Hello Paul and everyone who reads my comment ! it was nice in this session to learn about the icc profiles. . I must admit by the way, that I hated before to look in this direction. I made the effort to calibrate my screen,😛😛 and i am very glad that my impresssions look completely as the colours i had on my screen. It was not always like that! but now with Paul , i have learned a bit more, but i confess that i am not sure that i will calibrate a lot of time at all the steps we have seen in this video!!😜😜 what a complicate duty. ! Thanks for all Paul !
think of military or natural camouflage... breaking up a solid line is a good idea . so, combine the two approaches and in the areas that are still showing, break up the straight line.
Hi Paul, did you manage to get Camera Calibration software to work? Mine keeps crashing everytime I load a tiff from capture one. I've tried both 16bit and 8 bit uncompressed files. But no luck. Any advise would be much appreciated.
I solved it by using Darktable, which is open source software. The Camera Calibration software crashed on all MacOS and Windows versions I tried when trying to save colour profile from TIFF. Thats bad programming.
Hi Paul. What a truly great video and the best I've found in explaining the settings! I'm working through the process of learning color calibration for my studio LED panels. I want to use Capture One, finalize the edit in Photoshop and for simplicity stay in sRGB. Should we target a particular initial exposure level taken of the x-rite card? Does white balance even matter on the front end before running x-rite software? When I "edit with Photoshop" I use PSD, 16bit, sRGB IEC1966-2.1, but it seems to color shift when it loads into Photoshop so I still have some setting off.
There is one small detail which may be worth to mention regarding colorchecker's relevancy in landscape (or outdoor in general) scenarios, which is that the camera sensors are somewhat sensitive to non-visible light frequency (mostly near IR), so they see blue reflected from this chart quite differently to the blue transmitted through the sky which our eyes couldn't distinguish. In some level this would be also a problem with the greens, where the foliage tend to reflect quite some infrared light. (Credit to the author of those ProStandard profile engines)
Yeah - indeed. It's why I touched on the fact that ambient light changes colours that it's falling on - but in landscape, we *tend* to be a bit more interpretive as to how the scene felt based on that quality of light, so the absolute colour values become *slightly* (only slightly!) less critical at the point of capture and edit :-)
Beyond product photo jobs, or architecture and fashion photos where getting the color spot on because lots of people are going to see it and call you out, how much time and effort ($$$) do you think it is worth checking absolute colors (unless, like me, you are OCD and can't sleep without knowing the values)?
It honestly comes down to how interpretive your shots are. There are some basics: Daylight, clouds should be grey/white, concrete should be grey, etc etc. and I've found doing that by eye is no more of a chore than running an x-rite in every scene, in fact, the opposite. So outside of shots where the *exact* colour is key, given we can control colour *consistency* well in capture one anyway, I'd say it's tough to justify the additional workload.
@@Paulreiffer Thanks! That was my gut, but I've been wrong before! :) I really need a grad student for all the menial tasks I have hanging but haven't begun yet due to time being finite and all.
I tend to agree with Paul's statement one the video - other than Product or Fashion, where you can control lighting, outdoor work would change too much. I principally shoot Fashion, and always start each Session Look with a Xrite Colorchecker. My workflow now includes the Colorchecker in scene, typically without the model (use a Production Assistant), then create the Profile, and then include it in my Tether Session. This way, it eliminates a lot of guess work in Post.
hi Paul, after applying the new ICC camera profile, which of the curves should we choose in Capture One. i realise that choice of curve would still create very different outcomes.
Hi @@Paulreiffer In my opinion, the difference between Film Standard and Linear Response is huge. I created two ICC profiles (one was with Linear Response and the other was Film Standard) and both give a completely different look. Isn't it the case that Film Standard is used for commercial work and Linear Response is used for heritage digitizing?
Hi Paul, After submitting my question I continued to read the lengthy description on using the flat profile and no S curve etc. Basically I would like to tether with C1 and the Ipad. Because I shoot a lot of fashion clothing I would like to be able to use my X Rite colour checker to get accurate colours in the clothing Will I be able to change to flat profiles etc with the Ipad version and is it necessary when using the Ipad It starts to become complicated so this is where I need some specific advice if you can oblige.
While Apple are working on profile use for the iPad display long-term, right now this isn’t an option. For a fully calibrated workflow, you’d need to tether to a desktop product :-)
😮 i had my setting on adobe rgb and color were over saturated. Now it looks pretty normal. Youre life saver!😊
Gei Paul, thanks for the video! Some chapters would be really helpful in finding the exact piece of information we are looking for.
Hello Paul and everyone who reads my comment !
it was nice in this session to learn about the icc profiles. . I must admit by the way, that I hated before to look in this direction. I made the effort to calibrate my screen,😛😛 and i am very glad that my impresssions look completely as the colours i had on my screen. It was not always like that! but now with Paul , i have learned a bit more, but i confess that i am not sure that i will calibrate a lot of time at all the steps we have seen in this video!!😜😜 what a complicate duty. !
Thanks for all Paul !
Quite a masterclass lesson, Paul
Thank you very much
Hi Paul.
Does X Rite colour checker function correctly with Capture one fo Ipad.
A brief explanation would be appreciated, many thanks
No - there's no current calibration of iPad screens, but it's coming (from Apple) in the future.
think of military or natural camouflage... breaking up a solid line is a good idea . so, combine the two approaches and in the areas that are still showing, break up the straight line.
Hi Paul, did you manage to get Camera Calibration software to work? Mine keeps crashing everytime I load a tiff from capture one. I've tried both 16bit and 8 bit uncompressed files. But no luck. Any advise would be much appreciated.
I solved it by using Darktable, which is open source software.
The Camera Calibration software crashed on all MacOS and Windows versions I tried when trying to save colour profile from TIFF. Thats bad programming.
Hi Paul. What a truly great video and the best I've found in explaining the settings! I'm working through the process of learning color calibration for my studio LED panels. I want to use Capture One, finalize the edit in Photoshop and for simplicity stay in sRGB. Should we target a particular initial exposure level taken of the x-rite card? Does white balance even matter on the front end before running x-rite software? When I "edit with Photoshop" I use PSD, 16bit, sRGB IEC1966-2.1, but it seems to color shift when it loads into Photoshop so I still have some setting off.
Is it 140 patches SG much better with profile created than regular 24 patches passport?
"More accurate" - probably.
"Better" (factoring in time taken)... - not so sure ;-)
There is one small detail which may be worth to mention regarding colorchecker's relevancy in landscape (or outdoor in general) scenarios, which is that the camera sensors are somewhat sensitive to non-visible light frequency (mostly near IR), so they see blue reflected from this chart quite differently to the blue transmitted through the sky which our eyes couldn't distinguish. In some level this would be also a problem with the greens, where the foliage tend to reflect quite some infrared light. (Credit to the author of those ProStandard profile engines)
Yeah - indeed.
It's why I touched on the fact that ambient light changes colours that it's falling on - but in landscape, we *tend* to be a bit more interpretive as to how the scene felt based on that quality of light, so the absolute colour values become *slightly* (only slightly!) less critical at the point of capture and edit :-)
Beyond product photo jobs, or architecture and fashion photos where getting the color spot on because lots of people are going to see it and call you out, how much time and effort ($$$) do you think it is worth checking absolute colors (unless, like me, you are OCD and can't sleep without knowing the values)?
It honestly comes down to how interpretive your shots are.
There are some basics: Daylight, clouds should be grey/white, concrete should be grey, etc etc. and I've found doing that by eye is no more of a chore than running an x-rite in every scene, in fact, the opposite. So outside of shots where the *exact* colour is key, given we can control colour *consistency* well in capture one anyway, I'd say it's tough to justify the additional workload.
@@Paulreiffer Thanks! That was my gut, but I've been wrong before! :)
I really need a grad student for all the menial tasks I have hanging but haven't begun yet due to time being finite and all.
I tend to agree with Paul's statement one the video - other than Product or Fashion, where you can control lighting, outdoor work would change too much. I principally shoot Fashion, and always start each Session Look with a Xrite Colorchecker. My workflow now includes the Colorchecker in scene, typically without the model (use a Production Assistant), then create the Profile, and then include it in my Tether Session. This way, it eliminates a lot of guess work in Post.
hi Paul, after applying the new ICC camera profile, which of the curves should we choose in Capture One. i realise that choice of curve would still create very different outcomes.
So the "pure" answer is Linear Response - but Auto (Film Standard) isn't going to do much harm :-)
Hi @@Paulreiffer In my opinion, the difference between Film Standard and Linear Response is huge. I created two ICC profiles (one was with Linear Response and the other was Film Standard) and both give a completely different look. Isn't it the case that Film Standard is used for commercial work and Linear Response is used for heritage digitizing?
Hi Paul,
After submitting my question I continued to read the lengthy description on using the flat profile and no S curve etc.
Basically I would like to tether with C1 and the Ipad.
Because I shoot a lot of fashion clothing I would like to be able to use my X Rite colour checker to get accurate colours in the clothing
Will I be able to change to flat profiles etc with the Ipad version and is it necessary when using the Ipad
It starts to become complicated so this is where I need some specific advice if you can oblige.
While Apple are working on profile use for the iPad display long-term, right now this isn’t an option. For a fully calibrated workflow, you’d need to tether to a desktop product :-)