# Strange encounter in the red channel/RPi HQ Camera

**URL:** <https://forums.kinograph.cc/t/strange-encounter-in-the-red-channel-rpi-hq-camera/2748>\
**Category:** Research\
**Created:** [April 4, 2024, 11:51am UTC](https://forums.kinograph.cc/t/strange-encounter-in-the-red-channel-rpi-hq-camera/2748 "2024-04-04T11:51:42Z")\
**Posts on this page:** 1\
**Showing post:** 90

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**Author:** ![npiegdon](https://forums.kinograph.cc/user_avatar/forums.kinograph.cc/npiegdon/32/2729_2.png) [@npiegdon](https://forums.kinograph.cc/u/npiegdon)\
**Post date:** [November 15, 2024, 6:49pm UTC](https://forums.kinograph.cc/t/strange-encounter-in-the-red-channel-rpi-hq-camera/2748/90 "2024-11-15T18:49:49Z")

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> [@PM490](#):
>
> My know how on developing a color profile or using Argyll is zero. I would certainly be interested in _something_ to test/calibrate the experimental methods.

Check the “TIFF and reference data” link over in [this post](https://forums.kinograph.cc/t/the-backlight/966/170) in the Backlight thread. The “argyll steps.txt” file has everything you need. One command to read/compare your scan of the calibration target with the calibration data supplied by the manufacturer. Then, another command to generate an ICC profile from it.

With an ICC profile in hand you can do lots of things. It’s usable directly in places like Photoshop where you can simply “assign” the image to use that profile. But it can also be used to generate the kind of LUT that Resolve likes. So your first node would be to use that LUT and you’d be starting with the nice, “real” calibrated results for all your footage.

> [@PM490](#):
>
> Before your posting I came across [this one](https://www.appliedimage.com/applied-image-announces-nist-traceable-color-transmission-calibration-slide-digital-pathology-imaging/) but is certainly [outside my budget](https://www.appliedimage.com/product/nist-traceable-color-transmission-calibration-slide-calibrated-iam-9c-seccal/).

That thing is wild! Anytime you add “NIST-traceable” to a product description, the price gets another zero or two. But having 98 spectral response data points at 5nm increments for each color patch is awesome. I don’t know what I’d do with it… but it’s awesome. 🤣

I’ve noticed the same throughline across all my hobbies: metrology. For whatever reason, I seem to love precise measurements and quantifying anything I can get my hands on. 😅

> [@cpixip](#):
>
> Here you’d expect that the camera manufacturers color science is doing a decent job in capturing the colors of your film.

There’s something to be said here for why we calibrate monitors, scanners, and printers in the first place. Each one is a little different. And they drift over time. I generally distrust _every_ “out of the box” state my devices arrive in. (This probably dovetails into my statement about metrology just now. I can’t turn it off in my brain! 😆 )

> [@cpixip](#):
>
> In the end, the differences in the approaches will probably be overshadowed anyway by the variations encountered in the source material.

Agreed.

Alright, I’ll point the greywhitebalancecolourcard people at this thread and mention that there’s at least a little interest in them maybe making more than one at the smaller size.

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