Where should DNG profile editor install the .dcp file?

Just made my first attempt to create a custom camera profile using the X-Rite color checker passport and the DNG Profile Editor.
Thanks to the excellent tutorial, the process went smoothly. Next I took the final step of exporting the profile (.dcp) file, expecting to find the new profile when I opened an image in ACR. Unfortunately the new profile was not listed in the Camera Profile dropdown menu.
After much searching I discovered that the profile was written to the folder containing the .dng images used to construct the profile. Obviously not where it belongs in order for ACR to find it. I assumed that "Export Profile" would automatically write the .dcp file to the proper location.
Where should the .dcp files be installed for Win7x64 running ACR 8.2.?
Is there a way to establish the proper location as the default in the Profile Editor?
Thanks for your help.

Custom-created .DCP profile files go into the following location under your Windows Users folder:
C:\Users\YourUserName\AppData\Roaming\Adobe\CameraRaw\CameraProfiles
The AppData folder is a hidden-system folder so you may need to turn on the viewing of those type of folders in your Explorer folder view options or just type \AppData into the folder address area and hit Enter once you get to your username folder.

Similar Messages

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

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.

DNG Profile Editor vs. Adobe Standard

I'm working in PS CS3, I shoot in Leaf 11.2 and process my files in Camera Raw 4.6. I've mostly be unhappy with the color differences between PS and Leaf. The adobe standard profile brings me close, but not enough.
I've attempted to shoot a color checker and use the DNG Profile Editor, but the profile created seems overly saturated, and gets me further from my goal of matching what I see in Leaf. Where am I going wrong? I imagined Profile Editor would be much more precise.
All comments/suggestions are welcomed
Thanks.

The short answer is the Leaf rendering is not "accurate" (a.k.a. "precise") by design. It is designed to look good, which is different. Attempting to build a very accurate profile using the chart feature of the profile editor will build a profile that is closer to being accurate, which is wrong direction if you are trying to match the Leaf rendering.
Start with the Adobe Standard profile and apply manual edits from there to move it closer to the Leaf rendering.

Tone Curve in DNG Profile Editor

Is it possible to load a Point Curve from Adobe Camera RAW into the DNG Profile Editor as aTone curve?
I know you can enter the data again in the DNG Profile Editor in the Tone Curve Tab, but I develop the curve using Adobe Camera RAW and have it saved as a Point Curve.

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.

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

Do DNG HueSatDeltas correspond to DNG profile editor points?

I understand that the HueSatDeltas table in a DNG profile has 90 hue divisions & 25 saturation divisions (2250 total, excluding the value positions)... and these in turn record the hue shifts and saturation scales from these points.
Does anyone know if the dropper points on the color wheel in the DNG profile editor correspond directly to these 90 x 25 positions... Or are they simply arbitrary positions in the editor from which the resultant surrounding hue shifts and saturation scales of the adjacent points in the 2250 DNG profile positions are interpolated/calculated?
I had hoped that I could find the values corresponding with the 24 patches on a color checker and determine the hue shift/saturation scale recorded from these by reading the DNG profile... Or will that simply not work?
Thanks!

I am also uncomfortable with the 1.0.0.46 release with a D800.
Using Lightroom 4.2 I looked at the color checker chart that I used to generate my profiles using the DNG Profile editor. The blue change with this release was very significant.
Hovering over the blue panel of the chart after changing just the camera profile I got the following general readings:
Adobe Std.         R0    G22 B60
Beta 3                   R4    G18 B59.5
Beta .46                R17 G22 B59
Without an explanation, such a deviation from Adobe Standard is disconcerting as my base profile in the DNG Profile editor, both releases, was color checker.

Colorchecker passport and the DNG profile editor

I finally got around to getting a Colorchecker passport to use with the DNG profile editor.
I was secretly hoping I could save time by shooting the chart on location and make an instant profile out of that - then the colors would be at least "close ballpark" so I would just have to apply white balance and then move on to more specific adjustments. But of course it wasn't that easy, it still takes a fair bit of color tweaking to get right in most circumstances.
So I'm wondering if my energy would be better spent trying to perfect one good dual illuminant general profile. For this I would use 3000 K tungsten at one end and 5500 K studio flash at the other. Or would it be better to use overcast daylight? In either case it's obviously important to ensure the chart is absolutely evenly lit.
And then I should probably have a separate profile for fluorescent tubes.
I'm curious what other people's experiences with the colorchecker/DNG profile editor are? How are you using it?

The color profile changes with the lighting, so a profile that was computed for daylight won’t be right for tungsten or fluorescent. Keep in mind that a custom camera profile is the set of corrections on top of an existing Adobe profile that the DNG has assigned to it, perhaps Adobe Standard, and all Adobe profiles are dual-illuminant profiles, so it makes sense you’d want to also create a dual-illuminant profile for general purpose use that has the same two lighting scenarios as Adobe used: 2850K and 6500K. The 6500K is the tricky one because full sun is warmer, closer to 5000K, and you need the right amount of haze to create 6500K sunlight, unless you are using standard D65 bulbs, indoors, which is likely what Adobe does.
I use a dual-illuminant profile for general purpose use, but since the WB-Tint values of both the tungsten and daylight ends are close to zero, lighting that has a tint not close to zero needs a separate profile. The common example is the greenish light from fluorescents, and I have several single-illuminant profiles for various artificial lighting scenarios with WB-Tint values that are relatively non-zero. I also have ones for very red sunsets and very blue twilight. If I had studio lighting I’d make a profile for that. Sometimes I make a custom profile for a church or other venue that has significant non-neutral walls or ceilings, or where sunlight through the stained-glass windows shining on the walls are giving a significant color-cast including a non-zero tint value to the lighting. If you know you’ll be doing some shots near a large amount of tall, green vegetation then a custom color profile can correct for the green tinge to the ambient lighting coming down from above mixing in with the sunlight.
Adding to the suggestion about wearing neutral clothing, I’d argue for dark neutral clothing because something lighter clothing will reflect environmental colors (sunlit vegetation or brick walls, etc, outdoors) and not be neutral.
Besides non-neutral clothing, try to avoid areas that have green grass or tree leaves or brick buildings that also color the light and reflect off the colorchecker. For the sunlit shots, I put my colorchecker face up on the sidewalk or parking lot, to avoid coloration from the grass and far away from trees or buildings especially in the direction I’m pointing the camera, so the only lighting is direct sun and ambient blue-sky, possibly diffused by hazy clouds. I point the camera down at the colorchecker, at a 45-degree angle and at a compass direction and not directly toward the sun, nor directly away from the sun. I try to shoot the target that is face up on the ground perhaps at a 90-degree angle from the sun to minimize any residual glare from the colorchecker’s slightly non-matte surface. Obviously directly away from the sun, the color-checker will have my shadow on it or I will be blocking the light from the sky near the sun.
I use the same sort of process for the tungsten end, choosing a room with neutral walls and put the target relatively flat on the floor facing up, perhaps tipped up somewhat toward the light, but not so much as to have any glare from the lighting, either, in other words, not with the lighting directly behind the camera, but somewhat over to the side.

Creative use of CC calibraton in the DNG Profile Editor

The DNG Profile Editor can be used to create profiles that mimic film looks.
I think right now it is manual trial & error process involving changes in hue, saturation and lightness, but it could be theoretically achieved with Color Checker calibration working in reversed order.
- Photograph the CC using your favorite film
- If B&W, develop in your favorite developer
- Scan the film
- Use the scan in the DNG Profile Editor as target values
The current DNG Profile Editor obviously does not allow that, it would require adding a new tab and clone the CC calibration feature and alter it to use the photographed values as target values as opposed to internal values.
I don't know if it would be worth the effort, but I thing the idea is worth of sharing.
By the way, unless I'm doing something wrong, the saturation slides don't seem to go 0%, so creation of B&W profiles is not possible.

Good idea. Yes, I've posted an example on my Flickr.
I chose a picture with good reds and yellows. There are four images in the set:
1. The original, untouched image. This is using the new Adobe Standard beta profile, brought into Lightroom with all default settings, including linear tone curve, no exposure or color adjustments, white balance "as shot", etc. For reference.
2. The image with my test profile applied, but no further adjustment.
3. My original attempt at the image, using the "old fashioned" pre-DNG-profiles raw processing method, for reference. The yellows are orangeish, which isn't that objectionable but also isn't accurate. The reds are weaker than I would like.
4. The "final" image, with my test profile plus additional tweaks -- white balance, tone curve for contrast, crushing out the blacks a bit more, etc. Two or three minutes of total processing, versus quite a bit more for the previous attempt with no "special" profile. The reds and yellows are perfect.
The Flickr set:
http://flickr.com/photos/100mph/sets/72157606547890574/
This was just a first, pretty quick attempt at playing with the DNG Profile Editor. I'm sure it can be tweaked more and even more can be accomplished.
[Edit: note: I changed the "upload date" on the test images so they wouldn't stay at the top of my Flickr page. Ignore the 2007 date, it doesn't mean anything.]

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 profile editor : where can we find a link for downloading an updated version (for Mac OS 10.9)

The links I found here (http://www.adobe.com/downloads/updates.html) are both for Windows, althought one is named "MacIntosh".
The beta version seems to have problems on Mac OS 10.9 (it is impossible to quit the application).

Adobe - DNG Profile Editor : For Macintosh : DNG Profile Editor 1.0.4

The current DNG Profile Editor cannot interpret 7.1 raw settings

Hi,
I am frustrated that the DNG Profile Editor is not able to apply Lightroom's or Camera Raw's settings since the new Process 2012 has been in effect.
This SEVERLY limits the usefulness of the Profile Editor. And yes I know it is a beta.
However, are there no plans to release a compatible version?
Thanks,
Juan

Ah, that's the problem, I have v1.3. Thanks! I've tested it and it validates all DNG files fine.
The reason I have the wrong version is the Adobe DNG SDK web page (here) links to the 1.3 version of the SDK. The only way to know there's a newer version is if you search for it or someone tells you - like you have.

Camera Calibration in ACR & DNG Profile Editor

I am having the hardest time figuring out how to use the camera profiles generated with DNG Profile Editor in Camera Raw.
I am using Photoshop CS4 in Windows 7. I have generated the .dcp file with DNG Profile Editor and saved it in the folder: Program Files/Adobe/Photoshop CS4/Presets/Camera Profiles.
This is about as far as I've gotten. I have not been able use this profile in ACR under the Camera Calibration Tab. I have been lead to believe that is would show up automatically. I have not found any video tutorials related to ACR and installing Camera Profiles. They all seem to relate to Lightroom.
Any help would be greatly appreciated.

If you would like to look or copy profiles manually (for example you have received a profile made by someone else; for Windows7 you should be able to see where the Profiles are stored by searching for *.dcp (meaning any file with the extension .dcp)
That will show you where the Adobe supplied profiles are located. You can copy your custom profiles to the sub-folder of your camera type in the Camera folder.The other folder you see is where the Adobe Standard profiles live.
If you cannot see the programdata folder (and that is the case by default) you can make all hidden files visible:
(this from Windows Help, just search for show hidden files)
Computer>Organize>Folder and search options>View. In Advanced settings check the radio button Show hidden files, folders, and drives and then OK
Now you should see the programdata folder visible under your system (C:) folder
I hope that helps.

Creating profiles for special illuminants in DNG Profile Editor

I have successfully used the DNG Profile Editor with images of the ColorChecker Passport to create simple dcp profiles for daylight and tungsten illumination. I have obtained very satisfactory profiles using both a single image and the "both color tables" option, as well as two images (one tungsten and one daylight) and the "dual illuminant" method.
Now I wish to construct separate profiles for use with unusual light sources: fluorescent lights and white LED lights. Can some one tell me how this is best done using the DNG Profile Editor.
Appreciate any suggestions.
Mike.

When there are two illuminants in a profile ACR will interpolate an effective profile based on how far the actual image WB is from one of the illuminants in the dual profile. For example if the profile is using the 2650K (Tungsten) and 6500K (hazy sunight) as the two illuminants and your images is taken in direct sunlight with a WB of 5000K then the profile will be more the D65 profile but a little bit of the redder A profile mixed in. This allows the dual profile to be used for any lighting with a Temperature between A and D65 that also has a Tint number close to or a little above zero. An A/D65 dual profile fails for fluorescent lighting because the Tint number is quite a bit different than either the A or D65 Tint numbers.
To your question, for a single illuminant profile, you should use the Both Color Tables option so that no matter what WB your photo has, the profile used will be the same. This makes the illuminant A and D65 irrelevant because any interpolation between the two illuminants would result in the same profile numbers.
However, I also think that the dual illuminant numbers are not necessarily hard-coded to A and D65, at least not when you use the CCPP plug-in for LR to create the profile, but are actually whatever your photos WB numbers are, so you can make dual-illuminant profiles for other pairs of lighting, such as fluorescent and daylight or fluorescent and incandescent, or even sunlight and shade, depending on what mixed lighting you have at your location and time of day.
An easy way to test this would be to make a dual profile, one DNG being fluorescent and one being your blue LEDs (two sources far away from A or D65), then also create two single profiles, one for each of those same two lighting sources. Test the dual-illuminant profile with the fluorescent CCPP image, and then switch the profile to the single illuminant fluorescent one and see if anything looks different. Do the same test with the blue-LED CCPP image with dual and single blue-LED profiles.
If the look of the image is the same when using a dual profile where one end is the same as the single profile both tested with the actual CCPP image that was used to make the profile or one end of the profile, then the illuminant numbers in the dual profile change to whatever the DNGs illuminants were. However, if the look changes between the dual profile and the single profile when applied to one of the dual-profiles image's WB then the illuminant numbers must be fixed to A and D65, and so any dual profiles are useless if the two illuminants do not match A and D65.
If your experiment fails using the DNGPE, then try it using the CCPP software and the LR plug-in.

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.

Where should DNG profile editor install the .dcp file?

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