Colorchecker DNG profile using polarised studio flash and polarised lens
I am attempting to copy paintings and various 2D artworks using polarised flash and a polarising filter on my lens and need a really good camera profile for this exacting work.
The profile I have made using the DNG profile editor looks very weak across all the colours of the test chart and I could never apply this to my images.
Can anyone give advice on how to get a good result? Am I meant to be tweaking colours by eye to best match the colour checker? This would seem a really bad work flow!
I used to be very happy with the Thomas Fors calibrator. . . Cheers, Ian
You test the color accuracy of the profiles you make with scripts from this page:
ACR Camera Calibration and Validation
Or I like to use Imatest Studio which gives a graphical representation of the color error, as illustrated here:
Adobe Calibration Results Photo Gallery by Steve Sprengel at pbase.com
These measure hue error not luminance (brightness) error, and perhaps optimal hue doesn't lead to pleasing images.
You can try starting with a different default camera profile instead of Adobe Standard, maybe Camera Standard, and see if that results in a better profile.
You can compute the values for the RGB Hue/Sat sliders using one of the Rags-Gardner or Tindemans scripts, and then compute the profile with those slider values in effect.
Similar Messages
-
Using dvd studio pro and getting language must differ message. Will not let me create disc. Help!
using dvd studio pro and getting language must differ message. Will not let me create disc. Help!
It means your file is too large to fit on a single layer disk.
Recompress to keep the overall size (audio,video and menus) below 4.5GB
x -
What flash player to use on iPad 2 that is similar to Adobe Flash Player? Need this to choose files for upload of assignments to my online university. I started my profile for this site using my iPad 2 and couldn't choose a picture to upload as well. Hmm
There is no "flash player similar to Adobe Flash Player". Flash is a proprietary Adobe product. There is currently no version of Flash for iOS.
-
Using databases with Flash and PHP
Hi, everyone!
I`m a PHP newbie. I just learned PHP so that I can use
databases with Flash.
I`ve got a .php script that contains html that loads up my
.swf file. The .swf file is the core of my site. What I want to
know is if I can call some PHP functions (that I have wrote in the
.php script) from within the .swf file... This functions would
perform the reading and updating of my database.
The only way I know of to modify a database from Flash is
using the POST and GET methods. But that opens up a new browser
window in which the PHP script is called. And that only handles
writing in the database. So, what if I just want to read from the
database some values and insert them into a TextField in Flash? How
do I do that?
Thanks! Ardy1. Goggle "Flash and mySQL" and you'll get a listing of alot
tutorials
2. I'm also just learning. Here's a great URL to start:
Building with Flash and MySQL
That's right, a Flash-based blog — it sounds a little
loony, but this blog pulls content from a MySQL database and feeds
it into the dynamic Flash frontend ...
www.webmonkey.com/programming/php/tutorials/tutorial2.html -
20k - Cached - -
New releases: Adobe Lens Profile Creator v1.0.4 and Adobe Lens Profile Downloader v 1.0.1
Along with last night's ACR 7.2/LR4.2 release (see the Lightroom Journal blog here: http://blogs.adobe.com/lightroomjournal/), the Adobe Lens Profile Creator and Adobe Lens Profile Downlader also got a refresh. They have now officially moved out of the Adobe Labs into the Adobe product download site. Here are the links to the new version:
Adobe Lens Profile Creator v 1.0.4:
Mac: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5489
Win: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5490
Adobe Lens Profile Downloader v 1.0.1:
Mac: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5491http://www.adobe.com/support/downloads/detail.jsp?ftpID=5491
Win: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5492http://www.adobe.com/support/downloads/detail.jsp?ftpID=5492
These new updates contain mostly bug fixes. Thank you all who have reported the issues. Let us know what you think.
Thanks,
Adobe TeamI am also having problems trying to install Lens Profile Downloader 1.0.1. I receive the following error message:
This application cannot be installed because this installer has been mis-configured. Please contact the application author for assistance.
I updated to the latest version of Adobe Air, I uninstalled the previous (1.0) version of Lens Profile Downloader (dragged it to the trash and emptied the trash), and I rebooted my Mac. I have tried downloading the file and rebooting my Mac several times and get the same error message every time. Any other suggestions? -
Have tried both Mozilla 12 and 16, have reloaded Flash several times, have enabled Javascript. Ad seems to play but video does not, only seems to occur with Foxnews.
You can check the Flash status [http://helpx.adobe.com/flash-player/kb/find-version-flash-player.html here]. If you have any external Windows ad blocking applications, or if you're using a proxy you can try to adjust the settings.
Additionally, the Reset Firefox feature can fix many issues by restoring Firefox to its factory default state while saving your essential information.
Note: ''This will cause you to lose any Extensions, Open websites, and some Preferences.''
To Reset Firefox do the following:
#Go to Firefox > Help > Troubleshooting Information.
#Click the "Reset Firefox" button.
#Firefox will close and reset. After Firefox is done, it will show a window with the information that is imported. Click Finish.
#Firefox will open with all factory defaults applied.
Further information can be found in the [[Reset Firefox – easily fix most problems]] article.
Did this fix your problems? Please report back to us! -
Button Four
DVD SP will compress the video if you have not already. However, it is usually better for you to make use of Compressor and compress the video yourself. That being said, the usual reason for the bitrate being too high error is that the audio is causing it. In Compressor you need to also compress your audio to a AC3 file. Start with the Dolby 2.0 preset and make the following changes;
Change the Dialog Normalization to -31 dBFS, and under the Preprocessing tab, change to Compression Preset to None. -
Colorchecker passport and the DNG profile editor
I finally got around to getting a Colorchecker passport to use with the DNG profile editor.
I was secretly hoping I could save time by shooting the chart on location and make an instant profile out of that - then the colors would be at least "close ballpark" so I would just have to apply white balance and then move on to more specific adjustments. But of course it wasn't that easy, it still takes a fair bit of color tweaking to get right in most circumstances.
So I'm wondering if my energy would be better spent trying to perfect one good dual illuminant general profile. For this I would use 3000 K tungsten at one end and 5500 K studio flash at the other. Or would it be better to use overcast daylight? In either case it's obviously important to ensure the chart is absolutely evenly lit.
And then I should probably have a separate profile for fluorescent tubes.
I'm curious what other people's experiences with the colorchecker/DNG profile editor are? How are you using it?The color profile changes with the lighting, so a profile that was computed for daylight won’t be right for tungsten or fluorescent. Keep in mind that a custom camera profile is the set of corrections on top of an existing Adobe profile that the DNG has assigned to it, perhaps Adobe Standard, and all Adobe profiles are dual-illuminant profiles, so it makes sense you’d want to also create a dual-illuminant profile for general purpose use that has the same two lighting scenarios as Adobe used: 2850K and 6500K. The 6500K is the tricky one because full sun is warmer, closer to 5000K, and you need the right amount of haze to create 6500K sunlight, unless you are using standard D65 bulbs, indoors, which is likely what Adobe does.
I use a dual-illuminant profile for general purpose use, but since the WB-Tint values of both the tungsten and daylight ends are close to zero, lighting that has a tint not close to zero needs a separate profile. The common example is the greenish light from fluorescents, and I have several single-illuminant profiles for various artificial lighting scenarios with WB-Tint values that are relatively non-zero. I also have ones for very red sunsets and very blue twilight. If I had studio lighting I’d make a profile for that. Sometimes I make a custom profile for a church or other venue that has significant non-neutral walls or ceilings, or where sunlight through the stained-glass windows shining on the walls are giving a significant color-cast including a non-zero tint value to the lighting. If you know you’ll be doing some shots near a large amount of tall, green vegetation then a custom color profile can correct for the green tinge to the ambient lighting coming down from above mixing in with the sunlight.
Adding to the suggestion about wearing neutral clothing, I’d argue for dark neutral clothing because something lighter clothing will reflect environmental colors (sunlit vegetation or brick walls, etc, outdoors) and not be neutral.
Besides non-neutral clothing, try to avoid areas that have green grass or tree leaves or brick buildings that also color the light and reflect off the colorchecker. For the sunlit shots, I put my colorchecker face up on the sidewalk or parking lot, to avoid coloration from the grass and far away from trees or buildings especially in the direction I’m pointing the camera, so the only lighting is direct sun and ambient blue-sky, possibly diffused by hazy clouds. I point the camera down at the colorchecker, at a 45-degree angle and at a compass direction and not directly toward the sun, nor directly away from the sun. I try to shoot the target that is face up on the ground perhaps at a 90-degree angle from the sun to minimize any residual glare from the colorchecker’s slightly non-matte surface. Obviously directly away from the sun, the color-checker will have my shadow on it or I will be blocking the light from the sky near the sun.
I use the same sort of process for the tungsten end, choosing a room with neutral walls and put the target relatively flat on the floor facing up, perhaps tipped up somewhat toward the light, but not so much as to have any glare from the lighting, either, in other words, not with the lighting directly behind the camera, but somewhat over to the side. -
About to use DNG Profile editor
I've had my Colorchecker for a few weeks, and I finally have time to set up my profiles for LR 3.4. In reading the DNG Profile editor tutorial page (http://labs.adobe.com/wiki/index.php/DNG_Profiles:Editor), I have a few questions:
1) If I use Tutorial 5, I am guessing I will have to create a profile for each lighting/WB condition, i.e., one for Tungsten, one for Fluorescent, one for sunny, one for overcast, one for flash, etc... Is that correct? Is there an advantage to doing this vs. going for the dual-illuminant approach explained in Tutorial 6?
2) In Tutorial 6, for the dual illuminant profiles, it states that one of the reference shots should be taken at 6500K. I'm not quite sure how to achieve this, since daylight and flash, to semi-constant WB sources I can easily achieve, are around 5000-5600K.
3) Should I (in LR) White-balance the Colorchecker reference shots, then convert to DNG, prior to bringing the DNG file into DNG Profile editor? Or is it preferable to WB as explained in Tutorial 1, step 3?
4) Finally, it's somewhat unclear how I bring the profiles into LR for use during the Import or Develop phases. Tutorial 1, step 9 mentions a "CameraProfiles directory" for ACR and LR, so I'm guessing I need to go digging through the Adobe folders to locate this directory and place/save my profiles there?eswrite wrote:
1) If I use Tutorial 5, I am guessing I will have to create a profile for each lighting/WB condition, i.e., one for Tungsten, one for Fluorescent, one for sunny, one for overcast, one for flash, etc... Is that correct?
If you want a broad purpose DNG profile then yes, doing a dual illuminate profile is useful. Shoot a target under tungsten and under daylight and make the dual illuminate profile. There's no real reason you need to spawn off a bunch of other profiles for only slightly different light. The dual illuminate will handle cloudy or overcast just fine. If you also shoot with special lighting sources like fluorescent (which doesn't have a complete spectrum) or other non-standard lighting sources then do a profile for those special conditions. If you are creating a profile specifically for studio flash, you can get by doing only a single illuminate profile for the strobes...but in that case, the profile won't be as accurate if you also try to use it under tungsten–which would be the reason to do a dual illuminate profile.
As far as the D65 color temp, the closer you can get to it the better, but D55 should work fine. The key is to make sure it's evenly lit. The big difference between D65/D50/D55 is the relative amount of the blue light components-all three will be fairly close. Tungsten however has vastly less blue which can impact the sensor's spectral response–which is why the dual illuminate is suggested.
Once you do the CC shot, don't bother with tone/color corrections in ACR before converting to DNG. They won't have a material impact on the profile creation. The CC shot MUST be evenly lit and of an optimal exposure...
As far as where the profile goes, it depends on the system. Once you've created the profile, PE should default to the correct location, otherwise state your system and we can tell you where to put them. -
I have an application that is done using SSRS on visual studio and it connects to the report server on SQL server 2008 environment.
I've been changing the existing reports using visual studio 2008 and modifying the reports on the report server. How do I add a new report to the application ? I created a new report and deployed it on the report server but it didn't show up in the application.
I can access the application source code on visual studio 2010 and TFS (Team Foundation). Thanks.Hi,
I have a question. This application retrieves SSRS reports from the report sever. When I download the reports
from the SQL Server I can open them in visual studio 2008 but they don't open in visual studio 2010. I can access the application files on visual studio 2010 and team foundation server 2010. I was unable to open team foundation server 2008 on visual studio
2008. The issue is that I am unable to add a report with a new name to the application. I use visual studio 2008 to deploy the reports on the report server but it has to be the same name to be able to run the report from the application. I can deploy any report
on the report server but I can't access it from the application unless it has to be the same name as the present reports. If I keep the report the same name then it will replace the old report and the new report will run from the application. But only if it's
the same name. I guess when I add a new report to the application with a new name I am supposed to add a definition in the application C sharp files on visual studio 2010 so that the new report will show in the application. What's your opinion
? I have attached 2 images of the application and team foundation server 2010 and the report server.
Thanks. -
Slow first connection using Oracle 10g xe and Visual Studio 2008
{noformat}
Good day,
I'm slightly unaccustomed to using forums, so bear with me.
My initial connection to the Oracle database takes approximately 30 seconds. It seems to be waiting for a connection before timing out and trying another connection which works, as all subsequent connections work immediately. I'm unsure how other people's responses in forums can help me due to the plethora of configurations, so here's mine. My comprehension of the oracle world is still growing, you'll have to explain the terms you're using for me, Hoping you can help.
I'm using Visual Studio 2008, set to use 32 bit debug mode, on a Windows 7 Pro platform. Also using Oracle 10g Xe, and have installed the 32 bit version of ODAC 11.2 (11.2.0.1) to aid making a connection from Visual Studio to Oracle.
I have a database set up and a user with system admin rights. This is all local for a programming project and will never see the light of day outside of my personal machine.
I am using code to connect, not the GUI. I wish to code this project completely without the aid of the GUI. so my connection string within Visual Studio C# is (pw/id hidden)...
string xe = "Data Source=xe;User Id=xxxxx;Password=xxxxx;";
OracleConnection conn = new OracleConnection(xe);
My c:\devsuitehome\network\admin\sqlnet.ora file is this:
# sqlnet.ora Network Configuration File: C:\DevSuiteHome\network\admin\sqlnet.ora
# Generated by Oracle configuration tools.
SQLNET.AUTHENTICATION_SERVICES= (NTS)
NAMES.DIRECTORY_PATH= (LDAP, TNSNAMES, EZCONNECT, ONAMES, HOSTNAME)
And my c:\devsuitehome\network\admin\TNSNames.ora file is this:
tnsnames.ora Network Configuration File: C:\DevSuiteHome\network\admin\tnsnames.ora
Generated by Oracle configuration tools.
XE =
(DESCRIPTION =
(ADDRESS_LIST =
(ADDRESS = (PROTOCOL = TCP)(HOST = 127.0.0.1)(PORT = 1521))
(CONNECT_DATA =
(SERVICE_NAME = xe)
EXTPROC_CONNECTION_DATA =
(DESCRIPTION =
(ADDRESS_LIST =
(ADDRESS = (PROTOCOL = TCP)(HOST = <machine name)(PORT = 1521))
(CONNECT_DATA =
(SERVICE_NAME = PLSExtProc)
Just for good measure, my tnsping xe shows:
"Used paramter files:<br/>
c:\devsuitehome\network\admin\sqlnet.ora<br/><br/>
Used TNSNAMES adapter to resolve the alias<br/>
Attempting to contact (DESCRIPTION = (ADDRESS_LIST = (ADDRESS = (PROTOCOL = TCP)(HOST = 127.0.0.1)(PORT = 1521)))(CONNECT_DATA = (SERVICE_NAME = xe)))
OK (0 msec)"
So, how can I make that initial connection faster so I don't spend 15 years testing my application due to slow start-ups? :)
Thank you.
Kevin.
{noformat}
Edited by: 832285 on Jan 29, 2011 10:08 AM
Edited by: 832285 on Jan 29, 2011 10:10 AMI have formatted my hard drive since my first post. I was running window 64 bit with a higher version of the ODAC and that proved to crash my machine with faulty error messages about memory. I have reverted to a previous version of the ODAC tools and everything works very smooth now. Still the connection time is consistently 20 seconds or longer on the first attempt.
Just a little more information.. I am currently taking a college course with 15 other students, as you can tell by the impersonal machine name, where programming using visual studio 2008, and Oracle 10g xe is expected. All of us are using a 64 bit environment and we all have difficulties cutting down the load time of making the first connection to Oracle. Some people are longer making the connection, but none are shorter.
One other note. After the first connection is made, taking 20 or more seconds, and is closed, all subsequent openings of the connection are instantaneous, for all of us.
If there is ANYTHING more I can get for you, please let me know. With my environment stable as it is, I will not need to format or change any information for the foreseeable future.
Here is the information you requested
1 The connection method I am using, I have chosen the manual connection for you, however the delay exists if the connection is made through the GUI as well.
Historically, I am getting slow connection speeds through adding the connection through the GUI or by a manual connection. Here is how I am doing it manually. I have the connection being created in 20 seconds, which is the best I can get.
Imports Oracle.DataAccess.Client
Also included project reference: oracle.dataaccess / version 2.111.6.20
Private Sub Form1_Load(ByVal sender As System.Object, ByVal e As System.EventArgs) Handles MyBase.Load
Dim connString As String = "Data Source=XE;User Id=abc;Password=abc;"
Dim con As OracleConnection = New OracleConnection()
con.ConnectionString = connString
Try
con.Open()
MessageBox.Show("Connected!")
con.Close()
con.Dispose()
Catch ex As Exception
MessageBox.Show(ex.Message)
End Try
End SubMy current TNS Ping results
TNS Ping Utility for 32-bit Windows: Version 10.2.0.1.0 - Production on 16-FEB-2011 01:02:36
Copyright (c) 1997, 2005, Oracle. All rights reserved.
Used parameter files:
C:\oraclexe\app\oracle\product\10.2.0\server\network\admin\sqlnet.ora
Used TNSNAMES adapter to resolve the alias
Attempting to contact (DESCRIPTION = (ADDRESS = (PROTOCOL = TCP)(HOST = 127.0.0.1)(PORT = 1521)) (CONNECT_DATA = (SERVER = DEDICATED) (SERVICE_NAME = XE)))
OK (0 msec)2 Connection to SQL plus is instantaneous.
I fought for weeks about the ODAC version 11.2.0.1 that you see in the previous post, and that would be a whole new thread. Suffice it to say I have a reliable environment to program in with this 10.2.0.1.0 version that I am running now, and the connection time has not changed, it is still minimum 20 seconds load time, sometimes up to 25.
3 Ram usage in my typical environment
I am running this laptop with 4 gigs of ram. This is a typical environment I would be running my application in.
Physical memory
total 4090
cached 1753
available 2345
free 656
system
handles 27141
threads 911
processes 70
commit megs 2860/8179
kernel memory megs
paged 201
nonpaged 52
4 I formatted my machine and reinstalled the Windows 7 professional operating system as of a few nights ago. The Oracle software on my machine is
Oracle Database 10g express edition
ODAC 11.1.0
I amm not sure what filename you would need in addition to the product names that I have installed.
5 The information from the SET command is
ALLUSERSPROFILE=C:\ProgramData
APPDATA=C:\Users\stepheke\AppData\Roaming
CommonProgramFiles=C:\Program Files\Common Files
CommonProgramFiles(x86)=C:\Program Files (x86)\Common Files
CommonProgramW6432=C:\Program Files\Common Files
COMPUTERNAME=STEKEV0908
ComSpec=C:\Windows\system32\cmd.exe
FP_NO_HOST_CHECK=NO
HOMEDRIVE=C:
HOMEPATH=\Users\stepheke
LOCALAPPDATA=C:\Users\stepheke\AppData\Local
LOGONSERVER=\\STEKEV0908
NUMBER_OF_PROCESSORS=2
oracle_sid=xe
OS=Windows_NT
Path=C:\Program Files\Common Files\Microsoft Shared\Windows Live;C:\Program Files (x86)\Common Files\Microsoft Shared\Windows Live;C:\Oracleapp\stepheke\product\11.1.0\client_1;C:\Oracleapp\stepheke\product\11.1.0\client_1\bin;C:\oraclexe\app\oracle\product\10.2.0\server\bin;C:\Windows\system32;C:\Windows;C:\Windows\System32\Wbem;C:\Windows\System32\WindowsPowerShell\v1.0\;c:\Program Files (x86)\Microsoft SQL Server\90\Tools\binn\;C:\Program Files (x86)\Windows Live\Shared
PATHEXT=.COM;.EXE;.BAT;.CMD;.VBS;.VBE;.JS;.JSE;.WSF;.WSH;.MSC
PROCESSOR_ARCHITECTURE=AMD64
PROCESSOR_IDENTIFIER=Intel64 Family 6 Model 23 Stepping 10, GenuineIntel
PROCESSOR_LEVEL=6
PROCESSOR_REVISION=170a
ProgramData=C:\ProgramData
ProgramFiles=C:\Program Files
ProgramFiles(x86)=C:\Program Files (x86)
ProgramW6432=C:\Program Files
PROMPT=$P$G
PSModulePath=C:\Windows\system32\WindowsPowerShell\v1.0\Modules\
PUBLIC=C:\Users\Public
SystemDrive=C:
SystemRoot=C:\Windows
TEMP=C:\Users\stepheke\AppData\Local\Temp
TMP=C:\Users\stepheke\AppData\Local\Temp
USERDOMAIN=stekev0908
USERNAME=stepheke
USERPROFILE=C:\Users\stepheke
VS90COMNTOOLS=c:\Program Files (x86)\Microsoft Visual Studio 9.0\Common7\Tools\
windir=C:\Windows -
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,
/eddieThank 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. -
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. -
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. -
AS Library for both Flash and Flex
Hi all,
I want to create an action script library that i can use with
both flash and flex. i understand how to do it if i want to just
use it in flex, but i also want it to compile down in to an swf or
whatever so i can use the functions in flash. i tried creating an
action script library, but it requires me to specify a 'runnable
application file.' which doesn't make much sense, since i just want
a class library.Found the answer (sort of). it's only partially possible. The
best way would just to edit the as files in flex builder and not
create an actual library (though this approach doesn't work if you
need to distribute the library).
In order to do create a library, you need to create a Flex
Library Project in flex builder, not an Action Script Library. the
action script library is a misnomer.
then, when you build you have to jump through some hoops to
get it to actually work, but creating a manifest file and setting
"compute-digest=false" as a compiler option. for more info, check
out the following blog post:
http://timwalling.com/2007/10/22/compiling-flash-cs3-compatible-swcs-with-flex/
Maybe you are looking for
-
anyone know how to fix the number of days a gmail will sync in iOS7 on the ipad? I'm kind of thinking apple forgot to put that option on there. It's not in the same place as it is on my iphone.
-
Video that used to sync now "format is not supported"
Hi there, After some odd behavior from my 160GB iPod Classic, I have restored it and am in the process of reloading it. I have one TV episode I ripped that is no longer syncing over to my iPod though. The video worked yesterday on the iPod and today
-
friends, my mac hangs at times without any provocation. this happens even while switching over to windows. techies would u please put some light in to this problem!! I get a message ''You need to restart the computer. Please press the button restart
-
How do I move a marker in a podcast?
When I edited the narration in Garageband, the markers for images didn't move. Any suggestions will be appreciated.
-
SugarSync, Yosemite, and Microsoft Office
With SugarSync running, I cannot open a Word or Excel file from within those programs, i.e. File, Open... When I do that Word "stops responding" as soon as the Finder window opens. SugarSync assures me there is no problem with their program and Yosem