> I usually have a shot from my Color Checker and create a Profile for that Day of shooting.
if that is really a "day"light shooting, then don't bother (unless you what you want is actually just to get rid of some LUTs in Adobe's profiles to change the rendering and you like what Adobe PE put instead there)
Eric Chan :: ( http://www.luminous-landscape.com/forum/index.php?topic=62539.msg506044#msg506044 ) @ February 22, 2012 :
It's unlikely that a custom profile / .dcp profile - my note / will help you with one flavor of daylight more than another. This is because natural daylight has a pretty full and reasonably smooth spectrum whose changes can be well approximated by per-channel scaling (i.e., simple white balance). You'll see the benefit of additional custom profiles once you start working with light sources that are spectrally quite different (e.g., compact fluorescents).
Thank you very much for that Link.
I usually shoot with Strobes so It is 100 percent flash. For example Shooting Garments, My colors are good. I don't have a major color problem.
But, off course, just like every photographers, I want the best Color Profile, and White Balance.
I have done this test many times, By only clicking on the Gray-Card, for the White-Balance, and using the Default Adobe Profile Built-in, My colors came out very well, But there were some-times that noticed using the Passport Color-Checker, the colors were not as good as using the Build in Adobe Profile and a simple clicking on a Gray-card.
Also, I had this old Kodak Gray card which contained at least 12 colors, from White to Gray to Black in a single Card, and by clicking on each Gray to Darker Gray, I would see different White Balances, and I had a choice of using either one. I don't have that card any-more.
Regarding the Above Image, As far as shooting with Strobes, 100 % Flash, either with the Gray-Card or the Passport Color Checker, Is it better to shoot the card, just like the above
Image One Third Of Angel ?
In your initial post you seem to be asking if it makes a difference whether you set the WB on the DNG you create your color profile from or not. I don’t know that it makes a difference in the color profile but it should be easy enough to test experimentally, by making two DNGs from the same raw file, one where you’ve set the WB to as low as it’ll go, and one where you’ve set the WB to as high as it’ll go, and make a profile from each and see if you get a different look based on which one you use or not.
Then you talk about which gray patch on a color-checker is better to use for WB, saying you don’t use the white one, but one that is grayer. My idea is to use whatever patch matches the brightness of whatever you are wanting to get the closest to the right WB. If you have a midtone subject then use the midtone gray patch. If you have a light subject use a brighter gray patch, and if you have a very dark subject then maybe use a darker patch, though probably not the darkest because there will be more error in that WB computed from the darker patches, so lighter ones would be preferred if you don’t have any other reason to choose one over the other, though not the brightest one, necessarily, because it could be clipped and unusable.
Finally you’re asking about the angle of the card with respect to the camera and the mainlight. You don’t want it to be halfway between the angle of the mainlight and the camera because that would have too much glare to the extent that there is any glare with the specially-prepared surfaces of the color-checker. You also don’t want it to be flat on to the camera, because that gives too much emphasis to the lighting behind the camera position (blue sky, green plants, red dirt, building walls) as blocked by the camera operator, so 1/3 of the way toward the mainlight angle is a way to mix in the lighting along the horizon with the mainlight to get an average. If you doubt whether this makes a different take two CC shots, one flat toward the camera and one facing the mainlight, as the two extremes of the color balance variation and see how much different they are when eyedroppering the same gray patch in LR.
In your situation, with 100% strobes, your only non-strobe-colored lighting would be from reflections of the strobes off other things nearby. Are you in a completely neutral studio setting and everyone except the model wears neutral clothing? If there are close by light colored neutral objects such as walls and ceilings, then some of the strobe light will likely reflect from the clothing and off the walls making the color-balance tinged with a bit of the subject’s colors. You could minimize this by taking your calibration shots without the subject or any non-neutral-colored objects in the vicinity of the strobes so as to minimize the subject reflection coloring the light. Whether any of this matters depends on how neutral and reflective your studio environment is. If your entire studio is matte black except for the model and backdrop then you don’t need to worry, but if it’s not, then there would be some reason to care.
It Is always a pleasure to hear from you, Specially your professional answers are always helpful.
Thank you very much Again.
> My idea is to use whatever patch matches the brightness of whatever you are wanting to get the closest to the right WB.
it was tested ( http://www.rmimaging.com/information/ColorChecker_Passport_Technical_Report.pdf ) that a dedicated WB patch in xrite passport is more neutral than any of greyscale patches in cc24 target there...