DNG Profile Editor "base profile" question.

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

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

Similar Messages

DNG Profile Editor User Interface problem

Either it's a major UI blunder or I don't understand what I'm doing, which is very possible.
Per tutorial 3, I use an image of the cc shot at something approaching 6500K. Convert to DNG, fire up DNG PE, set base profile to Adobe Standard Beta 1 (for D300), set the color table to 6500, and load up the CC image and white balance. Now I click on each of the 18 color patches (not using wizard) and export the profile.
My expectation is now I have a new base profile that's been customized at the 6500 end but left alone at the 2850 end. However, I didn't notice that "Edit Both Color Tables Simultaneously" was checked in the option menu, so the exported profile has had both tables modified, which makes no sense. Please get rid of the option line and add a third choice to Color Table, or something less confusing than the present approach, or am I mis-understanding what is going on.
Richard Southworth

Eric,
One last question and I promise to lay off (for a while).
My goal is to modify one of your profiles, say the Adobe Standard Beta 1, for my camera by tweaking only the 6500 section. I created an image of the CC at something near 6500K, converted it to DNG, then brought it into PE. I unchecked "Modify Both Color Tables Simultaneously", set the Color Table to 6500, and ran the wizard. I then changed the base profile from Color Checker to Adobe Standard Beta 1 and exported a new profile.
Have I successfully tweaked the 6500 end of the Adobe profile, or am I fooling myself? I compared the exported profile with the Adobe Standard Beta 1 on several images, and could see some slight but distinct differences, particularly in the blues.
Thanks again,
Richard Southworth

Questions about DNG Profile Editor recipe code

I have been playing around with DNG Profile Editor. With a text editor I made the following recipe:
I have some questions:
1. Right now I have my control points at 60 saturation. Will using two points for each color (say 70 and 40) make my changes more consistent across darker and lighter shades of the specific color?
2. Does DNG Profile editor respect HueLow and HueHigh, are they just placeholder numbers, or are they ignored if two points are close to each other?
3. What does FeatherAdjust do? I'm guessing it controls the rate of drop off of the corrections. Is the value respected by DNG Profile editor when it creates a profile?
Thanks for your time and attention, -Bruce.

1. For now DNG-only. Here's why:
http://labs.adobe.com/wiki/index.php/DNG_Profiles_FAQ#PEOnlyDNG
http://labs.adobe.com/wiki/index.php/DNG_Profiles_FAQ#WhyNameDNGPE
http://labs.adobe.com/wiki/index.php/DNG_Profiles_FAQ#WhyPESeparate
2. Standalone for now. See above links for why.
3. Use the 'Preview Color Changes' option in the Options menu.
4. You can use 'Apply Raw Adjustments' in the Options menu to see your raw adjustments. This is __not__ recommended for building a general-purpose profile because you are then optimizing a profile with specific image adjustments in mind, rather than building a profile based more on the inherent camera characteristics.
5. True, that is a limitation of this implementation.
6. I am not sure what you mean. The Chart Wizard automatically optimizes the color patches in a test shot based on reference values for many physical charts, which is more practically useful than the numbers printed on the reference card that comes with the chart.
7. Make sure you avoid color casts in the bottom row. The PE is picky about making sure your gray patches are relatively neutral. It is an attempt to help you get a better profile.
8. Use 'Show Affected Colors' from the Options menu.
You may wish to read this page carefully and thoroughly:
documentation
It is the reference online documentation for the DNG Profile Editor and a few of the things you wish to do, such as preview all color changes, apply raw adjustments, and visualize the extent of each color adjustment, are all documented there.

DNG Profile Editor - questions about

0) Thank to Eric Chan for your work on this. Until now I used the Camera Calibration process through Photoshop and Camera Calibration table. But I see this as a big progress.
1) Will it stay only DNG editor or it will be also for raw pictures without a necessity to convert them to dng?
2) Will it be only stand alone aplication or as well a part of the LR?
3) Now I can switched off and on one color change (by the left mark in the Color List Box). Could it be possible to switch off and on the whole Color List Box to see all done changes?
4) I have red your comment that this tool doesn't work with lightness, only hue and saturation. But if I want to work on a specific picture (i.e. a man wearing a red sweater), it will be fine to have it in the brightness close to an end picture. Will it be possible to open a picture not only with WB, but also with exposure, blacks and other basic development setting?
5) Under the eye drop tool, I can see numbers of "initial" or "starting" color. But I can't see the numbers of changed color. It would be fine if I know the new numbers to see how close I am to them. It would be fine if the number over the color List Box will be also for starting color and also for end colors.
And one little proposal: if the color will not change, show in Color List Box only the starting (left) half of a color. Than I can simply see that I didn't set a new color or the color stay exactly the same (it is only a question if exactly the same or very close to the same).
6) It could be, that I will not use the exact color checker table for what you did process on the tab Chart. But many of color checker are delivered with exact numbers and picture on a cd, so it will be fine if I could open this "master" picture of a checker producer in a right panel under the Color List Box and simply take from it the end colors. First go to the main picture on left, choose the "initial color" and then simply go to this "master" picture in right and take the "end color". What do you think about this?
7) If I work on the tab Chart, I get the error window "not neutral gray patches, row 4 culumn 1". But if I move the circle to row 4 culumn 2 it works fine. Is there any difference or problem?
8) And last: how far is acting the shift of color. It will not work only for the one color but close surroundings will be also efeccted. How smal or large is the surroundings? E.g. if we take 360 degres for hue.
Tom

1. For now DNG-only. Here's why:
http://labs.adobe.com/wiki/index.php/DNG_Profiles_FAQ#PEOnlyDNG
http://labs.adobe.com/wiki/index.php/DNG_Profiles_FAQ#WhyNameDNGPE
http://labs.adobe.com/wiki/index.php/DNG_Profiles_FAQ#WhyPESeparate
2. Standalone for now. See above links for why.
3. Use the 'Preview Color Changes' option in the Options menu.
4. You can use 'Apply Raw Adjustments' in the Options menu to see your raw adjustments. This is __not__ recommended for building a general-purpose profile because you are then optimizing a profile with specific image adjustments in mind, rather than building a profile based more on the inherent camera characteristics.
5. True, that is a limitation of this implementation.
6. I am not sure what you mean. The Chart Wizard automatically optimizes the color patches in a test shot based on reference values for many physical charts, which is more practically useful than the numbers printed on the reference card that comes with the chart.
7. Make sure you avoid color casts in the bottom row. The PE is picky about making sure your gray patches are relatively neutral. It is an attempt to help you get a better profile.
8. Use 'Show Affected Colors' from the Options menu.
You may wish to read this page carefully and thoroughly:
documentation
It is the reference online documentation for the DNG Profile Editor and a few of the things you wish to do, such as preview all color changes, apply raw adjustments, and visualize the extent of each color adjustment, are all documented there.

Camera profiles in Aperture via free DNG 1.2 and profile editor

So last week Adobe announced LR2 and along with masses of new features, something that was not part of the marketing piece was the ability to get more accurate colour and this could possibly benefit Aperture users. Today I've just noticed an article on John Nack's blog about the new (free) DNG profile editor.
It allows for a base profile to be entered (just calibrate your camera with Color Eyes or Gretag's new color checker), then played with to suit. But basically, you'd just load your colour profile here, then NOT play with it. The profile is then used in the DNG converter, which can then be read by any RAW converter that supports DNG.
My questions:
1. Aperture supports DNG, but does it support DNG 1.2?
2. Does the fact that the 'Convert to linear image' option has to be turned off impact this opportunity?
3. Even if Aperture does read in the DNG, I assume that since it ignores the camera sensor information for things like auto noise compensation etc, it won't screw with the colour and assign its own colour (like it does with native RAW), but just use the embedded profile?
Does anyone with an in-depth experience with Aperture and DNG have any views on this? I'd love to calibrate my 1DS and 1DSII, then use the DNG converter to assign the profile and have Aperture read the files.
http://blogs.adobe.com/jnack/2008/08/thedng_profileeditor.html

It certainly looks interesting, and addresses a number of problems people (including myself) had with Adobe's existing profiles... namely that the whole yellow/orange/red part of the spectrum was awful.
Also note the whole profiles thing is still currently in beta.
As for Aperture... it doesn't support those profiles embedded in DNGs now. In fact, it doesn't support the "picture styles" info embedded in the RAW files by Nikon or Canon either (neither did Lightroom, and this is Adobe's answer). That said, I rather like Aperture's default conversions, and you could tweak the default RAW conversion subtly and apply the effect to images as part of your process.

DNG profile editor

A couple of questions about DNG Profile Editor:
1-I know Lab values on my ColorChecker (measured with an EyeOne 2° D50). I shooted it with a Nikon D80 and I want to tweak one of the new Camera Raw profiles to match those values or to go closer. I see that changing the base profile (popup menu in Color Tables Pane) the image appearence changes a lot but the Lab numbers readout doesn't. I followed the tutorial on the Adobe site but I can't figure out how to make the camera calibration without having a numeric value, before and after, to look at. The tutorial tells that you may 'adjust the selected color via the Hue, Saturation and Lightness slider and you will see the preview in real-time'. That's true but does it means that is a sort of 'visual calibration'? Is there a way to tweak colors by the Lab numbers in order to have the best match from original Lab values in input (on the target) and Lab values in output (in a ProPhoto rendered image)?
2- When I create a Color Table from my ColorChecker it appears that in the Color Tables colors are already (and automatically) changed. Does it work like the ACR Calibration Scripts that way? And is it possible to change the reference Lab values (ColorCheckers are different in color values) as it was with a simple ACR script's editing?
Giuseppe Andretta

Eric,
Before starting, I want to say that I had cataract surgery last month. The vision improvement was almost instantaneous and dramatic. I can now state that color differences in individuals can be much greater than expected. It is hard to express how big the difference is in my own vision, let alone between two other individuals. Any color assessment tools must accommodate numeric as well as visual comparisons. That said, the healing process has also affected how much time I can spend comfortably in front of my screen. I hope my comments will be taken constructively.
As others have commented, I also feel that the CC24 Lab target values being used should be documented. Published values from Gretag, Lindbloom, Babbage, and others disagree. Without the target numbers it is difficult to determine accurately the calibration result.
My first attempt seemed to go smoothly, but when I verified the results with ReadColors.jsx (my script) the numbers degraded slightly. I was using the Gretag target values, so these may not be what Adobe is using. Also, I had already calibrated ACR for my D3. The doc seemed to imply that the ACR tabs would all default to zero and that was what displayed in the Color Matrices panel. But that was not what showed in the ACR panel. So I tried again, setting all ACR sliders to zero. This calibration attempt was a disaster, numerically and visually. Now I am confused. What is the relationship between these and what are the recommended user actions? In each case, I exported the DNG profile and selected it subsequently in ACR to re-open the image.
Next, I played with the Color Tables panel. I set a watchpoint on the blue patch. As long as I hold the eyedropper over the blue patch the Lab (and other numbers) track. But as soon as I move the mouse to the sliders, the numbers disappear. If I move the hue and saturation sliders the image and the patch sample both change. And, yes a little arrow shows in the color wheel. But after moving the eyedropper back, none of the numbers have changed. The lightness slider is even more bizarre. Obviously no arrow (z-axis) but the image brightens and darkens (OK), without any corresponding change in the patch sample (watchpoint) on the right (not OK). And again, no change in the numbers at all. It would be very helpful if the target values were shown here and if the currently selected watchpoint that would track the numeric changes. It would also be nice if the watchpoint could show the target color as well as the initial and changed image patch colors.
I dont understand the purpose of the Tone Curves. I understand gamma and Adobe linear, but these do not correlate to the ACR tone curves. And again the image changes but the numbers do not. Since we cannot set watchpoints in the neutral patches it is very difficult to assess any changes the user might make.
Next, I used the Chart panel to Create Color Table. When I return to the Color Tables panel, there are the 18 color (no neutral) watchpoints. I can see that blue has changed in the watch point and the arrow in the color wheel. But the numbers are still the same as before. Scrolling through the watch points I can also see that the hue and saturation sliders have changed. But the lightness slider did not change in any of the color patches. I anticipated that this would be the major improvement over the ACR sliders. Is this just not in the calibration algorithms yet?
This is a good start, but until I know what the target values are and what I should be doing about the existing ACR slider settings, I am at a stopping point.
Cheers, Rags :-)

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.

Adobe DNG profile editor bug w/ GH2 files where aspect ratio is not 4:3

Hi,
posting here as Adobe DNG subforum is essentially dead
Panasonic GH2, select aspect ratio 3:2, get .RW2 raw file, convert it to .DNG using Adobe DNG converter (6.4.0.121 beta), try to open w/ Adobe DNG profile editor (1.0.0.39 beta 2) -> error message "DNG Profile Editor could not open the selected image. Note that the selected image must be a valid DNG color image".
XRite software has no issues to process the same .DNG file (converted from the original .RW2 w/ 3:2 aspect ratio).

Eric - just make it easier for you to reproduce the bug - here is the original .RW2 file (certainly ignore the quality of colorchecker shot in terms of how the target is lit, etc - it was not to make a profile actually - it was to illustrate the bug in question) = http://www.box.net/shared/f419prmuo2 ... and I am uploading the converted .DNG file too just in case = http://www.box.net/shared/gy5o9zzi57

**-Camera Profiles and DNG Profile Editor FAQ-**

A page containing answers to Frequently Asked Questions about Camera Profiles and the DNG Profile Editor can be found
here

New FAQ entries:
What changed between beta 1 and beta 2?
Is it safe to delete beta 1 profiles? What will happen if I do?
I now have the beta 2 profiles and want to delete the older beta 1 profiles. How do I do this?
Please read carefully.

Camera Profiles and DNG Profile Editor beta 2 now available

Hi everyone,
Beta 2 of the camera profiles and DNG Profile Editor are now available. Please visit here and enjoy:
http://labs.adobe.com/wiki/index.php/DNG_Profiles
I hope to have more detailed release notes/changes for you soon. You are welcome to ask questions, but please note that it may take a while for me to respond.
Eric

Eric,
I followed very carefully your instructions for installing the new beta2 profiles and deleting the beta1 profiles, but have the same problems as many others. I'd like to provide a bit more information. I'm running Windows Vista Home Premium and have installed Photoshop CS4, updated with ACR5.1 and Lightroom 2.1 final release. As others have described, the default for all of my images was set to one of the Camera profiles (Canon faithful beta1), but now the profile name in Lightroom is blank. I tried looking at the other profiles and it does indeed appear that the beta2 profile is being used, but if I then reset the image it now shows ACR4.4, whereas the image had been imported with the camera profile as default. Also, if I open an image in ACR5.1 that was specified to use the same camera profile, it now shows ACR4.4 and it is not using the beta2 profile of what I had been using, I can see this by selecting the other profiles. Going back to Lightoom, I guess I could select all my images and select the Canon faithful beta2 profile, but then the mark shows up bottom right of the image showing that they have all been edited/modified, is there anyway to get all my images using the profile I was using but the beta2 version, without this happening and how about new imports?
Thanks, David.

How to make dual illuminant profile in DNG profile editor?

I have just started working with the DNG Profile Editor. In another discussion I commented on the clarity of the instructions provided by the tutorial. I had no difficulty creating a single illuminant profile using the X-Rite color checker passport. But when it came to producing a dual illuminant profile, following the instructions exactly, I was stymied.
1. Open dng image of Color Checker photographed in 6500K illumination.
2. Open dng image of Color Checker photographed in 2850K illumination.
3. Select Chart tab in editor.
At this point one is instructed to "Click the 6500 K-lit ColorChecker image window to select it."
But the 2850K lit image (last loaded) has replaced the 6500K image window (at step 2) and I can find no way to reopen the 6500 K lit image window in order to proceed to the next step.
As a matter of interest, why do these instructions suggest setting the pop-up window in the Chart Pane to "6500K only" and then create color table with first image. Thereafter select second image, set pop-up window to "2850K only" and create color table. I seems to me that, having loaded two images (even if I can only see the second image loaded) one should choose "both color tables" and then create color table. In fact I have tried this and it does produce a profile, but I have no way of determining if it is a correct dual illuminant profile.
Please help.

2. HYPERLINK "/people/MadManChan2000"MadManChan2000,
Oct 21, 2013 9:09 AM in reply to blumesan
Note that the "Both color tables" option always creates a single-illuminant profile. The "Both color tables" option means that the computed color corrections will be applied to both color tables (i.e., the color table for the first calibration illuminant, which is usually Standard Light A, and also the color table for the second calibration illuminant, which is usually D65).
After playing around with the Profile Editor for a while, and examining the results with dcpTool, I now understand (I hope) what Eric is saying. In his language a single-illuminant profile is one created from a single dng image using the "both color tables" option (without regard to the illuminant used to capture that image.) When one does this (using Adobe Standard as the base profile) an examination of the resulting profile with dcpTool shows the following:
Two illluminants are identified: 17 (Std A) and 21 (D65).
Color Matrix 1 & 2; Forward Matrix 1 & 2; Hue Sat Delta Tables 1 & 2.
Which certainly gives the impression of a dual illuminant profile to novices like myself. My guess is that the PE software itself applies a default assumption of these two illuminants, corrects the image for each illuminant and constructs two color tables, one for each illluminant. When used, the profile will interpolate between the two tables based on the white balance of the image being edited.
If this is indeed correct it makes me wonder in what way does such a profile differ from a dual illuminant profile created from two dng images, each captured under a different illuminant (2800K & 6500K) as described in Tutorial #6 of the PE instructions. These instructions contain the following description of such a dual illuminant profile: "The result is a single profile that performs well under a wide range of illuminants instead of a single fixed illuminant." Which really make me scratch my head. Should one conclude from this that a single illuminant profile (created using the "both color tables" option) will perform less well under a range of illuminants? Will it perform well only under a narrow range of illuminants centered around the illuminant used to capture the single image?
As a footnote, it is worth remarking that I (and perhaps others) have been confused by examining profiles created by the XRite software when using only a single dng image. Examining such a profile with dcpTool one sees the following structure:
One illuminant only #23 (D50)
A single Color Matrix table.
A single Hue Sat Delta Table.
Thus one comes to expect this structure in a single illuminant profile.
I would be very happy to see Eric's comments..

Bug in DNG Profile Editor

I have been trying to use the DNG Profile Editor to create an inverted tone curve to import a color negative. I want to create an inverted linear tone curve when I convert the negative and use the downstream software to apply the appropriate camera curve. The issue I face can be replicated by doing these steps:
Go in to DNG Profile Editor. Tone curve tab, select "linear" for the base curve. If you create your own custom curve and export the .dcp file and read it in with the color tables external profile, you can see the curve you expected. It works as you expect for any curve even negative curves unless you select 'linear'. Then, if you repeat the same process except this time you draw an inverted custom tone curve (so the image goes to/from negative to positive) and export the .dcp curve and view it, the curve includes your inverted curve, but also includes the base curve (as though the 'base curve' menu had been selected)...which it should not include. It seems to be a very difficult if not impossible task to get an inverted linear line for the tone curve which makes it impossible to do any scientific measurements with a negative image.
I want to report this as a bug and request a fix.
Thanks.

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

Converting LUTs to Camera Profiles in the DNG Profile Editor

Hi,
I've just started using the DNG Profile Editor, and can't seem to get the process right.
I have some film LUTs that I'd like to convert to camera profiles for my 5D Mk II.
Here's how I'm trying to do it, maybe someone can help me figure out what I'm doing wrong.
This is what I tried first:
1. Take a Color Chart into Photoshop, apply the LUT via Color Lookup adjustment layer.
2. Save out as 16bit TIFF
3. Open as Camera Raw, then save out as DNG
4. Open the adjusted color chart into DNG Profile Editor, run it through the color chart section to create a recipe of color adjustments.
5. Export out as Camera Profile
But when I open up a 5D image in Lightroom, the profile doesn't show up in the list, so I realised maybe it needs to be saved specifically as a 5D profile, but I can't figure out how.
If I:
1. Do steps 1-4 as above
2. Open a 5D DNG file so that I can set a 5D profile as the base profile
3. Load the recipe
The color adjustments appear on the color wheel, but nothing happens to the 5D image, no colour change at all.
Exporting it (which does say 'Export as 5D profile') does then give me a profile that shows up in Lightroom, but it doesn't do anything to the image...
What's the correct way of doing this?
Thanks!
S

I don’t know claim to know anything about the internals of DNG Camera Profiles, but I’m pretty sure you cannot take a RGB-file (TIF/JPG) DNG and make a raw-file DNG Profile for use with your camera raws, which sounds like what you’re trying to do.
Despite looking like it might work in DNGPE, starting with an RGB-file recipe (rather than a RAW-file recipe) will only lock the specific colors on the color wheel, rather than create a raw-capable camera profile.

DNG Profil editor is always crashing on exit

as the topic says. im using latest beta version.
i7 2600k @4.2 Ghz
240 GB Vertex 3 for catalog and preview
16 GB ram
win7 64 bit
460 GTX 1GB
ps: i hope the question fits in this forum...
Problemsignatur:
Problemereignisname: APPCRASH
Anwendungsname: DNG Profile Editor.exe
Anwendungsversion: 1.0.0.45
Anwendungszeitstempel: 4cb71daa
Fehlermodulname: DNG Profile Editor.exe
Fehlermodulversion: 1.0.0.45
Fehlermodulzeitstempel: 4cb71daa
Ausnahmecode: c0000005
Ausnahmeoffset: 00019b4b
Betriebsystemversion: 6.1.7601.2.1.0.256.1
Gebietsschema-ID: 1031
Zusatzinformation 1: 0a9e
Zusatzinformation 2: 0a9e372d3b4ad19135b953a78882e789
Zusatzinformation 3: 0a9e
Zusatzinformation 4: 0a9e372d3b4ad19135b953a78882e789

Take your computer to an Apple store or service technician. You may have a hardware problem. This is not normal behavior.

DNG Profile Editor step-by-step usage

I hope all will forgive the long post, trying to both verify my understanding and perhaps help others by providing more detail.
1. Shot the CC with a D300 and D200 outside with cloud cover, exposures within seconds of each other, different lenses but both Nikkor.
2. Brought both nefs into ACR, white balanced (approx. 5500K) and equalized exposure using second neutral patch, applied new Adobe standard beta profiles to each. Very good match, first time I've ever seen truly equal images from the two cameras thru ACR.
3. Created DNG's of each cc image nef with DNG Converter.
4. Used DNG Profile Editor on the D300 image (white balanced), set base profile to Adobe standard beta, selected only the Red, Green, and Blue patches on second row. No changes to three colors, created recipe with "Edit both color tables smimultaneously" checked.
5. Opened recipe file with Wordpad, very interesting to examine, easy to see what's going on since in XML format. Six color adjustment sections, three for 2850 and three for 6500. Also the entire base profile in binary form is encapsulated in the XML file.
6. Opened D200 DNG file in PE, white balanced, used old 4.4 profile as base (deliberately trying to create different colors than D300). Loaded the D300 based recipe, exported new D200 profile.
7. Now back to ACR, loaded D300 cc image with Adobe standard beta profile selected and white balanced, and D200 cc image with old 4.4 profile selected and white balanced and exposure adjusted to match D300 image. Opened both in Photoshop CS3 in ProPhoto space. As expected, there was considerable difference in the color patches, both visually and by the numbers.
8. Back again to ACR, loaded D200 cc image with recipe modified profile from step 6 and white balanced and exposure adjusted to match D300. Brought into PS and compared to D300 image. Now the Red,Green,Blue patches matched well with the D300 image, only slight differences. Actually just selecting those three patches brought all 18 cc patches into a fairly close match.
In conclusion it appears to me that a recipe has enough information, with the color table entries and the embedded base profile, to "move" the same colors in another profile to achieve a good match. And it's apparently moving "both ends" (2850K and 6500K separate sections) of the profile appropriately, although I'm less sure of this. Quite an interesting and useful development by Adobe.
Richard Southworth

I hope all will forgive the long post, trying to both verify my understanding and perhaps help others by providing more detail.
1. Shot the CC with a D300 and D200 outside with cloud cover, exposures within seconds of each other, different lenses but both Nikkor.
2. Brought both nefs into ACR, white balanced (approx. 5500K) and equalized exposure using second neutral patch, applied new Adobe standard beta profiles to each. Very good match, first time I've ever seen truly equal images from the two cameras thru ACR.
3. Created DNG's of each cc image nef with DNG Converter.
4. Used DNG Profile Editor on the D300 image (white balanced), set base profile to Adobe standard beta, selected only the Red, Green, and Blue patches on second row. No changes to three colors, created recipe with "Edit both color tables smimultaneously" checked.
5. Opened recipe file with Wordpad, very interesting to examine, easy to see what's going on since in XML format. Six color adjustment sections, three for 2850 and three for 6500. Also the entire base profile in binary form is encapsulated in the XML file.
6. Opened D200 DNG file in PE, white balanced, used old 4.4 profile as base (deliberately trying to create different colors than D300). Loaded the D300 based recipe, exported new D200 profile.
7. Now back to ACR, loaded D300 cc image with Adobe standard beta profile selected and white balanced, and D200 cc image with old 4.4 profile selected and white balanced and exposure adjusted to match D300 image. Opened both in Photoshop CS3 in ProPhoto space. As expected, there was considerable difference in the color patches, both visually and by the numbers.
8. Back again to ACR, loaded D200 cc image with recipe modified profile from step 6 and white balanced and exposure adjusted to match D300. Brought into PS and compared to D300 image. Now the Red,Green,Blue patches matched well with the D300 image, only slight differences. Actually just selecting those three patches brought all 18 cc patches into a fairly close match.
In conclusion it appears to me that a recipe has enough information, with the color table entries and the embedded base profile, to "move" the same colors in another profile to achieve a good match. And it's apparently moving "both ends" (2850K and 6500K separate sections) of the profile appropriately, although I'm less sure of this. Quite an interesting and useful development by Adobe.
Richard Southworth

DNG Profile Editor "base profile" question.

Similar Messages

Maybe you are looking for