Odd color correction on raw import

I have a Canon G9 that I've had converted to shoot IR. I'm having trouble with Lightroom on the CR2 files the camera is putting out. Example here:
http://gallery.me.com/hteasley#100119
The first one is what I expect: what I see in the camera, what the JPEG looks like, what the CR2 file looks like when I import it into iPhoto, and interestingly enough, what the CR2 thumbnail looks like in Lightroom on first import. But when I use the Lightroom loupe on the file to look at it, it gets rendered to look like the second image in that gallery, which is terrible.
To be clear, I'm not talking about having done any in-camera editing of the raw files, and I'm not talking about the JPEGs. I'm talking about iPhoto bringing the file in how I would say "correctly", and Lightroom always adjusting it to be "hideous". I've changed camera profiles, and can't find one that looks like the iPhoto version. I've worked through various Hue/Sat adjustments within Lightroom and can't recover the image to look like the correct version.
What is Lightroom doing? I can't find any setting that results in Lightroom keeping the file looking like it does in the import preview, how it looks in the thumbnail before I view it with the loupe. Any help would be much appreciated.

The image you see in iPhoto is not the rendered RAW file it is the jpg preview file embedded in the RAW file you see on the back of the camera (iPhoto does not render RAW files). This is the same as the initial image you see for a moment in LR when you import the file, until LR renders the RAW file. LR doesn't make any "changes" to the file, but imports it and renders it acording to any settings you may have made in LR. The colour settings will be found in the calibration box in the develop mode and there may be different settings availble according to the camera you are using.
See number 6 in the top ten gotchas here. .
As you have made a conversion to your camera none of the existing camera calibrations will apply and you will need to use Adobes DNG editor to create a new one

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Color correction fails raw conversion

Hello; any help would be appreciated becasue I am not very photoshop savy. I edit my raw files create an action run the batch and the color correction fails to hold. ahah please help. Thanks!

The image you see in iPhoto is not the rendered RAW file it is the jpg preview file embedded in the RAW file you see on the back of the camera (iPhoto does not render RAW files). This is the same as the initial image you see for a moment in LR when you import the file, until LR renders the RAW file. LR doesn't make any "changes" to the file, but imports it and renders it acording to any settings you may have made in LR. The colour settings will be found in the calibration box in the develop mode and there may be different settings availble according to the camera you are using.
See number 6 in the top ten gotchas here. .
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I processed and color corrected a set of photos shot in camera raw, then saved as tiffs. Then I set Photoshop to Batch process them into a web slide show. The images turned out looking like the raw files before processing....kind of desaturated, since they were shot on a grey day. So then i re-saved the raw files as jpgs and hypersaturated them to see if that would produce better results, but it did not. They looked almost as grey as the original raw files. I usually add saturation to files that will end up on the web, because ImageReady always seems to desaturate color.
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Suzanne,
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Lightroom 2.0 Shifts Color Dramatically during RAW Import

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I am shooting with a Nikon D200
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Since you say it didn't happen with 1.4, I won't have to refer you to the FAQ: http://www.adobeforums.com/webx/.3bc3d55a or tell you about the new camera-matching profiles that solve the issue described in that FAQ.
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What happens if you hit reset on one of those images? If it changes back you are either applying a preset on import, have defined camera defaults, or have auto-tone enabled. The first is easy to fix: make sure you don't do that in the import panel. For the second, go to the Lightroom preferences and look at the presets tab. Make sure you do NOT enable "apply auto tone adjustments", then also click the "reset all default Develop settings".

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Is the range different, if I work in the RAW-Ediotr that i reach through the "interpret footage" dialogue box?
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Monitor color correction

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APERTURE3 changing all my in camera color corrections while importing?

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WALTER-MILANO-ITALY wrote:
May I ask you your help ?
I use RAW+Jpg in different cameras and I import Both Raw as Master, leaving the originals on an external HD, that is referenced system.
I am missing something ?? For instance if I take a BW with my EP2 I get a RAW colored and a BW jpeg into Aperture only if I import separate masters.
If you use your normal 'Both RAW as Master' option, can you Control+Click (right-click)and use the set JPEG to Master option to switch to the Black & White version displayed?
Probably I am only wasting time shoting BW in camera because you can do it later from RAW with aperture...
If the JPEG captured what you wanted to see and will work for your purpose, then it is not a waste of time - IMHO.
I shoot RAW+JPEG also and import 'Both JPEG as Master' because most of the time the JPEG works for what I want.
Note - RWBoyer has a great site with a lot of information about Aperture here:
http://photo.rwboyer.com/

Camera Raw 5.5 VS Adobe Lightroom (color correction)

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RicardoAngelo wrote:
I mean for color correction purposes is Adobe Lightroom better tan PS's camera raw interface ???? because for me both controls seem to be pretty much the same thing, does anyone know something about it ??
Both Camera Raw (most recent version) and Lightroom (most recent version) share the EXACT same processing pipeline...however, there are subtle differences in usability. For example, ACR 5.6 has a Point Curves Editor...Lightroom doesn't. Lightroom has a powerful capability to control output size and resolution which Camera Raw doesn't have...
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I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

Try asking in the Premiere Pro forum seems to be an Adobe Lab for Premiere Pro

Lightroom VS Camera Raw 5.5 (color correction)

Hi, does somebody know if discarding the advantage of making layers of Photoshop, is the Adobe Lightroom color correction controls superiors to the CameraRaw PS Interface correction controls ??? I mean for color correction purposes is Adobe Lightroom better tan PS's camera raw interface ???? because for me both controls seem to be pretty much the same thing, does anyone know something about it ??
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They seem the same because they are the same thing. Lightroom is basically an interface built around the camera raw processing core so you will get exactly the same results. The only thing really that you can do in Camera RAW that you can't in Lightroom is point curves (the interface simply doesn't expose them at the moment), which are almost never needed in raw conversion, except if you do special effects. I almost never use Photoshop anymore as Lightroom basically does all I need.
P.S. the latest version of camera RAW is 5.6! Lightroom is at 2.6. The last number corresponds not by accident.

Built-in "Camera RAW style" color correction for each clip in CS6

Camera RAW has the best sliders for image control. Super easy and ultra natural looking.
I mean if you want to fix White Balance with in-camera like precision or lift shadows or fix highlights Camera RAW is the quickest tool that produces amazing results.
I have compared Davinci Resolve, Phase One (Capture One), Adobe SpeedGrade and Color Finese. And the best "quick fix" results are archived in Camera RAW even with 8-bit TIFFs exported from Premiere's DSLR timeline.
The point is, why can't we add simple sliders for Temperature / Tint / Exposure / Contrast / Highlight / Shadows / Clarity / Vibrance directly to Premiere's clip.
So the user will not waste time to export TIFFs to Camera RAW or DPX to SpeedGrade.
Some more comments.
1. Three Way Color Corrector contains too much submenus and often doesn't produces results wanted.
Wheel-type color mixers are more suitable for Secondary color correction in my opinion.
At first it nice to setup correct White Balance using sliders and only then make some sylish tuning with these wheels.
2. It's a pity that Camera RAW exported sequences tend to flicker sometimes. I guess it's because of photo-like processing style. It adapts to every single image. Would be cool to have an option to disable this adapting feature, especially useful for timelapses. Have anyone encountered this problem with Camera RAW?
Maybe someone knows a plugin for Premiere and AE that has direct slider for Temperature and Tint?

@mandurphy: If you haven't already done so, you might want to submit a formal feature request: https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform&loc=en
You're also welcome to post "Me too" in as many threads as you like, but doing that a hundred times will not get as much attention from the decision-makers in charge of the feature priorities as submitting a single genuine feature request.

Is there a way to batch process color corrected RAW files to tif files?

I got over 160 color corrected RAW files from my photographer when I thought I was getting TIf or PSD files. I need to put them into an indesign doc to send out for printing. Is there a way to convert all of these in one fell swoop without messing up the work that has already been done? I didn't allow in my timing to save each one individually since i didn't know I was going to need ot do this. I am really unfamiliar with batch processing, so no idea how to best go about this, or if I even can. Please help. I am working in Photoshop CS6. version 13.06 x 64

An easy way is to open Bridge, select the images then click on Tools/Image processor. You can then save as jpg, psd, or tiff.
Hope this helps.

GoPro WB RAW color correction techniques

Below of photos from video shot with GoPro WB RAW Protune on in summer sun. I have studied various tutorials on color correcting. Still unsure of best workflow. CIneform helpdesk says just uncompress with protune on - no export using Cineform studio. I don't like the results.
WB RAW Protune on:
My corrections:

While I was not there so I can't tell what the colors should look like, your corrections look pretty good to me.
However, based on the white t-shirt on the guy in the blue shirt on the left, it looks lto me like you may not have the white balance quite right just yet.
When shooting raw, you will always need to adjust things. I don't know what tools you are using, but with a minor tweak, I think you are darn close.

Fast color correction in premiere pro

Hi, I'm having a problem using Fast color correction with two different clips which show the same picture and are of different colors. here are the frames:
This is the correct color; checking the white balance it's perfectly white when check with the front of the raft. Perhaps the saturation should be slightly modified but over all this is exactly what you see when arriving at Red Cavern (the name speaks for itself) on the Colorado.
Here is the same shot taken at the same hour by a friend of mine who gave me some of his footage; everything is either white, pink or grey even the yellow raft on the left has not its true pure yellow which it is in reality:
Although taken at 20 years interval, the shots were done most probably at the same hour. The only difference being a more important set of trees due essentially to the level of water higher on my trip in 1995 than 2 years ago on my friend's one. The beach on the right side of mine being under water or having formed later. Of course the second shot is done with a digital camcorder which did not exist 20 years earlier.
As one can see the reds are washed out and do not correspond to reality. The footage is taken at the Red Cavern on the Colorado
The problem is to correct the second footage to get the same reds as both footage cross dissolve from one to the other and that I wish of course to be nearer as possible of the true colors. I can't check the white balance using Fast color correction on the second footage because there is no pure white visible anywhere. The sand at the base of the cavern or on its right is not white in reality as it consists of deposits either of mud from the river or sandstone of the cavern and the redwall above. Which effect would enable me to correct the second footage to approach as much as possible to the same color of the first one. Most probably FCC is not the right effect to choose.
Thanks in advance for your suggestions.
Claude

I think that's about as nice as you can expect ... years apart, or even just hours apart with sun coming in a different angle on the same rocks (not even depending on any reflection changes!) can oft get massive shifts in "apparent" color. Which is ... real? Either, both, neither? It's actually one of the things that makes going back & shooting in the same place over & over interesting ... it's never EXACTLY the same ... or rarely so.
Ahh, now we're almost into a discussion someone will moan about needing to be continued over on the Sg forum ... tee-hee.
From your comment about transferring clips ... are you using an EDL process? When using "Direct Link" (the "direct to SpeedGrade" command) normally all the "stuff" from the PrPro project are included. There have been the odd instances where Sg doesn't "see" something, but ... I'm curious, I've not run into this for most anything I've done "direct". Either direct or EDL can work, but it does change your work-patterns a ton depending on which you choose.
SpeedGrade is an amazing tool ... and is designed to give a very good basic correction and then allow one to step off the deep-end into stylin' your shots. Especially with the large collection of "legacy" clips you've got from your friend, that seem to be of a similar "look", you can correct those for basics (WB, dynamic range, blacks & whites, hue shifts) using a Primary or two or three and then a Secondary for the hue-shifts. Then save that as a "Look" and anytime you run more of those clips, you can just in a couple clicks throw that Look over top of them and have all your previous work on that footage done bang. Slick as all get out, and I think you'll love that part of it.
Just a bit on my process that has come about since going so heavily into DL ... it used to be enough "work" to export an EDL, load things into Sg, then export out to re-import back into PrPro that like most I did pretty much to edit-lock & then to Sg. That is pretty much History ... it's so fast that when I start putting together a sequence for a new project I'll just throw a number of clips onto the timeline ... DL to Sg, do a Basic grade on them (especially if there's significant skin as I've got a GH3 and it naturally makes skin un-natural so I've a Look to recover skin-looking skin) and go back to PrPro. Now as I'm editing I've got a feel for how good a visual I'll get off that group of clips. Mostly finish my editing, with maybe an occasional minute or two over in Sg (quite literallly) doing something like making something a Master Clip so the other bits of that one get the same grade automatically). Before doing the final export out of PrPro I'll go to Sg and do the rest of the "style" work.
Then back in PrPro thow on my titles & such, pop in any fixed audio from Audition, & out it goes.
I do use some "adjustment layers" added to sequences in PrPro simply to use for additional grading layers to utilize in Sg over groups of clips or occasionally one if I'm doing enough I want to put it "up" on a different layer. Not always ... but sometimes.
Pretty slick for the most part.
Neil

Odd color correction on raw import

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