But, if the intent is the same, the way they work makes a big difference. This is a critical point.īoth 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. With the release of the new DNG Profile Editor someone could wonder: “Is the calibration process obsolete?”. 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. Together with the two HSL 2.5D tables a DNG profile contains a HSL 3D table. The interventions change the chromaticity (Hue + Saturation) of profile zones which can be defined by the user.įor my purpose I used both available tables for the reference illuminants so that the resulting profile keeps validity in all standard lighting condition.Īs rule of thumb the calibration intervenes before the HSL tables. These tables, contrary to the calibration, tweak only selective areas of the profile. The second possibility is represented by the new HSL 2.5D tables in the Color Tables tab of the module. 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. 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. 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. 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. ![]() For details you can refer to this serie of posts (in Italian) on Mauro Boscarol's blog.Įvery profile contains two matrices which describe the behavior of that particular camera model under tungsten light (2856K) and in daylight condition (6500K). To understand the method we have to know in synthesis the structure of a DNG profile.
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