Profiling across cameras - anybody got some tips?

Discussion in 'General Technical Discussion' started by ednaz, May 7, 2005.

  1. I've now added a D2x to my D100 on a permanent basis. I've rented D1x, SLR/n, D100, D70, etc before on an as-needed basis, and found that shooting with multiple bodies even of the same type often required some degree of additional post-shoot processing that was about trying to get the two cameras' color profiles to be perfectly in sync. No big surprise, I guess, since there will always be some degree of variation around a midpoint.

    I run multiple editing and processing systems since recent events have had me adding someone to do some of my post processing. By using profiling software and hardware, I can get perfect consistency - or at least consistency perfect enough that two prints side by side in a light booth can not be distinguished. Not true of cameras.

    Is anyone profiling multiple cameras in the same way? I could see how shooting multiple bodies for a two or three day gig could add hours if not days of little tweaky editing stuff. Is it possible to nail down profiles like that with cameras?

    Or is it all just go back to grey card/color chart shooting and clicking? I do that, but it's clearly not adequate - I shoot a fair amount of documentary stuff, like a three day recording session where each musician is in light that may require different white balancing, or you're shooting live concert stuff where the light person is getting whacky with exotic color changes. The only way I see out of this is camera profiling, but I can't find a ton of info to suggest it's really doable, and productive.

    Much obliged.
     
  2. MontyDog

    MontyDog

    Jan 30, 2005
    #1064 - You have an error in your SQL syntax;
     
  3. Ah, glad I posted this several places...

    ...Because I may be able to assemble a good answer. So far, I've learned that calibrating can be done, but it really needs to be done in each type of light to be flawless. So far I've found one person who says that getting daylight calibrated makes the other differences small enough that you're still way ahead of the game. I hope that person's right - I have so many situations where I'm dealing with crazy lights. If I shot in the studio with the same studio strobes, I'd be home free, though.

    Good stuff, thanks, MontyDog. Once I've gotten answers a bunch of places (hopefully including Iliah) I'll see if I can't pull together a compendium of all the stuff I gather, and put a cover gloss over it. (Can you tell that in my other life I deal with research?)
     
  4. MontyDog

    MontyDog

    Jan 30, 2005
    #1064 - You have an error in your SQL syntax;
     
  5. Iliah

    Iliah

    Jan 29, 2005
    nowhere
    Suggested calibration with ACR works on 24 patches. That is way too little.

    Also, because of the metod used in ACR to adapt for different colour temperatures - interpolation between 2 profiles, one for low colour temperature, and one - for high colour temperature we do not have a consistant starting point needeed for profiling/calibration. So, profiles for ACR will work only if shooting is done under same light. They will work awfully from my practice if light includes tough sources like arena lights.

    Regular method of assigning high-quality custom-made camera profile will work with Bibble, C1, NC, RML.

    And target exposure, light evenness, colour temperature evenness across the target should be perfect. No flare, no variations. Perfect white balance set to "custom". No flashes, only continious-spectrum lights with compensation filters. Target shot slightly OOF to blur target texture, yet at aperture stopped-down to 5.6 to hit the lens sweet spot (vinghetting, aberrations)
     
  6. MontyDog

    MontyDog

    Jan 30, 2005
    #1064 - You have an error in your SQL syntax;
     
  7. GAAAAAK! I was afraid of that...

    When you said arena lights I threw my hands up in the air. Arena lighting is simple compared to what a crazed stagehand will do to you when you're shooting a jazz band.

    But, I'll continue to pile up what I find, and will post it here. Will probably try it, matching my d2x with d100, to see what comes of it.
     
  8. Iliah

    Iliah

    Jan 29, 2005
    nowhere
    Correct profiling is not for camera sensor, but for the scene, taking sensor capabilities into account. Cameras are not scanners...

    We are with profiling for digital cameras 3 years past monitor profiling, and 10 years past printer profiling. Not to say that monitors and printers are profiled now perfectly well.
     
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