DNG Profile Editor enable photographers to edit camera profiles and it is being offered as a free download to the photographic community. It is easy to use, however it is mainly targeted at professional photographers and advanced users.The license of this software is Freeware, you can free download and free use this image editing software.
The camera model is stored within every profile and raw image. For a profile to be visible with an image, the profile camera model must match the camera model in the image. You cannot use profiles from different cameras, even if they are similar models. They must be the same model. Lightroom and Camera Raw will only display profiles if the camera model exactly matches.
Lightroom and Photoshop Camera Raw only load profiles when they are launched. If you add a profile to the appropriate location with the program open, the program will not see the profile. You must close and restart Lightroom or Photoshop to see the profile within that program.
For Raw infrared images the Temperature and Tint sliders are way to the left. Adjustments, under these circumstances, are difficult. To get around this problem a custom profile is used to offset the temperature to a more reasonable value. To create a profile use the Adobe DNG Profile Editor available for the Mac or the PC along with this user manual. This section will cover the basics for correcting infrared images.
The profile will be based on a Raw image, taken with your camera, in the DNG format. To create a DNG image open a Raw image in ACR and choose Save Image (button in the lower left corner of the dialog) and under Format choose Digital Negative. In LR choose Export and select DNG for Image Format.
Load an infrared image into ACR or LR, click on the Camera Calibration tab, and specify the Infrared profile. If it doesn't appear, exit ACR/LR and start it up again. Profiles are detected when the application begins execution.
Photoshop is still the most popular editing software so all of these tutorials are still helpful and insightful. For RAW processing, you are still limited to the manufacturers RAW converter or creating a DNG profile through Adobe.If the software you enjoy using has a channel mixer, you can do the channel swap on there as well. What specific software do you have in mind?
When the ideal patches colors are defined, the user can edit the camera profile so that when the raw converter opens the target capture, it renders the color patches as near as possible to the ideal color values.
3. DNG camera profilesTo understand the method we have to know in synthesis the structure of a DNG profile. For details you can refer to this serie of posts (in Italian) on Mauro Boscarol's blog. .Every profile contains two matrices which describe the behavior of that particular camera model under tungsten light (2856K) and in daylight condition (6500K). Starting from this matrices, ACR calculates in real time the color of the scene via interpolation or extrapolation in accordance with the light that illuminated the scene. ACR takes the information about the lighting condition from the position of the sliders Temp/Tint set by the user in the raw converter user interface.
If the user wants to personalize the generic profile for his camera, the DNG Profile Editor offers two possibilities which he can be used separately, one or the other, or can even be used in synergy.
The first possibility has already been proposed with the sliders of the Calibration Camera tab of Camera Raw and now those sliders are reported in the Color Matrices tab of module; this intervention tweaks linearly the global response of the profile.
The second possibility is represented by the new HSL 2.5D tables in the Color Tables tab of the module. These tables, contrary to the calibration, tweak only selective areas of the profile. The interventions change the chromaticity (Hue + Saturation) of profile zones which can be defined by the user.
Together with the two HSL 2.5D tables a DNG profile contains a HSL 3D table. This table doesn't tweak the chromaticity but tweaks the real color of a sample (Hue + Saturation + Luminosity), but for now the access to the table is limited to Adobe.
Both calibration and HSL tables are implemented with the same purpose: tweak the profile with regard to a particular requirement: in our case the research of color accuracy. But, if the intent is the same, the way they work makes a big difference.
The calibration, tweaking the chromaticity coordinates of the primaries, make a sort of global trade off of the error on all sectors of a profile. At the end, there isn't a big error in any part of the profile, but zones that before were correct, after the intervention can be a little less right. These zones are (a little) sacrificed in favour of those areas that had some fault. This is the drawback of the process.
After these considerations, I started from an old type profile, where the said maquillages are not already implemented. In fact the profile ACR 4.4 contains only the characterization matrices and its purpose is the colorimetric reconstruction of the captured scene.
I intervened with a first important reduction of the error on all profile sectors with the calibration process on a target capture at 5000K; then with other two shots close to the reference conditions (2856K and 6500K) I automatically calculated in the Chart tab the two HSL 2.5 tables and finally I manually fine tuned the table at 6500K searching for matching the ideal color values at 5000K and containing the table intervention to avoid the collateral effects.
Since I had the precise colorimetric data of my ColorChecker I tried to fine tune the 6500K table, evaluating the effects on the target capture at 5000K (exporting every time a new profile). I noted that a small intervention had immediately effect at 5000K, evidently ACR considers these two lighting conditions very close.
As said, the error of the white skin was corrected but with detriment of the dark skin. Here is the limit of the new solution: the tables do not intervene on the color sample but on its chromaticity, which is the color minus the lightness. This means that very visually different patches, like the white and the dark skin, are considered by the module too much similar because they differ mainly for the lightness. And this means that an intervention on a sample involves the near sample. Here the user should take care because probably he might introduce damage in the profile if he looks for the absolute color precision. The danger is even higher if the two patches need opposite interventions like in this case. This is valid for the hue and even for the saturation; in fact a patch needs more saturation and another less saturation, so on the chromaticity wheel we have to move the internal sample toward the external patch and vice versa, with an always more compressed zone and consequently an higher probability of introduce rough in the profile and posterisation in the images. For this reason it's better to limit the interventions on close patches. Remember however that the error indexes are already excellent taking into account the human vision tolerance.
On many patches to get close to color value read by spectrophotometer I reduced the automatic Chart intervention (you can see the average index). For the white and black skin I found a compromise. Many fields now are at zero and this is a confirmation of the goodness of the calibration which corrected properly the profile errors and avoided the use of the table.
The DNG Profile Editor, after the incorporation of the calibration sliders, is a further important step in the customization of the camera profile and offers many opportunities. In my case, it permitted to obtain an excellent level in the color accuracy, but IMHO has still the following limits (in order of importance):
Now select the Develop module and open the Camera Calibration tab. If it's not there, right click on any tab, like Basic for instance and switch it back on.Now click on the Profile drop down and change there will be your new profile with all the other camera profiles.
If you thought creating a color profile was difficult or overly technical, think again. This magic journey begins with a shirt-pocket-size ColorChecker Passport Photo 2 from X-Rite, a hardware-software combination that lets you create color profiles with just a couple mouse clicks.
Why Create and Use Color Profiles?Using color profiles when post-processing images enables you to produce consistent results from shot to shot. More importantly for many photographers, this process allows you to attain consistent and repeatable colors from different cameras, even different brands. Eliminate the guesswork without sacrificing any creative options, and at the same time produce consistent, predictable and repeatable color output.
ApplicationOnce you have created the DNG color profile for a specific camera, it will be selected automatically when you open any Raw file from that camera in ACR or Lightroom. If you own more than one camera, repeat the steps above to create a color profile for each.
Colors from two or more different cameras will match if you create and use a DNG color profile for each when editing. Include the Classic Target and Color Enhancement Target (which are on facing pages in the X-Rite kit) in a Raw image that you snap at the beginning of a shooting session. Then make the appropriate color selections from that image during post processing. 2b1af7f3a8