Are selfmade DNG profiles referred to the cameras serial nr. (et al.)?

Need a quick help, because I'm just writing an article about the DNG profile editor...
When I make my own DNG profile with the DNG PE, is this profile referred to the cameras serial#? If you have more than one camera of the same model, you should be able to make a separate profile for every body. If you have different profiles for different cameras of the same model - are the right profiles automatically referred to the corresponding camera in ACR? Or do I have to use different profile names to select them manually?
When I have assigned the different profiles to the corresponding cameras in ACR and I fix this as a standard ("Save new camera raw standard"), will the right profiles be assigned correctly by ACR from now on? Only if "Align standards at the cameras serial number" in the ACRs settings is active? (Sorry, I don't know the correct option names in english, because I only have the german version of PS...)
Unfortunately I can't try this by myself, because I own some digital cameras, but not two of the same model... :-(
Is there anybody who knows this? Or is there an owner of "camera tweens" who can figure this out for me?
Another question: If I have already made a camera calibration with ACR (modified the red, green and blue primaries), can I transfer these values (without change) to the DNG profile editor to save and use this calibration as a profile? (I know I have to set the calibration to 0 in ACR in this case, because instead it is applied twice.) My question is: Do same values of the calibration in ACR and PE produce exactly the same result?
I just tried this: It is not the case. Why not? I compared the two results with the difference-mode, they are not exactly equal (differences up to six 8-bit integer values).
What about the "Hue (dark tones)" slider in ACRs camera calibration? Why is it missing in the PEs Color Matrices window?
Thx a lot for your answers
Marius

So far as I am aware, DNG camera profiles do not store camera serial numbers, only camera model. Application can, if they want, associate a particular profile to a camera with a particular serial number.
As regards differences between PE and ACR calibration sliders - I don't think the Adobe people have ever had it as a design goal for PE and ACR to be exactly the same in that regard. But only someone on the inside like Eric Chan would know for sure.
Sandy

Similar Messages

Nikon D300 raw files, unable to retrieve the camera serial number!

Hi all,
I have just downloaded some D300 NEF files (camera firmware v. 1.2) onto my PC, and both Bridge and Camera Raw display NO camera serial number in all the shots! :-( And when I convert them in DNG, I still don't have any info on the nikon camera serial no. , why!? :-(
I opened them with EXIF tool and I tested that the camera serial is there in all the NEF's (and also JPEG) files.
I tried the NEF files from a Nikon D2X camera and, this time, the camera serial is read perfectly from both Bridge, Camera Raw and Lightroom (v. 1.4.1) too. Does someone have any hints!?
Thanks in advance! ;)
GL

>then it's either a bug in the application or an application that ignores some very basic rules.
For as long as Photoshop has been around, any plug-in, with or without an extension will try to be loaded by Photoshop (as well as Bridge). Normal renaming of a plug-in or removing an extension will NOT eliminate Photoshop's ability to load them at startup.
There are certain symbols you can add to the front of a file name to prevent loading the plug-in. If you want to disable a plug-in on startup you'll need to add ¬ symbol as a leading character and that plug-in will be disabled.
This is neither a bug nor a failure of the application...it's a special situation that is a standard cross-platform method that Adobe apps have used for years (at least 18 years at this point with Photoshop).
So, while it may be obscure and obtuse, it's not the problem of Photoshop/Bridge since it's behaving as designed.
In testing various versions, I often have up to 1/2 dozen different versions of Camera Raw installed at one time. I use the ¬ symbol to disable all the version I don't want to load and make sure only 1 version is named normally.

Where should DNG profile editor install the .dcp file?

Just made my first attempt to create a custom camera profile using the X-Rite color checker passport and the DNG Profile Editor.
Thanks to the excellent tutorial, the process went smoothly. Next I took the final step of exporting the profile (.dcp) file, expecting to find the new profile when I opened an image in ACR. Unfortunately the new profile was not listed in the Camera Profile dropdown menu.
After much searching I discovered that the profile was written to the folder containing the .dng images used to construct the profile. Obviously not where it belongs in order for ACR to find it. I assumed that "Export Profile" would automatically write the .dcp file to the proper location.
Where should the .dcp files be installed for Win7x64 running ACR 8.2.?
Is there a way to establish the proper location as the default in the Profile Editor?
Thanks for your help.

Custom-created .DCP profile files go into the following location under your Windows Users folder:
C:\Users\YourUserName\AppData\Roaming\Adobe\CameraRaw\CameraProfiles
The AppData folder is a hidden-system folder so you may need to turn on the viewing of those type of folders in your Explorer folder view options or just type \AppData into the folder address area and hit Enter once you get to your username folder.

What does "Camera Profile" mean in the Camera Calibration tab in PSE 12?

I recently made the switch to edit exclusively in Photoshop Elements 12. I need help understanding what I need to select for the "Camera Profile" drop down in the Camera Calibration tab. I shoot with a Canon Mark II. Will the camera profile selection affect my prints at all? First, what does the camera profile mean? I go back and forth between Adobe Standard and Camera Standard. Sometimes I get truer color with Camera Standard than the Adobe Standard for my outside photos. I'm so confused as to which one I should be editing with. I just want to be sure this is not going to affect my prints because I just recently ordered a print from Millers and it was saturated, shadowing and skin had orange tone. I have never had a problem with my calibration and have always ordered from Millers with no problem. This is the first print I ordered after editing exclusively with PSE 12 so I'm wondering if I have setting wrong. Thanks so much!

Will the camera profile selection affect my prints at all?
It will affect prints to the same extent that it affects the monitor display, but no more than that. The differences that you see in color rendering when switching between profiles will be embodied in the jpg that you eventually make for sending to the print lab, but will not in itself cause the discrepancies you describe.

HT4236 Hi, I have photo's on my i phone (that are in albums and not on the camera roll) that I want to backup to my computer. I do not seem to be able to move these pictures to the camera roll, and my computer cannot see them. How can I do this? Thanks fo

Hello,
I have photos on my i-phone in albums (not on the camera role, and I don't seem to be able to transfer them to the camera roll) that I want to back up to my computer, but neither my computer or i-tunes can see these albums.
Any idea's as to how I can save these 500 odd photo's?
Thanks for any help that you are able to offer.
Chris

There are only two ways pictures get on an iPhone.
1) Pictures taken on the device that show up in the Camera Roll.
2) Pictures synced from the computer via iTunes to the device that show up in other folders.
There is no need to back these pictures up from the iPhone to the comptuer as they already exist on the computer.

Are full res. thumbnails available from the camera/flash card?

Just wondered, as that would be a useful extension when not wishing to download obvious rejects.

It depends on the RAW file, some have excellent previews (full res! and others at the same time), some only have tiny ones (160x120, which might sound useful, but really is pitiful).
It would in fact be faster to get the previews, because they're (AFAIK) compressed as JPEGs, not RAW. Far easier to render, and far smaller because of the compression.
The RAW file format can cause problems though - some of them have the index-dictionary right at the end of the file, so you have to hope you can do a 'seek' to the end of the file on the card - I have no idea if OSX can do this on a CF card filesystem - otherwise you'd have to read the whole thing in anyway, which would make it pretty useless

Canon's picture style to DNG profile?

Hi,
Is there a way to get the "color map" in a Canon's picture style and use it to build a DNG profile, maybe via the DNG Profile Editor or ColorChecker Passport?
Thanks,
Juan

[email protected] wrote:
I do not see any information regarding how to extract color transformations from Canon Picture Style files, so as to be able to move this info into a DNG profile. Maybe I missed something?
I often see comments where people want Lightroom processing to be brought to simulate particular in-camera processing, but I always find it hard to understand the thinking there. The way that the camera, and that Lightroom, converts Raw data into a picture are Just Different [as different as a piano and a violin playing the same piece of music] and using each one single-mindedly to its own strengths and in its own way, by results, seems to me 100% fine and appropriate.
The DNG profile is an Adobe feature, and modifies the action of Adobe adjustments and processing. A Picture Style is a Canon feature, and modifies the action of Canon image processing. The controls and functions and outcome of one should never be expected to map 1:1 exactly onto those of the other... not least because some of this is proprietary / patented, or difficult or expensive to reverse engineer. Most importantly: even if it were possible, writing code to simulate the actual processing of a particular camera is AFAIK an unrealistically disruptive task to implement into the existing software. And Lightroom supports dozens of camera models.
[There are certain stylistic things you can do on a violin that mimic some particular ways of playing a piano, and vice versa. But the scope of this mimicry is restricted by the specifics of playing each instrument, so one needs to use one's head and imagination. There is no sustain pedal on a violin - there is no vibrato on a piano. And that is as it should be. It is how you play whatever instrument you are using, in relation to the piece of music, that matters.]
I don't mean to sound negative about your question, but more to encourage you to look beyond the options that the camera happens to provide. More positively, Lightroom gives rich controls over colour including
Basic panel - White Balance temp and tint, saturation and vibrance
selecting a DNG profile (as generated programmatically, and/or as tweaked in the DNG Profile Editor)
Tone Curve - there is an RGB point curve option
Hue Saturation and Luminance panel - hue shift, lum and sat for 8 hue sectors
Process Version
Camera Calibration panel manual sliders - shadow tint, separate RGB primary hue and sat
The DNG Profile Editor and the Camera Calibration panel seem to offer the best chance of achieving a given hue response look across many images. The HSL panel is probably more suitable for individualising a given picture. Also a camera capable of shooting DNG natively may include an "Embedded" colour profile saved in each file, which encapsulates the camera's own hue response information in some respects.
Quite often a particular camera image style includes contrastiness and tone curve aspects besides hue response - which for Lightroom, will involve some other controls as well as the ones mentioned above. That can all be wrapped up in a one-click Develop preset - or even, modified LR processing defaults - for ease of application in the future.

Where should I save the camera calibration profile for Lightroom 2?

I created some DNG Camera Profiles by DNG Profile Editor. For Camera Calibration in Camera Raw, I save those .dcp files in C:\ Administrator\ Documents and Settings\ Application Data\ Adobe\ Camera Raw \ CameraProfiles. However, I could't find such a subfolder in Lightroom folder, does any one know where should I save the dcp files for Lightroom 2? Thank you

It's the same install folder for both Camera Raw and Lightroom (i.e., a .dcp installed in the folder you described will be readable by both CR and LR).
Eric

DNG Profile Editor "base profile" question.

I'm profiling a Canon 5D3 with both the Adobe DNG Profile Editor and the Xrite ColorChecker software. It's been about 3 years since I last profiled a camera, so I'm re-doing the learning curve. My question now is how and why the DNG Profile editor depends on a "base profile?" Specifically, why does the DNG PE Chart Wizard generate different results depending on what base profile is used.
I see in the documentation that "all color adjustments made in the DNG Profile Editor are defined relative to a base profile." I understand that logic when making a custom profile via manual tweaks. You have to have a starting point. But I don't understand that logic when using the Chart Wizard. I expected the Chart Wizard to arrive at the same pre-defined target point regardless of the starting point. It does not seem to do that.
I discovered the difference by using an apparently bad workflow. I shot my colorchecker chart, converted the CR2 to DNG and brought it into Photoshop via ACR to inspect. That stored "Adobe Standard" as the base profile in the DNG.
Then I fed this DNG to the DNG PE Chart Wizard and generated a profile. I opened the image in ACR and applied "My Profile", which became the base profile in the DNG file. I thought I did something wrong, so I ran the same DNG through the Chart Wizard again and generated "My Second Profile." That version looked very strange, so I did it again and made "My Third Profile."
Now I have three profiles. My First Profile was made from Adobe Standard base. My Second Profile was made from My First Profile base. My Third Profile was made from My Second Profile base. Each iteration becomes more strange (bad), so this is clearly not the proper workflow. But what is? What base profile should be selected for Chart Wizard and why does it matter?
Being curious, I did the same exercise using the Xrite ColorChecker software. That software generates the same result, regardless of what base profile is stored in the DNG files. I'm not sure I like the results, but at least they are consistent.

DNG Profile Editor lets you define color edits (in the first tab) using a set of color control points. These control points in turn define a color lookup table used to perform the color correction when processing a (raw) image.
When you use a Base Profile, the resulting color table in the final profile is a combination of the base profile's color table, plus the color table defined by any edits that you've added in the first tab (using the Chart Wizard counts as adding edits to that first tab).
The reason you can get different and less smooth results if you apply the Chart Wizard iteratively is because you are applying lookup table after lookup table. The current color table-building method used by DNG PE has some limitations regarding smoothness of color profiles if two color control points are placed too closely (this can happen with the Chart Wizard, or if you specify two points manually that are close to each other). These problems can become more noticeable if you apply the DNG PE iteratively.

DNG profile management

Is it possible to create and use a shoot-specific custom DNG profile to process a set of images for a given shoot, and then archive that DNG profile for safekeeping but removed from view of Lightroom's Camera Calibration panel, without compromising Lightroom's ability to still work with that shoot's images - say, to make further develop refinements, virtual copy variations, prints, etc.?
Asked slightly differently, when in Lightroom's Camera Calibration panel you select a specific DNG profile to apply to a given raw image, does the profile data from within that DNG profile become image-specific metadata of the target image and get stored along with the rest of the image-specific metadata in the Lightroom catalog itself (and subsequently in the DNG raw image file when I save the Lightroom data to that image file)? Or, instead, is only the IDENTITY of the selected DNG profile saved as image-specific metadata, with the DNG profile itself needing to remain "installed" in order to carry out any future Lightroom work on that raw image?
Using the X-Rite ColorChecker Passport in conjunction with Lightroom, it is quite easy to imagine creating custom DNG profiles specific to a given shoot's unique lighting conditions. Creating DNG profiles specific to a given shoot, the collection of shoot-specific DNG profiles for a given camera body could grow to be quite large over time, making it tedious to wade through that collection in Lightroom's Camera Calibration panel to select the particular profile for the shoot being processed. X-Rite makes the "DNG Profile Manager" available to registered users of the ColorChecker Passport to assist with this very problem. It's great that this utility allows us to "Disable" DNG profiles, allowing us to keep our Lightroom Camera Calibration "Profile" menu manageable. But, if you use the X-Rite DNG Profile Manager to do this, does "disabling" a given DNG profile interfere with any further work in Lightroom on images for which that given DNG profile has ALREADY been applied?
PLEASE do not speculate on this response. If you do not know for certain, please allow someone who does (an Adobe engineer, perhaps?) to enlighten us.
Thanks in advance,
/eddie

Thank you to those who have offered responses.
Please do not get confused. As the most recent response clarifies, this is not about storing profiles within original raw files, or the differences between DNG files and original raw files. In fact, at it essence, my real concern is not even about DNG files at all, really, although it includes them by association.
My original question can really be answered in consideration of Lightroom alone: When a custom DNG profile is selected for an image by using the Camera Calibration panel of Lightroom's Develop module, does Lightroom itself internalize that DNG profile selection by recording into the Lightroom metadata database only the IDENTITY of that DNG profile assignment, or the actual DNG profile data contained within that DNG profile? If Lightroom records into the Lightroom database only the identity of the assigned DNG profile, then Lightroom would of course need to go back into that DNG profile later for the actual DNG profile data in order to do any subsequent development processing of the image for which that DNG profile was assigned. If, however, selection of a DNG profile using the Camera Calibration panel of Lightroom's Develop module causes Lightroom to record into the Lightroom database the actual DNG profile data contained within the selected DNG profile, then Lightroom would have no need to go back into that DNG profile later for the profile data, and the DNG profile itself could be safely "un-installed" ("Disabled" by the X-Rite DNG Profile Manager) without adversely affecting Lightroom's ability to properly process that image using the selected DNG profile's information. DNG image files themselves are not even really involved in determining the answer at this level.
The interplay with the associated raw image's DNG image file occurs when Lightroom-maintained metadata for the image is saved out into the DNG image file itself, either automatically or manually, and, yes, I was being very specific to discuss DNG raw image files in that context. I understand from the response provided by "ssprengel" that saving the actual DNG profile data out into the associated DNG image file only happens when using "Update DNG Metadata & Preview" and does not happen through the more common routes of automatically or manually saving image metadata back to the DNG image file. Why this more robust ("complete"?) level of image metadata preservation out to the DNG image file only occurs through a more obscure mechanism is a mystery to me, but that is not the topic of this discussion.
So, my real question really still remains. Combining the ideas from both of the paragraphs above, if Lightroom only saves DNG profile data out to the associated DNG image file using this more obscure mechanism, then does that mean that Lightroom does not normally retain the DNG profile data within the Lightroom database at all -- that it really only retains the identity of the selected DNG profile, and that only when this obscure mechanism is explicitly invoked does Lightroom deem it appropriate to actually read the profile data out of the selected DNG profile and pass that profile data along to the associated DNG image file, and that even then Lightroom itself does not retain that profile data internally? If this is the case, then the DNG profile cannot be "Disabled" without adversely affecting normal Lightroom processing of the associated image [by "adversely", I mean without having Lightroom revert to the Adobe Standard profile or any other unintended side effects]. However, if Lightroom actually does retain this profile data internally upon original DNG profile selection, even if it doesn't bother to save it to the associated DNG image file except through the use of the obscure function, then it would be safe to "Disable" the DNG profile after initial profile selection and not interfere with Lightroom's normal ability to process the associated image using that profile.
Taking the obscure function awareness into account, I guess this now has the possibility of making this subject much more complex. If Lightroom does not store DNG profile data within the Lightroom database (which would require continued availability of the DNG profile for processing associated images), BUT Lightroom provides this obscure mechanism for "forcing" save of assigned DNG profile data out to the associated DNG image file, then what happens when the DNG profile is "Disabled" and Lightroom goes to process that image? Does it look into the associated DNG image file to determine if actual DNG profile data has been saved there and go ahead and use it if it exists? Or does Lightroom ignore DNG profile data saved to a DNG image file in all contexts, and unconditionally always require the assigned DNG profile to remain available in order to carry out normal Lightroom development or rendering processing of the associated image?
This is admittedly a lot of words to discuss a simple desire: I want to shoot with shoot-specific DNG profiles, assign them to the shoot's images and develop them, and then archive off ("Disable") the DNG profiles from that shoot so that my Camera Calibration "Profile" listbox does not become unmanageable. Period. If I absolutely must go back and re-Enable a specific DNG profile later to make a print of one of those images a year from now, then I guess that's what I have to do, but that seems a real shame when all other image-assigned "edits" store those "edits" as image-specific metadata, and profile assignment is just another "edit" (although saving the profile data, rather than just the profile identity, may not be included in this "edit"). Whatever works out to be the simplest, most straightforward course to accomplish my objective is what I need to do. Ideally, that would be painless if Lightroom records into the Lightroom database the actual DNG profile data when the profile is assigned to an image using the Camera Calibration panel's Profile selector.

How to use DNG profiles without buying Lightroom/Photoshop?

I bought a ColorChecker Passport. All I want to achieve is accurate color reproduction and white balancing. I don't need Photoshop or Lightroom. Is there a cheaper solution to apply DNG profiles to my photos?

For your edification, you may want to read this thread:
http://forums.adobe.com/message/3179969?tstart=0#3179969
especially post #9 by Jeff Schewe:
Jeff Schewe wrote:
Actually, if you think about it, you really WOULDN'T want a DNG profile to alter the white balance of an image...that would seriously limit the usefulness of that profile. DNG profiles are designed to adjust the color and tone rendering of a given camera's spectral response. However, white balance is a shot by shot situation.
So, DNG profiles specifically DON'T take white balance into consideration. If they did, you could only use that profile for single white balance situations. The whole camera profiling issue is made far more complex than profiling a printer. You need a camera profile that allows color and tone adjustments over a broader range of light sources...compared to a printer that should remain consistent given a specific paper and printer setting.
Wo Tai Lao Le
我太老了

DNG Profile Editor vs. Adobe Standard

I'm working in PS CS3, I shoot in Leaf 11.2 and process my files in Camera Raw 4.6. I've mostly be unhappy with the color differences between PS and Leaf. The adobe standard profile brings me close, but not enough.
I've attempted to shoot a color checker and use the DNG Profile Editor, but the profile created seems overly saturated, and gets me further from my goal of matching what I see in Leaf. Where am I going wrong? I imagined Profile Editor would be much more precise.
All comments/suggestions are welcomed
Thanks.

The short answer is the Leaf rendering is not "accurate" (a.k.a. "precise") by design. It is designed to look good, which is different. Attempting to build a very accurate profile using the chart feature of the profile editor will build a profile that is closer to being accurate, which is wrong direction if you are trying to match the Leaf rendering.
Start with the Adobe Standard profile and apply manual edits from there to move it closer to the Leaf rendering.

DNG profiles, Calibration tab vs. HLS

Cross post (asked on the DNG forum but there isn’t much activity so forgive me)
X-Rite and Adobe have provisions for creating custom DNG profiles. DataColor just announced a product that appears to operate like these two but instead of making DNG profiles (or as we had in the old days, altering the Calibration Tab), updates the HSL controls. My understanding is that DNG profiles and the Calibration tab operate in a different order of the processing, prior to all the sliders above them. My understanding is there are benefits for doing this but I’d like to know more about this. The question is, what are the practical implications of “calibrating” via a target that affects HSL sliders instead of producing a DNG profile, or at the very least, altering the calibration sliders? Eric you out there bud?

thedigitaldog wrote:
The question is, what are the practical implications of “calibrating” via a target that affects HSL sliders instead of producing a DNG profile, or at the very least, altering the calibration sliders? Eric you out there bud?
I'm not Eric (not sure he would want to respond to this question) but I'll take a stab...first off, let me state that I haven't personally tested either the SyderCHECKR PRO color target or the software. I've only watched the video and read the user manual. But I do have some issues regarding usability and the "practical implications" of using the HSL Sliders vs a DNG profile.
There is one major implication–the SpyderCheckr produces a preset using the HSL adjustments rather than a DNG profile. I have no understanding (and haven't heard the rational) why Datacolor chose a Lightroom or Camera Raw preset instead of a DNG profile. But the first problem with creating "presets" is Lightroom and Camera Raw don't share "presets". So, unlike a DNG profile which will work in both Lightroom AND Camera Raw, the Spyder solution is application specific. The other major issue is that presets are not easily transportable compared to DNG profiles which actually get imbedded in a raw file. I have no reason to suspect that the HSL adjustments of Lightroom and Camera Raw CAN'T handle the color corrections needed for calibration, but the fact that the calibration depends on a "presets" limits its usefulness.
What is also not mentioned in the videos nor the manual is what the user is supposed to do regarding the starting DNG profile. Does Datacolor suggest using Adobe Standard or some other DNG profile? I ask because the HSL calibration applied as a preset depends upon the DNG profile used to create the color sample file and adding a calibration on top of an existing DNG profile seems to complicate the whole calibration process. When using DNG profiles, it's pretty straightforward what the DNG profile creation is actually doing. Adding an HSL adjustment on top of an existing DNG profile adds complexity to the process and reduces the portability of the camera calibration.
The documentation seems to imply that both DNG Profile Editor and X-Rite's Passport solution somehow limits the end user's ability to make further adjustments. I think this is false...while you can't currently edit the resulting Passport generated DNG profile in X-Rite's software, you can indeed edit the resulting Passport generated DNG profile in Adobe's free DNG Profile Editor. You can edit the preset that SpyderCheckr creates in either Lightroom or Camera Raw, but you are editing an absolute preset that applies HSL adjustments requiring the saving out of a new subset of HSL adjustments-and again presets are not interchangeable between Lightroom and Camera Raw. I see this as a very limiting factor.
In principal, I encourage the development of more and better solutions for both Lightroom and Camera Raw. Whether or not the HSL calibration approach is superior to the DNG profile calibration approach, I really wonder whether or not HSL is a better solution than the DNG profile approach. It seems to me that Adobe (and Thomas Knoll and Eric Chan) have spent a lot of time and effort to develop an open solution to camera calibration that the SpyderCHECKR approach is ignoring. Personally, I would have encouraged the option to create either a DNG profile _OR_ an HSL calibration preset. I think it's a mistake to ignore the DNG profile approach.

Do DNG HueSatDeltas correspond to DNG profile editor points?

I understand that the HueSatDeltas table in a DNG profile has 90 hue divisions & 25 saturation divisions (2250 total, excluding the value positions)... and these in turn record the hue shifts and saturation scales from these points.
Does anyone know if the dropper points on the color wheel in the DNG profile editor correspond directly to these 90 x 25 positions... Or are they simply arbitrary positions in the editor from which the resultant surrounding hue shifts and saturation scales of the adjacent points in the 2250 DNG profile positions are interpolated/calculated?
I had hoped that I could find the values corresponding with the 24 patches on a color checker and determine the hue shift/saturation scale recorded from these by reading the DNG profile... Or will that simply not work?
Thanks!

I am also uncomfortable with the 1.0.0.46 release with a D800.
Using Lightroom 4.2 I looked at the color checker chart that I used to generate my profiles using the DNG Profile editor. The blue change with this release was very significant.
Hovering over the blue panel of the chart after changing just the camera profile I got the following general readings:
Adobe Std.         R0    G22 B60
Beta 3                   R4    G18 B59.5
Beta .46                R17 G22 B59
Without an explanation, such a deviation from Adobe Standard is disconcerting as my base profile in the DNG Profile editor, both releases, was color checker.

Tone Curve in DNG Profile Editor

Is it possible to load a Point Curve from Adobe Camera RAW into the DNG Profile Editor as aTone curve?
I know you can enter the data again in the DNG Profile Editor in the Tone Curve Tab, but I develop the curve using Adobe Camera RAW and have it saved as a Point Curve.

Rob, I looked at the both a curve xmp file and a profile recipe that contained a custom tone curve with a text editor. The profile recipe has a lot of information and it's not easy to locate the tone curve data. I think it's easier at the present time to input the individual points in the tone curve tab of the DNG Profile Editor. Maybe Adobe will add this capability at some point.

Are selfmade DNG profiles referred to the cameras serial nr. (et al.)?

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