Color Checker And White Balance

Question

Hello Everyone.
I usually have a shot from my Color Checker and create a Profile for that Day of shooting.
I have Two choices.
1- Click on the Gray Color of the Color Checker for a White Balance, and then Export the color checker as a DNG, and create a profile.
2- Create a DNG from the Color Checker shot, and Later apply the White Balance.
In other words, when you open the Color Cheker in the Camera Raw, It Is a Flat Image. If I create a white balance from the Color Checker
and then,  Export it as a DNG to create a Profile Is It more Accurate ?
Dose It make any different ?
NOTE:
I get a better White Balance shooting either the Gray color from the Color Checker, Or a 18% Gray Card, rather than shooting a white color of Color Checker
or Shooting a white paper.
UPDATED:
I was reading this article that you should Aim the Gray-Card one third of angle between Camera and the Main Light or sun.
It says If you hold it flat next to your object It is Wrong.
Is this also  how you should  Aim the Color Checker One third of angel between Camera and the Main Light ?
Please read this article.
What's a Gray Card and Why You Should Own One
Also this Article Is opposite of the top
Using Gray Cards
Thank you very much For All Your Helps.

Answer 1

In your initial post you seem to be asking if it makes a difference whether you set the WB on the DNG you create your color profile from or not.  I don’t know that it makes a difference in the color profile but it should be easy enough to test experimentally, by making two DNGs from the same raw file, one where you’ve set the WB to as low as it’ll go, and one where you’ve set the WB to as high as it’ll go, and make a profile from each and see if you get a different look based on which one you use or not.
Then you talk about which gray patch on a color-checker is better to use for WB, saying you don’t use the white one, but one that is grayer.  My idea is to use whatever patch matches the brightness of whatever you are wanting to get the closest to the right WB.  If you have a midtone subject then use the midtone gray patch.  If you have a light subject use a brighter gray patch, and if you have a very dark subject then maybe use a darker patch, though probably not the darkest because there will be more error in that WB computed from the darker patches, so lighter ones would be preferred if you don’t have any other reason to choose one over the other, though not the brightest one, necessarily, because it could be clipped and unusable.
Finally you’re asking about the angle of the card with respect to the camera and the mainlight.  You don’t want it to be halfway between the angle of the mainlight and the camera because that would have too much glare to the extent that there is any glare with the specially-prepared surfaces of the color-checker.  You also don’t want it to be flat on to the camera, because that gives too much emphasis to the lighting behind the camera position (blue sky, green plants, red dirt, building walls) as blocked by the camera operator, so 1/3 of the way toward the mainlight angle is a way to mix in the lighting along the horizon with the mainlight to get an average.  If you doubt whether this makes a different take two CC shots, one flat toward the camera and one facing the mainlight, as the two extremes of the color balance variation and see how much different they are when eyedroppering the same gray patch in LR.
In your situation, with 100% strobes, your only non-strobe-colored lighting would be from reflections of the strobes off other things nearby.  Are you in a completely neutral studio setting and everyone except the model wears neutral clothing?  If there are close by light colored neutral objects such as walls and ceilings, then some of the strobe light will likely reflect from the clothing and off the walls making the color-balance tinged with a bit of the subject’s colors.  You could minimize this by taking your calibration shots without the subject or any non-neutral-colored objects in the vicinity of the strobes so as to minimize the subject reflection coloring the light.  Whether any of this matters depends on how neutral and reflective your studio environment is.  If your entire studio is matte black except for the model and backdrop then you don’t need to worry, but if it’s not, then there would be some reason to care.