CAMERA COLOUR ADUSTMENT??

CAMERA COLOUR ADUSTMENT??....ITS SEPIA

thanks, I found the solution during my search in old discussions
Settings > General > Accessibility
and ensure 'White on Black' is disabled.

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Camera colours are not correct on iPhone 4

I have a new iPhone 4. The colours on the camera are distorted. How do I adjust the camera settings

You can't adjust the colouring of the iPhone camera, unless you use a third party application.
If you don't have a third party camera application installed, it's possible that it could be a hardware issue.

I sight camera colours washed out

The colours in photo booth are very washed out.....even in bright conditions....and with both filters on normal.
Does anyone know where the controls are,so I can boost the image to normal.
Thanks

Hi
There are no controls.
But there is this iGlasses http://www.ecamm.com/mac/iglasses/
Tony

Camera colours Xperia Z3 compact

When I take pictures, the reds in them appear very pink. Is there something I can adjust in the settings somewhere or some app I can download to remedy this? It was really noticeable when we were at a car show last weekend where there were a lot of red cars.
Thanks

@M4RTIN
Camera > Manual > SCN off > change the white balance settings.
"I'd rather be hated for who I am, than loved for who I am not." Kurt Cobain (1967-1994)

Custom Camera Profile Disables External Editing?

I'm using Lightroom 5 and Photoshop CS5. The problem is that if I apply a custom camera color profile created by X-Rite Passport Color Checker, I can no longer use an external editor, such as Photoshop, to edit my photos. Before I apply the custom profile, the external editor function works just fine. If I apply a custom profile in the Camera Calibration panel, then the ability to use external editors no longer works. There is no error message, but nothing happens when I try to edit in an external editor. If I go back and turn off the custom profile and go back to Adobe Standard, then the external editor function works again. What is going on? Is there a way to make it possible to apply a custom profile in Camera Calibration and still be able to use the external editors?

A suggestion: it sometimes happens that the main "edit in PS" function gets.. a bit confused. I agree with the other posters that it's critical which program is to render your image to an editable state (ACR, or LR)... which also means, whether PS is going to simply open up an already-saved file from disk, or be passed instructions to have ACR make it an unsaved image in memory.
Perhaps there is some issue with ACR seeing the folder where Passport is saving its special camera colour profiles via LR - the more standard ones are located in a structure shared by both programs, the same as with lens profiles. This will only be a difficulty, if it is ACR which is trying to do the job of rendering the image.
Just to clarify: normally when we say LR version such-and-such is compatible with ACR version such-and-such, we are assuming that the latest available Process Version is being used within Lightroom. For any individual image which happens to be set to an earlier Process Version, the compatibility with ACR operates, as if an earlier version of LR was being used. So (for example) one image using PV 2012 would get necessarily rendered by LR when you selected "Edit in PS" with PS CS5, because that is known not to support PV2012. But another image using PV2010 might get sent directly to CS5's ACR within the same setup (provided not earlier than 6.7), without giving the option, since that version of ACR IS known to support that generation of image adjustments.
To troubleshoot whether external editing is or is not possible, it can be helpful to set up Photoshop manually as a LR external editing preset (I find this useful anyway). This is done within the lower, "additional" part of the External editing tab in LR Preferences. By browsing direct to the Photoshop executable, you can specify whether 32-bit or 64-bit, also set up the bitdepth and colourspace, and explicity name that. When this name is then selected against an image from the "Edit in..." context menu, it is definitely Lightroom that renders the image - you can be sure that ACR is not involved.
If Lightroom cannot render an image under such an external editing preset, save it to disk / add a new imported image version, and have PS open that, when a {Passport profile is selected - but those things can happen when (say) Adobe Standard is selected, then AFAICT that narrows down on LR's ability to use the profile which Passport has made. I'd still have expected some kind of a warning message.
Even if PS was for some reason unable to open the image, but LR had definitely been the one told to render it - I would not expect to have "nothing" happen. I would expect to see a new image version in LR stacked with the original - named (by default) either [Imagename]-edit.tiff or [imagename]-edit.psd - which looked exactly the same as the current LR edits, only hard-rendered into a flat pixel file.
regards, RP

Matching cameras in cs6 prem pro.

Canon hfg10, 60d, hfm56, i belive in fcp you can click a button and it matches all camera colours, can this be done in cs6 prem pro.

There's no such button in Premiere Pro, but there is a shot matching tool in Speedgrade CC:
http://helpx.adobe.com/speedgrade/using/whats-new.html
It's not a hardware-referenced correction so it doesn't actually match 'cameras' - instead it looks at the spectra of each shot and tries to work out the differences between tints on shadows/midtones/highlights. You can't feed it a GoPro sweeping landscape and an Alexa interior headshot, but if the two frames depict roughly the same content it does quite a good job. You can then save the correction data for each camera as a 'look', and back in Premiere Pro CC that look can be applied to all the other bits of footage via the Lumetri effect.
If you want an absolute 'reset' of each clip back to a reference standard, again you'll need to use Speedgrade; this time with the aid of a Macbeth chart. That workflow is a lot more complicated as it was only designed to work with cinema hardware. There is a hacky workaround using Lightroom and the X-Rite plugin:
Export a still frame showing a Colorchecker card,
Import to Lightroom as a DNG file,
Use Lightroom & X-Rite to make a DNG calibration profile,
'Develop' the still frame so the chips are now accurate (and set your expoure and luma end points),
At this point you could save the develop preset and apply it to other video files in Lightroom's Library module but you'd have to transcode your footage and Lr's video export options are limited to say the least.
If you want to use the 'calibration' back in Premiere, it gets fun:
Send the developed DNG to Photoshop and export as a TARGA file,
Import the TARGA to Speedgrade CC, then shot-match your video of the Colorchecker to this still frame (here's where you lose a lot of accuracy as the shot matcher isn't comparing each color chip, only the RGB curves),
Save the correction data as a .look,
Apply back in Premiere with the Lumetri effect.

Hot and Controversial - Colour Management

Ok, having spent weeks, if not months, trying to get my head around 'colour management' (not easy at my age), I wonder if the entire subject has been overly complicated by the *experts* in this field and whether it really is as important as it is made out to be - to the average user that is.
I'll start with 2 assumptions - please correct me if I'm completely off-base here: (a) the strength of any chain is measured by the strength of the *weakest link* and (b) the facility of allowing me to choose sRGB or Adobe RGB within my camera (Canon 30D) is irrelevant having set my camera to shoot RAW as this format does not have an associated in-camera colour profile.
Having downloaded the RAW images from the camera to my computer my first visual sighting of them is as appears on the monitor. Now the importance of having a correctly calibrated and profiled monitor is clear to me, and in fact is something that I have done using the EyeOne display2. So far so good, but here now is what I perceive as the *weakest link* in the entire setup because the colour gamut of your average monitor (mine can be considered average) has no wider gamut than sRGB, and this is a physical characteristic of the monitor - I can't change it even if I wanted to. I believe there are monitors that will display a larger gamut than this but they are in the region of several thousand pounds sterling - way beyond my reach. The same reasoning, to my way of thinking, can be applied to the printer. Even using the correct printer profile to match the ink and paper in use, the output to the printer is still rendered to something approaching the sRGB colour space in your average printer.
So, we come to the crunch. When in Lightroom (or Photoshop for that matter) I look at the colour preferences I read the following when clicking on sRGB, 'the sRGB colour space cannot encompass the full range of colours available within Lightroom'. Well that's all well and fine, but if my monitor is unable to display let's say the entire ProPhoto colour gamut what's the point in choosing this option anyway?
As mentioned previously, the weakest link in my setup is the monitor. Wouldn't I be far better off setting up my entire colour management workflow to reflect this weak link i.e. setting the working space in both Lightroom and Photoshop to sRGB. To me this at least would maintain consistency. Is my reasoning correct, are the *experts* really making this subject more complicated than necessary for the *average* user not having monitors and printers costing 'X' thousands of pounds or am I really missing something - not seeing the wood for the trees so to speak?

>the colour gamut of your average monitor (mine can be considered average) has no wider gamut than sRGB
Very true. Most current LCD screens have a smaller gamut than sRGB indeed. There are wider screens approaching aRGB, but they are expensive. They are worth their price though.
>Even using the correct printer profile to match the ink and paper in use, the output to the printer is still rendered to something approaching the sRGB colour space in your average printer.
untrue. Almost all printers use a CMYK type color space and often they have a few extra inks making it wider. CMYK can reproduce many colors that sRGB cannot, such as (obviously) saturated yellow, cyan, and magenta. aRGB encompasses more of these colors, but only ppRGB encompasses all of the colors even a cheap inkjet can produce.
>So, we come to the crunch. When in Lightroom (or Photoshop for that matter) I look at the colour preferences I read the following when clicking on sRGB, 'the sRGB colour space cannot encompass the full range of colours available within Lightroom'. Well that's all well and fine, but if my monitor is unable to display let's say the entire ProPhoto colour gamut what's the point in choosing this option anyway?
There is no color space setting in LR, so I am not sure what you are talking about. You can choose a colorspace upon export, but I have not seen that dialog before. In PS you can set it. The point is that the colors that are outside your monitor's gamut are often simply more saturated versions of the colors on your display. You simply want to be able to print them and not throw the data away to start with. LR has a philosophy of not throwing anything away until you export, print, etc. It always keeps the data and reinterprets all the way from the RAW every time you make a change. This also means converting to your monitor's color space, be it sRGB or other, for display.
>are the *experts* really making this subject more complicated than necessary for the *average* user
? There are no shortcuts in getting correct color. Color vision is a rather complex problem. That said, getting correct color on the screen and on your output is not hard at all. LR makes color management extremely simple by not even giving you a confusing dialog such as PS does. On the Mac, this is completely transparant and on windows, the default sRGB monitor profile should get most people close enough. Most problems in color management come from people setting up PS incorrectly, or doing a half-baked monitor calibration. Also there is a widespread problem in bad printer drivers and bad printer color profiles. It also doesn't help that the most widespread browser is
color-stupid.

Adobe bridge / sony .arw preview / thumbnails

Adobe Bridge CS6, doesn't render thumbnails or previews for Sony A7R files [ Canon .CR2 work fine ]. Card formatted in camera, colour setting sRGB. Any tips ?

BOILERPLATE TEXT:
If you give complete and detailed information about your setup and the issue at hand, such as your platform (Mac or Win), exact versions of your OS, of Photoshop and of Bridge, machine specs, what troubleshooting steps you have taken so far, what error message(s) you receive, if having issues opening raw files also the exact camera make and model that generated them, etc., someone may be able to help you.
Please read this FAQ for advice on how to ask your questions correctly for quicker and better answers:
http://forums.adobe.com/thread/419981?tstart=0
Thanks!

Moving settings for LR5.2 to a new computer

Hi All,
My computer HDD died :-( Luckily, I have made full HDD backups quite regularly and haven't really lost anything.
However, I'm making a clean install of everything to get a fresh start. Over the years, I have built up quite a large set of LR Develop and Export presets along with several custom lens profiles and camera colour calibrations. Having started from LR2 then upgraded 'in place' over the years, I have a feeling the files for all these might be scattered all over the place on my Windows 7 installation/appdata files.
Apart from the obvious catalog file, where else should I be looking to get my fresh LR5.2 installation looking like it used to with a full recovery of all my various profiles and presets?
I think I found a few in my backed up %appdata% files but there is so much in there, I don't know what is essential and what is just 'junk' from older versions.
Can anyone shed some light on this for me?
Thanks,
Michael

http://www.lightroomqueen.com/2009/02/28/how-do-i-move-lightroom-to-a-new-computer/

RAW & DNG survey

Do you convert RAW files to DNG format. If so, why? If not, why?

I think it's too early to say if DNG will become a long term archival standard.
If you buy in wholesale to the Adobe ethic then DNG would appear to make more sense, although I'm less convinced about the XMP info. I really don't like separate sidecar type files, and if you store all the edit info in a central repository then you're effectively tied into that product through workflow at which point I don't see that it matters if you use native RAW or DNG.
Whilst the basis of non-destructive editing is a good idea, we all like the thought that we keep those untouched captured pixels, it's no guarantee that those edits will be applied identically forever more. Software changes even if the the RAW file and it's XMP contents don't.
I'm not overly precious about changing edit metadata in RAW files, Lr, ACR and even DPP will happily do so, although software errors such as those seen not so long ago are a bit of a pain.
I quite like Jeff Schewe's description of Hero RAW files, but in those cases, what matters more than ever IMO is the edited output file you create from them. Sure, at some point you may revisit that RAW if the software processing takes a big leap forward, but, if you sell a print that's popular and you don't archive the finished processed output then it might be a pain to explain why the product is now different. At some point you turn that hero RAW into dare I say it, a piece of art, hopefully. A revisit is a different piece of art, a new interpretation.
And for those items, well TIFF still seems to be the best choice.
So I think it's a moving target. I don't buy into the idea that somehow the camera manufacturers don't know how to get the best output from their device, and don't know about colour for example. The dyes used on the sensors are crucial to a cameras colour reproduction and the camera maker absolutely does know most about that. I do buy into the idea that camera makers know little about making good workflow software. Or general editing and processing software.
At what point does the DNG converter software drop support for old cameras? Never? If so, then presumably ACR can continue to support those old files too. If the DNG software can keep old formats going for all cameras from all makers then why shouldn't individual camera makers software continue to support all their cameras providing of course they are still in the business. If they do go bust or give up, if DNG converter or ACR still support the files, then you're not totally lost.
However, Lr etc, is more than just the RAW pixels, it's about the workflow and edits too, and those just don't seem to be portable. And would you really want them to be? If the RAW format was universal and the edits you could perform were part of a standard, where does the innovation and competition come from? IMO as soon as you go beyond the real raw RAW info, then you've gone partly proprietary, and then longevity becomes an open and moot point.
So no, I haven't gone DNG, yet. At present I like Lr's workflow so my edit info stays in the main catalogue. XMP files etc. no thanks.

Standard Gamma & Linearity Values

What are ACR's standard default values of gamma and linearity when creating a camera colour profile?

Hi,
If the values are not visible in CO11N, then follow as below:
Transaction: OPK0.
In the second tabpage Defaults, select Quants and services Immediate proposal.
With this the values will be visible in CO11N.
Or you can use the Actual Data button in CO11N to fetch the values..
Regards,
Siva

I am in need of help concerning Calibration profiles

I have a Sony A900. Apparently the beta 2 has the profiles for it. I have downloaded the file from adobe labs and all I can see at the camera profiles tab is ACR 4.6, adobe standard, and adobe standard 2. Nothing related to my in camera colour settings (portait, landscape, clear, deep etc...). Any advice on how to load the profiles? I am running Lightroom 2 and Elements 7 with windows Vista home premium. I tried the profiles on RAW and DNG.

The camera colour setting profiels such as Portarit, Landscape, etc) are only avaialble for Canon, Nikon, Leica M8 and a small number of Pentax models.
If you download and Camera Raw 5.3 you will find an installer package for the most recent versions of the camera profiles
Mac - http://www.adobe.com/support/downloads/thankyou.jsp?ftpID=4364&fileID=4061
Windows - http://www.adobe.com/support/downloads/thankyou.jsp?ftpID=4365&fileID=4067

CARK-91 to CK-15W

I have a Nokia 6310i which I use with a CARK-91 and its worked perfectly for 3 years. But the phone is dying and
I need to replace the phone and of course the car kit.
The CARK-91 is wired to use the cars built in microphone and radio speakers. Looking at a CK-15W the main connections on the
main control unit 'appear' to be the same as the CARK-91. Does anybody know if the power, microphone and speakers will
simply unlpug from the CARK-91 and fit straight into the CK-15W?

I think I have started this from the wrong end….
I need to get a new handset and this means I need a new car kit, fully wired…
My employer will supply the handset; I can have any of the following:
SVP E650
Nokia 6300
SVP E600
SE K510i
Nokia 6233
SE K800i
Nokia 5140i (semi rugged)
The car kit I will buy and fit myself, I would buy a kit from the handset manufacturer on the basis of the above handsets either the Nokia CK-7W / CK-15W or a SE HCB-700.
I don’t have much preference on handset but I guess a camera would be fun.
The car kit is the important bit it MUST:
1) Work reliably
2) Allow for ‘auto answer’
3) Utilise the cars existing microphone and stereo speakers, automatically switching to phone as the audio input source when it’s in use.
4) Provide simple access to the phones speed dial numbers.
5) Switch on, connect to the phone and be ready to use with no user intervention when I turn the ignition on.
The Nokia 6310i / CARK-91 does all this to perfection. TBH this is sheer bliss, its easy to use, utterly reliable and integrates with the cars electronics perfectly. The radio display even changes to ‘Telephone’ when it’s in use. Mobile phone Heaven.
Nice to have on the car kit:
Some means of accessing the phones internal address book.
Complications
I use a TomTom and subscribe to the TT Traffic service, the data for which is pulled from the phone via Bluetooth, updated every 10 mins. Current set-up works perfectly.
Handset MUST - have’s
Multiple phone numbers for each contact.
Connection (wired or otherwise) to a PC for management of the phones internal address book.
Store other contact data for contacts, email, postal addy etc
Have a stand-by battery life of at least 7 days, preferably 14 days.
Nice to have
Camera
Colour screen
So I guess its three questions:
Can I get what I want with currently available handsets/car kits?
Will the car kit/handset/TomTom all live together happily?
What combination would you get and why?
All opinion/comment/suggestion welcome.

I can't get my Dazzle Hollywood Bridge to output timeline to TV monitor

Pretty much as the title says.
All I get on screen are variations on a black & white picture from a normal solid picture to various moving stripes & checkerboards, all in black & white.
I did get it to work very briefly for about ten minutes the other day & I had a moving colour picture but then I changed a setting & it's gone back to being as mentioned above.
Does anyone have any ideas?
I gather that Dazzle don't have a great reputation.

Thanks for that.
I've managed to get my Dazzle bridge to display to the TV but it still seems very flaky.
Basically, I switched my video out put to "non-controllable device" & suddenly, up came colour on the TV! Woo-hoo!!
Then, my e-mail went ping so I switched apps to check my messages & when I went back it was a black & white checkerboard again! D'oh!!
So I fiddled around with plugs & settings a bit & suddenly, when I went on to "basic firewire" up came colour again! Woo-hoo!!
This happened several times & there doesn't - in my case at least - seem to be a setting that's the "right" one, just that forcing the bridge to do something different seems to kick it in to action.
A pain in the posterior, to be sure, but at least I'm able to get some work done now.
Just to confirm, I'm sending all frames, mirror on desktop is on, refreshing the AV has no effect (by which I mean that's not the thing that's making it work again each time) & I have the external hard drive connected to the Firewire 800 output, the Dazzle bridge connected to the Firewire 400 output & a single yellow (is that composite?) connector going to my TV with audio set to default so that it comes out of the laptop speakers.

Lightroom's interpretation of camera raw data washes out colours

After I import images from my Canon 5D, they look different when I go into the develop module. I read the FAQ and I understand that this is caused by the difference between the stored thumbnail on the camera and the way lightroom interprets the raw image data.
The problem is, the tone and colour are always far superior in the camera thumbnail interpretation, and I spend considerable time on Lightroom to try and get the image back to how it originally looked on the camera thumbnail, usually unsucsessfully.
Is there a way I can get lightroom to match exactly the look of the previews stored with the raw file on the camera?
It is a big problem, because after lightroom interprets the data, skin tones look washed out and the colours are not as rich or natural looking.
I don't have this problem on other raw converters, and it is making me look for another software solution if I can't resolve the problem.
Help!

Well, my eyes must be doing some wonky things then... because in my experience its LR that is cheating me on the colors.
Yes... Canon many times oversaturates the colors... but I'm pretty sure that those red cherries I took a picture of were not pumpkin orange as LR shows them. ACR has some serious hue shift problems, yet not for everyone... it varies from camera model to camera model, and even within camera model from camera to camera.
The best we can do, since ACR isn't intelligent enough, is to fiddle with the calibration settings, and save that as the new default for the camera. (There are scripts that help do this if you have a Color-checker and CS2/CS3... but are of no help if you use only LR or Elements.)
Never expect the default settings in RAW (for ANY converter... Canon's included (with execption, perhaps of Zoombrowser)) to match the preview you see on the camera, or the out-of-camera jpeg. Adjustments will need to be made. Unfortunately in ACR, this means hours of messing the calibration sliders, much trial and error, and perhaps multiple presets to help with different lighting conditions.
That said... I too would like to see ACR improve in this area... but for the mean-time this is the best we can do.
edit: (I'm (slightly) exagerrating the extent of the shift above... but its VERY noticable... and can be very frustrating.
This site: http://www.photoactivity.com/Pagine/Articoli/023%20Calibratori%20al%20sole/Calibratori%20 al%20sole_en.asp explains in more detail than I understand some of the calibration scripts... and even has some screenshots of a color-checker comparing ACR defaults and various scripts to the color-checker. I'd guess the shifts I see are comparable to some of those shifts seen on that page.)

CAMERA COLOUR ADUSTMENT??

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