Convert RAW from ACR to profile?

HI
When i open Raw file in ACR and then i make convert to aRGb or sRGB or pRGB or Colormatch RGB...
may question it's: what hapen if i wont to convert a differnt RGB profile? to be said CIE RGB...? did we have option for this in ACR?
thank
windows xp photoshop cs3

> It's probably more than you need ...
Definitely! In fact, it can be claimed that PpRGB and Photoshop is all anyone needs to convert raw developments to any color space their heart desires (... as long as conversions are either in 16bit or limited to as few conversions as possible).
my CA$0.02 :)

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DNG converter converts RAW Adobe RGB color profile to ProPhoto ??

I have a Canon 5D2. there is an internal switch to shoot RAW files using the Adobe RGB profile. when I open a RAW image in CS4, there is no problem. yet when I open the DNG converted image in CS4, CS4 tells me the image has the ProPhoto color profile. I can convert back to Adobe RGB, but it adds an extra step and (I think probably) loses information. I looked for a switch in the DNG converter to speciy the color profile of the converted image, but could not find it. Any suggestions ?

Hi, Tom.
The real issue here is getting accurate color. You can't get accurate color by setting your monitor profile to sRGB. sRGB is a virtual color space that doesn't describe the exact color gamut of any physical device. But, in order to display sRGB or any color space accurately, you need to get a characterization of your monitor.
Here is an AWESOME way to get access to a colorimeter: http://www.lensrentals.com/rent/pantone-huey-colorimeter Looks like for $32 you can rent this for a week. Go in on this with a friend and profile both of your monitors and hardly pay a thing. If you have a reasonably good quality LCD monitor, this custom profile you make will be fairly accurate for many months. At the very least, this is way more accurate than having no regular calibration at all.
Hope this helps!
Bret

Converted raw (or .dng) will not open in ACR?

OK, now that I've gotten sort-of over the hurdle of synching all the pieces associated with a smart object, I've hit the NEXT hurdle (SOs appear to be the usual double-edged sword - kinda handy in a way but rife with pitfalls and hurdles)...
I open a .NEF in Bridge, go into ACR and open the file as a Smart Object in Photoshop. Double-click the layer icon and I'm back in ACR, just like all the demos and seminars I've watched. But, take the SAME .NEF in Bridge and open it as a standard image in Photoshop, then CONVERT it to a smart object, double-click the layer icon and all I get is a .psd and NOT jump into ACR. It does exactly the same thing with a .dng file And from Lightroom OR ACR...
I found an entry from a discussion (not in here, I couldn't find anything about this in here) about CS3 (yes 3), where a user had this problem and was told it's because the original image was opened as a rasterized image, NOT as a Smart Object from ACR... Which isn't making sense to me 'cause who cares what it was way back when, it's NOW a Smart Object and should be treated like one no matter HOW it got there...
Is there some preference or setting or something I need to change in Photoshop so this will work as expected is is there really some restriction about exactly HOW the Smart Object got created? And if so, is there some paragraph is big, bold letters in the documentation that makes it really clear to the uninformed that you MUST open it as a Smart Object or it won't work?
And yes, I KNOW that in ACR I can set it so it defaults to opening as a Smart Object, but like many other PS users I normally use Lightroom and I haven't seen any such default. Which means it's REALLY easy to forget to go down to the Open as Smart Object and instead just hit Open in Photoshop...

Listen, buddy, no one has any obligation to answer your questions here in this user to user forum. Lose the attitude.
I'll repeat the answer anyway, as you apparently are unable to read replies carefully.
davepinminn wrote:
…CAN I take an image that was opened in Photoshop as a "standard" image, then converted to a smart object and edit it in ACR? If yes, HOW?
No, ABSOLUTELY NOT ! You cannot. Period. That's what I said in post #2 of this thread.
ACR will only open and edit Smart Objects that contain raw data. Any image opened in Photoshop —not as a Smart Öbject—is already cooked and contains no raw data any more. Additionally, ACR can edit JPEGs and TIFFs if you set your preferences accordingly, but with much less latitude and functionality than a raw file.
What's more, the cooked Smart Object 's now in the cooked PSB format (a variation of PSD that can handle much larger files than PSD can) so there's no way on Earth ACR can open it.
davepinminn wrote:
I've gotta remember that people in here will pummel the semantics to death and miss the question…
…and we forum regulars have to remember that some folks come here just to argue, looking for a fight.
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
Excerpt:
• Do not be abusive or aggressive in your tone
An aggressive or abusive sounding post will often evoke an aggressive or abusive and unhelpful reply
Remember, you are requesting Help from other users, just like you, who are giving their time free of charge. No one is under any obligation to answer your question.

How to convert raw files from new fujifilm x-t1 ?

how to convert raw files from new fujifilm x-t1 ?

The work around of converting the CR2 to dng either with the dng converter or ACR 6.7 will allow working in LR and CS5 but not with the latest raw conversion engine from Adobe i.e PV 2012.
Remember to keep a copy of the CR2 files if you wish to utilize the Canon software.

Need a plugin to convert Raw files with CS 6 standalone version. 8.7.1 version of ACR is not compatible with CS 6 in non-cloud form.

We have a site license for CS6 for our company and for the past year have not been able to convert RAW files from our newer cameras using Adobe Camera Raw. We do not want to use the Cloud version as we work off laptops in the field and overseas and even our offices have only dial-up for internet access where we are located in Monterey.
Can anyone recommend a plugin raw converter so we can continue to batch process our files with CS 6?

The camera raw 8.7.1 plugin should work fine in the photoshop cs6 non cloud license version.
The only exceptions being if you have mac os x 10.6.8 or windows xp/vista, then 8.3 is the newest camera raw plugin that works.
Which operating system(s) do you have?
Have you tried Help>Updates from within photoshop cs6 to get the 8.7.1 camera raw plugin.
Here's an 8.7.1 camera raw plugin installer for photoshop cs6
https://helpx.adobe.com/x-productkb/multi/camera-raw-plug-in-installer.html

DNG converter not converting RAW files from Canon 70D.

DNG converter not converting RAW files from Canon 70D (it does not see them). I tried DNG converter version 8.2 and 8.4. No success. I use iMac. What is wrong?

hopefully, that's a typo on adobe's website because they list the canon 70d as using a .cs2 file extension, http://helpx.adobe.com/creative-suite/kb/camera-raw-plug-supported-cameras.html
i don't see any other camera that uses a .cs2 extension and i don't see other people having problems, so that probably is a typo.
in any case, cr 8.2 or better is able to convert your camera's raw files. why you are having a problem i can't say, but double check that you are navigating to the correct folder by adding a file that will show up in your dng converter.

CONVERT RAW FILES FROM 5D MIII

Can someone please tell me what they are using to convert RAW files with the new Canon 5D Mark III? This is a bummer!!

You assert the DNG Converter does not convert Canon 5D Mark III files. This assertion is false. The question is not whether you know how to use a computer, it is whether you know how to use the DNG Converter. If this is your first time, it is confusing in that it does not show you any files when you browse for the folder to convert files from. This is still the most likely explanation of your situation based on what you’ve said.
Here is a screenshot of a conversion of a 5D Mark III image with the DNG Convert 6.7 RC using a RAW image downloaded from the following website:
http://www.metrodcphotography.com/review/canon-5d-mark-iii-raw-sample-images-low-is/

Converting RAW images from Nikon D7100

My PSE11 will not recognize/convert RAW images from new Nikon D7100 despite trying to download PSE update. Have had NO prior problem with RAW using D80. Help!

When you saying "trying to download PSE update" do you mean you're trying to do it manually? The best way is editor>help>updates. (Assuming this isn't the mac app store version, which is a whole 'nother story.)

Elements 9 w/ RAW converter 6.5 will not convert files from Canon S100.

Elements 9 with upgraded RAW converter 6.5 will not download (or convert) files from my Canon S100.

Thank you for the reply. I have struggled with this problem for about 6 weeks. Got bum information from both Canon and Adobe. Grew discouraged.
As a “test” after reading the discussion, I downloaded the trial version of Elements 10. It contained RC 6.6, which would not do the S100. I “updated”
to 6.7 which finally did the job. I’m really curious as to why the download of Elements 10 doesn’t “ship” with the latest RC? I guess just to maintain
confusion for as long as possible.
Thanks again. Only your reply enabled a final solution.
Graden Harger
Houston

Cannot open raw image as smart object from ACR 8.4

Hi
I just noticed that I am not able to open an image as a smart object from ACR 8.4. The tooltip says I can by holding down the shift key but doing so has no effect. I reset all my preferences to make sure but that hasn't fixed the problem.
Thanks
J

I thought it was the Alt (Opt) key that did that. I'll go check
No, you are right. It is Shift, and it is working OK for me with 8.4 Windows 7

How can i convert Raw files from Nikon D 800?

Any ideas on converting Raw files on Nikon d 800 to Jep in Aperture? I get an invalid file message.

Install the Camera Raw update
http://support.apple.com/kb/DL1513
Regards
TD

Default ACR camera profiles always criticized: why?

A little theme for ACR users (and programmers team):
The most "diffused" issue against using ACR instead of "branded" software (Nikon Capture NX o Canon DPP to name the most used) is:
The colors in ACR seem "washed" or with no "punch"!
If You calibrate ACR with a GM 24 panel colors regains a new life.
But WHY?
How can be possible that the 2 (yes two) profiles created by the Thomas Knoll team are ALWAYS more washed (Nikons reds are always offs) than a homemade shot of the GM panel made by a user? Yes, cameras have tolerances but how big they are?
The factory preset should be the more precise! But to obtain good deltaE values (the error time in perceiving colors) ACR users are FORCED to recalibrate ACR.
Why? Cannot be created a series of profiles (by Adobe) to be more like the brand company color rendering?
If ACR had better factory calibrations (contrast or brightness differences doesn't give so much pain) instead of washed colors, many NX or DPP users would use ACR for sure! It has many advantages over other softwares.
Can an Adobe profile-maker staff member give an answer to this theme?
Or some forum user has some ideas?
Thanks!

Personally, I have found that the results produced by ACR from my Nikon D70, D200, and D3 are not that different from those produced by Nikon Capture (Nikon's raw converter, which gives results very similar to in camera JPEGs) when the camera rendering options are set to neutral.
Nikon Capture reads the camera settings and applies them, whereas ACR ignores settings except for white balance. By neutral, I mean normal contrast, normal saturation, no hue adjustments, and a normal tone curve. The camera factory defaults vary. Cameras for the amateur market tend to have settings favoring saturation and contrast, whereas the professional cameras tend to have a more neutral default. These defaults are usually given in the DPReview writeup for the camera.
Since the OP asked for some ΔEs, here they are. I photographed a MacBeth color checker with the D200 with daylight illumination. Settings were: Color Mode, II; Tone Compensation, normal: Hue Adjustment, 0; Saturation, normal; and Sharpening, none. I then compared the results from ACR and Nikon Capture NX with Imatest, which gives the ΔEs, presented here in graphical format.
Color checker with NC using normal camera settings:
http://bjanes.smugmug.com/photos/216270605_RK5fe-O.jpg
Color checker with ACR default settings:
http://bjanes.smugmug.com/photos/216270602_twDZB-O.jpg
NC analysis with normal camera settings:
http://bjanes.smugmug.com/photos/164349487_rWTQN-O.png
ACR analysis with default settings:
http://bjanes.smugmug.com/photos/164350910_FMqRN-O.png
ACR post calibration with Fors Script:
http://bjanes.smugmug.com/photos/172494801_9vACX-O.png
For help in interpreting the charts, the reader should refer to the Imatest web site, which has detailed explanations. In summary, the further from the white point in the center of the plot, the more saturated the color is. Shifts in hue are indicated by shifts in the *a, *b axes. As can be seen from the plots, the ACR rendering is actually slightly more saturated and has overall better color accuracy then the NC rendering. The Fors script calibration gives near "ideal" camera results with ACR.
As Thomas Knoll and others have pointed out, a neutral rendering is often not the most pleasing one, and saturation and contrast are often boosted, but this is a personal preference.
With the Fors script, the ACR settings are set to a very flat image. After calibration, the ACR controls are reset to normal and the calibration settings (in their own tab are left as set by the script).
http://bjanes.smugmug.com/gallery/2572598_U5Bow/1/172494801_9vACX#137154990_ketk5-O-LB
If you re-run the Imatest analysis after calibraiton with the normal settings restored, the colors are quite saturated and you must talk this into account when using the script calibration.
http://bjanes.smugmug.com/photos/163194057_NEAYm-O.png

Export to .exr / .hdr / floating point format from ACR?

Hi!
Context is that I'm doing HDRI images for rendering so dynamic range is the most important aspect.
I searched hard but didn't found a way to export from ACR into a floating point format which is very very very annoying because if you export as 16bit tiff it will obviously clip whatever values you have in your raw file. I can load the raw / dng files directly into Photomatix / Oloneo but then I'm losing any kind of Camera Profile / Distortion profile embedded with them.
Oh and I don't want to use Photoshop to Merge the HDRI files because I want to have control over the deghosting and various other alignement related stuff. I'm really searching for a .dng / .raw to .exr conversion.
Any ideas?
KS

I would benefit from first class raw demosaicing, noise reduction, undistortion, optional color profiling, etc... before sending that to merging in whatever software that is not the specialty to do what ACR does perfectly
Getting linear data out would be the step after all the ones I described and I wouldn't change any exposure, recovery, black level, tone curve, etc ... related options so that the HDRI merge is predictable. That's where the problem resides.
Lets say you have a photo with a bright sky, you load it in ACR, with everything to zero. Your sky is white and burnt ( But you actually have data from the raw file because you have checked it by changing the exposure compensation to -5 ) If you export the image as is without the exposure compensation, the sky data is clipped once casted to integer.
If you export it with the exposure compensation, the HDRI merge will be very very bad because the software will have an image with the data where the exposure has been shifted but still exhibit the exif data from the original file.
Of course you can merge with the tiff without the compensation and rely on a faster exposure to fill the missing data, it works but when you hit your latest fast exposure and you see that you would be able to pump even more dynamic range from it but that ACR clipped the data it's very frustrating.
I now hope it's crystal clear and why I would like to get a linear exr output I can also upload a raw file somewhere for people having trouble understanding the issue.
In the best case scenario Adobe will provide a solution, but if it happens it will not be before a while, in the worst case there won't be any solutions at all. With that in mind I wrote a Python script that generates for me the tail exposures for my bracketing sequences and modify accordingly the exif data.
My workflow is the following for now:
- Dump raw images from camera.
- Apply neutral preset, noise reduction on all the raw files.
- Praise Adobe for ACR.
- Launch the Python script that:
     - Generates a subfolder where all the raw and xmp files are copied.
     - Images are renamed reordered by their exposure time.
     - The tail exposure is duplicated 3 times.
     - The xmp files are updated with exposure compensation ( -1, -3, -5 ). Now I get the dynamic range.
     - The raw files exif data is altered to reflect the exposure compensation.
- Load the new raw files from the subfolder and convert them to tif.
- Rant against Adobe
- Merge to HDRI with my proper dynamic range.
KS

Open as "Smart Object" from ACR to PS questions.

I have 2 questions associated with opening from ACR as a Smart Object in Photoshop. I'm using CS4.
1. Is there a way to retrieve the original filename (complete with path) using a script or a setting somewhere to do this? I'm currently using Bridge Talk to ask Bridge what the active folder is then adding that to the document's .name property and taking off the " as Smart Object-1" part. Then I add a .psd extension to it and then I have to save it to retain that name unless there's an answer to #2 below.
2. Is there a way to change the Document's name as described above from "Filename as Smart Object-1" to "Filename.psd" without actually saving it?
It seems to me there would be a simple way that I might be overlooking here.
Thanks
Mike

Sorry, I guess I need to explain better.
I wrote a script to do this, but here is this portion of the workflow:
1. Open CR2 file in ACR and make adjustments.
2. Open as Smart Object in PS.
3. Script Events Manager activates this script on Document Open, checks to see if it was opened as a Smart Object. We'll assume it did.
4. The script asks me if I want to make another layer. I pick yes. The script copies the SO layer, sets an inverted mask, and opens to edit settings in ACR again.
5. I adjust the settings for that layer in ACR and click OK.
The script will keep looping between 4 and 5 as long as I pick YES.
This gives me more local control of areas. If I want to bring out eyes a bit, I can up contrast, saturation, sharpness, brightness, exposure, or whatever looks best for the eyes in ACR, then unmask the eyes as much as I want on that layer in Photoshop. There is more data to pull from in the RAW file vs trying to do the same thing within Photoshop.
Opening as a regular image file then converting to a SO doesn't give me the same control. I would have to reopen the file separately, make the adjustments in ACR, open to PS then copy that document and paste as a new layer in the original.
Duplicating the document might work also, but I can also just save as .psd at that point since I'd have to know the path name by then anyway. I'll give that a try, though, and see if it might work better. The only catch with the save part is it slows me down waiting for it to write the file and if I have 5+ SO layers, it takes awhile. Once I unmask where I want, I flatten to a rasterized layer and continue.
Thanks

ACR Camera Profiles and Camera Manufacturing Tolerances

For every camera model there is one set of model specific ACR camera profiles. Although those profiles are model specific, they are not camera specific. I'd suspect that not all cameras of the same model will produce exactly the same colors due to manufacturing variations. I'm wondering if differences in color rendition between cameras of the same model are visible or neglectable? Any experiences?
A similar question: Taking the "same" photo with a Canon 550D and a Nikon D90 camera and processing the RAWs in LR with Adobe Standard profile can result in quite different colors (even when setting WB manually). Shouldn’t the processed photos look almost the same?
Thanks in advance for any help!

My Nikon D80 and D90 don't look the same and I have run comparisons between the Canon 7D and the Nikon D90. Taken together, they all different from each other.
The biggest difference between the D80 and the D90 seems to lie with the much larger dynamic range of the D90. Compared to the D80 at first glance, the D90 seems washed out at the lower values. This is easily overcome in ACR, but even with that, the subjectivity of the reproduction sometimes gives a nod to one over the other.
The closest film comparison is Fuji Astia vs Provia. The D90 at default Nikon Camera Standard resembles Astia, while the D80 is a cross between Provia and Velvia. All this is controlable. One slider I use to enrich the D90 presentation is the black slider
The Canon has other undefined differences which I have simply noted by viewing. I haven't engaged in any tweaking of that camera's images.
So I'll use both the D80 and the D90 according to what I am wanting to happen. Of course, there are times where the differences simply inform the operator of what may be doable, and then one is tweaked to look much like the other.
I checked out sprengel's links to the calibrator software. They have stopped at CS3, it seems. How does it perform with CS5? I may want to at least run a calibration of both cameras and look again.
And, of course, Adobe Standard and Nikon Standard do not agree. At all. So, when is a standard not a standard?
When there is more than one.
Looking back at your post, I should specify that the profile I used when making the comparisons have been the Camera standards, not Adobe Standard.
Message was edited by: Hudechrome

Convert RAW from ACR to profile?

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