Importance of precise colour temperature when creating dual-illuminant DNG profile

I own an X-Rite ColorChecker Passport and would like to use it to create a dual-illuminant profile for my camera (and every lens combination) to use in LightRoom.
After extensive research I have a few lingering questions:
1)      How important is it to nail the colour temperature. Do you *absolutely have to* photograph the ColorChecker under Illuminant A and D65, respectively, down to the last Kelvin?
2)      If I don’t nail it down that precisely, will the resulting profile be any less accurate?
3)      If getting the respective colour temperatures exactly right is indeed that important, is it OK to use 2 diffused and gelled speedlites with Lee/Rosco color correcting gels to illuminate the Colorchecker? (The Lee / Rosco gels do not have the exact CTO gel for the 2850K specified in the DNG specification for Illuminant A, but it gets close)
4)      If it will really aid profile accuracy, how does one get hold of reliable/certified light bulbs that produce the required colour temperatures? (I’m in the UK)
Your advice will be greatly appreciated.

The exact color temperatures (in Kelvin) are not that important within the standard daylight range (above 4000 K), because large number changes in color temperature actually represent small differences as far as camera color profiles go.
What is more important (rather than the exact number) is the spectral characteristics of the illumination. This isn't easy to characterize for the end user, but you can think of it in terms of bulb type. Most compact fluorescents are spectrally very different from actual daylight (even if the bulb is indicated as being "full spectrum"), for instance. My recommendation is to create a profile for the type of lighting you will be under, rather than trying to match the exact numbers.

Similar Messages

  • Thunderbolt display changes colour temperature when in full screen mode

    27" Thunderbolt Display connected to MacBook Air (2011) changes colour temperature when in full screen mode. Switching any setting in System Preferences/Displays changes it back to the correct colour. I have also seen this on a 24" LED Display (Display Port) connected to a Mac Book Pro (2011).

    I describe my problem here. I think it's similar, can you see if the console gives you the same error?
    https://discussions.apple.com/message/20162986#20162986

  • Error when creating critical role or profile

    Hi all,
    When I try to create a critical role I input the system: ECC, Role Name: ABZ and Ruleset (I select from the dropdown "Test Rule").  When I try to save, the ruleset field changes to red and I get the message  "The entered value is not on the list of valid values".  Not sure how thats possible when I just selected from the dropdown.  I tried creating a new "rule set" and then the system lets me save the critical role but I can't create for the actual rule set that I needed.  have anyone seen anything like this before? or know the reason for why is happening?

    Hey Jonathan... had the same issue back in the day.  Our ruleset was being maintained by an external consulting firm, updated on their system and the files supplied to us to load. Pretty much got-around it by doing the same; created a temp rule set and loaded rules to it.  Created "GLOBAL" online and then reassigned all Risks to it - manually. No more problem but a good amount of leg work.  By chance were your ruleset files created/updated externally from your system?  This occurred back in the SP08 and lower days.  Current system - SP14 - we do no have the issue but we also control/maintain our own risks/rulesets.  Good luck, let me know if you get an official resolution.
      Chris

  • Strong colour shift when reselecting Adobe Standard camera profile

    I'm having this curious problem with Nikon V1 NEFs (raw files) in Lightroom 4 beta.
    In the develop module, Adobe Standard is selected as the default camera profile. If I switch to one of the other profiles (for the V1, the options are Camera Landscape, Neutral, Portrait, Standard, and Vivid) and then switch back to Adobe Standard, I get a strong color shift in the blues, which move towards teal. It looks like a white balance shift, but the white balance settings themselves don't change.
    I've attached three screenshots, the first showing an untouched file with Adobe Standard selected as the default profile in the develop module, then with the Camera Vivid profile selected, and then with Adobe Standard reselected. Besides changing the profile, there are no edits on this file: all I've done is import it, put it in a collection, switch to the develop module, select the Camera Vivid profile and then reselect Adobe Standard.
    The color shift happens regardless of which camera profile I pick before reslecting Adobe Standard. Interestingly, while the colors are off in the develop module, they're correct in the library module. Switching back and forth between library and develop doesn't fix the problem -- as long as Adobe Standard has been reselected in develop, the colors are off in that module but correct in library. The only way I've found to clear the color shift is to click reset in develop. Select another camera profile, though, and then reselect Adobe Standard and the problem comes right back.

    Yes. This is a bug that has been reported/fixed after the public beta build was made ready. Somehow it did not make it to the final public beta release note. The current workaround is to relaunch LR4 or
    a) Copy Settings (check all except Calibration),
    b) Reset,
    c) Paste Settings.
    This will invalidate some internal memory cache that went stale.
    -Simon

  • DNG-PE Dual-Illuminant Profile question

    Just want to clarify the correct procedure in building a Dual-Illuminant camera profile.
    So I have shot a colorchecker under 6500k and 2850k (hopelessly gloomy here in Hong Kong now, best I could get is around 5500k)... anyway, i open both shots in PE, and then run the chart wizard.
    Questions:
    1) Does it matter which base profile I choose when I run the Chart wizard?
    2) Once I run the chart wizard once, the Base Profile changes to 'Color Checker'. If I were to proceed to run the other colorchecker, do I need to change the base profile back to the original base profile (e.g. Adobe Std)
    Thanks! ws

    Eric Chan wrote:
    "2. For your case, where you're shooting in a very specific lighting condition (your studio flash in your studio environment) you are better off creating a single profile dedicated to that condition, i.e., follow Tutorial 5 in the PE documentation, where you should select 'Both Color Tables' from the popup in the Chart tab. "
    So with a specific and more or less constant lighting, like in studio environment, I shoot one chart in the studio environment and I make only one single profile with the "both color tables".
    I'm sorry if I make you feel like you're repeating what you just said, but as you can see I'm having quite a hard time understanding.
    But in this case, when does it worth to do 2 different profiles ? When the light is under 3000° K or upper 6000 ° K ?

  • When I import a commercial CD itunes will create 2 identical albums and put all of the songs except one into one album and put the other song into the other album by it self. How can I combine them all into one album and why is itunes doing this?

    When I import a commerical CD Itunes will create 2 identical albums and put all of the songs except one into one album and put the other song into the second album that it created.  Why is itunes doing this and what can I do to combine them into one album?

    I found this to be somewhat helpful: Grouping Tracks into Albums
    What I did was to put in the same name for Album Artist in every track.  That seemed to do the trick (previously all those fields were empty).  It seems like a lot of work for a simple thing.
    iTunes knows (or should know) that these tracks were imported from one CD. So why is it relying on incomplete data from the gracenote database?

  • Premiere Pro CC updated  - crashes almost immediately on my mac OS X Yosemite 10.10.3. Crashes at startup, crashes with media import, crashes when creating a sequence. NEED HELP FAST I have tried many troubleshooting solutions I found online nothing has

    Premiere Pro CC updated  - crashes almost immediately on my mac OS X Yosemite 10.10.3. Crashes at startup, crashes with media import, crashes when creating a sequence. NEED HELP FAST> I have tried many troubleshooting solutions I found online nothing has worked.

    Hi,
    Sorry to hear about the experience. Please provide your computer configuration details.
    Memory, Processor, Graphics card, Exact version of Premiere Pro, Error message that you are get. If you can post screenshots of the error report that would be helpful.
    Thanks,
    Rameez

  • When Creating a Work Order Import Standard Operations

    A client is requesting the following functionality when creating a Work Order: Create the first nine operations with different work centers and number operations 0001 u2013 0009.  For operation ten continue numbering with 0010 and increase by 10, ie, 0020, 0030, etcu2026 .   And operation 0010 would default header data.
    Can this be accomplished through standards configuration or would this entail a user exit?
    Thanks in advance!!
    JAM

    It can be possible, depending on how you create the Work Order.   If these operations are used often and are in a task list, you can create a work order and import the task list operations by using the menu "extras -> task List selections" inside the work order.    If it is part of a preventative maintenance plan, you can configure that your task list is automatically copied to the notification/work order when generated by your maintenance plan.  Of course in the task list you could save all the increments and work centers as you want.   But this would never be a dynamic check to your header data, it would only be as accurate as your task list.

  • PSE 8 some photos will not autoimport when creating an photobook and block the whole sequence. Are there knows reasons why individual photos can hang the import? Thanks Michael

    When creating photobooks with PSE 8 I find occasionally that certain photos block the autoimport function and none of the sequence are loaded into the new photobook. Using the identical setting to create a photobook other sequences of photos work perfectly. The photos have been checked and found and all are connected and recognised. Are there knows issues with some photo formats which will not autoimport when creating a photobook?
    Thanks for the help.
    Michael

    Sometimes LR can be "nudged" into showing folder relationships which better match the file system, by using the "show parent folder" command. When existing folders appear as if they were "top level" in the drive, we can see a more or less virtual picture of the situation, rather than anything real. So newly added folders can sometimes present themselves as if independent of what is already there.
    By forcing LR to show a fuller hierarchy of folders, more attention gets paid to the actual arrangement - so new and existing folders should "wake up" and thereafter appear more reliably in the right relationships.

  • White balance doesn't match CR2 EXIF colour temperature after import?

    Why does Lightroom make it's own choice of white balance for "as shot"?
    My CR2s from both a 40D and previous 350D all exhibit a shift in colour temperature compared to the EXIF data. It's not even consistent and a sequence of shots can visibly differ.
    I know that camera auto white balance has its issues, but it does look like the camera makes a better initial guess than LR....
    Thanks,
    Barrie

    The numbers are dependent on the mathematical model used to model the distribution of wavelengths in the lightsource. The details are rather heady, but indeed, the black body temperature is not as well defined as you might think. This is because a lightsource is seldom an actual black body radiator (not even the sun is due to atmospheric absorption, diffuse scattering on dust particles, and Raleigh scattering on the air molecules). If it were you would not need the "tint" number to describe it. There are quite a few different models for this in use and so it is not strange to see different numbers for the same conditions. In ACR/lightroom they are even dependent on the camera profile if I understand this correctly. Bottom line is that what is neutral in the camera system is neutral in the ACR/Lightroom number system. That's all you need to know. 

  • Colour issues when Producing iBA assets from InDesign

    Hi there
    This is just a heads-up for those that produce any assets for eventual use in iBooks Author in InDesign. Watch out for colour matching issues.  The RGB values in inDesign do not often produce the same colours in iBA. Why would someone be using InDesign in the first place? Well you might use InDesign to work out page layouts, or to produce the TOC backgrounds (so that Chapters can feature individual colour ways), or for creating images with text for use in HTML widgets. It's just quicker/easier at handling text and managing styles.
    Anyway - here's the issue. Try this: Create an colour with a specific RGB value in InDesign, export it as a jpg, and import it to iBA. Then create a shape within iBA with exactly the same RGB values. The two colours may differ. We have tried selecting different colour management options in InDesign, and even turning it off completely, but the colours still differ.
    We created an image in Photoshop with a certain RGB value. That looked fine in iBA, and had kept the correct RGB value (using the colour sample tool to test it). We took a .jpg exported from InDesign (with the same RGB value within InDesign), opened it in Photoshop, and although the two images in Photoshop reported the same RGB value, they were clearly different to look at. When the InDesign image was brought into iBA, it's colour sample tool reported a differing set of RGB values.
    So, if you have some assets where you need a reliable colour match you have a few choices:
    1) Don't use InDesign - use Illustrator or Photoshop
    2) If you must use InDesign - then export the assets as RGB PDFs with no colour management, open in Photoshop and export to jpg from there.
    3) If you're using colour ways, create the image from InDesign, but don't use the same RGB values that InDesign has to create elements in iBA. Sample the image using the colour sampler, and use the resulting RGB values to create your items.
    Like I say - it's not really an Apple issue, but those who use iBA with InDesign are better off pre warned, so I thought that I would be better off posting it here than in Adobe's forums.

    Publisher can create CMYK files, you go save as, then choose PDF, then click on Options or something and change it to Commercial Press.  This is Microsoft's version of the Press Quality export setting in Indesign, with it converting all images to CMYK, downsampling to 300dpi etc.
    NEVER EVER EVER USE THIS WAY TO CREATE PRINT FILES FROM PUBLISHER!!!!
    Have I made myself clear? 
    The CMYK images created this way have a terrible sort of under colour removal.  Think for example of a dark blue garment, where most of the garment is  something like 100C 60M 0Y 60K, but in the shadows it goes darker than  that, up to 100K.  Well in that area of 95 to 100% black in the image Publisher will convert it to only that, with no other colours underneath it.  But the areas surrounding it will be rich black.  This won't show up on digital proofs, even hi res ripped inkjets, and won't even show up on a press pass unless the machine has drying, because it is not until the ink dries off that you notice these weird photos....  Anyway what I do has already been said above.
    1. Refry it first.
    2. You should be able to sync your settings.
    3. No, it just thinks it can.
    In this case I actually had the Publisher files as well, so I printed them to PDF using Acrobat, and the images were fine.  Problem is the client had gotten used to text and other elements the way they looked using Publishers crappy CMYK export so I had to combine that with the proper images by cropping in Indesign..
    Here's examples of what happens:
    CMY channels only, BAD!
    CMY channels only, GOOD!

  • White balance, colour temperature value.

    Hi all,
    I've spent some time recently looking at the temperature value in the white balance adjustment for a selection of my pictures in Aperture.
    All of my pictures are taken outdoors in natural daylight. I've noticed the colour value of my RAW pictures in Aperture varies. Is this value recorded by the camera when it takes the picture or is it a value that Aperture works out depending on the colours it sees in the picture?
    For example for one set of outdoor pictures I took in the space of about 30mins the temperature value varies from 4685K to over 5000K and yet as I remember the apparent ambient temperature and light didn't change.
    I usually have the white balance on my camera set to auto but am I correct in thinking that since I shoot in RAW mode the white balance setting will have no affect on the RAW file produced and will only affect the accompanying jpeg? Or is the current white balance setting recorded to the RAW file but without adjusting the picture data and this is the value we see as the temperature in Aperture? Hence if I've got the camera set to auto WB and one moment the camera thinks it's sunny when I take a picture and the next time it thinks it's cloudy then the raw files are recorded with a different colour temperature?
    Regards,
    Dave.

    You have almost got it correct.
    Jpeg will have the WB as per the camera setting.
    The raw file does not have a WB setting. Aperture makes a rough assessment in much the same way your camera does.
    Nothing gets recorded to the raw file only the information from sensor.
    In camera, to produce the jpeg, the processor looks at blocks of data & applies an average value to the block. Lets say there is a block of 8 pixels with 8 different values, the jpeg file format gives it 1. So were you had 8 shades in the raw file you now have one in the jpeg.
    Unless you have a specific need to import both, Aperture can make all the jpegs you want, any size and better quality and easier than you can in camera.

  • Misteriously Colour Temperature change from my computer to others

    Ok, I've been stuck with this strange problem now. Out of the blue it started happening and realised when I uploaded some pictures on Flickr. I open my NEF file (from Lightroom) as a Smart Object and start working upon it as normal. I move it to 8 bits when finished the first steps, save as a JPEG. Close the TIFF, open the JPEG, change a couple of things as some of my filters only allow me to work JPEG (at least they are always disabled otherwise). And save again. IF I open it up from my computer, the colours are ok. Whenever I upload to Flickr OR Facebook, OR email them to anyone, the colours change. Specially the temperature. And no, it's not the monitor because I can see them on Flickr with a different colour from my very own computer.
    My basic workflow is as follows:
    Lighrtoom 2.4 => [Open as .NET smart object into CS4] => CS4 Camera RAW [Adjust Colour Temperature, Saturation, Contrast, Vibration, etc, click ok, open all adjusted on CS4 Again] => Filters adjust [Topaz Adjust, Sometimes Noisewaire or Portraiture, Nik Colour Effect (I GUESS here is the problem but not sure).
    When done with this first set, I change the picture from a 16bits format into a bits image in order to save as a JPEG. => [Save as] > .JPEG 12 (Minimum compression). I then close the open TIFF image and open the respective .JPEG image. All colours are exactly as I saved. All the same. I work upon a couple of more things (such as LUCISAR SE, for instance, smoothly). Save again. And that's it.
    I found an answer in stuckincustoms.com. He had the same problem and found the answer in correctly Colour Settings:
    [EDIT]=> [COLOUR SETTINGS] // Then select [Colour Management Policies] and move RGB to 'Convert to working RGB', all other 2 as OFF and click on 3 icons underneath. Save as a new file, close it all. Send. This seems to work sometimes, but not always. I'm not sure if it's the 'Nik Software Colour Effect' which is not holding...
    Here are two links as an example. The first one is with the right colour settings. I've done what Ratcliff told. The second one 'cooled down', even so I did what he told me to. I mean, same workflow both, different results.
    http://photos-a.ak.fbcdn.net/hphotos-ak-snc1/hs244.snc1/9122_147658726621_505071621_276412 0_283341_n.jpg
    http://photos-e.ak.fbcdn.net/hphotos-ak-snc1/hs264.snc1/9122_147646046621_505071621_276406 8_6740954_n.jpg
    You can see all my latest Flickr pictures have got the same problem. Some look nice, BUT it was not as I had edited.
    http://www.flickr.com/lteles
    HOW do I correct this??? And most importantly: WHY is this hapening?
    Thanks,
    Regards,
    Leo

    What do you mean "it dropped during transition."  If you are maintaining temperature at some level, then the transition should have no affect on the temperature unless you reinitialize or have wired a default number to the temperature you are trying to control.  I tried loading your program.  I don't have the instrument controls for the instrument you are using -- not a problem -- but it is hard to follow what you are doing.  It looks like you have many different setpoints all coming from the ni435x read.vi in a 2d array.  You should check that the values you expect out of that array are correct for each of the points that you use it.
    Tom

  • Setting Photoshop monitor profiles when using dual displays?

    I'm using a Macbook Pro connected to an Apple Cinema Display under OS 10.5.8. Both monitors are calibrated and I export from Lightroom to Photoshop in ProPhoto. The Photoshop working colour space is also ProPhoto so there is no mismatch there.
    When in dual display mode I like to have my Photoshop application on the Macbook screen and the photo I'm working on shown on the Cinema Display. In fact, I couldn't work any other way because the laptop's screen is not at all suitable for precision work.
    I noticed that when I send an image from Lightroom to Photoshop CS4 for further editing the colours were off in Photoshop. This lead me to check the monitor profile used by Photoshop and I saw it was using the Macbook Pro .icc profile. This seems to be used even if the image is displayed in the external display. Selecting the Cinema Display as "default" in ColorSync doesn't change the situation. As a result, the colours as displayed by Photoshop are incorrect.
    The only "solution" I have found is to either go to System Preferences > Displays  and select the external monitor as the principal one (which is inconvenient because it negates many of the advantages of using dual monitors) or setting the Cinema Display's .icc profile for the Macbook Pro as well (which makes it the one chosen by Photoshop but means I'm only working wiht one correctly calibrated monitor).
    Is there a solution to this problem? Ideally I want to have both my monitors calibrated and Photoshop detect which one I'm using to view my photo. Failing that, I would like to have both monitors calibrated and "tell" Photoshop to use the Cinema Display as the principal monitor.I don't want .
    Many thanks!

    Thanks for your reply!
    I'm not too worried about 10.6 because I'm not using it ( I reverted to 10.5.8 precisely because of the colour issues).
    I don't really understand your reply. My problem is that if Photoshop uses my Mabook Pro profile as the "monitor profile" my pictures - as displayed on the Cinema Display - look different in Lightroom and in Photoshop. It's as if Lightroom is "aware" of which of the two displays is being used whereas Photoshop can only deal with one at a time. I would like to know if this analysis is correct and what I can do so that Photoshop displays my photographs the same way as Lightroom does on each of my two displays.

  • How to register the recipient when create job by function

    I am now use JOB_OPEN , JOB_SUBMIT and JOB_CLOSE to create a job in the program. And need to post the result of the report to the person by email.
    Can you tell me how to register the recipient when create the job.
    ( in sm36, it is easily to do but how to do in coding? )
    regards,
    slam

    Hi
    I think in Back ground using the above fun modules you can't send a mail to the receipient.
    see the use of the above fun modules;
      IF p_bjob = 'X'.
        CONCATENATE sy-cprog sy-datum sy-uzeit
                    INTO jobname SEPARATED BY '_'.
        CALL FUNCTION 'JOB_OPEN'
          EXPORTING
            jobname          = jobname
          IMPORTING
            jobcount         = jobcount
          EXCEPTIONS
            cant_create_job  = 1
            invalid_job_data = 2
            jobname_missing  = 3
            OTHERS           = 4.
        CALL FUNCTION 'GET_PRINT_PARAMETERS'
          IMPORTING
            out_archive_parameters = arc_params
            out_parameters         = print_params
            valid                  = valid
          EXCEPTIONS
            archive_info_not_found = 1
            invalid_print_params   = 2
            invalid_archive_params = 3
            OTHERS                 = 4.
        IF valid = chk.
          SUBMIT ybrep
                          WITH < sel Screen>
                          AND RETURN
                          USER               sy-uname
                          VIA JOB            jobname
                          NUMBER             jobcount
                          TO SAP-SPOOL
                          SPOOL PARAMETERS   print_params
                          ARCHIVE PARAMETERS arc_params
                          WITHOUT SPOOL DYNPRO.
          CALL FUNCTION 'JOB_CLOSE'
            EXPORTING
              jobcount             = jobcount
              jobname              = jobname
              strtimmed            = 'X'
            EXCEPTIONS
              cant_start_immediate = 1
              invalid_startdate    = 2
              jobname_missing      = 3
              job_close_failed     = 4
              job_nosteps          = 5
              job_notex            = 6
              lock_failed          = 7
              invalid_target       = 8
              OTHERS               = 9.
          IF sy-subrc <> 0.
           MESSAGE ID sy-msgid TYPE sy-msgty NUMBER sy-msgno
                   WITH sy-msgv1 sy-msgv2 sy-msgv3 sy-msgv4.
          ELSE.
            MESSAGE i029 WITH jobname.
          ENDIF.
        ELSE.
          MESSAGE s000 WITH text-003.
          STOP.
        ENDIF.
      ENDIF.
    Reward points if useful
    Regards
    Anji

Maybe you are looking for