Migration with 16 bit tiff then

It is suggested that the migration from Aperture is by converting to 16 bit Tiff, no doubt to keep top quality images when exporting them to Lightroom.
Once in Lightroom, do I need to keep them as 16 bit, bearing in mind the size of them or should I be converting them to 8 bit Tiff`? What is the advantages of keeping them as 16 bit? What would be the disadvantages of keeping them as 8 bit tiff, especially is I have no intention of doing further editing/adjustments and just use for personal use?
thanks
john

Once in Lightroom, do I need to keep them as 16 bit, bearing in mind the size of them or should I be converting them to 8 bit Tiff`?
You are not given the choice ... if its 16 bits, then LR will keep it as 16 bits.
What is the advantages of keeping them as 16 bit? What would be the disadvantages of keeping them as 8 bit tiff, especially is I have no intention of doing further editing/adjustments and just use for personal use?
16 bits will provide you with opportunity to produce better edits than from an 8 bit image. If you are 100% sure you will not be editing these again, there is no harm in exporting the photos from Aperture as 8 bits, instead of exporting from Aperture as 16 bits. But also if these were JPG originals, I don't think there's any benefit to converting them to 16 bit TIF, as JPGs are 8 bits and the TIFs should probably be 8 bits.
I am skeptical that you will never edit these again ... please bear with me, I don't know you ... but in my case, a long time ago, before I had Lightroom I used Photoshop Elements to edit my photos; then I got Lightroom and as I learned how to use Lightroom effectively, I went back to my old images that I had edited in Photoshop Elements and was able to GREATLY IMPROVE the appearance in the photos, compared to my previous edits in Photoshop Elements. As you learn more about Lightroom, you may find you still want to edit old photos to improve them.

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I bought a new mac and i migrate with time machine...but the backup was a little bit old and weren't save the latest modify i made in my website.. is it possible take the uploded site in iweb? sorry but i don't speak english very well.

I bought a new mac and i migrate with time machine...but the backup was a little bit old and weren't save the latest modify i made in my website.. is it possible take the uploded site in iweb? sorry but i don't speak english very well

But what can I cut and paste? the html code or image and text directly?
depend on which template you used.
if you use iweb photos page template then you need to search for my photos page solutions in this forum.
@ot: cut and paste from the online version
@rw: You can drag an image from the website to the Desktop
have your try your methods in iweb photos page?

16-bit tiff with a blue hue

I have a canon 20D, which I use to take RAW images. I convert them to 16-bit tiff's using Photoshop CS. When I transfer the images to my ipod photo using itunes they appear on the ipod with a blue hue to them, all the 8-bit images transfer fine. Can anyone tell me if this is a know/widespread issue, and if there is a solution to this.

Did anyone find an answer to this problem?

ACR with 32-bit tiffs?

I ran a set of HDR images through Merge to HDR Pro. Saved the result as a 32-bit tiff. Back to Bridge 6.0.1.6 where I can see the tiff.
I now want to do the RAW processing on the HDR file in ACR. I have no "Open in camera RAW".
I can open .NEF, .jpg, and other tiffs. Does ACR not support 32-bit tif files? And if it is supported, what do I need to do so I CAN get into ACR with a 32-bit tif?

Check this thread:
http://forums.adobe.com/message/4514579

Save U32 bit image as 16 bit tiff

Right now I am using IMAQ to grab a RGB(U32) color image in real-time. I am then trying to save the image as a 16 bit tiff file. However, the images only save as 8 bit tiff files. How can I fix this problem?
Thanks,
David

Hi David,
The simple VI that I attached reads an image from file and writes it as a TIFF. If you would like to test it, you can open up one of the images in the Vision >> Images folder (for example, candy.png which is U32) and you will see that it should save it as a U32 TIFF file. If the image you are reading in is I16 (i.e. IMAQ Create has type I16 wired in as a constant) then you should get an appropriate image out. If you are successful with this VI, I would recommend migrating it into your application. I hope this helps give you a good start.
Vu
Attachments:
Write TIF.vi ‏55 KB

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.)

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.

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

16-bit TIFFs seem to have a blue hue

I modified the original images (usually RAW) with photoshop, and saved them as 16-bit TIFF files so as to retain as much quality as possible.
(I am using a collection in photoshop elements to manage the pictures, and itunes syncs them from there.)
Yet, when they sync to my ipod/color 60g, they have a blue-ish hue to them.

open system preferences (either from dock or click on the apple pic top left of screen and select from drop down) or from a finder window: applications, and then click on displays>color then> calibrate and you can play with colors there... and yes, you can click to get it to factory settings..

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

Convert 16 bit tiff?

I am trying to recover disk space and have been using the DNG Converter to save 10-20 percent on my Canon cr2 files
I also have over 256 Gigs of 16 bit tiff files that I have outputted over the years from the HDR program Photomatix Pro,
When I originally saved them I saved them at a bit depth of 16 so I would have more to work with for the final editing.
So, on average the tiff files are each about 100 megs, I am guessing that as a DNG , it would shrink that by about 75%
DNG converter doesnt like the 16 bit tiffs and skips them.
Is there another piece of software that can convert 16 bit tiffs to DNG
OR
Is there another piece of software that can batch convert 16 bit tiffs to 8 bit so I can dump then them into the DNG converter without having to do each file one by one.
Thanks
Todd McIntosh

I have not used it before to convert 8-bit Tiffs.
I am only assuming it does so, because the program pulls the tiff files into the cue when you have them in the folder you are converting.
When the program goes to convert them (16 bit tiffs) it gives me a status of ...
"there was an error parsing the file"
Perhaps I am incorrect in assuming the results would be different with an 8 bit Tiff.
Hmmmm,
Todd

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.

32 bit TIFF from Lightroom

When I import a 32 bit TIFF sequence (which has been developed then saved in Lightroom) into After Effects it seems to ignore all the develop settings. The only way I can get this to work is to export the developed TIFF's from Lightroom as DNG files, then import those into AE.
Am I missing something? I would have expected AE to read the changes made to the TIFF's.
Any help appreciated.

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?

Migration with 16 bit tiff then

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