Lightroom/Camera Raw: Fuji GFX Raw File White Balance Issues - Magenta Tint

[cdodkin]

When importing Fuji GFX RAW files into PS/LR, using ACR, the ACR 'as shot' WB shows a significant +CC offset, and a -K offset, and is not in line with the K or CC values in-camera. This results in an image which is cooler than shot, with a magenta color cast. This is prevalent across the GFX50S and GFX50R, and appears to be an issue with the way ACR is interpreting the WB metadata in the Fuji RAW file.

[cdodkin]

I don't use LR, as I said previously - I use PS, so the instructions you're providing make zero sense to me. The fact that your visual experience and mine are different, and that we are using different software, is an issue, on top of my existing problem.

FWIW I wrote my doctorate thesis in color space analysis for robotic vision systems, so maybe I'm more critical than most when it comes to digital color, but regardless, the issue is still presenting itself to me, and other GFX/Adobe users

[Todd Shaner]

Let's focus on the actual screen rendering and not the WB values for now. The amount of "actual" WB shift in the image rendering is small compared to the large differences in As Shot WB readings. It's indicative of an issue, but not the problem we need to identify and nail down right now.

Let's address this question, "Given that I'm having to explain the above to you - can I ask what your qualification is to be reviewing this issue?"

I am not an Adobe employee and assisting you as any other user would in this forum. Adobe has assigned some of the more experienced users the title of 'Champion' with ability to edit and move posts as well as communicate directly with Adobe staff. My statement, "I have no idea how LB and CC values are converted to the single Tint value" is in reference to how Adobe converts the raw file's WB matrices to 'As Shot' values, regardless of how they are set in-camera. I established my own color processing lab back in the 1970s and certainly know what CC filters are and how to use them.

In my last post concerning the Studio sample RAF file, "Does that concur with what you see in the Studio sample file DSCF9452.RAF?" If not tell me what you are seeing in the actual screen rendering not WB values.

After looking at this further I discovered building a 1:1 Preview for the DSCF9452.RAF file (Library> Previews> Build 1:1 Previews) removes the magenta tint shift observed in the lower right and left gray background area. Do you see that as well when viewing the image in the Library module? If not 'Remove' the file from LR and reimport it with 'Standard Preview' selected in the Import module 'Build Previews' selector. This is not normal behavior so I need to confirm you are seeing the same behavior...or not! I tried disabling 'Use Graphics Processor,' but it had no affect on the magenta tint with only a Standard preview built.
Hopefully Adobe staff will comment shortly.

[cdodkin]

I'm worried by your use of the term 'identical' - the two versions are not identical, and the magenta cast is visible on the backdrop, model, grey card etc - the skin tone is a dead giveaway. Do you not see that?

[cdodkin]

This file shows 5400k +13 WB 'as shot' setting when I bring it into ACR. Actual WB should be 6250k -4 WB, which matches what the camera sees. As with all files, the issue is low K and high CC offsets on the 'as shot', which do not match what the camera is recording.

[Todd Shaner]

BINGO–Your Studio sample - GFX50S RAF file really demonstrates the issue!
The embedded preview and LR raw file renderings are identical, but the backdrop shifts to a magenta tint in the lower right and left sides of the image. I used the PROVIA/Standard camera profile, which best matches the embedded preview rendering. As you mentioned all of the camera profiles exhibit the issue. Thanks for hanging in there with me to establish something Adobe can evaluate and fix.

Does that concur with what you see in the Studio sample file DSCF9452.RAF?

https://www.dropbox.com/s/huats888hifq95h/DSCF9452.RAF?dl=0

[cdodkin]

Given that I'm having to explain the above to you - can I ask what your qualification is to be reviewing this issue?

[cdodkin]

The color meter CC (Color-Correction) displays Kodak filter number(s) of the necessary light-balancing filter(s) to make for easy selection of the required light balancing filter. Whereas the LB system uses amber or blue filters, the CC system uses magenta or green color compensating filters. CC is the system Adobe represent in ACR, so you only have to use the CC value from the meter.

[cdodkin]

If you're not seeing it visually, then I'd recommend screen calibration as it's clear as day here. And the eyedropper tool backs it up 100% of the time

[cdodkin]

My in camera JPEG and ACR JPEG are also different, _ measure CC3 difference in mid grey, CC10 in dark grey/black

[cdodkin]

Not only can I see a difference between the embedded JPEG and the ACR JPEG, I can measure it. Top set WB off of your RAF, bottom set WB off of Embedded. There's a CC5 difference.

And I'm using PS not LR

[Todd Shaner]

Both RAF file's embedded preview and raw file have identical WB rendering with 'As Shot' WB when viewed onscreen and using the WB Eyedropper. I just noticed your post showing the in-camera JPEG next to an ACR generated JPEG also look identical. Are you not seeing that? If not we need to do some troubleshooting.
Do the RAF files look different when switching between the Develop and Library modules? If so try unchecking 'Use Graphics Processor' in LR Preferences> Performance tab. Do they now look the same?

LR As Shot WB Values: 5050 +17 and 5000 +17
Your meter WB: 5080 LB -10 CC 3
 I have no idea how LB and CC values are converted to the single Tint value, but it's of little concern since the actual WB rendering is correct. I also checked LR JPEG file exports and they look identical as well.

[cdodkin]

Studio sample - GFX50S - Same issue 

https://www.dropbox.com/s/huats888hifq95h/DSCF9452.RAF?dl=0

[cdodkin]

Metered K and CC values

[cdodkin]

Second sample - same target, different camera body - GFX50S this time - same issue

https://www.dropbox.com/s/05ws0q6l76pmlux/DSCF0738.RAF?dl=0

[cdodkin]

https://www.dropbox.com/s/4421bj895snqwsm/DSCF3924.RAF?dl=0

[Todd Shaner]

EDIT: Please provide an DNG RAF file copy with your settings applied that demonstrates the issue via Dropbox or other file sharing site. Thank you. (A DNG file export will no longer have the original embedded JPEG preview so not useful!)

[cdodkin]

The in-camera JPEG shows accurate WB, while the RAW conversion of the same file in PS shows a -k and +CC WB shift. The ACR WB shift is not dependent on any Adobe profile used, it exists on all Adobe color profiles, including the camera specific ones.
 

[Todd Shaner]

As already explained differences in LR WB Temp and Tint "values" are very common and not necessarily a cause of incorrect WB. The best way to determine if LR/ACR is reading and setting WB properly is to compare the RAF file's embedded JPEG preview (or an actual raw + JPEG shot) with the LR rendering of the raw image data. Below is an example using the RAF file at the link I provided.  There are slight color differences, but the WB is identical in both the embedded preview and raw data rendering in LR 8.2.1.

If you have a file that demonstrates a WB difference between the embedded JPEG or camera JPEG and LR raw data rendering then we have something for Adobe Engineering to investigate. Thank you.

[cdodkin]

Looks fine, but as we have no idea how the WB was set in the camera for this test shot, it doesn't help us.

On shots where the camera is in AWB mode, shooting daylight scenes, or studio scenes with strobes, the WB issue is very prevalent. Yet the in-camera JPEG WB looks accurate.

If I take a color meter reading of the light at time of capture, the metered K and CC values are significantly different to those shows as 'as shot' in ACR. ACR always shows cooler K and +CC.

If I use the Fixed Kelvin WB option on the GFX to dial in the K from the meter, the displayed results in ACR do not match the WB values set in camera, and show a CC+10 offset as well.

This is across multiple GFX bodies, and multiple computers running PS and LR current versions.

In general daylight ambient photography, and studio strobe photography, the -k and +CC WB issues are easy to spot, once you're alerted to it.