Ya I think it should be but that is the way chart makes the style…from lab output exported as pfm files and the style uses the tone curve module…maybe a default change I can’t say as I ever noticed what the module said before or if this is usual or a new thing?? I just applied it as created by DT chart??
Thank you for the detailed information you provided also through the links. Probably my understanding of the matter is way too crude to fully understand how to do that myself. I was under the impression that Sonys “capture one” software is provided with some kind of calibration file or calibration table which could be used to achieve the same look the jpg have out of the camera - therefore I asked if that could be made available (That being said I also think the colours are not perfectly accurate OOC but pleasing to my eye). I thought that the OP managed to extract those calibration file or a table and used it to reproduce the cameras look. With that file I could have tried to reproduce that myself.
To my understanding color reproduction from raw in darktable is one part base curve (which I adjusted to a pretty pleasing curve myself starting from the alpha like preset - I will try the a6300 curve mentioned above though) and some color calibration. My colors are off even after the base curve applied. Especially the Blues are visibly shifted to cyan and a bit Red is missing. Tried to compensate for that with several colorcorrection modules within darktable but was not able to remedy the issue.
I would even start to calibrate using the raw and corresponding jpg of the camera but it seems after reading the above posts I still have not understood how to do it within darktable. There seems to be much more to read on than I can handle before I could even try to begin…
In the meantime I too have taken on the approach with the C1 Alpha 6000 Profiles taken from Capture One Express 21 - too bad weather to shoot my own target to get profiling.
It turns out I can now get very close to the OOC JPG (which is a good thing in my opinion). The critical part is the adjustment of the base curve.
DSC00447.ARW.xmp (14.8 KB)
DSC00452.ARW.xmp (23.7 KB)
I am not quite sure why the picture with the blue jacket differ in color when uploaded - here on my Spyder 5 calibrated display they look pretty much the same (the not OOC darktable edited JPGs blue actually a bit shifted to cyan but not as much as seen here). I suspect I got something wrong with the settings but I am not adept enough to see just what.
Anyway with that generic setting and that basecurve I get an good starting point most of the time. There is also a ProStandard Profile which still emphasizes the cyan even more so I am not using this at the moment… The basecurve looks somehow odd to me - I suspect I should have fiddled with the “unbreak profile” module but could not figure out good settings for this…
Some time ago I did the same experiments and I developed styles to emulate C1 colors for my Sony cameras (A6000 and A6400).
For A6000, see attached:
Tone & Color_Sony A6000 C1 colors.dtstyle (1.8 KB)
For the style to work, you have to have the C1 color profile in the right folder.
Of course to fully match the C1 results, you have to adjust the exposure case by case.
In C1 the tone curve (or base curve) is applied in more steps and one part is inside the .icm color profile.
However, I no longer use those styles, as I fully embraced the new DT scene referred workflow.
I am beeing curious: do you have a similar style for “scene-deferred” emulation of the OOC style of the Sony Alpha 6000. I have not yet read fully into the scene-deferred workflow but I am thinking of taking the plunge eventually - even then I would still like to have a reasonable starting point for the edits… perhaps you like to share your findings?
Just to be clear, when I switched from C1 to DT, I developed some styles to emulate C1 colors, which I found to be pleasing, not OOC jpegs. They are very different!
Having said that, for the A6000 the only style I have done is the one I posted above.
For the A6400 I have done more styles, using different combinations of tools, here below listed in pipeline order:
- unbreak input profile + input color profile with C1 icc + tone curve - default module order, similar to the A6000 posted
- unbreak input profile + base curve + input color profile with C1 icc - custom module order, this is the most accurate color match
- filmic rgb + color look up table - custom module order
When coming to scene-referred vs display-referred workflow, as I said the C1 color profile contains a non linear tone curve, plus it requires the module unbreak input profile, also non linear. Therefore using it is incompatible with the scene-referred workflow, which is supposed to be linear rgb in the pipeline until reaching filmic.
So, of the three above, only the last is scene-referred compliant, where the C1 color emulation is done through a LUT after filmic, so it is treated as a pure artistic color grading. It works in normal conditions, but it is not guaranteed to be 100% equivalent.
As I said, after the switch, I learned to do my own color grading in DT scene-referred and I no longer use those styles, but if anyone is interested I can post them.
Thanks you for that explanation and the offer. If it’s not too much a hassle I would be interested in those styles. Might be a good starting point to learn… Greetings.
Here you are:
Tone & Color_Sony A6400 C1 colors (C1 profile + tone curve).dtstyle (1.9 KB)
Tone & Color_Sony A6400 C1 colors (basecurve + C1 profile).dtstyle (2.8 KB)
Tone & Color_Sony A6400 C1 colors (filmic v4 + LUT).dtstyle (2.7 KB)
The first two styles require the A6400 C1 color profile.
For all styles in order to have a perfect match you need to adjust exposure and for the last one also filmic. Of course I didn’t want’t to hardcode those in the styles.
Enjoy
EDIT: if you want a good starting point for filmic to use together with the last style, import the following preset (remove the .txt extensions first)
[filmicrgb_A6400 studio scene.dtpreset.txt|attachment]
This works well with SDR and studio images
filmicrgb_A6400 studio scene.dtpreset.txt (1.1 KB)
Based on the copyright note in the ICM files, I don’t think they should be shared here!
Copyright (c) 2019 Phase One A/S. All rights reserved.
https://discuss.pixls.us/guidelines#stealing
Ok, thanks, I will remove them
Thanks for this! The ICMs are easily obtained by legitimly downloading Capture One Express. One can find the ICMs for many Camera models in a subfolder of the program directory.
The first two presets are named the same and are the same size. Do they differ in effect somehow?
OOps, I uploaded the same file twice, fixed
@mcconnor Michael I have modified a script (colormatch) that Pascal DeBruyn created to use ArgyllCMSColormatch.zip (6.1 KB) . It creates a blended icc from a raw and jpg pair. A bit like DT Chart but it creates an icc not a style. It might be worth a try to. I find it gives and excellent result. Basically the script is set to run on a IT8 card . I just modified it to run on my Spyderchecker24. I will attach the text of my script you can compare where I modified it. The directions provided by Pascal are excellent and it creates a really nice profile GitHub - pmjdebruijn/colormatch: ColorMatch if you have a color card and even if not its not bad for color even from sample images taken from imaging-resources website. The attached zip has the necessary cht and cie files to run the script with a CC24 or Spyder checker and a modified script for each. You can compare these to the original on the site …There are only a couple of changes…I find it works nicely
Raw
JPG
Raw with ICC
Pretty nice result from a 700 k Jpg extracted from the raw and zero edit just the icc change in the imput profile
I should add above that I run the script on windows using Ubuntu installed with WSL2. I am sure there are other ways maybe even natively but this is quite easy…And those are just screenshots in DT with a color managed display I think the results are even more impressive…
That looks encouraging. Thanks for sharing. I have colorchecker passport (pre 2014). So that’s a go. Never worked with Linux though. I heard that windows 10 had a Linux shell - might that be enough to fiddle around with the script? Installing Linux and learn to use the shell at first glance seems a bit above my head (reminds me of old DOS times where I spent hours to load mouse driver and the like to HighMem in order to get enough basic memory to run Ultima… 
). But perhaps I should just try… If I fail perhaps someday someone builds a GUI around this and brings it to the windows world…
Are you sure the licence allows you to use them as you see fit (e.g. with a software other than theirs)?
I wonder how that will deal with a raw that has high dynamic range. Have you tested it with e.g. a shot taken on a bright day, with deep shadows?
I could walk you through it…You enable WSL2 and then you can actually install Ubuntu and/or some other distro’s into it from the Microsoft store. I can actually run a linux version of DT on it. Glad to help you try or for now if you send me a jpg raw pair I will run it quick and you can decide if its worth the bother…might be nice to try to emulate some in camera modes as well or at least closer…
That is a very kind offer - I will first try to dig my way through it and come back to you if I get stuck. It would be handy to be able to generate these icc at will but for a first impression I might send you a RAW/JPG share. Have to read the full doc as to the conditions for the shoot first though.
Not a lot of testing but its easy to do for sure. And it uses fixed argyll command line but there are many options in there that you can set. Often the default is to set white to the white patch which is not absolute white but this script follows Elle’s well managed approach of adding true black and true white values. You can also tweak the profiles to play with gamut and the shadows so for a given camera there is room to work for sure. Maybe this quick example I did in this case is a bit dark but hte color looks pretty good so maybe a tweak of the script or exposure as is done with filmic…adding filmic gave this 
I’ll try to find time to document all the steps its not too much…maybe tonight I will do it so people can try but if anyone wants to send me a raw jpg pair with one of those two colorcharts I can shoot them back an icc to try to see if it is worth it…