RAW developer for Bayer GB12

Greetings,
I am a newbie to the forum and planning to use a 12MP video camera with APS-C size CMOS sensor as still-picture camera for night photography.. The outputs are Bayer GB10 and Bayer GB12. I would like to develop the pictures on a separate on-board pc to utilize the whole dynamic range as the JPEG outputs of the camera did not help much for low-light situations. Can anybody recommend me a proper RAW developer (like the Lightroom, for instance) so that the shadow detail could be elevated a few stops? Operation on Bayer GB12 is preferred. Thank you.
Bob

Hi BobYil. Welcome to NI Discussion Forums. I'm sorry, but National Instruments doesn't make the RAW developers like you are talking about. We have drivers for loading images from GigE, firewire, USB 2.0 (supporting Microsoft Direct Show), USB 3.0 (supporting USB3 Vision), CameraLink framegrabbers, Analog/Digital Framegrabbers, and National Instruments Smart Cameras.
This is the Machine Vision forum where we discuss questions about our NI Machine Vision software. This is software that automatically processes and extracts information from the images that are already in standard formats (JPEG, TIFF, PNG, etc.) For example, this software would be to locate objects and their locations, read text and barcodes, measure brightnes and color, etc.
I'm not sure if very many people on this forum are familiar with RAW conversion. However, I could be wrong. Does here have any experience with RAW developers like Lightroom?
Jeremy P.
Applications Engineer
National Instruments

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ACR VS RAW Developer for image detail

I am an avid/loyal ACR fan who makes mural sized landscape prints from digital capture. I keep hearing on various forums how Raw Developer (Mac) is the best out there for extracting every ounce of discernable detail from a raw file to a print. I am to the point of considering purchasing the software to do the tests.
If it proves to be a real world benefit, I will likely have to use it.
What has been your experience with Raw Developer vs. ACR in terms of quality detail?
If the above is true, might ACR step up to bat and give us another optional algorithm for maximized detail (like a "maximize detail" button in ACR to choose a more detailed conversion)?
Feel free to comment on the issue however you want.
I want detail!

I was a big convert and advocate for Raw Developer. I paid my $125 to Brian and I don't regret it one bit. He's a cool and patient guy and answered my emails without fail.
However, the more I got into using the color editing tools on a number of differently exposed and composed images with varying color temps, the more I started not liking what it did to the color. The default settings were pretty good but whenever I adjusted color temp and the saturation and hue sliders including other adjustements I noticed a strange patina in the hues that showed up in my edits that bothered me.
For instance when adjusting RD's red/green tint slider the green looks more like a urine green where as ACR's hue is more pure. When I placed side by side previews of the same image between the two converters I noticed RD's deep shadows on a number of images were void of any color while ACR's retained it.
Some users like the look of neutralized shadows on their display, but from my experience it doesn't look too good on a print. I come from a painting background and charcoal neutral shadows is a big no-no when painting shadow detail on canvas. It ruins the 3D effect. This is the main reason why offset pressman will either include an extra cyan plate duplicate of the black channel or mix blue into the black ink on press. It adds pop to the image.
ACR's color engine is far superior in this respect.
Also I get odd zipper like sharpening artifacts along edge detail in some images with RD. It's still an amazing Raw converter in that it retains the simple interface as ACR with added color controls of Lab and RGB curves which ACR doesn't. But I found I had to work to much to get what I wanted compared to using ACR.
Your experience may be different.

Cinema Raw Development for Windows 1.1 crashes on Canon C500 workflow.

Hey guys, this is mike, new to forum.
We are currently using windows Cinema Raw Development 1.1 to convert Canon C500 .rmf file into .dpx file so that we can import them into adobe premiere for editing.
However, everytime I import something into CRD, it crashes. It doesn't happen on our mac though, we don't want to include any mac machine into our workflow.
Anyone has any idea? Is Canon gonna release a bug fix release for CRD? Or shall I give up the official workflow by Canon and search for other option? As I heard rumors tha Davinci Resolve is able to import .rmf files.

Hi ericvanburen,
I found similar issue with HP Envy Desktop in HP forum , it might be due to blue tooth driver .
And I quoted the genneral solution here :
1. Enter into BIOS setup and set Virtualization as disabled and reboot system.
2. After booting windows 8, enter into Control panel and remove bluetooth driver.
3. Download and install Ralink Bluetooth driver version 9.2.101.10 (SP59632)
4. Reboot system and enable Virtualization Technology again.
For details please refer to following link:
http://h30434.www3.hp.com/t5/Notebook-Operating-Systems-and-Software/HP-ENVY-M6-1106er-Windows-8-Pro-hangs-up-to-start-after/m-p/2386453#M126362
Best Regards
Elton Ji
We
are trying to better understand customer views on social support experience, so your participation in this
interview project would be greatly appreciated if you have time.
Thanks for helping make community forums a great place.

Nikon D300 Raw files for 64bit windows vista machine not appearing in Photoshop CS3 raw

I purchased a new 64bit computer running Vista. I have installed Photoshop CS3 including the latest updates and the 4.6 (Camera Raw.8bi) raw update file. I included the raw file in C:\Program Files (x86)\Common Files\Adobe\Plug-Ins\CS3\File Formats. I have purged cache in Bridge and I still cannot view the raw files in Bridge. I only see a gray square with a Blue NEF. I can open the files in Photoshop however. What can I do to see the files in Bridge?

Nikon encrypts RAW file data
ByMichael R. Tomkins, The Imaging Resource
(Wednesday, April 20, 2005 - 02:16 EDT)
A news item posted on Sunday by PhotoshopNews.com reports on comments from Thomas Knoll, one of the original authors of Adobe Photoshop, relating to the RAW file format used in Nikon's D2X and D2Hs digital SLRs.
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Thomas Knoll is currently the chief engineer for Adobe Camera Raw, the company's RAW file conversion software. The PhotoshopNews item references a forum thread started by Mr. Knoll in Adobe's official user forums, where he reveals that .NEF RAW files from the latest Nikon digital SLRs encrypt data relating to the white balance setting the photo was shot with.
RAW file formats vary significantly between digital camera manufacturers (and often, between different models in a manufacturer's lineup), and the manufacturers generally won't publicly disclose the specification for the RAW file format(s) they use. Some will offer plugins or software development kits (SDKs) that enable their RAW files to be opened in third-party applications, but these generally have some limitations attached to their use.
In addition, the companies generally offer RAW file conversion software of their own, either as part of their camera bundles or as an added-cost option. Nikon offer their pro SLRs with PictureProject software that includes limited control over the RAW file conversion process, and then offer the more feature-rich Nikon Capture conversion software for an added cost. In a recent publication on the company's Nikon Pro website, it suggested that it feels Nikon Capture is better-suited to photographers, while Adobe's Photoshop is more suited to graphic artists. Still, different photographers have different workflow preferences, and for this reason third parties such as Adobe often reverse engineer the RAW file formats, allowing them to be opened in their own software - sometimes with even better image quality than the original manufacturer's software.
In a way, it is understandable that companies would want to encrypt RAW file data from their products - it allows them to pick and choose which competitors are able to open RAW files shot with their products, and allows them to generate new revenue streams from the sale of their own RAW file conversion software (or, if they choose, the sale of licenses allowing competitor programs to access their RAW file data). Nikon is not the first company we're aware of to encrypt data in RAW files; Sony's Cyber-shot DSC-F828 RAW files contain encrypted data. In that instance, however, Sony granted permission for Adobe to decrypt the data in their software. At the current time, Mr. Knoll states that while Adobe has signed a non-disclosure agreement that grants them access to use Nikon's SDK, they have not received any response to requests from Adobe that the company be allowed to decrypt the white balance data, which would allow closer integration with their software than is possible with the SDK.
The fact that Nikon has chosen to encrypt a portion of the RAW file data would not be particularly problematic for third parties to overcome, were it not for certain laws enacted around the world in recent years. One such law is the United States' "Digital Millennium Copyright Act", often referred to as the DMCA, which makes it illegal to produce technology that can circumvent measures designed to protect copyright. One could argue that Nikon's encryption of the white balance data is just such a measure - which would make it an offense for a third party without permission to make software that could decrypt the original white balance setting used by the camera when the photo was shot. One could equally argue, however, that the copyright over the RAW file belongs to the photographer who captured the image - and hence the choice over what is done with that copyrighted work is entirely up to the photographer.
Unfortunately, there's no clear-cut answer, and short of a company or programmer finding themselves in court for having cracked the encryption, there isn't likely to be such an answer any time soon. This presents a problem for third parties attempting to make their own RAW file conversion routines for the D2X and D2Hs, as if they don't want to risk opening themselves up to legal action, they aren't able to determine the original white balance setting. Hence, they must either request the white balance setting from the user as the RAW file is converted, or attempt to determine an appropriate white balance setting automatically (which would not necessarily be the same as that determined by the camera itself).
Nikon hasn't communicated their reasons for encrypting the white balance information in their latest NEF formats, but we have to say it doesn't sound like a very good idea. While Nikon Capture does indeed offer excellent capabilities for people to manipulate images saved in NEF formats, many photographers and organizations have already established workflows based on Adobe's RAW plugin for Photoshop and other image-processing tools. The biggest consequence of this move on Nikon's part seems likely to be to push more photographers onto other camera platforms. It's hard to imagine that increased sales of Nikon Capture will make up the revenue lost from camera and lens sales going forward.

How to set raw format for canon powershot a1100 is ? ,,according to the specs online it can.

how to set raw format for canon powershot a1100 is ? ,,according to the specs online it can.

It requires the Canon Hacker's Developement Kit (CHDK). It runs off of your SD card and does not harm your camera. Download a program called Stick-
http://zenoshrdlu.com/stick/stick.html
Follow the directions and you will be able to shoot in RAW along with some other deatures not available on your camera previously.

Camera Raw Support for Canon 7D MkII

Just trying to get some idea if I should spend the $99.00 to buy Aperture from the Apple Store. This might sound a little over the top, but the work flow I miss by not having RAW support in Lightroom is worth the expense of buying Aperture.
I do find it very disappointing that Adobe have not as yet provided support for the new Canon 7D MkII. This will be a VERY popular camera.
More importantly I find this tardiness on Adobe's part very disappointing because they market CC buy saying "You will always have up to date software". When you consider Apple and Google Picasa have both already supported the Canon 7D MkII. I might add they both had support for the camera within days of it's release on 31 of Oct.
So after my little rant.
Can anybody from Adobe advise when we will see Camera Raw support the new Canon 7DMkII?
Even if it is in Beta form I would be very happy to be a Beta tester. I have very extensive experience in testing software and would be prepared to do structured Beta testing. I would be very happy if someone from Adobe Labs would contact me for the purpose of Beta testing Camera Raw support for the 7D MkII.
Kind Regards
Tom Croll

Thanks ssprengel, you have clearly put into words what is currently reality at Adobe, and confirmed my suspicion of Aperture being a dead product. Although Google's Picasa is not dead.
I do realize Adobe Products are very well developed and software does take time to perfect before it gets released. I have been in the software development game for 35 years
But Camera RAW is an adjunct to Lightroom, Photoshop, Premier Pro etc. As such the support for new camera models should be a relatively simple exercise and should not be held up by other R&D on the products that Camera Raw plugs into. I believe they have in the past released updates to Camera Raw that essentially was just for new camera models. I do realize I could be wrong on this point, but I fail to see why they can't achieve this outcome.
Also, as I said Adobe Market Creative Cloud membership saying you will always be up to date. Or words to that effect.
To have an Adobe support person get upset because he has a large number of people pestering Adobe, and not him personally, trying to get ans answer as to the timing of the release of support for a new camera model, quite frankly is totally unacceptable. Not acceptable to the customers and not acceptable to the poor support person who has to handle disgruntled customers due to poor planning on Adobe's part.
In my original post I made a very serious offer to do Beta Testing on support for the Canon 7DMkII Raw files. But when i last checked with Adobe Labs the current Beta does not include support for this camera.
There maybe extenuating circumstances around the timely supply of this support. Like when did Canon provide the Specs for the 7D MkII and are those specs so different from other currently supported models. Even some feedback as to what the problem is, would help us understand.
I hope I have expressed my thoughts objectively and hope this discussion stream will get to management at Adobe. In fact I am very inclined to ensure it does get to senior management. I don't want to start writing a personal letter to the Chairman of Adobe's Board, but sometimes things do need a shake up.
Kind Regards
Tom Croll

Nikon RAW = NRW for P7100 missing

The new Nikon P7100 apparently uses another NRW-format as the "older" Nikon P7000. The actual versions of iPhoto and Aperture (under Lion) are not able to open these files ! Adobe Lightroom users are provided at the start of the camera with an RAW-update. It is not the first time that Apple developer for Aperture and iPhote are sleeping very well !

Adobe Photo Shop has just released updated RAW specifications that support NRW RAW format for the P7100. That means you can work around by going to Photo Shop or Photo Shop elements to do initial RAW processing and then back in to Aperture with a compatible format.
Although the NRW format is larger, than even the previous Nikon NER RAW format, there is more information that adds flexibility to opening up the Dinamic Range of a shot withour having to do the full monty HDR shooting process and offers other post production flexibilities. That means that you can open up the stop range for highlight and shadows a bit more without inducing noise prematurely.
The only reason for shooting RAW in any format is to capture as much "unprocessed" sensor information as possible. Converting to DNG or any of the Photo Shop formats to one that are useable by Aperture defeats that purpose and by inference makes the point for just shooting JPG Fine resolution if you want to settle for Aperture's limitations.
Of course that reduces the fexibiliy of post production image processing and makes Aperture less useful as an appliccation for serious advanced amature or semi pro use. Actually Aperture might be falling behind the latest iteration of Photo Shop Elements.
It is clear that Apple's Aperture Team does not follow the old Hertz phylosophy of if your Number 2 you have to try harder and be faster. Seems likke the Apreture team is comfortable with number 2. Sound a lot like MobileMe which by our lost Steve Jobs "was not our finest hour."

[Consolidation-Locked] Please add RAW support for the Nikon D600 to Lightroom as soon as possible!

My Fair Adobe,
Please add RAW support for the Nikon D600 to Lightroom as soon as possible!
ViewNX lets me get to the images, but come on!!! I know Lightroom, and you, ViewNX, are no Lightroom.
Yes, I see everyone else ASKING for D600 support. I'm here to beg for it! Don't make me wait much longer!
Message title was edited by: Brett N
Message title was edited by: Brett N

Rob, my reading of your site is that this plug-in copies settings from raw to jpeg, does it work the other way around as well?
Rob Cole wrote:
One of the great things about the new 0-based defaults and linear tone curve is:
You can develop the jpegs now, in Lightroom, and then sync the settings to the raws later (e.g. using RawPlusJpeg), and provided you select a matching camera profile, they will look almost the same (white balance won't translate over, but everything else will, more or less). Beware lens corrections applied to the raws might alter the registration of precision local adjustments.
Note: I recommend shooting with ADL off in order for this to work better, and consider turning sharpening off in camera as well, and noise reduction and everything else to whatever extent is possible.
Rob

Add option for lossless uncompressed RAW files for A7r

I'd like to see the option for lossless, uncompressed RAW files for those of us who want it vs. the current situation of only having the option of lossy compressed RAW files (which in some instances, can exhibit posterization). I think this is a logical option for a camera of the A7r's calibre. If this option can be incorporated via firmware update, all the better. If it's a hardware issue, hopefully this is addressed in the next iteration of the camera.

Honestly, this is pretty deceitful marketting on both the Sony A7 and A7R literature. both promote the use of 14 bit RAW encoding as a feature of the two sony cameras, however, they are really 11 bit + 7 bit compressed lossly RAW formats, delivering no where close to the same tonality of 14 bit true RAW. in no sony literature that i could find, is it mentioned that it's lossly. this is accurate? Not even close. 14-bit RAW output for rich tonal gradation 14-bit RAW image data of extremely high quality is outputted by the a7. This data fully preserves the rich detail generated by the image sensor during the 14-bit A/D conversion process. When developed with Sony's Image Data Converter RAW development software, these images deliver the superb photographic expression and rich gradation that only 14-bit data can offer. I was going to purchase two A7R bodies and move my canon gear over to Sony ..until really all this came out. I'm hoping as well as the OP that a firmware upgrade comes out.

OM-D EM-1 Raw Compatibility for iPhoto and Aperture - sooner rather than later please!

Dear Aperture (and iPhoto) development team,
Please add Raw Compatibility for OM-D EM-1 (Olympus) sooner rather than later.... I am a religious user of Apple software please do not give me a reason to have to learn a new application.
Thank you,
elleek

Same problem with the pink/purple images from the E-M1. This happens with iPhoto, Aperture, and Preview. At first the files look normal but after the few seconds it takes for the system to process the RAWs they morph to purple. I know that the files are OK because they open just fine in Olympus Viewer3.
If you try exporting the files in any format (jpeg. tiff, png) they're pink as well.
I've posted things in a few other places with no repsonse. I'm actually glad to find this thread. I think I'll post a new thread with this as it's topic.

HT201070 there is no camera raw support for Leaf Aptus-II 8? I need to be able to read MOS files

there is no camera raw support for Leaf Aptus-II 8? I need to be able to read MOS files

OS X Mountain Lion: Supported digital camera RAW formats seems to indicate that you are correct.
Are you are trying to provide Apple - Aperture - Feedback or Apple - iPhoto - Feedback?
If so, use you can send direct feedback via the above link(s). You will not likely get a direct response, but you can be certain that the responsible Apple people will see your input for consideration in future product development.
If you seek a solution rather than to offer feedback, or until Apple supports your needs within the Mac OS, check whether Mamiya's Leaf RAW converter 1.2.6 for Mac meets your needs.
Message was edited by: EZ Jim
Mac OSX 10.8.4

RAW support for X-Pro1

Please keep on improving RAW processing for FujiFilm X-Pro1! That camera and its lenses deserve a top notch LR4 workflow and right now us happy X-Pro1 owners dearly miss the processing quality we enjoy with RAW files from our 'other' DSLRs...

I am pretty sure that Adobe is even more concerned with their inability to produce profiles/processing technics necessary to produce matching or superior results for your cameras raw files.
Fact is Fuji has produced a camera with new sensor structure/technology that is different to what has been the norm in the market. Their camera firmware / processing software that they have provided you with is achieving results that meet your needs.
This technology is in a very rapid stage of development and what you are seeing is the competitive nature of the manafacturer and a third party software developer. Fuji are probably proud of their achievement but are probably trying to protect against the entire market becoming aware of their processes.
I am sure all the manafacturers, Nikon, Canon, Olympus, Panasonic, Sony are doing the same, while trying to balance providing info to the third party software developers so that users of their preferred software are happy.

How can I get raw converter for Sony a7m2

Aperture does not recognize raw files from my new Sony Alpha a7m2 camera. How can I get an update for Aperture? I have Aperture 3.6.
I have macbook pro retina display using ox10.10.1

Check, if your camera is on this list, that shows the supported cameras: http://www.apple.com/aperture/specs/raw.html
I could not find it there, but perhaps the camera is known by more than one name.
If the camera is not yet supported, you will have to wait, until Apple releases raw support for the camera and use the software that came with your camera to develop the raw files.

Aperture update 2.1.3 still no RAW support for Lumix G1

Once again and after posting to Apple development we still have no RAW support for the Panasonic Lumix G1. How much longer Apple...!

RAW support updates are separate from Aperture updates..
Maybe with 10.5.7... or another RAW compatibility update sometime.. hopefuly soon.

Raw conversion for fuji x pro 1

Hi All,
just a couple of quick questions; Does anybody know if Adobe is hard at work making a raw converter for the fuji x pro 1. I understand that the sensor array is totally different so I'm not looking for miracles.
The other question I have is; If I shoot in raw and jpg w/ a Fuji x-pro-1 will Lightroom accept both files even thought it will not (at this time) convert the raw file?
Thanks for the help
Mike

hehe.. yesterday before i went to bed i thought i have to ask this today.
im also very interested to hear if adobe is working on a "trans-x" sensor demosaicing process.
i think it is more difficult to reverse engineer then a normal bayer sensor?
i wonder if you need to know the exact pixel layout of the sensor.
as i understand it they use random 6x6 pixel arrangements?

RAW developer for Bayer GB12

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