Similar Questions

• ColorChecker Passport - Camera Raw

  Hello

  I recently bought the Passport ColorChecker of X - Rite...

  I do drag and drop the. File DNG in the CCP... When I click on "create profile"... I have an error message: it is not possible to create a profile with this picture... This message may appear at the beginning or at the end (after many trials)... (see image... Sorry it's french!) ... My picture is not overexposed... not even cropped!

  I am not able to solve this problem...

  Hope you have a solution...

  Thanks a lot for your help...

  

  OK, I'm not sure, can you translate it into English, and see the Camera Raw forum?

  (The op tried with different exposures, always the same question)

• Cannot create ColorChecker Passport profiles in Lightroom

  I don't know what changed, but now I am unable to create ColorChecker profiles in Lightroom. Error message is:

  The profile could not be created. Could not generate illuminant DNG image. Images must be created using a bulb supported and the correct exposure. For more information, please click the button to learn more.

  I've clicked on the button more, but was unable to find a solution to this problem.

  I use LR CC 2015.5.1 and camera raw 9.5.1. Any help would be greatly appreciated.

  People - thank you all for your help; I really appreciate it. This that I found myself doing so, that solved the problem, is to download and reinstall the software. I don't know what version of the software I had, so the answer of BKKDon might be the solution because now I have the plus version and, and it works!. In any case, thanks again. I would now like to go back to being a photographer and not a bit PC head.

• Lightroom CC does not allow me to enter the new name of profile for export to ColorChecker

  I have the latest version of the Lightroom CC running on Windows 8.1.  I bought a passport from X - Rite ColorChecker (CH) today and installed the software that came with it.  With the help of my Nikon D7100, I took a gross picture of me holding the CH in my hand and then imported it (.) NEF file) in my LR library (selected the copy option in the import window).  Then, I went to the region to develop for the same imported photo.  Subsequently, I clicked on the file menu-> export-> ColorChecker Passport now to create a new profile.  The LR never gave me a chance to enter a profile name, in other words, it never displays the popup dialog window enter the name of the DNG profile.  However, it has created a new custom profile named 'profile '. I can see it on the camera Calibration tab.  I tried to redo the same process, and he said you want to substitute the present 'profile'.

  How can I get the popup dialog enter the name of the upcoming DNG profile?

  X Rite has not updated the Lightroom Plugin for 2011, and it seems that some users have problems with Windows 8, 8.1 and 10. The link below is what I proposed to a single user. The poster did not, so I don't know if it was ever resolved. It works very well on my system Windows 7 using LR 2015.1.1 is most likely a problem of Windows compatibility.

  Re: File - export with Preset question (Lightroom CC)

  Another thing you can try is to put the program file Passport.exe is running in compatibility mode of Windows 7.  Go to the location of folder below and make a right-click on the Passport.exe of the file, then select Properties. Go to the Compatibility tab and check "run this program in compatibility mode for and select"Windows 7"in the drop-down list box (see below)."

  C:\Users\NAME\AppData\Roaming\Adobe\Lightroom\Modules\XRiteColorCheckerPassport.lrplugin\w in

  

• XRite color checker passport plugins for Lightroom 5

  could someone help me how to add Xrite colorchecker passport plug-ins please? I use thank you Lightroom5 CC.

  Please someone help me with this

• Canon 5 d Mark ii Images with the value of the white balance fixed. When they are imported into Lightroom, the value is different.

  If I take a shot with the fixed value of 5200K WB (5 d Mark ii) and import into LR 2015.2.1, happens to 4850K. No presets or applied adjustments.

  No idea why? How can I solve this problem?

  Rich

  All raw converters use four multipliers of white balance RGGB tinted and embedded in the raw file EXIF data to set the white balance and 'calculate' the temperature values displayed inside the module development LR WB.

  Scroll down to the "White Balance" section of the DCRAW tutorial PDF here: GUILLERMO LUIJK > TUTORIALS > DCRAW TUTORIAL it's all so raw converters all the rest of the white raw file and 'calculate' the temperature and tint values.

  Here is a Canon 5 d MKII CR2 file with the White Balance adjustment 'in the know' behind closed doors:

  (Data EXIF Maker Notes)

  

  The setting "As Shot" WB in LR shows a Temp of 4800 reading, which should produce a slight visual difference that the planned in-camera closed 5134 parameter, correct?

  

  However, with the LR settings file, "As Shot" above the white balance CR2 is the JPEG file in camera perfectly on my Canon 5 d MKII (raw + JPEG file format). It's just that Temp readings do not, because they are "calculated" four RGGB multipliers. Each raw (LR, opening, C1) converter will probably show the values of temperature and tint different, since they are derived by using "reverse engineering" of the manufacturer of exclusive camera raw data structure and camera sensor response file.

  Keep in mind that the spectral response of the camera is affected by changes in batch. A Canon 5 d MKII body can produce slightly different WB as one another using the same exact settings. Rather than depend on private clos or LR presets use a good white balance card or the ColorChecker Passport to 'calibrate' LR white balance settings standard shooting conditions (daylight, cloudy, Flash, etc.). For critical projects draw card of the white balance at least once for each unique lighting condition. You can then determine the correct inside the LR setting and settings of synchronization of the World Bank through all the images taken with this specific lighting.

• Remove the calibration of camera profile

  I experimented with ColorChecker Passport of XRite and created several camera profiles.  I have one, I am satisfied and I'll delete the rest of

  C:\Users\{username}\AppData\Roaming\Adobe\CameraRaw\CameraProfiles

  as described elsewhere.

  QUESTION: What happens if there are still images that use one of the deleted profiles?  Will they get just "Adobe Standard" applied, or this (reference to non-existent profile) will cause a problem in the catalog database?

  I decided to try this by the movement of old profiles out of the folder (do not remove) with Lightroom does not, then from Lightroom

  The answer is that the image returns to the camera's ' Adobe Standard' profile.

• Profiles in camera Embedding problem to DNG using LR6

  Hi, for the year last December I was on that conversion import into LR my 5Dmkii files to DNG. I'm doing this because I think that illuminating dual camera profile that I created using my Colorchecker passport can be incorporated into the file. I discovered previews DNG updated and metadata are necessary to effectively integrate the profile. Yes, up to now my import occur, dng previews would be created and I would select all the images so that I could then "Update DNG Previews and metadata". A little time-consuming, but he did what I thought was necessary.

  I am now looking to upgrade to the computer. Currently win7 64. I have a lot of profiles of cameras from various shoots. I lost both profiles and discovered that when I look at the image and see the default Adobe Standard or something like camera calibration. Wanting to avoid this, I started the dng format conversions.

  Until today I thought that everything was fine, however, I've done some tests and either I don't understand what is happening or there is a bug... Could someone advise me please. I have tried adobe online, but have not found an answer.

  (1) I turned a new image today and imported as dng LR6. I have custom settings, including the double camera profile illuminant defined as default settings. I've updated the Dng preview and metadata above to embed the profile. I then took over as dng for my laptop with my 2nd son (now installed, no custom settings, and any custom profile) copy of LR6. I checked the camera profiles and he gave me an old profile for a year and a half ago of the cab.

  (2) I then took a dng LR5 processed since January this year and ran saw DNG was updated and metadata about the dng file. I took on the laptop, checked the camera calibration tab and find the correct double bulb is recognized.

  Now, it seems that my understanding was correct for LR5 but is this a bug with it not integrate correctly or something has changed I have not picked up on?

  The DNG after updates in this zip on dropbox is very well.  It has embedded profile expected which I have not installed on my system.

  What is different with this DNG compared to what you have included before that has the profile Venning 3?  Have you watched this DNG on Machine #2?

  Here is an excerpt of the XMP embedded in the DNG of updates after data have seen by opening the DNG with MS WordPad:

  

  Here's a screenshot of ACR 9.1 plug-in for Photoshop which shows the appropriate as well profile:

  

• 5.2 Lightroom vs Canon EOS 70 d GROSS

  Hello

  I'm testing the trial version of Lightroom 5.2. My new camera is a Canon EOS 70 d. When you import RAW files in Lightroom the colors of some of the pictures are false. My old 450 d RAWs are fine.

  For example on a picture the sky is not blue but turquoise. When you use the DNG Converter, I get the same color. However, the sky was blue. When you open the file in Canon's Digital Photo Professional, the sky is blue as it should.

  It happens on some other photos as well. Especially if they have high in blue. If in Lightroom, I increase the blue content and lower the shades he looks almost as it should.

  The question now is: I do something wrong, do I need an update or additional plugins or Lightroom simply interprets the bad RAW, and it will be solved quickly?

  See you soon,.

  Sheepy

  Yes, there is a large part of the sRGB blue-violet (under the B-axis) range your monitor is able to display. It is surprising, since the Samsung S24A450BW uses an LED backlight, which should have very little color shifts because of aging and a greater range than the backlight CCFL monitors. My HP 2509 m TN monitor use the backlight CCFL and shows signs of aging with a shift to yellow. My monitor has a better range under the axis - B, which I believe is causing the Green tint. As bad as the range of my monitor it looks like poster the ColorChecker Passport 24 color patches with very good precision, except blue deep a patch is slightly less saturated.

  Suggestions:

  -Not use a DVI and VGA connection. Make sure that the display settings of the OS see the 32-bit color mode.

  -Check all the settings of the monitor and disable all contrast or brightness improvements such as ' Samsung Magic '.

  -The value of control of contrast equivalent of 75 / 100 maximum and leave there during calibration.

  -Set the Options or preferences software i1 Display to ICC2 and matrix profile type.

  -Calibrate using a color temperature of 6500K (D65), level of 120 cd/m2 Luminanceand Gamma 2.2.

  -Use the custom monitor RGB color controls to establish the target of 6500K Point white at the beginning of the calibration.

  -Use only (if possible) brightness setting to set the target 120cd/m2 luminance level.

  -Run the calibration and when finished to check that the new profile is assigned under the OS color management.

  

• Picture of Cannon to the DNG profile style?

  Hello

  Is there a way to get the "color map" in the style of a Canon photo and use it to create a DNG profile, perhaps via the DNG Profile Editor or ColorChecker Passport?

  Thank you

  Juan

  [email protected] wrote:

  I don't see any information about how to extract the transformations of colors of files for Canon Picture Style, in order to be able to pass this info to a DNG profile. Maybe I missed something?

  I often see comments where people want Lightroom treats to bring to simulate specific processing in the camera, but I still don't understand the idea here. The way the camera and Lightroom, converts raw data into an image are just different [as different as a piano or a violin playing the same piece of music] and to help each other with determination its own forces and in its own way, by the results, seems 100% fine and appropriate.

  DNG profile is a feature of Adobe and modifies the action of Adobe and treatment adjustments. A photo Style is a feature of Canon and modifies the action of Canon image processing. The controls, functions and the results of a should never to map 1:1 exactly on the other... especially because it owns / patented, or difficult or expensive to reverse engineering. More importantly: even if it were possible, writing code to simulate the actual processing of a particular camera is AFAIK a disruptive unrealistic task to implement in existing software. And Lightroom takes care of dozens of cameras.

  [There are some stylistic things, you can do it on a violin that mimic specific ways to play a piano, and vice versa. But the scope of this mimicry is limited by the specific features of each instrument, playing then use his head and imagination. There is no pedal on a violin - there is no vibrato on a piano. And that's as it should be. [This is the way you play any instrument you use, regarding the piece of music, what counts.]

  I don't want to appear negative about your question, but rather encourage you to look beyond the options as the unit can provide. More positively, Lightroom gives rich controls the course of color

  • Basic Panel - temp of the White Balance and hue, saturation and vibrance
  • selection of a DNG profile (such as generated by program and/or as twisted in the DNG Profile Editor)
  • Tone curve - there is a curve point RGB option
  • Hue Saturation and Luminance Panel - change of hue, lum and sat for 8 sectors of hue
  • Process version
  • Manual camera - tinted shadow calibration Panel sliders, separate them primary color RGB and Sam

  The DNG Profile Editor format and the camera Calibration Panel seem to offer the best chance to achieve a given glance answer dyed through many images. The Panel of LGV is probably more appropriate to individualize a given image. A DNG shooting natively capable camera may also include a color profile "Embedded" captured in each file that encapsulates the response information of color of the camera in some respects.

  Quite often a particular camera picture style includes contrastiness and your aspects in addition to the color response curve - which for Lightroom, will involve some other controls as well as those mentioned above. That can all be wrapped up in a preset to develop a single click - or amended LR treatment of default values - to facilitate enforcement in the future.

• LR 4 and DNG camera profiles custom... they are not incorporated?

  I have a few days colorchecker passport.

  my workflow:

  import the. Copy as DNG memorycard CR2 raw files in lightroom.

  create a profile DNG camera with the colorchecker passport (LR export-> xrite colorchecker).

  then I choose the created profile camera and I set the whitebalance.

  everything works fine... as it should.

  My problem is, I Don t want to have DNG profiles 100, I will of course create as much on time, on my hard drive.

  I think that it s messy and it s also not save very striking patterns only in the form of separate files, in case you lose the profiles.

  I thought that the camera profile can be embedded IN the DNG file.

  I thought that the profile of the camera is written in the DNG files when I rewrite the metadata in the files... but apparently not.

  It seems that the DNG camera profile is only incorporated in the DNG image file when I EXPORT the DNG file with the dialog box export LR.

  for example:

  I choose the profile from the 'MY 5 D MK2 PROFIL_1' camera for a picture and then save the metadata in the DNG image file.

  Then I delete the camera profile "MY 5 D MK2 PROFIL_1" of hard drive.

  the next time I open LR and select the same image... the cameraprofile returned to the 'adobe standard' and the profile that I created has disappeared.

  When I EXPORT the image in DNG, then even after I deleted the DNG cameraprofile "MY 5 D MK2 PROFIL_1" from the hard drive... the profile is still in the DNG image.

  that s what I want... but I have to export all the files as DNG files.

  I really want to get rid of this extra step.

  I hope that my English is good enough, so you understand what is my problem.

  can anyone share a light on that?

  is this the only way to ship from the camera or im DNG profile do something wrong?

  Intel i7 2600 k, win7 64 bit, 16 GB ram, LR 4 final.

  Instead of simply to save the metadata, you must choose the command preview DNG was updated and the metadata located in the Photo menu. Simply save the metadata is only to save the settings, but integrate the new preview and the DNG profile.

• How to remove profiles customized in the section of camera calibration

  I installed the software, Xrite ColorChecker Passport and loaded a few profiles custom module development in respect of the calibration of the camera. There was a bug in the software and it me has failed to appoint these profiles. Once I uninstalled this version and loaded the new version of the name process works very well. I would like to be able to delete the profile unname of Lightroom, but I don't see how this is possible. Any suggestions?

  Thank you!

  C:\Users\{username}\AppData\Roaming\Adobe\CameraRaw\CameraProfiles

  in Windows 7, you can see: "Roaming", not "local".

• Wide Gamut RGB / sRGB

  What is the difference between these two? also, what are the merits using either?.

  I shot a lot of samples of solid color in RAW, cropped and resized in DPP, then transferred to PS8 for color and spotting. I don't know how, but about half the images of the latter are color when uploaded to my web gallery. the sRGB shots are okay, but all range plans lack of true colors and are dull. where range came from I do not know must have clicked the wrong box or something.

  Can I now convert the JPEG in the wide range in sRGB photos or I will have to start from raw files.

  More than 150 odd photos are involved with names and numbers of attatched to catch points and I would rather not do it again, so any help appreciated muchfully.

  I'm very new to all this and from dpp in PS and struggling to understand both made in my head.

  
  

  I begin to understand why the workflow is planned...

  I am trying to understand what are the photos you take for, always and the nature of your 'business', if that's what it is:

  Do you tiles for people, or are you just sell them the material to their own tiles, more a craft site?

  Do you take photos of as many of the "unlimited" colors you can for people to see what they look like on the slab?

  Do you take photographs of the current customer arrested as examples of potential customers?

  Do you take photographs of the current customer orders so that the customer can see their order and check that it's just before the production he for them?

  Is paper you make reference to a print of your photo, and is supposed to match what the customer sees on the website and it is part of a printed catalog or is it one per order for the customer to check from?

  I ask myself these questions as a way to understand how accurate the website Viewer expects that the color of the tile when it is installed, and if the audience of each photograph is all potential customers or just a particular customer.

  Finally, this floor or wall tile or decorative tile more colorful or artistic means more than as an accent or holder or something, not covering a large area?  It is to predict what sort of people lighting would generally consider their tiles in and judge whether your photos with incandescent lighting is typical of what would be a customer or not.

  --

  There are two separate issues with colors dull looking which are independent of each other: the first question is to have WideGamut jpg displayed in a browser that is assuming sRGB, where all the colors are dull.  It is very obvious that you posted on.  The other problem is that the reddish colors will look dull when photographed with reddish lighting which incandescent is compared in the light of the day.  This second question would be more subtle and would affect all the pictures tile, even if they use the correct sRGB profile.

  --

  You ask if using a color-checker or daylight bulbs would help: to help answer this, yourself, take a picture of some tiles colored in your configuration incandescent against your white background, then take the bottom and the tiles on the outside and take another picture of them in the Sun or in a sky covered entirely away from the colorful objects or buildings, and then compare the two side-by-side to see if you notice any changes of color across the tiles.

  To make the comparison more accurate, you should the white balance for the white background instead of use a WB setting appointed as the tungsten or daylight.  In DPP, you can set the WB by going the RAW tab in the editor and click on the eyedropper button and then clicking on the white background.  Doing for RAW photo incandescent and the sunny/cloudy RAW photo, then save as a JPG.  You may need to adjust the brightness or exposure) of other outside so he has the same brightness and contrast that inside, then save each as a JPG and compare the colors between each of them, before making adjustments in PSE.  If you do not see much difference between shooting incandescent and turned sunlight then a color-checker bulbs or light of day no doubt makes that much difference.  I would expect you will see differences in high heat how colors are relative to each other, when you go back between the two shots or you compare side-by-side, depending on what picture viewer program and monitor installation, but maybe don't you think that they are not significant enough to worry about.

  --

  A few comments on your methods to adjust the color you have described their:

  You say that you hold until you photographed next to your monitor and then adjust things to post-secondary studies until the colors are good:

  First of all, what is your lighting next to your computer that you can see the subject, it's the same as he was photographed, or something different, such as the window-curtain-daylight or fluorescent lamps?

  Secondly, your monitor calibrated somehow uses a spectrophotometer of material, or at least attempted to set the monitor's color temperature so white things on the screen look like white things in the immediate vicinity of the monitor as illuminated by some lights that you are viewing the subject while trying to match the colors?

  If the answer is no to the question monitor calibrated then you are really glad to create the colors look right to your own computer screen, which may or may not be the same that the other computer of the people watching who discovered the site.  Using a calibrated monitor, at least you know that any inaccuracies in the colors on a different monitor is due to the lack of this monitor calibration, not the sum of both your and the lack of the other calibration Viewer screen.

  When the color adjustment to post-secondary studies if you see the subject in a different light that you took the photo in then it will probably be difficult to get the colors to look right.

  Personally, I would use light daylight balanced for the photos, which would itself, with daylight, daylight bulbs (warm light) or diffuse / bounced flash, perhaps through a light tent.  The white balance, I got pipette to a neutral zone of photography.  I would use a monitor calibrated, and appeal to a standard profile in my RAW converter or create my own with the ColorChecker passport.  Finally, if I manually tweaking the colors by comparing the monitor for the subject is close, I'd use lighting daylight balanced during the display of the object.

  Without having a better understanding of how correct the color should be for each of your photos, my approach is perhaps too much work, and what you may be ok.  You could ask the opinion of other people who have access to the original object (the colorful mosaic that was photographed) by comparing it to the photo of this tile on the website on his own monitor in a different lighting situation: incandescent, daylight, fluorescent, so let's see how well the colors stand for them or not at all.

• Importance of color temperature specific when you create dual-bulb DNG profile

  I have an X-Rite ColorChecker Passport and I would use it to create a profile of double-bulb for my camera (and each combination of lens) for use in LightRoom.

  After extensive research I have persistent questions:

  1) how is it important to nail color temperature. You * must * photograph the ColorChecker under of the Illuminant A and D65, respectively, until the latest Kelvin?

  2) if I nail what precisely, the profile will be less accurate?

  3) if the respective quite accurate color temperatures is indeed important, it's OK to use 2 speedlites diffuse and gummies with Lee/Rosco color correction gels to illuminate the Colorchecker? (The Lee / Rosco gels do not have the exact CTO gel for K of 2850 specified in the Illuminant A DNG specification, but it approximates)

  4) if it will really help accuracy of profile, how do I get hold of the reliable/certified light bulbs that produce the desired color temperatures? (I'm in the United Kingdom)

  Your advice will be greatly appreciated.

  Exact (in Kelvin) color temperatures are not so important within the standard range of daylight (more than 4000 K), because big number change of color temperature is in fact small differences regarding color camera profiles go.

  What is more important (rather than the exact number) is the spectral characteristics of enlightenment. It is not easy to characterize for the end user, but you can think of in terms of type of bulb. Most compact fluorescent lamps are spectrally very different from the true light of day (even if the bulb is shown as 'full range'), for example. My recommendation is to create a profile for the type of lighting you will be sub, rather than trying to match the exact numbers.

• Why the skin tone is so difficult to get right?

  Hello

  Sorry if this isn't the right forum for this question, but I had to ask. If there is something miss me the photography of the film is its ability to produce a beautiful real-looking skin tones. With digital, I find that only the best high-end cameras offer something acceptable. I use a Canon 5 d Mark II and I am satisfied in this regard, but when I look at the pictures taken with cameras less, the results are catastrophic. Why is this?

  Thank you

  Juan dent

  [email protected] wrote:

  Boy who is dyed extraordinary!  The spirit of sharing your secret? What camera did you use? Did you shoot raw? You use a custom in-camera WB? What raw conversion - do you use a profile based on ColorChecker (either using DNG Profile Editor or Colorchecker Passport)?

  Thanks for sharing this picture!

  Juan

  It was a JPEG off-camera of my small Canon S3IS.

  However, he has changed the settings - contrast - 2, -2 sharpness, saturation - 1 and green - 1 (0 is the default value, -2 is the minimum setting available).  I think the default settings are more to receive a lot of 'pop' or contrast + saturated colors and which tends to spoil the tones a little if you're not careful.