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High-bit-depth and HDR scanning


From:

Scanning with SilverFast

with Taz Tally

Video: High-bit-depth and HDR scanning

In this movie, I'd like to discuss the topic of HiBit Depth Scanning. We are really not going to be working on any images here because it's not necessary. I just want to address one part of the interface and that's this little icon right here. We've been working in here throughout the course but we've pretty much been working in the top half of this. HiBit Depth Scanning means capturing an image at a high capture bit depth. For instance, let's talk about what we've done so far, and then talk about what we could do with the options in terms of bit depth.
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  1. 5m 19s
    1. Welcome
      58s
    2. What you should know before watching this course
      43s
    3. Taking the Tazmanian Oath
      3m 38s
  2. 19m 14s
    1. Launching SilverFast
      4m 2s
    2. Touring the SilverFast interface
      3m 35s
    3. Understanding SilverFast's scanning workflows
      4m 28s
    4. Using automated vs. manual scanning
      4m 31s
    5. Getting help as you use SilverFast
      2m 38s
  3. 32m 46s
    1. Touring the SilverFast 8 automatic scanning tools
      6m 7s
    2. Preparing for automatic scanning
      4m 6s
    3. Arranging your workspace
      4m 23s
    4. Setting up color management
      4m 43s
    5. Setting scan frame and resolution
      3m 55s
    6. Adjusting, naming, formatting, and locating an image
      8m 24s
    7. Previewing scan settings with the info tool
      1m 8s
  4. 1h 7m
    1. Scanning simple line art
      8m 7s
    2. Scanning detailed line art
      8m 9s
    3. Scanning grayscale photos
      11m 43s
    4. Scanning color photos
      11m 17s
    5. Scanning a color photo as a grayscale image
      12m 15s
    6. Scanning a positive piece of film
      6m 53s
    7. Scanning a negative piece of film
      8m 39s
  5. 26m 1s
    1. Touring the manual scanning tools
      7m 19s
    2. Setting preferences for manual scanning
      10m 0s
    3. Calibrating your scanner
      3m 40s
    4. Arranging your workspace
      5m 2s
  6. 1h 35m
    1. Scanning simple line art and changing it into vectors
      7m 38s
    2. Scanning simple line art and keeping it as pixels
      5m 42s
    3. Scanning detailed line art
      8m 18s
    4. Scanning grayscale photos
      14m 5s
    5. Scanning landscape color photos
      15m 51s
    6. Scanning color portrait photos
      13m 56s
    7. Scanning color product shots
      9m 29s
    8. Scanning a color photo as a grayscale image
      4m 31s
    9. Scanning a piece of positive color film
      5m 52s
    10. Scanning a piece of negative color film
      9m 56s
  7. 1h 0m
    1. Should I use SilverFast or Photoshop?
      4m 9s
    2. Making global color corrections
      4m 37s
    3. Bringing out shadow details
      4m 28s
    4. Making a selective color replacement
      3m 21s
    5. Sharpening in SilverFast
      7m 15s
    6. Working with target-based corrections
      4m 55s
    7. Color correcting with neutrals
      10m 19s
    8. Exploring automatic color correction in manual mode
      3m 35s
    9. Scanning a printed image
      5m 49s
    10. High-bit-depth and HDR scanning
      5m 29s
    11. Removing noise and patterns
      3m 32s
    12. Removing dust and scratches
      3m 30s
  8. 7m 3s
    1. Batch scanning images
      1m 29s
    2. Using the JobManager
      4m 16s
    3. Exploring SilverFast 8 shortcuts and tips
      1m 18s
  9. 1m 29s
    1. Goodbye
      1m 29s

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Watch the Online Video Course Scanning with SilverFast
5h 15m Appropriate for all Mar 23, 2012

Viewers: in countries Watching now:

In this course, photographer and scanning expert Taz Tally describes how to use the LaserSoft Imaging SilverFast software to scan photos, line art, film negatives, and other printed documents, while getting the highest quality scans possible from your scanner. The course begins with an overview of SilverFast, then takes a task-oriented look at the SilverFast automatic and manual scanning modes, showing numerous scanning projects from start to finish. The course also explores a variety of specialized scanning topics, such as removing color casts and scratches, High Dynamic Range (HDR) scanning, and wet scanning.

Topics include:
  • Arranging your workspace
  • Setting up color management
  • Setting scan frame and resolution
  • Calibrating the scanner
  • Performing grayscale and color automatic scans
  • Performing a negative color film scan
  • Scanning simple line art and changing it into vectors
  • Scanning photos
  • Making global color corrections to a scan
  • Sharpening
  • Removing noise, dust, and scratches
  • Batch scanning
Subject:
Photography
Software:
SilverFast
Author:
Taz Tally

High-bit-depth and HDR scanning

In this movie, I'd like to discuss the topic of HiBit Depth Scanning. We are really not going to be working on any images here because it's not necessary. I just want to address one part of the interface and that's this little icon right here. We've been working in here throughout the course but we've pretty much been working in the top half of this. HiBit Depth Scanning means capturing an image at a high capture bit depth. For instance, let's talk about what we've done so far, and then talk about what we could do with the options in terms of bit depth.

When we captured our 1 bit black and white line art image and we convert it to vectors, we chose this bit depth: 16 -> 1 Bit. What this means is that SilverFast captures in 16 bits per pixel of grayscale, but delivers us 1 bit that is 1 bit black-and-white. In the continuous tone grayscale image, or in the detail line art image, we captured 16 bits of grayscale, but when we got done editing it in our application in SilverFast, we output 8 bits. In RGB mode where we're working with three channels, instead of just one like we have in these two, we have three 8 bit grayscale channels.

Red, green, and blue on output; on input we have three 16 bit grayscale channels. Three times 16 is 48 bit. So we're capturing the thousands of shades of gray on each channel and then modifying them, but we're outputting in high quality, 24, 8, or 1, depending upon what we want. The advantages of capturing more data is we have more data to actually edit. The advantage of outputting at smaller bit depths is that the files are smaller and printing devices a lot of times don't need anymore than this basic amount of information.

By the way, 8 bit gives us 256 shades of gray and, as I mentioned, 16 bit gives us thousands of shades of gray, 16,000 shades of gray. So we've been working in the top half here. The bottom half is where we have the single numbers, 48 Bit, 16 Bit, 48 Bit HDR and 16 Bit HDR. When would we use these? Well, it'd depend on our workflow and what are our intentions are for working and even printing our image. A lot of printing devices, for instance, can only print 24 bits of color/grayscale data. But some printing devices can actually print up to 48 bits of color data or 16 bits of grayscale.

And if you're going to be doing a lot of editing in Photoshop, sometimes it's nice to have all those extra tonal values in the image. So if your choice was to either edit in Photoshop and keep the full 16 bits per channel, and/or edit in Photoshop and keep the full 16 bits per channel and then output that full 16 bits per channel, then you would choose 16 bit if you're working with grayscale images or 48 bit for RGB color images. And notice, when we choose 48 bit or 16 bit we have all the same tools that we have up here for 48 bit and 16 bit.

There is no difference, we still have the same editing capacity. The only difference is in the top three, we capture 16 bits per channel and then output either 1, 8, or 24, and these were all continuous tone images; we've talked about the 8 and 24. In the 48-bit and the 16 bit, just a single number, in terms of the grayscale, we capture 16 bit and we output 16 bits, and then we can open up that 16 bit in Photoshop. Same thing in the color. Here we capture 16 bits per channel, times three channels, and then we edit that and then we output the full 48 bit which again we can open up in Photoshop, edit it, and then we can either choose to downsample it to 8 bits per channel or output and print the 48 bit or 16 bits per channel if our printing device can actually accept that much data.

So that's when we would choose 48 bit or 16 bit, and the more editing you intend to do with your image after the scan the more likely you are to actually output the full 16 bits per channel to 48 bit for the RGB. All right, so what are these last two here; the 48 Bit HDR and 16 Bit HDR? Well, first of all, watch what happens when we select one of these. The interface basically goes blank, we don't have any editing capabilities. We can perform a prescan and that's about it. The concept here is we're creating a high dynamic range scan.

High Dynamic Range is both a general and a specific term. High Dynamic Range in general refers to images that have 16 bits or more per channel. But in this case it also refers to actual application or program called HDR. It's made by LaserSoft, the same folks who make SilverFast. If we were to choose 48 Bit HDR, our intention would not be to edit the image here with the tools in SilverFast. It would be just to do a basic overall raw scan, capture as much data as we can, export it at 16 bits per channel and then actually open it in the program called HDR.

And if we were to launch HDR and view it, it would look exactly the same as you see here. The only difference is instead of saying SilverFast Ai Studio, it would say SilverFast HDR. So it's a standalone program that doesn't require that it'd be attached to a scanner. Why would you want to do that? Well, you could be distributing to a whole group of production people who could be working in HDR, because creating the original scan is very simple, because all you do is choose 48 Bit or 16 Bit HDR, do a prescan, label a file and off you go.

So that's the fundamental difference between here, where sampling done during the scan process after we edit; here we're keeping the full 16 bits of data after we edit and exporting it that; and here, we're not doing any adjustment during the scan at all; we're just creating a high bit depth file that we're handing off to another application.

There are currently no FAQs about Scanning with SilverFast.

 
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