Moving color checker profiles

I bought a new computer and I'm trying to get everything as it was on my old computer. I had several Xrite Color Checker profiles on my old computer and can't seem to find a way to transfer them. I also had several adjustment brush presets that I'd like to transfer.

On Windows:
C:\Users\yourusername\AppData\Roaming\Adobe\CameraRaw\CameraProfiles\*.dcp in this and subfolders.

Similar Messages

Color checker profile (in lightroom) only work for JPEG file?

I followed all tutorials for color checker-lightroom and succeeded to sync my JPEG images into the camera profile I want.
However, these are JPEG images from the camera. I want to work with raw file or at least PSD file.
So my retouch pipeline was:
- opened my raw file
- save it as PSD
- back to lightroom and open it there
- and intended to sync this PSD file image with the camera profile
But this is impossible to do, because suddenly all the camera profile options (the ones we generated via color checker passport and the default adobe profile) are dissapeared. The only option of camera profile now is "embeded".
That's it. So does it mean that I have to convert my raw file into JPEG first ?
If yes, it's very unpractical and I can loose a lot of data bcause I thought saving it to PSD or TIF keep the image data better than into JPEG.
Confused..
Thanks for your point of views.

In LR Preferences / External Editing you can control things about the LR-to-PS transfer: the file format (PSD/TIFF), the color profile (sRGB, AdobeRGB, ProPhotoRGB), and the bit-depth (8 vs 16).
My Edit-in-Photoshop is set to use PSD, ProPhotoRGB, 16-bit. I have chosen this because it gives me a large colorspace, with millions of distinct colors and a file-format that can contain smart-layers and other Photoshop-specific things. LR, itself, is using a color-sapce as large as ProPhotoRGB and I don’t want to lose colors just because I’m editing in Photoshop, at least not until I’ve finished my adjustments in PS.
A large colorspace with millions of colors gives more freedom for extreme adjustments before color banding (posterization) or color-shifting (channel clipping) at the bright end of the histogram. The downside is that before I can save my photo as JPG for general viewing is that I need to set PS / Edit / Convert Profile to sRGB and PS / Image / Mode to 8-bit.
It sounds like you are saving your photos as 8-bit ProProtoRGB not realizing you also need to convert to sRGB as your color profile. For browsers and operating-systems that don’t do color-management correctly, which is most browsers and Windows-halfway, your ProPhotoRGB color numbers in the JPG are being interpreted as sRGB which makes them much duller and less saturated. It may be that you have your External Editing set to 8-bits, which is not a good idea if you are using ProPhotoRGB as your colorspace, so set it to 16-bit.

X-Rite Color Checker plugin fails to complete profile...

Whereas I'm able to get the desktop version of the Color Checker profile maker to work fine, the X-Rite Lightroom plugin consistently fails to complete a profiling operation--quitting with the message that it "is unable to locate the color checker crop marks" in my image. In one such
"failed" image, the (in focus) color checker occupies about 75% of the frame!
I'm using LR 3.6, Mac OS X 6.8. Latest versions of the X-Rite software. Is this a common problem (making the plugin pretty useless)?
Phil

Yes, the desktop (standalone) version of the software is able to complete a profile--although it does ask me identify the crop marks (btw, the color pattern is in-focus and more than a stop below clipping the white patch).
I can understand that the plugin might fail to detect the crop marks when the pattern is only a small fraction of the frame, or blurred and/or poorly exposed; however the plugin is failing (for me) with a very large pattern--a majority of the frame area---sharp focus and good exposure.
**************update!
Hmmm. As I got ready to post this reply, I tried using the X-rite LR plugin one more time, and...it worked! Can't explain why or what I might have done differently. I had used the desktop profile maker (with another image) a little earlier and then had restarted LR; that restart seemed to have helped(?) even though I'd restarted LR a couple of times yesterday after installing the X-rite plugin. Anyway, the problem is gone now...
Phil

Custom Camera Profile List (Color Checker Passport)

Hi
I am new to Lightroom 4.3 and have a question regarding Custom Camera Profiles. I have created custom profiles using Color Checker Passport for sunny, cloudy, flash, tungsten etc but would really like to create one for most shoots. I thought it would be a good idea to name it say "Temp" and overwrite each time so that I dont end up knee deep in camera profiles. But I am guessing if I do this will the latest saved version of "Temp" change the camera profile of all other previously saved versions of "Temp" from other shoots?
It would be good if the saved version of "Temp" resided within the folder of that particular shoot only.

twenty_one wrote:
In fact I'm amazed at how good the Adobe Standard profile is (Nikon D300/700) - I have never been able to improve on it for sheer accuracy.
ColorChecker Passport profiles I created for my Canon 5D MKII, 600D and 300D bodies looks better than the Adobe Standard profile, with both set to the same neutral white balance. This includes both single-illuminant and dual-illuminant profiles.
Take a look at the below images which were adjusted in LR using normal adjustments for a "picture" image, and not adjusted as a test chart. The Deep Blue and Purplish Blue patches have a slightly different hue and are more saturated on my non-wide gamut display. I'm sure they would look even more different on a wide gamut display. The ColorChecker profiled image looks closer to the actual ColorChecker when compared side-by-side. Some of the other color patches also have more saturation, which again appears more accurate.
I am certainly no "expert" on color management, but do have over 40 years of film, color darkroom, and digital imaging experience. To me the ColorChecker profile image looks better and more accurate than the Adobe Standard profile image, and that's just my opinion. Maybe it's something unique to Adobe's Canon profiles, but I have no Nikon equipment to test this assumption.
Concerning the OP's creation and use of multiple "sunny, cloudy, flash, tungsten etc. profiles," I did the same thing when I first used the CC Passport. And you're correct that for normal sunlight pictures only one (1) profile is actually needed, with changes made to white balance for the different conditions. But there is nothing wrong with creating multiple profiles and saving them with their matching white balance settings as a Develop preset. Disk space is cheap and IMHO LR simplifies the process and organization of presets, just as Rob Cole suggested.
I would suggest further that under some natural lighting conditions white balance alone may not totally correct the image. Examples would be high-altitude, early morning and evening low-angle sunlight, etc. Of course this begs the question of how much should you actually "correct" these images – It depends on the purpose, such as artistic versus clinical usage, or a balance of both.

Help with Color Settings/Profiles...White's look 'yellow' when exported to PowerPoint as a .png

I am running into this odd occurence and can't seem to figure it out.
First - I am not an expert in the Color settings/Profiles topic but I am thinking there is an issue here.
When I look at this image "McCroreyDigitalLogo.png" in Photoshop the 'whites' appear right.
Then when I import it into ms PowerPoint, the whites look yellowish.
I have done a series of 'tests' and it seems to be that the color profile out of photoshop and the one in PowerPoint are not compatible.
I have reset my Photoshop preferences with no luck/change to the results.
Finally, I did a screen shot out of photoshop and pasted that into Power point. The white appeared correct.
Could use some guidance on how to fix this one. Basically any files I run through PS, when they are imported into PowerPoint, the whites turn yellow.
Thanks in advance

PowerPoint is not a color managed program and can display the color values only in the color space of your monitor without any correction.
Color managed programs like Photoshop correct the color values when displaying them in order to simulate within the color space of your monitor other color spaces, for example sRGB, AdobeRGB, the color spaces of various printers, and etc. For this reason you can not match the color in non-color managed programs to the color of color managed programs but you can do the opposite match the color in Photoshop to PowerPoint.
There is two ways to do this:
One way is if you want the color values in Photoshop to remain the same but be displayed in the color space of your monitor which PowerPoint is using, you can either color proof with or assign your monitor profile to the document.
To color proof choose View > Proof Setup > Monitor RGB.
To assign, choose Edit > Assign Profile, select Profile and from the menu choose the color profile of your monitor. If you are not sure what's the name of the color profile of your monitor, go to the Color Settings, in the Working Spaces section use the RGB menu, scroll up and check what it says after Monitor RGB-
Both proof and assign will give the same result on your monitor but the difference is - the proof is temporary and will last only for the session and the profile, if embedded when saving the file, will stay and when open in other color managed programs including those on other users' computers the color space of your monitor will be simulated and for those users who don't use color managed programs the colors could be way off than if saved with a profile of a more common color space like sRGB.
The other way is If you want the appearance in Photoshop to remain but the color values converted to the color space of your monitor, choose Edit > Convert to Profile, and from the RGB menu choose the color profile of your monitor. This will preserve the appearance and also match the colors in PowerPoint but like proofing and assigning you are not seeing what other users may see on their computers.
It is not possible to see the same colors in color managed and non-color managed programs and at the same time simulate how others using different computers may see the colors because different monitors display color values differently. Color managed programs can simulate a common standard color space like sRGB while non-color managed programs can not.
Edit: Have in mind all this will work properly if you have a color profile that describes correctly how your monitor displays colors. What you did as described in your post #6 is assign a color space that may be different than the color space of your monitor. The result is when working in sRGB color space your color managed programs will match the non color managed programs on your monitor but that doesn't mean that the actual sRGB space is displayed and any other color space simulation could be based on a wrong monitor profile.

Color Checker And White Balance

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

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

Need help using color checker passport with photoshop CS6

Hello all,
I'm having an issue using the Color Checker Passport with Photoshop CS6. Here's my configuration:
Mac Mini using OS 10.8, but very recently updated to 10.9 (Mavericks). My problem is the same on either OS version.
Photoshop CS6 ver 13.0.6 64 bit extended
Adobe Camera Raw 8.4
X-Rite Color Checker Passport ver 1.0.2
Canon 70D shooting RAW in sRGB color space
NEC Multi-Sync LCD monitor calibrated with Spyder 3 Pro ver 4.0.5
Now here's the issue. I go through the recommended workflow and generate a profile with no problem. Then in Camera Raw (after restarting all applications) I apply the profile to a photograph and instead of getting a nice color-corrected image my image has a greenish-yellow tint to it. It's very noticeable and I haven't been able to figure out what I'm doing wrong, if anything. I re-calibrated the monitor, re-did the workflow with other pictures, but still get the same result.
I greatly appreciate any help or ideas on how to remedy this. I've sent an inquiry to X-Rite via their Support Web Page, but haven't heard back from them yet.
Thanks,
Kevin H.

Hello all,
I'm having an issue using the Color Checker Passport with Photoshop CS6. Here's my configuration:
Mac Mini using OS 10.8, but very recently updated to 10.9 (Mavericks). My problem is the same on either OS version.
Photoshop CS6 ver 13.0.6 64 bit extended
Adobe Camera Raw 8.4
X-Rite Color Checker Passport ver 1.0.2
Canon 70D shooting RAW in sRGB color space
NEC Multi-Sync LCD monitor calibrated with Spyder 3 Pro ver 4.0.5
Now here's the issue. I go through the recommended workflow and generate a profile with no problem. Then in Camera Raw (after restarting all applications) I apply the profile to a photograph and instead of getting a nice color-corrected image my image has a greenish-yellow tint to it. It's very noticeable and I haven't been able to figure out what I'm doing wrong, if anything. I re-calibrated the monitor, re-did the workflow with other pictures, but still get the same result.
I greatly appreciate any help or ideas on how to remedy this. I've sent an inquiry to X-Rite via their Support Web Page, but haven't heard back from them yet.
Thanks,
Kevin H.

Lightroom 5.5 and Color Checker Passport

have found out the problem with not being able to export images. If I create and use a color profile using Color Checker Passport it will not allow the images to be exported using 'edit in' if I use a standard Adobe profile then it will export as normal....

Mine Edit In PS 2014 in either case. When you say “will not allow” do you mean PS never opens or that PS opens but the image never does?
I wonder if there is a permission problem on the custom-user-profiles folder that such non-Adobe profiles are stored in.

X-rite color Checker Folder Path

I am a photo assistant based in Montreal I'm having issue with X-rite profile location in computer folder...
We did create a custom profile with color checker passport during a shoot, re-starded Lightroom then used the custom profile. From there, everything work fine!
My Problem is that after several shoot we have so many profiles in the list (in Lightroom) so we want to delete some manually in the laptop folder. I have been searching over forum during the past 2 days...every forum say that the good path to see them is:
Library/Applications Support/Adobe/CameraRaw/CameraProfiles/
But, iI can't see them in this folder...
My question is: Where did they go and how can I delete/manage these? cause right now we have too much profile in Lightroom profile listing.
We using a Macbook pro laptop (2014) with a 5d mark III
Thanks in advance, Pascal

Non-Adobe profiles reside under your Users folder. See the following page:
http://www.lightroomqueen.com/articles-page/lightroom-5-default-locations/

Color checker passport vs Macbeth color checker

I recently purchased the x-ritecolorchecker passport. In the past after i finished shooting my projects, I would shoot few shoots in different f-stops with the Macbeth color checker, and later i would pen the Macbeth shots from the Camera Raw, and i would click on either gray or white for the white balance. Also some times i would use a Gray card, and it worked fine.
Now i purchased the color checker passport, and i would like to know if i am doing the job correctly or not. From what i heard, what i need to do is:
1- shoot from the color checker passport after finishing my project
2- From the Adobe DNG Converter convert the .CR2 file to .DNG
3- Open the color checker and Drag and Drop the .DNG file into the colorchecker.
4- Save the .dcp file into my camera raw profile.
5- from the camera raw calibration Tab,instead of Adobe Standard profile, or any other profiles change it to the .dcp file that i created from the color checker passport
6- from the camera raw Presets,with the eye dropper tool select a gray or white area, and save it for my white balance
7- Apply the white balance to my shoots.
The question i have is why do i need the passport, if i can do the same thing with Macbeth card ?
please let me know what i am missing.
Thanks
Simon

Any help please
Thanks
simon

Very slight blue cast on epson r1900 when match print color check box is checked

Ok, so this problem has been bugging me for some time now and I know other people have it too, because I can see it some of the screen shots.
I am running CS3 and and epson r1900. Using the latest drivers, and latest ICM epson paper profiles downloaded again just yesterday. So what happen is when I go to print a photo, whenever I check the match print color box, the proof instantly assume a very light blue cast which prints on the paper as well.
Let me tell you what I know it is not.
1. It is not double color management- ICM is disabled on the epson print manager side
2. It is not a badly calibrate monitor, My spyder 2 is working just fine.
I am wondering if its some type of gamut compression inherint the the ICC profile, but if that were the case, if I converted my photo into the icc's color space, it just take on the blue cast, but it does not it. The blue cast appears only after the match printer colors check box is checked. Even if I add additional whitespace to the picture, that what space, which when you think about it, should just be paper white, get printed again with the light blue cast. In checking and unchecking that above mentioned box, I can see that other features within the photo are being affected or shifted as well. If I use a different icc profile, say, the Kodak Professional Paper profile or a red river paper profile, there is no Blue Cast period when the box is check or unchecked, so it seems to be something related to epson profiles, and Photoshop.
I have removed the printer and reinstalled with all the latested drivers available at epson website, as well as removed all my old epson paper iCC profiles and reinstalled them from that latest available from epson as well.
I can see on some epson printing tutorials avaiable on the web, this blue cast in the screen shots. Like here- http://www.gballard.net/psd/printing_epson_photoshop_cs3.html
compare the the preview print area , the the white in the in input box for print size and you can see there is a cast.
So is this normal?
thanks
Patrick

Patrick,
ICC profiles include white point information. When you check the match print color box, Photoshop trys to show a quick soft proof of your image there in the print dialog. The blue cast is Photoshop trying to simulate the white point in the profile - which happens to be the shade of the paper. Some papers have more of a pronounced blue or yellow shade, and this shows up in the soft proof.
In reality you will not see nearly the level of shift on a print as you do in the Photoshop print dialog. That soft proof is not really super accurate.
To summarize it is indeed the paper ICC profile that is causing the effect. Different profiles will all show slightly different variations in the white point under these circumstances.
Drew Hendrix
Red River Paper
www.redriverpaper.com

RE: Color Checker

Hello Every one I have a question please and I appreciate it very much if you could help me.
I was watching a Tutorial on Color Checker and I want to make sure I am doing it Correctly.
I shot some pictures, and I also shot a picture from a Color Checker with the same Lighting.
Before I shot the pictures I shot a gray card and I used Custom White Balance."" Canon 5d"""
I Imported all the pictures and the shot from the Color Checker. I clicked on File- Export preset- Color Checker passport and I did saved the profile . I did restarted Lightroom, and Inside Profile, I named and saved the profile.
And I Sync it to all my Images. Later I Exported all the Images as DNG.
When I watched the Tutorial, It showed, after you saved your profile you must pick the Eye dropper and click on one of the white or gray color swatches inside the Color checker to get the correct white balance. and later apply that profile to all your images.
I don't know if this is correct or not, Because If Lightroom already created a profile from the color checker why I have to get a white balance again.
Also when I open my DNG Images inside Camera Raw do I need to apply any white balance or I should leave it as Is ?
Once again thank you very much for all your helps in the past.

I deleted my first reply to this message because it was based on your initial version of the post that didn’t have any tutorial links in it, yet.   Had those tutorial links been in the first or second message it would have saved a lot of back-and-forth.
Having seen what your questions relate to, I’ll try to answer your questions:
Question 1: “Should I eyedropper-WB the CC image before or after exporting it?” This refers to the Export using the CCPP export preset that creates the custom color profile based on the CCPP image.
You can eyedropper the WB of the CC photo before Exporting it but you don’t have to. I do eyedropper my CC image before creating the profile so I know what WB the profile is being created for. This is useful to me in naming my profiles as well as useful to see if I’m creating a redundant profile, one that I’ve created for very similar lighting from a previous photoshoot. I initially created maybe a dozen custom color profiles based on different lighting scenarios and I still shoot a CCPP when I think I might be in novel lighting, but I rarely create a new custom profile because the lighting scenarios are pretty much covered by my previously created profiles.
As far as eyedroppering after, you do need to eyedropper some neutral color somewhere in your images to synchronize the rest of the images to but this is not related to the process of creating the custom camera profile despite the two things being shown back-to-back in the first tutorial, it is related to wanting your WB to be right regardless of whether you’ve just created a custom profile or not. If your CCPP image is large enough then you can use the next-to-white patch as an eyedropper WB neutral area. If you are shooting at more of a distance then maybe use a larger neutral target such as the other white-only CCPP page.
The first tutorial also shows how to tweak the WB a little by eyedroppering on the slightly bluish patches to warm on the portrait photo or by clicking on either the slightly more green or slightly more magenta paths to warm up or cool down a landscape shot. This is not setting the initial WB, it is tweaking the WB or adding a slight color cast to warm up or cool down your images. I don’t use these WB-tweaking patches at all but in a tutorial about how to use the CCPP it is good to show them being used so you can understand what everything is for.
Question 2: “If I export as DNG and open that DNG in PS-ACR, do I need to eyedropper-WB, again?”
The answer depends on if your DNG already contains the development settings you applied in LR or not. If it does, then the WB you set in LR should get picked up and used so no need to WB, again, but if upon opening your DNG in ACR you see the default WB such as As Shot when you know you’ve applied a custom WB in LR, then you probably need to figure out why the LR WB isn’t transferring over, rather than redoing the WB in ACR. If you are using a plain raw file and not a DNG, then the LR settings can be saved into an XMP sidecar file next to the raw file of the same base name.   Those XMP files can either be created automatically if you have the preference set to do this, or can be created explicitly with a Save Metadata to Files command from either a right-click menu or using the Metadata menu item.
Are you asking this second question because you’re not seeing the custom WB set in LR carry through to ACR?
Some more comments about the tutorials. I wouldn’t stand so close to my model to shoot a custom WB because I’d be concerned I was blocking the light and changing the ratio of ambient to flash and therefore change the color temperature by standing so close.
Another issue with at least one of the tutorials is that when they are synchronizing the WB across multiple images they are leaving too many other checkboxes enabled. If I was merely trying to synchronize WB then I’d probably enable only the WB and Calibration checkboxes.
My suggestion about what to do for each lighting change is to shoot a CCPP, a CCPP-neutral page, and maybe set your camera’s custom WB to that CCPP-neutral page.   After importing the images into LR eyedropper either the CCPP or the CCPP-neutral page and then synchronize the other photos in the same lighting as those to the reference image. Once you know what the WB is, then scan your lists of existing custom color profiles for one that is close. If there is then use that custom profile, otherwise create a new custom-profile. Now you see why I want to put the WB numbers as part of the name of the profile, so save myself some work and clutter if I really don’t need to create another profile because one already exists. TO summarize, you don’t necessarily need to create a new custom color profile for each lighting change, but you do want to re-WB a reference and re-sync that to the others in the same lighting.

What is the rationale behind the "Adobe Standard" color calibration profile?

Hi! I'm trying to figure out how to make the most of the various color calibration profiles Adobe offers for my cameras with Lightroom 5. I do understand the purpose of the camera-specific options--they're designed to help approach camera JPEG processing mode colors. And they work wonderfully--they're very helpful!
But I don't really understand the purpose of the "Adobe Standard" calibration option. What is it for? Why does it look the way it looks? Has it been designed to ease certain processing goals? To enhance certain colors or tonal combinations? Is it designed to be more accurate than the manufacturer profiles in some way? What can I do with "Adobe Standard" that I can't do with one of the camera-specific calibration options?
I would find it *extremely* helpful if someone who's involved with the engineering behind Lightroom's color (or anyone else who's especially knowledgeable about Lightroom's design) might talk a little bit about why "Adobe Standard" looks the way it looks. What's it for? To what purposes can I leverage it?
Thanks so much!

MarkJoseph wrote:
I would find it *extremely* helpful if someone who's involved with the engineering behind Lightroom's color (or anyone else who's especially knowledgeable about Lightroom's design) might talk a little bit about why "Adobe Standard" looks the way it looks. What's it for? To what purposes can I leverage it?
Adobe Stadnard is the name for the individual profiles Adobe builds for each camera it receives. A new camera ships, Adobe gets their hands on one and builds a profile with that sample. It isn't suppose to mimic the in-camera JPEG settings, I don't believe it's supposed to mimic anything but instead produce what is (and quotes are super important in this context) the most 'accurate' color response from the target they use to create the profile. But here's the rub. Not all cameras from the same make and model behave identically. Adobe simply can't get piles of the same body and build then average that response. So they provide a means for you to build your own custom DNG camera profile and for differing illuminates. So if you want to leverage it, you'd get a target (MacBeth 24 patch, X-rite Passport) and build your own custom profile. It can really help depending on how your sensor deviates from the sensor Adobe got to build their profiles.
For more info on DNG profiles and rolling your own:
In this 30 minute video, we’ll look into the creation and use of DNG camera profiles in three raw converters. The video covers:
What are DNG camera profiles, how do they differ from ICC camera profiles.
Misconceptions about DNG camera profiles.
Just when, and why do you need to build custom DNG camera profiles?
How to build custom DNG camera profiles using the X-rite Passport software.
The role of various illuminants on camera sensors and DNG camera profiles.
Dual Illuminant DNG camera profiles.
Examples of usage of DNG camera profiles in Lightroom, ACR, and Iridient Developer.
Low Rez (YouTube):
http://youtu.be/_fikTm8XIt4
High Rez (download):
http://www.digitaldog.net/files/DNG%20Camera%20profile%20video.mov

Does Photoshop support N-Color ICC profiles for soft proofing?

Hi All,
Does Photoshop support N-Color ICC Profiles for soft proofing? If yes, then can anyone guide me?
Thanks!

No, it does not.

Best MAC 10.6 Color Display Profile for use with Adobe Illustrator CS5

Hi everyone,
Which Color display profile should I choose for my iMAC (10.6) using Illustrator CS5? I need the colors to appear as accurate as possible when exporting PDF files.
Thank you!

Diane,
The only Monitor profile you should ever use is a device-specific one created for your particular monitor.
If you have not calibrated and profiled your monitor, thereby creating a monitor profile in the process, used the canned one provided by the manufacturer of youor monitor.
Wo Tai Lao Le
我太老了

Moving color checker profiles

Similar Messages

Maybe you are looking for