Color balance for editing

I am doing most of my editing on photoshop elements 3, I have noticed my photos, on a shared monitor and printed are darker than what I see on my main imac screen. Is there a way to color/brightness adjust for best results. I am aware of the preference/display adjustment you can do. Is ths the best way.

thanks

Similar Messages

Color balance for particles question.

I made a ring using particular and I want to change the color. It's multiple copies with fast blurs applied to them to give
the glow and it's all pre-composed. Now all I want is to change the color as a whole but curves doesn't seem to work on it.
Not even color balance. Is it something with the settings? And I've gotten feedback saying those aren't the best ways to
color correct, like using color balance, but who cares, why isn't it working? I watch tutorials and they use it just fine with their particular layers.
Please and Thank you.
Best,
Kenny

Hey, thanks again for the help, it means a lot. I wanted to tell you something related to this topic, and why my particles weren't coloring when I would use curves and such when I clearly saw it done in a tutorial. Turns out it was non of the complications you described (though I am using your suggestion thank to you), the problem was just a simple layer I didnt add. When they would use color balance, they would apply a "Black Solid Background layer" at the bottom, then an adjustment layer with color balance on it, then it would work. I didn't have a black ground at the bottom therefore color balance didnt work when I used it with the adjustment layer. What does the Black BG layer at the bottom do to allow adjustment layers with color balance or other color effects to work and color the particles? The picture here is the method I just described, Black Solid at the bottom, multiple adjustment layers with fast blur for the glow, and one for the color balance. However without the Black Solid at the bottom, the color correction doesn't work.

Question on color balance for DV camera

Most of my shots look a little dull on the color, but acceptable. But when I took a shot of a campfire at night, I realized how off the color was. Campfire glow was lime green instead of orange/red. I have performed a manual white balance, but still no luck getting the proper colors from my DV camera. Also tried adjusting clip in FCP. I was hoping I could display a still shot for an example, but couldn't. Any camera adjustment suggestions? Or FCP tricks? Thanks.

I have a JVC JY-VS200U. It's about 4 years old, and was one of their low-end professional line cameras. It can send colorbars. I've looked in the manual for all possible adjustments. I white balanced manually, hoping that would help, and it didn't. I've imported the campfire clip, and changed the hue in FCP, but still can't get it right. I've never used the colorbars feature on the camera. Is there a way I can use it to make a preset on FCP so that every clip I import, I can apply it and get the right colors?

Using PS to edit in LR screws up color balance?

I'm sure I'm missing something obvious here, but I can't imagine what it might be.
I start with an image as a .NEF file (Nikon Raw format).
If I import the image into Lightroom (3.4) and export it as JPEG without changing anything, it looks fine:
If I import it into Photoshop (CS5) and save it as JPEG without changing anything, it also looks fine:
If I enter control-E in Lightroom to ask Lightroom to launch Photoshop to edit the image, it looks fine on screen. However, if during editing I ask Photoshop to save the image as JPEG, the color balance is much different than it was in either of the other two examples:
What am I missing here? To my knowledge, I am not changing color balance in any of these images.

Incidentally, the three images I posted here look much more like each other in my post than they did originally. When I view them directly, the first two images look basically identical; the third is much colder and darker. This difference seems to vary depending on which program I use to view the images. For example, there is a lot of difference if I use Picasa to view them, and much less difference if I use Windows Picture and Fax Viewer.
If I open the images in Bridge, I see that each one has a different color profile! The one saved from Lightroom says sRGB, the one directly from Photoshop says Adobe RGB (1998), and the one saved from Photoshop within Lightroom is ProPhoto RGB. I'm guessing there's an FAQ somewhere that explains the differences between these; can someone please point me there?

Sensor analog balance for 2850K color table

Hello
I currently try to create a dual illuminant camera profile using DNG Profile Editor 1.0.0.46 beta for our Aptina CMOS MT9P031 based camera.
Using the DNG SDK 1.4, i'm converting the BAYER pattern images to a DNG with a Embedded Profile which has identity matrices set on the color matrixes and analog balance DNG tags.
D65 shooting conditions:
- High-CRI LED based light source set to 6500K @ 300 lx (spectrum fit 96%)
- CMOS sensor analog gains were adapted to achieve a neutral image at the D65 shooting conditions
a. Do I have to keep all component gains to 1.0 or adjust for the illumination?
b. Does it matter what I apply on the embedded camera profile on the AnalogBalance DNG tag?
Std A shooting conditions:
- Same light source set to 2850K @ 300 lx (spectrum fit 92%)
- CMOS sensor analog gains were _not_ adapted to achieve a neutral image. This obviously results in a orange color tint which can be eliminated using the white balance slider on the "Color Matrices" tab of the DNG Profile Editor.
c. Do I have to adapt the analog gains when shooting for 2850K
Using the converted DNGs from shooting conditions above, I can create the color table for 6500K using the "Chart" tab, but not the 2850K color. I always receive the error message:
"Non-neutral gray patches. The gray patch in row 4, column 3, has a significant color cast. Please reshoot the chart carefully to avoid color casts and try again."
...but when using the whitebalanace slider on the "Color Matrices" tab in advance of the "Chart" tab, I can tune the Std A image to a perfect neutral image. There is no color cast visible anymore.
d. Any ideas what I did wrong?
Kind regards
blad

Hi Eric
Thanks for taking the questions. Some details and clarifications:
Our analog gains are set to give a neutral image at D65 and we keep them unchanged even if the in-camera white balance algorithm detects a Std. A illuminant. This means the unprocessed RAW image contains a very warm color tint. Obviously, there is much more red than green and blue in the image. Is it correct, that then f.e. apply:
oNegative->SetAnalogBalance(0.863, 0.599, 0.389);
-> The values are derived from the red, green and blue components in the 2850K reference image from one of the gray patches on the color checker.
Thanks for the tip with the missing ColorMatrix values. When I specify a ColorMatrix and AnalogBalance as (described above) I am able to create a color table using the chart tab in Profile Editor the reference image at D65. I keep getting the error for the reference image at 2850K. Did I specify the ColorMatrix the wrong way?
oProfile->SetCalibrationIlluminant1(lsStandardLightA);
dng_matrix_3by3 oRGBMatrix( 1.627, -0.448, -0.222,
                           -0.434, 1.787, -0.350,
                           -0.341, -2.014, 3.294);
dng_matrix_3by3 oXYZ_to_SRGB_D65( 3.2404542, -1.5371385, -0.4985314,
                                 -0.9692660, 1.8760108, 0.0415560,
                                  0.0556434, -0.2040259, 1.0572252 );
dng_matrix_3by3 oCA = MapWhiteMatrix(StdA_xy_coord(), D65_xy_coord());
oProfile->SetColorMatrix1(oXYZ_to_SRGB_D65 * Invert(oRGBMatrix) * oCA);
As soon as I open the DNG with values from above in DNG Profiel Editor I get a cold image with a blue color cast and click-white balance tells me ~3350K/28 instead of 2850K/0.
Regards
Daniel

I don't know what is going on with the White Balance (WB) and LR. I had no problem before but recently LR started to change the WB as it is importing photos. I checked the color scale for my photos and LR and both are with sRGB. Now instead of LR cha

I don't know what is going on with the White Balance (WB) and LR. I had no problem before but recently LR started to change the WB as it is importing photos. I checked the color scale for my photos and LR and both are with sRGB. Now instead of LR changing the WB it is giving me a second copy with a new WB. Your advise is very much needed and appreciated. Thank you.

Can you show us a screen capture of this 2nd copy with a new WB in your Lightroom grid? Thanks
Are these second copy photos by any chance photos that had been previously imported?

What format should AutoCAD be saved in to open in Adobe Illustrator for editing colors?

What format should AutoCAD be saved in to open in Adobe Illustrator for editing colors?

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Mylenium

Laptop for editing with Adobe Premiere & After Effects CS6

Hi, I'm just started a company working with young people, and I need a laptop for editing some videos (short films/music videos).
I was looking at a cheap laptop to be able to run Adobe Premiere and After Effects smoothly. I was told that this laptop would run smoothly:
http://www.pcworld.co.uk/gbuk/hp-envy-m6-1178sa-15-6-laptop-17419990-pdt.html
Can anyone confirm this? The graphics card is not listed on the Adobe's website but I was told it's compatible?
Im new to this stuff so please help, thank you.

How realistic are the system requirements Adobe posts on their site?
System requirements
Windows
Intel® Pentium® 4 or AMD Athlon® 64 processor with 64-bit support; Intel Core®2 Duo or AMD Phenom® II processor required for Adobe® Premiere® Pro, After Effects®, and Encore®; Intel Core i7 processor required for Adobe SpeedGrade™
Microsoft® Windows® 7 with Service Pack 1 (64 bit) and Windows® 8. Refer to the CS6 FAQ for more information about Windows 8 support.*
2GB of RAM (4GB recommended) for 32 bit; 4GB of RAM (8GB recommended) for 64 bit
14.5GB of available hard-disk space for installation; additional free space required during installation (cannot install on removable flash storage devices)
Additional disk space required for disk cache, preview files, and other working files (10GB recommended)
1280x900 display with 16-bit color and 512MB of VRAM; 1680x1050 display required, and second professionally calibrated viewing display recommended for SpeedGrade
OpenGL 2.0–capable system
Sound card compatible with ASIO protocol or Microsoft WDM/MME
DVD-ROM drive compatible with dual-layer DVDs (DVD+-R burner for burning DVDs; Blu-ray burner for creating Blu-ray Disc media)
Java™ Runtime Environment 1.6 (included)
Eclipse™ 3.7 (for plug-in installation of Adobe Flash® Builder®); the following distributions are supported: Eclipse IDE for Java EE and Java Developers, Eclipse Classic, Eclipse for PHP Developers
QuickTime 7.6.6 software required for QuickTime features, multimedia, and HTML5 media playback
Dedicated GPU card required for SpeedGrade (for optimal performance in SpeedGrade and for GPU-accelerated features in Adobe Premiere Pro and After Effects: NVIDIA Quadro 4000, 5000, or 6000 or other Adobe-certified GPU card with at least 1GB of VRAM recommended); visit www.adobe.com/products/premiere/extend.html for supported cards
Optional: Tangent CP200 family or Tangent Wave control surface for SpeedGrade
Optional: For SDI output, NVIDIA Quadro SDI Output card required for SpeedGrade
Optional: 7200 RPM hard drive (multiple fast disk drives, preferably RAID 0 configured, recommended) for video products
This software will not operate without activation. Broadband Internet connection and registration are required for software activation, validation of subscriptions, and access to online services.† Phone activation is not available.
You have to be from another world to believe these requirements. Note the last optional statement. Up to and including CS4 this stated:
Dedicated 7200 RPM hard drive (multiple fast disk drives, preferably RAID 0 configured) for video products.
Nobody in his right mind believes that system requirements get lower over time. It is purely a marketing lie to artificially lure prospective buyers.
The requirement to have two physical disks for CS6 is bogus.
If anything is bogus, it is the system requirements from Adobe and only fools would try to use a system with these minimum requirements, like this:
Pentium 4 with 4 GB of RAM, 24.5 GB of hard disk space is enough according to them.
Harm is confusing editing with getting high PPBM scores, I am afraid - again. Not all projects have 10 layers of H.264 stacked with heavy effects for two hours straight. The vast majority of editing is simple transitions and effects with 10 minutes of YouTube encoding twice a week.
Wrong assumption. I was thinking of a simple DV timeline with one single track. And however much you dislike the PPBM benchmark, it is the only available tool to show how well a system is setup and in balance. Question: Is your dislike of the benchmark based on the fact that your favorite HP Z820 does not do well?

Color Balance Adj Layer Characteristics Changed from CS4- CS5?

Maybe some guru with better connections to Adobe knows the answer to this. (or maybe I just forgot).
I just discovered (and I don't think it is pilot error) that the characteristic behavior of the Color Balance Adjustment Layer is different in CS5 than it was in CS4/CS3. (Much stronger in CS4/CS3).
In addition, there is also an associated behavior that is like a buried legacy mode that is not made visible to the user. Here is what I mean.
If I create an image in CS4 with a single Color Balance Adj Layer, I get an adjusted image.
If I open that same PSD file in CS5, the same image is displayed.
If I use the same base image, yet create the Color Balance Adj Layer from within CS5, the adjusted image is different than the prior two.   So the Color Adjustment Layer acts like it has a hidden legacy mode where the characteristics are one type if created in CS4/CS3 yet a different characteristic if created in CS5.
My mind might be slipping (or my cold has the better of me) because I do not remember this as a documented change and I searched the internet for "What's new in CS5" etc etc. I don't remember anything on other forums about this either.
I guess the good news is, the new characteristic of the Color Balance Adjustment Layer is better behaved with a transfer curve with less clipping for highlights and shadows. Very similar to the better behavior of the change of the Brightness/Contrast Adjustment Layer going from CS2 to CS3.
Here are some comparison images.
This is the Layer Stack Used with Base Image of simple B to W gradient with CB Layer on top with just the highlights pegged to red. This is the exact same Layer Stack for all of the images shown:
Here is the first image. This was created in PS CS4 and displayed from CS4 with the conditions show above:
This is the same image from above that was saved as PSD with profile and them imported to PS CS5 with same profile. There was no change:
This next image is using the same base gradient, yet then creating the CB Layer from within PS CS5 with the same parameters, only the Red pegged for the Highlights:
Does someone have an easy answer for this. Can someone duplicate this and confirm the change from CS4 to CS5. A test by someone else would either confirm I am off base with pilot error or there is something to this.
And yes, all the images were sRGB and kept in sRGB for creation/display. All Screenshot images were the images brought up side by side on the same color managed monitor.   All Edit > Color Settings were identical.
Thanks in advance for any help
John

OK, Chris, but before I perform my act of self flaggelation for the benefit for all and my extra embarrassment, let me add in some useful information about the Color Balance Adj Layer that could be helpful.
I was working with another individual who wanted a better understanding the color balance adj layer, what is was exactly doing, how the shadows, midtones, and highlights interacted, and the differences with preserve luminosity checked or not, and also why the preserve luminosity was so hard to predict (e.g. did not really preserve luminoisty).
Without going into the deails of all of that, the tidbit I will leave as far as penance for my stupid original post above is that the Color Balance Adj Layer with the Preserve Luminosity box checked does a reasonable job or preserving luminoisty for the midtone adjustments yet definitely does not for the shadow and highlight adjustments.
An easy workaround for this is to just set the Color Balance Adj Layer Blend to Color which preserves Luminosity of the image presented from lower layers while maintaining the Color as best it can from using the CB Adj Layer (It holds the Hue and does its best to keep the same Saturation yet the Luminoisty from the presented image from lower layers takes prescendence). This does a much better job at preserving Luminosity than using the checkbox option.    I usually use this approach and keep the Preserve Luminiosity box turned off.
The error that I made was during the fairly involved exchange with this other individual, at some point I accidentally set the Layer Mask for the CB Adj Layer to 50% gray and did not notice that it had changed from the default white. Much further down the line, when this other individual could not exactly recreate my results, he mentioned working in CS3. Thinking this odd, I pulled up CS3, created the image from scratch (without the erroneous mask change to 50% gray) so therefore I duplicated his results and did not realize the error was in my original Layer Stack. To make a long story short, I went and checked for differences in all system settings, profiles, Color Settings, opacity settings, Blend settings, Layer Style settings (and their options) etc, etc and overlooked a change in the Mask gray level.       When I quickly flashed back and forth between the two documents/stack it finally popped out at me. Mea Culpa.

How can I convert from color balance in FCE to color balance in FCPX?

Let me start off by saying that I've been having an issue with a project in Final Cut Express - a project I'd put a lot of time into and thought I was finished with. Before continuing on, I encourage you to take a look at my other thread: https://discussions.apple.com/message/18702933?ac_cid=op123456#18702933
Realizing that there may be no one who can walk me through fixing my project as is, I decided to download a trial version of Final Cut Pro X and see if I could replicate my project there and have more success (after all, it was only a matter of time before I switched anyway).
So, in my original project in FCE, I keyed a lot of frames with different color balances. I downloaded the Ripple Training color balance effect to do just that, but the sliders are set up differently. In FCE, they range from -1 to 1. In FCPX, they range from 0 to 1. I'm wondering how I can conveniently convert the values from FCE to FCPX. Being terrible at math has made this much harder.
Just by drawing a diagram, like the following, I can figure out the basics:
FCE
[-1]-----[-.5]-----[0]-----[.5]-----[1]
is equal to:
FCPX
[0]-----[.25]-----[.5]-----[.75]-----[1]
Since I have very specific numbers, not all of which can be easily converted using a basic diagram like the one above, I definitely need some help here. For example, one of the values in FCE is .77. What would that be equal to in FCPX? It's probably something simple, but like I said, I'm stupid when it comes to math.
Thanks to anyone who can provide me with some help here, although I still hope that I'll end up having no reason to redo everything in FCPX.

Well, the "math answer" is .885…but I'm afraid that's not likely to be of much help. FCPX and FCE have absolutely nothing in common, including filters land color correction. So even if you sent the time comverting all your numeric values, I'm guessing you'll wind up with a mess and be very frustrated with all the time wasted in the workaround.
If I read your original FCE thread correctly, I if it were my project., I'd do a test on a short clip in X to see whether yoi can the effects and quality you expect. If you can, great. Build you project from scratch and learn a new NLE at the same time.
Good luck.
Russ

Opening balance for vendor in debit

Hi
                              When I post the opening balances for vendors it is showing the vendor balance as debit.(+) Is this correct or it should show vendor balance in credit and customer balance as debit ?
Regards
Sekar

Hi,
                          This was the JE:
                                                                                VENDOR                         1000 (Debit)
                                                          OP BAL(Asset)               1000(Credit)
Remarks: BPartners Opening Balance
Thanks and Regards,
Sekar
Edited by: S. Gamaliel Sekar on May 17, 2011 11:38 AM
Edited by: S. Gamaliel Sekar on May 17, 2011 11:39 AM

How to get Open Balance for the year and Total Ending Balance?

For a given account, how to get Open Balance for the year (Cumulative Ending Balance) and Total Ending Balance (Cumulative Ending Balance)?
Is there any function module available? or should I read from some tables? Please advice.

Hello Paul,
You could try calling one of the following BAPIs - see which one meets your requirement. They are documented well so shouldn't be a problem finding out the correct one for your requirements.
BAPI_GL_GETGLACCBALANCE
BAPI_GL_GETGLACCCURRENTBALANCE
BAPI_GL_ACC_GETBALANCE
BAPI_GL_ACC_GETCURRENTBALANCE
BAPI_GL_ACC_GETPERIODBALANCES
BAPI_COND_VAL_DECRE_BALANCES
You might have to put in some of your own logic after the BAPI call to get what you want.
Hope this helps,
Cheers,
Sougata.
p.s. Also look at FM FAGL_GET_ACCOUNT_BALANCE
Edited by: Sougata Chatterjee on May 7, 2008 11:47 AM

Web cam is blue. how do I correct color balance

When using the onboard web cam, the color tint is bluish. How can I check the white balance for the web cam?

See also:
*http://kb.mozillazine.org/Unable_to_save_or_download_files
*https://support.mozilla.org/kb/Unable+to+download+or+save+files

Setting color codes for more than one photo at a time

Is there any way to set color codes for more than one photo at a time?

Hi John,
I will look at keywords. My issue is speed. Right now I am culling and editing an event shoot that spanned a week with 35 separate events and more than 5000 images. So I use the fastest most convenient method I can and it still takes a long time to have a completed and final shoot. On this shoot I will end up with a final set of around 1500 images. Right now I am finishing processing a show that will hang in the Deutsches Amerikanish Zentrum in Stuttgart.
As I am sure you are aware by now, having seen enough of my inane questions that over the last two years or since Lightroom version 1.xx if I could not figure out how to do something I skipped it. So many things in Lightroom are buried and unless you have a mind like a steel trap (and think that some of you guys in the forum do) locating how to do something is not obvious.
For example, I only learned (in the last hour) that I could assign colors as a group of selections by using Shift + number. I found this in a side head in Martin Evenings Lightroom book. I still do not know how to find a way to display the color filter "selection" set in Library mode. Is there a way?
To top it off, Stuttgart Media University asked me if I would add a Lightroom module to my schedule this year. Now I have a compelling reason to learn all those missing pieces that I have created workarounds for. Hence the number of posts you have been seeing from me over the past few of weeks.
I tell my class that there are no such things as stupid questions, only questions. Now I am practicing what I have been preaching for the last gazillion years. Guys like you have been great.
My workflow is
1. I first separate all images by event. I do that at the time of import.
2. I do a fast pass rejecting all the obviously bad images
3. I do a second pass grouping the images by sub-group (speeches, people talking, performances, etc.) This is where I run out of selection methods and your key-wording could work but it would probably take too much time to establish a keyword set for a single event. Where I have more than five subgroups I set up different collection sets with one collection for each sub group. However I would like to keep a single event in one collection.
4. I then select the images to be used by color code.
5. Next I process the final images (crop develop etc) by collection.
6. Last I output the set according to client requirement.
If you have a better workflow, I am all ears.
By the way, what is your photo specialty and where are you located?
Jim

Default Colors Limit for Graph in OBIEE 11g

Hi, I'm using OBIEE 11g (11.1.1.6.6)
When I use a graph (either bar or pie), I notice that OBIEE only has 12 default colors to use in the graph. So it starts from blue, red, and so forth, until the 12th color, then for the 13th color it will use the same blue again, and so forth.
The problem is that my column values are more than 12 (it could be 20, it could be 30, etc). So, the repeating colors doesn't make any sense for the graphs.
Could somebody please advise me on how to increase the default number of default colors used by OBIEE (so that it will be like 50 default colors set automatically by OBIEE, just in case)?
Thanks so much!

Hi,
type HexaDecimal colors in google you will find n number of colors with the code number, just use this color codes by adding# before every code in the column format properties.
for ex: #ccc99
Follow this follwoing link
http://www.google.co.in/imgres?imgurl=http://howto.websitespot.com/images/hexadecimal-color-chart.gif&imgrefurl=http://howto.websitespot.com/hexadecimal-colors/&h=706&w=498&sz=63&tbnid=9_3i-3tIMDNffM:&tbnh=91&tbnw=64&prev=/search%3Fq%3Dhexadecimal%2Bcolors%26tbm%3Disch%26tbo%3Du&zoom=1&q=hexadecimal+colors&usg=__nWfHEFVvPfjMfZyq2MxXkhJ-288=&docid=FXj6mM0pc4RQTM&hl=en&sa=X&ei=FDxJUc2cDqS8iwKetICACQ&sqi=2&ved=0CEAQ9QEwBA&dur=280
Mark if Helpful/correct.
revert me for any queries
Thanks
Edited by: 934322 on Mar 19, 2013 9:38 PM

Color balance for editing

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