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Capture One 4 PRO IIQ, TIFF, DNG & EIP... Please Advise!

KETCH ROSSI

New member
Okay.. I just installed C1 4 Pro (latest Update), I have done extensive readings before setting up my workflow, but didn't find in off information to suffice my needs, so I'll ask your advises.

Absolute best Image quality is the only concern here, no worry of any kind about storage space, Pristine preservation of Image quality for me as well as my clients is a must, delivering my Images preserving my creative Post input is also imperative, and my finished files must be the same no mater were they go, or to hum they go to, independently of platforms.


So, to my main workflow..

A) Capture in IIQ Raw to CF card or Tethered.
B) Import Images in to C1 set to Package with EIP (for easy share of the ZIP files)
C) Do Images adjustment Inside C1 (to a duplicate of my IIQ Raw image)

Then what I do to best further process the images in my retouching with CS4? Export the 16 Bit Tiff?

Most importantly should I ask, is there any difference beside size from the IIQ to the 16bit TIFF?

I know Final delivery would have to be in TIFF, or some times even in JPEG for Net upload, were Tiff is not supported, but do I go with the final as TIFF or IIQ in EIP, would this truly be open to and accessible to every one? None C1 Users?


Even if I have used DNG format recently for all my images with 35mm, I think that from what I understand is much better to export the TIFF 16Bit for my final images archival and delivery, avoiding DNG all together, as I have read that the DNG for the MF degrades the images, and or does not preserves the asme info, while at the end exporting from DNG to TIFF causes for even larger files with less detail.


Please be as specific as possible, in your advises and why.

Thanks,

Ketch Rossi
 
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Jack

Sr. Administrator
Staff member
I use tiff for print/client-based or jpeg for web-based output/delivery for the simple reason it is available to everybody regardless of what imaging program or web browser they have installed on their system -- UNLESS the client specifies some other delivery, then of course I give them that too. I also tag each tiff with an appropriate standard color profile, and jpegs are sRGB for the same reason. (Embedding client profiles has created problems in the past, so I will usually deliver a 16-bit Profoto tiff in addition to any client specified formats.)

As for my workflow, this is what works for me, but I respect that this is a personal choice and there are other equally suitable regimens that may differ slightly:

Raw IIQ LARGE on capture, tethered or to CF card are shot to or imported to main image storage drive in a shoot folder named appropriately for the shoot and any sub-sessions. (These folders are all inside a master folder system for the year of the shoot.) All selected files are processed out to 16-bit Profoto tiffs and stored in the standard C1 session "Output" folder. Also, I usually create 1200 pixel max jpegs using a separate process recipe at the same time I process the full 16-bit tiff, and these also go into a "jpeg" sub-folder inside the main session "Output" folder. (On rare occasion a client specifies an output, like an 8-bit tiff with some proprietary CMYK profile, so I will use another recipe to process that one out and store in an appropriately named subfolder inside the session output folder. These are basically useless space suck files which are redundant and could easily be re-generated at some future date, so I used to delete them after delivering them, but now hard drive space is cheap enough I just keep them on the occasions they're asked for.)

Now if any main tiff goes to CS4 for further local adjustments, it gets worked on at native size and when done, is saved back to the session Output folder (and subfolder), usually as a layered tiff, with a "CS_std" name tag extension so it lines up with the original output tiff, and usually a revised jpeg is created using the simple action set of mine you just bought :))). Next, if I then work a file up for a specific print size, which usually requires a dedicated output sharpening based on the size of the print, that file gets saved with the same name and a "Print_sizeXsize" extension, so again it lines up with the original file in the session output folder. On the occasion I also produce a monochrome version, it simply gets a "BW" extension. In this fashion, the original C1 tiff and all CS modified versions are held together in the same session output folder with the same prefix name and appropriate name extensions to identify basically what version of the original they are.

Note: My working image drive is backed up to an onsite back-up drive array, which is redundantly backed up to individual drives stored offsite. The onsite backup is done automatically throughout the day and the offsite backup is done manually monthly and after every large shoot as a safeguard against physical loss like a fire to my local storage units.

Hope this helps,
 

KETCH ROSSI

New member
Thanks Jack, much appreciated.

Your workflow is almost as what I have been doing since I started Digital, while using other Programs, so I guess I can easily continue to do so with the P1 Files.

I too like the 16Bits Tiffs in a Profoto profile and I have this set up in my CS4 since day one, also export the Jpegs to sRGB for web content, and give clients Tiffs and Jpegs to requested size.

The question still remains if I should use the EIP zip system to all my captures or do so only when I know that I'm doing a shoot for a company that will require it for further in house Processing.

Thanks again
 

Jack

Sr. Administrator
Staff member
Re EIP zip... This is going to be a controversial comment, but IMO a lot of the distinguishing talent between photographers -- especially ones being overseen by an art director -- are how well and what techniques they use to process their raw files. By NOT including your actual raw adjustments, you add a small layer of insulation to another tech stealing part of your talent...
 

KETCH ROSSI

New member
Re EIP zip... This is going to be a controversial comment, but IMO a lot of the distinguishing talent between photographers -- especially ones being overseen by an art director -- are how well and what techniques they use to process their raw files. By NOT including your actual raw adjustments, you add a small layer of insulation to another tech stealing part of your talent...
He he, so funny this is exactly what we have been discussing for the past two hours..or so!!

My initial understanding of the EIP files, was that the ZIP containing the original work was just a way for them to do the final processing for their Print work and such, but didn't understood till now that they would actually be free to make any of my images, their images, and basically be allowed at will to change anything and everything!


I know I'm an Arrogant Sun of a B%$@!! :D Fortunately my mother (GOD bless her Soul) She was a great woman.


I just simply will not do any Job unless complete and absolute Creative freedom is given to me, and no final CUT decision of my work, in Both Still images and Motion Pictures, will be left to any one else, and or allowed to alter IT!!

So basically my decision was made to were, in no way shape or form will I EVER use the EIP to give its files to my clients!!

I might loose opportunities, but at list any and all of my work, will be just that, MY WORK!!


BTW Jack, is not that by chance they sold me the P30+ system with a BUG in it, DID THEY?? :ROTFL:
 

Jack

Sr. Administrator
Staff member
No bugs :). I think enough of us have been "screwed" in similar ways by unscrupulous clients that we all tend to think alike ;)
 

KETCH ROSSI

New member
He he good to know.

Yes you are right and even so I do plenty of crazy and over retouched work my self, at list I know I did it, cause I was asked, cause it was a fun unpaid project and I could play a bit more out of the box with the images and such, but for paid work you want your images to get published with your name, when you know that those were actually your images, and in today's Digital world, the true Photographer's job, does not end after Capture, but only begins!
 
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