Unable to save raw conversion settings

CS5 user.I 've been using Bridge for a while and never had this problem before. Why am I getting the following message. "Unable to save raw conversion settings. There was an error parsing the files."

Storing on external drive will not corrupt them.
However, it can cause permission problems in writing data. A workaround is the right click on Bridge Icon and choose "Run as Administrator"
Also, if you access files on network there can be permission problems.

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Unable to save raw conversion

Why did I get this message:
Unable to save raw conversion settings. There was an error parsing the files.

Cs5 - Bridge. Files are stored on "My Book" exterior hard drive
It's not a new image; I was working on an image that's been there
for a while.
Judith Stockman
Urban Archaeology
Sent from iPhone

"Unable to save the raw conversion settings. There was a write permission error."

I just built a new workstation for processing photos using PS CS5. I use external drives to store my images as I find it easier for backing up as well as for when I want use my laptop for sorting, etc.. I copied over all my old "Collection" files, and of course, had to "fix" them once on the new machine. Once pointed in the right direction, the collections all fill out correctly.
When I go to process a collection though, I encounter an odd problem I can't seem to sort out. I can delete files, rename files, copy/paste to the external drives, etc.. What I can't seem to do is add Labels, Ratings, or modify RAW settings. I mean, I can use ACR to make adjustments, I just can't seem to save them.
The system just ignores label, rating commands completely. When I try to save an ACR adjustment I get this error. "Unable to save the raw conversion settings. There was a write permission error."
The files are NOT write protected. I'm set up as the owner of my workstation, with complete control of the system. I can't seem to find any useful information about this error because the "write permission error" seems to only be happening on installs, so that's all I can find help for.
My system:
Intel Core i7 970@ 3.20GHZ
24.0 GB RAM
64-bit OS - Windows 7 Pro
DX58S02 Motherboard
NVIDIA GeForce GTX 580

Thanks for replying. I've been going crazy trying to fix this.
To answer your first question; I use sidecar XMP files. If everything from my archive was shot in RAW I'd try converting to DNG and see if embedding the changes directly in a file worked. Unfortunately, a lot of my old stuff was shot in JPG, so sidecars seems to be the best choice.
When I add labels, ratings, as well as change RAW settings on files I place on my workstations HD everything works. It's only when I try to do these things with the same files on removable drives that I run into trouble. The drives I use are Transcend 640GB StoreJet 25ms connected via USB.
I don't think it's a UAC problem. At least, to my understanding, doesn't that control how your machine alerts you to program changes? I looked into how to change ownership, and did so, but that didn't work. Here's a link to what I mean: http://www.addictivetips.com/windows-tips/windows-7-access-denied-permission-ownership/
I'm stumped. I also hate the idea that I'll have to go through various folders to find images from already created collections, copy them to a new folder on my HD and then work on them. Then I'll have to put them all back... ugghhhh

Do you change the default RAW conversion settings?

I have used Sony (and formerly used Panasonic MFT) cameras (a900, a850) for two or three years and never had any reason to change the default RAW conversion settings. Five weeks ago I started using Sony's new a77, and for the first time am not satisfied with Aperture's default RAW conversion. (I recalibrated all my monitors -- twice -- thinking that something in my color workflow had got busted.) The default a77 RAW file conversion results in an overly-saturated, "Disneyfied" picture. I have found that by sliding "Boost" almost to zero, and cutting "Hue Boost" by half, I end up with a much more life-like, atmospheric, picture -- and one that closely matches the default rendering of RAW files from the a850 and a900.
1. Do you change the default RAW conversions settings? Why?
2. To what units, specifically, do the scales of these controls refer?
3. It seems that Hue Boost provides a range of settings that corresponds to the print settings "Perceptual" (= zero hue boost) to "Relative Colorimetric" (= full hue boost); does that make sense?
The User Manual, as usual, provides a solid concise explanation of the RAW Fine Tuning Brick.
Any experience you can share is appreciated. Thanks.
(Added:
(It seems conceptually wrong to me to have these controls be part of the RAW converter. Are there other adjustments in Aperture that do the same thing?)
--Kirby.
Message was edited by: Kirby Krieger

William -- many thanks for your help. I will almost certainly change the default for my a77 (as well as for the Nex-7 I used for a week).
Are there is any other adjustments mathematically similar to the "Boost" or "Hue Boost" sliders in the RAW Fine Tuning Brick? I ask for two reasons:
- Mostly I'm just trying to figure out what they do, and strengthen with knowledge my quiver of Aperture effects. According the the User Manual, they change the overall contrast, and the amount to which the hue is changed as the overall contrast is increased.
- In practice, it makes sense to me to have the RAW conversion produce the "flattest", least "effected" image possible -- to leave _aesthetic_ adjustments to me. I don't want to use the RAW Fine Tuning controls as part of my workflow; I want to know how to get the same increase in contrast and control of hues using other adjustments (that, specifically, don't require de-mosaic'ing). Apple seems to indicate that the use of the RAW Fine Tuning controls may be the best approach:
For images that consist of saturated primary and secondary colors, such as an image of flowers in a lush garden, shifting the hues to their true values has a desirable visual effect. However, this is not visually desirable for images containing skin tones.
The implication is spelled out in the sentencesthat follow: use the max setting for flowers, and the minimum setting for portraits. Isn't it odd that this recommendation is left to the RAW converter, and is buried deep in the User Manual?

Unable to save paragraph and character styles

I noticed an issue popping up for me in CS6 yesterday. I thought it was originally because of Fireworks saved PSD but an effort re-create the file from scratch in PS I'm coming across the same issue. In PS when I have a large amount of text layers and create a paragraph or character style, when I have ANY layer/group in my document locked I'm unable to save any paragraph or layer styles. Regardless of the layer or group being locked and regardless of what layer is highlighted I'm unable to save styles / any settings / name etc. The error I get for character styles for example is:
"Could not complete the Modify Named Character Style command because a specified layer is locked."
I did notice that in the Fireworks created PSD that without any layer even being locked I'd still get an error. It may be that this other document got some bad mojo from the Fireworks PSD. When creating a test doc and only creating a couple text layers and a bunch of empty groups and layers I'm unable to reproduce this. It appears to happen to me when I have a slew of text layers.
Has anyone else experienced this and figured out a more solid workaround?

If you want to add the styles to an already created document:
1) Create you Character style containing only the character color
2) Find and Replace, searching for text with red color and replace formatting with the new character style. (Don't type anything in the text part of the Find and Replace dialog)
3) Create and apply your paragraph style to all. The text with the Character Style applied will stay red.

RAW conversion in 16 Bit?

Hi to all!
I'm using Aperture for quiet some time now, and i like the way i can select and organize all my files, and doing and adjusting my projects and albums.
But since I'm starting shooting Nef files I seem to be more and more in a dilemma. I also like the way I'm working with CS4 now, and all the options I have in Camera Raw, and I'm still trying to figure out, whether there is a way in working with both apps inter-active.
My library is now a referenced, external one. So all editing of my Raw files is stored in the Aperture library internally. My 14 Bit Nef files are converted into 16 Bit in the moment Aperture is opening or converting it? As soon I open them with External Editor they are a 16 Bit (if I want so) but they are no more Raw.
Most of my files are not getting extensively edited, so it's fine with me doing my conversion and a few tweaks, and leave them so. Now I tried to open the same Nef files in Adobe Camera Raw, and as long I let Adobe store the edit files separate from the Raw files, it seems Aperture is not disturbed, and I can even open and adjust them again. So far it seems to be no problems.
But I noticed now 2 problems.
The first is that all given keywords and description are only inside Aperture library (and they would only accompanied if I export the files as Tif)
And secondly that Adobe Raw seems NOT to convert my Nef files into 16 Bit.
If someone sees somehow a workaround pls give me ideas. Also how important is this 16 Bit question at all during this RAW conversion? Would it make sense to Raw-convert a 8 Bit file, and open it after to 16 Bit to make than more layer-work or clean-up?
I'm sorry if my questions sound a bit confusing.

mogli365 wrote:
I also like the way I'm working with CS4 now, and all the options I have in Camera Raw, and I'm still trying to figure out, whether there is a way in working with both apps inter-active.
You can use both but not interactively, and it's probably not a good idea unless you really know what you're doing because you could lose track of some images that way. Many will say that there's no reason to do this, but there are some things I do starting in Bridge/ACR. I keep these images in a folder called "NOTinA2", and I browse that folder with Bridge.
My library is now a referenced, external one. So all editing of my Raw files is stored in the Aperture library internally. My 14 Bit Nef files are converted into 16 Bit in the moment Aperture is opening or converting it? As soon I open them with External Editor they are a 16 Bit (if I want so) but they are no more Raw.
Neither program is affecting the actual RAW file: Bridge/ACR are storing instructions in a sidecar file, and Aperture is storing instructions in the Library. When you export or open in Photoshop, a new file is created. There's no need to open either in Photoshop unless you need to do Photoshop work.
Most of my files are not getting extensively edited, so it's fine with me doing my conversion and a few tweaks, and leave them so. Now I tried to open the same Nef files in Adobe Camera Raw, and as long I let Adobe store the edit files separate from the Raw files, it seems Aperture is not disturbed, and I can even open and adjust them again. So far it seems to be no problems.
The two programs are both referencing the same files, and one doesn't even know the other is there. If you open a file in Photoshop from either program a new file will be created. However, if you open it from ACR, Aperture will not know it's there.
The first is that all given keywords and description are only inside Aperture library (and they would only accompanied if I export the files as Tif)
You can not share Keywords from Aperture with Bridge.
And secondly that Adobe Raw seems NOT to convert my Nef files into 16 Bit.
At the bottom of the Adobe Camera RAW window, you'll see what looks like a web link. Click it to open the workflow options dialog box. There you can change it from 8bit to 16bit, set your print resolution and tell it if you want to open them in Photoshop as Smart Objects. (that last option will "embed" a copy of the RAW file in your Photoshop document and allow you to revisit you RAW conversion settings.)
DLS

Aperture RAW conversion and noise

I've been using Aperture for many years and have recently learned something useful about how to tweak the RAW conversion settings. Until recently I just left them at the default settings for my camera, a Panasonic GH2.
Anyhow I've not been entirely happy with shadow noise (otherwise I reckon it's a great camera). Many web sites say that a degree of shadow noise is normal for this camera, so I didn't figure mine was any different. I tried a variety of noise reduction approaches but none really made a worthwhile improvement.
Until a few days ago when I tried tweaking the 'Raw Fine Tuning' settings - and I found a way to make things *much* better.
Please note that the following comments may only be relevant to Panasonic RAW files, and maybe only for the GH2. I don't know if they apply to other cameras (though I think they may.
It turns out that for the GH2, the default 'Raw Fine Tuning' setting includes 'Sharpening' of 0.78 and 'Edges' of 0.79. This is fairly aggressive sharpening, but I didn't really realise what it was doing to noise until I discovered that was significantly increasing shadow noise -even at base ISO!
If I set these both the sharpening sliders in the Raw Fine Tuning section to '0', the 'grain' in the shadows is much smoother - a massive improvement.
But, of course, the image is a bit less 'sharp'. Well, this isn't much of a problem with 16+ megapixel cameras. Unless you are making huge enlargements from originals, and really look closely at the finest details at 100%, it makes very little difference if you give up this 'sharpness'. But the reduction in noise is actually very obvious indeed. It's much better!
Most of the sharpness I need on these less noisy images can easily be added by including the 'Edge Sharpen' adjustment, either at the defailt settings, or marginally toned down a bit. I'm currently using Intensity 0.7, Edges 0.3 and Falloff 0.4. This leaves most smooth areas untouched, so the 'noise' or 'grain' in smooth areas is as it comes from the sensor. By toggling the Edge Sharpen on and off, I can easily confirm no change in 100% or 200% loupe views.
That level of edge sharpening is a bit subtle, but actually achieves most of what I got from the Raw Fine Tuning sharpening sliders. It will be applied only to in-focus contrasty things like eyelashes or hairs or other defined edges, and very nicely.
So I'm sharing this in case other people also find it helpful. I strongly suggest removing the default sharpening entirely, and only using the Edge Sharpening slider in a cautious manner if you want to enhance sharpness.
Some related web pages:
http://www.jonroemer.com/blog/2011/01/aperture-3-too-sharp-tweak-the-default/
http://www.twin-pixels.com/raw-processors-review-aperture-bibble-capture-one-dxo -lightroom/
PS - there is a different issue with the default Raw Fine Tuning 'Boost' and 'Hue Boost' sliders, both of which are set to 1' by default. It turns out that these introduce a very large amount of contrast and exposure gain - turn them down to zero and the image goes quite dark and flat! The Aperture user guide says something about Hue Boost changing colours when Boost is set to '1' and this is the case. So I've experimented with turning them both to zero, and instead using a custom curves adjustment to achieve a similar level of exposure and contrast to the default conversion and the camera's default JPG image. By fine-tweaking the curves one can get better control of blown highlights and the overall contrast. I'm not sure if the colours are 'better', but I think so. I am fairly sure that I get smoother transitions in the mid-tonal ranges with this approach rather than just using Apple's default settings. Maybe they are a but strong for my liking. Certainly I can make curves that rarely require the 'Recovery' slider to fix over-boosted highlights. Anyhow, you may also find that this tweak helps a bit. Interestingly on a Canon RAW file the effect is not nearly as great in exposure terms, but there is also a definite colour change.
PSS - the end result is that I have set my camera preset for RAW fine tuning to zero settings for boost, hue boost, sharpening and edges. I then add contrast as needed using curves, and sharpen only with a little edge sharpening. I've then saved a few Presets with slightly different contrast curves and all with a little edge sharpening. I can very quickly select the level of contrast needed, and I am very confident that my results are quite a bit better, with better tonal gradations and much less noise.
Hope this helps
Chris.

Nice observations, Chris. I think the RAW Fine Tuning is often overlooked, even though it's a vital first step in RAW processing, and really the whole point of shooting RAW in the first place. Too much boost yields horrible skin tones in my experience. I have a default of .50 Boost and Hue Boost, Sharpening and Edges at .25, Moire .50, Radius 12.0 and Denoise .25. I've found these are "mid range" settings for the Canon 5Dii, and first make small adjustments to the Fine Tuning brick before moving on to exposure adjustments.

Missing Exposure EXIF Metadata After RAW Conversion

I am running Photoshop CS6 on a 64-bit Windows 7 PC. Since upgrading from CS5 I have noticed that the Exposure EXIF metadata as viewed in Bridge vanishes after RAW conversion/adjustment of my images. I've read at least one other posting to the forums describing a similar situation, however, I've not seen an acknowledgement of an issue or bug in Bridge. Clearing the RAW conversion settings restores the missing EXIF metadata.
Regards,
TonyQ

Have you seen this post? http://forums.adobe.com/thread/1014540?tstart=30

Unable to save display settings and Multiple Monitors

Have Windows 7 RTM installed on my laptop and was working great with extending to my monitor. I took my laptop home and hooked it up to my tv and it was fine. Now when I bring it back to work I cannot get the monitor to work. Only the display on the laptop is working. Windows can detect the monitor, but I try to enable the monitor and when I select Apply I get an error message "Unable to save display settings". I am a local administrator on the laptop. How can I extend to my monitor!
Thanks

Hi,
Error message " Unable to save display settings" mainly indicates that you try to extend or duplicate the desktop to the two external monitors in addition to the laptop screen. Generally, laptop supports only two displays at one time due to hardware limitation. I
suspect that the issue occurs because the laptop remembers both configuration for your extended monitor and TV. To extend your monitor, you need to clear the multiple configuration for your laptop and then extend your display by changing your display
settings. To do this, please take the following steps:
Step 1. Delete registry key.
==================
1)Press Win + R to open a run box.
2)In the Run box, type regedit, and then click OK.
3)Locate the following registry subkey:
HKEY_CURRENT_USER\Software\Microsoft\MobilePC\TMM
4)Right-click the subkey that you located in step 2. Then, click Delete.
5)When you are prompted to confirm the delete operation, click Yes.
6)On the File menu, click Exit to exit Registry Editor.
7)Log off the computer. Then, log on to the computer.
Step 2. Extend your display by changing display settings.
====================================
1)Open Screen Resolution by clicking the Start button , clicking Control Panel, and then, under Appearance and Personalization, clicking Adjust screen resolution.
2)Click the drop-down list next to Multiple displays, click Extend these displays, and then click OK.
References:
KB 973782
Best Regards
Dale Qiao
This registry key does not exist in my Laptop and it still won't work. I have an Asus N53S
which has both Intel HD Graphics 3000 and an NVidia GeForce GT 540M. It appears that the limitation is actually there is no D-Sub / HDMI / Internal Monitor option like there is in Windows Display.

I'm unable to save the local news setting (BBCPostcoder cookie) in the BBC Home Page although my Firefox Privacy settings to accept cookies are correct.

I'm unable to save my Local News settings (BBCPostcoder cookie) in the BBC Home Page although my Firefox Privacy settings are set for accepting cookies from sites(there are no exceptions), accept 3rd party cookies and until they expire. The cookie is shown as being stored under the bbc.co.uk menu in the stored cookies folder.

Also, contacted the BBC with this problem and they advised it was an issue with their software that was corrected with a software patch released on 28 Jun 2010.

Unable to covert raw files to dng?

using photo cs 3 ,unable to convert raw files to dng?

Make sure you have the latest version of ACR for CS3 installed. I seem to remember it was something like ACR 4.6. Check and see if it can save DGN conversions. I don't use DNG format for its not as well supported as manufactures raw formats.
You can always download the latest DNG converter or a version 4 DNG converter http://www.adobe.com/support/downloads/product.jsp?product=106&platform=Windows

Aperture 3 Raw conversion from Nikon D700 - Bad results - Anyone?

I recently upgraded to a Nikon D700 and have noticed I am getting some really bad conversion results from my raw files which involve my having to do a lot of work to get decent images. Most images are too dark and with strong orange cast... Any ideas? I thought it might be the camera, so I tried another computer with photoshop raw converter and images are fine. I have noticed the original import settings are strange on Aperture but cannot seem to change them, they always revert back to maximum hue boost and max boost ect... Any help would be great! thanx!

I have a Nikon D700 and have just tried the Aperture demo- same results as you guys, disappointing RAW conversion. Contrast and sharpness quite poor and blues are 'off'
I currently use Capture NX and was looking for something a little less 'clunky'. Though it may not be as slick as Aperture, its RAW conversion is spot on (as you would expect from a Nikon sponsored app)
It's easy to compare the differences- open an unedited RAW file in Capture NX and save as an uncompressed, 16 bit TIFF. Import this and the original RAW file into Aperture. Prepare for disappointment :-/

Raw conversion to JPG better with DPP than ARC 5.X

I started testing conversion from raw to jpg with Canon's Digital Photo Professional and ARC 5.x (CS4) and noticed a much better conversion with DPP. At low ISOs does I don't see much difference, however at 800+ it is very noticeable. I hate to give up the work flow of Bridge and ACR and go back to using DPP. Is there anything that can be done to improve this?

Quoting from an old post of mine, with apologies to all who have read it before:
This has been covered ad nauseam here. Please do a forum search for more details.
Camera manufacturers, Canon and Nikon in particular, perform in-camera RAW to JPEG conversions designed to generate the over-saturated, over-contrasty and over-sharpened images that appeal to most amateurs.
Their stand-alone RAW conversion software also performs the same conversion to your RAW images.
Noise is also hidden by compressing the shadows so you don't see much of the noise inherent in the image.
Adobe Camera Raw, ACR, on the other hand, comes with default settings designed to give you the most detail possible
(even if this sometimes means revealing some of the noise hidden by the camera manufacturers in their RAW conversion software), as well as the most natural images.
That being said, you can calibrate your camera to ACR and come up with your own settings to produce exactly what you want, including the JPEG-look of the camera manufacturer, and save that as your profile.
The key is to learn how to use ACR properly and to calibrate your camera to ACR.
The camera calibration refines the settings by letting you adjust for the exact sensor response of your individual camera unit rather than the average of a sampling of such unites provided by Adobe.
The ACR defaults are nothing more than a suggested starting point.
The color temperature won't necessarily match either.

Still unable to save bookmarks in Safari 5.1.2 - any clues?

Starting with Safari 5.1.1 on Lion I have been unable to save any bookmarks after an initial few hours running when it has been possible. I had hoped that the new release of Safari 5.1.2 might have cured the problem, but it doesn't appear to have done so.
I've followed all the suggestions on various posts and cleared the numerous plists and caches. This results in being able to save bookmarks in the normal manner, but only for a few hours or so. The next time I open Safari I find that I am once again unable to save any bookmarks without going through the whole rigmarole of exporting the bookmarks, trashing all the Safari preferences, restarting Safri and importing all the bookmarks once again.
It's great if you have the time and the patience, but my patience is wearing very thin by now.
Does anyone have any definitive solutions to this problem, which happens on all my Macs running Lion and Safari 5.1, thus ruling out a problem with just one Mac?

Please read this whole message before doing anything.
This procedure is a diagnostic test. It won’t solve your problem. Don’t be disappointed when you find that nothing has changed after you complete it.
The purpose of this exercise is to determine whether the problem is localized to your user account, or is system-wide. Enable guest logins and log in as Guest. For instructions, launch the System Preferences application, select “Help” from the menu bar, and enter “Set up a guest account” (without the quotes) in the search box.
While logged in as Guest, you won’t have access to any of your personal files or settings. Any application you run will behave as if you were running it for the first time. Don’t be alarmed by this; it’s normal. If you need any passwords or other personal data in order to complete the test, memorize, print, or write them down before you begin.
As Guest, launch Safari and test. Same problem(s)?
After testing, log out of the guest account and, in your own account, disable it if you wish. Any files you created in the guest account will be deleted automatically when you log out of it.

Lightroom vs. Photoshop Raw conversion

I have noticed that the Lightroom RAW conversion looks about 1/3 to 1/2 stop brighter compared to Photoshop on the same image with the same settings (I'm using LR 2.4 and Photoshop CS4). Anybody else notice this or have any thoughts? I'm assuming they use the same RAW conversion engine.

Thanks for the response. Well, when I export from LR to a JPEG and do the same from Photoshop (viewing them in photoshop), I get two slightly different toned images (I mistakenly said the LR images are brighter...they're actually darker). Viewing them this way should remove any monitor discrepencies (I'm working on a calibrated Lacie 724 monitor with 120% Adobe 1998 gamut so that should not be an issue).

Unable to save raw conversion settings

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