”. If you catch it early and try to stop the “updating” by using the “Write IPTC metadata to Masters” command, it will often not do anything, sometimes it will fix the problem for some photos and other times it will proceed to overwrite your previous captions with the Olympus caption - so don’t do that! I have tried all kinds of work arounds, and many of the more obvious options don’t help. I contacted Apple Support and Aperture, their response was that it was Olympus’ problem and a problem with the IPTC conventions. Olympus had no useful options either.
The best solution I have found so far is using ExifTool to remove the EXIF image description field, and the whole XMP box if the photo has been edited with Adobe products in the past. It’s time consuming process and a little intimidating for a terminal neophyte like me, but it’s easier than rewriting thousands of captions (and even if you do rewrite them in Aperture, Aperture will still change it back to “Olympus Digital Camera” once it decides that the master is somehow different than before). I will try to describe what has worked for me - some situations may be different. In particular, I suspect that writing the IPTC data to the masters upon exporting them for migrating to the new system makes this problem worse, as it causes Aperture 3 to realize that something has changed in the masters and make it update them; however often the masters without the IPTC will not be recognized for reconnecting. Consolidating the photos projects to be exported to the new system seems to help prevent problems within Aperture with the captions, but if you ever export the masters or use referenced masters, the problem will still be there until the EXIF caption is removed. I previously exported the masters (with the IPTC written them upon export in AP2) and then reconnected them in AP3, but this often seems to cause more problems with lost photos, time changes (mostly in the Adobe edited photos) and AP3 recognizing the master as “changed” and updating it, thereby losing the original captions.
Rule No. 1 - if at all possible, keep a copy of your original masters and Aperture 2 libraries as back ups (and it’s nice to be able to use them on your old system) - I’ve had to re-use them several times until I got things right. If your AP Libraries and masters are on a external HD, it may be best to make an exact clone of it (with the exact same name for the HD), so that you will not have to reconnect or relocate your masters.
You will probably want to see if you really have this problem before trying to fix it. Open the master taken with an Olympus camera that had a caption written to it in Aperture 2 in Preview and look at the caption information (command-I) under IPTC - if it says “Olympus Digital Camera” where you previously had something else, then it’s a problem. Under the TIFF (which is really from the EXIF data) box in Preview information, it will say the same thing under image description. With the same photo, if you import it into Aperture 3, it will also have “Olympus Digital Camera” as the IPTC caption. If it is already in Aperture 3 from a previous version, if you click on the photo for a full view, you may see the previous caption “update” to “Olympus Digital Camera”. Your actual master is okay (you can look at it in CS, Graphic Convertor, or an older Mac running 10.5. If you have never written anything in the IPTC caption, this problem is not visible, but you still have the EXIF Olympus caption waiting there to cause trouble in the future.
If you already have problems with changing captions on several photos in Aperture 3 Libraries, it is usually easier to just start over than to fix the photos one by one. Most fixes keep on reverting back until you get rid of the EXIF:ImageDesription box with “Olympus Digital Camera” in it. My process has been as follows:
Export the Aperture 2 Projects with consolidated masters to an external HD or your new computer.
2. Prior to opening an Aperture Library that you are migrating to MacOS 10.6 - Aperture 3, importing a project , or reconnecting to the masters from an imported Library or Project, use ExifTool to remove the EXIF image description in the masters. If you have used Photoshop or Adobe products which leave an XMP metadata field, it is probably better to remove this also at the same time.
To use ExifTool:
I will describe this in more detail for those of us (like myself) who know nothing about using terminal.
A: Download and install the free EXIF-tool. (Many, MANY thanks to Phil Harvey, I think that it’s thanks to people like him that the world progresses).
B: I found it helps to have just one folder where I run ExifTool on the same HD where I am planning to store my Aperture Libraries and-or referenced masters. Name it something like “EXIF-ProcessingFolder”, and then you can move the projects or the folders with your masters in and out of it without having to copy them, and you can always use the same script - which help prevent errors! Put the unopened projects or folders with the masters you want to remove the EXIF image description into this folder. Don’t forget to keep a back-up copy of your photos!
C: Open Terminal (under Utilities in Applications). You will see
“last login: xxxx on ttys000
Network name: ~username$” and an open box (which becomes solid grey when active in terminal)
Note that your mouse will not work in Terminal, you must use the keyboard and arrow keys to move around the text (copying and pasting does work).
D: First we will “change directory” to get to the place we want to work on:
-in the open box at the end of the last line in the terminal, type “ cd “ (space-cd-space, no quotation marks) - the space after cd is important - and then drag and drop the icon for the “EXIFProcessingFolder” that you made in the previous step on your HD to the open box after “ cd “. Before you hit return, copy the file path (it will look something like ” /Volumes/NameofYourHD\ Folder/ Subfolder\EXIF- ProcessingFolder”), and copy it into the PASTEFilePathHERE part of the command line below. (I keep several copies of the command line on a document to paste and copy from). THEN hit return, and terminal will tell you where it is at like this: “NetworkName:EXIF-ProcessingFolder UserName$”.
E: I like to check where I am at this point, so I type in “ls” (I remember it as “let’s see”) and hit the “return” key to see the contents of the folder where the terminal is at. It should return a list of the different projects, folders or files in the EXIF-ProcessingFolder. That’s good. (If it doesn’t do this, start over with the “ cd “ command to change directories until you’re in the right place).
F: Now copy the entire command line including the substituted “PASTEFilePathHere” from below and paste it into the open box in the terminal and hit return. It will start processing your photos. You can watch its progress if you want by looking at the Date Modified of the Subfolders (but not files). When it is all finished, there will be a message in the terminal stating how many files were processed, how many were changed and how many unchanged. It may take a while; often I will receive some error messages in the terminal while it is working, mostly about duplicate rotation information - I just ignore it.
G: When it is finished, type “exit” in terminal, it will reply with “logout [Process completed]”, and then you can quit Terminal. I have not found out the way to stop the process if I need to while it is running, so if I need to I quit terminal, and that stops the process.
Here are the command lines to use with ExifTool
(copied and modified from Casamagnolia-wSzxs8’s post)
To delete the EXIF:ImageDescription of photos in a folder without subfolders: (you do not have to paste the folder location with this command, but the terminal must be in the correct directory)
exiftool -P -overwriteoriginal_inplace -m -EXIF:ImageDescription= *.jpg
To delete the EXIF:ImageDescription of Aperture Projects, Aperture Libraries or photos in a folder with subfolders (i.e. if your folders are separated by dates) - (it’s all one line without a return, you need to paste the File Path from step D above over the “PASTEFilePathHere” and then copy the whole thing and paste it into the terminal; mind the spaces; if you include the return at the end it will run as soon as you paste it into the terminal.):
exiftool -P -r -overwriteoriginal_inplace -m -EXIF:ImageDescription= PASTEFilePathHERE
(an example of final script for recursive folders): exiftool -P -r -overwriteoriginal_inplace -m -EXIF:ImageDescription= /Users/userName/Desktop/EXIF-ProcessingFolder
please note that this script will change files in the file path pasted into the command, even if you are not currently in that directory from step D above.
To delete the EXIF:ImageDescription AND the entire XMP metadata fields (for files previously processed with Photoshop, which now have the Olympus Digital Camera in several XMP fields) of photos in a folder with subfolders (i.e. if your folders are separated by dates) - (it’s all one line without a return, you need to paste the File Path from step D above over the “PASTEFilePathHere” and then copy the whole thing and paste it into the terminal; mind the spaces; if you include the return at the end it will run as soon as you paste it into the terminal.):
exiftool -P -r -overwriteoriginal_inplace -m -EXIF:ImageDescription= -XMP= PASTEFilePathHERE
(my limited explanation of the commands are -P saves the date-time of the original format; -r processes the sub-folders recursively; -m decreases the number of error messages; -overwriteoriginal_inplace copies the original file and pastes it onto the changes; -EXIF:ImageDescription removes the EXIF:ImageDescription metadata box; -XMP removes the entire XMP metadata file (I couldn’t figure out how to get rid of just the fields with Olympus Digital Camera written in them, and I don’t see any loss of information that I use, and as an added benefit, I suspect that it helps prevent incongruencies in reading the time & time zone between Aperture and PhotoShop).
After processing the files with the ExifTool, I then move the projects or folders of referenced masters back to where I intend to keep them permanently (so that I don’t have to relocate them in Aperture later on after reconnecting with them).
Import the project or upgrade the library in the new system with Aperture 3. If the Aperture Library is already connected to the referenced masters, do not to open it before you have removed the EXIF:ImageDescription from the masters, as it will start to change the caption information in Aperture, and then you will have to manually change the captions back in Aperture.
If the library is using referenced masters and these are in a new place from the last time the library was open, reconnect to the masters by going to Located Reference Files under the File menu, and navigate to where the masters are and reconnect all. Sometimes some photos will not reconnect, in which case you’ll have to re-import them. You will not need to reconnect the photos if you have already been using the Aperture Library and the photos are already connected, but it would be good to make sure they are all still connected.
Check to see that the problem is fixed - open some of the previously affected masters in Preview and you should see the correct Captions now. If you had already been using the Aperture Library and the caption still shows “Olympus Digital Camera”, check the master in Preview to make sure it’s fixed, and then change the caption in Aperture. Check your library for captions with “Olympus Digital Camera” (in the search box - Add Rule - IPTC - Caption includes...); if you have used Photoshop in the past to edit your photos and didn’t remove the XMP boxes, check them also (by searching in EXIF:Software - Adobe in the search box) for “Olympus Digital Camera” captions and check the time of the photos (they may be 1 or more hours off). Be sure to click on a photo to make sure it won’t “update” and change the caption again.
I hope this helps other people with the same problem. It took me ages to get it figured out and it is a very tedious and time consuming process. I wish Apple would consider how this could all be avoided. Please feel free to add suggestions or comments.

Changes, or loss of quality when changing from Indexed Colour to RGB or Gray Scale?

I am using a canon scanner 700 to scan old photographs and plans/maps for high resolution publication. The plans and photographs are both in colour and in bl/wh and grayscale. I usually scan in gray scale unless its an important, coloured plan.
I am unable to scan through c5 for some reason. Its a 64 bit dell M4400, W7. All legal, all working fine.
I use the program canon supplies (Canon MP Navigator EX 2.1) and choose grayscale, 1200 dpi. No problem so far. Output seems great when I open in photoshop.
However, the files open in Indexed Colour mode, and not grey scale as I scanned them in.
My questions are :
a) why does it open in indexed colour mode?
b) is there any loss of information if I simply change them into grey scale?
I need the files in high res for professional publication in large format, but also for analysis of dimensions. So I cannot afford ANY transformation or loss of info.
Hope somebody can help me out!
All the best,
Mads M. Nielsen

I am using a canon scanner 700 to scan old photographs and plans/maps for high resolution publication. The plans and photographs are both in colour and in bl/wh and grayscale. I usually scan in gray scale unless its an important, coloured plan.
I am unable to scan through c5 for some reason. Its a 64 bit dell M4400, W7. All legal, all working fine.
I use the program canon supplies (Canon MP Navigator EX 2.1) and choose grayscale, 1200 dpi. No problem so far. Output seems great when I open in photoshop.
However, the files open in Indexed Colour mode, and not grey scale as I scanned them in.
My questions are :
a) why does it open in indexed colour mode?
b) is there any loss of information if I simply change them into grey scale?
I need the files in high res for professional publication in large format, but also for analysis of dimensions. So I cannot afford ANY transformation or loss of info.
Hope somebody can help me out!
All the best,
Mads M. Nielsen

AVCHD workflow and quality loss

I have been trying to establish a workflow with imovie and my Canon HF100 to make a BD with menus. I tried the Canon program on windows that edits AVCHD natively, and it is miserable. I still keep parallels around just in case I decide to use the Canon program again, but I probably need to move on for the power of iMovie and FCE. I absolutely love the new iMovie for really quick edits and I have FCE on hand for the advanced stuff.
The reality is that using iMovie entails quality change. I have been spending weeks looking over clips on my PS3 and 52" panny plasma to decide which workflow to chose. I am sharing my experience for anyone who cares and please comment.
I have taken screen shots, because they are easier to show differences, but the missing comparison would be MPEG compression noise, which I will comment on. The lighting and backgrounds were chosen to show the differences more clearly. I watched many more video clips than Im showing, but the findings are all pretty consistent between clips.
http://picasaweb.google.com/robanderi/CanonHF100AVCHD17mbpsIMovieComparison#
A. The 1st set of cat pictures were done to test the workflow AVCHD -->import to AIC -->export to mp4 18mbps --> Burn Blu-ray disc using Toast 18mbps. I think the end product is ~8% inferior due to a what you can see in the pictures (brightening, maybe a loss of detail and more ...green?) PLUS this test had the largest increase in MPEG compression noise during playback.
B. The second set of pictures shows: AVCHD --> import to AIC --> export to AIC --> Burn Blu-ray 18mbps. The changes seem to be similar to the first test, but the MPEG compression noise was not as bad after the conversion. I would call this 5% inferior. Whatever percentage YOU give test A, I would say B will always be slightly worse by a tiny margin factoring in the MPEG noise.
C. Same as B.
D. Adding an h.264 conversion to another h.264 conversion changes the picture ever so slightly as I mentioned before, but you cannot see the MPEG noise that is the biggest deal.
E. Importing the media from AVCHD to AIC in Imovie seems to not be that big of a deal, except the picture darkens slightly resulting in the loss of information upon subsequent conversions.
CONVERSION TIME: Doing TWO h.264 conversions takes longer than going from AIC --> AIC then AIC --> mp4.
SPACE: Option B consumes massive space, because then you have TWO collections of AIC's plus space for the end video. My hour video thus needed 110GB! 50 + 50 + 10.
END RESULT: Option A: you can keep the best copy for viewing on the computer and have a BD. Takes longer, but you get two products. BD is not as good. Option B: Faster and better BD, but you really only have a BD and no copy for the computer (unless you fish out the .mts files). You would have to convert the iMovie again for a computer copy.
The last option is to eliminate the double conversion and just not have a BD with a menu. Will a regular BD player play a straight mp4 file?

AIC is a lossy intermediate codec.
You need to consider moving up to FCP which facilitates pro res HQ conversions.

Perte des informations de la colonne commentaire en reliant les médias

Bonjour, si j'importe un projet, ou ouvre un ancien projet et que j'ai besoin de relier les médias, je perds systèmatiquement une partie des informations de derushage comme ceux de la colonne commentaire.
Je vois ces infos sur les fichiers offline et dès que je relink elle s'effacent au fur et à mesure....
QQ as t'il le même problème, est ce un bug ?
Merci

Roughly translated:
Loss of information in the column by connecting the media reviewed Hello, if I import a project, or open an old project and I need to connect the media, I lose prompted systematically some information Logging like the comment column. I see the info on the files offline and when I relink it to fade As .... QQ as you have the same problem, is this a bug?
Voulez-vous me passer votre message sur le forum français? Je peux le faire pour vous. Merci.
Would you like me to move your post to the French language forum? I can do that for you. Thanks.

What every developer should know about bitmaps

This isn't everything, but it is a good place to start if you are about to use bitmaps in your program. Original article (with bitmaps & nicer formatting) at Moderator edit: link removed
Virtually every developer will use bitmaps at times in their programming. Or if not in their programming, then in a website, blog, or family photos. Yet many of us don't know the trade-offs between a GIF, JPEG, or PNG file – and there are some major differences there. This is a short post on the basics which will be sufficient for most, and a good start for the rest. Most of this I learned as a game developer (inc. Enemy Nations) where you do need a deep understanding of graphics.
Bitmaps fundamentally store the color of each pixel. But there are three key components to this:
1.Storing the color value itself. Most of us are familiar with RGB where it stores the Red, Green, & Blue component of each color. This is actually the least effective method as the human eye can see subtle differences on some parts of the color spectrum more than others. It's also inefficient for many common operations on a color such as brightening it. But it is the simplest for the most common programming tasks and so has become the standard.
2.The transparency of each pixel. This is critical for the edge of non-rectangular images. A diagonal line, to render best, will be a combination of the color from the line and the color of the underlying pixel. Each pixel needs to have its level of transparency (or actually opacity) set from 0% (show the underlying pixel) to 100% (show just the pixel from the image).
3.The bitmap metadata. This is informat about the image which can range from color tables and resolution to the owner of the image.
Compression
Bitmaps take a lot of data. Or to be more exact, they can take up a lot of bytes. Compression has been the main driver of new bitmap formats over the years. Compression comes in three flavors, palette reduction, lossy & lossless.
In the early days palette reduction was the most common approach. Some programs used bitmaps that were black & white, so 1 bit per pixel. Now that's squeezing it out. And into the days of Windows 3.1 16 color images (4 bits/pixel) were still in widespread use. But the major use was the case of 8-bits/256 colors for a bitmap. These 256 colors would map to a palette that was part of the bitmap and that palette held a 24-bit color for each entry. This let a program select the 256 colors out of the full spectrum that best displayed the picture.
This approach was pretty good and mostly failed for flat surfaces that had a very slow transition across the surface. It also hit a major problem early on with the web and windowed operating systems – because the video cards were also 8-bit systems with a single palette for the entire screen. That was fine for a game that owned the entire screen, but not for when images from different sources shared the screen. The solution to this is a standard web palette was created and most browsers, etc. used that palette if there was palette contention.
Finally, there were some intermediate solutions such as 16-bits/pixel which did provide the entire spectrum, but with a coarse level of granularity where the human eye could see jumps in shade changes. This found little usage because memory prices dropped and video cards jumped quickly from 8-bit to 24-bit in a year.
Next is lossy compression. Compression is finding patterns that repeat in a file and then in the second case just point back to the first run. What if you have a run of 20 pixels where the only difference in the second run is two of the pixels are redder by a value of 1? The human eye can't see that difference. So you change the second run to match the first and voila, you can compress it. Most lossy compression schemes let you set the level of lossiness.
This approach does have one serious problem when you use a single color to designate transparency. If that color is shifted by a single bit, it is no longer transparent. This is why lossy formats were used almost exclusively for pictures and never in games.
Finally comes lossless. This is where the program compresses the snot out of the image with no loss of information. I'm not going to dive into what/how of this except to bring up the point that compressing the images takes substantially more time than decompressing them. So displaying compressed images – fast. Compressing images – not so fast. This can lead to situations where for performance reasons you do not want to store in a lossless format on the fly.
Transparency
Transparency comes in three flavors. (If you know an artist who creates web content – have them read this section. It's amazing the number who are clueless on this issue.) The first flavor is none – the bitmap is a rectangle and will obscure every pixel below it.
The second is a bitmap where a designated color value (most use magenta but it can be any color) means transparent. So other colors are drawn and the magenta pixels are not drawn so the underlying pixel is displayed. This requires rendering the image on a selected background color and the edge pixels that should be partially the image and partially the background pixel then are partially the background color. You see this in practice with 256 color icons where they have perfect edges on a white background yet have a weird white halo effect on their edges on a black background.
The third flavor is 8 bits of transparency (i.e. 256 values from 0 – 100%) for each pixel. This is what is meant by a 32-bit bitmap, it is 24-bits of color and 8 bits of transparency. This provides an image that has finer graduations than the human eye can discern. One word of warning when talking to artists – they can all produce "32-bit bitmaps." But 95% of them produce ones where every pixel is set to 100% opacity and are clueless about the entire process and the need for transparency. (Game artists are a notable exception – they have been doing this forever.) For a good example of how to do this right take a look at Icon Experience – I think their bitmaps are superb (we use them in AutoTag).
Resolution
Many formats have a resolution, normally described as DPI (Dots Per Inch). When viewing a photograph this generally is not an issue. But take the example of a chart rendered as a bitmap. You want the text in the chart to be readable, and you may want it to print cleanly on a 600 DPI printer, but on the screen you want the 600 dots that take up an inch to display using just 96 pixels. The resolution provides this ability. The DPI does not exist in some formats and is optional in others (note: it is not required in any format, but it is unusual for it to be missing in PNG).
The important issue of DPI is that when rendering a bitmap the user may want the ability to zoom in on and/or to print at the printer's resolution but display at a lower resolution – you need to provide the ability for the calling program to set the DPI. There's a very powerful charting program that is useless except for standard viewing on a monitor – because it renders at 96 DPI and that's it. Don't limit your uses.
File formats
Ok, so what file formats should you use? Let's go from most to least useful.
PNG – 32-bit (or less), lossless compression, small file sizes – what's not to like. Older versions of some browsers (like Internet Explorer) would display the transparent pixels with an off-white color but the newer versions handle it properly. Use this (in 32-bit mode using 8 bits for transparency) for everything.
ICO – This is the icon file used to represent applications on the desktop, etc. It is a collection of bitmaps which can each be of any resolution and bit depth. For these build it using just 32-bit png files from 16x16 up to 256x256. If your O/S or an application needs a lesser bit depth, it will reduce on the fly – and keep the 8 bits of transparency.
JPEG – 24-bit only (i.e. no transparency), lossy, small file sizes. There is no reason to use this format unless you have significant numbers of people using old browsers. It's not a bad format, but it is inferior to PNG with no advantages.
GIF – 8-bit, lossy, very small file sizes. GIF has two unique features. First, you can place multiple GIF bitmaps in a single file with a delay set between each. It will then play through those giving you an animated bitmap. This works on every browser back to the 0.9 versions and it's a smaller file size than a flash file. On the flip side it is only 8 bits and in today's world that tends to look poor (although some artists can do amazing things with just 8 bits). It also has a set color as transparent so it natively supports transparency (of the on/off variety). This is useful if you want animated bitmaps without the overhead of flash or if bandwidth is a major issue.
BMP (also called DIB) – from 1 up to 32-bit, lossless, large file sizes. There is one case to use this – when speed is the paramount issue. Many 2-D game programs, especially before the graphics cards available today, would store all bitmaps as a BMP/DIB because no decompression was required and that time saving is critical when you are trying to display 60 frames/second for a game.
TIFF – 32-bit (or less), lossless compression, small file sizes – and no better than PNG. Basically the government and some large companies decided they needed a "standard" so that software in the future could still read these old files. This whole argument makes no sense as PNG fits the bill. But for some customers (like the federal government), it's TIFF instead of PNG. Use this when the customer requests it (but otherwise use PNG).
Everything Else – Obsolete. If you are creating a bitmap editor then by all means support reading/writing every format around. But for other uses – stick to the 2+4 formats above.
Edited by: 418479 on Dec 3, 2010 9:54 AM
Edited by: Darryl Burke -- irrelevant blog link removed

I don't think the comment about jpeg being inferior to png and having no advantages is fair. The advantage is precisely the smaller file sizes because of lossy compression. Saving an image at 80-90% quality is virtually indistinguishable from a corresponding png image and can be significantly smaller in file size. Case in point, the rocket picture in that blog post is a jpeg, as is the picture of the blogger.
The statements about the TIFF format is slightly wrong. TIFF is sort of an all encompassing format that's not actually associated with any specific compression. It can be lossless, lossy, or raw. You can have jpeg, jpeg2000, lzw, packbits, or deflate (png) compressed tiff files. There's also a few compressions that specialize in binary images (used alot for faxes). In fact, the tiff format has a mechanism that allows you to use your own undefined compression. This flexibility comes at a price: not all image viewers can open a tiff file, and those that do may not be able to open all tiff files.
Ultimately though, the main reason people use TIFF is because of its multipage support (like a pdf file), because of those binary compressions (for faxes), and because of its ability include virtually any metadata about the image you want (ex: geographical information in a "GeoTIFF").

Implicit Type Conversion In Java

In java any decimal literal is an Integer.Then why the byte b=4; does not generate a compilation error as we are trying to assign integer (larger data type) to an byte(smaller data type).If we try to do float f=4.5; then it gives the compliation error.Becasue any floating point literal is double.But why it does not hold good in case of the decimal litera?

i'm not sure but I think this has something to do with the loss of information and the precision of a floating point number. An integer of 4 can be converted to a byte of value 4 without any loss of information but with a floating point number you loose information by converting down from double to float. btw you cannot assign any integer, all ints lager than 127 will throw a compilation error

Java Types Conversting & Casting .

Hi All !
Really i do have two questions regarding Java Type Conversion and Casting
and hope i would find (good) answers :
[Q1:]
why it's legal to convert(implicitly) from ( long --> float ) and this is
said to be a widening conversion even if the size of long is longer than float
and hence there a possible loss of information ?
[Q2:]
why it's legal to cast(explicitly) from ( byte --> char ) and how compiler will deal
with byte as singed and char as unsigned during type casting (this is said to be
a narrowing converstion and it is really is ) ?
for [Q2:] i did the follwing code :
public class TestNarw
     public TestNarw()
          byte bBefore=-100; // change this value to whatever negative number that is to fit in a byte.
          char c=(char)bBefore;
          byte bAfter=(byte)c;
          System.out.println(bBefore);
          System.out.println(c);
          System.out.println(bAfter);
     public static void main(String args[])
          new TestNarw();
           the SURPRISE on the code above is that the output is :
-100
-100
and when i change the value of "bBefore" to any negative number that is to fit in a
byte it (e.g: -10) it gives the same value for the variable "c" (character)which is ASCII "63" ="?"
but when i test it with a suitable postive number , it works fine and the character (c) represents that number
so how it deals with converstion from negative byte to char ?
Thanks ...

Q1: you can always cast between primitive types (numbers, not boolean). The only problem is you lose precision in certain directions. A long to float isn't necessarily going to change the value, but it really depends on the long value. If it's out of range of float, it'll basically be wrapped around to the negative side. (at least that's what long to int would do, not sure if float or double behave different in that regard).
Q2: The value -100 converted to a char would probably be 65436, which prints as "?" because DOS can't print that character. Then when you cast back, 65436 is out of range for a byte, so it rolls back around to -100.
Try this:
byte b = 127;
System.out.println(b);
System.out.println((byte)b+1);
System.out.println((byte)0xFF); // 255 in hex
It'll print 127, then -128, then -1. When you go out of range, it just wraps around. For this reason, you often have to be carefull what size you store things as.

Get outline stroke of a Geometry without polygonal approximation

Hello,
I am working in a project where I must create a "widened" path geometry from an existing path geometry.
The current solution I have is to use something similar to what Charles Petzold suggested in this post:
http://www.charlespetzold.com/blog/2008/04/Rounded-Graphics-in-WPF.html
However the suggested GetWidenedPathGeometry and GetOutlinedPathGeometry methods rely on polygonal approximation. The side effect is that if my original path geometry contains an ArcSegment, it is transformed in a PolyLineSegment.
I cannot have such loss of information. It is not about precision (that is adjustable in this case), but the problem is that I still need to have a single LineSegment or in worst case some Bezier segments instead.
Any ideas on how to improve that?
Thank you,
Igor.
.NET Software developer for industrial internet and automation system.

Hi Igor,
I've read Charles's article, using Geometry.GetWidenedPathGeometry and Geometry.GetOutlinedPathGeometry method is our normal way to accomplish the similar work for the Geometry.
>>However the suggested GetWidenedPathGeometry and GetOutlinedPathGeometry methods rely on polygonal approximation
Indeed, the default tolerance is .000001, refer to document:
http://msdn.microsoft.com/en-us/library/ms615682(v=vs.110).aspx &
http://msdn.microsoft.com/en-us/library/ms615689(v=vs.110).aspx
>>The side effect is that if my original path geometry contains an ArcSegment, it is transformed in a PolyLineSegment
I found Charles also wrote an useful article: The Mathematics of ArcSegment
Quote:
There may come a time when you need to generate polyline approximations to the various types of path segments. The Geometry class itself has a method named GetFlattenedPathGeometry and the PathFigure class has a method named GetFlattenedPathFigure that
does this for you, but there might be a reason you want to do it yourself. (For example, you might want an approach that doesn't explicitly or implicitly cause routine memory allocations from the managed heap.)
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Gif Animations

First off, I'd like to say I've been making gif animations in Photoshop Elements since 2.0, and I've had no problem with 6.0 either--- when I was on Windows.
For whatever reason, when I open a .gif animated image, I get an error message that says:
"This is an animated GIF. You can only view one frame. Saving over this file will result in a loss of information."
EVERY single time I open a gif, and as soon as I hit okay, it opens to the single frame locked. As I said, I've never had this problem with Photoshop Elements 6.0 in Windows... Any suggestions/ help please?

Your post is unclear on some important points. When you say "when I was in Windows" does that mean you are talking about a mac now? What version of PSE are you talking about?
If you mean PSE 8 for mac, you would be better off downloading a program like the free Giffun from stone.com and using that for animated gifs. For one thing the frame rate has been broken in the mac version of PSE in both 6 and 8.

Edit .Gif

Hi,
I am developer not photoshop professional. But for some reason our creative person is absent for some days.
Now I want to edit .Gif file. please help me.
As per forums discussion I am trying to open the .Gif file using photoshop but it showing me warning that "This is an animated Gif. You can only view one frame.Saving over this file will result in loss of information."
Please help me in this task..
Thanks in advance..

Here is one way:
http://techtidbeats.blogspot.com/2011/11/how-to-openedit-animated-gif-in.html
It's possible the other person was using some other software for gif animation, besides photoshop cs4
or they have the master files saved as psds somewhere.

Loss of precision vs loss of information

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