Action Script 3 and Color Management on PowerPC macs - Bug

Dear Adobe,
Recently I re-skinned my website and incorporated Actionscript 3 & Flash 10 so that I could incorporate Color Management for my images. I used sRGB as the image colorspace. On Intel CPU PC's (Mac and Windows) the website and images look good - as expected - on any browser (safari, firefox, ie). But, on PowerPC based Macs the website looks AWFUL. There is a blue/green tint across the whole webpage and the images look super saturated and whacky, regardless of browser (firefox / safari). Both powerPC macs I tested with are running OSX 10.5.7 and have Flash Player 10 installed.
Can you explain why this is happening? See for yourself - http://www.stoqq.com
Regards
Nik.

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Vista 64 bit and CS4 and color management

This is a question about Vista 64 bit and CS4 and color management. I scan 4x5 film and sometimes end up with up to or even bigger than 1 GB files. Obviously that needs as much memory as possible. Windows XP is limited in this regard and I am in the market for a new speedy computer which won't force me to stay at a snail's pace. In this month's Shutterbug, David Brooks in his Q&A column says to avoid Vista for color management reasons, but offers no explanation or support for his opinion. He implies one should wait for Windows 7 for some unstated reason. With a calibrated monitor and printer and Photoshop controlling color files sent to the printer, why would Vista be any different or worse than XP? Is he on to something or just pontificating? Does anyone know any reliable info about Windows 7 that would make it worth waiting for?
Thanks.

Zeno Bokor wrote:
Photoshop has direct access to max 3.2gb
On Mac OS X, PS CS4 can use up to 8 GB of RAM, but only directly accesses up to 3.5 GB. (Figures quoted from kb404440.) In using PS CS4 on Mac OS, though, direct Memory Usage maxes out at 3 GB even. If you set usage to 100% (3 GB), then plug-ins (including Camera Raw and filters), as well as actions and scripts, can access RAM above that 3 GB to between about 512 MB and about 768 MB total (seems to vary depending on which filters et al that you are using), leaving the rest up to 4 GB for the Mac OS. If you have more than 4 GB, then the amount of RAM above 4 GB is used by PS as a scratch disk. This increases performance significantly for most things because writing to and reading from the hard drive is much slower than doing so with RAM.
I haven't done the testing for actual RAM usage and such for PS CS4 on Vista 64, and Adobe's documentation is very much lacking in detail, but, based on the statement "If you use files large enough to need more than 4 GB of RAM, and you have enough RAM, all the processing you perform on your large images can be done in RAM, instead of swapping out to the hard disk." from kb404439, it seems that PS would be using RAM in very much the same way as I described above for Mac OS, except that the scratch disk usage in RAM wouldn't be limited to 8 GB (instead to how much you have installed). Has anyone done any performance/load testing to know for sure? I didn't see any such studies published, but I am curious if one has been done.
I will agree that there is a definite performance advantage when using PS CS4 (64-bit) on Vista 64, which I've experienced, especially when working very large compositions.
My initial recommendation to the OP to use Mac was based upon reading those articles about bad color management. As I stated before, I have never experienced that problem, and clearly the views of all that have posted here so far indicate that the problem may not be a real issue. (Perhaps this David Brooks fellow and Steve Upton both like to mess with their computers and broke something in Windows?)

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

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How can I change the interpretation rules so that EXRs always import with straight alphas? They always import with Premulti now.
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How can I change the interpretation rules so that EXRs always import with straight alphas? They always import with Premulti now.
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Anyway, I'm not aware of globally changing any of that from the AE end. As I was trying to explain, the program is more or less behaving correctly based on assuming the files you feed it comply with certain standards....
Mylenium

Color and Color Management boxes in Print Settings greyed out. Using PS CS5.1 with Mac OSX 10.9.5.

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I'm wondering what everyone that owns the production suite does with color management.
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When I play the same footage on a iMac....it looks under exposed to the point I can barely see it.
If this is a monitor calibration issue, how do you recommend I calibrate? What do you use and what are your settings? Also, does anyone else here use a 2408WFP monitor?
Much thanks!

It has to do with default Gamma settings. Mac are 1.8,(until Snow Leopard, which is now 2.2) PC is 2.2
PC's look a little brighter, more washed out compared to MAC. You should get a monitor calibration image from the net, and adjust your monitor.
Here is a link that might help...
http://www.gballard.net/photoshop/osx_22_gamma.html

Photo Printing and color management

Using a Epson Stylus Photo 2200 printer on 10.5.1. Looking how to turn
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Thanks,
The new guy with his first MAC.

Having turned off the Epson colour management, you need to ensure you have selected the correct colour profile in CS3. It helps to calibrate your monitor correctly and use a profile designed for your printer / paper / ink combination to ensure what you see on the screen is what feeds out the printer. Paper brand can make a startling difference. There are companies that offer a profiling service. You print out a pecific photo / pattern from their provided file and send them the print on the ink / paper you use and they email a profile.. Google will find these companies for you.

Installing a printer color management for my mac using cc

Am having trouble printing, I am told I have no color management programme for my mac. What do I download?

You don't download anything. This is a configuration thing. Start by reading this and then take it from there using the links provided and an expanded web search:
My colors look different outside Photoshop. | Mylenium's Error Code Database
My printed colors look wrong. | Mylenium's Error Code Database
Mylenium

Help setting up color management profiles on mac

I've downloaded the lasted drivers for my Canon MP620 printer, and installed them. But when I go to color management in the print module and click on managed by printer and then select others, the Canon drivers are not there. Wondering if I'm missing a step here for getting the Canon profiles to the right place. I'm using mac os 10.6
Thanks

gme109 wrote:
I've downloaded the lasted drivers for my Canon MP620 printer, and installed them. But when I go to color management in the print module and click on managed by printer and then select others, the Canon drivers are not there. Wondering if I'm missing a step here for getting the Canon profiles to the right place. I'm using mac os 10.6
Thanks
From my little experience with Canon 'multi' printers, I would forget printing out of Lightroom with anything other than Managed by Printer. The Others you mention are profiles necessary for allowing Lightroom to manage the printing. I've set up two Canon multi models (MX860 & MP560). Neither managed to produce decent prints using Managed by Lightroom - largely because of the way that the Canon driver controls are configured. I talked at length with Canon (UK) about a work around, but in the end they gave up. That's the downside. The upside is that both printers produced great quality prints using the Solution Menu software that comes with the printers.
Unless, of course, someone knows better.

JPEG and color management

Hi. Is it impossible to get 100% identical colors (if we leave aside the jpeg compression artefacts) when saving a .jpeg file with Photoshop using the highest quality setting (12) ?

Thanks for helping in this test despite hating JPEGs
Your screenshots proves that there are differences not only along hard edges (i.e. the borders between color patches), but that also whole color patches are affected.
This would mean, that color management isn't working properly with jpeg files. I hope someone with sound color management knowledge can confirm this or otherwise explain the problem.
> When using the Magic Wand (which I confess I don't understand what that is supposed to prove)
I try to explain once again:
1) Download the original source file (png) from the link above
2) open it in Photoshop and assign sRGB profile
3) save it as jpeg with highest quality settings possible (12)
4) open the jpeg file
5) add it as new layer over the png file
6) select "difference" as blending mode in the layers palette
7) now the whole image should appear almost black
7) select the magic wand tool (with abovementioned settings!)
8] click somewhere into the formerly gray area
explanation: you just selected all completely black pixels (0,0,0) i.e. all pixels that are identical in both layers
9) you should see "marching ants" forming rectangular patterns
10) invert the selection (Shift+i)
explanation: the selection now covers all the other pixels, i.e. all pixels which are different between both layers
11) create a new empty layer and select it in the layers palette
11) set the foreground color to white
12) fill the selection with white (alt+backspace on Windows, accordingly on Mac)
13) set the blending modes of all layers back to normal
explanation: you now have the image I posted above, i.e. you see all identical pixels in their respective color and all different pixels in white
The expected results would be white pixels along the borders between color patches, resulting from jpeg compression, but if color management works correctly there must not be entire color patches with the wrong color (i.e. white here)

Printing with HP B9180 and Photoshop Elements 8 and Color Management

I've got a bit of confusion about certain settings in the printing process and I've posted a rather long discussion of my 'issues' and confusion. I hope someone can give me some guidance here. I've seen a lot of these issues addressed in many places but I can't seem to find an integrated response. Thanks to anyone who takes the time to read and respond.
Color Management Questions
My problems started when I was getting pictures that were too dark from my HP 9180 printer after having gotten very nice prints for a long time. I had obviously started to do something differently inadvertently. The only thing I think that is different is that I got a new 23 inch monitor, which does produce much brighter on-screen images. So, I started to do some research and know just enough about color management to be slightly confused and have some questions that I hope someone can give me some help with.
Equipment Background
I use both a Canon 20D and a Canon PowerShot SD600 camera. Both have the default color space as sRGB, although the 20D can be also set as RGB.
I also use Photoshop Elements 8, where there are a variety of settings possible for printing.
My monitor is an HP S2331, whose color space is sRGB and cannot be reset to RGB (I think) except for temperature; the default is 6500K.
My printer is an HP Photosmart Pro B9180 Printer, where there are also a variety of settings possible.
I’m running XP-Pro.
Here’s Where I Get Confused
Everything I have read about color management (various web sites, forums, books, etc) says to have the image, monitor, and printer all in the same color space.
Everything I read about PSE 8 (same sources) says to set PSE 8 to ‘Always Optimize for Printing’ under Edit>Color Settings in order to get the best prints. This displays photos based on the Adobe RGB color space.
I am taking pictures in sRGB, and telling PSE 8 to process them in RGB by selecting ‘Always Optimize for Printing’. Is this something I should be concerned about? Should I reset my camera for RGB?
Further, by selecting ‘Always Optimize for Printing’, I am setting PSE 8 for RGB while my monitor displays sRGB. Is this an important issue or is it also much ado about technicalities that an amateur should not worry about? It does violate the ‘keep them in the same color space’ rule.
Next, when I go to File>Print and get the Print window and then do the Page Setup and Select Printer, I then go to More Options in the lower left of the window. Under the More Options window, I select Color management and select Photoshop Elements Manages Colors. Next, there is Image Space, which is fixed and not subject to selection from a drop down menu.
I understand that this is the image space of the image I took with my camera and that information is embedded in the image. Correct?
Next, there is Printer Profile. But, from what I have read, this is where the IEC profile of the paper being printed on is supposed to be selected, isn’t it?
Shouldn’t this more appropriately be called Paper Profile, or Printing Media Profile? Further, this drop down menu appears to be somewhat erratic, sometimes showing all of the paper profiles I believe are loaded, sometimes not. It also shows listings such as Working RGB-Adobe RGB (1988), Adobe RGB 1988, Dot Gain 10%, 15%.... along with a lot of paper profiles. Aren’t those profiles unnecessary here?
I’ve used both Relative Colorimetric and Perceptual Rendering and am happy with either one.
Next, when I go to Printer Preferences, in order to “…disable color management in the printer preferences dialog”, under the Color Tab, I select Application Managed Colors from the Color management drop down menu, and also have the option of selecting ColorSmart/sRGB and Adobe RGB (1988).
Is there any time when I should use either ColorSmart/sRGB or Adobe RGB (1988)? If I were staying with my camera’s sRGB setting, given the fact that the monitor is sRGB, would the appropriate selections be ‘Printer Manages Colors’ and ‘ColorSmart/sRGB’?
Finally, under the Features Tab, I go to look for the same paper I selected under Printer Profile (Question 4 above). If it is one of the pre-loaded (by HP) profiles, it is there, but if it is a profile I downloaded, say for an Ilford paper, it isn’t listed, and I need to guess at an equivalent type of paper to select.
Is there any way to get that listing to appear under the Paper Type drop down menu?
I know that this is a long post, but it helped me to clarify my ‘issues’. Thank you for any and all suggestions, answers, guidance and help.

RIK,
Some printers have long names, esp. HP printers, and PSE gets ":confused." In control panel>devices and printers, right click on the default printer, go to printer properties, and rename the default printer to something short, e.g. "Our Printer." That may fix it..

MAC: color management failure. Mac OSX 10.4.3 compatible with PS Elements 2.0?

Can't print directly from PS Elements 2 on my Mac: G5 single 1.8GHz processor; 1.5Meg RAM; over 220 gig free space on hard drive; Mac OSX 10.4.3; Epson Photo R800 printer and paper with Epson ICC profiles installed and working.
PSE 2 slaughters the color on printout (this shows up in preview, too). I've downloaded and installed the "Ignore EXIF Color Space" plug-in, it loads during PSE 2 startup, but the sRGB color space is still indicated in the PSE 2 print dialogues.
A second problem: iPhoto indicates that files written by PSE 2 (.psd or .jpeg) are unreadable and will not open them.
However, I can open these PSE 2 files and print them with the Mac Preview application and everything seems to work ok. This all feels like an incompatibility issue between PSE 2 and Mac OSX 10.4.3. Will I have to buy PSE 3? (Although the Adobe web site only says PSE 3 is compatible with Mac OS X v.10.2.8 or v.10.3; there is no mention of "or higher" or of Mac OSX 10.4.3 in particular.)

Thank you for your helpful and quick advice.
Unfortunately, I did not have the latest version of Disk Warrior. Your probably right that zeroing the drive was overkill, but what a great feeling to start over! I feel like I just took a shower, broke up with my girlfriend, and moved to Italy to start a new life.
I went ahead and installed a retail version of OSX 10.4.3 and I am back up and running. I am going to stay a away from the latest OSX software updates for now to see how things play out.
--Franz
Zeroing is not necessary in most cases. A bad node
can frequently be repaired by Alsoft Disk Warrior
(assuming your data is backed up). If your data
isn't backed up, a bad node can often be read through
by Prosoft Data Rescue.
If I didn't catch you in time to stop your zeroing,
if installing the operating system you have
difficulty with zeroing, then perhaps the drive has
failed or its connector has failed. Be sure when you
go to install to only install the operating system
that came with the computer or a newer retail
operating system.

Keynote and Color Management

Does anyone know whether Keynote uses color management? I am using the program to project images of famous artwork for educational purposes and want to make sure that the images look the same as they did when edited in Photoshop. If there are color settings to choose from, where would they be found?
thanks in advance for any wisdom

According to my own testing on Keynote '08, the answer is yes. Images in Keynote are the same as in Safari, which is color managed. Images are different in QuickTime, which is not color managed. I also would like to see definitive answer, though.

Action script and default values

While importing data through action script, even if the property value present in Action script is same as default value defined at the property level , DRM marks that property value as Overridden in the hierarchy.
Is there any possible way to avoid this?

Default value is set when no value is entered for the property. As soon as you enter a value for the property thru action script or manually, its overridden even though the value is the same which was set at the property level
Right click on the property and do a remove value then the icon should be set to default again.
If you want to restore multiple properties back to default, then use remove all below at the rollup level

Action Script and button Behavior

Imported a bmp as png, made it into a movie clip. Setup the
AS to call for page 4. It works great. I would now like to have a
text box come up on the rollover. I tried to nest the mc into a
button. I can make the text box work but the script won’t
work when I click.
Could you refer me to a resource that would explain the
relationship between the two. Or is there another way to do this.
So the text box says “Click here for more Info”.
Can’t click to execute Action Script, I think it is not
addressable because it’s nested in the button.
If I reverse the nesting then the text box in the over frame
won’t execute.

Mjddoyle wrote:
> Imported a bmp as png, made it into a movie clip. Setup
the AS to call for page
> 4. It works great. I would now like to have a text box
come up on the rollover.
> I tried to nest the mc into a button. I can make the
text box work but the
> script won?t work when I click.
> Could you refer me to a resource that would explain the
relationship between
> the two. Or is there another way to do this.
> So the text box says ?Click here for more Info?. Can?t
click to execute Action
> Script, I think it is not addressable because it?s
nested in the button.
> If I reverse the nesting then the text box in the over
frame won?t execute.
Sorry, a bit chaotic and i can't really get your arrangement.
Please upload what you have so far, we will go from there.
There is so many ways to achieve the same thing in flash that
there
is no point going into it, could turn up suggested solution
totally
does not suit your project. Need to see what you have so far.
Upload to your server and provide URL for us to check.
Best Regards
Urami
<urami>
If you want to mail me - DO NOT LAUGH AT MY ADDRESS
</urami>

Action Script 3 and Color Management on PowerPC macs - Bug

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