A7rII Raw color Issue - Display deep blue instead of purple (but jpg are fine)

[pfogle]

I remember having this problem with transparency film too; in that case it was due to the yellow filter that lies below the blue sensitive layer. I think purple, especially in flowers, but also in fabric dyes, reflects a lot of IR, which throws out the white balance of the sensor for those areas. IR cut filters over the sensor can eat the red end of the spectrum of the purple, which would push it towards blue. I'm puzzled how that could result in such a difference between raw and jpg, so in this case it does rather look like gamut issue. The profile for the jpg created in the computer should fix it. Maybe the jpg looks good OOC because Sony anticipated this (well known) problem with purple/magenta.

[seb]

I find that my a7rii raw files have odd coloration in lightroom too. often times shadows come out very blue and warming the photo up will result in super warm areas that aren't shadows/blacks. i have to cut blue color out almost entirely at times. there are also many instances of purple and reds coming out in extreme amounts. I just downloaded and tried using raw digger and the resulting TIFF was so far different from the adobe file it's crazy. Way darker and warmer. I actually prefer abobe without a question. 

 

Not sure what to do at this point. May try CaptureOne..

 

There are several threads complaining about the colors of the A7RII profile in Lightroom or Capture One. It doesnt matter which program you are using, the profiles for the A7RII are not good. You can help you with creating an individual profile or take an available one.

• The most easy way to create a profile is by shooting a Colorchecker24 and use one of the programs to profile it (e.g. Argyll). These programs are rather complicated. I'm quite new to this, but tested dcamprof over the last weeks to make my own profile for C1. And the result is fantastic. Dcamprof can also create profiles for LR.
• Within the Luminous Landscape Forum you can follow the development of dcamprof. At the end of this thread, I posted my ICC-profile for C1 (v9) yesterday evening. So you can download it there. If you want the DCP-Profile for LR, you'll find a A7RII-profile (made by the programmer of dcamprof) in this thread. Just copy the files to the right place, (re-)start C1/LR and use them. To see the download links on LuLa, you have to be logged in to the forum.
• You can also buy packages for camera brands. Some in this forum posted them, so I think, they are a valid option too.
• Or you are using an Colorchecker24 from x-rite and use the LR-Plugin to calibrate each shooting separately or camprof (not dcamprof) to do the same in C1.

[adwb]

I think it should be pointed out that the whole point of a colour passport checker is to create a profile for a specific lighting situation.

 

I have never understood how LR or C! can use a generic or MFG supplied profile for all shots and state they are accurate, although admittedly for mot images they will suffice. After all its not all the time you have a reference to hand, go photograph a fire engine and show the image to anyone and the last thing they will say is the colour is wrong unless of course you are standing next to the appliance.

 

That is why you see videos for colour passport checker with the checker being shot during the shoot so to allow a specific profile  to be created for that shoot. That way if you get a lot of green reflection from trees, for example, the profile would correct for that..

 

Non of this is germane to the original post or the subsequent suggestions which have not really answered the original question.

 

I have been creating profiles for studio flash lights or window daylight with full cloud and  neon tube lighting to test on the original downloaded images and they  have done nothing to address the blue  / purple dress question.

 

It is important that any one going down the create their profiles route are aware of the fact that much like white balance you need a reference for each lighting situation you find your self in.

 

Apart from having , as i mentioned in a previous post a similar problem with blue bell flowers, the only time I create a specific profile is if I am photographing art work for reproduction in print  or for a shot with a colour that need accurate reproduction = red Ferrari for example.

[seb]

I think it should be pointed out that the whole point of a colour passport checker is to create a profile for a specific lighting situation.

 

I have never understood how LR or C! can use a generic or MFG supplied profile for all shots and state they are accurate,...

 

A well done profile can simulate different light settings. It's always a simulation, but a good one. That's why you can use a general profile for different light-situations. The big thing about this, is to shoot in a lightsource that can cover any other lightsource (e.g. sunlight). Or you take two (tungsten + daylight) and combine them.

This is the reason why a general profile will always be available and also very usable.

 

Of course you can make also a profile for other light sources too. eg. for a flash. but if a program like LR/C1 do that, for which flash? Or which climate and season? And what you are using, when you shoot a street full of different atificial lights, just after sunset? A self made, flash(or whatever)-profile could be better. But I think, you would not recognize the difference to a well made general one. Or you just use a mediocre profile (the flash-profile that is available) for the current situation (which has 80% flash-light and 20% thungsten), while a good general profile would not be perfect too, but still: better.

 

To get a perfect color setting, for a single shooting situation, you can use a colorchecker passport. E.g in the studio or for a single portrait shot. But in holidays? Shooting the family? On a wedding? You would never have the same light on each shot. A slight move or different angle and the light may be completely different. A colorchecker passport shot is a good reference though, to remember the light and whitebalance.