Mudbox :: 3ds Max Workflow Concepts

Oct 16, 2012

I want to understand the theory behind the workflow between 3dsmax and mudbox.I know that exist 2 workflows:

1- send your low poly obj model from 3dsmax to mudbox, then subdiv the mesh in mudbox and generate the textures and normal map. Finally return to 3dsmax but ONLY use the maps to recreate a high detail model. This is useful when you make video games character or when you animate the model

2- send your low poly obj model from 3dsmax to mudbox, subdiv the mesh, sculpt paint, generate maps and return the HIGH resolution MESH to 3dsmax(return with textures). It works only if you generate still images, not animation.

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AutoCAD Civil 3D :: How To Make Contour Concepts

Nov 25, 2013

I would like to make a thesis about software civil 3d, the concept of how to make contour, if the result is close to the original surface these results affect the accuracy of the data because in indonesia does not yet exist that discuss this. How to make contour 3d civil concept?

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Photoshop :: Workflow With Same Doc To Be Used For...

May 13, 2009

I am designing slides in Photoshop using the DV video preset. Except I want to use these same files for print output as well. So here is my workflow: 1) Created video preset template but resized to 300 dpi2) Create slides3) Output slides to 72 dpi jpg4) Put into Premiere Elements5) Burn to DVD (except my app won't recognize my DVD burner now so I have to use Windows DVD maker but that is a different topic.) Then, I am using the same slides in a printed album:1) Switch the resolution on the 300 dpi to "square" pixels2) Save as jpg for my album template3) Put into a page frame I made out of an 8.5 x 11 doc (plus required bleed) So, my question is, do I need to switch to square pixels? I am not sure which way the picture was originally scanned, but I think switching to square pixels should be accurate...it is just that they are looking wide and I may just have gotten used to the other way. The rectangle pixel document actually fits onto the 8.5 x 11 album page better...but I want to do it the "right" way for print.

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GIMP :: Alternative For A Different Workflow?

Nov 14, 2013

what will be better than GIMP (Linux) for this type of workflow:fast processing of the tens of files, jpg to jpg: open, levels, sometimes color rorrection, scale, unsharp, export as jpg with web setting, not camera settings.

For now, GIMP is my main program because of familiar look and easyness of use, but it was designed for an opposite use, and is counter-productive for this kind of workflow.

Here is link to what use it was intended for vs similar to mine workflow: [URL] And similar to mine problem experienced by another user: [URL]

So far I went through:

ImageMagick
DigiCam
DarkRoom
Shotwell
GwenView

... still GIMP provides better results much faster.I was under impression that with wide use of the Web there bound to be some Linux software for a fast mass editing.

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Photoshop :: Color Space Workflow

Feb 17, 2013

I shoot Nikon and use Capture NX2 as my RAW converter. I then save my conversion as a TIFF and move into Photoshop CS6 for all of my editing and processing.

Here is my question: I have an Epson 3880 printer and i really like it. Ive started making my own prints and ive found that the ability to tweak the images is really an advantage vs. having a lab print them for me. Ive read quite a bit and seem to get conflicting positions.

Its seems as if sRGB is best for internet whereas Adobe RGB (1998) is best for prints. However, im a bit confused by all of the articles ive read. If i want the best of both worlds would the following be a good workflow?

1. Shoot in RAW
2. Convert RAW image to a TIFF in Capture NX2 with the Adobe RGB (1998) color space (I use Capture NX2 as my RAW converter)
3. Move the file to Photoshop CS6 and fully edit
4. Print the image
5. Convert the image to the sRGB color space and save as a JPEG
6. Post to web (i.e. Flickr)

Does that sound like a good plan or would you recommend starting and ending in the sRGB color space. Ive heard that changing the color space in an image slightly denigrates it ?

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Photoshop :: Workflow Options Changed In ACR

Aug 9, 2013

I noticed that the Workflow Options window in ACR has changed slightly so that it looks more like Export in Lightroom.  When did this happen? Is there a way to toggle between the old and new windows for Workflow Options.  I noticed that this change is not on all computers with the newest version of CS6.  Some have the old window and some the new one.

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AutoCAD .NET :: Insert Block - Workflow?

Apr 27, 2012

Am I along the correct workflow path here? I want to insert a drawing as a block into my current drawing. Before I start writing code I want to make sure I understand the steps.

Open Transaction
Wblock Drawing to Temp Database
Now have my New BlockTableRecord Object 
Copy BlockTableRecord to ActiveDwg.Database
Create New BlockReference
Add attributes 
Set Scale Properties
Set Insertion Point
Set Rotation 
Append BlockReference to Database
Commit Transaction

Am I missing any of the steps? 

Is this how I would imidate the old VBA modelspace.insertblock(myPoint, "C:pathpathpathlock.dwg",1,1,1,0)

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Photoshop :: Workflow, DNG And Adobe Bridge

Jul 18, 2005

I've got gigs and gigs of image data on my HD, and I'm a bit nervous. I was keeping things in esoteric folders, buring CDs occasionally, and sometimes actually backing up. In recent months, I've decided to take my 'shopping seriously (in a business sense) and started to investigate workflow methods. Right now, I'm concentrating on capture and archiving. Some of the Bridge's new features are quite appealing, but still not all that I want.

What I want from my friends here is a discussion on particular approaches, and why they do/don't work for you.

Here's what I am putting together now... Until today, I would dump my camera files directly into a TEMP folder with a date-based name, something like 2005-17-05, that reflects the dump date, not the actual shoot date. I would then let these sit for quite a while before doing anything with them. Really, the problem was that I got too caught up in details when trying to devise a folder structure, so I didn't follow through and kept inventing new things to confuse me. I'm very good at that.

I've decided on a handful of broad categories that represent my usual work, and have 3 main folders: Stock, Working, Final. Stock is essentially the images straight from the camera, working is a copy of the file saved as .PSD and where I actually do the image work, and Final is a flat, full-res .PSD of the completed image, as well as output-specific formats like web or print.

Within those folders I have subfolders for various things. The philosophy is this; Stock is broken into general categories that reflect the image's intent (Nature/Trees, or Places/Buildings for example). I also have a Projects folder for directed or consigned collections. Working also has folders, but they are based on the intent of a collection of images that may have different subjects, but fall into a project scheme (New Mexico Hikes, Horses, etc) - more on this in a bit. And the Final folder is a duplicate structure of Working.

I'm OK with 'Stock' as-is, but I'm still waffling on the Working/Final folders. An alternate approach is to keep the same structure from Stock in Working and Final, then have a separate Projects folder for collections. The advantage here is that I can work piecemeal and decide on a collection from a gallery of finals. I can also go back and find the layered PSD used in a Final simply by looking in the same-named Working folder. The disadvantage is in the fact that if I decide early on (before the working file) to create a collection, I'd have to make another collections folder in Working folder, which now spreads out my images. Put another way, I'd have thematically similar works potentially in several locations which makes finding them later a real challenge.

I guess I could just make a list of the images I wanted to use and track them through that way...

In any case, I do not rename any files, except in the case of versions, until I get to the final collection (which will have a text file relating the names to the originals).

Now let's throw in DNG! Not all of my shots are in RAW format, and I've not read enough about the Adobe DNG converter to know if it will 'force' the format on JPGs (I would guess not). So, part of the new workflow would be to automate RAW conversion. The question here is whether to save the original RAW file elsewhere, or in the DNG file itself. That's up for debate, but I will probably keep the RAW data directly in the DNG file.

Finally, we come to Adobe Bridge, which can help sort all this out. Mostly...

I spent most of today devising and implementing a handful of keywords/sets, as well as descriptions and applying copyright via the interface. Good stuff. Since I've got a mixed bag of formats in Stock, I've ended up with a LOT of XMP files, and decided to keep the Cache distributed (read up on Bridge if you aren't familiar with this). Doing this helped me sort and shuffle my collections into the scheme I've laid out above. There is some collateral damage since I've not been consistent in my naming or storage locations, but it's a real head start.

Now I'm on to Archiving, and I see a little snag. I can potentially save all my stock files to a fistful of DVDs, then do the same with the working files and finals. Since I'm using single-use DVDs, I can't add files later to fill up. And since I'll be adding stuff randomly to Stock, I've got to decide on an archiving scheme that doesn't just totally waste time creating a new DVD every time I add a handful of images. There is too much info to squeeze it all onto one disc, so I have to break it up somehow (and yes, I've been considering removable HDs).

The other problem here is that Bridge doesn't appear to support cataloging removable media. I may be mistaken, but I've not found it. That means I'll have to maintain some log that tells me what images are on what disc. Sure, I can use another application, but this would be a killer feature for Bridge 2.0 (are you listening Mr. Brown?).

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Revit :: Workflow For Exporting To 3ds Max Design?

Apr 22, 2013

I've been looking for a site / tutorial that outlines a detailed workflow for exporting a model from Revit and into 3ds Max for rendering and animation.
 
I'm particularly interested in how best to set a model up in revit to make this process less painful - particularly around material assignments, mapping etc. so that I can switch from the multi-material (using material IDs) setup that comes into Max over to the Architectural & Design materials.

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AutoDesk Smoke :: AAF Workflow With MP4 Files

Aug 18, 2011

I'm working on a feature film and I have a question about relinking AAF to mp4 material.First let me explain the steps I took:

-source material mp4 files from camera
-transcoded to .mov files so we could use it in Avid
-export AAF from Avid.

Smoke:
-imported all the source clips (mp4 files) with the gateway into Smoke
-imported the AAF file
-put the AAF file in same reel as mp4 files.
-choose Tools/Unlink/Relink and enabled 'Use Clip Name' and Use Timecode.

The problem now is that all the clips are getting linked by timecode only.I discovered that it's because the clips used in avid are .mov files that I want to relink to the mp4 files.

Is there a workflow to substitute the .mov for mp4 in Smoke somehow?I hope there is because now I have to do a lot of manual work (and there is not enough time for)

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Illustrator :: Best Workflow For Creating Icons?

Mar 5, 2014

What is the correct and best workflow for creating icons and asset for a website?

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Lightroom :: Saving Files In A Workflow?

Oct 27, 2013

When I do a Edit in Photoshop, LR creates a TIF file. I process this in Photoshop and close it saving it back to LR. It saves in the same folder as the original on the hard disk. Is there any way I can get these files to save in a new folder under the originals automatically? (all the files for processing should go in this folder)

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After Effects :: Dynamic Link Workflow

Apr 25, 2013

In CS6, I am working a Premiere project, but I want to make a title in After Effects. So I have a title in AE dynamically linked to Premiere. Now, I want to bring the Premiere sequence into AE to work out some timing issues, but encountered an error (5027 ::12). What specifically does that error mean? Are we not able to round trip between AE and Premiere?

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InDesign :: Workflow With Spot Colors Only?

Apr 1, 2014

why InDesign treats working with four spot colors differently than working with CMYK? They are just four colors or channels, right? What is the difference between Cyan or PANTONE Reflex Blue?
 
It is true that 99% of the time CMYK is used. It is also true that you can work in CMYK and tell the printer to put a different ink instead of the a Cyan, Megenta, Yellow or Black ink. The project I work on now involves four Pantone spot colors and a few illustrators how need/want to see what they are doing, so...
 
InDesign is so slow working with spot colors. It feels slower than Quark Xpress 4.11 on a Mac OS 9 G4 machine.
 
[-> InDesign CC, MacBook Pro 7i 2011, SSD, 16 G RAM, 1 G GPU]

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Photoshop :: How To Integrate Speed Grade Into Workflow

Jun 29, 2012

I love Photoshop CS6, and my absolute favorite new feature is the Color Lookup adjustment layer. So far, I've been extremely happy with the effects I've been able to pull off by combining that with other adjustment layers, channel work, etc.
 
However, I've gotten to the point where I realize that my next step -- much like a user who graduates up from using actions he/she downloads off of Deviant Art -- is to make my own color look up tables. The only tool at my disposal for this is Speed Grade. (I have a CS6 cloud membership -- off topic, but way to go, Adobe, that made it feasible for me to "graduate" from only having Photoshop CS5.1 to having the full suite at a very reasonable price!)
 
I've used Speed Grade on video clips I've shot with my Canon 5D MkII to great effect. Nothing I'd post publicly yet (I'm still learning how to shoot motion), but I considered the results to be very positive. I've managed to save several test .look files, as well, both on video footage and still images (JPGs, to be specific).
 
I always shoot RAW, and my usual workflow is to start in Aperture (I'm a Mac user), do some basic RAW adjustments, then export a 16-bit PSD and get down to the real work in Photoshop. SpeedGrade doesn't yet seem to support PSDs natively, so in order to create a .look which is appropriate for my image, it currently looks like I need to export a JPG (down to 8-bit sRGB, ugh) from Photoshop, then open THAT in SpeedGrade, do my work, save my .look, go BACK into Photoshop, and use the .look file there.
 
I could live with that if -- IF -- the .look file actually gave me my expected results. However, the only time the .look behaves exactly the same in Photoshop as it does in SpeedGrade seems to be if I open the image as a JPG -- thus losing all my layers, adjustments, smart objects, etc. When I apply any of my .look files to a PSD, they come entirely too dark, every time. Many of them have simply turned an image into a large 22 megapixel black rectangle.
 
So my question is this: How do I make a SpeedGrade .look file behave predictably in Photoshop, in a 16-bit-per-channel PSD file? I'm OK with changing the color space if I have to (even if it's to sRGB, the bane of my existence) -- but I need to see the same thing in SG that I do in PS. Is this possible today, or am I waiting on the next SG release? Or, and I assume this to be the case -- as I'm a software engineer by trade, and know that this is almost always the case! -- is this a case of user error? And if so, what can I do to correct my user error?
 
Or, sacrilegious as it may seem since I have all of Adobe's tools, are there other Mac-based products I can use to create color look up files compatible with Photoshop?
 
In case it matters, here's my platform:
 
Canon 5D MkII, latest firmware, always shoot RAWApple Aperture 3.2.3. Mac OS 10.7 (late 2011 MacBook Pro 17", 16 GB RAM)Adobe Creative Suite 6 Cloud Subscription (photo, illustration, video tools installed; no Flash nor web tools)

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Photoshop :: CS6 Camera Raw Off Of Bridge / Workflow Has Changed

Oct 14, 2013

After a recent update while working in Camera Raw off of the bridge I noticed that the workflow has changed.  I can no longer change the size as easily.

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AutoCAD Architecture :: Workflow For Plans And Sections?

Nov 21, 2011

I'm slowly trying to make the transition from AutoCAD to AutoCAD architecture.

The main thing that is confusing me is how to organise the project so that plan, section and elevation sheets will all update from the original construct whenever it is changed.

I'm confused about plans and sections...should I draw my section lines from the annotate panel directly onto the 'construct drawing' and then use that as my plan or should I create a plan view of the construct (...how?) and then draw the section lines over that plan?

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AutoCAD Inventor :: ILOGIC Workflow / Way To Add Rules

Oct 1, 2012

I made a simple rule that triggers before save to ask user to make a selection, which then updates an iProperty.I created A multi value fxParameter and used the InputListbox function.

Ultimately I want to know the best way ok making this rule available to all parts, old and new.I am thinking, it will be easy enough to update my templates and embed this code into the part, as well as content center files by updating each file / template .

But for existing parts, is there a way to add these rules without the user having to do much steps.because there is an fxParameter I am thinking the user will have to know how add this to their part.I can change it to just an input box where they can type in the correct value, if that would be easier.

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3ds Max :: Workflow To Create Vehicle Animation Path?

Jan 29, 2013

What is the best workflow to create vehicle animation path for Civil View extension, when these path segments are not exported from Civil 3D, for example in intersections like in the picture of a simple case I attached. Do you create arcs in AutoCAD and then import them in scene, project them to road region surface and connect them to split corridor base lines, or you draw them directly in 3ds Max 2013?

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Softimage :: How To Find Workflow Between Face Robot And 3Ds Max

Jun 14, 2012

I am trying to find a workflow between face robot and 3ds max and so far I haven't been able to find one.

My investigation has led me here;

[URL]....

I am looking at purchasing point oven but in the meantime thought I'd try other options.

I looked into the "send to max" in the file menu but this doesn't seem to be setup for transfer of meshes more to do with particles?

[URL]...

I have used crosswalk and it will transfer a mesh but no textures and it will only transfer simple animations such as scale keyframes but nothing with regards to facerobot. The best result I've seen so far with crosswalk is that the face will be exported along with a morph target set but the morphs do nothing and all bones come in as dummy object with simple skinning. Not ideal as it negates the benefits of using face robot for implementing face capture into the pipeline.

I have seen the youtube video from Blur Studios explaining their workflow with facerobot on dantes inferno but they don't go into any detail.

UPDATE : Found out that crosswalk does not support facerobot transfer with any version of max.

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Maya :: Photoshop / Unity - Looking For Texturing Workflow

Feb 11, 2014

I'm working on a hobby project for a game in Unity3d. When it comes to texturing my Maya models and bringing everything into Unity, I often find myself lost in a very tedious workflow. How to organize the texturing process between different applications.Here is what I'm doing right now: 

1. export UV snapshot from Maya and open it in Photoshop
2. use premade textures, photo reference and hand painted images in PS to build a diffuse texture
3. export as an image file and check it on the model in Maya
4. go back to PS, adjust and start building a specularity/gloss map, as well as use premade normal map textures or hand painted bump maps to create all those different maps
5. export layer groups from PS into individual texture file (diffuse, specular, normal, emission etc...)
6. assign everything in Maya and check if it looks ok (I prefer doing this in Maya, so I could change the model or UVs if needed)
7. export another set of texture maps from PS to meet the requirements of Unity (diffuse with gloss in Alpha channel ect)
8. assign and test everything in unity and make prefabs for my developer
 
As you can see I spend a lot of time on exporting up to 6 versions of one texture for different purposes for Maya and for Unity. Everytime I want to change something, I have to manually go in and re-export and refresh those textures. I'm trying to use actions in Photoshop and a Mel script in Maya to make that easier, but still it's a lot of tedious work spent on just updating images. 
 
I actually started off using PSD networks in Maya. I would create my material, let Maya create a PSD file with different layer sets assigned to my shader and let it all refresh at once without having to export. That sounds like a reasonable workflow, but I stopped using it, because networks with layer sets only support flattened Photoshop data, so no layer effects and non-destructive editing from within PS. And every once in a while my PSD network would break and corrupt my PSD files, making it impossible to save them or open again.

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AutoDesk Smoke :: Best Export Workflow For DCI - DCP Conversion

Nov 5, 2013

I have finished a project for broadcasting. Now it is going to be used for cinema use as well.
 
How should i go about it? Export a normal ProRes4444 and that is it? Or how could i (and should i) flip it into XYZ colourspace before exporting?
 
I want to deliver the material that gives the least risk of error during the image conversion.

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AutoDesk Smoke :: Feature Length RED Workflow

Jan 25, 2013

I am investigating best practice workflows for a feature length project shot on 2 Red Epic cameras and editing was done in Final Cut. I need to grade and finish the movie along with many other finishing requests like screen replacements, set clean up involving tracking and many other common DI requests and fixes. I use Resolve for most Grading but since there are so many FX shots that need work I was contemplating keeping everything in Smoke so I can make adjustments to the grade and FX in context of the whole edit.

Is this advisable for a 90 + min edit with Red footage? It might be doable but is it feasible meaning would performance be very sluggish? I have a 2009 Mac Pro, 24 GB RAM, 8TB RAID, RedRocket and Quadro 4000 card.

Would I be best off having the editor break the movie up into 10 - 12 minute sequences and then import each XML as its own sequence into one Smoke project?

If I import the Red footage at half res, because of performance, I am only using half of the info in the file. I have a RedRocket so should I import full res 4K to get maximum quality? Then let Smoke do a resize to 2K which is the final deliverable format? I figured that might be best for doing resizes and for sharpness.

If I work with proxies would all of my tracking and paint work be valid when I switch back to the 4K version for final render?

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AutoDesk Smoke :: Noise Reduction In Workflow

Jun 2, 2013

I have a question about applying noise reduction. Where in the pipeline should noise reduction take place? Should it happen before color correction or should it be applied after?

And what should drive such a decision on a per shot basis?

I figured you do not do this pre-comp, due to the fact that noise reduction has the effect of removing detail quite often and may effect edges.

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AutoCAD Civil 3D :: Subdivision Design Workflow

Sep 13, 2012

Conceptual design process for a new subdivision with say 100+ lots, and 5-6 roads within it. 

What I'd like is to learn a workflow that lets me adjust the alignments/profile with a minimum amount of effort to re-layout 100+ lots, and which lets us explore design options more interactively.  Once we pin down a few alignment options, I would create a simple corridor with multiple baselines to develop the grading concept.

One thing that irks me so far is that the Create ROW command is nice, but it's not dynamic to the alignments.How do you handle cul-de-sacs on this process?

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AutoCAD Inventor :: Frame Generator WorkFlow

Sep 8, 2011

Recently the company bought a single license of Inventor to test out and see if it meets our company goals and is efficient to use for what we do.  I've been working with the frame generator, which is fairly easy to use and make the initial assembly, but I am having trouble and breaking out individual sections to detail. 

I am stuck with using LOD for this platform, provide a general workflow procedure of the best way of creating assemblies and subassemblies. 

What I am currently using Inventor is to build a condenser platform. Generally we like to weld as much of it in the shop before it goes to the field for final assembly.  The platform consists of beam supports, grating, stairs, and handrail. In this case we would generally take sections of the handrail and weld in the shop, we would also have the stairs with the handrail welded on it as well. I would like to refrain from converting this to weldment.

I have tried promoting and demoting but this loses constraints and references. Also I cannot create a single skeleton of the whole frame at one time because a lot of the frame members depend on the other members structural sizes (flange width, height, etc.).

I've read of people creating multiple subassemblies and grounding them, but I would like to think that their has to be away that I could just build off of the base skeleton and not have to cycle through different assemblies.

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Illustrator :: Workflow Optimization Layers Panel

Mar 20, 2013

Every time I'm working in an Illustrator file with multiple layers and hundreds of objects on those layers that sometimes aren't grouped yet, I find it hard to select click on the objects in the layers panel on the right, selecting them via shift-click (you know, selecting all objects between the first and the last clicked object).
 
Is there a way I can select layer objects with the shift-option and afterwards have all of the items selected on the artboard? See the images for illustration.

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Illustrator :: Workflow And Settings For Best Quality PNG Export

Jun 11, 2013

I need to export a vector image to a .png for use on Retina display devices. What is the workflow and settings for exporting that results in the best possible quality .png image?

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Lightroom :: Workflow Slows Down After Modifying An Image

Mar 18, 2013

Lightroom 4.3 runs smoothly if I work on unmodified images.
 
However, if I apply modifications on an image, retouching it afterwards becomes much slower, even if I render a preview AFTER I made modifications on the image.
 
I tell you an example: I import a raw file to the program and I render it`s preview. Then I retouch the image - it works very fast, no waiting time, no Loading overlay.Where the problem starts: I import a raw file, I apply some modifications on it (for example a preset), then I render it`s preview - then I want to do more modifications on the image, which becomes very slow.
 
I was monitoring the cpu usage of the computer. In the first case, the cpu usage during modifying the image is normal.In the second case, it goes up to 100%. It seems that applying modifications on an image makes working on it slow, no matter if you have the most up-to-date preview or not.

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Lightroom :: Workflow / Matching Different Cameras And Lenses?

May 9, 2013

I'm currently trying to match six cameras and all their different lenses to produce identical images and I need fine tuning my workflow on making the camera profiles.
 
Me and my team are shooting weddings. We have Nikon D3s, Nikon D3, 2x Canon 5D mk III, Canon 1D mk 3, Canon 5D mk II with 17 lenses and I'm in the middle of the process of matching their colors so when we shoot together I don't go crazy trying to match the white balance between all the cameras in Lightroom.
 
The issue I have is that I managed to make all the colors, contrast, saturation and brightness for all cameras and lenses on daylight shots identical (with minimal differences) but shots under 2800k light are very different.
 
I bought a 24 patch color checker and took photos with all cameras - once with a 2800k halogen lamp and then with a 5500k strobe (Nikon SB-800 @ 1/16 power). I shot in RAW. The exposures are good - no blown highlights or unexposed parts. In Camera raw I applied the "Camera neutral" color profile for all cameras. I exported the shots in DNG. For each camera and lens I imported the halogen and flash lit file into DNG Profile editor.In the chart section I created a color table for the "2850 K only" halogen lit shot and then for the flash lit shot choosing "6500 K only".
 
So far so good. The colors are good but to achieve them for the different cameras or lenses I need to input different color temperatures and tint. What I want is to set identical color temperature for all photos (say 5500k) and to get identical colors regardless of camera or lens.
 
So the next step I took to get at least the daylight shots identical is to play with the "White balance calibration" under the "Color matrices" tab. For instance - DNG Profile editor determines that the flash shot should be set to 6050k +8 tint. I move the "white balance calibration" sliders until I reach the numbers I want above the flash shot (5500k). Because the colors shift I press the "Create color table" button again. My goal is to show the program that I want these (calibrated) colors to be achieved at 5500k +0 tint and not 6050k +8 tint. I get the result I want but that affects the 2850k shot. If I readjust the "white balance calibration" sliders for the 2850k shot and use "create color table" again, that ruins the 6500k adjustment.
 
So using this workflow I get either the daylight shots right or the tungsten lit shots, but not both.
 
So in short my question is - How do I create proper profiles that produce identical colors among all cameras and lenses under all white balance settings?

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Photoshop :: Image Editing Workflow For Fine Art Printing

Aug 26, 2013

I'm developing a workflow and I would like to see how the images of professional photographers look like in PS at the end of the process ... ready for printing.
 
Here is my workflow in PS for B&W photo (Hue/Saturation adjustment layer is not needed for a B&W photo as known):
 
After making all tone and color adjustments in LR, I open the image as a smart object in PS ... and rest is on the above image, showing my layers panel in PS at the end of the developing process.
 
At the end of the work, if I print with PS, I select all the layers and convert them to a smart object together and I apply output sharpening ... but if I print with LR, I save and close the file without output sharpening and I use the sharpening options on the print module in LR.

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