LR-PROF-CAMERACOLOR: record the ARW file-local fit's public-sample results
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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Brandon Thomas
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@ -46,7 +46,8 @@ duplicate Local entries #22, black GPU exports on an Intel iGPU #78).
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Priorities, in order. Each points at tracker rows in [`docs/parity.md`](docs/parity.md) → *Top gaps*.
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1. **Camera colour calibration of our own** (LR-PROF-CAMERACOLOR, P0): fit each camera to its own embedded JPEG, use
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matrices the files carry themselves, then chart shots. ARW preview-derived fitting is a guarded first step; expand coverage and validate fidelity.
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matrices the files carry themselves, then chart shots. Sony ARW's file-local fit (matrix + tone curve from its own
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JPEG) is the first step; generalise it to the other makes' raws (NEF, RW2, PEF, ORF…), then validate fidelity.
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2. **Raw formats, clean-room** (LR-IMP-FORMATS, P0): **CR3** first, then compressed RAF / ORF, RW2 v4, NEF
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lossy-after-split, sRAW. Decided 2026-10-05: write our own decoders from prose descriptions (never decoder source,
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no LGPL dependency); compressed NEF (#86) is the template.
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@ -14,7 +14,7 @@ One third of the pixels are held out from both fits. The combined model must red
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## Source metadata and white balance
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Previously `SourceRef::load()` discarded the decoder's `SourceInfo`, and render jobs used header-only facts (including a hard-coded RAW WB). Decoded pixels and source facts now travel and remain cached together, including across web-worker renders. Pixel-statistics/colour-sampling commands use decoded facts too. Render cache version 6 invalidates old thumbnails and loupe renders.
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Previously `SourceRef::load()` discarded the decoder's `SourceInfo`, and render jobs used header-only facts (including a hard-coded RAW WB). Decoded pixels and source facts now travel and remain cached together, including across web-worker renders. Smart previews keep the tone curve in their header (the matrix is already in their pixels), so an offline original renders and exports with the same look; proxies built before this fall back to the generic curve until rebuilt. Pixel-statistics/colour-sampling commands use decoded facts too. Render cache version 6 invalidates old thumbnails and loupe renders.
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Vendor RGB WB multipliers alone do **not** identify an absolute illuminant without camera calibration. The generic model inferred approximately 6829 K / −127 tint for one Sony sample; changing only temperature retained that spurious tint and caused a pink cast. Uncalibrated ARWs now keep the file's vendor WB at decode and expose **relative** WB controls around the as-shot look. 6500/0 is the internal neutral reference of that relative scale, not a claim about the capture's measured Kelvin temperature. Presets, picker/auto and manual controls use this reference consistently. Switching from As Shot to Custom first resolves both controls; changing one cannot inherit stale catalog tint. Reset restores the current as-shot reference. Measured/absolute-Kelvin Sony WB remains future camera-calibration work.
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@ -26,6 +26,8 @@ Synthetic tests cover colour with a nonlinear camera tone, preserved scene-linea
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Five local Sony ILCE-6700 ARWs were accepted. Held-out per-channel linear-display RMS values were 0.04244, 0.03349, 0.04552, 0.02871 and 0.03100. All five unedited supplied JPEG exports stayed pixel-identical to the installed pre-change renderer at equal size/quality. Four supplied JPEGs use Display P3 and two have a narrower crop than the RAW, so they are visual references rather than aligned pixel ground truth.
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Public CC0 samples (raw.pixls.us; 10 files, ILCE-6000, -6400 ×2, -6700, -7M3, -7M4 ×2, -7RM4, -7SM3, DSC-RX100M3), rendered at 1200 px and compared with each file's embedded JPEG (mean CIE76 ΔE at 200 px): 7 fits accepted, ΔE 17–26 → 3–10 with matching mean lightness. Rejected and unchanged: the RX100M3 (held-out RMS 0.103; its fallback render already has a strong green cast), an ILCE-7RM4 dusk scene whose fit was worse than the fallback (ΔE 7.6), and a reduced-size lossless ARW (no fit attempted). Saturated hues can still differ (an orange-red hull renders yellow).
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On one sample, Exposure +1 EV, Saturation +100, Contrast +50, warm/cool WB, tint, highlights and shadows all changed the output. The same matrix and curve were selected for 400-pixel and full-resolution renders. Headless UI checks wait until the loupe reports `source: render` and no jobs remain; the camera JPEG stand-in does not count as verification.
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This is a per-file camera-look estimate, **not measured spectral calibration or Lightroom parity**. Camera local tone, picture styles, noise reduction and lens warps cannot all be reproduced by a global matrix/curve; same-aspect crops may evade the aspect check. Skin, mixed-light scenes and saturated highlights can still differ from a supplied JPEG. Broader Sony model/lighting coverage, chart-based calibration, absolute WB and other manufacturers remain unverified. Rejected fits and other RAW formats retain their existing behaviour.
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@ -59,7 +59,7 @@ Ordered by user impact, then tier, then effort. The checklist above counts featu
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that decide whether a photographer can switch (see the honest assessment in [ROADMAP.md](../ROADMAP.md#where-we-stand)).
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Take the first one nobody is working on.
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1. **LR-PROF-CAMERACOLOR** (P0): our own camera colour calibration. ARW now has guarded per-file embedded-JPEG colour/tone fitting and relative WB; measured calibration and fidelity remain missing. Other non-DNG raws and rejected fits still use a neutral matrix. Expand validated preview fitting and use matrices the files carry themselves; never Adobe data.
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1. **LR-PROF-CAMERACOLOR** (P0): our own camera colour calibration. Sony ARW now gets a guarded file-local fit to its own embedded JPEG (colour matrix + tone curve, relative WB; 7 of 10 public samples accepted, mean ΔE vs the camera JPEG 17–26 → 3–10); measured calibration and fidelity remain missing. Other non-DNG raws and rejected fits still use a neutral matrix. Expand validated preview fitting and use matrices the files carry themselves; never Adobe data.
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2. **LR-IMP-FORMATS** (P0): **CR3** first (every Canon body since ~2018), then compressed RAF / ORF, RW2 v4, Nikon
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"lossy after split" NEF, Canon sRAW; HEIC/AVIF decode. Clean-room, from prose descriptions only (see
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`crates/raw/src/vendor/nefc.rs` for how compressed NEF was done). Until decoded, such photos are `preview_only`.
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@ -274,7 +274,7 @@ under the UI command that wraps it (a no-op error); the UI command now wins.
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| LR-PROF-ADOBE | Standard raw looks (own equivalents) | P0 | ✅ | `crates/engine/src/presets.rs` (`PROFILES`), `crates/pipeline/src/profiles.rs` | six own looks: Color, Neutral, Vivid, Landscape, Portrait, Monochrome |
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| LR-PROF-ADAPTIVE | Adaptive profiles | P2 | ⬜ | | |
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| LR-PROF-CAMERA | Camera-matching looks | P2 | ⬜ | | |
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| LR-PROF-CAMERACOLOR | Camera colour calibration (own) | P0 | 🟡 | `crates/raw/src/color.rs`, `crates/engine/src/camera_preview.rs` | DNG files use the colour matrices they carry; ARW has guarded per-file embedded-JPEG chromaticity/tone fitting and relative WB (see docs/camera-preview-colour.md), not measured camera calibration; other raws and rejected fits use a neutral fallback (camera RGB ≈ linear sRGB, `matrix_is_fallback`) with as-shot white balance, so colours are muted and not accurate. Needs our own per-camera calibration: matrices the files carry themselves (e.g. Olympus `ColorMatrix`), fitting each camera to its own embedded JPEG, then chart shots. Adobe matrices / DCPs are never used. Biggest image-quality gap today |
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| LR-PROF-CAMERACOLOR | Camera colour calibration (own) | P0 | 🟡 | `crates/raw/src/color.rs`, `crates/engine/src/camera_preview.rs` | DNG files use the colour matrices they carry; Sony ARW gets a guarded file-local fit to its own embedded JPEG — chromaticity matrix + tone curve, relative WB, kept with smart previews (see docs/camera-preview-colour.md); on 10 public raw.pixls.us samples from 8 bodies 7 fits were accepted, mean ΔE vs the camera JPEG 17–26 → 3–10; this is not measured camera calibration; other raws and rejected fits use a neutral fallback (camera RGB ≈ linear sRGB, `matrix_is_fallback`) with as-shot white balance, so colours are muted and not accurate. Needs our own per-camera calibration: matrices the files carry themselves (e.g. Olympus `ColorMatrix`), fitting each camera to its own embedded JPEG, then chart shots. Adobe matrices / DCPs are never used. Biggest image-quality gap today |
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| LR-PROF-CREATIVE | Creative profiles (own) | P2 | ✅ | `cmd:develop.profile`, `crates/pipeline/src/profiles.rs` | 16 own looks in Film / Cinematic / Muted / B&W (tone + point-curve fades, colour grading, mixer / B&W mix); scale with `ctl:profile.amount`; sliders untouched |
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| LR-PROF-LEGACY | Legacy profiles | P2 | ⬜ | | |
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| LR-PROF-NONRAW | Profiles for non-raw files | P0 | ✅ | `cmd:develop.profile` | same looks apply to JPEG/TIFF |
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