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The way to Flip Profiles Right into a Customized Preset Utilizing Adobe Digicam Uncooked and a Color Card


On this tutorial you will learn to use a color card to recreate the look of an in-camera profile in Adobe Digicam Uncooked, which you’ll then use as a customized preset.

Earlier than You Begin

Half 1: Turning on Profiles in Digicam

In the event you’d prefer to know extra about this step, it is best to learn half 1 of the tutorial, The way to Use Digicam Presets for Immediate Image Types and Customized Color.

Here is a fast refresh of the fundamentals. You’ll discover profile choices in your digicam’s taking pictures menu.

Turning on a Profile in cameraTurning on a Profile in cameraTurning on a Profile in camera
Turning on a Profile in digicam

In my Nikon D800, for instance, it’s in Capturing Menu after which Set Image Management.

Half 1 additionally goes into the way to discover your digicam’s choice to shoot RAW plus JPEG, which you’ll want to have the ability to do too.

Set your camera to shoot RAW + JPEGSet your camera to shoot RAW + JPEGSet your camera to shoot RAW + JPEG
Set your digicam to shoot RAW + JPEG

At this stage, you’ll have chosen an in-camera profile and set your digicam to shoot RAW + JPEG, and also you’re prepared for half 2!

Half 2: The way to Flip Profiles Right into a Customized Preset Utilizing Adobe Digicam Uncooked and a Color Card

On this a part of the tutorial, we’ll replicate the in-camera profile in Adobe Digicam Uncooked earlier than exporting it as a preset. The thought right here is that you’ve got a profile or preset which you could rapidly use after which fine-tune, and it matches the one in digicam.

Photographing Your Color Card

I’m utilizing the SpyderCHECKR 24, however you can also make your individual and it’ll work simply as nicely. As we regarded on the Monochrome digicam profile within the final a part of the tutorial, that’s the look we’ll be working via recreating right here.

With the digicam set to the monochrome or black and white profile and likewise to take RAW + JPEG, take a correctly uncovered (utilizing handbook settings, should you can) {photograph} of the color card. This gives you a JPEG model that has the monochrome profile plus a RAW model that’ll be in color.

the colour card with the black, grey(s) and white side facing methe colour card with the black, grey(s) and white side facing methe colour card with the black, grey(s) and white side facing me
The color card with the black, gray(s) and white aspect going through me

That is the aspect of the color card with the black, gray(s), and white on it. Behind the color card is the scene I’ll be engaged on. Right here it’s with the profile utilized as a JPEG proper out of the digicam:

The photo I'll be working onThe photo I'll be working onThe photo I'll be working on
The photograph I will be engaged on / Marie Gardiner

I took this {photograph} simply after the color card one, so the lighting hasn’t modified in any respect. I’ve the RAW model too, which may have the identical publicity settings however after all received’t have the monochrome profile hooked up.

Open Your Color Card (JPEG) Picture in Photoshop (or one other photograph modifying suite)

Use the colour dropper tool to note your black, mid-grey and white valuesUse the colour dropper tool to note your black, mid-grey and white valuesUse the colour dropper tool to note your black, mid-grey and white values
Use the color dropper instrument to notice your black, mid-grey, and white values

Open your color card picture and use the Color Dropper instrument to seize the values for the black, (mid) gray, and white. Right here I’ve acquired 39 for black, 103 for gray, and 206 for white. Make a remark of your values and shut your JPEG.

Open Your RAW Photograph

Now open the RAW model of your color card picture in Adobe Digicam Uncooked.

the colour RAW image of the colour card the colour RAW image of the colour card the colour RAW image of the colour card
The color RAW picture of the color card

You’ll be able to flip this to B&W within the high proper. Now the concept is to attempt to match the tonal values to these you made a notice of.

flip the image to black and whiteflip the image to black and whiteflip the image to black and white
Flip the picture to black and white and use the sampler to get your tonal values

To do that, you’ll want to pick Toggle Sampler Overlay within the backside proper. 

sample the same values you did with the JPEGsample the same values you did with the JPEGsample the same values you did with the JPEG
Pattern the identical values you probably did with the JPEG

When you’ve accomplished that, pattern the identical locations you probably did in your JPEG, and also you’ll see the values seem above.

Now we are able to begin to nudge the sliders of choices accessible to us to get these values as shut as doable to those you famous down. Begin in Fundamental with issues just like the highlights and shadows.

adjust your slides to get the values as close as possible to the ones you noted down from the JPEGadjust your slides to get the values as close as possible to the ones you noted down from the JPEGadjust your slides to get the values as close as possible to the ones you noted down from the JPEG
Alter your sliders to get the values as shut as doable to those you famous down from the JPEG

In Color Grading, you clearly can’t use the color wheels as you’ll get a tint over your picture, however you should use the Luminance sliders on every wheel, plus the common Mixing and Stability ones, to regulate values.

It’s all a little bit of a nudging numbers sport, however you’ll get there or shut sufficient.

Create Your Preset

one the numbers match (or are close) it's time to make a presetone the numbers match (or are close) it's time to make a presetone the numbers match (or are close) it's time to make a preset
As soon as the numbers match (or are shut), it is time to make a preset

You’ll be able to see on the high that I’ve managed to match the numbers (roughly, forgive me the lacking 1 within the center gray) to the JPEG values, so I can now export these settings as a preset.

data

You’ll be able to create a profile quite than a preset, should you desire. Simply Alt-Click on ‘Create Preset’ as a substitute, and you will get the Profile Menu. You’ll be able to then later entry this in Profiles quite than Presets.

exporting as a presetexporting as a presetexporting as a preset
Exporting as a preset

Within the Preset menu, click on Create Preset and provides it a reputation. I’ve known as mine “COLOUR CARD” to make it straightforward to identify within the record.

Apply Your Preset

Open a New Picture

Now you may open a brand new picture to use your preset. I’ll use the {photograph} taken simply after the color card one after which present you the JPEG model with the Monochrome preset utilized for comparability. That is the picture straight from the digicam.

Discover and Choose Your Preset

Navigate to Presets and underneath Person Presets, select the one you simply created.

Comparability: Uncooked With Preset vs. JPEG With Monochrome

RAW With Preset Vs JPEG With MonochromeRAW With Preset Vs JPEG With MonochromeRAW With Preset Vs JPEG With Monochrome
Uncooked With Preset (left) vs. JPEG With Monochrome (proper)

It’s not unhealthy and would in truth be higher nonetheless if not for me barely overexposing, which reveals up extra within the JPEG, the place the RAW is extra forgiving. There’s clearly a bit extra distinction within the JPEG too because it’s partly ‘processed’ in comparison with a RAW, however there’s nonetheless a bit tweaking that may be accomplished right here to get it nearer, so regulate your Fundamental sliders and maintain referring again to your JPEG as a information.

Abstract

colour RAW imagecolour RAW imagecolour RAW image
Color RAW picture

To come back full circle, I assumed we might return to the picture of the boats I used within the first a part of the tutorial. Here is the color model, above.

JPEG version with the Monochrome profile applied (left) and the RAW image with the newly created preset applied (right),JPEG version with the Monochrome profile applied (left) and the RAW image with the newly created preset applied (right),JPEG version with the Monochrome profile applied (left) and the RAW image with the newly created preset applied (right),
JPEG model with the Monochrome profile utilized (left) and the RAW picture with the newly created preset utilized (proper)

That is the JPEG model with the Monochrome profile utilized (left) and the RAW picture with the newly created preset utilized (proper), with no additional tweaking. You’ll be able to see the be a part of line should you search for it, however at first look that is actually shut. It is in all probability as shut as you will get to good for a preset. Each picture is totally different, so there’ll at all times be a bit nudging across the edges.

As we talked about in Half 1 of this tutorial, in-camera profiles are a good way to see how a picture would possibly work when processed a selected means, or a time-saving option to do some processing in digicam if that you must ship off your photographs to somebody rapidly. Capturing in RAW plus JPEG provides you the most effective of each worlds—you may have that well timed processing, with the choice to do extra with the RAW later if you wish to. By making a preset, you may rapidly and simply recreate that JPEG profile look in a few clicks.

Extra Adobe Digicam Uncooked Tutorials

Concerning the Authors

Marie Gardiner wrote this. Jackson Couse edited and printed the web page.

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