Ulysseita wrote:
Curves, black points, fixes and little improvements or expansions on film packs and... A new pack dedicated to the black and white film world!
I hope you will consider including Fujifilm Neopan 1600 in the black & white film pack.
Hi, so, I have to buy a product for each camera I have?
I own a Pentax 645D, but I only shoot it in DNG, so I can use Capture One with its files. Do I still need to get your product for that specific camera, even though I’m not using PEF? Or will it work with the basic DNG package for, let’s say my A7RIII? Or I need to buy it for those two cameras?
And which product do I need to buy so I can mimic the color of a CANON R5 with a Sony A7RIII photo?
I still don't understand how one is supposed to be able to choose what "packs" and simulations to buy when there is no comparison tool. Are people picking alternatives based on random examples, or am I missing something?
Edit: I mean, I'm not interested in seeing the difference between Adobe color and a simulation, but between different simulations. For example; there is no way for the customer to be able to figure out how Kodachrome differs from Ektachrome.
Yes Pablovi, you need a dng phase profile for each camera you own in order to have a coherent and consistent color output.
For the r5, the emulation pack is the contemporary Canon (will be updated soon) and off course you will need the dng base pack 9n order to use it with your raw files.
Hi, so, I have to buy a product for each camera I have?
I own a Pentax 645D, but I only shoot it in DNG, so I can use Capture One with its files. Do I still need to get your product for that specific camera, even though I’m not using PEF? Or will it work with the basic DNG package for, let’s say my A7RIII? Or I need to buy it for those two cameras?
And which product do I need to buy so I can mimic the color of a CANON R5 with a Sony A7RIII photo?
Makten we did our best in order to show some samples of each emulation and certain many of that sets are quite famous.
We are working on a smart comparison tool to compare them btw.
Ulysseita wrote:
Yes Pablovi, you need a dng phase profile for each camera you own in order to have a coherent and consistent color output.
For the r5, the emulation pack is the contemporary Canon (will be updated soon) and off course you will need the dng base pack 9n order to use it with your raw files.
When you apply a profile but set it to less than 100%, what makes up the rest of the image profile? For instance, if I choose your Velvia but set it to 40%, I would prefer the other 60% be Cobalt Standard or Cobalt Neutral. However, I suspect it is instead Adobe Standard.
Could you please comment on how it works, as well as whether it would be possible to have the “other” profile that is blended a Cobalt one…if it is not already?
My guess would be the opposite, that the base is the Cobalt profile. My understanding is that the base cobalt profile will shift the output from any camera to a theoretical identical starting point. The subsequent profiles, film/camera/whatever, then shift the image again from the cobalt starting point to the emulation. This lets them use the same film/camera emulation profile for every camera because the starting point is the same, or at least very close. As you vary the strength of the emulation, you shift your position along the vector from the cobalt base to the emulation profile, so to speak.
I don't have the Cobalt packs, though I'm thinking of pulling the trigger on some before the code expires, but if anyone has them you could test this by applying an emulation at 0% strength and seeing whether it looked like Cobalt Standard or Adobe Standard.
My suspicion is that you can't apply the emulation profiles using a different starting profile like adobe because you'd be starting from a different point. Probably in theory you could do this and maybe end up with an interesting effect, but one that is further away from what Cobalt intended.
What could be very fun, although probably useless, is that because all these other cameras and films have been profiled and you can emulate their looks, you know where they all sit in parameter space relative to the cobalt neutral starting point. Knowing all the vectors from cobalt to the individual cameras and emulations you could also compute the vectors between cameras and emulations and then sort of walk your image between them and see how everything shifted as you went from Velvia to Kodachrome to etc etc. It wouldn't really represent anything real in the real world (what is 50:50 velvia kodachrome film, after all), but you mind find some cool looks. However I'm sure the math and programming involved in all of this would be quite complicated if not impossible and end up as just a cool proof of principle rather than anything useful. Anyways, I'm getting off topic.
I hope the original portion I wrote makes sense and maybe the Cobalt guys can clarify further.
My guess would be the opposite, that the base is the Cobalt profile. My understanding is that the base cobalt profile will shift the output from any camera to a theoretical identical starting point. The subsequent profiles, film/camera/whatever, then shift the image again from the cobalt starting point to the emulation. This lets them use the same film/camera emulation profile for every camera because the starting point is the same, or at least very close. As you vary the strength of the emulation, you shift your position along the vector from the cobalt base to the emulation profile, so to speak.
I don't have the Cobalt packs, though I'm thinking of pulling the trigger on some before the code expires, but if anyone has them you could test this by applying an emulation at 0% strength and seeing whether it looked like Cobalt Standard or Adobe Standard.
My suspicion is that you can't apply the emulation profiles using a different starting profile like adobe because you'd be starting from a different point. Probably in theory you could do this and maybe end up with an interesting effect, but one that is further away from what Cobalt intended.
What could be very fun, although probably useless, is that because all these other cameras and films have been profiled and you can emulate their looks, you know where they all sit in parameter space relative to the cobalt neutral starting point. Knowing all the vectors from cobalt to the individual cameras and emulations you could also compute the vectors between cameras and emulations and then sort of walk your image between them and see how everything shifted as you went from Velvia to Kodachrome to etc etc. It wouldn't really represent anything real in the real world (what is 50:50 velvia kodachrome film, after all), but you mind find some cool looks. However I'm sure the math and programming involved in all of this would be quite complicated if not impossible and end up as just a cool proof of principle rather than anything useful. Anyways, I'm getting off topic.
I hope the original portion I wrote makes sense and maybe the Cobalt guys can clarify further.
Exactly, the operation of modular packages is just this.
When you select a modular profile the system automatically retrieves one of the specific base profiles and then mounts the conversion Lut above it. The starting profile is the Modular for digital emulations, while for films we prefer Neutral for greater separation of the base signal and a better film look.
VetraLens wrote:
Does anyone know whether there's a machine limit per license? Can I install the same packs on both my desktop and my laptop with one purchase?
Raamiel wrote:
Exactly, the operation of modular packages is just this.
When you select a modular profile the system automatically retrieves one of the specific base profiles and then mounts the conversion Lut above it. The starting profile is the Modular for digital emulations, while for films we prefer Neutral for greater separation of the base signal and a better film look.
I picked up the base and Kodachrome sets for my Q2. Am I correct in thinking that, were I to get another camera, all I’d need is the base set for that camera and the Kodachrome would work as expected?
Also, for photos that have been previously edited in lightroom, I should revert to original before applying these profiles?
torifile wrote:
I picked up the base and Kodachrome sets for my Q2. Am I correct in thinking that, were I to get another camera, all I’d need is the base set for that camera and the Kodachrome would work as expected?
Also, for photos that have been previously edited in lightroom, I should revert to original before applying these profiles?
Yes on the first question and maybe on the second, I think I personally would revert to the original to start from scratch because that would be the easiest route but then again it depends on what I have changed. Basic exposure changes might work but any color related changes might lead to unexpected results so I would reset them
Holidays, transfers and many WIP.
Cause that and the inevitable slow down on the processes,We extended again the coupon to the end of the month, 31th included.
Ulysseita wrote:
Holidays, transfers and many WIP.
Cause that and the inevitable slow down on the processes,We extended again the coupon to the end of the month, 31th included.
Ulysseita wrote:
Holidays, transfers and many WIP.
Cause that and the inevitable slow down on the processes,We extended again the coupon to the end of the month, 31th included.
Thank you! I have already purchased the basic profiles for two bodies, along with the Cobalt Smart profiles, and CCD Fever. Love them and plan to get more. Having the additional time to use the discount code is really helpful.
Archive 2021 · Cobalt Profiles
For example; there is no way for the customer to be able to figure out how Kodachrome differs from Ektachrome.