PS-CC 2014 (latest) - changing 32-bit depth file to 16-bit

I opened a file, happened to be 32-bit depth (I don't have too many, not even sure how that one got to be 32-bit), and because a lot of filters don't work with that, I changed it to 16-bit, but when I did that, the HDR toning dialogue appeared, and I HAD to click OK on it to get the image to convert to 16-bit (CANCEL on the dialogue leaves it at 32-bit). So you have to choose a METHOD that you can set so there's no change to the image. Weird & wrong . . .

Sorry, no solution to the problem, but a confirmation. I do have the same problem (Intuos Pro and Pen & Touch) showing the problem with ACR 8.5 and Photoshop (2014, CC and 6, these were updated with ACR 8.5) . No such problem before ACR 8.5 and no problem with LR 5.5 (also containing ACR 8.5).
I hope there will be a solution from Adobe soon, since sems to be caused by the ACR update.
Windows 8.1 in my case and latest Wacom Intuos driver installed.
Thomas

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Bit Depth & Sample Rate: 24 bit 96kHz? 192kHz?

I am using the Apogee Duet for Mac and iOS on my Mac and I love it - I'm thinking about getting an iPad for mobile recording (voice overs, mostly) and I wonder if Garage Band can manage 24 bit audio at 96 kHz or 192 kHz? I know that the Auria app can, so if nothing else I can just buy that, but since all I would use the iPad for is Voice Overs to edit later in a computer, a $50 app feels like overkill. Comments? Thoughts? Specs?

Well, I am new to high-end sound cards, and I may be misinterpreting the terminology, but the sound card is supposed to be a 24bit/96kHz card.
I am under the impression that one should be able to set the output quality of the card to 24bits of depth and a 96kHz sample rate, despite the speaker setting that one may be using, to decode good quality audio streams (say an audio cd or the dolby digital audio of a dvd movie.) I can currently achieve this only on 2. speaker systems (or when i set the speaker setting of the card to 2.) Otherwise the maximum bit depth/sample rate I can set the card output to is a sample rate of 48kHz and a bit depth of 6bits.
Am I mistaken in thinking that if I am playing a good quality audio stream I should be able to raise the output quality of the card to that which it is advertised and claims to have?
Thnx

Is there a way to convert 24 bit tTIFF files to 8 bit JPEGS

Many months ago I scanned several hundred slides into TIFF format. When I look at the details of the file, they have a bit depth of 24. Is there any way to use Elements 6 to save these files to JPEG format with only an 8 bit colour depth?

24 bit is 8 bit. When a file says it is 24 bit they mean 8 bit x three color channels=24 bit. Most scanners say it that way. Adobe is more honest and just calls it 8 bit.

64 bit setup file installs 32 bit itunes?

I downloaded the itunes 64-bit setup file from the apple website for my windows 7 64-bit laptop. During the install I received a message telling me to download the 64 bit version of itunes because this was the 32-bit.
I restarted my laptop and I uninstalled all apple software and tried again; the same occurred. Nothing I tried works. How do I get the correct setup file if that is what I did wrong? Otherwise, how do I set up the itunes without such controversies?

If you're using a 32-bit browser you may be offered the 32-bit version of iTunes despite the fact that your machine is 64 bit. See the Further Information area of Troubleshooting issues with iTunes for Windows updates for download advice and direct links if required.
tt2

Camera Raw only offers to open 16-bit raw files in 8-bit mode

I am using a windows CS6 Bridge => Camera Raw (8.2) => CS6 Photoshop (13.0.1 x64) to try to open various 16-bit raw files (.dng, .nef, .arw) which Bridge sees as 16-bit, but only an 8-bit version makes it into photoshop.
How do I convince Camera Raw to do its job?
Lightroom (4.4) is able to export a 16-bit .psd which sort-of-works but shouldn't be necessary.
Thanks in advance,
Steve

You set the bitdepth in your work options dialog box, which you access by clicking on the line that looks like a link right under the ACR preview:
Don't be afraid to read the Help files or other documentation that came with Photoshop (otherwise known as Read The Fine Manual).

Garageband seeing 16 bit wav files as 8 bit.

I am using Garage band 11. I have a session with speech and music. I came back to edit it and it would not open saying the audio was 8 bit. It was not it was wav and 44.1/16 bit. I opened the package contents and checked the wav files and they played fine. So how and why did Garageband suddenly see then as 8 bit?
I lost my whole session.
And ideas

this is my username wrote:
It was not it was wav
aiff not wav
this is my username wrote:
So how and why did Garageband suddenly see then as 8 bit?
I lost my whole session.
i don't know the "why," but all is not lost yet.
create a new project and drop the audio file into the timeline of the new project. if it really is a 44.1k 16-bit aiff file, then it should import into the new project.

AME CC 2014 (latest) when I import a file, the last pre-set I used is automatically applied to the file

And I can't seem to find a way to stop this behavior.
If I control click on the preset below the file in the Queue Pane and select remove, it deletes the preset and the file from the Queue.
Any help appreciated.
thanks
MtD

I seem to recall the previously, when I imported a file into AME, no preset was applied until I selected one. Is that incorrect?
Or is the correct workflow to select the preset, then import the file?
As it is now, I have one extra step if I happen to not want the preset that was applied on import, I need to delete it - after adding the preset I do want. Seems an odd way to work to me.
MtD

Bit Depth and Render Quality

When you finally export media to some sort of media format via the encoder does the projects preview Bit Depth and Render Quality settings affect the output file?
I know there is "Use Preview files" setting in the media exporter dialogue but I just want to be sure of what I am doing.

Jeff's response is my perspective, as well, which is both backed up by my own tests and the official Adobe word.
Exhibit A: My Tests
That is DV footage with a title superimposed over it in a DV sequence, with a Gaussian blur effect (the Premiere accelerated one) applied to the title; all samples are from that sequence exported back to DV. This was to show the relative differences of processing between software and hardware MPE, Premiere export and AME queueing, and the effect of the Maximum Bit Depth and Maximum Render Quality options on export (not the sequence settings; those have no bearing on export).
The "blooming" evident in the GPU exports is due to hardware MPE's linear color processing. I think it's ugly, but that's not the point here. Further down the line, you can see the effect of Maximum Bit Depth (and MRQ) on both software MPE and hardware MPE. I assume you can see the difference between the Maximum Bit Depth-enabled export and the one without. Bear in mind that this is 8-bit DV footage composited and "effected" and exported back to 8-bit DV. I don't understand what your "padding with zeroes" and larger file size argument is motivated by--my source files and destination files are the same size due to the DV codec--but it's plainly clear that Maximum Bit Depth has a significant impact on output quality. Similar results would likely be evident if I used any of the other 32-bit enabled effects; many of the color correction filters are 32-bit, and should exhibit less banding, even on something 8-bit like DV.
Exhibit B: The Adobe Word
This is extracted from Karl Soule's blog post, Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more. This section comes from Adobe engineer Steve Hoeg:
1. A DV file with a blur and a color corrector exported to DV without the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 8-bit frame,
apply the color corrector to the 8-bit frame to get another 8-bit frame,
then write DV at 8-bit.
2. A DV file with a blur and a color corrector exported to DV with the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 32-bit frame,
apply the color corrector to the 32-bit frame to get another 32-bit
frame, then write DV at 8-bit. The color corrector working on the 32-bit
blurred frame will be higher quality then the previous example.
3. A DV file with a blur and a color corrector exported to DPX with the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 32-bit frame,
apply the color corrector to the 32-bit frame to get another 32-bit
frame, then write DPX at 10-bit. This will be still higher quality
because the final output format supports greater precision.
4. A DPX file with a blur and a color corrector exported to DPX without the max bit depth flag.
We will clamp 10-bit DPX file to 8-bits, apply the blur to get an 8-bit
frame, apply the color corrector to the 8-bit frame to get another
8-bit frame, then write 10-bit DPX from 8-bit data.
5. A DPX file with a blur and a color corrector exported to DPX with the max bit depth flag.
We will import the 10-bit DPX file, apply the blur to get an 32-bit
frame, apply the color corrector to the 32-bit frame to get another
32-bit frame, then write DPX at 10-bit. This will retain full precision through the whole pipeline.
6. A title with a gradient and a blur on a 8-bit monitor. This will display in 8-bit, may show banding.
7. A title with a gradient and a blur on a 10-bit monitor
(with hardware acceleration enabled.) This will render the blur in
32-bit, then display at 10-bit. The gradient should be smooth.
Bullet #2 is pretty much what my tests reveal.
I think the Premiere Pro Help Docs get this wrong, however:
High-bit-depth effects
Premiere Pro includes some video effects and transitions
that support high-bit-depth processing. When applied to high-bit-depth
assets, such as v210-format video and 16-bit-per-channel (bpc) Photoshop
files, these effects can be rendered with 32bpc pixels. The result
is better color resolution and smoother color gradients with these
assets than would be possible with the earlier standard 8 bit per
channel pixels. A 32-bpc badge appears
to the right of the effect name in the Effects panel for each high-bit-depth
effect.
I added the emphasis; it should be obvious after my tests and the quote from Steve Hoeg that this is clearly not the case. These 32-bit effects can be added to 8-bit assets, and if the Maximum Bit Depth flag is checked on export, those 32-bit effects are processed as 32-bit, regardless of the destination format of the export. Rendering and export/compression are two different processes altogether, and that's why using the Maximum Bit Depth option has far more impact than "padding with zeroes." You've made this claim repeatedly, and I believe it to be false.
Your witness...

16 bit depth photo restoration, older version of Photoshop.

I use an older version of Photoshop. It is able to import and read a 16 bit depth file. Though it is limited in what it can do with this bit depth, it can do the levels and curves adjustments on an image. I want to have the best quality scan to start with for photo restoration in my older Photoshop. I won't be able to directly import the file with my older Photoshop from the scanner. If I scan a photo as a 16 bit 600 ppi image, I'm afraid color information will be lost when I open it in the older Photoshop. Is there any way I can open and save such a file without losing all that good color information? I know I would need to save it in a format that supports 16 bit depth like png versus jpeg.

Not exactly sure how Image Capture works on lion, but i belive i read that since os x 10.5 that it should scan in 16 bits/channel
Are you able to use the software that came with the scanner instead of Image Capture or maybe you need to update your scanner software or
possibly check the preference in the Image Capture scanner preferences to use Twain Software When Possible.
Or scanner software like VueScan which is much better than most software that ships with scanners.
http://www.hamrick.com/
Anyway if the scan is saved as a 16 bits/channel tif as output by the scanner to a place (folder) on your hard drive, then ps7 should open it as such.

User preference color bit depth overridden by prores HQ?

Hi there, any help much appreciated...
If you have your user preference color bit depth set to 8-bit, but render out to ProRes 422 (HQ) - does the codec's bit depth override that setting? Is the footage automatically rendered to at the codec's bit-depth?
And what bit depths does that codec support? There's no dialog drop-downs on the render codec settings to select a particular bit-depth... Which would suggest that this option is set in that user preference panel. However in my user preference panel, only 8bit and Floating are available as selectable options - 10, 12 and 16 are grayed out.
The reason I ask is this - I had the user preference bit depth set to 8 when I rendered out all my footage... Whereas I had I checked this option I would have preferred a higher setting. I'm on a deadline and don't have time to re-render everything... The film is heavily desaturated, so I'm not too concerned about banding - If I'm not mistaken, 8-bit color depth should be sufficient to prevent this in mostly gray images?

Wesley Ball wrote:
If you have your user preference color bit depth set to 8-bit, but render out to ProRes 422 (HQ) - does the codec's bit depth override that setting? Is the footage automatically rendered to at the codec's bit-depth?
There are two settings that are mutually exclusive: Output codec & Render Bit Depth.
Color will render at whatever bit depth you select. Your available bit depths for rendering is determined by your graphics card.
The export codec bit depth is how the resultant image gets written out to disk. If you pick Uncomressed 8bit, then that float image will get rounded down to 8bit.
ProRes is interesting. From some previous testing I've done this is what I've found (and if I'm wrong, please speak up): If you select ProResHQ (and I don't see any reason to ever pick ProResSQ) if Color is rendering at 10bit or better, ProRes will write out a 10bit file (which can be confirmed in FCP by viewing the footage properties - Command+9). If you have Color set to process at 8bit, then ProRes will write out an 8bit file.
Wesley Ball wrote:
The reason I ask is this - I had the user preference bit depth set to 8 when I rendered out all my footage... Whereas I had I checked this option I would have preferred a higher setting. I'm on a deadline and don't have time to re-render everything... The film is heavily desaturated, so I'm not too concerned about banding - If I'm not mistaken, 8-bit color depth should be sufficient to prevent this in mostly gray images?
More bits = more subtle gradiations without banding. Saturated or not. Remember, the difference between 8bit and 10bit is 256 shades of gray compared to 1024 shades of gray.
My general preference, render in float & write out at 10bit.
- pi

Choosing bit depth while recording audio

Hi,
First, the short version of the question:
Do you know of any simple audio recording app (ie: not a monster audio suite) which takes low CPU usage, and lets you choose the internal bit depth using for audio sampling (ie: sample at PCM16, at PCM24,...) ?
Now, in case you need it, the long version of the question:
I'm digitizing my huge collection of audio tapes, with my G5 iMac (OSX 10.4). The quality of the recordings is somewhat low, so I don't need a high-end audio card, and I believe the builtin audio card of this G5 is more than adequate for this task (Burr Brown PCM3052 with support for PCM16, PCM24, and AC3 16).
I've done my first tests with the just-released new version of Audacity (2.0.0), which is compatible with 10.4 and higher, so I'm very happy to be able to install a brand-new application in 10.4.
Audacity works fine, but has a couple of issues:
First, you can choose the audio track bit depth, but not the internal bit depth at which you're sampling. In other words, I'd expect to use some selector to choose from PCM16 or PCM24 recording, which is what this iMac seems to support. However, I can only choose the storage bit depth, not the sampling bit depth. I suppose Audacity is recording at PCM24, but I've no way to test this.
Second, it takes about 40% CPU usage while recording (yes, I disabled the realtime graphics update of Audacity... if I don't disable it, usage becomes 60% or higher).
I tried Audio Hijack Pro (well, the last version supporting 10.4), and it won't let me choose the sampling depth either.
So... do you know of any simple recording app which overcomes this issues?
TIA!
cesarpixel

although I was looking for something simpler.
Compared to what you describe, my use of GarageBand sounds "simpler."
GarageBand is part of iLife, so it is meant to be easy to use, unlike big brother Logic. Furthermore, I am using it in a very limited way. When recording, I just set up ONE track, which is pretty easy.
GB records at the best possible quality, up to 24-bit. I used 16-bit because my source was analog tapes and records, and I did not think it would make the final result any better. The GB project file serves as my "master copy" for future enhancement.
The best part is editing the full recording of the entire tape/record, into individual songs, then exporting them to iTunes as 256 kbps AAC (or MP3) files, all within GarageBand. A few of my records had skips, and I was able to edit them out by overlapping two tracks with the same portion of music, and carefully eliminating the skip at the transition between the two tracks. Also, because the source is analog, there is noticeable background hiss when the music level is low. It is particularly noticeable at the end of songs that fade out. To make the hiss fade out along with the music, I gradually adjusted the master volume level downward to zero starting when the music level became low enough for the hiss to be noticeable. That made the hiss fade out, which helped "hide" it.

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

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

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

Changing bit depth

Is there any way of changing bit depth in A3? I scan 48 and 16 bit TIFs and would like to drop certain pics to 24/8 (for storage reasons). I'd obviously prefer not to have to export to PS if possible. Thanks.

I don't know the technical trade-offs of _how_ the reduction in bit depth is done, but there must be a simple, probably automate-able and even batch-able way to effect the conversion. As an example, you could set Aperture "External Editor File Format" to "TIFF (8-bit)" and simply run "Edit with {external editor}", save the file in the external editor, and then back in Aperture delete your 16-bit originals.
The point -- which you've already understood -- is that you are creating new, different files and adding them to the list of files already listed in your Aperture Library. For your workflow, this makes sense and seems a good use of Aperture. You may find that the cost savings represented by the reduction in storage space achieved by lowering the bit-depth is not worth the administrative cost of creating these replacement files and deleting the others.

Can I change the bit depth on images in pdf files?

I have a lot of pdf files that were scanned in 24 bit colour. I'd like to convert some of them to greyscale or black and white, and reduce the resolution to make them smaller.
I can see how to reduce the resolution with Save As Other/Optimized PDF, but there are no options there to reduce bit depth. Is there any way to do this?

Thanks, I think I've worked out how to use them. I found a fixup called "Convert color to B/W", but it seems to convert to greyscale, not black and white.
I found this page describing how to convert to both greyscale and monochrome. It says the only way to do monochrome is to convert to tiff first:
http://blogs.adobe.com/acrolaw/2009/10/converting-color-pdf-to-greyscale-pdf-an-update/
If that's the case then Acrobat Pro isn't going to help me, but that was written in 2009. Does anyone know if true black and white conversion has been made available since then?

Maximum Bit Depth /Maximum Render Quality Questions

Maximum Bit Depth
If my project contains high-bit-depth assets generated by high-definition camcorders, I was told to select Maximum Bit Depth because Adobe Premiere Pro uses all the color information in these assets when processing effects or generating preview files. I'm capturing HDV using the Matrox RTX-2 Hardware in Matrox AVI format.
When I finally export my project using Adobe Media Encoder CS4, will selecting Maximum Bit Depth provide better color resolution once I post to Blu-ray format?
Maximum Render Quality
I was told that by using Maximum Render Quality, I maintain sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats as well as maximizes the quality of motion in rendered clips and sequences. It also renders moving assets more sharply. It's my understanding that at maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. I'm running Vista 64 Bit with 8 GIGs of RAM so I'm hoping to take advantage of this feature.
Will this also help to improve better resolution when I finally export my project using Adobe Media Encoder CS4 and post to Blu-ray format?
Does it look like I have the specs to handle Maximum Bit Depth and Maximum Render Quality when creating a new HDV project with the support of the Matrox RTX 2 Hardware capturing in Matrox AVI format? See Below Specs.
System Specs
Case: Coolmaster-830
Op System: Vista Ultima 64 Bit
Edit Suite: Adobe Creative Suite 4 Production Premium Line Upgrade
Adobe Premiere Pro CS 4.0.1 update before installing RT.X2 Card and 4.0 tools
Performed updates on all Adobe Production Premium Products as of 03/01/2009
Matrox RTX2 4.0 Tools
Main Display: Dell 3007 30"
DVI Monitor: Dell 2408WFP 24"
MB: ASUS P5E3 Deluxe/WiFi-AP LGA 775 Intel X38
Display Card: SAPPHIRE Radeon HD 4870 512MB GDDR5 Toxic ver.
PS: Corsair|CMPSU-1000HX 1000W
CPU: INTEL Quad Core Q9650 3G
MEM: 2Gx4|Corsair TW3X4G1333C9DHXR DDR3 (8 Gigs Total)
1 Sys Drive: Seagate Barracuda 7200.11 500GB 7200 RPM 32MB
Cache SATA 3.0Gb/s
2 Raid 0: Seagate Barracuda 7200.11 500GB 7200 RPM 32MB Cache SATA 3.0Gb/s Using Intel's integrared Raid Controller on MB

Just some details that i find useful on maximum render depth
You really need it even with 8bit source files, when using heavy grading/multiple curves/vignettes. If after grading you see banding, go to sequence > sequence settings from the top menu and check "maximum bit depth (ignore the performance popup), then check again your preview (it will change in a second) to see if banding is still present in 32bit mode. If no banding, you must check it when exporting, if banding is still there, change your grading, then uncheck it to continue with editing.
Unfortunately Maximum bit depth exporting is extremely time-consuming, but can really SAVE YOUR DAY when facing artifacts after heavy grading, by completely or almost completely eliminating banding and other unwanted color distortions.
Use it only for either small previews or the really final output.
Best Regards.

PS-CC 2014 (latest) - changing 32-bit depth file to 16-bit

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