basICColor input

5
Reference Manual
basICColor input
Because it simply works

Content

1. Preface......................................................................................................5

2. Overview and Quickguide.................................................................... 8

2.1 Selecting a profiling target......................................................................8
2.2 Placing the grid......................................................................................... 10
2.3 Calculation and Evaluation.....................................................................13
2.3.1 Quantile-Slider........................................................................................14
2.3.3 Location of profile.................................................................................. 15

3. Preset Editor.......................................................................................... 17
3.1 Show/Hide Presets....................................................................................17
3. 2 Preset Properties...................................................................................... 18
3.3 Managing Presets..................................................................................... 18
3.4 Create a new preset................................................................................ 19
3.4.1 Target Selection..................................................................................... 19
3.4.2. Reference Selection.............................................................................20
3.4.3 Multi Target.............................................................................................21
3.4.4 Save Preset............................................................................................. 22
3.5 Expert Mode.............................................................................................. 23
3.5.1 Tab Digital Camera Profiles (RAW)................................................... 25
3.5.2 Tab Capture One Profile......................................................................30
3.5.3 Tab ICC Profiles........................................................................................ 31
3.6 Preferences................................................................................................34
3.6.1 Tolerances for quality assurance...................................................... 34
3.6.2 Language................................................................................................ 34

4. Workflow in Photoshop, Capture One und Lightroom/ACR........ 36

4.1 ICC- and DCP-profile................................................................................36
4.1.1 Working principle/ Creation of ICC-profiles..................................36
4.1.2 Working principle / Creation of DCP-profiles............................... 37
4.1.3 Paths to profiles..................................................................................... 38
4.2 ICC-profile in Photoshop / JPEG-workflow........................................39
4.3 ICC-profile creation for Capture One.................................................. 40
4.3.1 Presets of C1............................................................................................ 40

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4.3.2 Export the target-image .................................................................... 41

4.3.3 C1-Parameter in basICColor input 5................................................ 43
4.3.4 Using the profiles in C1.......................................................................44
4.3.5 ICC profile creation using RAW data for Capture One............. 45
4.4 DCP-profile creation for Lightroom and
Adobe Camera RAW................................................................................47
4.4.1 Preparing the target shot.................................................................. 47
4.4.2 Calculation parameter of basICColor input................................ 47
4.4.3 Using the profiles in Lightroom......................................................48

5. Shooting the profiling target ...................................................................51

5.1 Illumination, light source and shot.......................................................51
5.1.2 Camera-focal length, picture section, resolution and
lens correction...........................................................................................54
5.2 Exposing the picture and exposure correction in the profile........54
5.2.1 Exposing the profiling picture........................................................... 54
5.2.2 Exposure control by the profile........................................................ 55
5.3 White-/Neutral-/Grey balance..............................................................56
5.3.1 White balance and camera profile..................................................56
5.3.2 Usage of grey cards..............................................................................56
5.3.3 Grey balance in camera and software........................................... 57
5.3.4 Conversions-filter vs. electronic white balance.......................... 57
5.3.5 Dual-DCP-profiles................................................................................. 58

6. Metamerism and spectral profiling ................................................60

6.1 Metamerism effects...............................................................................60
6.1.1 Sensor-metamerism............................................................................. 61
6.1.2 Light/Object-metamerism . ..............................................................62
6.1.3 Light/Object-metamerism.................................................................63
6.2 Metamerism in the workflow / spectral profiling.......................... 64
6.2.1 Sensor metamerism balance............................................................64
6.2.2 Light metamerism balance...............................................................65
6.2.3 Balance of metameric colors ...........................................................67

7. Product Information basICColor input........................................... 70

7.1 Credits......................................................................................................... 70

3
 Chapter 1

Preface
basICColor input
Because it simply works

1. Preface
Why an owl?

To see sufficiently, even in twilight or near total-darkness, owls

have perfectly designed eyes to utilize residual light to a maximum.

The cylinder optics of the pupils and the cylindrical eyeballs

remind strongly of the design principle of high speed lenses.

Large lenses with large apertures yield a large amount of light,

which is sharply bundled to a small area .

Compared to the human eye, owls achieve a 3 to 10 times better

twilight efficiency - even small details can be discerned with high
resolution.

The new basICColor input 5 took this perfect blueprint of nature

as a model to add to the unsurpassed color capabilities of our new
profiling algorithms.

The software for camera profiling can create specific Digital

Camera Profiles (DCP) for any camera and any illuminant in high
quality.

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input 5 distinguishes automatically between RAW or TIFF / JPEG

format and creates DCP or ICC profiles with perfect shadow detail.

This guarantees the color correct visualization of these files in all

RAW-Converters and image editing applications - for the first time
you get identical appearance of the image from RAW-converter
and the simultaneously created JPEG of your camera.

The ultimate goal for camera profiling - the exact reproduction of

colors - is now possible for every camera owner.

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 Chapter 2

Overview and
Quickguide
basICColor input
Because it simply works

2. Overview and Quickguide

This part of the manual covers the basic handling of basiCColor
input. The creation of an ICC-profile for a camera target is shown
as an example.

2.1 Selecting a profiling target

Start basICColor input and the preset selection window appears.
The application is delivered with a number of predefined presets.

Click the button in the top right corner to switch between the single-
target or target-list view. Which view you prefer is up to you, it has no
effect on the performance of basICColor input.

In our example we use the default single-target setting for creat-

ing the profile.

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In the top left corner are two buttons where you can switch
between the two modes of basICColor input 5. The application
starts on „PROFILING“ by default.

The button „PRESET EDITOR“ is greyed-out and not active. Please

refer to chapter 3 on how to use the PRESET EDITOR and utilize its
functions.

When „PROFILING“ is active, the currently selected preset includ-

ing the preset information is shown in the main window. The
preset informations contains the preset name, the target used,
the reference used and the calculation parameter set used for
calculating the profile.

A list of pre-defined and available presets is located at the bottom

of the main window. The current preset is marked with a black
dot, all other presets are shown as grey dots. To directly change to

a new preset, click on the „grey“ preset you want or click the left/
right arrows to scroll through all available presets.
You can see an animated preview of the currently selected target
in the main window. On top of the preview target is a DRAG&DROP
area. In the top left corner of the DRAG&DROP icon you can see a
small number. This number indicates the amount of targets stored
in this preset and therefor how may profiling images are needed

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to run the preset. Most presets however contain only one target, mainly
Multitarget presets require two or more images.
To create a profile from an image file (TIF-file or DNG for example)
simply drag the file to the DRAG&DROP area. Alternatively, click on the
DRAG&DROP icon and load the file via the opening dialog.

2.2 Placing the grid

Once the profiling image was dropped to the DRAG&DROP area, basIC-
Color input analyzes it and automatically opens the grid-placing window
with the underlaying target.

The automatic placing of the grid usually works really well and a manual
positioning is not required.

If a manual positioning is needed, simply „grab“ the green markers on

the grid corners and adjust the grid.

Zoom
To place the grid corners exactly you can zoom in and out
via the magnifier icons in the „Tools“ column to the left.

Image Rotation
Turn the target image with the help of the rotation tools in
steps of 90°.

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Magnifier Tool
Choose this tool to enlarge and view pixel-exact a
certain area of the profiling image

See the selected pixel separately in the viewer next to the corre-
sponding color values (in %) in the magnifier.

Furthermore, all grid patches are characterized. Patches, that are

used for the profile creation are marked with a small triangle in
the top left edge of that patch. Patches that are not used for the
profile calculation are crossed out.

Exposure control
Many profiling targets show white, black and/or grey color patches
around the edges. These patches are used for the exposure control.
Ideally all white patches have next to identical RGB values. This
means that the target is evenly illuminated.

basICColor input marks these patches with a square in the follow-

ing colors:

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Red - all patches marked red exceed the defined tolerances

Orange - all patches marked orange are just within the

defined tolerances.

Green - all patches marked green meet the defined

tolerances

Reflection control
When light falls on a color patch of the target, greater or lesser
light is reflected from the surface depending on the material used
(matt, silky, glossy, etc.).
This means that if the reflected light of the surface is reflected in
the optics of the camera, the color field underneath is brightened.
It is important for profiling that virtually no reflected surface light
from the target enters the camera optics.
Remedy can be achieved by positioning the light sources differ-
ently so that the incidence angle of the light on the target changes
and less light is reflected into the camera optics.
For the reflection control, the dark or black color patches of the
profiling target are particularly suitable since the effect is most
clearly visible on these.
For targets that have white, gray and black color patches around
the edge, basICColor input displays a reflection check for the black
patches

basICColor input analyzes the black patches around the edge and
compares them to one another. The black color patches are then
put in relation to one another. In this process, it is evaluated how
strongly the black color patches differ from each other. For refer-
ence the average value of all black patches around the edge is
used.

Green - all patches marked green meet the defined

tolerances

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Orange - all patches marked orange are just within the

defined tolerances.

Red - all patches marked red exceed the defined tolerances

Depending on how many of the black color patches are marked

with a red icon and what quality you expect of the profile, you
should consider changing the illumination of the target so that
fewer reflections are present, or that the color patches are more
even illuminated.

Profile Name
In the bottom center of the main window you can type in a profile
name. By default basICColor input suggests a name consisting of
camera/scanner name and the profiling target name

To the right of the input field you can see if an ICC profile or a
“Digital Camera Profile” (DCP) is created.

2.3 Calculation and Evaluation

Once the grid is set and a profile name is chosen, click the „Start-
Profiling“ button in the bottom right of the main window to start
the profiling process.

basICColor input creates the profile based on the loaded image

and reference file.

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Once the profiling is complete, the profile is automatically stored

in the system’s profile folder and the user is informed by the status
window.

The profile can now be used in other applications.

2.3.1 Quantile-Slider
Click on <OK> to access the evaluation window.

The Quality Control window shows the target with the grid again.
In the top right corner you can find the quantile-slider.
By moving the slider the amount of patches in percentage are
changing that are used for the quality control.
The number to the left of the slider shows the maximum color
deviation (in ∆E) of the selected patches compared to the refer-
ence.

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A red, orange, or green square shows, if the quality control passes

or fails. (i.e. the color deviations are within the set tolerances)
This way the user can get a good visual impression in what color
areas the profile might cause problems.
Click on a color patch and an information window opens. A
detailed list of all calculated color deviations is shown.

2.3.2 Compare Profile

In order to compare, basICColor input offers the option to allocate
an alternative profile to the current target. Selectable are all
profiles for the respective camera as well as input profiles of
unknown origin, like scanner profiles for example. Furthermore
it is differentiated between Digital Camera Profiles (DCP) and ICC
profiles depending on the type of profiling target.

With the use of this function it is possible to compare different

variations like different profiles or different illumination.

2.3.3 Location of profile

Click on the magnifier icon to the left of the profile name and the
location where the profile is stored on the system is shown.

Click the „Quit“ button to close basICColor input

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 Chapter 3

Preset Editor
basICColor input
Because it simply works

3. Preset Editor
The previous chapter explained the general working principle
when creating a profile with basICColor input 5. A predefined
preset was used.

This chapter covers the individual creation of presets, the available

preset types and what to consider when creating a preset.

3.1 Show/Hide Presets

Open the PRESET EDITOR by clicking the button in the top left
corner of basICColor input 5.

The PRESET EDITOR shows all available presets regardless if a

preset is active or inactive.

Active presets are marked with a green check mark, the inactive
presets show a red X.

Only the active presets are shown when starting the application.
This way the application can be customized to your needs easily,
just have the presets for which you own targets active.

The button to hide/show the active/inactive presets works like a

toggle switch. Click the white circle to toggle the switch.

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3. 2 Preset Properties
Every preset has its own information. A preview of the target is
shown (in Multicolor presets the target which was selected first

is shown).
Below is a page-icon with an attached green, numbered dot. The
number in the green dot indicates the number of profiling targets
in this preset.

Underneath the page-icon is the preset name in dark letters and

the name of the target (first target name on multi target presets)
in light letters.

3.3 Managing Presets

Run the mouse over the the preview target to access the tools.

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Edit Preset
To edit a preset click on the pencil-icon. Editing a
preset follows the same procedure as creating a
preset as outlined in chapter 3.4

Duplicate
Click this icon to duplicate a preset. basICColor input
suggests a duplicate name or you can rename the
duplicate.

Trash
Click to delete the selected preset. Once the delet-
ing is confirmed basICColor input deletes the preset
without further warning. The deleted preset cannot
be restored.

3.4 Create a new preset

To create a new preset click the button on the bottom right edge
of the PRESET EDITOR window.
A list with all available profiling target appears.

In the left column are previews of each target. The second column
shows target-name, manufacturer and the standard-reference for
this target. The last column contains detailed target information
(number of patches, rows and columns)

3.4.1 Target Selection

To select a target run the mouse over the second or third column
of the wanted target. The „Select“ window opens. With a click on
the „SELECT“ window the target is selected for the new preset.

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Once clicked the „SELECT“ window turns red and if you move the
mouse off this particular target it turns green. This symbolizes
that the selected target is integrated into the preset.

3.4.2. Reference Selection

Every target has a standard reference file. This file is automatically
selected when choosing a target. If you want to change the refer-
ence file for this target in the preset click on the current reference
file name, highlighted in dark green.

The folder with all available reference files for this target opens.

Note: The folder with the reference files is in the jobs folder of basIC-
Color input.
Mac OS X : Macintosh HD/Users/Shared/basICColor Jobs/basICColor
input 5/templates/references
Windows: C:\Users\Public\Documents\basICColor Jobs\ basICColor
input 5/templates/references

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3.4.3 Multi Target

With basICColor input 5.2.2 and higher, it is possible to add a target
several times to a job in order to average captured images or scans
for profiling. To do this, move the cursor over the right area of the
selected target and in that moment the displayed text changes
from „ALREADY SELECTED” to “CLICK TO ADD ANOTHER TARGET”.

A click now adds another target to the job. If you move the cursor
over the left area, the color of the selected area changes from green
to red and the text to “CLICK TO DESELECT / REMOVE TARGET”. A
click now removes added targets or deselects the target if there
are no more targets available.

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3.4.4 Save Preset

Selecting the reference file finalizes the creation for a new (Multi-
target) preset in a normal case. Click the „SAVE PRESET“ button at
the bottom edge of the target selection window an enter a new
preset name in the following dialog. Choose „START PROFILING“
or go back to the target selection list with „ADD NEW PRESET“ or
chancel this preset creation altogether. Once a preset is created
with „START PROFILING“ or „ADD NEW PRESET“ it is shown in the
list of presets.

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3.5 Expert Mode

The Expert Mode is the technical core of basICColor input. Here
it is defined what criteria and methods are used when creating a
profile with basICColor input. In the main window of the Expert
Mode the main parameters can be defined. It can be determined if
certain parameter can be adjusted by the user or if the full profile
creating process shall be done without any input of the user.

It is important to know that basICColor input differentiates

between the workflows of Digital Camera Profiles (DCP) creation,
creation of ICC profiles from RAW images for Phase One’s Caputre
One software and creation of ICC profiles from TIFF and JPEG
images. The main window offers a tab for each model. The setting
options are always assinged to all three workflows in a preset.

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All three settings can be saved together as a selectable preset, so

these preferences can be loaded in other presets quickly.

Start out with giving the preset a new name in the input field
located in the top left corner of the main window.

Save the preset with a click on the disc-icon located at the

bottom of the main window. By a click on „SAVE PRESET“ the preset
is saved but no selectable preset for the preferences is created.

Lock Settings
Next to most settings is a lock-icon. By clicking the icon the
selected setting can be locked and the user cannot alter a setting
for profiling and/or this options hidden respectively. This way the
UI can be kept clean and the user gets to only see the relevant
settings.

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3.5.1 Tab Digital Camera Profiles (RAW)

The main characteristic of a Digital Camera Profile (DCP) is that it
affects the color behaviour of an image in a workflow much earlier
than an ICC profile.
The color matching calculation considers the behaviour of the
camera sensor and the lighting situation also. This happens so
early in the workflow that the setting of the color temperature
and the global adjustment of the image brightness do not matter
for the calculations.
However, both adjustments can be considered or adjusted,

Therefore basICColor input offers the following preferences:

PROFILE TYPE
basICColor input offers three profile types for different aims.

Art Repro/Archival
Our goal here is to obtain a colorimetric match, which we
can only get if we can turn off Adobe’s non-linear light-
ness correction. We achieve that by embedding a curve in
the profile. This curve will mostly be very close to linear, but
simply its presence gives us a completely different color
reproduction. ACR’s “trimming” will result in a darker image
than we want, but we can now achieve our final result by
linearly scaling the RGB values using Levels after the Raw
development in the RGB working space.
Images, that are exposed with this setting, appear darker
when they are processed further in an image editing
program after being exposed without exposure correc-
tion. This has to do with the fact that through the correc-
tion curve of Adobe Camera RAW an automatic exposure
suppressed. However, precisely this automatic exposure of
ACR would destroy the colorimetric accuracy in the profile,
therefore this effect is intentional.

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When the white point in the image editing program is

adapted after the RAW exposure then the colorimetric preci-
sion is kept and spread correctly over the full brightness.

This profile type is primarily for workflows where a particu-

lar colorimetric precision is wanted when developing RAW
images.

Repro +
Compared to the method “Repro / Archival”, this method
works with the correction curve embedded in the ACR. Thus,
the ACR correction curve is applied on the reference data
so that the data is displayed correctly in ACR or Lightroom
again.
Compared to the “Repro / Archivierung” method no correc-
tion of the white point in ACR is necessary at a later stage.

The disadvantage of this method is that although the color

data is handled colorimetrically correct, but the dynamic
scale of the shot is adjusted by ACR automatically and thus
the colorimetric precision on the brightness axis is slightly
changed. Usually this is not a disadvantage.

Photography
In this method no correction curve is written into the profile.
The automatic exposure correction of Adobe Camera RAW
works and the captured image has the widest possible
contrast range.
This profile type works for most photographers, it provides
punchy yet color corrected RAW development.

ILLUMINANTS
The Lab color system refers to the standard light D50 by default.
The colors are corrected so that they are displayed correctly in a
D50 lighting condition.
However, if one knows that the color data will be viewed in a
different lighting condition, then it can be altered in preparation
using this setting.

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Example:
One already knows when recording that the created images will
be viewed in an environment that uses fluorescent lamps as the
light source (in a museum for example), then a color adjustment
can be made at this stage already.

If a different illuminant (other than the standard D50 lighting

condition) is selected at this point then it has to be adjusted
throughout the whole following process (i.e. monitor, printing
system etc.)

Note: Illuminant adjustments take effect only if the chosen target

reference file contains spectral measurement data.

Color Temperature
It is very important to know the lighting conditions in the RAW
workflow, i.e. with what light source (illuminant) was the scene
illuminated?
A Digital Camera Profile works only ideally if the camera white
balance was done with a grey-card and the image was then taken
with this grey balance.
For profiling, it is therefore relevant whether an image was taken
in daylight or under artificial light because the spectra of different
light sources differ in part considerably.
Therefore it is obvious, that for every light source a Digital Camera
Profile must be created.

As shot
In this method, the white point/illuminant recorded/deter-
mined by the camera is used from the RAW file. A white
balance with the use of a proper grey card (basICColor grey
card for example) is a must before taking a shot of the profil-
ing target

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D65 + std. Illuminant A (Dual Illuminant)

Adobe Camera RAW interpolates the color temperature of
an image of two different light spectra. To create a profile
with dual illuminant two shots of the profiling target with
the same camera are required: one shot of a warm light
source (for example, incandescent light) and a second shot
of a cool light source (for example, cloudy daylight).
This way mixed light conditions for example are compen-
sated in Adobe Camera RAW by interpolating between the
lighting conditions in order to determine the appropriate
color temperature.

Exposure Correction
The use of exposure correction is primarily appropriate
when „Art Repro/Archival“ was chosen as the profile type,
because with this type of profile the white point must be
adapted to scale the image to the full dynamic range .
A correction is possible in half aperture levels. Select an
appropriate correction level to adjust the exposure.

Profile Optimization
The Lab color space is currently the color space that best
represents the human color perception.
Unfortunately, this color space is not perceptually equidis-
tant and human color perception varies to different degrees,
depending on the color location and direction of the color
change. Taking yellow as an example, the human eye
perceives a change in the hue angle towards green or red
and a change in brightness stronger than an equal change
in color saturation.

L+5 L+5

a-5 a+5 a-5 a+5

b-5 b+5 b-5 b+5

L-5 L-5

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The color perception of individuals is particularly sensitive on

colors near the gray axis . Even small shifts in color saturation and
hue angle are perceived as strong change .

The different color deviation formulas try to include human color

perception into the calculation and also to take particularities of
color perception into account.
Generally speaking, the more modern a formula is, the more
precisely the calculated values match the human color perception.
The color deviation formula CIE ΔE76 contains no corrections and
returns the absolute color difference . All other formulas contain
appropriate correction factors. For detailed explanation of the
structure of these formulas please refer to relevant literature.
For profile optimization in basICColor input we recommend to use
the ∆E 2000 formula.

OBSERVER
Depending on how much space of our visual field is taken by a
color area is perceived the human eye differently.
This behavior is considered by the viewing angle of the so-called
“normal observer” during color conversion.
.
Relative small, rather point-like color areas are perceived as 2°
“normal observer”.
For color areas that cover a large part of our visual field the percep-
tion presents the 10° “normal observer”

Example:
A billboard is to be printed. It must be considered that the colors
on the monitor tend to be seen as a 2° normal observer compared
to standing directly in front of the large format Poster - it’s rather
perceived as the 10° normal observer.

Usually it is impossible to estimate how close a viewer will be

standing in front of an object. In general objects are mostly viewed
from some distance. We recommend to use the 2° observer setting
by default.

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3.5.2 Tab Capture One Profile

basICColor Input ICC profiles that are created for use in Capture
One software use the Lab color system as a PCS. This is in essence
the main difference to profiles which are used for the conventional
ICC workflows.

PROFILE OPTIMIZATION
Please refer to profile optimization in capter 3.5.1 Tab Digital
Camera Profiles (RAW) on page 23.

OBSERVER
Please refer to information regarding OBSERVER on page 27.

ILLUMINANTS
Please refer to information regarding ILLUMINANTS on page 24
and following.

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3.5.3 Tab ICC Profiles

The ICC profiles are so called „output-related“ color profiles. This
means that the development of the RAW image has to be complete
prior to the ICC profiling. But this also means that all RAW images
of a series have to be developed with the same settings so that
the ICC profile stays valid. As soon as one RAW image is developed
with a different setting, the ICC-profile loses its validity and the
data is no longer color correct.

PROFILE TYPE
basICColor input offers 4 types of profiles for the profile creation.

Art Repro / Archival

This option offers the most accurate colorimetric color
reproduction. The gray balance of the image is maintained.
If there is a cast in the image it is kept and not corrected.

Photography
This type of profile provides a colorimetric accurate color
reproduction. In addition the gray balance is adjusted in the
image to achieve neutral color values (RGB = 242/242/242
for example) in the gray areas.

Scanner
The routines have been optimized primarily for creating ICC
profiles for scanners.

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Grayscale
This profile type was developed especially for scanner
profiles. A normal ICC profile is created and after profile
creation, the a* and b* values in the LUT are set to “0” (ZERO).
This results in a very nice grayscale profile. Note: the colored
squares in the quality control window after creating the ICC
profile are not significant!

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ILLUMINANTS
Please refer to information regarding ILLUMINANTS on page 26
and following.

WHITE POINT/EXP.COMP
basICColor input offers two settings for the white point:

None
Use this setting if the profiling target was photographed in
ideal lighting conditions.
In many cases it is assumed that the white point in the
image (the whitest patch on the target) has a RGB value of
about RGB = 250/250/250 and the black patch of the target
of about at RGB = 20 /20 / 20.
These are the ideal working conditions for the creation of a
profile. If an underexposed or overexposed image is used for
profiling, the requirements for a high quality profile are not
met.
basICColor Input nonetheless tries to create a high-quality
profile.

Auto Exposure
By using this option basICColor input first analyzes the
target shot and determines whether it is over- or underex-
posed. Should this be the case basICColor input makes an
automatic exposure adjustment and creates the ICC profile
on this basis.

PROFILE OPTIMIZATION
Please refer to profile optimization in capter 3.5.1 Tab Digital
Camera Profiles (RAW) on page 25.

OBSERVER
Please refer to information regarding OBSERVER on page 29.

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3.6 Preferences
Access the preferences to determine the tolerance values via
„<cmd>+“ on Apple computers or „<strg>+“ on Windows comput-
ers. Alternatively open the preferences via the menu of basICColor
input. „Main menu -> basICColor input -> Preferences“ for Macin-
tosh and „Main menu -> Edit -> Preferences“ for Windows operat-
ing systems.

3.6.1 Tolerances for quality assurance

Set the tolerances for the assessment of the color differences here.
The parameters set here are used in the evaluation of patches for
quality assurance.

Picker Area
To display the color values in the magnifier tool, this setting deter-
mines the range over which the average is calculated. Unit = pixel.

Picker Value
The visualisation of the color values in the magnifier tool can be
changed to raw camera values using “Raw”. In the default mode
“RawWB” (WB = WhiteBalance) developed values are displayed.
With “Raw”, the zoomed image section is visualized “RAW”

3.6.2 Language
Select the operating language for basICColor input here.

34
 Chapter 4

Workflow in
Photoshop,
Capture One and
Lightroom/ACR
basICColor input
Because it simply works

4. Workflow in Photoshop, Capture One und

Lightroom/ACR

4.1 ICC- and DCP-profile

ICC profiles are used widely, in Photoshop, several RAW-converting
applications (Capture One for example) and also in scanner appli-
cations. DCP-profiles on the other hand are used in Adobe RAW
converters (Adobe Camera RAW / Lightroom / Bridge). Because
DCP-profiles (Digital Camera Profile) were developed around the
DNG-format of Adobe, they are known as DNG-profiles also.

4.1.1 Working principle/ Creation of ICC-profiles

ICC profiles are designed for the color conversion in the workflow
only. The demosaicing - the actual RAW conversion - happens
earlier. Basis for the calculation of an ICC-profile is therefore
a developed file in the camera-RGB-color space with correct
exposure and correct set white point (RAW-workflow: TIFF 16 bit,
JPEG-workflow: JPEG 8 bit)

The process is split, similar to a printing processes: a pre-process-

ing (linearization / white point) followed by a 3-dimensional color
correction (ICC-profile). Therefore it is possible to save and employ
an interim result - a “calibrated“ camera RGB with an embedded
camera profile - in an ICC-based RAW workflow (16bit or 8 bit). This
is not possible in DCP workflows.

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4.1.2 Working principle / Creation of DCP-profiles

In a DCP workflow, the first processing step is purely restricted
to the demosaicing. Only one color conversion occurs in the
workflow which does all color adjustments in one calculation. The
basis for this calculation method are today’s high bit-depth RAW
data. Therefore in DCP workflows, only the output is provided in
working spaces.

The basis for the calculation of DCP profiles is therefore a RAW

or DNG file. You can directly load the RAW files of compatible
cameras in basICColor input 5. If you want to change the white
balance set on the camera or if your RAW files are not recognized
or show unusual results in the profiling, then open your RAW files
in Lightroom and ACR, and convert them to DNG before loading
them in basICColor input 5.

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basICColor input
Because it simply works

4.1.3 Paths to profiles

ICC Profiles:
MAC:
HD/Users/User/Library/ColorSync/Profiles

PC:
C:/Windows/System32/Spool/Drivers/Color

DCP Profiles:
MAC:
HD/Users/User/Library/Application Support/Adobe/CameraRaw/
CameraProfiles

PC:
C:/Users/User/AppData/Roaming/Adobe/CameraRaw/Camera-
Profiles

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basICColor input
Because it simply works

4.2 ICC-profile in Photoshop / JPEG-workflow

Managing camera profiles in Photoshop is straightforward. In a
JPEG workflow, the camera creates a finished RGB file, without
access to the internal processing. Post-process the file in Photo-
shop by assigning a camera profile first ( Menu: Edit - > Assign
Profile ... ) and then convert the file to the wanted work/storage
color space ( Menu: Edit - > Convert to Profile ... ) .

To create an ICC profile, shoot a profiling target with the same

color space setting that you use for the production shots. Most
cameras offer sRGB and Adobe RGB, some (for example Leica)
also eciRGBv2. For the largest possible color gamut of the largest
color space should be used (eciRGBv2 or Adobe RGB). For the best
possible tone value reproduction (JPEG = 8 bits) use the same color
space that will be used for the finished processed file.

Load this image in basICColor input 5 and create an ICC profile.

Use the manual white balance of the camera for the profiling shot
if possible. Be sure to use a metamerism-free gray card and pay
attention to a proper exposure.

For the profile calculation you can then use both white balance
settings. With „None“ calculated profiles take your white
point and exposure (for example, a selective underex-
posure for more editing reserves in the highlights) into
account and correct it without tone value loss during
profile assignment in Photoshop. If white balance and
exposure of the target shot are not perfect, select „Auto Exposure“
for an automatic correction of the shot prior to the profile calcula-
tion.

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basICColor input
Because it simply works

4.3 ICC-profile creation for Capture One

Capture One, software by Phase One is a widely used ICC-based
RAW converter. The profile creation follows the general principle
of ICC profiles, but basICColor input 5 provides some additional
settings for Capture One (short: C1).

4.3.1 Presets of C1
Capture One provides several ways to export data. For profiling
you need a 16bit TIFF in the camera color space („Embed camera
profile“). In the Quick Export-dialog of C1 (version 8.x and 9.x ) this
option is available but unfortunately it is reset during data export.

IMPORTANT : Use Quick Export of C1 exclusively for production data

(working color spaces : sRGB , Adobe RGB , eciRGB v2 , ... )
Do not use for profiling (embed camera profile)!

For the export of

a profiling target
image use the
“Output“ tab.

In the standard configuration of C1 v8.x/

v9.x the “Output“ tab is often not visible.
Open it via the menu (View > Add Tool Tab
> Output).

We recommend keeping the “Output”

tab visible, since file export settings are
specified here and the selected output ICC
profile determines the RGB values shown
by the Cursor Tools.

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basICColor input
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4.3.2 Export the target-image

Go to the “Output” tab and set up a process recipe for camera
profiling.

Setting the output ICC profile to “Embed

camera profile“ is especially important.

This ensures that the camera RGB values​​

which are required for profiling are
written without conversion to a working
color space in the file.

Please select TIFF 16 bit as file format.

To keep the file size small, you can activate

the ZIP compression. Depending on the
sensor resolution of your camera, crop the
file and re-size it smaller. The calculation
of ICC profiles does not require extremely
high resolution.

Activate (check-box) AND select (highlight) your profiling process

recipe.

Only when this process recipe is selected will the correct camera
RGB values for exposure control be shown by the eyedropper or
other cursor tool moving over the image.

If you have selected a processing specification that converts into

another working color space (for example, sRGB , Adobe RGB ,
eciRGB v2 , ... ) the eyedropper shows RGB values that are converted
via the active camera profile into the selected output color space

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basICColor input
Because it simply works

In the Image Browser, select the image of your profile target with
which you want to calculate an ICC profile. The correct exposure
should show camera RGB values of approximately 245-250 on the
white patch of the profiling target.

The visual appearance is not important, because it’s done via an

old existing profile - the new profile is yet to be created. However,
uniform illumination is critical. Check this with the eyedropper.
The variations should be under ΔRGB = 5.

Now go to the “Color” tool tab. If you

have already carried out an individual
white balance in the camera using a
metamerism free gray card, you can set
the White Balance Mode to “Shot“.
Otherwise, click with the White Balance
eyedropper tool on your gray reference
in the target image (gray card, gray
CaliCube , a gray reference field , ... ).
The White Balance Mode field will show
“Custom“.

Now in Base Characteristics, select

“basICColor profiling Capture One” for
the ICC Profile. You will find the profile
drop-down menu under “Other”.

The ICC profile works only as a spacer in

basICColor input 5 - it‘s only needed to
identify the TIFF file automatically as a
C1 - profiling image.
It does not change the camera RGB
values. The screen apperance changes
and signals the selection of the image
for profiling .
Profile creation is possible with any of the options for “Curve“.
But it is essential to use the same Curve setting when applying
the profile that was used when creating the profile. For the most
linear behavior of your images / profile use the “Linear Response”
setting, if you work with “Film Standard” then make a profile for
that as well.

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basICColor input
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Now go to „Process Summary„. Check if the correct processing

specification is selected and click „Process“ to export the TIFF file .

4.3.3 C1-Parameter in basICColor input 5

Load the from C1 exported TIFF file in basICColor input 5. The
program recognizes the TIFF file automatically as a C1-file and
shows this next to the suggested profile name.

The first part of the profile

name is assigned automati-
cally and can not be
changed . It is required by C1
to assign the ICC profile to
the corresponding camera
model. The second part can be edited freely. Suggested is the
name of your selected preset, or enter a desired name.

Select more parameters for

the profile calculation in the
next screen. You can choose
as long as the settings are
unlocked in the expert preferences. The profile type „C1„ selects
L*a*b* as the PCS of the profile and a calculation algorithm that
optimizes the ICC profile for the color management tools of
Capture One .

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basICColor input
Because it simply works

4.3.4 Using the profiles in C1

After calculating a new profile Capture One must be restarted so
that it can access it. basICColor input 5 stores the profiles so that
they are assigned automatically to the corresponding camera by
Capture One. You can find the new profiles for your camera after
restarting C1 in the profile list to match the selected image, as
well as in the complete profile list, filed under the appropriate
manufacturer and model of camera.

IMPORTANT:
When applying the profile, please ensure to always use the same
curves-adjustment as for profiling. Only then can the ICC profile-
work correctly.

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basICColor input
Because it simply works

4.3.5 ICC profile creation using RAW data for Capture

One

Capture One software can inherently only work with ICC profiles.
And in principle no ICC profiles can be created from RAW image
data.
That’s why basICColor input has a build-in RAW-engine now! This
means that basICColor input can “develop” RAW files itself. This
function is primarily used for the internal representation of RAW
data in basICColor input. In combination with a film curve from
Capture One, basICColor input is also able to directly create ICC
profiles from RAW image data.

This requires that the film curve used in Capture One is made
available for basICColor input. An image is developed and saved as
TIFF-file with Capture One software first (as outlined in previous
ones chapters)

If a RAW file is then dropped onto the Job, basiCColor input “looks”
if a TIFF-file with this particular film curve was used before and
makes use of it again.

If no matching film curve is available, basICColor input requests

the Captue One developed TIFF-file in order to extract the C1 film
curve for further processing.

45
basICColor input
Because it simply works

Once a film curve is “known” by basICColor input further RAW files

can be processed - no further TIFF file(s) input is requested.

Please note that Caputre One software offers various film curves.
If you are not always working with the same film curve we recom-
mend to create several basICColor input Jobs for different C1 film
curves.

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basICColor input
Because it simply works

4.4 DCP-profile creation for Lightroom and

Adobe Camera RAW
Through the single-step color conversion in the Adobe-DCP
-workflow handling of the profile creation is very dependant on
the chosen DCP calculation parameters. Either the automatic
exposure of Adobe (profile setting „Photography“) or experienced
user (profile setting „Art Repro/Archival“) adjusts the white point.

4.4.1 Preparing the target shot

DCP profiles are calculated on the basis of RAW and DNG files.
Therefore no special preparation is needed. Load the RAW files
directly from your camera into basICColor input. The important
thing is that you have already adjusted the white balance on the
camera - best with a metamerism-free gray card.

Due to the fact that especially Hasselblad cameras have sensors

from different companies it is possible that input cannot retrieve
the correct identifier for the dcp profile and your profile won’t
show up in Adobe Camera Raw. If that happens please use the
latest Adobe DNG Converter and convert your Raw file to a DNG.
If you profile from the DNG input will be able to write the correct
information into the dcp profile.

If you want or need to change the white balance, or the RAW files
are not recognized because the camera is not directly supported
by basICColor input, use DNG. Open your RAW images first in
Lightroom and ACR, and convert them to DNG before loading
them into basICColor input. In DNG a changed white balance can
be stored within the file, in other RAW formats only in the Light-
room-catalogue or in a separate sidecar-file (XMP) that can not be
loaded into basICColor input.

4.4.2 Calculation parameter of basICColor input

DCP-profiles are created for Adobe programs (Lightroom / Adobe
Camera RAW / Bridge) only. You will therefore find all parameters
described in detail in section 3.5.1 of this manual (page 23 forward).

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basICColor input
Because it simply works

4.4.3 Using the profiles in Lightroom

basICColor input automatically saves the DCP‘s profile to the
correct operating-system folder. Launch your Adobe program
again, when a newly created DCP profile is not yet displayed. Find
the DCP-profiles in the Camera Calibration tab.
The profile calculation setting „Photography“ generates an
automatic dynamic exposure adjustment with the Adobe RAW
converter when applying a profile. If you have created your profile
DCP with the „Art Repro / Archival“ setting, your images will possi-
bly initially a appear a bit too dark, as this type of profile suppresses
the automatic, dynamic exposure adjustment of Adobe in favor
of a higher color accuracy. The user can adjust the exposure and
white point. Adjust your white point within the RAW conversion
via the exposure settings or scale your data after development
via Adobe Camera RAW in Photoshop linearly with the help of the
curves or tone-value-tool to the desired white point.

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basICColor input
Because it simply works

If your workflow always requires the same exposure compensa-

tion, you can also calculate a new „Art Repro/Archival“ DCP profile
with a fixed exposure compensation (half-step increments) for a
more comfortable workflow. This setting combines the „Art Repro/
Archival“ profile calculation method with a static Adobe exposure
adjustment within the RAW conversion.
Read chapter 3.5.1 for more details.

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 Chapter 5

Shooting the
Profiling-target
basICColor input
Because it simply works

5. Shooting the profiling target

5.1 Illumination, light source and shot

5.1.1 Illumination

Aim:
The basis for the calculation of a camera/scanner profile is the
comparison of the measured data from the profiling target
(measured with spectrophotometer) and the RGB values of the
patches from the image or scan.

Most measurement devices use a so-called 45°/0° measuring

geometry. The measuring surface is illuminated at a 45° angle,
from one or more light sources, the measuring optics „guide“ the
light below 0° to the measuring sensor. The principle is a classic
photography repro structure. Therefore the target must be photo-
graphed in this lighting.

In regard to color and exposure a uniform illumination is extremely

important for the profile quality

∆RGB < 5 the RGB values should not fluctuate more than 5
over the target surface

Scanner
Scanners are usually constructed in a 45°/0° geometry also. When
profiling scanners, the illumination should always be easily
achieved and it should be sufficiently uniform. However, put your
target in the center of the scanning width, not near the edges

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basICColor input
Because it simply works

Photostudio
For the shooting of a target for camera profiling for profiling studio
light, set up a repro lighting with two lamps. Use normal reflec-
tors, set the lamps to the same height as the target and position
them at an angle of about 45° and from the target as far away as
possible. This is the easiest way to achieve a uniform illumination.
Also highly suitable are two narrow softboxes. If space is tight, put
the lights on a slightly shallower angle (60° to the optical axis) in
order to prevent reflections on the lens.

Pay attention to surface reflections on the profiling target - partic-

ularly on targets with a semi gloss surfaces. A good indicator are
the black patches. If there is sufficient distance between the lamps,
you can use square softboxes or umbrellas if their standard reflec-
tors generate light illumination structures. The width of the soft
box should be significantly less than the distance of the lamps to
the target. If large soft boxes are too close to the target profile, the
risk of surface reflections increases and the illumination no longer
agrees with the measurement geometry of the reference data.

Whilst (high) studio ceilings usually do not return disturbing light,

bright floors or a substructure can often cause uneven illumina-
tion. Use black lining - especially when the ground is colored.

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If you use the basICColor dcam target with light trap, use the built-in
(on the back) full frame gray card to control the uniformity of the illumi-
nation. Pay attention not only to the brightness, but also to any color
deviations. If the lamps vary in color, you should replace one of them. To
test the color match it‘s best to take to a seperate shot with each lamp.

Natural day light.

For profiling with natural daylight, the same rules as for studio light
apply in principle, but the light management can be more difficult. The
aim is a uniform illumination without reflections in respect to color and
brightness. Search for a suitable shooting location and eliminate reflec-
tions - use black lining if needed. In difficult environments, shoot the
target from an angle. You can set the grid in basICColor input 5 so that
the distortion from the angled shot is taken into account. By doing this
you can achieve a uniform Repro lighting:

- Illumination of target under 0°

- Shot under 45°
- Black lining to stop reflections under -45°

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basICColor input
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5.1.2 Camera-focal length, picture section, resolution

and lens correction
Critical, when shooting the target, are local reflections. Therefore,
it’s best to use a light telephoto lens. So you have a narrow shoot-
ing angle, the lamps can be positioned well and keep reflections
under control easily. Wide-angle lenses are unsuitable .

Use approximately half the picture diagonal for the target. The
natural vignetting of the lens is thus negligible and edge shading
with larger apertures take less affect. The picture section is usually
not a problem as for the profile calculation no high resolution is
required.

In the ICC profiling ( TIFF / JPG) a lens correction (vignetting) may

be applied additionally in order to achieve an even more homoge-
neous illumination. The correction of chromatic aberration can
also be turned on, but does not affect the profiling, since the
patches are evaluated not quite to the edge. In the calculation
of DCP profiles a lens correction is obsolete, since the RAW file is
processed directly.

5.2 Exposing the picture and exposure correction in the

profile

5.2.1 Exposing the profiling picture

The shot used for profiling should precisely show the white fields
of the profiling targets (RGB values 240), highlights in the chrome
ball of CaliCube may be higher. The light trap shows the noise of
the system (ideally RGB = 0/0/0 ), the black patches should be
clearly distinct. If in doubt, expose somewhat scarce to get more
tone value reserve in the lights.

When checking the RGB values for the exposure in the RAW
converter with the pipette, the color management is already
active. For ICC profiling in Capture One (for example), set the
exposure settings „Embed Camera Profile„ for the pipette tool.
This ensures you are seeing the right camera and RGB values. If a
working space (eciRGB v2, AdobeRGB, sRGB,…) for the output is set
in the exposure settings, the pipette indicates the into this color
space the converted RGB values, which can lead to significant
distortions depending on the active camera profile.

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basICColor input
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5.2.2 Exposure control by the profile

Since the processing of ICC profiles and DCP profiles differs greatly,
the exposure control by the profiles is very different

There are 4 options:

ICC-Profile
ICC based applications apply these profiles „absolute“ on the data.
A camera profile is assigned to the final data (passed through the
demosaicing process) and only controls the further processing.
When calculating the ICC-Profile the „Auto Exposure“ setting can
be activated , which corrects the RGB values before the profile is
calculated.

a) Profile calculation with „Auto Exposure“

- the RGB-values are adjusted prior to profile
calculation
- ICC-profiles from differently exposed images
are very similar
- ICC-profiles do not expose correct when
beeing applied.

b) Profile calculation without „Auto Exposure“

- The RGB-values are used untouched
- ICC-Profile from differently exposed images differ
clearly
- The ICC-profile controls the exposure when applied.

Example: Profiling image under exposed
-> ICC-profile adjust the brightness
(comparable to the tone value priority in the camera)

Digital Camera Profiles (Adobe Camera RAW, Adobe Lightroom,

Adobe Bridge):
The basic behavior of ACR is an exposure adjustment of the data.
This function is used with the „ Photography“ setting. It makes the
workflow quite comfortable, but reduces the maximum achiev-
able accuracy slightly by the type of automatic adjustment. By
the use of option „Art Repro/Archival„ basICColor input 5 prevents
this automatic adjustment by a predetermined curve in the DCP
profile.

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The final white point adjustment of each image is then carried

out manually by the user. Usually the brightness needs to be
increased. Therefore it‘s possible to set a standard correction in
the DCP profile in half step increments. Alternatively, you can save
the exposure increase together with the DCP-profile as a default
value in a processing application like Lightroom .

c) Setting „Photography“
- automatic exposure adaptation through
the RAW-converter
- optimized for a faster and further automated
workflow

d) Setting „Art Repro / Archival“

- manual exposure adaptation through the user
- optimized for a maximum color coordinate
accuracy
- setting of standard correction in half step increments
possible

5.3 White-/Neutral-/Grey balance

5.3.1 White balance and camera profile

White balance and camera/scanner profile work together - like
linearization curves and printer-profile in print. The white or
neutral balance, together with the exposure, defines the operat-
ing point of the input system, which the ICC/DCP-profile then
describes. Therefore carry out a neutral balance before profiling
and before production shooting.

5.3.2 Usage of grey cards

Use always the same metamerism free gray card for profiling AND
production - the basICColor gray card for example. It is also incor-
porated in the rear of the light trap for basICColor dcam target.
Strictly speaking, a camera profile only describes one lighting
situation. With a reliable neutral balance using a metamerism free
gray card a camera profile is quite usable for several (spectrally
similar)light situations. The gray area of basICColor CaliCube also
consists of this material .

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The Kodak gray card, however, is intended only for the exposure
in analogue photography . It is unsuitable for the gray balance in
digital photography.

5.3.3 Grey balance in camera and software

The neutral balance can be carried out both in the camera and in
the software . Both have advantages and disadvantages.

Grey balance in the camera

+ fully applicable for JPG and all
RAW workflow
+ automatic adoption when exposing
- troublesome in practice in highly variable lighting condi-
tions
- usually requires a somewhat larger grey card

Grey balance in the software:

+ im RAW-workflow comfortable and flexible
+ a small neutral surface works
+ usable for ICC-profile creation and in the production situa-
tion, due to the ICC-profile being calculated on basis of a
exposed TIFF file
- When DCP-profiling only changeable if the DNG file format
is used because the DCP-profile is calculated on the basis of
unprocessed RAW data
- lossy at JPG workflow

5.3.4 Conversions-filter vs. electronic white balance

The sensitivity of camera sensors is optimized by many manufac-
turers to average the expected light spectrum. In warm to average
daylight most sensors show a fairly even channel distribution.

If the color temperature is very low or very high, red and blue
channel are exposed greatly different. In particular with very
warm artificial lights the blue channel is heavily underexposed
compared to the red channel, whereby the system noise increases
more than the selected ISO sensitivity suggests.

In artificial light situations where the shooting light is scarce,

one would prefer a faster shutter speed and an electronic white
balance and possibly its own camera profile for artificial light .

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However, if enough artificial light is available (for example, photo

studio with halogen lights ) the „analog„ white balance conver-
sion filter in front of the light sources or the object is the better
choice. In this case one can also work better with a daylight-based
camera profile .

5.3.5 Dual-DCP-profiles
When using Digital Camera Profiles (Adobe Camera RAW , Light-
room, Bridge) another very effective tool for dealing with very
different color temperatures is available: the Dual Digital Camera
Profiles

Here an image with a cold light ( about 6,500 Kelvin, cool daylight)
and one in warm light (2850 Kelvin, halogen lamp) are combined
into a digital camera profiles . The profile then contains two color
conversions and interpolates in-between, depending on the color
temperature of the current capture.

For profile calculation load the D65 shooting first, then the
halogen-light shot.

The effect in practice is similar to a series of profiles for different

color temperatures that are selected automatically . For maximum
color accuracy you should still standardize the shooting situation
as best possible and, if necessary, optimize the noise performance
of the sensor . If changing light conditions can not be avoided a
dual DCP profile is the most efficient way to deal with this situa-
tion and to achieve the maximum possible accuracy in a simple
manner.

58
 Chapter 6

Metamerism
and spectral
profiling
basICColor input
Because it simply works

6. Metamerism and spectral profiling

The term metamerism generally describes the effect that the
spectral properties of light and object are not clearly recorded by
a three-channel sensor as our eyes (XYZ) or an RGB-based record-
ing system. As a result, the same object color may look different
under varying conditions or two colors appear sometimes equal,
sometimes different.

6.1 Metamerism effects

In practice three metamerism effects have to be discerned.

Sensor-metamerism:
• a spectral color stimulus (or a spectral object color + a light
spectrum)
• two sensors

=> two different color coordinats in the 3-channel system

Light/Object-metamerism - change of illuminant

• one sensor
• one object color (reflection spectrum)
• two illuminants

=> two different spectral color stimuli

=> depending on illuminant same or different color
coordinates in the 3-channel system

Light/Object-metamerism - metamere object colors

• one sensor
• one object color (reflection spectrum)
• one illuminant

=> two different spectral color stimulus

=> depending on illuminiant same or different color
coordinates in the 3-channel system

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6.1.1 Sensor-metamerism
The same spectral color stimulus is perceived differently by two
different 3-channel sensors . The cause is a different spectral sensi-
tivity of the color channels of the two sensors. This effect is appar-
ent on monitor calibration also: the same spectrum of a monitor is
measured slightly different with two different colorimeters (also
3 -channel). The result in monitor calibration is a slightly differ-
ent white point calibration despite the same software setting.
Using recording systems, the white point is usually equalized by
the neutral balance . The sensor metamerism shows mainly by a
different hue angle and saturation.

• a spectral color stimulus (or a spectral object color + a light

spectrum)
• two sensors
=> two different color coordinates in the 3-channel system

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6.1.2 Light/Object-metamerism
(- change of illuminant)
The same object color may appear different for one sensor under two
different illuminations despite adaptation to the appropriate color
temperature . This effect is known in everyday life in the selection of
clothes (black in artificial light , in daylight dark blue ; brown in artificial
light, olive in daylight; reds that shift, depending on the light, towards
magenta, blue tones that change towards lila; changing color cast of
grey ...). In photography, of course it is not only the human eye affected,
but also the RGB sensors of cameras. The reason is that the same reflec-
tion spectrum of the object generates with the spectra of two different
types of light two different spectral color stimuli. This can also create
two different colors (color coordinates) when evaluating by the sensitiv-
ity spectrum of the sensor in its 3-channel color system, despite a white
point adjustment .

• one sensor
• one object color (reflection spectrum)
• two illuminants
=> two different spectral color stimuli
=> depending on illuminant same or different
color coordinates in the 3-channel system

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6.1.3 Light/Object-metamerism
(- metamere Object colors)
The same effect can also cause for two spectrally different colors,
that a spectrophotometer can distinguish clearly, to be perceived
as equal for the eye or camera. Depending on the type of light
they lose their differentiation and are seen as the same color or
a different color. This effect is also known in everyday life when
choosing clothes, for example.

• one sensor
• two object colors (reflection spectrum)
• one illuminant
=> two different spectral color stimul
=> depending on illuminiant same or different
color coordinates in the 3-channel system

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6.2 Metamerism in the workflow / spectral profiling

In digital photography, we encounter all metamerism-effects at
some point.

6.2.1 Sensor metamerism balance

The balance of sensor metamerism is the basic function of the
profile of input systems. The camera/scanner profile corrects the
differences between each device and the human eye under a
defined condition .

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6.2.2 Light metamerism balance

(Shooting light vs. Color proof light)
Templates, which are used for profiling, are not free of metamer-
ism. As long as the shooting light and the color proof light are
identical or at least very similar fewer metamerism-effects occur.

Shooting light: Light spectrum used for photographic

shooting

Color proof light: Light spectrum used when comparing

original and image file or
in the consideration for printing
the image file is used

The standard procedure for profiling input devices is the use of

D50, which is standardized in the graphic arts industry as a color
proof light, as a light reference. The XYZ or Lab values which
describe the color appearance of the fields of the profiling targets
under this standardized light are correlated to the RGB values of
the camera for the profile calculation .

Alternatively, any other shooting light or color proof light can be

used as a reference light in basICColor input 5. The XYZ or L*a*b*
values required for the profile creation are then calculated consid-
ering the reflection spectra of the target colors and the selected
light spectrum.

You need spectral reference data for your

target. For various standard illuminants spectra
are stored in basICColor input 5. Additionally,
you can measure your individual profiling
target or your shooting or color proof light with
basICColor catch spectrally. The measured data
are stored in the Templates folder in the input 5
Presets folder (Public documents or for all users:
basICColor Jobs/Jobs input 5/Templates/... ) in
the sub-folders „ Illuminant „ and „ references „

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If your profiling preset uses spectral reference data additional

choices for the illumination spectrum and the standard observer
are available in the Expert settings of basICColor input. The illumi-
nation light sources are divided into three groups.

• Standardized light source (CIE_xxx)

• Standardized Fluorescent light source (CIE_Fxx):

•Custom (measurement data in folder„illuminants“)

All lighting spectra can be freely combined with the 2 ° - or 10 °

Standard observer on the reference values for the profile calcula-
tion .

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Depending on the metamerism-effect of your targets - compared

to the objects of your photographic production - several objectives
can be reached with the spectral profiling:

A) Target and photo objects show a significant but similar

metamerism effect compared to D50

With the spectral profiling you can - with reference to the white
point - achieve the color appearance that the objects show during
the shooting (shooting light) or when viewing (color proof light).
In print production or for exhibition purposes with known illumi-
nation, a spectral profile should be used in the calculation of the
printer profile to match the workflow.

B) The profiling target shows a definite metamerism-effect in

the shooting light, the photo-objects behave less conspicu-
ous at this point.

As a profiling target must also contain very bright colors, it can

occur with light sources with a low color rendering index that
the target shows a stronger metamerism-effect than the photo
objects. By a spectral profiling, considering the shooting light, you
can possibly produce smoother camera profiles with lower ∆E
values in this situation.

6.2.3 Balance of metameric colors

(- metamerism of profiling targets)
If the photo objects show significant metamerism-effect which
differs to the behavior of the standard profiling targets colori-
metric data (best: spectral data) are need for a correct reproduc-
tion on a 3-channel system of the photo object. An independent
automatic correction of metameric colors would only be possible
in a spectrally-working capturing system .

Ideally, use a profiling target which is constructed with the same

dyes/pigments as the photo/scan objects (for example: scanning/
repro/art-repoduction ).
Particularly for scanner profiling, this procedure is very common
because the diversity of materials is limited. The profiling
templates are based on various film and paper types and print
profiling targets .

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You can find a selection at basICColor below:

http://www.basiccolor.de/scanner-targets/

In basICColor input 5 multiple targets can be

combined to a profile (see multi-target profil-
ing). Thereby it is possible to use a standard
target for rough imaging of the entire color
space with an individual special target e.g. to
combine some problematic original colors .

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Product Information
basICColor input 5
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7. Product Information basICColor input

Copyright Information

Sofware - Copyright © 2007-2018 basICColor GmbH. All rights reserved.

Manual - Copyright © 2018 basICColor GmbH.

The contents of this manual are for informational use only. It is subject to change
without any notice. basICColor GmbH takes no responsibility or liability for inaccuracies
or errors that may appear in this document. No part of this manual may be reproduced,
transmitted, transcribed or translated into any language without the written permis-
sion of basICColor GmbH.

Trademark Information

basICColor and the Fingerprint are a registered trademark of basICColor GmbH. All
other trademarks or registered trademarks are the property of their respective hold-
ers (Apple, Adobe, Capture One, X-Rite, Konica Minolta Sensing, ColorPartner, Barbieri)
Any mention of these trademarks is for demonstrational use only and is not meant to
infringe any rights of a third party.

7.1 Credits
UI-Design:
Huangart | digital branding

Core Color Engineering:

Franz Herbert

Core Engineering:
Dr. Martin Münier, Nils Heidorn, Thibault Lepoutre

Manual written by:

Tim Seher, Markus Hitzler, Werner Le Roy

Version 5.3.1, Juni 2018

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