Lumariver Profile Designer is a software that makes profiles for your cameras (still, video/cinema, action/drone) and scanner in DNG Camera Profile (DCP), ICC, and Cube formats, thus supporting virtually all raw converters and video editors that allow third-party profiling. Like any traditional profile maker it can be used for reproduction like copying artwork, but it's also specifically designed to make general-purpose profiles which provide both accurate and attractive colors. The profiles made are ideal for any subject — portrait, product, documentary, wildlife, landscape, architecture, etc — and serves as a sane realistic baseline for your creative post-processing.
While rooted in the still image photography world, Lumariver Profile Designer bridges over into video allowing for the modern multi-media photographer to keep a consistent look — not just over several still cameras but also between stills and video.
The word Designer is in the name for a reason — you can make subjective changes to your profile designing your preferred look, or use one of the look presets, possibly with fine-tuning on top.
It's probably the most advanced profile design software on the market and as such it provides many settings and adjustments, some of them quite technical. However, if you intend to be a casual user you don't need to be alarmed: it has well-tuned default settings so making a profile is only a few button presses away. Just follow the step-by-step instructions in the getting started section.
The software is available for Microsoft Windows (64 bit) and Apple MacOS, in three editions with various levels of functionality.
Features:
Download the software on Lumariver's web site.
Note: the exact feature set available will depend on which edition you purchase.
Profile making software has existed for years, primarily focused on reproduction, that is making profiles for copying artwork and similar. For that narrow use-case profiling is still absolutely required as bundled camera profiles simply don't have the required colorimetric accuracy. Lumariver Profile Designer can make accurate reproduction profiles for the sake of providing a complete camera and scanner profiling solution, however, the reason it came into existence was for breaking new ground in the area of general-purpose camera profiles — providing an alternative to the "canned looks" the camera makers and raw converters provide.
If you compare the colors coming out from the various camera manufacturers they are very different, even in cases when the identical image sensor is being used. The colors from the same camera used in two different raw converters can also be very different. This is the result of the bundled camera profiles, and the main reason they are so different is that there is a strong legacy from the film days, where the film stock, today represented by the camera profile, had the task to create a look, that is do the post-processing for you as there was limited possibilities to make it on your own with analog techniques.
Many photographers have accepted this status quo, and knowingly or unknowingly choose camera model partly based on what colors that come out of the bundled camera profiles in their favorite raw converter. With this approach you get "locked-in" to a certain brand or model, as if you change camera or raw converter the look of your images will change as a side-effect. You're not in control of your own color.
We think that in the digital era there is a better approach to camera color than inheriting the (by necessity) static thinking from analog film. Digital camera technology is today mature, camera sensor responses between different models and brands are both more flexible and more similar than ever, meaning that the profile has more control than ever over the final result. Why should the camera profile apply a canned look rather than a neutral starting point when we do digital post-processing? Or, if we do like to start off with a preset look to save time, why not be in control of that so we can have it in any raw converter and any camera we like?
The manufacturers use proprietary in-house software to make their bundled camera profiles. Their software is not available to the public. Previous profile makers have focused on the reproduction use case, and handled general-purpose profiles as a secondary case, making them not live up to the highest standard. This have left photographers of all kinds powerless in terms of color, you simply get what you got. The main purpose of Lumariver Profile Designer is to let photographers be in charge over their own color from start to end. This is achieved by the following: 1) in the easiest possible way make profiles with the most neutral/realistic/accurate color possible, but still with attractive contrast (this is not an easy feat!), 2) provide tools for detailed customization of a profile's look so those that want a custom subjective look can make it, and 3) support for virtually any raw converter on the market, both with ICC and DNG profiles, so your color expression is portable between both cameras and raw converters. With version 2 of Lumariver Profile Designer this thinking has been extended into the video realm by providing the Cube profile format.
You can choose to buy one of three licenses for the software:
Here's a table that shows the feature set differences between the editions:
Feature | Standard Edition | Pro Edition | Repro Edition |
---|---|---|---|
Base feature set | yes | yes | yes |
Make DNG profiles | yes | yes | yes |
Make ICC profiles | yes | yes | yes |
Make Cube profiles (video) | no | yes | yes |
Reproduction mode | no | no | yes |
3D color correction LUT | no | no | yes |
Multi-target | no | no | yes |
Custom grid targets | no | no | yes |
Custom free-form targets | no | no | yes |
Custom targets with raw values | no | no | yes |
The "Base feature set" in the table above is simply all other features that are not mentioned in the table, ie all features not tied to Cube format (video) or reproduction work.
Note that you can load custom reference values for all editions for any of the pre-existing targets, but you need "Custom grid targets" (Repro) to be able to define new target layouts. If you are unsure what edition you need please run in trial mode as the simplest edition you think you need and test your workflow. The software will then tell you if you try to use a function that need a higher level edition.
"Video support" means supporting the Cube format which is the preferred format in video workflows. You will still load a single frame with the color checker as exported from the video editor of your choice to make a profile in Lumariver Profile Designer, that is you don't load video footage directly.
We often get questions about the "3D LUT". All editions have 3D LUTs when it comes to look, that is tone operator, gamut compression and look adjustments. For color correction though, the Standard and Pro editions only has a 2.5D LUT, while the Repro edition adds the option of correcting color in full 3D. What this means in plain English is that a dark color can have a different correction than a light color with otherwise equal hue and saturation. In the 2.5D LUT all lightness levels of a color get the same correction. A 3D color correction LUT can provide a bit more accurate result in a fixed exposure setup, such as in a scanner and copy setups, and it can compensate for non-linearity issues in the optics. However, for general-purpose profiles used with varied exposures, lights and subject material a 3D LUT is at risk doing more harm than good, so the default setting for color correction in those profiles is a 2.5D LUT also in the Repro edition.
BEGIN LICENSE KEY BLOCK
and END LICENSE KEY
BLOCK
must be included.
You download the software and purchase license key in the downloads section on the Lumariver main page. The key is delivered automatically via email.
When you start the software for the first time a license key dialog
opens and you get to enter your license key into a text box. The
license key comes in the form of a digital certificate and is
therefore a cryptic text block rather than just a short code. Simply copy
and paste the text from the delivered license key email, including
the starting and ending lines with BEGIN LICENSE KEY BLOCK
and END LICENSE KEY
BLOCK
respectively, as shown in the example screenshot.
If you leave the text box empty you can run in trial mode as the selected edition. All functions except saving projects and exporting profiles will be enabled. This means that you can run in trial mode to get a detailed view if the selected edition provides the features you need. If you have bought a simpler edition and entered the key and later want to run trial again to test a more advanced edition, you need to remove the license key, which you can do in the "About" dialog (remember to have the license key information safely stored so you can enter it again later).
If you by mistake enter a partially bad license key (by accidentally hitting the keyboard so some stray character gets into the text block for example) the key may in some circumstances already have been stored to disk before the error is detected. If so you need to drop the key before you can try again. That is open the "About" dialog and press the "Drop Key" button, and then restart the software (the required action is described in the error message that will show).
If you load a project that uses features that is not enabled in your licensed edition, those settings in the project are reset on load and a warning message will appear to inform that not all features were supported.
It may seem odd that the "Reproduction" edition is the unlimited one, that is contains all general-purpose functions too, as when you actually do reproduction you use less features (and there is a slimmed mode for that to avoid confusing the user with many functions that won't be used). The reason is that of pricing, the Repro is the most expensive as it's a low volume product targeted at a small group of working professionals, while the general-purpose feature set has a broader user base and therefore can be sold at a lower price. If you are only making general-purpose profiles but still want for example the multi-target feature or being able to use custom targets, you need to go for the "Repro" edition.
The main window, with the "Render", "Show Previous" and a "Reset to Defaults" button highlighted:
The advanced calculations for making the profile is not real-time, so to actually see the result in the image view, the profile needs to be rendered by pressing the "Render" button in the bottom left corner of the main window.
When a setting is changed you can render a new profile. To be able to quickly make an A/B swap to compare the new result with the previous use the "Show Previous" button.
The software has well-tuned defaults — trust them and only change settings after you have read and understood what it does. Each toolbox tab has a "Reset to Defaults" button to return to the recommended settings.
If you haven't purchased a license key, you can run the software in its trial mode (you get to choose which edition to run as), where all features for the specified edition are enabled, except saving projects and exporting profiles.
While the software is rich in functionality it has well-tuned defaults, meaning that basic profile making is still easy.
Note that the software is not a real-time raw converter — when the profile is ready to generate you need to press the "Render" button, and when you make changes, you need to press it again to see the result of the updated profile. The look adjustments editor and the tone curve editor do allow for (semi-) real-time updates though, but in general the math involved in Lumariver Profile Designer's profile-making is too complex to be real-time.
When a setting is changed you can render a new profile. To be able to quickly make an A/B swap to compare the new result with the previous profile in a multi-second render there's a "Show Previous" button to show a cached image of the previous result.
The DNG camera profile format was developed by Adobe and is used by Adobe Lightroom and Adobe Camera Raw. However as the format is openly documented there are also other raw converters that support DNG camera profiles, such as Iridient Developer, DxO PhotoLab and RawTherapee.
Here's a basic workflow for making a general-purpose DNG profile. There's a separate description for making ICC profiles.
The profile is now ready to use. You will likely need to restart your raw converter to make it reload the list of available profiles.
The basic workflow for reproduction profiles is almost exactly the same as for general-purpose profiles, thanks to that the "Reproduction DNG profile" mode will select defaults suitable for reproduction.
The profile is now ready to use. You will likely need to restart your raw converter to make it reload the list of available profiles. This default workflow for reproduction makes a 3D LUT and the profile should therefore only be used with the same exposure as used when shooting the target.
Important note for Adobe users: the newer rendering process (2012 or later) will always compress and desaturate highlights to mimic analog film behavior. While this makes general-purpose photography more user-friendly it significantly affects the precision of a reproduction workflow. Therefore we strongly recommend to select the 2010 rendering process (also known as "process version 2") when doing reproduction work, which has linear highlight behavior.
Note that this mimicking of analog film rolloff behavior is a common feature and may exist in other raw converters too. Make sure to turn it off if possible. If you don't know if it's active or not you can compare the output from Lumariver Profile Designer with that from your raw converter and see if the brightness of the white patch matches. Lumariver Profile Designer's renderer is fully linear, and thus if your raw converter makes darker whites there is some non-linear rolloff active.
ICC profile workflow on the target tab, steps 6 to 10. Note that "Load Image" button changes to "Drop Image" after the image is loaded, and "Show Target Grid" becomes "Hide Target Grid".
ICC profile workflow on the export tab, steps 11 and 12.
While the ICC profile format is standardized, there is no standard for how the raw converter should pre-process the camera's raw data before applying the profile. This means that an ICC profile made for one raw converter may not be usable in another.
Lumariver Profile Designer supports many types of pre-processing, and can thus make profiles for virtually any raw converter on the market. Most raw converters have no particular pre-processing though and the workflow below is for those. If you are using a raw converter that applies non-linear transfer functions and curves, like Capture One, you will need to look through the tone curve tab settings. For Capture One specifically there are dedicated Capture One workflows to guide you through.
Let's get to it, here's how you make a general-purpose ICC profile:
The profile is now ready to use. You will likely need to restart your raw converter to make it reload the list of available profiles.
The profile is now ready to use. You will likely need to restart your raw converter to make it reload the list of available profiles. This default workflow for reproduction makes a 3D LUT and the profile should therefore only be used with the same exposure as used when shooting the target.
In our ICC workflows it's said that the white balance should be set to neutral (color pick a white patch, or use a in-camera custom preset set from a gray card) before exporting the files. In principle it's however not necessary to do so as Lumariver Profile Designer knows which patch that represents white anyway, and will adjust white balance accordingly. Changing white balance can change image brightness slightly though. Different raw converters have different strategies regarding how to either equalize brightness, or not do so. This often relates to the raw clipping level, which Lumariver Profile Designer doesn't have access to in the ICC case as it's operating on TIFF files rather than raw data.
To make a long story short this means that when white balance is changed inside Lumariver Profile Designer the brightness may not exactly match what it is for the same white balance in the raw converter. Thus to make brightness match, the white balance shouldn't be changed at all or only very little, and this is achieved by letting Lumariver Profile Designer work on TIFF files which already have close to the ideal white balance.
For reproduction profiles with 3D LUT this can be important, as the LUT application depends on brightness. In other words when you make a reproduction profile you should always set a neutral white balance. For a general-purpose profile which uses the 2.5D LUT this is less important, but nevertheless it's a good habit to always set the white balance before exporting for profiling when working with ICC profiles.
Capture One workflow on the target tab, steps 7 to 11. Note that "Load Image" button changes to "Drop Image" after the image is loaded, and "Show Target Grid" becomes "Hide Target Grid".
Capture One workflow on the tone curve tab, steps 13, and 14 alternative A: copy the tone curve to be the same as Capture One's bundled camera profile.
Capture One workflow on the export tab, steps 17 and 18.
Capture One has a quite complex way to handle tone curves, so there are a few more steps to follow. If you're making a profile for reproduction, you can follow the simpler workflow for reproduction profiles instead.
linear.tif
.
curve.tif
.
linear.tif
).
TIFFTAG_TRANSFERFUNCTION
), see troubleshooting.
curve.tif
here.
The profile is ready to use. Restart Capture One to make it appear. It will show under ICC Profile / Other, or if you named the file according to the Capture One's naming convention it will appear among the main profiles for the camera.
The workflow for making a reproduction profile in Capture One needs fewer steps than the general-purpose as we don't need to worry about the curve.
The profile is ready to use. Restart Capture One to make it appear. It will show under ICC Profile / Other, or if you named the file according to the Capture One's naming convention it will appear among the main profiles for the camera. This default workflow makes a 3D LUT and the profile should only be used with the same exposure as used when shooting the target.
If applicable to your copy setup, you should probably use the LCC feature (flatfield correction) of Capture One to make sure the light is even in the target and copy images. See Capture One's documentation regarding that feature. Lumariver Profile Designer also has flatfield correction but it will only correct for the target, and in a copy setup you will want to correct for the subjects as well.
Here are a few common problems when making Capture One profiles, and how to solve them:
TIFFTAG_TRANSFERFUNCTON
) is
missing.
exiftool
, just
run exiftool yourfile.tif
in the terminal and
look for the "Transfer Function" tag in the output. It must be
there, otherwise the file cannot be used.
linear.tif
or curve.tif
in the
workflow) is distorted, due to incorrect settings when
exporting from Capture One.
In this section we provide some workflow comments on a selection of additional raw converters which use ICC profiles. We have not mentioned raw converters for which the generic ICC workflow works as-is and do not require additional documentation.
If you have trouble making a profile for some specific raw converter not mentioned here, let us know.
DxO PhotoLab. To apply a rendered profile, select "ICC Profile" in the "Color rendering" tab. It will open a file dialog where you can pick the profile rendered in Lumariver Profile Designer. Make sure you select the "Linear RAW" mode when asked.
The most recent versions also support DNG camera profiles (DCP), not shown in this screenshot which is from a less recent version.
In general you can use the generic ICC workflow when making profiles for DxO PhotoLab (previously known as DxO OpticsPro). The most recent versions of DxO PhotoLab also supports DNG profiles, so you can make that using the generic DCP workflow. It seems that the better choice is to use the newer DCP support rather than making an ICC profile, as black subtraction can be better controlled with a DNG profile (if you want to minimize black subtraction/crushing, make a DCP with black subtraction disabled).
Here are some notes for ICC profile making:
Since DxO PhotoLab doesn't provide any tag to identify in which mode the image was exported, embeds no transfer function, and on top of that attach a misleading ICC profile, we have for DxO PhotoLab simply hard-wired Lumariver Profile Designer to the Linear RAW mode, but by manually adding a transfer function with 2.2 gamma you can use Realistic mode. Linear seems the better mode of the two for profiling though, as the realistic mode has a rather small gamut and seems to be more intended for looks rather than camera profiles.
Due to all the "smartness" in DxO exposure there is no way to get the exact same render as in Lumariver Profile Designer, therefore we cannot recommend DxO for reproduction. However you can get good results for general-purpose profiles. The DNG profiles seems like they may provide more exact rendering but we have not made any investigation exactly how accurate it is: contact DxO and ask for details if you do need to use it for reproduction.
Iridient Developer supports both DNG and ICC profiles. DNG profiles are easier to use and generate, using the generic workflow. Thus we recommend to make DNG profiles for Iridient Developer unless you have some specific interest or need to make ICC profiles. Here's the workflow for making an ICC profile:
Read the excellent Iridient Developer manual if you want or need more in-depth information on how it manages color and custom profiles.
Hasselblad Phocus is the dedicated raw converter for Hasselblad cameras. For its general-purpose profiles it has its own proprietary format, and there is no support for third-party profilers to enter that pipeline. However, it does support making standard ICC profiles via its "Reproduction" tool. The purpose of this tool is to make reproduction profiles, although you can make general-purpose profiles too.
Recent versions of Phocus has built-in camera calibration support so you can make reproduction profiles without using any third-party profiling software. It's very easy to use, but does not have the same control and flexibility as Lumariver Profile Designer provides.
Note that the most common way when Hasselblad users want to use custom profiles is to use some other raw converter, such as Adobe Lightroom, rather than Phocus. Should you still wish to use Phocus here are some brief notes for making an ICC profile:
Note that if you make a general-purpose profile with a curve, the curve will be stored in the ICC profile itself so you should still use "Reproduction Low Gain" as response. In theory you could make a general-purpose profile with a Capture One-like workflow (that is not store the curve in the ICC profile, but still design the profile to be used with a curve), the problem is that Hasselblad Phocus does not embed any transfer function so there is no easy way to extract the built-in curve from the factory response.
A profile for a scanner is made in the same way as a reproduction camera profile, so see those specific workflows in the DNG reproduction or ICC reproduction sections. Most scanner software make TIFF files so it's nearly always an ICC profile you will make.
It may be more common in scanner software that the resulting TIFF file lacks tags for the transfer function (usually a plain gamma curve). One known example is the Epson Scan software which embeds no tags whatsoever in the TIFF file for the "no color correction" setting, but still applies a 1.8 gamma. In these cases the files cannot be used directly in Lumariver Profile Designer, but you need to add the required information to the TIFF file. This is done using the tool for adding missing transfer function to TIFF files. See the section missing transfer function for further details.
Another error state with some scanner software is that they add a misleading ICC profile to the exported TIFF, for example while the file may be encoded with gamma 1.0 the ICC profile says it is gamma 1.8. Then you must either strip away the ICC profile using some third-party tool, or again add a transfer function using the above mentioned tool, as the transfer function will override the ICC.
ICC profiles can have either .icc
or .icm
as filename suffix. Lumariver Profile Designer chooses
the .icc
suffix per default. However, some older scanner
software may require the .icm
suffix, if so change the
suffix to .icm
when choosing filename when the profile is
exported.
The Cube profile format is a text based format primarily used in video/cinema editors. In popular video terminology "LUT" is what a Cube profile is called. As Lumariver Profile Designer works in both the stills and video world "LUT" is a bit too generic, so here we call it a "Cube profile", or "Cube LUT" together to avoid ambiguity.
Below is a generic workflow for making a Cube LUT to be used with your video/cinema/stills camera in any software supporting a Cube LUT format.
Cube LUTs can be used in many places and for many purposes in the video rendering pipeline. For Lumariver Profile Designer there are generally two use cases that come into mind:
For the display LUT you will choose the same gamut and gamma as used in the output of the video project you are working on, for example Rec.709 / 2.6. The profile is designed as a normal stills camera general-purpose profile, with a tone curve, tone operator, gamut compression, etc.
For the grading LUT the gamut chosen is typically very large and the gamma may be a log curve or linear, depending on preferred workflow in the video editor. It's common that the purpose of the profile is to provide scene referred data. Say if you are used to grading Arri Alexa log footage you can convert any other camera footage to having the same look by using Arri gamut and Arri log gamma as output gamut and gamma.
In video there is sometimes an interest to use the LUT to correct the exposure and/or white balance. This way you can get the footage tuned to a specific reflectance and white depending on the exact lighting condition in the shoot (assuming you profile from a target recorded at the scene). Settings for this is available in the export tab.
Davinci Resolve is a Hollywood-grade video editor, perhaps most well-known for its color grading abilities. To make a Cube profile with Davince Resolve, you follow the generic workflow.
To export a still image for profiling you use the "Grab Still" feature in Resolve and save it as a TIFF image, make sure no LUTs are pre-applied (unless intended). With this TIFF there will be no meta data so inside Lumariver Profile Designer you need to manually specify the input gamma, and then what type of output color space and gamma that will be used to match your Resolve project.
Once the profile is generated, you save the file in a directory known to Davinci Resolve for storing custom 3D LUTs and then you use the LUT functionality inside to apply the new Cube profile.
A key difference between a typically exposed still image and video log footage is that the still image puts its extended dynamic range into the shadows, while log footage puts it into the highlights. That is as dynamic range has improved, still images has got cleaner and cleaner shadows, while video footage has got more and more highlight range.
In other words video footage is typically "under-exposed" if we look at it as a stills photographer. One reason for this is that video needs short exposure times (to fit many frames per second) and cannot use flash. Another reason is that when making video footage you often need an exposure that can deal with varying lighting condition without clipping as you move around the camera in the scene, meaning that you need lots of highlight range. There's also a different post-processing tradition in video, there's not the same digging into shadows as in the stills world so the increased shadow noise is not really a problem.
As a result log video footage has usually a very large highlight range. In video a common reference unit for exposure is "reflectance", where 100% perfect white (full reflectance) is 1.0. Values larger than 1.0 are produced by light sources. Raw still images are typically exposed such that they clip at about 2.0 reflectance. When a contrast curve is applied to that we get without further processing a suitable brightness and midtone contrast to be used directly in printed material and on standard displays.
Video log footage on the other hand may clip somewhere in the range 16 to 64, that is 3-5 stops more highlight range than a still image. If we would apply a typical still image contrast curve to that the overall brightness would be very low as much of the range would be occupied by highlights, which may not even be present in the image unless we have shot in very contrasty conditions.
Thus we need to handle this extended highlight range in some way. There are a few different approaches:
Note that even if we choose to clip highlights, any modern video post-processing software will make it possible to bring in those highlights before the Cube LUT is applied, so a clipping approach may be suitable even if we want to retain some extra highlights in certain shots, which then can be brought in manually in post-processing.
If we compress directly in the profile, it will by nature be static and compress regardless if there actually is any extended highlights in the shot or not. For HDR displays this is how it is supposed to be (the display's extended highlight range should be inactive unless there actually is extended highlights in the shot), while for standard displays it may be a problem, at least if we want to maximize available contrast. Some amount of compression is often fine though even with standard displays, and can be an element of a refined less contrasty look.
If we compress rather than clip, we use normal contrast in most of the available output range, up to a "knee", where the output curve sharply (but smoothly) flattens out to compress the remaining range. It's called a knee as the sharp bend in the tone curve looks like a knee.
This compression range and knee position is controlled by the knee range and knee output level settings. In the documentation for these settings you can find guidance for suitable values.
A typical casual target shot. Despite its imperfections this works well, thanks to that the target is matte (reduced glare problem), and the uneven light in the corner is not that much of a problem when making a general-purpose profile (which per default doesn't correct lightness) — in other words the standard workflow for a general-purpose profile using a matte target, such as the shown ColorChecker Passport, is very robust. This makes it feasible to make a quick target shot on location to make a custom profile for a specific lighting condition.
A carefully tuned shooting setup before closing the windows and turning off the room's lights, making the room go pitch black, except for the single voltage-tuned Solux halogen lamp, used to simulate daylight. The single-light setup requires flatfield correction to correct for the uneven light.
If you are going to shoot glossy targets which are prone to glare an indoor setup with controlled lighting is highly recommended.
When making a general-purpose profile with default settings from a matte 24 patch target the software is very robust. Even a rather poorly executed target shot can result in a great profile. This robustness makes it feasible to make a quick shot of a color-checker on location to later make a custom profile for a specific lighting condition. For artificially lit scenes where you can't control the type of lights this can be very useful, as many indoor lights are narrow band and can make odd colors with a general-purpose profile made for high quality light.
However if you're really picky about the end result, or use high saturation glossy targets, or make profiles for reproduction you must put great care into shooting the target(s). Shooting a target is not really about photography, it's a scientific measurement and as such the goal is to minimize the measurement error.
Glare is by far the most difficult and perhaps the least known problem when shooting targets. Glare is when you see the light source partially reflected in the target patches, brightening and desaturating them. Think of the target as a mirror, or even temporarily replace it with a mirror just for visual testing of your light source placement. If you look through the camera viewfinder on that mirror you should ideally only see dark/black surfaces — then the glare is minimized. The target is not as reflective as a mirror though, but a glossy target is still quite reflective, and even matte targets has some of it too so this should be considered for any type of target. The worst case is if you see your light source in the mirror. The light source(s) must be on the sides, outside the "family of angles". Professional setups use two or more lamps to achieve even illumination over the whole surface. If you only have one lamp even illumination is not possible, but you can compensate that with the flatfield correction feature, and with that will get just as good result as with a costly professional setup.
Similar to glare is flare, caused by light leaks into the camera (always cover up the viewfinder if it's an optical one!) and stray light coming onto the front lens element especially from the sides (always use a lens shade, it may be worthwhile to lengthen it with some black paper or use flags to block out any stray light). Some lenses are more prone to flare than others. A modern prime lens with semi-long focal length is usually the best alternative, while wide angle lenses are the worst.
The ideal situation is a pitch-black room with light only on the target (or very strong lights and short exposure time, making the room "pitch black" relatively speaking, which is the typical case when using flash), lit from the side(s), camera with covered up viewfinder and elongated lens shade. Often you don't have the luxury to make such a setup though, but at least try to make it as good as the situation allows. It doesn't need to be perfect. The most difficult case concerning glare is if you need (or want) to shoot outdoors, where the light comes from everywhere. In that case you should only use matte targets as glossy ones makes the glare challenge too difficult.
Concerning artificial lights for lighting the target, flash is the standard (good daylight simulator too), but working with halogen lights or high CRI LED lamps are popular alternatives. A carefully voltage-tuned halogen light is still the gold standard in terms of even spectrum, but can be a bit messy to work with.
Let's summarize with a checklist:
Concerning flatfield correction you can use that feature in Lumariver Profile Designer to even out uneven light and vignetting, but there are also some raw converters that provide the same functionality, such as Capture One which calls it "LCC". You can go either way, but if you will be doing reproduction work in the exact same setup it is more natural to use the raw converter's flatfield correction in target shooting as the same will be used when doing the copy work.
If you follow any of the step-by-step guides in the getting started section you don't need to know anything about how camera profiling works to make a great profile for your camera. However, if you start to dig into the many manual adjustments Lumariver Profile Designer makes available to you it comes in handy to have a some basic understanding of how a profile is made and what it does. The purpose of this section is to give that background. Don't worry if you don't understand all aspects of it though, in the end it's the visual end result that matters.
The three-channel sensitivity over the visible spectrum for the modeled human eye, the Standard Observer (X, Y, Z), and the color filters for an example camera (R, G, B).
The basic task of a camera profile is to convert the R, G, B response so it becomes as similar as possible to X, Y, Z. With that accomplished it can as an additional layer add things like a tone curve and various subjective color adjustments.
Objects in a scene reflect light with varying intensities over the visible spectrum. Our eyes can be seen as three-channel devices where one channel collects mostly long wavelengths (red), one mostly medium wavelengths (green) and one mostly short (blue). Light bouncing off each object will thus excite those three channels to a varying degree and send a "tristimulus value" to our brain which will interpret that as a color.
The response of each "channel" in the eye has been found with visual experiments as early as 1931 and standardized as the 1931 "standard observer" which forms the basis of color science. Using a measurement device, a spectrometer, we can measure wavelengths and calculate what the standard observer response would be, which is specified with XYZ tristimulus values, where X roughly corresponds to blue, Y to green, and Z to red. This is colorimetry, measuring and quantifying colors.
There's more to color than this measurable three-channel response though — before the response becomes a visual color to our inner eye the brain makes various adjustments based on lighting conditions. The adjustment that has most effect is our brain's chromatic adaptation which makes us see a scene relative to the light, so an object that reflects all wavelengths equally (a white object) looks white even if the light (scene illuminant) is warm (yellow) or cool (blue). Although more complex, our chromatic adaptation is similar to a camera's automatic white balance function. In a scene with a warm light the XYZ value for a particular color would contain more X (more red) and if it's lit with cool light it would contain more Z (more blue), that is different XYZ values for the same color. The brain will take all surrounding colors into account and figure out what the light is and then balance for that, so despite the different XYZ value the result is the same visual color (within some limits). This chromatic adaptation function of the brain has through additional experiments been modeled with "chromatic adaptation transforms" (CATs), standardized formulas that can convert XYZ values as seen in one light to what they would be in another. For example convert from indoor tungsten light to outdoor daylight.
This model of the eye-brain's color vision using a "standard observer" and a "chromatic adaptation transform" is not intended to be a replication of the actual processes in our eyes and brain, which is much more complicated and still not fully understood, but just to end up with (about) the same result in terms of colors. Color science as such is thus not an exact science — the design of the models both take into account to match the visual experiments made and to have desirable mathematical properties (like linearity) so they can be more easily used in computer software.
Before displaying a color on a computer screen it's converted to an XYZ value (in some form). A single XYZ value cannot be converted to a visual color without knowing which light (illuminant) it is relative to, as chromatic adaptation needs to be taken into account. In standardized color profiling (cameras, printers, displays) the reference illuminant is a form of idealized midday daylight, called D50, which is one of several standard illuminants used in color applications. That is the XYZ value must be transformed to match D50 if not already relative to that, and for that the mentioned CAT is used.
So what do we need the camera to do in this context? From the sensor we just need standard observer XYZ values, and we need to know the light (which can be simplified to just a white balance). With those two pieces of information we can accurately recreate colors in the computer.
In other words, a camera must be able to capture three channel values that can be converted to XYZ. The obvious solution would be to let the camera have the same color filters as the standard observer ("the eye"). For practical reasons this is never the case though: it's hard to manufacture filters that would have the same response, and cameras have many other aspects to consider such as keeping a high sensitivity in low light. Most cameras capture three channels though, some sort of red, green and blue, and this means that we can with a straight linear conversion get pretty close to the standard observer's XYZ values. Like this:
X = R * M1,1 + G * M1,2 + B * M1,3
Y = R * M2,1 + G * M2,2 + B * M2,3
Z = R * M3,1 + G * M3,2 + B * M3,3
That is we make a mix of the camera's R, G and B channels to get the corresponding XYZ tristimulus value, and the mix is decided by a 3x3 matrix of constants. Here's an example from a real camera:
X = R * +0.80 + G * +0.01 + B * +0.14
Y = R * +0.30 + G * +0.80 + B * -0.10
Z = R * +0.05 + G * -0.25 + B * +1.02
This chromaticity diagram shows an outline of the most saturated reflective colors that exist (known as "Pointer's gamut") and the squares represent a ColorChecker target's color patches and their positions. Those are first mapped out with the matrix to their approximate positions. The LUT then uses those as handles and moves them into their accurate positions, stretching the whole color surface like a "rubber sheet" as seen in the gray grid.
Note how soft and smooth the bends in the gray grid is. This is required to make the color gradients render smoothly, so the LUT does make a tradeoff between accuracy and smoothness.
That is to calculate X (mostly red) we take a large portion of the camera's red (0.80), almost no green (0.01), and add a little blue (0.14). It may be surprising that blue is added, but if you look at the diagram you see that the X response has a sensitivity bump in the blue range too.
To make the result as accurate as possible the matrix should be derived for the specific light it's supposed to be used in, for example daylight (cool) or indoor tungsten light (warm). While a linear matrix will bring the camera quite close to being a "colorimetric measurement device" (that is measuring XYZ values), an even better match can be had if we on top add some non-linear corrections. You can see it as a rubber sheet mapped out over all colors which then is stretched here and there to move colors into the final correct positions. This can be made as a lookup table of corrections, called LUT (LookUp Table) for short.
To avoid problems with gradient smoothness (where a color smoothly transitions into another color, for example in background out of focus areas in a colorful photograph) the stretches in the LUT must not be too sharp or aggressive. A matrix is always 100% perfect regarding gradients (as it's linear = no stretches or bends) but has limited accuracy, while the LUT (non-linear = can bend and stretch) makes a tradeoff between accuracy and smoothness.
The foundation of a camera profile consists of that linear matrix, possibly with a non-linear LUT on top. In fact if the profile is intended for reproduction this is all that's needed, as reproduction is about matching colors as accurately as possible, or in other words as accurately as possible convert the camera's RGB into color science's "colorimetric" XYZ values. This base profile which has no tone curve and no subjective adjustments is often called a "colorimetric profile", as it presents just pure "measured color". Such a profile is put together like this:
Summary:
An example image rendered with a linear tone curve using an accurate colorimetric profile. The exposure has been increased to make the image easier to compare with the others that have tone curves (as the tone curve has a strong brightening component).
This image should be used as reference when evaluating accuracy of colors. However, it does look flatter than the eye experienced in the brighter real scene, which is a normal appearance phenomenon. This means that we need to apply some sort of curve even when we want a neutral realistic look.
Same profile, but now with the default Adobe tone operator ("ACR"). We don't get the hue shifts of the standard RGB curve, but still note the garish colors. Light colors are also desaturated, not so easily seen in this picture although the white shirt has lost much of its original slight blue cast. Desaturation issues can more clearly be seen in light blue skies for example.
Same profile, with the tone curve applied on the luminance channel (aka "luminosity"), while hue and saturation are kept constant. Intuitively one may expect this to be truest to the original, but as seen it looks desaturated. This is because in human vision color appearance is tightly connected to scene contrast, so if you increase contrast also saturation must be increased to maintain the original appearance.
Same profile, here with Lumariver Profile Designer's built-in Neutral tone reproduction operator. Color appearance is now very close to the original linear curve, but we have increased the global contrast so the photo displayed on a screen appears truer to the real scene.
A profile used for reproduction, that is copying artwork and similar, uses the camera as a "colorimetric measurement device", that is for each color it needs to output the corresponding XYZ value the same way a spectrometer would do, so you can create a print with colors that generate the same XYZ values. However this will not yield pleasing results when photographing real scenes, such as an outdoor landscape. The reason is that the viewing conditions and media are wildly different which triggers different responses in our eyes and brain. The most obvious difference is dynamic range.
When copying a painted artwork you can often print on the same canvas as used in the original painting, so the dynamic range from the darkest black to the brightest white will be exactly the same. In a real scene the dynamic range can be many times more than what's possible to view on screen or a print. This means that a bright outdoor scene will look flat and dull in a photograph if a reproduction profile (colorimetric profile) is used. The solution to this is as old as photography — increase mid-tone contrast (at the cost of compressing shadows and highlights) with an S-shaped tone-curve. A simple solution it may seem, but a key issue we then stumble upon is that our color perception is tied to contrast: if contrast changes, the color perception changes. Broadly speaking if contrast increases then saturation decreases, which means that we need to increase saturation to compensate.
Traditionally in computer-based color this has been achieved by simply applying contrast separately on R, G and B channels. In addition to being computationally inexpensive it causes saturation to increase as a side-effect (Why? As the channels end up at different positions in the curve, one channel may be reduced at the same time as another is increased — channel separation and thus saturation increases). The drawbacks are that it also causes hue shifts and the saturation increase is a bit too strong and arbitrary. In any case this is a simple "tone reproduction operator" (or "tone operator" for short), that is a way to transform the original linear color representation to something that works for the media the image is presented in.
The "tone reproduction operator" term is broader than just a method to apply an S-shaped contrast curve; what we call tone-mapping in the photographic community the color science community calls a "spatially varying tone reproduction operator". However, in the context of camera profiles there is no possibility to make anything "spatially varying" (that is varying over the image surface and varying depending on image content) as they are just static tables, so here a tone operator equals a tone curve plus an algorithm to apply it.
Note that in Lumariver Profile Designer the tone curve is separated from the tone reproduction operator. That is you subjectively choose the curve (from a preset, or manually design one), and then you choose which tone reproduction operator to use when applying that curve.
The shape of the tone curve decides overall contrast and brightness, how open shadows are etc, and thus have a very strong effect on the final look and should therefore be chosen with care.
The visual effect of using different tone curves and tone operators is very large compared to say the effect of using a LUT to correct color errors versus just using a matrix. It's often an overseen aspect of profile making, due to the fact that most profile making software available for purchase have been designed for reproduction work as their main or only purpose (which does not require any tone curve or tone operator). It's mainly the camera manufacturers and the big players in raw conversion that has worked with this issue using proprietary in-house methods.
A simplistic tone operator, like the basic RGB curve, will severely hurt any color accuracy that was in the base colorimetric profile, and one that doesn't take into account the various smaller perceptual phenomena of human color vision will make the result look flat and dull. The quality of a general-purpose camera profile is thus highly dependent on the performance of the tone reproduction operator used.
With Lumariver Profile Designer the default operator is the "Neutral Tone Reproduction Operator", which is an advanced design that intends to keep perceptual hue and saturation true to the original.
Summary:
Anyone who has studied the colors coming out from in-camera JPEGs of various cameras and/or the colors of bundled camera profiles with some raw converters have noticed that colors differ quite a lot. Why is that?
This is often explained with that the camera sensors are different (have different color filters etc), and while this is true, cameras of today are much more similar than in the early days of digital photography, and you can clearly see huge differences of the same camera raw image developed in different raw converters. Simply put: 90% of the color sits in the camera profile, and 10% in the hardware. So why are camera profiles so different?
One answer to that is that there are no standardized tone reproduction operators and each manufacturer comes up with their own proprietary solutions, which are bound to differ a bit. However if the manufacturers actually tried to maintain neutral color they would look much more similar than they do, so the key reason is that the camera profiles have subjectively designed color, and as everyone's taste is different the results end up being diverse.
While cameras have been digital for many years the analog tradition in terms of color interpretation is still very much alive. In the film days the post-processing possibilities where very limited, so the task of the film was to add an attractive "look" suitable for the subject. There were films suited for saturated landscape images, films adapted for portrait photography and so on. Today many manufacturers see the role of the camera profile to be that of film, to add a specific look, despite the fact that with digital post-processing there's all thinkable possibilities to apply this to taste at a later stage. This is the main reason why profiles from different manufacturers yield so different results.
There is however also a space of subjectivity between the neutral tone operator and the saturated filter-like looks; when you with small almost imperceptible changes improve the perceptual quality of certain subjects without noticeably degrading performance for others. For example you could slightly warm up midtones and highlights while cooling down shadows to make sunlit landscapes look more natural. This type of very subtle adjustments has been a corner-stone in many higher end digital medium format manufacturers profiles, and this is also an area where Lumariver Profile Designer provides presets and tools for making the best looking yet neutral and realistic profiles. While you can design those stronger "filter effect" type of looks also with Lumariver Profile Designer, our recommendation is to make the subjective adjustments subtle and leave the look to subject-dependent post-processing using the very able tools and presets available in any modern raw converter.
Summary:
In Lumariver Profile Designer a profile is conceptually layered in the following way:
All layers combined form the final profile. For reproduction work you will only need a colorimetric base profile, and for a general-purpose profile you will apply gamut compression, a tone curve with a tone operator and possibly a look preset and some further subjective adjustments on top. The user interface tabs split these design steps like this:
A key concept with Lumariver Profile Designer is that you always start with a colorimetric profile, that is an "accurate" profile. The default tone reproduction operator keeps that accuracy as much as it is possible, that is it doesn't add any subjective elements. Through the look preset and the manual look adjustments the software provides access to subjective designs, but it should be said that it's ideally used in situations when there is at least some interest in keeping some of the accuracy of the colorimetric base profile. In other words, it's great at making tuned looks anchored in realism, but not specifically designed for making wild "filter effect" type of looks.
When camera profiles and color management are discussed, the terms "scene referred" and "output referred" sometimes comes up. What are these and how do they relate to the Lumariver Profile Designer profiles? If the image is "scene referred" (without adjustments) it means that it contains the actual colors and light levels measured in the scene. That is if you make a colorimetric profile in Lumariver Profile Designer and apply that to your raw image, the result will be a scene referred image. In other words a "colorimetric profile" is a "scene referred profile". You can apply subjective adjustments in scene referred space, so a scene referred profile is not necessarily a colorimetric one.
An "output referred" profile transforms scene referred data so it fits the output medium, such as a display with sRGB gamut or the gamut of a fine art paper used in printing. This usually means applying contrast with some sort of tone operator and gamut compression. That is if you make a "general-purpose profile" in Lumariver Profile Designer (which adds those mentioned things) you get an output referred profile. However, this type of camera profile is only loosely output referred, that is it's not locked to a specific output gamut but instead flexible enough to be used with several different output media. The raw converter and/or printing system takes care of the final conversions required to exactly fit the output gamut.
In articles discussing camera profiles it's sometimes said that DNG camera profiles are scene referred and ICC profiles are output referred. This refers to historical use of both profile formats. Today DNG profiles and ICC profiles can be both, and Lumariver Profile Designer does not differ between formats; both type of profiles can be made for DNG, ICC and Cube formats.
Lumariver Profile designer has its roots in still image photography and many of its users are still image photographers from the beginning. The Cube LUT format enables profiles for video projects, and if you are new to the world of video there are ome new technical aspects to familiarize with. Most notable is the log gamma encodings.
Video cameras normally exposes darker than still cameras and has thus a huge highlight range. This is to avoid clipping in dynamic scenes, and is also a side effect of the required short exposure times (to keep frame rate). Smaller cameras (drones, action cameras) may still have rather limited highlight range though due to smaller and simpler sensors.
Due to the large highlight range, linear encoding or normal display gamma would make the raw footage appear very dark. Therefore video-specific "log" gammas are used to encode raw video footage, which encodes the full range with a very low contrast to keep as much detail as possible. The log encoded video can be directly used for monitoring while shooting, and the experienced operator can then judge the lighting more accurately than if a display encoding would be used.
While some cameras can record in dedicated raw video formats with full sensor range, corresponding to raw format for still cameras, it's much more common to encode raw footage with standardized streaming formats in 8 - 12 bits, to reduce storage space and make the workflow more efficient, and then a log gamma is required to minimize quantization losses. That is log gamma has the dual purpose of encoding to fewer bits while keeping detail and provide a video stream suitable for monitoring.
The actual shape of the log gamma varies depending on manufacturer and model, but one dominant component of shape is often the mathematical natural logarithm function, "log" for short, hence the name.
Log gamma can also be called "reflectance gamma" as they are typically defined as an encoding of actual scene reflectance, while gamma in the stills world is usually decoupled from exposure.
The getting started section shows the basic workflows for making general-purpose or reproduction DNG or ICC profiles. Here we will look into how these workflows can be extended using more of the rich functionality available in Lumariver Profile Designer.
Lumariver Profile Designer has "designer" in its name for a reason — it allows for precise manual design of the look of the profile. Naturally, this is mostly used when making general-purpose profiles which by nature have some subjectivity built in.
When planning to put effort into manual design, you should start off with as good quality target shot as you can, so the profile doesn't suffer precision errors caused by a bad target photo that you will struggle to manually correct.
If you're making both a daylight and an indoor/tungsten profile, it's wise to start with the daylight profile. Cameras usually struggle much more with colorimetric matching in tungsten, and there's also more chromatic adaptation effects, so you need to make more compromises. Getting started and gaining experience with a daylight profile before getting into the more difficult tungsten profile is thus a good idea. The more the camera needs to struggle, the more it makes sense to make manual optimization of the matrix and LUT as there will then be many very different-looking ways of making the tradeoffs, that is there's more taste involved.
Having a handful of test images loaded in the profile comparison tab is very useful when doing active design. Not too many though, as that will easily lead to fatigue. It's better to use a limited set of test images, and when satisfied test the profile in your raw converter with a larger number of images, and if you discover a problem in some image, include that in your test set and make adjustments. The actual target image is usually not that useful for visual evaluations. You can indeed see tendencies in certain colors (say if red renders warm or cool) on a color-checker, but the eye-brain needs a more complex real subject to really get a feel for the rendering. The effects of the tone curve and tone reproduction operators are much more visible in real images. Also note that as the tone operator will desaturate colors close to clipping and possibly make other modulations a brightly exposed color-checker (that is with many patches close to clipping) may actually look rather inaccurate when viewed through a general-purpose profile.
When actively designing a profile, it's advisable to do it in a certain order:
If you have the Reproduction edition you could consider using some features from there. While it generally doesn't make sense to use the 3D LUT for a general-purpose profile (as you want the profile to be exposure-independent), you could for example use the multi-target feature to for example combine a robust matte color checker with a glossy high saturation target to improve hue accuracy of high saturation colors.
Consider going through the advanced tutorial as an exercise before making your first actively designed profile.
Low temperature light, 2700-3000K, will yield a quite strong effect concerning color inconstancy, a chromatic adaptation side effect. You can visually see the effect in the customize reference colors dialog by toggling model color inconstancy on/off. When being faced with such lights in real scenes there's also often "partial chromatic adaptation" effects meaning that white will not be experienced as pure white but rather have slight tint (usually warm tint). This cannot be modeled in the camera profile, but instead you use "creative white balance" in the raw converter to taste to simulate that effect on a case-to-case basis.
In real indoor light settings it's common with mixed light temperatures, and having lights with peaky spectra leading to poor color rendering. In such settings any sort of "accuracy" with a generic profile is impossible. (If you need accuracy in poor spectrum light you may consider making a specific custom profile from a color checker shot made at the scene.)
The color inconstancy modeling and the effects of partial chromatic adaptation, together with that cameras struggle more in this light makes the tungsten case more tricky and less accurate. If you to that add the often very bad light conditions you have in real scenes it will be very challenging indeed.
We recommend against using unknown and mixed lighting as reference images (unless you do design for that particular venue), and if you refer to your color memory as reference make sure to consider that you may have experienced partial chromatic adaptation and you then need to use creative white balance to match.
Using the model color inconstancy setting is generally a good idea, but be aware as soon as you do the colors you see on screen won't match the colors on your actual target, unless viewed in tungsten light. Side-by-side comparing your computer monitor with a tungsten lit still life color-checker scene is generally not possible unless you bring the white point of your screen close to the tungsten light source.
If you're making a dual-illuminant profile, it's not unlikely that you end up with a situation where you want different subjective adjustments for tungsten as compared to daylight. There's only one look table though so you must settle with one type of adjustment. It's usually best to prioritize the daylight in that regard, as tungsten situations are commonly plagued with other issues liked mixed poor CRI light anyway. Another solution is to simply make two profiles, one for daylight and one for tungsten.
When doing reproduction work the key to great quality is in having a well-made copy setup. There are guidelines in the shooting targets section, but if you aspire to be a great professional reproduction photographer you should read additional sources and perhaps take a course. A high quality reproduction setup used in the proper way is absolutely necessary to achieve high end results.
Some stress that it's difficult to shoot targets well and thus hard to make a high quality reproduction profile. While you could agree with that, we believe that if you can shoot the subjects well you can also shoot the target. So as long as you can set up and operate a professional grade copy setup, you can make reproduction profiles too.
In this section we will go into some extended features you may be interested in using in various reproduction scenarios. Note that when you start a "Reproduction" project, the GUI will be shown with considerably fewer features, the tone curve and look tabs are gone for example. The reason for this is to make the GUI less cluttered with functions that aren't used in normal reproduction workflows. However, if you want to make some sort of cross-over profile, for example a reproduction profile with gamut compression, you simply start a "General-purpose" project and configure that with the settings you want (the "General-purpose" mode exposes all functionality, so you can make a reproduction profile in that mode as well). For the extended features described here you can do with the regular reproduction mode though.
In reproduction you often know what you will copy, and in that case you should ideally choose a target that uses the same color pigments as the objects copied, to minimize the risk for metamerism. For scanners and copying prints this is usually feasible (media and pigments often known and the same or similar for each print), while for varied types of subjects it may be harder. In that case using a larger semi-glossy target is a typical choice, like the X-Rite ColorChecker SG.
In reproduction the 3D LUT is default. This means that it can make different corrections for the same color with different brightness. Ideally you should thus have a target which have color scales from dark to bright, like an IT8.7 target. If the target doesn't have that the 3D LUT generator will automatically fill out the gaps though, so it's not a requirement. If your camera and setup has good linearity (minimal glare and flare), and the spectral shape of the colors doesn't vary much with brightness, a sparser target will do fine.
In addition to a base target you can use the multi-target feature to extend with an additional target, or important spot colors.
Here follows a list of suggested features to consider for and extended reproduction workflow. It's not described in the same detail as the basic workflow in the getting started section — the idea is that you get used to the basic workflow, and then extend with features suggested here as needed:
The main window contains the following elements:
The color value inspector comes with a number of color spaces. There are many more alternatives to choose from than is necessary for profile making; the purpose of this is to be more flexible as a technical color value inspector when working with other image processing software.
RGB color spaces like AdobeRGB and sRGB are actually specified with an associated gamma. In this color value inspector the color spaces are defined just with the primaries and you choose gamma separately. The gamma normally associated to the color space (if any) is specified in the list of color spaces below.
When working with camera profiles inside Lumariver Profile Designer the most versatile color space to view is CAM02 JCh ΔE.
Thanks to the many settings you can often find a matching setting between your raw converter and Lumariver Profile Designer. For example, to mirror what Adobe Lightroom is showing in its color value inspector, select ProPhoto with sRGB gamma and % unit.
The file menu contains the following functions:
When you create a new project you get to choose which profile type (DNG, ICC or Cube) and which type of defaults (general-purpose or reproduction) you want. Those settings can later be changed by changing them in the "Mode" menu, but if you do be sure to go through the tabs afterwards as some settings will be reset to default values.
The tools menu contains the following entries:
This tool will take the currently selected reference and associated settings in the project and export it to a CGATS file, which then can be processed in third-party software, or imported back in as a custom reference depending on use case.
The export dialog has the following settings:
For general-purpose DNG profile projects there are two tabs, one for each illuminant. If you make a single-illuminant profile you only configure the first. Reproduction, Cube or ICC profiles are always single illuminant and in that case there is only one target tab.
Purpose: specify the input gamma used in the the target still. Should always be set.
For Cube projects the input gamma used in the target cannot be derived from the image and instead needs to be specified separately. This is because Cube projects are generally made for video where input gamma is a log-to-linear reflectance curve rather than a classic gamma function, and there is no standard to embed it in the image.
It's very important to get this setting right, otherwise a correct profile cannot be made.
The input gamma drop-down list contains a number of common traditional gammas and video log functions. If the input gamma you need is not available in the list, you can provide a custom gamma through one of the many supported curve formats. (Advanced use: you can also permanently add a custom curve to the list by adding it to the static settings file.)
If the target photo is a still from log-encoded footage you should provide the log-to-linear reflectance curve. This usually starts slightly below zero and ends at a value much larger than 1.0, typically somewhere in the range 4 - 64. For professional cameras this curve is usually available from the manufacturer in the form of a 1D LUT that can be loaded directly as a custom input gamma. You can also use the online tool LUTCalc or similar tool to generate a curve you can use.
Note that sometimes the manufacturers, while providing one or more LUTs, may not provide one that actually converts to unclipped reflectance. This is common for consumer cameras. In that case you need to look for the LUT elsewhere, such as generating it using LUTCalc or other third-party tool.
Traditional gammas used in still photography does not specify reflectance, but instead just go from 0.0 to 1.0. Lumariver Profile Designer will work with both types, as long as the provided gamma matches the target still image.
If you make a Cube LUT for a "normal" still image just like for an ICC project, you can choose the "From Target Image" option, then the gamma is read from the target image just as for an ICC project (where the term is "transfer function" rather than "input gamma", but it is the same thing. Video and still photography has a few terminology differences).
(The reason log-to-linear reflectance curves starts below zero, ie negative reflectance which does not exist in the real world, is because cameras generally record with a black level offset to capture the full noise amplitude which may produce negative reflectance values. Recording the full noise amplitude avoids skewing the black level.)
Purpose: specify which light that was used in the target photo. Should always be set.
The illuminant drop-down list provides a number of standard illuminants, black-body and possibility to load an illuminant spectrum from a file (CGATS or CGATS-like format).
As cameras have similar response in similar lights it's not important that the illuminant specified exactly matches what's used in the target image. If you are uncertain of what to choose, here's a guide:
Note that it's more important to be close in temperature for lights below 4000K than above as the change in behavior is non-linear. For example, a 100 degree change represents a much larger difference below 3000K than above 7000K.
If you have access to a spectrometer and use it to measure your illuminant spectrum (you must use other software for that) you can provide the exact spectrum if you like. It's more of a curiosity than providing any real benefit over a decent approximation though.
If you're making a general-purpose DNG profile you have two target tabs, one for illuminant #1 and one for the optional illuminant #2, in case you're making a dual-illuminant profile. The contents of the tabs are the same.
A suitable combination of illuminants are StdA and D50 - D65. That is one profile for daylight/flash and one for warm indoor light. The idea of a dual-illuminant profile is to make it more user-friendly, as you don't need to manually switch profiles for different lights. A common misconception is that dual illuminants makes the profile more accurate, but it's not about that. In terms of accuracy it's always better to have a single-illuminant profile designed for the light used, than having a dual-illuminant profile interpolate an in-between light.
It doesn't matter if you put the lower temperature light as illuminant #1 or #2, as it will be automatically re-ordered if necessary when the profile is exported (the DNG profile format requires that the lower temperature illuminant is first).
Caution if you intend to make corrections along the neutral axis: the lookup tables embedded in the DNG profile format has the quirk that they cannot make changes to the neutral axis (grayscale). For general-purpose profiles where you typically disable lightness correction this is not an issue. However if you do enable lightness correction and/or 3D LUT with scaling the result can become poor with noise around neutral colors due to a rough transition between non-corrected and corrected lightness. For a single illuminant-profile lightness correction will still be applied as it can be done via the profile's tone curve, but as there is only one tone curve that workaround cannot be applied in a dual-illuminant profile.
In other words, if you apply lightness correction to your profile it's recommended to make two single-illuminant profiles rather than one dual-illuminant.
ICC and Cube profiles don't support dual-illuminants, and for reproduction photography it doesn't make sense so in those cases the extra target tab is hidden.
Purpose: select the target viewed in the target photo. Must be set.
Many popular targets are available as built-ins, and custom targets can be specified if needed. If you choose any of them the grid is configured to match so you can place it in the photo.
In addition to the patch layout the profiler must also know which color each patch has. With each built-in target there are pre-loaded spectral data so you don't need to provide any reference file with them. However, as targets vary a bit between manufacturing batches the precision cannot be fully guaranteed, so if you need the utmost accuracy you should measure your own target and load custom reference data. If possible that data should contain the full spectrum for each patch and not just the XYZ or Lab value.
We think that for general-purpose profiles it's overkill to measure your own target, while for reproduction work we recommended to do it. The file format supported is anything similar to CGATS text, as produced by the software listed in the related software section. Note that the patch naming in the reference file should be for a grid, like A1, A2, ... B1, B2, ... rather than descriptive names, so the software can figure out where the patches are located in the grid. This naming is indeed the default for most measurement software that generate these files, but there are exceptions. If you can't get the measurement software name the patches as desired, you can manually edit the resulting CGATS file as it's just a text file.
The following target types are available for selection:
LGOROWLENGTH
tag specifies the row count. If
it's missing Lumariver Profile Designer tries to figure out the
layout from patch naming.
If you haven't bought any target yet and you consider to buy one to make general-purpose profiles, we recommend the X-Rite / Calibrite ColorChecker Passport Photo for the most all-around use both indoor and outdoor, and the larger format classic 24 if you are only going to use it indoor. Glossy targets with many patches are mainly for reproduction work, or if you have some special interest in precision of high saturation colors. Note that with glossy targets you then need to put considerable more effort into your target shooting setup to avoid glare issues.
Nowadays there are some targets that are sold as being specific to video. In the context of Lumariver Profile Designer there is no need for a video-specific target, as video sensors behave in the same ways as still image sensors in terms of colors. The video targets may still be excellent targets of course, both for video and still image profiles.
Purpose: model the slight color appearance differences if the target illuminant is different from D50.
The reference illuminant used to define color is D50, a form of idealized daylight. Thanks to our eye-brain's capability to adapt to different lights (chromatic adaptation) most aspects of colors are kept constant, red is red, blue is blue, green is green regardless if the light is warm or cool, this is known as color constancy. However there are still some slight differences, formally known as "color inconstancy". For example under a tungsten light source reds appear relatively brighter than other colors, and skintones are a bit warmer than in daylight.
When "model color inconstancy" is enabled these effects are simulated, otherwise the profile will try to make colors look as if shot under daylight. For general-purpose profiles this should generally be enabled. However if you do reproduction work you probably want colors to look as if shot in D50 regardless of light used in the target setup, and then this setting should be disabled.
If you want to visually see the effect, first choose an illuminant much different from D50 (such as StdA), then open the "Customize Reference Colors" dialog and toggle the checkbox on/off there to see the difference on the target patches.
Note: for Cube projects this setting is not available directly in the target tab, but only in the Customize Reference Colors dialog (due to limited space in the tab). For the other projects the setting is available both directly in the tab and in the "Customize Reference Colors" dialog.
Purpose: view and/or adjust target reference colors, possibly exclude patches, and in multi-target mode decide how targets are merged.
Note that you should generally not adjust the target colors here. If you're not pleased with the profile output color you should first check the optimizer if the matrix and LUT matches the colors well enough, and then think if you are using the appropriate tone curve and tone operator (which can modulate color), and then consider if you should make a subjective adjustment in the look adjustments editor. However if your actual target is not really matching the reference data so the reference data is actually wrong, or you don't agree with the result of the chromatic adaptation transform (model color inconstancy) you could make adjustments here. It should normally be a rare thing to do.
More common could be to exclude one or more patches from a target, for example if it's damaged in the real target or the target photo is suffering in some way with certain patches (excessive glare for example). Patches can be excluded in the optimizer step too though, doing it in this step will remove some clutter later on though.
If you are using the multi-target feature you may want to merge the targets, which means that overlapping patches are excluded to avoid metamerism issues.
Purpose: compensate for glare in the target photos. Warning: experimental function that only works well in a narrow set of conditions.
The glare compensation function works best when the target is glossy, has some very dark patches and is evenly lit. Rather than subtracting glare from the target photo it actually adds in glare in the reference colors (which as a result will become lighter and less saturated), as it's a more stable approach.
This function should not be used as a casual compensation for not caring about glare when shooting your target. If you have control over the target photography you should strive to minimize glare as much as possible, and then you don't need to compensate. This function is intended to be used only when you cannot redo the target shot. It still requires even lighting and preferably glossy target with dark patches otherwise it may do more harm than good.
If you suspect that the target photo suffers from glare and the profile result looks overly saturated (which is a typical result of glare), you can try enabling glare compensation and see if the result improves.
Purpose: compensate uneven lighting in target photos.
Uneven lighting is not a problem in professional grade reproduction setups with two (or more) lights, so if you have such a setup flatfield correction will be overkill. But if you use side-lighting with only one light there's most likely a quite large variation in brightness from side to side of the target. While the optimizer is robust for uneven light (when not correcting for lightness), you can get better results with flatfield correction in these situations. Using flatfield correction you can match or even improve on a professional grade setup concerning measurement error with a simple single light setup. This can be a big cost-saver if you're using expensive daylight simulator lights.
There are two ways to perform flatfield correction. One is to load a flatfield image and will work for any target. The other is to employ the "Auto Flatfield" feature (checkbox), in that case correction is done using the target's own white patches so you don't need to shoot an extra image. Some targets, like X-Rite's ColorChecker SG, has an outer border with neutral patches which is recommended for this case. However the white patches don't have to be along the border although it yields more robust results. For auto flatfield to have effect, the target must have at least three white patches.
The target-based "auto flatfield" correction function cannot be used at the same time as the image-based flatfield correction, so as soon you load a flatfield correction image the auto setting is disabled.
Note that the "auto flatfield" feature does not make a visible effect on the target image (unlike the image-based flatfield correction). The auto flatfield function will under the hood scale the scanned raw values to match but make no changes to the target image. The largest amount a value had to be scaled with is written beside the "auto flatfield" checkbox after the profile is rendered. If it says "none" it means flatfield didn't happen, usually because the target colorchecker doesn't have enough white patches.
To use Lumariver Profile Designer's image-based flatfield correction function you need to shoot a gray or white card in the same position as the target with the exact same light and camera setup. The white card needs to be large enough to cover the whole target. The typical workflow is as follows:
There are special white/gray cards on the market, but if you are only going to use it for flatfield correction you can do with a normal thick matte printer paper (thick enough to avoid any see-through!), as it doesn't matter if it's slightly off-white.
With both target and flatfield image made, you can start profiling. Load the target and place the grid as usual. The flatfield correction only works within the placed grid, so the "Load Flatfield" button does not become active until the grid is placed (if you later move the grid, the flatfield file will be dropped and you need to load it again, so be sure to be happy with grid placement before going further). Press the "Load Flatfield" button and load the flatfield image there. It will take some time to process, and after it has finished you will notice that the light has been evened out inside the grid. You can now continue with profiling knowing that the light is perfectly even.
Beware that while flatfield correction will correct for uneven light on the target and lens vignetting, it will not correct for glare or flare so you should still try to minimize those aspects as much as possible, as discussed in the shooting targets section. You can gain from using flatfield correction when battling glare though — glare can be easier to avoid with a minimal of lighting, and flatfield correction allows you to use as little as only one light source.
Special considerations if using multiple targets: flatfield correction may change the overall brightness of the image of the target, which means if you have multiple targets and multiple flatfield images their brightness may vary. While this is okay for the 2.5D LUT with disabled lightness correction (default for general-purpose profiles), you can't make reliable 3D LUTs or lightness correction. The solution to this is to make sure that you need only one flatfield shot, that is that the white card used is large enough to cover all targets. You don't necessarily need to fit all targets under it simultaneously (you could shoot one image per target), although it makes workflow even more effective of course.
Note that some raw converters have flatfield correction on their own. Capture One is one such raw converter, where flatfield correction is known as "LCC". If you want to you can apply flatfield correction there instead of in Lumariver Profile Designer.
The optimization tab contains functions related to colorimetric matching, that is the profile's ability to as accurately as possible match colors. This is the base which the rest of the profile is built on.
For reproduction the result will be used as is, as the purpose of a reproduction profile is to accurately match colors to be able to copy artwork and similar. For a general-purpose profile the colorimetric result can later be transformed with a tone curve and a tone reproduction operator, and gamut compression can be added as well as individual subjective color adjustments.
Purpose: select which generation of color correction algorithm that should be used, or none at all.
With Lumariver version 2 a new and improved color correction was introduced, simply called "Version 2". For backwards compatibility with older projects the old is retained as "Version 1". For new projects there is normally no reason to use the older version.
In most circumstances there will be a very small visual difference between color correction version 1 and 2. Version 2 uses a more uniform color space that will improve smoothness slightly and other smaller improvements here and there, such as more optimized input curve for ICC profiles, revised color clipping algorithm and more.
There is also a special mode "passthrough", which will disable the color correction stage alltogether. Instead you can load a third-party LUT with own color correction which is applied according to specified input gamma and input color space.
In the passthrough case the optional LUT is expected to work directly on the target input without any gamma or color space conversion, and the input gamma and gamut settings is to describe the result after the LUT, if any, has been applied. If there is no LUT the input gamma and gamut just describes the unmodified target image. In other words, if you apply a custom LUT the "Input Gamma" should actually be the output gamma of the LUT. Likewise the input gamut should be the output gamut of the LUT.
The passthrough mode is most likely to be used in video workflows (Cube profile projects), where you might already have color correction made in other software but would like to apply other functions that Lumariver Profile Designer provides, such as tone reproduction, gamut compression and look operators. Note that you can also apply additional LUTs via look operators through the Apply LUT adjustment operator. That way you can cascade multiple LUTs.
Passthrough mode will work for ICC and DNG profiles as well, however in the DNG case note that the plain result will generally be a green tinted image as it shows the raw sensor color channel balance which is heavy on green.
Purpose: fine-tune what the profiler should consider as perfectly neutral.
The profiler must know what should be considered perfectly neutral, that is R=G=B, gray or white. There are the following settings:
When the "From Reference" setting is used the optimal white balance is calculated, which you can retrieve from the "Profile comparison" tab after rendering the profile, as a temp/tint setting for a DCP profile and as RGB multipliers for ICC profiles. Most ICC raw converters don't allow for entering multipliers though, so transferring the white balance may not be feasible for your workflow. If so it's better to use "From White Patch" so you can pick the white balance, or set the white balance using a high quality gray card. As the white patch of the target usually is not too off-white it does not matter that much if you choose "From Reference" or "From White Patch".
Purpose: if the target is to be used for white-balance picking, manually point out which patch to consider to be the most neutral (or leave at "Auto").
When the neutral setting uses the white patch as reference neutral, this setting specifies which patch that is the "white patch". If it's set to "Auto" the profiler will pick the most neutral patch, which may or may not be the brightest white patch. For example, in the X-Rite CC24 target it's the second brightest patch is actually more neutral than the brightest. If you will be using the same target as used in profiling for white balance picking later on you may want to point out a specific patch.
If left at "Auto" the name of the patch chosen will show up beside the drop-down list after the profile is rendered.
This setting is only shown in the optimization tab when running in reproduction mode, otherwise it's tucked away in the manual matrix optimization dialog (which is not available in the reproduction mode).
Purpose: choose strategy for how the linear color correction (matrix correction) should be derived.
This setting is not available in reproduction mode as it's not contributing any value in that case. For general-purpose profiles you might want to control the matrix. There are the following settings:
Activating manual tuning and opening the dialog is also the only way if you want to see the matching statistics visually and by numbers. You can still use one of the templates in the dialog (all alternatives in this drop-down are represented) if you don't want to make manual adjustments.
Purpose: minimize negative factors in the matrix to make it more robust when handling ultra-saturated colors, often affecting the deep blue range the most.
This setting is only enabled if the matrix optimizer is not set to "Auto".
Technically this value is the smallest value allowed in the matrix Y row, that is if set to 0.20 (default) the smallest Y value will be -0.20. A large value such as 5.00 makes it in practice unlimited as not too large negative values are required to make the best matrix match.
What does this actually mean? Camera color filters are usually over-sensitive in some ranges compared to the eye, to have better low light properties or work better in certain types of light. This means that to for example make a correct deep blue color in the normal range we actually may need to subtract one color channel. If the camera then registers an ultra-saturated color the matrix may actually end up with a negative result (clipped to black). For a reproduction profile where we know what we will shoot this is generally not a problem as we won't face that type of colors or strange artificial lights that can trigger the situation. To make a general-purpose profile maximally robust it's better to make the matrix match less well and limit the negative factors.
Having this value at the default 0.20 will generally make deep blues a bit lighter, but the result varies depending on the camera. Note that lighter deep blues while less accurate is often preferred as a subjective adjustment. If you think the effect is too strong you can try to gradually increase the value and re-render the profile for each increase to see the difference.
Note that the LUT can be made to counter-act the lightening effect. The default LUT setting is however to ignore lightness corrections and thus the lightening effect will then be kept.
Purpose: choose if the profile's color corrections need to make different corrections based on how bright a color is or not (3D vs 2.5D corrections). Typically only reproduction profiles gain from having full 3D corrections.
The LUT (LookUp Table) applies corrections on top of the linear matrix result. This can either be done in 2.5D or 3D.
The 2.5D LUT is "exposure-independent" and is therefore well-suited for general-purpose profiles. A 2.5D LUT will apply the same correction for a dark color as a light color if they have the same hue and chroma, which is what makes it exposure-independent. In other words it doesn't use the lightness axis as input but only hue+chroma (2D), and based on that scales lightness+hue+chroma (3D) in the output.
The 3D LUT considers lightness also on input, that is a dark color may get a different correction than a light color even if the hue+chroma is the same. For this to be useful one or both of these conditions must be true: 1) the spectral reflectance varies for dark and light colors of the same chromaticity (hue+chroma), or 2) it's desirable to correct for non-linearities in the system (such as glare in the optics). If so you can get a better correction if the LUT makes different corrections depending on brightness. In order for that to work you need a target with many patches with varying brightness, such as an IT8.7 target, and if you are considering spectral properties the target must have the same properties as the objects that will be reproduced.
The typical use case for a 3D LUT is a scanner profile or reproduction with a fixed setup (that is camera set up to work similar to a scanner).
If the 3D LUT is used together with a sparse target, such as a 24 patch color checker, it will fill out the gamut by rendering darker/brighter versions of the patches. Those will then of course be linear and have the same spectral properties as the anchor patch so the LUT will effectively be 2.5D in those areas. This makes the 3D LUT more versatile and safe to use as you don't need to worry if the target has some gaps in the gamut.
Headroom only applies to the 3D LUT, and specifies the range from the brightest target patch up to clipping.
The headroom drop-down list contains the following alternatives:
If you're making a scanner profile, or have a reproduction setup with fixed exposure where you are satisfied with the resulting brightness you should use the "Headroom: From Image" setting.
If you're making an exposure-independent profile you should normally use the 2.5D LUT and then you don't need to set the headroom as it doesn't apply. If you still want to use the 3D LUT, the setting "Headroom: From Reference" makes good sense.
Purpose: choose strategy for how the non-linear color correction (LUT correction) should be derived.
There are the following settings:
Activating manual tuning and opening the dialog is also the only way if you want to see the matching statistics visually and by numbers. You can still use one of the templates in the dialog (all alternatives in this drop-down are represented) if you don't want to make manual adjustments.
The "View Report" button is enabled when the profile is rendered, and when pressed it will bring up the optimization report dialog, which is a read-only view of the profiling result. This can for example be used to visualize how well the colorimetric part of the profile matches the reference target colors.
It can be used as for quality evaluation of the profile, and also as a tool to gain better understanding of what the profile actually does.
Note that in a reproduction use case it's not a complete replacement for a Delta E report made on an end product, ie when the profile has been applied to an image in a raw converter. Such a report must be made in a third-party software. Here Lumariver Profile Designer presents what it sees in its own pipeline. It should be the same as what you get when you apply the profile in your raw converter, but if some setting is incorrect or some behavior of the raw converter cannot be replicated correctly the result may be slightly or vastly different in the raw converter. So for professional delivery in a reproduction use case we strongly recommend to make additional reporting on the final product using some other software.
Note: there is currently no support for showing the report for the previous render, that is the result of the last rendered profile is always shown even if "Show Previous" button is pressed. If you need to manually fine-tune correction interactively you should use the matrix and LUT tuning dialogs.
The optimization report dialog contains the following elements:
Both charts are interactive, with the following functions:
In addition to previously discussed, the charts has the following graphical elements:
The tone curve tab looks quite different depending on profile format modes. It's more complex for ICC and Cube profiles. ICC pipelines can include many curves in different variations, while for DNG profiles the use of curves is standardized. Cube profiles tone curve settings are quite many due to its support of reflectance (log) gammas.
The tone curve tab is not available for DNG and ICC when running in the "Reproduction" mode, as in that case a fully linear tone curve is assumed. It has to be present for Cube profiles though as output gamma must be specified also in that use case.
Purpose: inform the profile maker which curve the raw converter's pipeline considers as linear.
Should almost never be set to anything else than the default "Auto".
ICC raw converters often have an integer pipeline, or at least had traditionally, which means that some sort of input curve is often used to give more precision to the shadow range and less to the highlights, to match our eyes' exponential response to lightness. The profiler must know what the raw converter is using. There are the following settings:
Lumariver Profile Designer has input curve (ICC only), input gamma (Cube only) and target transfer function. These may all be the same which can be a bit confusing. The target transfer function is derived from information embedded in the target image itself and describes how to convert the pixel values to linear. Typically this would be the same as the "input curve" that linearizes pixel values for the ICC profile, however some raw converters, for example Capture One, may have additional highlight compression or similar in the target transfer function causing them to differ slightly. This is the reason Lumariver Profile Designer handles these two curves separately.
For the Cube format there is however no difference between linearization of target pixel values and input to the profile, so in that case it's called input gamma, which also aligns with traditional video terminology.
Purpose: inform the profile maker which base curve the raw converter's pipeline will apply before the ICC profile is applied.
Some ICC raw converters (like Capture One) allow the user to select the tone curve separate from the ICC profile, while others let the ICC profile itself apply the curve. If it's the latter you should not load any base curve, otherwise you need to load the same curve that will be applied in the raw converter.
This can either be loaded as a tone curve specification directly, or as an exported TIFF file with the tone curve embedded (the case you will use with Capture One). If the TIFF file case is used the specified input curve is subtracted from the embedded tone curve to form the base curve.
Purpose: specify if the selected curve should be added to the base curve, or replace the base curve.
This setting is only enabled if a base curve has been loaded. If the raw converter allows the user to select a base curve, this may either be the final curve you want in the profile (if so choose "Add to Base Curve" and select a "Linear" curve below), or it's a softer curve that needs some additional contrast (the case with Capture One's general-purpose profiles). As a third alternative you may want to replace the curve with something different that may have more or less contrast than the base curve.
If you want to add additional contrast on top of the base curve, you choose "Add to Base Curve", and load or make a soft S-curve in the curve selection below. In the case of Capture One you can get this extra curve by loading an original bundled ICC camera profile.
If you want the curve selection below represent the final curve you choose "Replace Base Curve" here. Then the base curve will be automatically compensated for in the resulting ICC profile. There is a risk using this mode though — if the curve you replace with has lower contrast (or is just very differently shaped) than the base curve, the end result may show banding, typically close to the white point. To diagnose this you can open the tone curve dialog and look at the shape of the "Profile Curve" after rendering, if this has strange bends close to the white point it may mean that it can cause banding. If unsure, use the "Add to Base Curve" mode.
Purpose: select the profile's tone curve, either linear or some sort of contrast-enhancing S-shaped tone-curve.
For ICC profiles there is a special case when the above "Curve Mode" is set to "Add to Base Curve", then the curve selected here will not be the final curve, but just added to the specified base curve.
There are the following presets:
The tone curve dialog is used to view and optionally edit tone curves. It's documented separately in the tone curve design section.
Purpose: specify an exposure adjustment that will be applied together with the DNG profile.
If the overall result is too bright or too dark you can adjust this either by adjusting the tone curve, or specify a baseline exposure offset. Usually it's wise to compare to in-camera JPEGs to figure out what a suitable brightness is. Most often the value is left at zero.
You may also consider adjusting the exposure with the tone curve rather than using baseline exposure offset, as described in the tone curve design section.
Purpose: specify if the DNG profile should instruct the raw converter to perform automatic black subtraction (or not) before the profile is applied.
Adobe's raw conversion products supports automatic black subtraction, which means that depending on subject more or less of the blacks will be subtracted to create blacker shadows and slightly more contrast. Among third-party raw converters it varies if automatic black subtraction is supported, and if it is it's not necessarily the same as Adobe's as their algorithm is proprietary and not part of the DNG specification.
All(?) Adobe's own profiles have automatic black subtraction flag enabled, so if you are making a general-purpose profile for Adobe it's generally wise to enable it. If you want 100% predictable result as for a reproduction profile, or if you will be using the profile in several different raw converters and want the same result you should disable it. Making a stronger shadow dip in the contrast curve gives a similar effect.
Lumariver Profile Designer's image renderer has a basic automatic black subtraction algorithm, which yields a similar result to Adobe's products, but not exactly the same. That is you will see an effect of the flag in this software, but it may not be exactly the same as the result in other raw converters.
Purpose: specify if the Cube LUT output should be reflectance (log format) or display.
If the Cube LUT will be used in a workflow where color grading is applied on top, it's often desirable to work with log encoded footage, and then a reflectance output gamma should be used.
If the Cube LUT is supposed to produce ready-to-display footage a display gamma should be used. This can also work in a color grading workflow if the grading will only need to make smaller adjustments.
Purpose: specify the gamma of the color space the Cube LUT will produce its output to. Should always be set.
The available options will depend on which output gamma type that has been selected, that is there will either be log gammas or display gammas in the list. There is also a possibility to load a custom gamma, and you advanced users can extend the list of gammas by adding additional entries in the static settings file.
Normally an output color space will be defined by a combination of gamma and gamut. In this software you select gamma and gamut separately so you can make any combination you like, but in normal use the gamma selection is tied to the output gamut selection which is on the export tab.
In a Cube profile workflow, the input and output gamma and output gamut must match the environment the Cube profile will be used in. This means that the values for these settings are normally found in the settings of the video editor project where the Cube profile will be used.
Purpose: specify how to scale the input to match the range available in the output.
This setting is only available if the output gamma is reflectance (log format), in which case it is expected that also the input gamma is of reflectance type. Reflectance gammas have a defined range, and thus if input gamma has a different range than the output gamma Lumariver Profile Designer must know how to deal with that. There are the following settings:
Purpose: specify which reflectance range that should be considered to be extended highlight range, which then can be compressed with a knee.
If the input gamma is a reflectance curve (ie log footage), there is usually an extended highlight range. On the knee range line the actual clip level of the input gamma is shown. If this is 1.0 it means that the input gamma is a normal still image transfer function and thus does not have any extended highlight range. For log footage the value is typically somewhere in the range 16 to 64, with the exception of very small video cameras with limited dynamic range (some drones, action cameras) which may not have more than 2.
The knee low range should be the reflectance that should be considered as the maximum normal range value, that is where a normally exposed stills image would clip. The normal tone curve is applied only up to this value, and the remaining range is handled by the knee compression settings.
The knee high range is the reflectance above which we choose to hard clip, that is everything above that value will be clipped away rather than compressed.
Normally exposed still images usually clip at about 2.0 reflectance (twice the brightness of 100% perfect white), so that is a good value for reflectance low range.
Some video footage have extreme highlight range, and if we cram it all in it may be either so strongly compressed that there is a significant loss of detail anyway, or we need to use such a low knee output level that we get very low global contrast. If you make a Cube LUT for some sort of pre-processing you way want to keep the full range in those cases, but normally putting more than 3 stops into the knee (range 2.0 to 16.0) is not advisable.
Should the specified knee range exceed the available range (the input gamma Clip level), the values are aoutmatically adapted in processing. Say if the range is 2.0 to 16.0 and the clip level is only 6.0, the result will be as if 2.0 to 6.0. If the clip level is below the low range, there will be no knee at all.
This automatic adaptation makes it possible to leave this setting at the default values for any camera, meaning that changing the values is not a common thing to do.
Purpose: specify at which output level the knee should be, that is where the compression of the extended highlight range (if any) starts.
If there is an available extended highlight range as specified with the knee range setting, this will be smoothly compressed in the output from the specified knee output level up to 1.0. That is if the knee output level is set to 0.9 the last 10% of the output (that is 920 - 1023 in case of 10 bit video output), will be used for compressing the extended highlight range.
If you want to just clip the extended highlight range rather than having a knee with compression, set this value to 1.0 (ie leave no space for compression), and specify the clip level with the knee range low setting.
If the knee range is so small that the highlight range would be expanded rather than compressed, the knee output level will automatically be adjusted such that a linear result is had (neither compression or expansion). If this actual value used differs from the specified, it will be displayed on beside the "Knee Output Level" label.
To guarantee a smooth transition the knee compression range will be limited to not have less slope than the ending slope of the tone curve. If the end slope of the tone curve is too flat in relation to the knee output level, it will be automatically raised to fit. So if you see the output level being raised despite wide knee range, make sure your tone curve doesn't have too flat ending.
The output level is mapped directly to the selected output gamma. If you have selected a HDR output gamma and want the knee be where the extended highlight range starts, you need to find out which code value that is and scale accordingly to a 0.0 to 1.0 range.
The "View Curves" button will bring up a dialog where you can for informational purposes view a number of curves related to the current project.
Depending on type of project there are different curves available to view. DNG projects has the least amount of curves, while ICC and Cube projects may have plenty. By hovering with the mouse over the checkbox labels you get a short explanation of the associated curve.
For Cube projects there will also be a drop-down where you can choose different diagrams to view.
Curves can be imported from several types of formats, exactly which ones available depends on context. Here's an overview of the formats:
The spline file formats can be both imported and exported. Two formats are supported, one JSON based that looks like this for a spline:
{
"CurveType": "Spline",
"CurveHandles": [
[ 0, 0 ],
[ 0.199557, 0.185185 ],
[ 0.649667, 0.812169 ],
[ 1, 1 ]
],
"CurveMax": 1.0,
"CurveGamma": "sRGB"
}
and the other is the RawTherapee spline format (.rtc) and looks like this:
Spline
0 0
0.199557 0.185185
0.649667 0.812169
1 1
The RawTherapee format doesn't specify gamma, the curve is
interpreted as being in sRGB, unless loaded as a custom spline when it
will be interpreted as in the currently selected viewing gamma. While
you can use the JSON format with the DCamProf command line tool and
the .rtc
format with RawTherapee, the main purpose of
using these text formats is that the formats should be easy to
hand-edit if needed, or imported/exported to/from a spreadsheet or
some other technical software.
If you have a huge table in a spreadsheet or similar that you only
want to be linearly interpolated (there's a limit to how many spline
handles you can have), you can't load it as a spline, but you can load
it as a custom curve. Make a .rtc
file with all the values (X, Y from
0 to 1) but set "Linear" in the first row instead of "Spline". If you
need to specify a different gamma than sRGB you must use the JSON
format, with "CurveType" set to "Linear" and "CurveGamma" to a desired
real number.
If you want to specify a pure gamma curve, the JSON format supports that too, like this (gamma 1.8 in this example):
{
"TRC": 1.8
}
The look tab is hidden if the software runs in "Reproduction Mode" as it makes no sense to apply looks to a colorimetric profile made for copy work. It's purely intended for general-purpose profiles.
Purpose: select tone reproduction operator, which affects how colors are modulated to compensate for the tone-curve contrast changes, resulting in different "looks".
The tone reproduction operator is only relevant if the tone-curve is not linear, as otherwise there is no contrast change and thus nothing to compensate.
The following tone reproduction operators are available:
The neutral tone reproduction operator is the one we strongly recommended, and is a key feature that sets Lumariver Profile Designer apart from other profile makers. The fundamental idea of it is to keep colors perceptually the same after the contrast has been applied. No hue shifts, no saturation increase or decrease. It's not possible to make such an operator 100% perfect as it's somewhat subject dependent, and can also vary a bit over the image surface, but we dare to claim that it is as close as it can get.
The classic RGB tone operator suffers from hue shifts by design, but by applying it in a carefully balanced colorspace those have been minimized. The hue shifts does cause an artificial hue separation effect which some may like. The mixed operator RGB-Lum is usually a better toned down choice if you like the look of the RGB tone operator.
Purpose: select a variant of the currently selected tone reproduction operator for further fine-tuning of its look.
Currently only the "Neutral" tone reproduction operator supports different variants, and the alternatives are as follows:
Purpose: manually adjust the overall saturation of the neutral tone reproduction operator.
If the neutral tone reproduction operator is used you can adjust the overall saturation. This is generally not necessary (the automatic mode works well), but you may subjectively want higher or lower saturation as a look feature, and then you can manually adjust the value.
First render the profile once to get the automatic value displayed, and then you can adjust from there. The setting is very fine, it's hard to see any difference for the smallest steps.
Purpose: select how much the saturation of ultra-saturated colors should be reduced to lower the amount of out-of-gamut clipping.
One might think that today raw converters would deal with gamut compression in real-time inside the software without involving the profile. While this probably is a good idea it's not how it's done today — raw converters still expect that the camera profile provides some static gamut compression to deal with high saturation colors.
With version Lumariver version 2 a new gamut compression algorithm is introduced, which can be configured in detail in its own adjustment dialog. This is now the default, but the old presets (with varying compression strength) is also availble for backwards compatibility. Gamut compression can also be completely disabled by using the "None" setting.
There's also the special choice "From Base Look" which means that the gamut compression parameters are loaded from the selected base look, if any. Note that this is an experimental setting, and exists now mostly for backwards compatibility. With version 2 of the gamut compression algorithm you can configure it in detail directly in the adjustment dialog so there is no need to resort to configuration files.
Regarding the old sRGB/AdobeRGB presets: The gamut compressor is not "exact", that is even if you set it to "sRGB" (the smallest gamut) it may produce colors outside of that gamut. The reason is that some clipping is desired otherwise scenes like sunsets will look flat and dull. The "Strong" variants applies a contrast compression in addition to a pure saturation compression, which further compresses the gamut.
How strong compression to use is a matter of taste, and it also depends on how well your raw converter can handle gamut compression in itself. The default setting works well in a variety of conditions and is about the same strength as found in typical bundled camera profiles. The gamut compression effect can be hard to see in "normal" images as it only affects high saturation colors — in other words you should use images with bright high saturation colors when comparing the effects of the various settings.
If version 2 compression is used, you can if you desire configure it in detail. Normally there's no need to do so, but for those that want precise control it is now available.
The gamut compression settings dialog contains the following elements (1-6 exists and is the same for all three gamuts, inner, destination and clip):
As you see the gamut compression algorithm works with three gamuts, inner, destination and clip. Normally the inner is smallest, destination a bit larger and clip the largest.
The gamuts works as follows: all colors inside the inner gamut will be unaffected, ie not compressed at all. Anything outside the clip gamut will be clipped rather than compressed. The range between the inner and clip gamut will be compressed such that it fits between inner and destination gamut.
In the version 2 algorithm, the gamuts are true 3D volumes defined in Lumariver's unique linear-extended CAM02 technical color space. This means that the algoritm can work with colors in a hue-constant way and that it won't break apart even for colors that are outside the human locus (such theoretical colors do occur quite frequently in profile making).
A typical gamut volume will become narrower when nearing the whitepoint or blackpoint, or in other words for very light or very dark colors high saturation cannot be achieved. To avoid making too strong compression it is often worthwhile to enlarge the destination and clip gamuts, using the whitepoint and blackpoint offset settings. This will lead to more clipping near whitepoint and blackpoint, which while not hue accurate will keep more saturation.
Currently it's not possible to visualize the gamuts in the user interface, which indeed would be helpful. You can export the gamuts and open them in a third party app to view them though. Configuring gamut compression is a highly technical task and at this time intended for advanced users.
Note that the software also performs clipping in a smart way, so even with gamut compression disabled or with only weak compression, colors are clipped wisely:
Purpose: select a (subtle) look to apply on top of the generated profile.
The currently available looks are:
Note that the changes are so subtle that they may be difficult to see depending on subject material. This is intended. While you can design strong looks if you want to, we think that highly subjective looks are better left to the post-processing tools in the raw converter, and profiles should just concentrate on giving a good realistic result that can be used as is, or as a well-defined starting point for creative post-processing.
Purpose: when log output is enabled make it possible to apply look adjustments in a more practical gamma.
This setting is only applicable and visible for Cube profiles with a log output gamma selected.
When the output gamma of a Cube profile is a display gamma, the look adjustments are conveniently applied after the tone operator to make final adjustments in a range that is suitable for display. With a log gamma however, the linear full range is available to the look adjustments, which for video cameras can be a huge highlight range, meaning that the normal range appears very dark. While it is possible to make adjustments in this space, it can be a bit unpractical. Therefore you can in the case of log output adjust the workspace for the look adjustments:
Purpose: add subjective look adjustments that are applied last, after tone reproduction operator, gamut compression and base look.
Manually tuning the look with look adjustments is intended for advanced users that have very specific ideas of how the colors out of camera should look. It's documented in the separate section about look adjustments.
In the export tab you convert the internal Lumariver Profile Designer profile to a DNG, ICC or Cube LUT profile and save it to disk. The export tab is named according to the project's export format.
Purpose: set a descriptive name of the profile to identify it in the raw converters.
This is usually the string that shows up inside your raw converter, so choose the name wisely so you can differ profiles from each-other. (Some raw converters use the file name instead though, so it's good having the habit to choose a descriptive file name too.)
Purpose: set the copyright string.
A typical copyright string would be "Copyright your name". This string is usually not shown in the raw converter.
Purpose: restrict how the profile is allowed to be used.
This DNG profile-specific field specifies how you as the profile creator wants the profile to be used. Not all raw converters care about this flag, and it's not by any means a copy protection, but it provides an opportunity to display your intentions. The alternatives are the following, and the explanations for each value comes from Adobe's DNG specification document:
Purpose: embed Adobe's standard color matrices instead of using Lumariver Profile Designer's calculated color matrices, in order to avoid a white balance shift for custom white balances in Adobe's software.
Due to a design choice made by Adobe, their software doesn't store custom white balance settings as true RGB multipliers but as temperature/tint and thus the actual result becomes dependent on which color matrices the profile has.
When calculating a profile in different software with different targets the color matrices don't become exactly the same if the camera is the same. That is Lumariver Profile Designer's color matrices won't exactly match Adobe's own, and this means that if you have set a custom white balance in Adobe's software and change from an Adobe Standard profile to your custom profile the white balance will shift slightly.
To avoid this you can instead copy the color matrices from Adobe's standard profile into your custom profile. This will only affect the white balance handling, not the color as such as there is a different matrix for that (the "Forward Matrix").
Note that if you're not using Adobe's software this may not apply, as different raw converters handle white balance in different ways. There's no harm to copy the matrices even if you don't need to though, so if unsure how the profile will be used leave the setting checked.
Naturally, the color matrices can only be copied if you have the Adobe profile installed. If not uncheck this setting otherwise the export will fail.
Purpose: specify if the forward matrix should be the real one, or a compressed one expanded by the LUT to avoid clipping issues for ultra-saturated colors.
This technical setting should be left at its default unless you have a special need that requires the embedded forward matrix to be the real one rather than a compressed version that is expanded by the LUT. The key reason for disabling this setting would be if you want to make a compact matrix-only profile.
In the normal case this should be enabled to make sure that ultra-saturated colors are not clipped prematurely.
Purpose: specify the gamut of the color space the Cube LUT will produce its output to. Should always be set.
The gamut should match the environment where the Cube LUT will be used, which typically is in a project in a video editor.
If you do not find your desired gamut in the list of options, you can choose the custom option and load a gamut from an ICC profile or JSON file, where the format is the same as in the static settings file, and a self-explanatory example is given below. Advanced users may also choose to permanently extend the list of gamuts by adding new gamuts to the static settings file.
{
"Name": "Aces AP0",
"RGBPrimariesXY": [ [ 0.7347, 0.2653 ], [ 0.0000, 1.0000 ], [ 0.0001, -0.0770 ] ],
"WhitePointXY": [ 0.32168, 0.33767 ]
}
Purpose: make the profile alter the white balance in the target photo to the calculated optimal white balance, useful in some reproduction workflows.
There are many workflows regarding reproduction photography, one is where you set the white balance in-camera before shooting the target, another is to have a fixed white balance in-camera (say Flash setting), and then let the profile itself correct the residual white balance offset based on the white calculated from target. This setting is intended for the latter. That is it's probably only useful for fixed reproduction photography setups.
The setting is suitably combined with the "Neutral: From Reference" setting in the optimization tab, which then means that the white is entirely controlled by the target reference values.
Purpose: make a denser LUT (higher resolution) to support sharper bends in the color correction, useful in some reproduction cases.
While the DNG profile LUT is always made quite high resolution by necessity (due to how curves and LUTs interact in the format), ICC and Cube profiles can normally be made more compact and this is the default for general-purpose profiles.
However, if you desire a denser LUT table, for example to make it better follow strong corrections, you can enable a high resolution LUT. It's never harmful to have a high resolution LUT except that the profile becomes larger and takes longer time to render. This is the default for reproduction profiles. Do note that if you actually need a high resolution LUT to get better matching, there is a risk that the profile has too strong bends to produce smooth gradients.
The export profile button (named differently depending of the project's file format) will open a dialog where you can choose where to save your exported profile, and choose filename. If the profile hasn't been rendered yet it will be rendered before the dialog opens. If the profile can't be rendered (for example if the target grid is not placed yet), this button is disabled.
Consult the documentation of your raw converter to find out where it wants its custom profiles stored.
For DNG Profile projects there's a text below the export profile button that displays the camera's make and model, which will be embedded in the resulting profile. The make and model is retrieved from the primary target image. Many raw converters, including Adobe's, require that the make and model exactly matches what they expect to make it show up in the raw converter's profile selection. As long as the target raw image is actually shot with the camera model that the profile is made for it will work out fine.
If you by some reason would require the make and model be different than it is in the target (for example to test a profile made for camera A on camera B which is different but has the same sensor), you will have to use the Inspect/Edit Profile tool to manually change it after you have exported the profile.
The purpose of the profile comparison tab is to provide efficient means to compare the often subtle rendering differences between different profiles on a number of test images of your choice. When making active design of the tone curve and look, using real scenes rather than the target images to evaluate different settings is very useful.
You can also load generic TIFF or JPEG images, such as an in-camera JPEG, for comparison.
The comparison tab does not allow for side-by-side comparison (view two images simultaneously side-by-side) but is instead designed for swapping back and forth between images you compare. There is a good reason for this — side-by-side comparison doesn't really work when the differences are relatively small, or very large. One reason is that viewing angle is often suffering. A display, even one with good viewing angle, is usually only fully accurate when viewed exactly perpendicular. With side-by-side viewing the viewing angles become different and sub-optimal.
Another more critical problem with side-by-side viewing is that of eye-brain adaptation. For example, the eye-brain will adapt to the contrast in the image, and then modulate how saturation is perceived. If you view two images side-by-side with different contrast the adaptation will be somewhat in-between, and the lower contrast image may look over-saturated while the higher contrast image looks under-saturated.
The proper way to compare images is to view image A, straight on to avoid viewing angle issues, and then swap to image B, wait a couple of seconds for the eye-brain to adapt and then evaluate differences. In other words, layered on top much smaller differences can be detected than if viewed side-by-side, and it's also feasible to compare images with different contrast.
One typical and very useful comparison when designing general-purpose profiles is as follows: make a profile without any tone curve or look (that is a reproduction style profile) which then can be used for reference for colorimetric accurate colors. When starting to work with tone curve, look and subjective adjustments you can in the profile comparison tab duplicate test images and load the colorimetric profile on one of them, and use the current project profile on the other. This way you can make A/B swaps with a known reference. As the colorimetric profile has no tone curve it will render much darker. Use the exposure setting to push exposure so midtones became about equally bright (about 1 stop), then it becomes easier to compare.
Why is comparing to the colorimetric base profile useful? When you design a general-purpose profile with subjective adjustments you may find that you'd like to adjust some color because it seems to be "off". Why is it "off"? Is it because there is something wrong in the colorimetric matching, or is the look or tone operator introducing some color distortion, or is it just your taste on how certain colors should be rendered? If there actually is a problem in the colorimetric base profile it's better to correct that first by adjusting the matrix and/or LUT optimization, rather than post-correcting in the look adjustment editor. If you correct colorimetric errors in the look adjustment editor that look cannot be re-used on other profiles as they may not have the same colorimetric errors.
In other words, as the profiles are layered from colorimetric base profile and up it's desirable to know in which layer a color problem is introduced so you can make appropriate design decisions.
The target image(s) is always available in the image selection drop-down list, and those cannot be removed or re-ordered. Below the list there are buttons to add, drop, duplicate or move an image up in the list (to reorder).
To change the viewed image you use the mouse to pick the image from the drop-down list, or you use Shift+Up keys or Shift+Down keys. The keyboard control works also if there a different tab in view, except for the target tabs which only show the target images.
For most effective A/B swapping you can re-order the list (using the "Up" button) so the key images are next to each-other.
Note that the image selected in the Profile Comparison tab will stay visible when you change tabs, except for the target tabs. This can be useful if you want to view a specific image when adjusting the tone curve, making manual look adjustments or make other changes to the profile. For that to make sense the viewed image must of course have the "Current Project's Profile" as the selected profile.
You can change the profile of the current selected image. The available choices are context sensitive. For DNG images you can choose the embedded DNG profile, and any profiles found associated to the Adobe DNG converter (if installed), plus the project's current profile and any extra profiles you choose to load with the "Add Profile" button.
For JPEG and TIFF images you can only use the embedded profile. If the image lacks a profile, sRGB is used as default. However if you're making an ICC profile, the TIFF images are seen as "raw" images and you can in addition to the embedded profile use the current project's profile or any extra profiles you load.
Any loaded profiles can later be dropped by selecting the profile for some image and press the "Drop Profile" button.
You can adjust the currently viewed image's exposure. This can for example be used to make a linear curve image easier to compare to the same image with a contrast curve applied. Then you would push the exposure of the linear image to make midtones match in brightness with the other image.
You can apply negative exposure, but note that there is no highlight reconstruction in this software so if you have a clipped highlight it will be rendered flat gray.
For DNG profile projects the exposure is followed by two informational numbers in gray text. Those are 1) the DNG baseline exposure embedded in the currently selected DNG file, and 2) the DNG profile baseline exposure offset in the currently selected profile. The exposure is added to these two values and form the final effective exposure displayed last.
Baseline exposure offset of the own profile is specified in the tone-curve tab. Baseline exposure in the DNG file is a constant that is generated by the DNG converter when the DNG was generated, and may differ depending on ISO or other camera shooting settings.
Note that some of Adobe's bundled camera profiles actually have negative exposure offset, and thus to some extent rely on the raw converter's highlight reconstruction to produce a good result in images with clipped highlights (such as a sunset). The look of those highlights cannot be correctly rendered in Lumariver Profile Designer, and as highlight reconstruction is not standardized results may also vary between raw converters.
Purpose: change white balance of the currently viewed image, using a list of presets.
The reason to change white balance is usually to be able to better compare test images with each-other. Note that copying another image's white balance doesn't guarantee that the tint becomes the same, as it requires the light to be the same in both images too.
For ICC profile projects when TIFF files are loaded as "raw" images rather than real images there are no illuminant presets, there's just the Target's white balance (available after the profile has been rendered), the "As Shot" (which means the original white balance of the provided TIFF image), and "Custom" where you can set your own white balance via the multipliers or by using the white balance picker.
You can also copy a white balance preset from another image in the comparison list, just choose the entry with the image's name.
For DNG profile projects when real raws are being used there are more presets to choose from based on various illuminants. When TIFFs or JPEGs are loaded in a DNG profile project those have limited white balance presets as they are not true raw files. Matching white balance of a JPEG with a DNG raw is thus something that you need to do by eye or by having some common white balance color picking target.
Here's a list of the illuminant presets available for DNG images:
Adobe's illuminant names (daylight, cloudy etc) corresponds to what you find as white balance presets in Adobe Lightroom. Note that other raw converters may have other presets, as there is no standard on how presets should be derived.
Purpose: change the white balance of the currently viewed image by picking any color in the image.
By pressing the "Pick WB" button the image view will wait for a click inside and the re-balance the image so that the color under the pointer becomes neutral (R=G=B). In other words, this works as the white balance color picker found in any raw converter.
When clicked it the "Pick WB" button becomes active and gets a double outline. If you change your mind and don't want to pick a new white balance click the button again to deactivate.
Purpose: manually set a custom white balance of the currently viewed image.
Internally in raw converters the white balance is decided by multipliers (weights) on the red green and blue raw channels. This is generally considered too technical to show in raw converter user interfaces which instead use some sort of conversion to a temperature/tint number. With DNG profiles this conversion is documented in the DNG specification and thus "standardized", but few except Adobe themselves actually use that model. With ICC profiles all raw converters have their own proprietary ways to convert RGB multipliers to some sort of temperature and tint.
In Lumariver Profile Designer the RGB multipliers are shown, and you can manipulate the white balance using these numbers. However its main purpose is informational, and it's generally easier to set the white balance using the white balance picker button ("Pick WB"), or using presets.
For DNG profiles and DNG raw files these multipliers are on the actual raw values which are the same regardless of the camera's white balance setting.
For TIFF files the white balance is already set in the file, so these multipliers then only becomes an alteration of the already set white balance, so multipliers 1,1,1 means that there is no change.
Purpose: set a custom white balance via temperature and tint.
The temperature and tint settings are directly translated to RGB multipliers, which are the actual values stored. They are translated using the white balance model specified in the DNG specification and used by Adobe's software. Other raw converters using DNG profiles may or may not use the same way to convert the multipliers to and from temp/tint so these settings may or may not be directly transferable to your favorite raw converter.
Purpose: if enabled the temp/tint numbers will be the same as with Adobe's profiles, which may be useful if you will use the profile in Adobe's software.
Typically you should also have "Use ACR Color Matrices" checked in the "DCP Export" tab, which means when you export the profile it will also use Adobe's color matrices. See the documentation for Use ACR Color Matrices for the reasons why you may want to do this.
Purpose: export a TIFF image of the rendering shown in the image view.
The exported image will be 16 bit and have the ProPhotoRGB ICC profile embedded.
Optimizing the matrix manually is perhaps the most difficult aspect and at the same time the least important, so it shouldn't be the first thing you do with this software. If you run the software in reproduction mode the matrix optimization dialog is actually not available as it doesn't make sense to hand-optimize in that context.
The reason it's a bit difficult to work with is because a matrix is linearly matching the target patches, which means that if you improve matching on one patch, some other patch(es) must become worse, and this interconnection is not easy to predict, so it's a trial-and-error process.
Therefore if you do intend to optimize the matrix manually it's wise to not have too many patches. A 24 patch color-checker is fine, but it doesn't make much sense to play with a 288 patch IT8 target as it's very difficult to overview, and since you're making a linear match anyway having lots of patches doesn't contribute to better precision. If you do have a large number of patches in your target, you can deactivate most of them and leave a smaller number for the matrix optimization part, and use the remaining for the LUT optimization.
It's harder for cameras to linearly match ultra-saturated colors, so if your target contains that it can lead to that normal saturation colors will suffer. Therefore we recommend using patches within the "matte" range when it comes to manual matrix optimization.
The matrix optimization dialog contains the following elements:
The matrix optimization dialog is designed for a specific workflow, follow it and the optimization process will go smoother. The optimizer always starts with a standard best fitting of all active patches, and then it runs a refinement pass on top based on manually specified refinements. The refinement pass is a best effort fitting of all active refinements, meaning that if it's not possible to meet all refinements at the same time it makes a compromise. Here is where trial and error comes into play — it's next to impossible to know in advance if the refinements will be possible to meet or not, and how much it hurts the matching of the other patches (those not included in refinement), so one makes a test run, adjust, run again, over and over until satisfied.
Each patch can have one of four states:
To deactivate a patch you increase the error limits to unlimited, there's a shortcut button ("Set Unlimited") to do so on individual patches, and a shortcut preset ("Preset: All Unlimited") to deactivate all.
When a patch is active, it's either active without any manual refinements specified, or with it. To enable manual refinement error limits, check the "Enable Patch Limits" checkbox for the selected patch.
Note that the renders inside the matrix optimization dialog is for the matrix only (for speed), so when you exit the dialog and render the full profile, the main window "Show Previous" button will show what was previous before doing matrix optimization.
If refinement limits could not be met the exceeded limits are shown in red. If you still are satisfied with the result you can just accept it as is, that is there is no problem leaving the optimizer with exceeded limits.
Also check out the advanced tutorial which contains a couple of matrix optimization examples.
The typical way to manually optimize a matrix is to start with "No Refinement" but let all patches be active, and then add refinement to two-three patches. You may then notice that the matrix is quite stable, it just wants to be in a certain way and it can be hard to make large things happen (with results still being sane). Then there is an alternative approach: start off with as few active patches as possible, that is generate a matrix from only 3-6 patches and go from there:
Using this workflow with only 3-6 patches and trial-and-error you can start to see trends, which colors that work against each-other. What you see is the native camera behavior. To get some colors in a certain direction, you may need to accept large errors for others. In the end it's likely that you will end up with a result very similar to the automatic optimization, and that is natural. A matrix is just a mix of the camera's native raw channels, so the native response will shine through in one way or another.
With the patch sort drop-down you can choose to sort the patches in many different orders. Sorting becomes most in handy for large targets, say IT8 targets which has more than 200 patches, while being less important for small targets where you can see all patches at once.
One reason to sort patches is when you want to select only a sub-set of patches to be used in matrix optimization. Than you can sort in a desired order to get the most interesting patches in the start (or end) of the list and use the presets "Preset: Set Unlimited Fwd" and "Preset: Set Unlimited Rev" to in one sweep deactivate all patches you don't want included.
Another reason to sort is to get a quick overview of how the errors are distributed.
The sorting function also exists in the similar LUT optimization dialog, and the documentation of the various patch sort orders can be found there.
The preset drop-down provides a few alternatives to quickly set up various refinement configurations. There are the following alternatives:
The lower part of the dialog contains a scrollable area with all the patches from the target. When clicking on a patch you select it and can make per-patch settings.
Below each patch there are matching statistics, split on lightness (L), chroma (C) and hue (h). The numbers shown are CIEDE2000 split on each axis. If those numbers are grayed out, the whole patch has been disabled (its error limits set to "unlimited").
Each patch is diagonally split, the top left shows the target reference color, and the bottom right shows the resulting color of the matrix optimization. The colors shown are the actual colors (make sure to use a calibrated screen for most accurate result), meaning that you can judge the errors "by eye" too as a complement to the CIEDE2000 error numbers which you should know is not that perceptually accurate, that is sometimes the visual error is larger than the CIEDE2000 numbers indicate, and sometimes less.
To the right of each patch there are three ranges, split on L, C, h. These are the configurable error ranges for the manual refinements. If grayed out they're not active (default).
After rendering the matrix (by pressing the "Calculate Matrix" button) the table may show some errors in red. Those are specified refinement limits that could not be met. As the matrix matching is a linear equation its rather limited in how it can match profiles. Concerning an exact match it can match the neutral patch plus two, but add one more and an exact match is highly unlikely to be possible (like a three legged stool, add a fourth one and if the legs doesn't match one will hang in the air). If you increase the error limits or refine fewer patches it becomes more likely that a solution can be found.
To refine a patch from the basic optimization you specify maximum accepted errors using the sliders, which work separately on lightness, chroma and hue, both in positive and negative direction.
The sliders contain gradients which visualize what the actual range setting means in terms of color error. For lightness negative means darker, positive lighter, for chroma negative means less saturated, positive more saturated, while for hue negative means smaller hue angle and positive larger hue angle. What larger/smaller hue angle actual means you can see as either warmer or cooler hue, look at the hue gradients on the slider to see which change the positive or negative change leads to.
The patch error limit unit is CIEDE2000 on the axis adjusted.
If you want to strive for an exact match you leave all sliders at zero, otherwise you increase the tolerance range by moving the slider handles. It's common to move the tolerance for lightness all the way to the end of the slider which turns the values to unlimited (=ignore that axis), shown with the infinity symbol (∞).
For the hue axis it's common to leave one slider on zero and just increase the other, to avoid that a color becomes cooler (or warmer) but care less about an error in the other hue direction.
For chroma it's common to accept higher under-saturations than over-saturations, as an overly saturated profile is less stable and makes it more difficult to make a good overall match.
The "Set Unlimited" button is a shortcut to set all axes to unlimited, and thus deactivating the patch. The "Reset Patch" button removes any refinement settings. With the "Enable Patch Limits" checkbox you toggle the use of the patch limits. It's automatically checked when you move a slider.
When deciding to refine a patch, it's a good idea to first press "Set Unlimited" and keep the axes that you think is okay unrefined at unlimited, and only limit where you want improvement. Setting a small range on an axis that really don't need improvement may throw the matrix off balance and produce a worse result.
Uneven light and glare in the target photo hurts the lightness axis and dark colors the most. Know that before you consider fine-tuned manual refinement. You should always start with target shot of as good quality as possible, this is more important than having a custom-measured reference file for your target (although that too is good to have).
Concerning matrix refinement strategy, here are a few guidelines:
Let's transfer this broad advice to a popular real target, the X-Rite ColorChecker 24:
If you have a large target with glossy high saturation patches, don't worry too much about the precision of the most saturated patches. They're hard to match with a matrix, and taking them too much into account may lead to a worse match of normal range colors.
The LUT optimization dialog comes in two slightly different versions, one for 2.5D LUTs and one for 3D LUTs. They work the same, with a few settings that differ.
The LUT optimization dialog contains the following elements:
The LUT optimization dialog is designed for a specific workflow, follow it and the optimization process will go smoother.
When the LUT is optimized it's first made for a 100% match of all active patches (which may have been grouped together a bit based on the minimum patch/chromaticity distance setting), then it's relaxed according to the global relax parameters ("Worst compression" / "Maximum Bend"), and finally it's relaxed further towards the maximum accepted error limits specified for each patch.
The final destination for the relax is the linear matrix, that is full relaxation means that the result is the same as with only the matrix.
Each patch can have one of three states:
Here's how you work this process:
Note that the renders inside the LUT optimization dialog is made for the LUT only (for speed), so when you exit the dialog and render the full profile, the main window "Show Previous" button will not show the previous render inside that dialog but what was before doing LUT optimization.
Also check out the advanced tutorial which contains a couple of LUT optimization examples.
The split patches shown in the patch table will per default show the target reference color in the top right half, and the result of the native LUT in the bottom right. However, there are other options too, which you select by choosing one of the options in the Patch Split drop-down.
First you need to understand the difference between the "Native-LUT" and the "Export-LUT": Lumariver Profile Designer has its own internal LUT format, which actually isn't a plain lookup table, but a mathematical model based on the target measurements and optimization parameters. This is the native LUT. When the profile is exported as an DNG or ICC profile this native LUT is sampled to create a real LUT in the format supported by the profile, this is the Export-LUT. As the exported LUT's resolution is limited it will not exactly match the native LUT, but it should be very close. If not, there's probably smoothness issues with the LUT, that is too sharp bends (which should not be the case with default parameter settings).
The Export-LUT result is mainly relevant when you make reproduction profile, as if you apply a tone curve and tone reproduction operator and gamut compression there will be additional conversions made in the final LUT.
With the patch sort drop-down you can choose to sort the patches in many different orders. Sorting becomes most in handy for large targets, say IT8 targets which has more than 200 patches, while being less important for small targets where you can see all patches at once.
One reason to sort patches is when you want to select only a sub-set of patches to be used in LUT optimization. Then you can sort in a desired order to get the most interesting patches in the start (or end) of the list and use the presets "Limits: Exclude Forward" and "Limits: Exclude Reverse" to in one sweep exclude all patches you don't want included.
Another reason to sort is to get a quick overview of how the errors are distributed.
The same type of sorting is available in the matrix optimization dialog. The following sorts are available:
The lower part of the dialog contains a scrollable area with all the patches from the target. When clicking on a patch you select it and can make per-patch settings.
Below each patch there are matching statistics, split on lightness (L), chroma (C) and hue (h). The numbers shown are CIEDE2000 split on each axis. If those numbers are grayed out, the patch limits are not enabled, that is the LUT will not try to improve matching for them. The statistics are still valid though (assuming the LUT has been rendered).
Each patch is diagonally split, showing colors according to the patch split setting. The colors shown are the actual colors (make sure to use a calibrated screen for most accurate result), meaning that you can judge the errors "by eye" too as a complement to the CIEDE2000 error numbers which you should know is not that perceptually accurate, that is sometimes the visual error is larger than the CIEDE2000 numbers indicate, and sometimes less.
To the right of each patch there are three ranges, split on L, C, h. These are the patch error limits, which can be set automatically with a preset or be adjusted manually.
When the LUT is rendered (by pressing the "Calculate LUT" button), the patches in the table will get some informational highlighting:
When a patch has its error limits enabled (check "Enable Patch Limits"), the LUT optimizer will strive to meet the target range, as specified with the lightness, chroma and hue sliders, both in positive and negative direction.
The sliders contain gradients which visualize what the actual range setting means in terms of color error. For lightness negative means darker, positive lighter, for chroma negative means less saturated, positive more saturated, while for hue negative means smaller hue angle and positive larger hue angle. What larger/smaller hue angle actual means you can see as either warmer or cooler hue, look at the hue gradients on the slider to see which change the positive or negative change leads to.
The patch error limit unit is CIEDE2000 on the axis adjusted.
If you want to strive for an exact match you leave all sliders at zero, otherwise you increase the tolerance range by moving the slider handles. For example, it's common to move the tolerance for lightness all the way to the end of the slider which turns the values to unlimited (=ignore that axis), shown with the infinity symbol (∞).
The tolerance sliders works the same as for the matrix optimization dialog, but unlike the matrix optimizer the LUT has much better ability to match a target as it can do non-linear corrections. While the global relaxation and grouping parameters usually make a 100% exact match for all patches impossible, you can often come pretty close. However, this is a tradeoff between smoothness and accuracy. The idea is that you should not correct more than you need, and this is what the tolerance sliders are for.
The LUT optimizer starts off with an as accurate match as possible, and will then start relaxing towards the linear (matrix) result, while keeping within the specified tolerances. When it has reached the tolerance limits for all patches (or the linear matrix result) it stops. In other words, the LUT optimizer will make an as poor matching as allowed by the tolerances in order to make the LUT as smooth as possible.
Purpose: avoid clipping of extremely saturated colors before the LUT correction is applied.
The linear matrix alone will most likely push some extreme values out of gamut and clip them. If you want to make sure no values will be clipped before the LUT is applied, this setting should be enabled. The only drawback is that for a relaxed LUT the same precision cannot be had with colors very close to clipping.
Note that the setting has effect even if the LUT makes no corrections, so if you want the color to be the result of the matrix alone disable this.
It's enabled per default for general-purpose profiles, and disabled for reproduction profiles.
Purpose: merge nearby colors together to one point for correction, to improve smoothness.
The "Minimum Patch Distance" of the 3D LUT and "Minimum Chromaticity Distance" of the 2.5D LUT do the same thing, which is merging nearby patches to form single correction handles in the LUT, and thus avoid sharp bends that otherwise could occur.
For the 3D LUT the distance is in Delta E (roughly equivalent to CIEDE20000), for the 2.5D LUT the distance is in chromaticity using the "DCamProf LUT" space, meaning that lightness is disregarded. Use the default values and modify from there to experiment. It's generally best to stay at the default values though.
If you don't want any grouping to take place, reduce the value to zero.
Purpose: avoid too strong bends in the LUT that could cause poor smoothness.
The "Maximum Bend" of the 3D LUT and "Worst Compression" of the 2.5D LUT do the same thing, which is setting a limit for how sharp non-linear bends there can be in the LUT corrections. The value goes directly into the underlying LUT relax algorithm, which is different for the 2.5D and 3D LUT so you cannot use the same value for both, see below:
When changing these values it's best to start with the default value and work from there with trial-and-error. It's generally best to stay at the default values though.
Purpose: make the 3D LUT correction fade out towards the white point, black point or both to make smoothest possible transition to them.
The 3D LUT allows for correcting colors very close to the white point and black point. As a result of that the transition into clipping may not be optimally smooth. By fading out the correction close to the white point or black point or both any smoothness issues are avoided, with the drawback of less precise correction.
For a profile made for reproduction work where you can guarantee that no clipping will occur, you can set this to "None" which assures that the correction is not disturbed by any fadeout.
If you are making a reproduction profile it rarely makes any sense to do anything else than use the automatic default settings. The LUT optimizer has been carefully tuned to produce robust trusty profiles.
A reason to play with LUT optimization even for reproduction work could be that you want to experiment to make a profile with a 100% exact match and see how much it differs. Another reason would be if you have some particular colors that are more important than others, say a set of company logotype colors, then you can make the LUT match those exactly.
Most of the time you would use it at the default settings though, but you can still open up the dialog to get matching statistics and diagnose problem colors.
When it comes to general-purpose profiles there may be some more interest to tune the LUT. The first question to ask is if you really need any LUT correction at all. You may be surprised of how well a matrix can match normal-range colors in a modern camera. Even if you disable the LUT ("No Corrections"), the final profile is likely to have a LUT due to the gamut compression and the tone reproduction operator and any subjective color adjustments you apply, and actually it's in these aspects a profile's LUT is doing most work. The color correcting part is generally only minor, which it should be to avoid any smoothness issues.
If you want to hand-tune the LUT for your general-purpose profile, you may consider to start by hand-tuning the matrix. The closer to the desired result the matrix is, the less work the LUT needs to do. In the matrix refinement advice section for the matrix optimization there are advice concerning specific color properties, and you can apply the same to the LUT optimization.
When you optimize the matrix you should focus mainly on normal range colors (that is not too high saturation), and you can then use the LUT to correct the high saturation colors.
When matching doesn't meet the target due to patches have been grouped together or the worst bend/compression setting is limiting how sharp turns the LUT can make, think more than once before actually changing those parameters to allow more aggressive correction. There's always a smoothness vs accuracy tradeoff, and bad gradients can really hurt an image. If you let the LUT make an aggressive correction be sure to thoroughly test your profile with various images to make sure that it doesn't introduce visible artifacts.
By pressing the "View/Edit" button beside the curve selection you open up a curve dialog where you can view the tone curve, and optionally edit it as a (cubic) Spline, that is a smoothly interpolated curve between custom handles.
Here are the elements in the tone curve dialog and their functions:
If the selected curve is "Custom Spline" you edit the curve by adding handles and dragging them around. It works like this:
The tone curve dialog feature set has been specifically tuned to make it as easy/powerful as possible when it comes to designing the tone curve you want. There are a number of ways you can design a tone curve, for example:
If you are using Capture One or any other ICC raw converter that uses a combination of a user-selectable curve and an embedded curve, be sure to check out the section on Capture One curve handling as it can be a bit confusing in the beginning.
The reason any custom curve or preset isn't editable directly is that they are not defined as spline curves, but rather as thousands of linear segments. Thus you need to use your human judgment to make an approximate match using a spline. Don't overdo it — a spline tone curve rarely needs more than 5 to 7 handles.
If probing is used, the CIECAM02 JCh color space and the J (lightness) option is a good measurement to use as reference when making curve adjustments. Note that depending on tone operator used it varies a bit how the curve is exactly translated, and in the preview mode always the simplest tone operator is used. Low saturation colors are those that behave most similar to the final render. If your current curve differs much from the last render, you can press the main window's "Render" button again to refresh, making the preview more precise.
The tone curve dialog is re-sizable, making it large is useful when fine-tuning a custom spline.
Sometimes the images render a bit too dark or too bright, so you may want to adjust exposure. That can be achieved by adjusting the spline curve, and if you're experienced with that you can probably do it on free hand. If not, the template curve exposure setting is there to help. With that you can scale the currently selected template with the given positive or negative exposure, which you then can manually trace.
Increased exposure will cause bright parts of the image to clip, and reduced exposure causes the camera to never reach the whitepoint. This is seen when the template curve is scaled. This means that you should not trace the clipping curve all the way, but at some point your spline should bend off to the whitepoint. Where you start the bend is a matter of taste, and that's why the software doesn't do this type of exposure adjustment automatically for you. A broad guide is to make the transition long rather than short so the curve doesn't get too sharp bends.
If you are making a DNG profile there is a setting called baseline exposure offset which is an exposure offset built-in to the DNG profile format. You can make exposure adjustment with that rather than with the curve, but then clipping behavior is up to the raw converter rather than the profile. Most likely it will clip straight off, so making a curve which bends off to the whitepoint can be a more elegant solution with finer highlight rendering.
If you want to play around with exposure adjustments before actually adjusting the curve, you can use the baseline exposure offset (DNG profile only), or the exposure setting in the profile comparison tab. That way you can first decide how much you want to adjust the curve, and then make the design towards a set exposure value.
When matching in-camera JPEGs or other finished renders, be aware that many rendering engines apply some sort of automatic black subtraction. With DNG profiles it's a setting in the profile itself (not all raw converters honor it though). For ICC profiles there is no such setting, but the raw converter might do automatic black subtraction anyway.
If deep shadows end up blacker in your raw converter than in the Lumariver Profile Designer preview, there's likely automatic black subtraction applied in that raw converter, and then you may want to compensate by making shadows a bit lighter, that is reduce the shadow dip in your tone curve.
Try to (roughly) match overall brightness with the in-camera JPEGs, as the camera's auto exposure function is tuned for that.
Just like the audio system with louder volume sounds "better" when two are compared, the profile with stronger contrast and deeper shadows tend to look "better", more "punch" and "pop". However, a strong contrast profile is not as practical for post-processing (it's easier increase contrast than to reduce it). In other words, a profile made to impress out-of-the-box should probably have quite high contrast and a deep shadow dip (be careful if it is to be used with portraits though), while one intended to be used when further post-processing is made most of the time should have a bit softer contrast and open shadows.
Some cameras or raw converters provide profiles for different subjects, for example one for "Portrait" and one for "Product", and you could do that too. In terms of tone curve it's common that a portrait profile has a bit softer contrast, and a product profile a bit stronger.
The "Edit Look Adjustments" dialog is opened by pressing the button available in the "Look" tab. It's used for manually applying subjective changes to color in the final stage, that is after the matrix and LUT, after the tone curve and tone reproduction operator, the gamut compression and any look preset.
The dialog may look overwhelming at first, but if you are used to color editors in raw converters like Capture One you'll notice that it works in a similar way, just with more detailed control and more modes.
It works according to the following principles:
The colorspace used for the adjustments is CIECAM02 JCh which is a perceptual uniform space, meaning that if you for example change hue angle but keep lightness and chroma the same the new color will indeed have the same lightness and chroma as the old as seen by our eyes. For profile design working in a perceptually uniform space is an advantage, but one drawback is that different hues go out of gamut at different levels which may take some time to get used to in the user interface. For example, to our eyes there exists much brighter and more saturated reds than blues, so while chroma can reach 200+ for red, it goes to only 90+ for blue. The sliders will only show valid colors, out of gamut is clipped to black and if a slider is pulled into that area it jumps to the next valid color.
The DNG profile format does not allow the LUT to change the neutral axis. This is due to how the format is designed and is nothing Lumariver Profile Designer can do anything about. This means that you cannot tint the neutral axis (that is make Sepia toning for example), and you cannot change lightness either (make grays darker or lighter) other than by changing the tone curve.
The ICC format does not have this limitation and neither does the look adjustments editor, which means that you can make adjustments that will not have any effect if you work on a DNG profile project.
The following adjustment types are available:
The plain adjust and temp/tint types are straight-forward. The stretch variants may be a bit more difficult to grasp, and the effect when used is generally very subtle, so you may need to use the outer range of the sliders to really see what happens.
Let's discuss the "Stretch Hue" type. You select a span of hues around the anchor color that should be affected (the "Stretch Span"), select a large one to see the effect. Then you can choose to concentrate all hues towards the anchor hue, or push them out to the sides, the strength and direction controlled by the "Stretch Hue" slider. You can also shift the center of the stretch using the "Shift Center". Above the sliders there's a split color bar that illustrates the effect. The upper half shows the hues before stretching, and below after.
So what is this adjustment used for? Used over a smaller range and with more sane settings it can be used to even out skin tones for example, or the opposite increase color separation in some range. The hue stretch adjustment is generally the most easy axis to stretch, it can be a bit more difficult to work with the lightness and chroma axes.
(Stretching the lightness axis corresponds to changing the contrast, and if you want to do that you may want to use modifier curves in the tone reproduction operator as an alternative, available through making a custom base look.)
The Apply Lut adjustment was introduced in version 2 and allows for applying a Cube LUT as an adjustment. As adjustments can be chained you can thus apply several LUTs one after another.
Video workflows have popularized applying looks via LUTs and this look adjustment feature brings this over to Lumariver Profile Designer. Note that if you want the LUT to be applied over the whole image you need to disable the span.
It's also important to specify which gammas and gamuts the LUT is designed for which you can do in the settings. Ideally the gamuts are the same as used in the project. If not, any gap will be interpolated.
The look adjustments are for the most part designed to make small subtle changes to the look as Lumariver Profile Designer is primarily intended for making profiles that are anchored in realism. Usually when LUTs are involved however the change in look are often quite drastic so this function introduces an easy way to apply strong looks. However, the software is still not intended to do the job of a pure LUT designer, it may introduce more such functions in the future, but as of now you are better off using a third-party LUT designer software if you want to make a creative look that departs far from realism.
Here are a few tips when working with the look adjustment editor
If you want to make some special type of adjustment and you don't find a way to do it with the look editor or any other way, please let us know. You may convince us to add a new feature or a new adjustment type.
At the time of writing there is no function to copy just the look adjustments from one project to another, but you can work around it. The obvious solution is to simply save the project with a different name and then load new target images and change other settings you need.
You can make a more direct copy though: as the
project .lrpd
files are just text files in JSON format,
you can use a text editor and copy the LookOperators
array from one file to another.
The reproduction edition supports multi-target, that is instead of using just one color-checker target you can complement it by adding an extra target, or individual color patches. The typical use case is in reproduction where you use some standard color-checker target as base, and complement with important colors, for example from a company logotype, paint samples or similar (which don't need to be in a grid target, you can use the free-form target). You could also use it to say combine a glossy target to cover high saturation colors with a matte target for normal saturation colors. Up to five targets can be used.
Here's how you add an extra target:
Add a target using the small drop-down in the top-right corner of the target tab.
Removing the current sub-target is also made from the drop-down. Note that the first sub-target (1/2 in this screenshot) cannot be removed.
If you have multiple targets loaded it's likely that some patches overlap, that is they have the same or similar colors. Either you choose to include all patches anyway (and get an average correction for the overlapping patches), or you can use the multi-target merging functionality in the customize reference colors dialog to exclude overlapping patches.
In a reproduction use case it's typical to use one large standard base target, and then complement with important spot colors. In that case it's wise to exclude patches in the base target that are close to the spot colors to avoid any issues with metamerism, that is when a base target color similar to the spot color has a significantly different spectral distribution and may cause a somewhat contradicting camera response, and would thus reduce the accuracy of the spot color matching if included.
The multi-target merging is operated the following way:
Multi-target example. The first target is a 14x10 ColorChecker SG, and the second target is four free-form spot color patches, seen as the bottom row with four patches. In the left screenshot all patches are included.
In the right screenshot the Multi-target Merging buttons have been used to exclude overlapping patches from the ColorChecker SG, like this: select Overlap range (1), choose to exclude from the first target, Sub-target 1 (2), and press the "Exclude Overlapping Patches" button (3). To make it easier to spot which patches that are still left the excluded ones have been hidden (4).
Here's a tutorial with files to make a dual-illuminant DNG profile. As the files are downloadable you can follow this tutorial exactly and come to the same result. To give a broad and deep insight into the software the tutorial uses many functions and is thus more advanced than it needs to be if the only purpose is to quickly make a great profile.
We have four target photos, all which you can download if you want to follow the tutorial step-by-step:
It's for an old camera, a Canon 5D Mark II. While much have happened since in terms of dynamic range and other sensor aspects, not that much has happened concerning color response.
The setup used for shooting the targets is a very simple, but still yields excellent results together with the flatfield correction feature. Flatfield correction is a must, because there is only one light source and thus uneven light. This is what makes the setup good:
Even if you spend a lot of money on a professional reproduction rig it's hard to get any better result than the budget setup presented here. For matte targets as we shoot here it's a bit overkill, a regular outdoor shot is fine too. In less-than-perfect target shots there will likely be quite large lightness errors, which is generally not a problem when you make general-purpose profiles as you don't correct lightness. However if you work with manual matrix and LUT tuning like we do in this tutorial it can become a bit confusing if the target shots have significant measurement errors.
Using voltage tuned halogen is old-school but relatively inexpensive and still the best performers in terms of even spectrum. Using flash is a good secondary choice for simulating daylight.
See the shooting targets section for further advice on how to shoot targets.
Move to the "Optimization" tab. We're going to make some manual optimization, that is specify which tradeoffs to make in color matching. It's not really necessary to make a good profile (you can skip this section if you want), but here we just want to show how it can be done.
Let's get started: change to "Matrix Optimization: Manually Tuned", and press the "Tune Matrix #1" button to open the matrix optimization dialog for illuminant #1. That is we start with the daylight matrix. In the dialog, press "Calculate Matrix" to get a starting point. Result in image below:
The split patches show the correct reference color in the top left half, and what the matrix result is on the bottom right. (In case you have forgot, the matrix makes color matching in a 100% linear way, which is later fine-tuned with a non-linear LUT. Check out the profile-making theory section for more information on that.)
Let's evaluate this unrefined automatic result, with our taste tuned to the matrix refinement advice section. Here are some observations:
As the matrix is 100% linear, that is just a combination of the camera's native raw channels, this is where the camera's "native color" shines through the most. The resulting color response can still be varied extensively by the matrix, but certain relative relationships are hard to change without severely hurting overall color accuracy.
You'll notice quite clear lightness difference on a few patches. Lightness, while being the easiest detectable error in a split patch, is the least important error to correct in a general-purpose profile. Why? In a real scene lightness errors don't look "strange" to our eyes, as it could just be some difference in lighting. As hue and saturation remain fairly constant regardless of light or eyes react much stronger to such errors even when not having a reference to compare to. Still we don't really want colors become too dark, such as deep blue (the Negative Y range limiter at the default value usually avoids that though).
Lightness is also typically the largest measurement error in target shots. In this tutorial we have minimized it with flatfield correction, but without that and just slightly uneven light on the target the lightness "errors" in the matrix matching would be much larger, when in fact they're just measurement errors due to an unevenly lit target. To see what the error is without lightness, press the "Ignore Lightness" checkbox. Then we see that the errors are actually quite small. They're still there but we need to look more carefully.
Now let's make a some manual refinements. This is a trial-and-error process as described in the matrix optimization section, and thus not really feasible to document step by step here in this tutorial, but we'll outline it briefly. First take a look at the end result:
Note how all sliders for each refined patch except one has been left at infinity (∞) which is typical for matrix refinement. Values we are already satisfied with we don't provide any refinement for, that is leave them at infinity/unlimited.
Here's how we came to this conclusion:
It may seem like the C1 hue limiter is no longer active, as it limits to +0.5 hue but the resulting hue is at -0.7 hue. However, this is not the case which you can see if you disable it and render again. With a matrix all colors are interconnected so it's unavoidable that you get somewhat unpredictable behavior, hence some trial-and-error.
A key to not get stuck in infinite trial-and-error is to only use about three limiters like here, focusing at the worst offenders. You can consider more colors, but if they're fine as they are without limiters, don't add one unless they get disturbed by the other refinements. And if something seems impossible to solve, it's probably because it is impossible.
As it's just a linear match, you can't get a perfect match on all patches. The automatic optimization is already as good as it gets, the "refinement" step is actually just about moving tradeoffs according to your taste. If we compare with the automatic result we can see that some colors did get worse, such as the greens, but we accept that in order to achieve our other goals, which was to get warmer blues and reds and balance the skin tone over-saturation problem.
You may have other goals and come to another conclusion, that's why the possibility exists to tune this manually.
After we've done matrix optimization for illuminant #1, we go directly to LUT optimization for the same illuminant: close the dialog to return to the main window, choose "LUT Optimization: Manually Tuned", and press "Tune LUT #1" to open the LUT tuning dialog. Press "Calculate LUT" if necessary to get a starting point, as shown in the image below:
While the LUT tuning dialog looks almost exactly the same as the matrix counterpart, the specified error limits has a much more direct effect and you work with them a bit differently. The operating principle of the (2.5D) LUT optimizer is this:
This means that we should always have error limits set, unless we want to end up at the matrix result — which by the way is not necessarily bad. A quite common design choice is to actually skip LUT correction completely. Here we make one though.
The "Limits: Auto No Lightness" sets up the error limits with unlimited lightness (no lightness correction), and small chroma and hue errors, with a bit larger margin on higher saturation colors. From the matching stats we see that it succeeded meeting all limits except for dark skin patch A1. This is not surprising considering the issues we had with the A1 patch in the matrix optimization. We also see that it has been merged with A2 to a single group (dashed outline).
When patches are merged the LUT optimizer will only have a single handle for those groups. The patch error limits are still shown per patch, and the merge handle will use the smallest value found in the group for each axis. Merged patches are as such are a bit difficult to control. Usually it's not a problem as the default average correction is generally a good one. However here we have a challenge, the A1 and A2 patch have as we have seen contradicting errors, they strive in opposite directions. Do we want an average correction anyway, causing both being off, or do we want to prioritize one over the other?
Another radical solution is to reduce the minimum chromaticity distance setting so that they are no longer in the same group and correct each patch individually. This is generally not a good idea though, making different corrections of nearby patches will likely cause smoothness issues, and the skintone range is arguably the most sensitive range for that.
We can also see this in a positive way: it's the camera color filters that makes this separation, an example of when a camera provides more color separation than our eyes do, and that can be seen as a subjective advantage. Having it in the skintone range is a bit odd though, but it's not much we can do about it in order to retain smoothness.
Let's have a look how we ended up after our subjective adjustments:
We adjusted the standard preset slightly, like this:
An important aspect of the LUT optimizer to understand is that even if a patch is deactivated or within the error limits with the pure matrix result the patch may be moved rather than kept at the original matrix position. The reason for this is that when one patch is moved, surrounding patches will most likely be moved slightly too to maintain maximum smoothness (the least possible amount of stretch in the LUT's "rubber sheet"). This means that we should keep our eyes on all patches to see that their new positions doesn't contradict our priorities in the matrix optimization. (To compare the LUT result with the matrix result the Patch Split setting is used.)
In this case exactly that happened, blue and red became cooler although we preferred warmer, so that's why we set the limits on Blue C1 and Red C3. Then we had the skin tone issue. For smoothness reasons it was not a good idea to modify parameters to correct A1 and A2 individually, and then we either had to correct just one or be satisfied with the average correction. As it's clear that the A1 error would be quite large regardless, we decided to deactivate that patch and instead improve the precision of one of the light skin, A2.
Another aspect of the 2.5D LUT optimizer to be aware of is that chroma and hue is tightly connected as the "rubber sheet" works on chromaticity (hue+chroma combined). This means that if you improve/reduce error limit only on hue or chroma, the other axis will most likely move a bit too. So while the control certainly is more direct that for matrix optimization, it's still affected by the inner workings of the LUT optimizer and its top priority to maximize smoothness.
Now let's do the same procedure again for tungsten (illuminant #2). As you do it in exactly the same we describe it more briefly. There's one difference though — the camera has a much harder time to match colors in this light. This is common and not unique to this camera model. Daylight 5000K - 6500K is generally much easier for cameras to match than (warm) Tungsten 2700K-3000K.
Due to the larger errors we get to make much more radical optimization decisions, as we will see below. First let's have a look on the automatic matrix optimization:
As we can see the errors are much more significant here than for daylight, even if we ignore lightness errors. Subjectively, the largest problem is the huge -3.1 DE hue error on the light skin.
Here's how we chose to manually optimize it:
Here we have done something radical — we have deactivated all patches except white, blue and light skin. Why? The goal was to improve the light skin (A2). We already knew that A1 wouldn't be easy to manage, so we have sort of ignored that for now (which ended up with a huge +4.4 hue error, but at least in the warm direction which we think is subjectively better than the opposite). When a matrix contains quite large hue errors already in the automatic optimization this generally means that in order to improve hue matching on some patch there must be large compromises on other colors.
The automatic optimizer treats all colors equally and can't make too large compromises, so the only way is to exclude patches from the optimization. As we knew we wanted to get a good match on light skin, we started by excluding all ("Preset: All Unlimited"), added in a neutral patch, the skin tone, and then with trial and error added in one other patch. Trying red or blue are good starting points as they are located on the sides of the spectrum, but there's no real guide here, just try and see what happens. Quite quickly we ended up with this result which still has large errors, but in the right directions, and obviously very good match on skin.
All three patches have an exact match. This is often (but not always) the case when there are just three patches in the optimization, one can think about it as a three-legged stool which will stand flat on all three legs even if they are of different length. This is overkill, and arguably we could have included a fourth patch such as the magenta C5 to balance out a bit, that reduced the red patch error a bit.
Actually, when you got a feel for how this works you can to some extent predict what will happen when you add one more patch. The red C3 has a +6.4 hue error. If we add that in it's error will be strongly reduced, but at the cost of pushing skintone into magenta again. To reduce the red C3 error more gently we thus include a color a bit farther away from the skin tone but still quite close to red, and voila we get magenta C5. For reference this is how it looks:
With a target with more patch colors to choose from you can make finer adjustments this way (as you get more "handles" to manipulate), but the CC24 is generally adequate and it's easier to work with small targets than large ones.
If the first or second alternative is better is a matter of taste. In this tutorial we went with the first, and then got into LUT optimization. Let's have a look on the automatic result:
Again the grouping of the skin tone becomes a problem due to the camera's property that natively separates them strongly. Here and there the LUT optimizer can't reach the default matching goals, and the reason is that the matrix match is too poor and thus too strong stretches would be required to make a fit (which the Worst Compression setting makes sure doesn't happen).
Let's look at how we chose to optimize this manually:
Again, with the difficult matching situation we have chosen to simply ignore most patches and concentrate on keeping skin at a good match, and reduce the red error. As discussed earlier moving one patch does affect surrounding patches so we've had our eyes on them too. The C5 chroma limitation was added just to limit over-saturation, which actually moved red C3 to a better match than we actually thought necessary.
There's still quite large errors here and there, but that's generally unavoidable for this type of light. When having large errors choosing tradeoffs becomes more important. Making sure the final look has a "warm" tone to it is a good strategy especially for tungsten as our eyes are often partially chromatically adapted in those situations anyway (making colors have a warmer tone). Not all colors became warmer though, cyan for example got cooler. But to get a warm feel it's more important that a color with warm associations like red, is not cooled down rather than a color with more cool associations, like cyan.
Note that there is no "right" way to do these tradeoffs, it comes down to taste in the end and that's a reason why different raw converter's bundled camera profiles look so different even for the same camera. This tutorial is just one example of how to make these tradeoffs, you may choose other ones.
While working with these optimizations you may have looked at the target images once in a while and see how the patches there are rendered, and noticed that some of them look rather desaturated and not really like the colors in the optimization dialogs. This is normal. As the targets in this case have been "exposed to the right" (ETTR) and the profile uses a tone curve, the patches will be rendered in the highlight rolloff range and thus be a bit desaturated. Target photos are rarely good for evaluating profiles.
When making a DNG profile it's typical to stay with the "ACR Default" tone curve and automatic black subtraction, like most of Adobe's own profiles. However, as this is an advanced tutorial we're going to design our own tone curve. There are a number of ways to do so, as described in the tone curve design section. Here we chose a (mostly) free-hand approach using a reference image.
When designing our own curve it's wise to try replicate the brightness of the in-camera JPEGs, as the automatic exposure control in the camera is tuned for that. Any mundane pretty high contrast shot is good as a reference.
Go to the profile comparison tab and press "Add Image" to first add the raw file _MG_0715.dng, and then again to add the in-camera JPEG _MG_0715_preview.jpg. The JPEG was shot with the camera's "Neutral" setting which for this model makes a quite under-saturated image. After loading:
Note that we can change the image viewed in the profile comparison tab from the keyboard using Shift + Arrow Up or Down, which can be quite convenient in this case. Now we go to the tone curve tab and open the tone curve dialog. Our design approach is as follows:
The first curve (leftmost) is the spline trace of the ACR default curve we use as starting point. Note how close it can be traced with just three handles.
The middle curve shows our end result. We added an extra spline handle for additional control of the highlight slope. The midtone contrast and highlight rolloff is a bit softer than the ACR Default, and the shadow dip a bit stronger.
The third curve shows the curve embedded in Adobe's bundled "Neutral" profile for this camera (which can be loaded as a custom curve). That profile is intended to be a fair copy of the in-camera Neutral mode. Our observations show that indeed the softer rolloff is mirrored quite well, but the shadow range is much lighter and has a strange shape. While you could load it and use it directly, it would be better to use it as an alternative template and design a softer spline tone curve inspired by it.
The final design we ended up with here has quite strong shadow dip, inspired by the in-camera JPEGs. For a more post-processing friendly profile it's wise to use less shadow dip and thus leave more open shadows. You can download the exact curve used in his tutorial, tutorial.rtc, which then can be loaded in the tone curve dialog.
Of course you could or even should use more reference images to get a good feel for if the curve has suitable contrast, highlight rolloff and shadow openness, for example adding a portrait image. It depends on what you will be using the profile for. If you actually load those images into the profile comparison tab, or just use one image to design the curve and then later test the image in the raw converter is your choice. Our recommendation is to only use one or two reference images at first, test the profile, and if there are problems add more, or adjust on free-hand. Having lots of reference images to look at easily leads to fatigue when designing, and usually you end up with a good result with just one when it comes to the tone curve.
Now let's go to the Look tab. The defaults are very effective here, and we think there's little reason to change them, and actually we will only change one thing for this tutorial. However, first we will go through the other settings too and say a few words about them:
Consider each setting from the top and down, first is to choose tone reproduction operator, which has a quite large impact on the look. You can read more about each choice in tone reproduction operator selection reference documentation. We recommend to primarily look at the following tone reproduction operators and variants, in order:
The remaining alternatives (ACR, RGB, Simple) are more for reference/tradition and should not be considered for high end tone reproduction. It's all a matter of taste though, there are no strict rules regarding what to use.
If you choose any of the Neutral alternatives you can make a manual curve saturation adjustment. A typical choice is to slightly under-saturate a profile to make it more post-processing friendly. The automatic mode aims to keep as realistic saturation as possible, that is neither over- or under-saturated.
Most bundled camera profiles have quite strong gamut compression, and this is also the default setting in the look tab. More technical users may want to manually handle the gamut in post-processing and to cater them you could change to a weaker compression or disable it completely.
The base look choice can be a bit tricky for a dual-illuminant profile. The alternatives are generally developed for daylight/flash and might not work as well in tungsten light, but only one look can be applied. The solution is generally simply prioritize daylight which may be a good idea as tungsten cannot reach the same quality anyway due to the camera's matching difficulties.
For this tutorial we change the base look to "None", because we want to demonstrate how some of those look elements can be made in the look adjustments editor.
Don't use a target image to evaluate the look, use real images which you load into the profile comparison tab. Again it's suitable to not have too many images in the project as it becomes fatiguing. It's better to export the profile and make volume evaluation in a raw converter which provides faster browsing.
After you have chosen the basic look parameters, it's time to consider if you want to make any manual look adjustments. In this tutorial we will demonstrate by making adjustments similar to what is in the "Neutral+" look.
The main reason to edit the look should be to make subjective adjustments. It should ideally not be used to correct color matching errors, if you have such problems you should look into the earlier design steps first. However, for minor corrections (less than 1 DE) it may be necessary to do it here to get really precise control.
Some typical subjective adjustments found in camera profiles are:
The first bullet, compensating for the tone reproduction operator, is common when simplistic operators are being used such as the plain RGB curve. With the neutral tone reproduction operator there is generally no need for this though, unless you disagree in some aspect of what it does. Working with manual adjustments is quite easy if you know what you want to achieve, but hard if you just want to "make something good" but you don't really know what that would be. We can't really provide a detailed instruction on this, as it's not a technical process, it's an artistic process guided by your personal taste. The software provides the tools, but it cannot make any user into a master profile look designer.
What you can do is to look at several renderings using different raw converters and profiles from different vendors and gain understanding of what aspects you like and not. The difficult part is to be able to quantify — not just say that you like A better than B, but be able to say why you like A better than B. If you know what A does right and B wrong, you have a good chance to make that type of subjective adjustment using the powerful look adjustments editor.
Let's get on to our changes. First we're going to make a classic landscape subjective adjustment:
This provides better separation between shadows and sunlit areas, and by keeping it very subtle we don't disturb other subjects. Let's have a look on the adjustment:
Adjustment patch 1: warming up yellows and greens of the midtones and highlights.
Adjustment patch 2: the shadow adjustment patch is made as a duplicate midtone/highlights, then darkened and cooled.
To make a before/after comparison you can either use the "Disable Patch" checkbox (you need to disable both patches then of course), or the "Preview" checkbox. The effect is very subtle, but visible, which is the way we recommend to make subjective adjustments. Then you can make real improvements and still don't hurt the capability of the profile to work with all types of subject material. However, if you really want to make a subject-specific profile, like a "Landscape" profile you may want to make the effect stronger.
Let's make an additional adjustment — improve color separation between greens and browns. This can also be seen as a landscape adjustment, in this example shown with pine trees; in reality the bark of the tree has a quite strong green component, by reducing that we separate foliage and trunks in this case. It's not too subject-dependent though as mild greens and browns are common in landscape images in general.
Adjustment patch 3: increase color separation between greens and browns.
This simple technique can be used to "improve color separation", which indeed is about adding controlled amounts of error. However do note that while we increase the separation between greens and browns the difference between oranges and reds becomes a bit reduced — to increase distance between a pair of hues, the distance must reduce to the other neighboring hue. This is the key reason we fade out on chroma. Saturated brown is orange, and we want to keep the hue range intact in the saturated range (colors of sunsets etc). The brown/green "problem" is only evident in the lower saturations so that's where we let our adjustment work.
For our final adjustment we're actually doing the opposite — reducing color separation. We're making colors close to gray even less saturated, which makes grays "purer":
Adjustment patch 4: make neutrals more neutral.
Now we're done with adjustments for this tutorial.
The final step is to export the profile. Set a name of the profile that suits it.
One setting may be worth changing from the defaults, which is the Use ACR color matrices setting. If you're not using Adobe's raw converters you probably want to uncheck it. See the reference documentation for more details on what this setting does.
Test it in your raw converter with a larger amount of images than you used when designing the profile. If you discover a problem image you can then use that when reviewing the design. Note that there will always be "problem images" though; as a profile is static it cannot be perfect for all images, there's always some tradeoff. That's one reason why we prefer neutral, realistic and only subtle subjective adjustments to the profile as it makes it more all-around. However, do note that it's perfectly feasible to make subject-dependent profiles, one for portrait, one for landscape, one for product etc and then you can make more specific adjustments.
If you want to produce output for HDR displays there are broadly two ways. Either you make a LUT directly fro the HDR display format, usually Rec.2100 HLG or Rec.2100 PQ, both available as display gammas, or you make a scene-referred profile by using a reflectance gamma. Aces workflows are also gaining popularity, and the Aces color spaces and gammas are also available in Lumariver Profile Designer.
There are many variations in the details of the workflows, and probably some of the adjustments are left to the video editor. The intention is that Lumariver Profile Designer should provide enough flexibility so you can use it regardless of which HDR workflow you choose.
Lumariver Profile Designer uses a set of technical color spaces in its operations. The most notable are:
In the general case for making a color correction LUT we need to operate in a color space that is uniform, that is anywhere in the color space moving one unit in any direction means the same perceptual color difference. This way a bend in the LUT grid will perceptually be equally strong regardless where in the color space it is, so bend relaxation doesn't overdo it in some color range while doing it too little in some other.
CAM02-UCS is a standard color space that has very good perceptual uniformity, and that is used when generating a 3D LUT. However darker colors are harder for the eye do separate and thus they are closer spaced in CAM02-UCS. When we make a 2.5D LUT we don't know the exposure in advance and thus do not want to make a difference between light and dark target colors.
This is where the custom Lutspace come in. It is uniform in the chromaticity plane, and for a reference lightness also uniform in the lightness direction. However it will not differ between dark or light colors, ie dark colors are placed at the same distances as light, so it does not matter which exposure the target has.
In the standard realm CIELUV is such a coordinate system and Lutspace version 1 is based on that. However it's chromaticity is not as uniform as CAM02-UCS, so Lutspace version 2 was introduced which has the same uniformity as CAM02-UCS in the chromaticity plane, but is lightness independent. Unlike CAM02-UCS it is also clipless extending linearly outside the locus into infinity which make it a very robust color space for general-purpose profile making.
In gamut compression (and clipping) it is important to be able to move a color along a constant hue axis, that is to change its saturation and lightness but keep the hue the same. Again CAM02 provides the gold standard for constant hue. However close to the locus this model gets strongly non-linear, and outside the locus the model simply fails. In a realworld scenario with real cameras this is a problem. The more saturated a color is, the more extreme response we will get from a camera and we may get "impossible" colors that are near or outside the locus. To handle this robustly, Lumariver Profile Designer uses a linearly extended CAM02 color space. It's similar to Lutspace v2, but keeps the sensitivity on the lightness axis as this space is used in losely output referred contexts.
Note that older color spaces like Lab, uvY and even the 1931 xyY are also designed to be reasonably uniform. Within limited ranges they are indeed quite uniform, but vastly more computationally intensive models are required to better match the actual human color perception. In the past it was not possible to make better models due to lack of computer power, and even today models with high accuracy like CAM02 is not often used due to its computational requirement.
Lumariver Profile Designer is built to prioritize accuracy over speed, and uses the best models at hand even if it leads to significantly longer run times.
In the Lumariver Profile Designer installation "data" directory
("Resources" in the MacOS version) there is a file
called settings.json
which contains various static
settings for the software. It's read once at startup. It is intended
only for settings that normally don't need changing and we therefore
don't want to clutter the graphical user interface with. If you are an
advanced user with very specific use cases you might want to change
one of these settings. Please note that if you do change any of these
settings it may be harder for us to provide support. Currently the
following can be changed:
The full documentation of each setting is in the file itself. As it's "hidden" inside the installation it's a bit hard to find and edit, which is on purpose, as the file is not intended to be modified by normal users.
If you're making DNG profiles it's strongly recommended to install Adobe DNG Converter (it's free) as Lumariver Profile Designer will fetch the Adobe Standard profiles from there. When profiling a new camera, make sure to update the DNG converter to the latest version first. If your camera has a special type of color filter array (like Fuji X-Trans) a plain raw DNG cannot be loaded into Lumariver Profile Designer as it only supports classic Bayer arrays. However, by using the "Linear RAW" (demosaiced) conversion option in Adobe DNG Converter the DNG can be opened and you can make a profile.
If you have a spectrometer you can measure your targets and illuminants. For that you can use BabelColor PatchTool, Robin Myers Imaging SpectraShop, or the free and open-source software ArgyllCMS, exporting to CGATS.17 text format which then can be loaded into Lumariver Profile Designer.
Argyll is a command-line software with very rich and broad functionality so it can be cumbersome to use. To make it easier the next sections contains a couple of quick guides for tasks relevant in the Lumariver Profiler Designer context.
If you work with video and need curves for custom input gamma for example, the free LUTCalc tool can be useful, which can generate curves and LUTs from many popular cameras. See the LUTCalc 1D LUT section for a howto.
If you have a spectrometer (usually designed for printer profiling) you can measure your target and generate your own reference text file (CGATS.17 text format) with spectra, which you then can load in the target tab using the "Load Custom Reference" button. The commercial tools like BabelColor PatchTool and Robin Myers Imaging SpectraShop makes this process easy and are well documented. If you're okay with using command line tools, you can as an alternative use the free Argyll, like this:
First create or find an Argyll .ti2
text file which
contains the test target layout needed for the spectrometer scan. Note
that Argyll is distributed with .ti2
files for many of
the popular commercial test targets. For example, the file is
called ColorChecker.ti2
for the X-Rite ColorChecker 24.
Then scan the target with Argyll's chartread
:
chartread -v -H ColorChecker
Replace ColorChecker
above with the filename of
your .ti2
file, but exclude the actual suffix, that is if
the file is called ColorChecker.ti2
, you just
provide ColorChecker
to the command.
You now got a new file with the same name but a .ti3
suffix, that is ColorChecker.ti3
. That file contains your
reference data with full spectra and is ready to be loaded into Lumariver
Profile Designer.
The best way to measure light source is to do a full spectral measurement using a spectrometer. If you have Argyll installed you can do this with:
spotread -a -H -x
Example output for a voltage-tuned halogen for simulating the StdA standard illuminant:
Result is XYZ: 2976.277908 2745.506152 849.883672, Yxy: 2745.506152 0.452895 0.417779
Ambient = 2745.5 Lux, CCT = 2856K (Delta E 9.368483)
Suggested EV @ ISO100 for 2745.5 Lux incident light = 10.1
Closest Planckian temperature = 2749K (Delta E 5.815527)
Closest Daylight temperature = 4000K (Delta E 42.884670)
Color Rendering Index (Ra) = 95.5
Here we see that we get CCT 2856K which is very close to the 2850K for
StdA (don't mix it up with the closest Planckian temperature, 2749K
here). This is for about 10 volts of an MR-16 halogen lamp specified to
3000K. As seen here spotread
can in addition to storing
spectrum files be used as a guide when voltage-tuning halogen light
sources.
Before quitting save the spectrum ('s' key in spotread
),
the resulting file contains the spectrum and can then be loaded into
Lumariver Profile Designer as a
custom illuminant.
To generate a 1D LUT that can be used as custom input gamma by Lumariver Profile Designer you can use the online web tool LUTCalc like this:
There's a trick to get Capture One's bundled camera profiles if you don't want to mess around with searching files on disk, and that is simply to open Capture One, open an image for the camera in interest, make sure that the profile you are interested in is selected, and make sure that no adjustments are applied, and then use Color Editor → "Save as ICC profile..." and save the profile somewhere you can find it.
If you prefer to actually find where the files are stored on disk and
get them directly from there you need to make a search. The Capture One
ICC profiles comes with the installation, and the file suffix used
is .icm
(ICC profiles either have .icc
or .icm
suffix).
On MacOS the Finder is unfortunately not designed to find files inside application packages so it's a bit difficult to use that to find the profiles. While the Finder can open the Capture One application package (right click and choose "Show Package Contents") its search function won't drill down into library directories where most of the profiles are stored so you would have to browse manually. So for the Mac it's actually easier to use the Terminal and run a command like:
locate .icm | grep Capture\ One
and see what you find (there will be hundreds of hits as Capture One contains hundreds of camera profiles), and then copy/paste a found path to the Shift+Command+G "go-to folder" dialog in the Finder and browse from there. If you just want a list of the file names (to figure out the naming convention) you can run this command:
locate .icm | grep Capture\ One | grep Input | awk -F"/" '{print
$NF}'
Or redirect it to a text file:
locate .icm | grep Capture\ One | grep Input | awk -F"/" '{print
$NF}' > profile-names.txt
On Windows it's a bit easier to find files using the standard file
Explorer, just search for *.icm
on the disk where Capture One is
installed (or even better in the directory), and once you have figured
out the directory you can go there and browse.
The file naming is logical so you can figure out which profile that belong to which camera (and the daylight, flash, tungsten variants for those that have that).
If you give your custom profile just any filename,
like my-profile.icc
it will show up under ICC Profile
→ Other → my-profile inside Capture One. This is just fine, however, if you
want the profile to appear in the top of the list among the bundled
camera profiles, you must name the profile the same way Capture One has named
the bundled profile(s).
For example, for the Phase One P45+ digital back the file name is
PhaseOneP45+-Daylight.icm
for the bundled daylight
profile. If you make a profile for that digital back and name
it PhaseOneP45+-My Profile.icc
(.icm
or .icc
suffix doesn't matter) it will appear as "My
Profile" together with the bundled ones. That is the naming convention
is <CameraPrefix>-<Any Profile Name>.icm
. The
problem is that you need to figure out what camera prefix Capture One
expects, and to do so you need to find out what camera prefix the bundled profile(s)
has. See the section on finding Capture One's
bundled camera profiles to find them. When you find them you still need
to figure out which profile belongs to which camera, but it's generally
obvious from the file names.
The many curves of Capture One (and raw converters like it). The resulting curve (green) and thus the contrast you see in the rendered images, is the user-selectable base curve (magenta) with a small contrast curve added on top (embedded in the profile, red). As you can see most of the curve's shape come from the base curve, but the extra curve in the profile adds a little bit of midtone contrast and a significant shadow dip.
The reason for splitting curves in two like this is that in Capture One the base curve is applied with the simplistic RGB tone operator, which causes significant over-saturation and hue shifts if used with stronger S-curves. By using a softer curve and combining with a custom tone operator in the ICC profile the negative side effects can be controlled, still allowing user-selectable contrast with the same profile. However, do note that optimal result can only be had when the profile is used together with the base curve it was designed for. (Lumariver Profile Designer takes the curve into account when making profiles, that's why it needs to know exactly what curves that are used in Capture One.)
Input curve and target TF are handled automatically per default, so you can ignore them, but read on if you are interested in what they are: the exported profiling TIFF images are encoded using a special gamma curve (Input Curve, blue). The reason for this is purely technical — to compensate for limitations in the 16 bit integer precision, leaving more precision to shadows and less to highlights (actually it's a bit overkill as cameras themselves are not as precise, and therefore most raw converters use a linear input curve, but Capture One is an exception to this rule).
In the exported TIFF image Capture One embeds a transfer function (Target TF, gray), and this would be the same as the Input Curve if the user-selected curve inside Capture One is "Linear". However, "Linear" in Capture One is not always truly linear, due to handling of highlights and clip levels. This is seen in this example where the target TF follows the same shape as the input curve but has left some space in the highlight range.
All curves shown here can be viewed for your particular project in the tone curve dialog using the template selection.
Most raw converters let the camera profile take care of the tone curve in full, that is the camera profile embeds and applies the tone curve (meaning that the "Result Curve" in the figure would be embedded in the profile). Capture One is however different, and splits the tone curve in two, one user-selectable part inside the raw converter ("Base Curve", magenta), and one smaller part that is embedded in the profile ("Profile Curve", red), which together forms the resulting curve (green).
The user-selectable base curve makes up for 90% of the curve effect, so many assume that the profile itself is linear, but it is not — it applies a small amount of contrast. The reason for this is to battle some of the negative effects of the pure RGB tone curve that is used for the user-selectable part. RGB tone curves distort hues, but by choosing the curve shapes (and RGB primaries) wisely the effect of this can be minimized, and by combining it with a small amount of contrast embedded in the profile using a luminance curve (or similar) you get a nice end result — which is how Capture One does it.
While a third-party profile designer could ignore all this and still make okay profiles, it must be considered to make great profiles. Lumariver Profile Designer does this and therefore you need to go through a few more steps when making a Capture One profile.
The profile designer must know what the end result tone curve will be in order to optimize the profile for that (why this is important is described in the section about tone reproduction operators). It must also know how much contrast that should be put into the profile itself ("Profile Curve"), and how much that will be the user-selectable part ("Base Curve"). As you can change base curve and still keep the profile, you need to choose which base curve the profile should be optimized for, which usually is the one named "Film Standard" inside Capture One. The profile will still, like Capture One's bundled camera profiles, perform well with other curves but the optimal result is only had when used with the same curve used when making the profile.
Let's look in the Lumariver Profile Designer's ICC Profile mode "Tone Curve" tab and how that relates to Capture One:
The easiest way to deal with tone curves in Capture One is just copy what the bundled profile provides. However, much of a general-purpose profile's look is a result of the shape of the tone curve, and you may want to control that, using one of the presets or even designing your own curve. In that case you could use "Curve Mode: Replace Base Curve", and just choose or design the curve you like.
If you select an own curve you should carefully choose which user-selectable curve you use inside Capture One. It's desirable that the user-selectable curve is of lower contrast than the curve you choose for the profile. In theory it doesn't matter as any curve will be compensated, but as the ICC profiles are based on integer math, precision could be hurt if the user-selectable curve is of stronger contrast, and may result in banding.
Also note that even if many of the bundled camera profiles share the "Film Standard" curve name, it's not the same curve for all profiles. If you want to copy a specific profile's curve you need to use that when exporting.
Another and potentially safer way to design your own curve is to use "Curve Mode: Add to Base Curve" and instead of loading the bundled camera profile's curve you design your own to add a smaller amount of contrast on top. This way you won't risk any strongly conflicting curves, but it's also a bit less flexible.
In April 2018 Adobe released a new profile format which they call "Enhanced Profiles". This does not make the DCP format (DNG Camera Profile) obsolete, but is instead a profile that you apply on top of DCP and possibly directly on JPEGs to apply color grading effects.
We have naturally got questions when/if Lumariver Profile Designer will support this format. The short answer is that there is no need. The reason is that the enhanced profile format is mainly for creative color grading, to apply a 3DLUT after a camera profile has been applied. Lumariver Profile Designer is made for creating camera profiles which indeed may have some subjective elements to them but are still anchored in realism. Creative color grading is applied on top of a (more or less) realistic camera profile, and there is plenty of software out there to design 3DLUTs for that. In other words it's not the domain of Lumariver Profile Designer which makes camera profiles, not color grading filters. Never say never though, but for the time being there are no plans to include a full-featured 3DLUT designer or any other reason that would need supporting Adobe Enhanced Profiles.
To make an ICC profile Lumariver Profile Designer must know how to convert the TIFF RGB data to linear data. Normally this is done automatically and there is no need to know what happens under the hood. However some exotic software, usually scanner software, may not embed the required information in the TIFF file (or worse, embed misleading information, usually an incorrect ICC profile) and then you need to add that manually before the file can be used in Lumariver Profile Designer.
The "transfer function" is needed, and it's found automatically either
from the TIFFTAG_TRANSFERFUNCTION
tag or embedded ICC
profile, or in rare cases by looking at the which software generated
the file (like DxO PhotoLab) and then apply a hard-coded rule. If all
this is missing, the data is assumed to be linear, which it most often
is.
However, there are unfortunately some rare exceptions to this rule, software that exports TIFF images encoded with some sort of curve or color space but with no tags embedded so Lumariver Profile Desginer cannot know how to interpret the data. In this case you need to either add the transfer function tag, or an ICC profile to the TIFF file before using it in Lumariver Profile Designer. Fortunately this is only required for making the profile, as the generated profile will know the encoding curve and will thus work on the bare TIFF files. If you want to use test images for comparison in the profile comparison tab also those need to be prepared the same way.
The usual case when tags are lacking and the file is still non-linear is that the TIFF file is encoded with a gamma (an exponential curve). Common values are 1.8 and 2.2. Look in your software's documentation to find out which gamma it is using for encoding the TIFF, or just take a guess (1.8 or 2.2 are then good guesses).
Using the Add transfer function to TIFF tool you can add the desired transfer function to the file before it's loaded for profiling.
Another alternative is to force your software to export linear data, that is gamma 1.0, which may be available as a setting.
Here's a list of release notes for the different releases of Lumariver Profile Designer, newest first.
project.lrpd
.
We want to thank the beta testers, early adopters, and users of the command line DCamProf (core engine) that has helped making Lumariver Profile Designer into what it is today. Every sold license also means a lot to us, that helps us taking the product even further.
Lumariver Profile Designer uses many third-party libraries. Here's a list:
In addition to the above libraries Lumariver Profile Designer also uses standard system libraries, and an OpenMP library that provides multi-core support.
It's important to us to respect third-party software that has made this project possible, and comply to all licenses. Most of these libraries have permissive licenses that doesn't require citing the license or even mentioning that the library is being used (we mention them anyway). Some do require repeating the license in the documentation though, and those are cited below:
Thin plate spline:
Copyright (C) 2003, 2004 by Jarno Elonen
Permission to use, copy, modify, distribute and sell this
software and its documentation for any purpose is hereby
granted without fee, provided that the above copyright
notice appear in all copies and that both that copyright
notice and this permission notice appear in supporting
documentation. The authors make no representations about
the suitability of this software for any purpose. It is
provided "as is" without express or implied warranty.
Libarchive:
Copyright (c) 2003-2009 author(s)
All rights reserved.
Redistribution and use in source and binary forms, with or without
modification, are permitted provided that the following conditions
are met:
1. Redistributions of source code must retain the above copyright
notice, this list of conditions and the following disclaimer
in this position and unchanged.
2. Redistributions in binary form must reproduce the above copyright
notice, this list of conditions and the following disclaimer in the
documentation and/or other materials provided with the distribution.
THIS SOFTWARE IS PROVIDED BY THE AUTHOR(S) ``AS IS'' AND ANY EXPRESS OR
IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED.
IN NO EVENT SHALL THE AUTHOR(S) BE LIABLE FOR ANY DIRECT, INDIRECT,
INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT
NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT
(INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF
THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
LibTIFF:
Copyright (c) 1988-1997 Sam Leffler
Copyright (c) 1991-1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software
and its documentation for any purpose is hereby granted without fee,
provided that (i) the above copyright notices and this permission
notice appear in all copies of the software and related documentation,
and (ii) the names of Sam Leffler and Silicon Graphics may not be used
in any advertising or publicity relating to the software without the
specific, prior written permission of Sam Leffler and Silicon
Graphics.
THE SOFTWARE IS PROVIDED "AS-IS" AND WITHOUT WARRANTY OF ANY KIND,
EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY
WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY
SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR
ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS,
WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY
OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR
PERFORMANCE OF THIS SOFTWARE.