Adjust. layers don't stay after converting to sRGB

And that makes sense, but what if I want them to stay just a bit longer, they also disappeared in other occasions, perhaps due to a different reason. Is there a way to prevent this?
Also, my normal brush size shows cursor only. OKed preferences>cursors, relaunched PS, nothing changed. Diameter is in the medium numbers.
PS CS3 10 0 1

I tryed that just in case, considering that there was no CMYK involved, removING layers masks (curve and levels) before the conversion, and the layers were completly gone after Adobe RGB 1998> sRGB, again. And what would be the purpose of keeping the layers anyway, if the masks are gone? I mean, the layers effects stay, here is just a matter of finetuning the masked areas, so you need the masks too.
So do you people mean that in CS4 is really not like that? So, at least SC4 is for something!
Anyway, that Adobe RGB 1998 was not a great idea to put in my camera anyway, I should not be in this situation anylonger in the future. Thnks everybody!
@Silake: I still have to look into smart filters, I will let you know in the future, maybe this is the answer!
@c. yes, I oked normal brush tip. Having the cursor only happens rarely, but happens. Odd, isnt' it? Will watch for caps locked, but I can't be doing that all the time!

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Hey,
i just got a new Eizo Coloredge Monitor which i conectetd to my Macintosh.
Everything seems to be fine actually. But when i´m converting an Image from Pro Photo to sRGB for instance... the Photoshop Window does just show a black window.
I think it is just some kinda new function or some kinda Colorspace warning, but i just dont get around it and don´t really know what this means..
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best,
max

Are you stating when you use edit Convert to Profile abe in the convert dialog you check preview the change the profile to convert to different profiles like sRGB or sgray and others that you see a black image window with no image in it?

How to change the default name of new adjustment layers? (and other Q's)

How do I change the default name of new adjustment layers?
How can I make it so that adjustment layers don't come with a mask when I create them (unless I have a selection active)?
Why isn't the Shadows/Highlights functionality an adjustment layer? It's accessable under "adjustments" but you can't use it non-destructive
Where can I find documentation on Photoshop's API? (I want o make tools for it - javascript)

Forgive me for not looking into your Maya-specific links, but one can automate Photoshop using JavaScript indeed (on Windows also VB, on Mac also AppleScript).
Not everything can be automated naturally, but a lot – and it can really speed up many tasks; and with the »small« repetitive ones like saving copies off of files etc. combining Scripts with Configurator Panels can be especially convenient.
There is a Scripting Forum over at
http://forums.adobe.com/community/photoshop/photoshop_scripting
As for plugins: it's something I would like to learn some day (I guess you would have to go with Flash and AS3 for making actual plugins)
I think you might also have to learn C++ or C.
There is Forum the contributors to which might be able to give you pointers if you get to that.
http://forums.adobe.com/community/photoshop/photoshop_sdk

After adjusting the levels in a file the changes don't stay. How do I fix this?

Hello helpful people,
I'm running Photoshop CS5 on an iMac. I started with a scanned tiff that was emailed to me, a black on white ink drawing. I changed it from a tiff to a greyscale image and saved as psd, then converted it to RBG 8bit. When I open the psd file I see that it's in RBG 8 bit and there's no asterisk (*) by the file name, so my work space and file are compatible. I tried to adjust the layers to dull the black lines in the drawing, and although I can see the changes in preview, the corrections don't stay and the image reverts back to the original bold, black lines. I decided to change my background layer to a regular layer and make the edits there. However, when I change my background layer by unlocking it and changing the name, I notice that my file suddenly has an asterisk (*) after the name and my same attempts to change the levels aren't working. I'm not entirely sure if it's a compatibility issue with the work space, a file extension issue (psd), or something all together unknown to me. Any direction on how to adjust the levels so that my changes stay would be much appreciated - and furthermore, any advice on how to keep my files and work space in sync would also be helpful. Thank you. If it helps to know, I'm in painting mode within photoshop, which isn't my regular setting, but I thought it would help since I want to add color to this black an white drawing.
Sincerely,
LauraMay

Zoom in to 100% before judging the quality of your adjustments on high contrast or noisy images.
While zoomed out, you're seeing a preview applied to the down sampled (averaged) pixels.

Can I convert a series of adjustment layers into a single action?

Hello,
I have a Photoshop CS6 document with 20-some adjustment layers and would like to be able to apply their effect to multiple image files. I'm looking for a way to convert the series of adjustment layers into a single action so that I can batch process a set of images. Can this be done?
Unless I'm missing something, it appears that no trivial solution exisits. For example, there's no option that allows for selecting the adjustment layers, right clicking them, and choosing 'convert to action.' What I want to avoid is having to redo each adjustment layer just for the sake of recording an action.
Also, I understand that I can always "place" (i.e. drag and drop) the image requiring processing into the Photoshop document containing the adjustment layers, saving a merged copy as jpeg, and repeat... but such a manual method would border on insulting to this prowess of a program.
If anyone can get creative and suggest a method of recording an action that can make use of the document with the adjustment layers and a variable document that will be passed through during the batch process, I'm all eyes!
Many thanks.

_zeppelin2 wrote:
Hello,
Also, I understand that I can always "place" (i.e. drag and drop) the image requiring processing into the Photoshop document containing the adjustment layers, saving a merged copy as jpeg, and repeat... but such a manual method would border on insulting to this prowess of a program.
If anyone can get creative and suggest a method of recording an action that can make use of the document with the adjustment layers and a variable document that will be passed through during the batch process, I'm all eyes!
You have the other choice with drag/drop or duplicate where you copy the adjustment layers into the other image document. Target all the adjustment layers in the layer palette click on the first one the Ctrl|CMD+click on the others or if adjacent Shift+click on the last one to target all the adjustment layer then use menu Layer>Duplicate Layers... and use the pull down menu in the pop-up dialog to choose the other open image document.
You can of course record an action when you add all the adjustment layers then play that action on the other images. Twenty adjustment layer on top of an image seems a bit extreme to me.

Flattening adjustment layers prior to converting modes

Hi all,
I have a document with a load of layers and scattered throughout are adjustment layers. I need to get the document from RGB to CMYK.
Is there an easy way to have the adjustment layers applied to all the underlying layers so I can convert without flattening anything other than the adjustment layers???
I hope that question made sense.
Thanks,
Bob

It may be easiest to finish any editing you need to do then flatten the image than to try to flatten the adjustment layers.
You could also save 2 versions, 1 RGB, 1 CMYK and should you need to edit down the road, edit the RGB then flatten convert and overwrite the CMYK version.

64/16/double bit Adjustment layers?

Hi, I have a 64 bit imported RAW, CR2. I have recently got in the habit of using multiple curves adjustment layers.
Indeed, when I apply a Curves adjustment by Ctrl-M, the histogram stays nice and smooth (as 16 bit implies), but if I use even two adjustment layers, stratification occurs- there is a reduced number of colours, resulting in zeros in the histogram followed by instant peaks.
Is there a way to enable high bitdepth adjustment layers? I used to have CC, and I think I noticed that it wasn't even fixed there... I went back to CS6, thought I'd save my money...

Perhaps someone helpful can answer it. By the way, your display picture is crooked.
(I mean all due respect, but after giving a 'get out of here' line, you demonstrated that you understood the question. Is that the kind of thing you get a + next to your name for around here?)
If you don't know the answer, just refrain from posting. In the interests of defending myself I will deconstruct your post:
Not sure what you are getting at. Even 16bit color space isn't unlimited (correct) and depending on how discrete values overlap/ coincide quantization can occur (correct). Only working in 32bit can further expand that range (to the point where most of the time it is imperceptible). That aside it's really not clear how you work and what adjustments you apply (sigh, nor is it relevant). You would have to provide screenshots (because you say so). Furthermore the histogram may not necessarily be an exact representation since it's calculated on the fly(interesting, but beside the point). Plus of course we really don't know anything about your RAW settings, color management, hardware acceleration settings and so on. This is really much more complex(no, and I should know, I have an Engineering degree, plus more than a decade of coding experience) than just saying that the histogram looks crooked. (nice analogy =) )
I've highlighted some words which people trip over online. It's good manners to assume that your readers are intelligent, so if you say something like "depending" you are basically conceding the point. As I noted, that sentence is correct. But (and this should have been obvious) I'm not talking about one of those 'extreme' cases.
Sorry for any offense. Maybe you were just having a bad day, or needed a coffee...

Why use layer masks and adjustment layers?

I've been using PSE and CS successfully for years.
One thing I have never understood is: why use layer masks and adjustment layers, instead of simply creating a copy of the subject layer (the one I want to make changes to) and experimenting with that? It's quick (Ctrl-J), I can do it as many times as I want, I'm not affecting my Background layer. If I like the changes, I can keep them. I can switch the copy on and off to compare with the Background layer. I can do any type of blend or combination I desire. I can insert Gradient layer(s), select any part of the copy and (Ctrl-J) create a new layer containing only the selected part. I can adjust size, rotate, do anything.
It almost seems that "layer mask" and "adjustment layer" are mainly another layer of terminology; can anyone explain (preferably in 50 words or less) how they are intrinsically different from or superior to working with copies of the Background layer? What can be done with them that can't be done simply using copies of the Background layer?

Here's a very basic example of the advantage of using a layer mask.
I have this picture of a sunflower and I want to convert the background to black & white, leaving just the flower in color. I duplicated the Background layer, converted it to B&W and proceeded to use the Eraser to uncover the flower color. But I made a mistake and erased outside the flower. There is no way to correct this other than deleting the layer and starting again.
Now let's use a layer mask on the B&W layer. Set the Foreground/Background colors to the defaults black/white. Using the Brush tool paint on the mask with black to reveal the color. Here I painted too far, revealing a green leaf in the background. No need to start over. Simply switch to white and paint the excess to convert back to the B&W.
Tip: while painting you can type "X" to toggle between black and white.
You could also select the flower using the various selection tools and then fill the selection with black. If it turns out the selection was not 100% accurate you can then fine-tune the result by painting on the mask with black or white as necessary.

SUPER USEFUL TIP: Use clean titles as adjustment layers in Final Cut Pro X

One thing I love in After Effects are adjustment layers and I just realized you can actually use titles as effects in Final Cut Pro X and they behave just like adjustment layers (actually you can go much further in Final Cut Pro X).
So titles process everything below in Final Cut Pro X even with effects applied to it. So why not just build clean title in Motion 5, put that to top "track" and add effects to it. This way you don't have to hassle that much with compound clips.
This technique works with all effects (also color board works on titles) so for example if you want to have certain look for some period of time simply add clean title to top track for that time and add effect to it. I think this technique has tons of potential for people who want to keep their timelines in order and don't want to create complex compound clip messes.
If you don't have Motion 5 you can download Adjustment Layer here. Just extract contents to your Movies/Motion Templates/Titles folder and you'll find it in Final Cut Pro X Titles under Adjustment Layer.
Best
Tapio

Great idea!

Adjustment Layers Irregularities

This is a twofold question.
1. What is the best order to put adjustment layers in?
2. Are adjustment layers slower than the "old" way?
More details
1. Stacking Order
After noticing some irregularities in my render times, I have discovered that it matters A LOT which order you apply effects in adjustment layers--how they are stacked.
For example, I have a simple sequence with 30 CamA/CamB cuts. I want apply an RGB Curves color correction ("CC" below) and Neat Video Noise removal effects to the entire sequence, so I do it in the form of the new adjustment layers--one for CC and the other for Neat.
Here are my observations and render times of the exact same sequence with different stacking orders of the exact same effects:
0:43 CC + Neat
2:30 Neat + CC
0:14 No Effects
0:15 CC only
0:42 Neat only
0:30 Neat only - Effects applied to each individual cut with no adjustment layers
I haven't done extensive research on with other effects (I'm hoping someone else, or especially Adobe has). But I couldn't figure out why two similar sequences would take 2 hours and another just 30 minutes since they were very similar and I noticed that my adjustment layers were in different order.
QUESTION
It's obvious, at least from this limited test above, that the stacking order of effects is important. Only now, after doing the testing, I know that I need to do my CC first THEN my noise removal. But what about with other effects?
2. Adjustment Layers Slower?
From the above testing, I noticed another irregularity (IMO). In my test result #6 above, when I applied the exact same noise removal effect to each individual clip as opposed to an adjustment layer, my render time was reduced by 33%.
Does using adjustment layers present a render hit when compared to using effects the "old" way (clip-by-clip basis)?

1. The order actually applies to the effects themselves, as the stacking order can produce different results, depending on the effects used.
2. In my tests, no. I get the same render times whether the effects are applied to the clip directly or to an AL.

Multiple adjustment layers vs. multiple effects on a single adj. layer

I posted this earlier on the Creative Cow forums, and came back with inconclusive answers...
If I have the exact same clip in 2 separate comps...In Comp 1 I have 5 color correction effects on a single adjustment layer, and in Comp 2 I have 5 adjustment layers with the same effects, 1 effect each spread over the 5 adjustment layers (in the same order). Should I theoretically expect to get the exact same image in both comps?
Here's the reason I'm asking. I'm doing some color correction that occasionally involves a lot of keying, which I'm doing in Colorista II. It's not green/blue screen keying, it's keying the shot footage for adjustment, e.g. skin tones, backgrounds, blown-out highlights, etc. I'm finding that in order for the Colorista II keyer to work based on previous instances of effects calculations (i.e. Levels, Hue/Sat, or other Colorista instances, all of which occur *before* the key) I'm having to put it on another Adjustment Layer for the keyer to take the earlier effects into account. Otherwise, if it's on the same adjustment layer, the Colorista keyer disregards the previous effects & uses the un-effected clip as the source for the key.
I don't know if this is just the way the Colorista II keyer works, or if this is a global After Effects-wide order-of-operations thing that I don't fully have a handle on. I understand order of operations, and that Adjustment Layers affect all layers below it, and all that stuff. My question is, what (if anything) is the difference in behavior between multiple effects on a single adjustment layer vs the same effects spread out over multiple adjustment layers? Is it predictable & consistent? Or is it just common knowledge (to everyone else but me) that sometimes you have to use multiple adjustment layers based on the specific effect combinations that you're using?

I don't know if this is just the way the Colorista II keyer works, or if this is a global After Effects-wide order-of-operations thing that I don't fully have a handle on.
As far as I understand the SDK, it is not considered practical, since it would require a plug-in to establish its own comp buffer outside the main rendering pipeline, which could lead to issues with color consistency and things like premultiplied vs. straight Alpha. I also seem to remember that as of CS5 it is actually no longer technically possible. Hence effects that use specific source footage API calls will bypass any previous effects and directly operate on the source.
My question is, what (if anything) is the difference in behavior between multiple effects on a single adjustment layer vs the same effects spread out over multiple adjustment layers? Is it predictable & consistent?
The result should be the same under all circumstances, assuming all adjustment layers have the same opacity and no masks and their stacking order is equal. Only when you apply masks or adjust the opacity to fade specific adjustments you will see differences. It is also to note that having all effects might be a bit faster and more efficient, since less data is passed from buffer to buffer...
Mylenium

Premiere 6.5-how to keep the last image stay after movie's over?

Hi.
I am using Adobe Premiere 6.5.
I like to keep the last image to stay after movie/ animation finished to play, but they disappear and shows the "x" mark.
How can I leave the last image stays after they are done playing? Please help with this?
thanks.

Welcome to the forum. What you are referring to is a Freeze Frame.
Though I like John T's method (one that I use), you might want to look into Frame Hold, if it is in Pr 6.5. It works in a similar fashion, but I like the still for my Freeze Frames. Also, remember that you can adjust the Duration of the still, by click-dragging on the Tail, until it is as long as you need.
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Saving and reusing adjustment layers

Hi, I feel like what I'm trying to do should be easy, but I can't figure it out.
I have a set of files that I'd like to apply the same set of adjustment layers to. I opened one of the images, created the adjustment layers, and tweaked the settings until I was happy. Now I'd like to create an action that would apply this set of layers to multiple files in batch mode. I understand that if I were to record my adjustment layer creation, I could replay this, but I didn't record - I have a set of layers (I even saved them to a separate file) but no way to retrace my steps. I could do all this by hand by duplicating my adjustment layer group to files that I open, but I can't find a way to automate this. Any help?
Thanks,
Vladimir

If I correctly understand your question, then my naswer is yes - you can reuse adjustment layers. Say you have a psd file which contains a layer with your image and several adjustment layers on top. To apply those same adjustment layers to other images convert the image layer to a smart object and save the file as your primary image file. I expect the following simple sequence, which is actionable, can be put in a batch process though I've never done it as I can manually click through images as fast as I can hit the keys.
The main features of the action are to open the primary file and right click on the smart object. From the drop down list choose Replace Contents. This brings up a Place window from which you select ( double click) the next image and that image appears in Photoshop's main window with all adjustments applied. Click on save and repeat the process for the next image.
It is rare that I need the same adjustment layers to be applied to many images- it seems that often times each image requires slightly different adjustment settings. The above process, however, works for other operations as well, say filters (smart) or Calculations which I may apply to multiple images.
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Adjust. layers don't stay after converting to sRGB

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