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    software
  • Computer software, or just software, is the collection of computer programs and related data that provide the instructions telling a computer what to do. The term was coined to contrast to the old term hardware (meaning physical devices).

  • (computer science) written programs or procedures or rules and associated documentation pertaining to the operation of a computer system and that are stored in read/write memory; "the market for software is expected to expand"

  • The programs and other operating information used by a computer

  • Software is Grace Slick's 1984 album. This album was recorded after she had re-joined Jefferson Starship. After working on this album, Peter Wolf would go on to contribute to Jefferson Starship's 1984 album, Nuclear Furniture. A music video was made for the single "All the Machines".





    download
  • transfer a file or program from a central computer to a smaller computer or to a computer at a remote location

  • The act or process of copying data in such a way

  • A computer file transferred in such a way

  • Download is an electronic music group formed by Dwayne Goettel and cEvin Key of Skinny Puppy in 1994.

  • In computer networks, to download means to receive data to a local system from a remote system, or to initiate such a data transfer. Examples of a remote system from which a download might be performed include a webserver, FTP server, email server, or other similar systems.





    camera
  • equipment for taking photographs (usually consisting of a lightproof box with a lens at one end and light-sensitive film at the other)

  • A camera is a device that records/stores images. These images may be still photographs or moving images such as videos or movies. The term camera comes from the camera obscura (Latin for "dark chamber"), an early mechanism for projecting images. The modern camera evolved from the camera obscura.

  • A chamber or round building

  • television camera: television equipment consisting of a lens system that focuses an image on a photosensitive mosaic that is scanned by an electron beam











the sraw deal




the sraw deal





In my last three timelapse videos, I've gotten reasonable results with four-to-ten-second intervals between timelapse frames. But even at four-second intervals fast-moving subjects can be either too jerky (short exposure) or too blurry (long exposure). So I'd like to try shorter intervals.

The catch is I'm shooting RAW. The problem with RAW is the huge file size - typically 21-28MB per frame. My last timelapse (with below-average file sizes) consisted of 2,112 frames which add up to 44GB. Including intermediate files, the video data occupies a hair under 100GB of hard drive space, or the equivalent of two dual-layer Blu-rays. For seventy seconds of video.

And it's not just storage space. A more immediate bottleneck is transfer speed. My 5DII can write to my current CF cards at less than one RAW frame per second. Even worse, since it takes more than the combined capacity of all my cards to do a multi-hour timelapse, I have to transfer the files from camera to laptop in real time (by physically swapping cards and using a card reader). As it takes over seven minutes to download one 8GB card, and it takes less than nine minutes to fill the card at one frame every two seconds, that is the practical speed limit, with little margin for error.

It's time to look for alternatives.

One timelapse (not posted cuz it sucks) I tried to economize by shooting JPEG. Waste of five hours.

While the space savings was bordering on incredible (5DII JPEGs are one-fifth the size of RAWs), I lost two critical RAW features: near-seamless exposure compensation and white balance after the fact.

Critical because every timelapse I've shot has straddled sunset. And not by accident - in part, the reason I want a video rather than a still is to capture changing light. The trick is the light (and light balance) is changing continuously, whereas the camera (at least outside of video mode) cannot change exposure or white balance continuously. But a RAW converter can.

(Good software can blend JPEGs as well, but even discounting artifacts from JPEG's measly 8 bits per channel, I do not own any software that can efficiently batch-process JPEGs in this way.)

Luckily, though, Canon provides a third alternative: sRAW. This is the capability of taking "RAW" photos at lower resolutions, just like you can take JPEGs at lower-than-sensor-size resolutions. Sounds simple, right?

In practice, far from it. I will spare you the technical discussion for the moment, but have a look at the crops above.

The crops on the left were taken from a RAW image (5616x3744); the middle from an sRAW1 (3861x2574); and the right from an sRAW2 (2784x1856). The top row consists of 100% crops - the different sizes reflect the different sizes of the captured files. The bottom row consists of those 100% crops resized to match the sRAW2 100% crop (the sRAW2 bottom crop is the same as the top one).

All three files were converted with identical settings and captured on a sturdy tripod, with an unmoving subject. Because of this and because I cropped from the exact same position in every frame (well, rounded to the nearest pixel), the framing is the same on all three crops.

But it shouldn't be. Let's whip out the calculator here:

Orig Size: 3861 (sRAW1) / 5616 (RAW) = 0.6875
Crop Size: 550 (sRAW1) / 800 (RAW) = 0.6875

In words, for sRAW1 and RAW, since the ratio of the original image sizes is the same as the ratio of the crop sizes, the framing should be the same. And it is.

Orig Size: 2784 (sRAW2) / 5616 (RAW) = 0.4957
Crop Size: 400 (sRAW2) / 800 (RAW) = 0.5000

In words, for sRAW2 and RAW, since the ratio of the original image sizes is not the same as the ratio of the crop sizes, the framing should not be the same. But it is.

What's going on here? Simple: unlike RAW and sRAW1 originals, sRAW2 images are cropped.

I suspected as much just looking at the resolutions: sRAW2 is just a few pixels short of half the resolution of RAW. Apparently, rather than interpolate to bridge the difference (or, God forbid, just make sRAW2 exactly half the resolution of RAW in the first place), Canon engineers decided to just throw away the outer pixels. And not tell anyone. (It's a trade secret!)

There is an upside to this asinine implementation, however, and you can see it in the lower row of crops: sRAW2 is sharper than sRAW1. Apparently because while the sRAW1 file is interpolated, the sRAW2 file is simply binned. I won't go into the gory details here; in essence, sRAW2 makes a 21-megapixel Bayer sensor look like a 5.2-megapixel Foveon sensor.

So, assuming I can work around the slight cropping, these results mean I will never be shooting sRAW1 — sRAW2 is better, or at least not significantly worse, and smaller to boot. Neither is as sharp as the RAW image, but when space savings is critical and resolution is not (the highest screen resolution available to the vast majority of people is smaller th











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