Xrite Color Profiles ?

Started 11 months ago | Discussions thread
OP Lbs26 Forum Member • Posts: 89
Re: Xrite Color Profiles ?

ggbutcher wrote:

Erik Kaffehr wrote:

Lbs26 wrote:

Hello !I've bought today a Xrite Color Checker Passport,i wanted to create my own custom profiles using the Xrite ''ColorChecker Camera Calibration Software''.

I made 1 Daylight profile and 1 Daylight Shade profile,they work fantastic !

Now the question is...should i make 1 night and 1 blue hour profile to cover almost every scenario ?I am talking mainly for landscape photography...i know that i have to create also Tungsten,Fluorescent light...but mainly i take pictures of nature,so Sunrise,Sunset,Daylight,Blue hour and Night.


There is no need.

Lightroom uses two color matrices. One for daylight (D50) and one for incandescent (Illuminant A). After that it uses the correlated color temperature to interpolate between the color matrices.

It may make sense to generate an extra color profile for illuminants that are non continuous, like fluorescent tubes.

Doing proper color profiles may be tricky.

Best regards


Now, I don't use Lightroom, so any who do should feel free to reshape my head, but I think you need to take the daylight and tungsten target shots and make a dual-illuminant DCP profile to take advantage of the dual-illuminant workflow. That's how LR gets the information to do the color temperature interpolation for the particular image. If the X-Rite tools have that capability, well and good for you; the only tool with which I'm familiar that'll do that is the command-line dcamprof and it's commercial brother, Lumariver.

Really, IMHO a single good daylight profile should give you decent color interpretation for most any scene illuminated with full-spectrum light. I think the more important consideration is getting a decent white balance for the particular image, and the best way to do that is to take a shot of a neutral gray or white card in the light of the scene and use that to calculate RGB multipliers for white balance compensation. Knowing how they're calculated in post-processing software, I'm not a fan of color temperature/tint sliders.

Shooting in artificial light is probably the richer environment for getting color improvement from a custom profile. I don't have much experience with studio photography, but what I do know is that the lights used can vary widely in the coverage of the visible spectrum. I think it's become more of a consideration with the new LED lighting, as a single LED is very narrow-band in its illumination, and some sort of mixing of multiple LEDs is needed to cover the spectrum well enough for our eyes to make decent colors of the reflected light

Whenever I do "serious" imaging, especially with multiple cameras, I put a ColorChecker on a table, rock, or any place where the light will shine on it and take a picture of it with each camera. I get both the color patches and a neutral selection; I tend to use the neutral patches a lot for white balance, and I've never had to use the color patches to make a profile.

Just to give you an idea of where color targets are used to good effect, video folk who have to match the color of different cameras in shooting a single scene will use target shots to make LUTs to map the colors of the rest of the cameras to a selected reference. This is especially important if the cameras are from different manufacturers; I do know from direct measurement that Nikon cameras, have a consistent color response. I've seen a few camera measurements for Canon cameras that demonstrate a similar consistency, but different from NIkon's.

I shoot a lot in early morning light, where the light goes from the indirect bluish of pre-sunrise to the direct illumination of the sun. I could be taking target shots from the beginning of that period to the end in, say, 1 hour intervals and get different profiles for each interval. But, I don' think the difference wouldn't be significant enough to materially influence the color rendition. Now, white balance is a different situation...

So, I'd say get a good matrix-based daylight profile for your camera, and that should suffice for the large majority of scenes. Until you get to extreme hues, then that's a rabbit hole for another thread...

Thank you very much for the detailed explanation !I made 1 daylight profile and 1 shade profile booth at 14:30 1 day ago...but i think i must try creating another one maybe early at about 12:30  mid day to say...but maybe i will not see big changes in the hues.

I shoot with Canon R,Photoshop camera macthing profile is tottaly messed up,DPP canon's software is almost there 95% like Xrite,but Xrite has best color,pretty happy !

I found that Canon's Auto White Balance with Ambience priority works amazingly good for almost every situation,also is great for sunset and sunrise,i found it pretty accurate and easy to use in combination with Xrite.

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