How Camera Raw and Various Profiles Handle Transition Into Overexposure

Question

With all the attention I've been paying to profiles lately, I have been opening a lot of images with bright blue colors (hence my recent post on trying to get better blue sky color). 
One of the things I've noticed is that the transition into overexposure appears to be handled VERY differently depending on the profile chosen.
Of particular interest is an image I shot recently toward a stage where some bright blue lights were shining on the crowd and into my Canon EOS-40D's lens.  I was surprised at how differently the transition into overexposure is made depending on the profile chosen.
Notably not one of the Adobe-supplied profiles handles this transition smoothly at all, showing some sharp transitions - which helps explain why I had been having such trouble with sky color.
Some examples follow (these have all been converted to sRGB for display via browser).  Specifically note the area around the bright blue light in the upper-right.
Adobe Standard profile, as supplied with Camera Raw by Adobe:
Camera Standard profile, as supplied with Camera Raw by Adobe:
Camera Landscape profile, as supplied with Camera Raw by Adobe:
The very good 40D "DPP Standard sRGB" profile Vit Novak provided me a couple of days ago, based on his measurements of how Canon DPP handles color:
The in-camera JPEG:
-Noel

Answer 1

That's awesome!
For "normal" exposure levels it exactly matches the other images converted with the profile you developed before, but the hard edge (e.g., seen when the edges of the image are lightened by Vignetting Correction) is gone.  Well done!
I tried it on a number of other images and found that the transition from blue sky to whited-out overexposure was indeed noticeably better, with the sky going to cyan slightly less quicky.  For example, I have an evening time exposure with the sky transitioning to overexposure.  I converted the image once with Adobe Standard and each of your profiles, and put an extreme Curves adjustment layer over the top to more easily see the transition.  Note the color, in particular, of the sky transition into overexposure with the three different conversions, your most recent on the bottom.
You really have gotten your head around how these profiles work with Camera raw, and you do damned good work with that knowledge, Vit!
Let's review the features of this profile:
1.  It matches the camera color virtually perfectly, which I for one find an excellent starting point for further Camera Raw adjustments.
2.  It handles transition into overexposure IMO as well or better than the camera manufacturer's software and hardware.
3.  Since you developed it to match the camera manufacturer's sRGB conversions, and THEY don't think channel clipping is acceptable if the user has chosen to convert to sRGB, it has solved the problem with channel clipping that I had seen with all the Adobe profiles when converting directly to sRGB, and has thus made the action I had been using to do a "bend the edges" conversion unnecessary.
There is nothing not to love here!
Vit, I don't know how much work is involved with making such a profile - clearly you've put some serious time into getting where you are, but would you be interested in partnering with me and selling sets of profiles with characteristics like this one to others who would like to get the best possible Camera Raw or Lightroom conversions?  If so, let's talk off the forum via eMail.
-Noel