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5DIII Image settings: just for jpeg?

Cunha
Rising Star

Hello I want to use some of the Image settings vailable in my 5DIII, but I´m not sure if those work only for Jpegs and keep the RAW files "clean"?

The settings I want to use are:

 

-auto lighting optimizer

-long exposure noise reduction

-high ISO speed NR

-highlight tone priority

-lens aberration correction

-chromatic aberration correction

 

I want to keep the RAW "clean" but I want to use these beneficts in my Jpegs.

I shoot both at the same time for diverse uses.

 

Thank you so much for all your help.

Cheers

18 REPLIES 18


@Cunha wrote:

Hello I want to use some of the Image settings vailable in my 5DIII, but I´m not sure if those work only for Jpegs and keep the RAW files "clean"?

The settings I want to use are:

 

-auto lighting optimizer

-long exposure noise reduction

-high ISO speed NR

-highlight tone priority

-lens aberration correction

-chromatic aberration correction

 

I want to keep the RAW "clean" but I want to use these beneficts in my Jpegs.

I shoot both at the same time for diverse uses.

 

Thank you so much for all your help.

Cheers


Using those settings when shooting RAW doesn't make the resulting files any less "clean". Their effects are non-destructive "suggestions" that can be modified at will during post-processing. Only the converted JPEGs contain irreversible changes. As long as you save the RAW file, no change that you make will result in loss of information.

Bob
Philadelphia, Pennsylvania USA

Hello Rob,

 

thank you very much for your help.

Just to confirm: all thse settings are applied to Jpegs processed in camera.

The RAW files are "just" RAW files to edit from all data?

 

Allow me another question:

is it possible to enable the electronic level in permanece while shooting in live view? If so how?

 

Thanks again.

Cheers.

I believe Long Exposure Noise Reduction does affect the RAW image. My understanding is that the camera takes a second image (with shutter closed) equal in length to the first and subtracts the signal (which is all nosie) from the first image.

 

I have also read, and seen posted examples of Highlight Tone Priority files. (I haven't personally verified the data). Apparently HTP underxposes the image by one stop (which is why minimum ISO changes to 200 in HTP) and then boosts low and midtones via a parametric curve in the Digic processor when creating JPEGs or in DPP when processing RAW. This supposedly protects the highlights and rcovers/boosts the underexposed regions..

 

Third party software supposedly shows a  RAW file underxposed by one stop.

 

Maybe Tim Campbell has more info on this.

 

 

 

 

John Hoffman
Conway, NH

1D X Mark III, Many lenses, Pixma PRO-100, Pixma TR8620a, LR Classic

Thank you too for the help.
This means that there´s a possibility that those in camera "effects" would affect the RAW recording to the card?

jrhoffman75
Legend
Legend
That's my conclusion. But experimentation is essentially free.
John Hoffman
Conway, NH

1D X Mark III, Many lenses, Pixma PRO-100, Pixma TR8620a, LR Classic

Right ,-) This is just a starting point; much appreciated.

ebiggs1
Legend
Legend

The only one that affects  a RAW file is Long Exposure NR, it takes a dark frame after the exposure and subtracts that from the RAW file before it is written to the CF card. Not reversable!
The other setting that kinda affects a RAW file is Highlight Tone Priority.  However it is only written to the metadata tag.  The camera changes the ISO by 1 stop less.  DPP will apply Canon's tone curve at conversion as does ACR. Some others, based on this tag, will apply their schemes and some converters don't even recognize the tag and will just show you an underexposed photo.

EB
EOS 1DX and 1D Mk IV and less lenses then before!


@ebiggs1 wrote:

The only one that affects  a RAW file is Long Exposure NR, it takes a dark frame after the exposure and subtracts that from the RAW file before it is written to the CF card. Not reversable!


This is not to say that Long Exposure NR is a bad thing to do even when shooting RAW. 

 

From Long Exposures: Capturing the Passage of Time

 

'So, if you make a 30 second exposure, Long Exposure Noise Reduction will take another 30 seconds of processing time, during which time you will be unable to take another photo with your camera.

 

What's happening is this: your camera makes its exposure for the image. Long Exposure Noise Reduction then kicks in, and charges the camera's imaging sensor for the same amount of time, making a "dark frame." The camera then compares the noise in the dark frame with the noise generated in the image, and removes any noise that is the same. This method is known as dark frame subtraction.'


@TTMartin wrote:

@ebiggs1 wrote:

The only one that affects  a RAW file is Long Exposure NR, it takes a dark frame after the exposure and subtracts that from the RAW file before it is written to the CF card. Not reversable!


This is not to say that Long Exposure NR is a bad thing to do even when shooting RAW. 

 

From Long Exposures: Capturing the Passage of Time

 

'So, if you make a 30 second exposure, Long Exposure Noise Reduction will take another 30 seconds of processing time, during which time you will be unable to take another photo with your camera.

 

What's happening is this: your camera makes its exposure for the image. Long Exposure Noise Reduction then kicks in, and charges the camera's imaging sensor for the same amount of time, making a "dark frame." The camera then compares the noise in the dark frame with the noise generated in the image, and removes any noise that is the same. This method is known as dark frame subtraction.'


The interesting thing about this process is that it should make no difference when or where you create the dark frame. All you're doing is establishing a point on a graph of your sensor's noisiness as a function of exposure time. (To the actual mathematicians reading this: Yes, it's a many-valued function, so the result is an ordered set, not a point. But that's just an implementation detail.) So in principle you could create the dark frame any time after the exposure; all you need is the exposure time that was used for the original. Then you'd apply it in post-processing, with the option of ignoring it if it didn't give the desired effect (i.e., reduce the apparent noise). It might even be more accurate than the way it's done now, which practically guarantees that the sensor will be hotter for the dark exposure than it was for the original, thus exaggerating the amount of noise to be removed.

 

Or am I, in my profound ignorance of a feature I've never used, missing something significant?

Bob
Philadelphia, Pennsylvania USA
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