As you can see proper camera/scanner calibration may fix a lot of problems caused by poor quality lighting.Īs expected from these tests, subjectively "Lab cLUT" ICC profile type produce best looking colors. This slide film example was taken with Fujifilm X-Trans sensor and with low CRI consumer LED backlight. Some examples of camera calibration importance. This mode required when you export scanned IT8.7 target image that will be used to generate custom-made input ICC profile in other apps ( for example in Rough Profiler ) "Out" tab: "Disable Color Management Processing" This will globally disable color management and also ignore output ICC profile settings selected in "Out" tab. This is useful if you calibrate your system based on IT8.7 target and generate your own custom-made input ICC profile. This allow you to set your own custom-made ICC profile instead of camera default profile as input. For one click batch processing you need to save settings as preset and use "Batch Window" instead of main UI. "Out" tab: Select ICC profile to export (ProPhotoRGB with L* TRC) "Lens" tab: Keep lens correction disabled until you really feel that you need it. AA and CNR and Sharpness have strong affect to film negative appearance during processing. When it goes to film negative scans, these settings need subjective tests for each specific camera. "Detail" tab: Reset adjustments or use lowest possible Anti Aliasing and Chroma Noise Reduction settings. For some RAW file types you also may need to uncheck "Use Embedded Curve" This will reset custom contrast curve and will allow to export original "flat" uncorrected image, as it "seen" by digital sensor. (In this guide i use custom-made ICC profile ProPhotoRGB with L* TRC) "Histogram, clip warnings, preview color space": Set ICC profile to the same ICC profile into which you expect to export final image. Switch to LittleCMS and Highest Quality in preferences. But i personally didn't test that optical orange mask compensation method yet.Īnd another little FAQ about using Iridient Developer to export camera scanned film negative to L* TRC for further invert and processing. ![]() It is unknown how exactly image was scanned, so if C M Y color glass filters where used to compensate that orange mask it probably could be no problem. As i illustrate earlier WB adjustment like this produce unwanted color artifacts after invert. WB was set to film orange frame instead of light source. ![]() There is a plenty of unused space on the right, so during shooting it is better to adjust shutter speed to fill that space and as result get less digital noise artifacts.Ģ. There are also two possible mistakes in that source raw image:ġ. All the same as described earlier in my FAQ and video tutorials. Next i open it in image editor, Convert to ProPhoto L* TRC ICC profile, do Invert, AutoLevels, add some Lightness, pick Grey Point, add Contrast preset LUT. (Probably need somehow to save settings preset because Tiff Setup reset selected settings after every export) ![]() That ICC profile will be embedded in exported image, so i don't need to add it manually later in image editor. Also in Tiff Setup i select custom-made ProPhoto gamma 1.0 ICC profile from my list. In Export Settings i select TIFF, ProPhoto and Linear gamma. Turn everything else OFF or set it to default "D" Adjust ISO or Exposure to avoid channels clipping. (Do NOT activate "Bypass IPP2 Output Transform", because it will disable color management globally) Set Tone Mapping and Highlight Rolloff effects to NONE. ![]() Not tested yet how it affect image from RED cameras, but as i describe earlier, additional sharpness cause some artifacts amplified with AutoLevels. I set Monitoring Out n Preferences to ProPhotoRGB to match histogram preview clipping level to actual image being exported in ProProtoRGB. So i attempt to fit RedCine-X RAW editor to current workflow: On other forum user jzagaja shared RAW film scan sample made with RED camera setup!
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