Aperture 3.3 colour issues with DNG

I have recently been working in a combination of Adobe Lightroom 4.1, Adobe Photoshop CS6 and Aperture 3
To maximise (or so i thought) compatibility I have been importing my RAW files using Lightrooms "Copy as DNG" option.
All has been going well, except that I have noticed some wild colour distortions for some of these files.
Adobe products do not appear to exhibit this problem, nor does Picassa, but certain purple hues shift to deep blue in Aperture once it generates its preview of the DNG.
I have updated to Aperture 3.3 today and the same issue is present, even on newly imported files.
Has anyone else seen this issue?

Can anyone enlighten me of the circumstances when this would be of concern?
If you had to do high quality printing larger than 8x10.
Before buying PSE trial Pixelmator and try GIMP. Note that GIMP (now v2.6) will have 16-bit per channel with v3.0.
-Allen

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Hello,
First of all many thanks to the Lightroom-team for making the DND Flat Field Plug-in available. I am using it to correct images taken with non-retrofocus M-mount lenses on a Sony NEX-7. I have previously used CornerFix, which worked fine, but the workflow in conjunction with Lighroom isn't really convenient.
Now to the issue I am facing: initially, the plug-in worked very well, but after installing all recent CS6 updates, I am now receiving the following after selecting the reference image:
A new DNG-file is still created, with some adjustments being made, but it looks like not all vignetting and color casts are being corrected. After dismissing the above message, Lightroom keeps showing the flat field correction task as still in progress:
This can be cancelled, and I can continue to use LR without any problems. When I attempt another flat field correction, I face the same issue.
Has anyone else experienced this issue? And is it possibly correlated with the installation of a specific CS6 update (of which there have been quite a few over the past week or so)?
I should probably note that I'm running LR 4.2 on Mac OS X 10.7.5 and a Mac Pro 2008 with 24GB RAM.
TIA for any feedback!
Best,
Ron

I had the exact same issue with LR4.2, that is until yesterday. Then I did not get the error but I did not get the flat field image either. All I got was the original image indicating that it was in a group of two but the second image was not there. Tried synchronize but no image was indicated.as available. Processing did not hang and indicated that it went to completion. Must be a problem with 4.2 as it worked with 4.1. With 4.1 I got no grouping, just a new file with "ff" appended to the name.
Asside: I am using a shift adapter with a E-M5 and 28mm OM legacy lens. I shoot three images for a pano, then set the shift back to starting point and shoot three flat field image. Problem (not Adobe's fault) it that I often forget to shoot the flat fliel images. Break down to move on and then realize - Oh Crap! When I remember and using 4.1 it works well.
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Hi,
I'm using Aperture from some time, from past few days I'm facing issue with my aperture image browser only.
i have few projects created. In some projects I'm unable to see the images in view browser only mode. If I select some other view option it works fine except view Browser only has issue.
any idea how can i fix it.
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Gulab Pasha

thanks for your reply,
I can see the blanks dashes square instead of thumbnails. and it affected to all the images in a project.
(In one of the other modes, you could select all the images (or just the ones affected) and reprocess the thumbnails). how would i do this...
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Hey Everybody,
I have had to re-register, so this looks like my first post!
There is a colour issue which is seriously baffling us, we shot a fighting event with a 3 camera shoot. 3 Days, and on all 3 days the cameras seem to have produced different colour outputs dispite being on the same setting. Can anybody shed any light on how to match the colours here. All settings on the cameras were the same, so we are surprised that the footage has come out differently. The following day the footage from all 3 cameras were indentical. However this is the footage produced from the first shoot
We have tried bightness/contrast, levels, fast colour correction, Colour Balance and CB_HLS and still can't get the footage to match.
While it would appear there might be a slight hint of over exposure when we take the brightness right down, there is hardly any highspots.
If there is no solution for us to do, is there anybody who we could send a short clip, have them correct it and we can duplicate to the rest of the shots? If so what kind of expense do you think that would incur?
Thanks in advance

its important to use the same exact cameras on multi camera shoots. also important to take color meter and see what the lights give you. sodium vapor and tungsten and flourescent all need different " color correction" gels to make them equal 32k or 56k .. and its not just orange and blue correction ...its also green and magenta etc...
professionally , you cant do all that at the " lens " with cc filters..you need to actually get to the lights physically ( with scissor lifts or cranes ( manlifts ) and gel the lights too ).
Once you have your lights corrected and ready to shoot...all cameras need to shoot "color swatches - usually Kodak .. with a single light source that equals what your camera is set to ( color temp )...and that is used to get your balance correct in post.
That said it sounds like you are screwed...
To have someone try to correct that professionally would cost more than you can afford, or you would have used that " money " to correct your color etc in the beginning... in other words, if you could afford to send everything to a pro lab and try color correcting all that stuff, you wouldnt have this problem to begin with IMO.
My suggestion:
Since wrestling is a gritty sport and " manly " and full of emotion that is basically " tough " and " hard " ....trash the color altogether and make everything black and white... maybe increase your contrast a tiny bit ...or maybe add a slight " tone " to it....( not sepia which looks just " old " , but maybe slight blue tint ? ) ...something to make it look as gritty and hard as you can...
Then tell client you did it on purpose ! Is part of your concept to begin with... wow them with your creativity !

Colour issue with 'Save for Web' - Photoshop Elements 6 (Mac)

Cross posted here, but no answer so far. Sorry for cross posting. For me, this is urgent, but I know it's not for anyone else, so apologies for putting 'urgent'.
http://www.mac-forums.com/forums/images-graphic-design-digital-photography/150670-colour-i ssue-save-web-photoshop-elements-6-a.html#post840419
This is a similar issue to this:
Save for web color issue
Except the user who posted the above was using photoshop cs3, and I'm using Adobe Photoshop Elements 6.
When I work on a photo, I get it just right, then go to Save for Web, and the original it previews is loads lighter than the orginal I was working on in the first place. See 'Picture 1' attachment.
I have changed the colour settings on the Save for Web options - I've chosen each one in turn, and none fix the problem.
There seems to be no similar option in PSE6 to this that fixed it in CS3:
IN the save for web box there is a small round button with an arrow in it (near the Done button).
In the list when this button is pressed deselect Convert to sRGB
I used to use PSE2 on a PC, and never had this problem. I didn't need to mess about with colour profiles or anything similar on the PC. The original was the original, not a washed out version of the original. Why spend ages getting the file just right, only for Save for Web to screw it up?
Any advice to fix this would be much appreciated.
Thanks

Thanks very much for your reply.
I've uploaded the images here:
http://jimpix.co.uk/images/Picture 1.jpg
http://jimpix.co.uk/images/Picture 2.png
I deleted the prefs. file you suggested, and then opened PSE6.
I then tried the profile setting you suggested - but it's not an option:
http://jimpix.co.uk/images/Picture 3.png
I tried 'remove profile' just in case that worked, but the same effect happens on Save for Web.
Not sure what to try next!
Thanks

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I would like to ask you for a help in the following issue:
When I sync Aperture with Apple TV I then see that only masters were transferred. When I make some photo adjustments (without creating a version from master) they are not visible on the Apple tv. I can only see a master photo without any adjustments.
How can I transfer a photo with adjustments made on it? Do I have to create a Version from master and then sync only that version with all adjustment made on it?

Related question from me.
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Message was edited by: kennedyk

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I'm using Aperture 2.1 and am wondering if anyone here is having this problem - basically highlights end up with false colour with this camera/RAW conversion combination. The problems appears to have been introduced with the 1.1 RAW converter as 1.0 conversions don't seem to have the problem. I'm not sure if this is camera specific, or whether there is some tuning which can be done to the RAW converter to minimise the effect - attempts have so far failed with this approach.
The best subject to produce the effect is strong reflections from water - i've attached a crop of an image which shows this problem, and I can supply a RAW with this problem.
Conversion using RAW 1.0 (less or no colour pixelation):
http://www.loftsoft.co.uk/pictures/KC7U5116%20-%20RAW%201.0.jpg
Conversion using RAW 2.0 (colour pixelation):
http://www.loftsoft.co.uk/pictures/KC7U5116%20-%20RAW%202.0.jpg
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Many thanks,
Cesare

Hmm. I can see some color effects in the 1.0 conversion as well.
Those are some touch photos... you have lots of specular highlights with the sun reflecting off the water and the railing.
Aperture 2.x and 1.x handle the RAW conversion differently. I would suggest you try playing with the RAW Fine Tuning brick, specifically with the Moire and Radius sliders, and try fiddling with the Auto Noise Compensation checkbox.
I don't know whether you'll be able to make the problem go away completely or not.
With my ~30,000 1D Mark II files I've seen something similar to this (though much less extreme) on a couple of them. Always with specular highlights though -- off water or metal objects.
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While I would do most of my photo edits with Aperture there may be times I would like to do special effects that a PSE might offer with layers. I am considering purchasing PSE 10 and was concerned with having to lose information by saving as an 8-bit image. Can anyone enlighten me of the circumstances when this would be of concern?
Thanks.

Can anyone enlighten me of the circumstances when this would be of concern?
If you had to do high quality printing larger than 8x10.
Before buying PSE trial Pixelmator and try GIMP. Note that GIMP (now v2.6) will have 16-bit per channel with v3.0.
-Allen

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Thanks in advance for your help

InDesign can often send more complex postscript than the other apps, it is after all, dealing with a lot more types of information all at the same time. The problem comes in when ID invokes a part of the Postscript standard that hasn't been properly implemented in the RIP.
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Hi,
I have had Photoshop for a long while now and i have a problem. When looking at RAW images they have a green hue on the shadows (this is when previewing them in Bridge, Photoshop and Camera RAW). This problem seems to be solved by minimizing the window and then making it fullscreen again a few seconds later. How ever after this, if i switch to another image and back the green cast is there in the shadows.
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Does anyone know how to solve this problem. I've added in a screen shot for comparrison.
Thanks
Mark
#CS5 Extended 12.0.4
P.s. There are much worse images i can upload if people want more clarification or even just to see more of the problem.

You're saying both of these images were captured from the screen of Photoshop before and after doing your workaround?
You likely have a display driver problem if so. You may want to check the web site of the maker of your video card to see if they offer an update for your hardware and OS. Caveat: If you have an ATI card, consider installing older version 11.7 instead of Catalyst 11.8 - I've seen problems with the latter.
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For that matter, what OS are you running?
-Noel

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At a customer site, we have LR3 and PS (CS5) running.
There are colour differences between what we see in Bridge and LR, and what CS5 displays, even though the colour space (Adboe RGB or ProPhoto) is the same and all other settings are correct (in colour settings and no soft proofing).
Strangely enough, when changing the monitor colour profile (in system prefs) to a non-EIZO one, LR3 and bridge immediately update, CS5 only when you click the window, and then everything looks the same (although not colour correct).
Chang back to the EIZO profile and the PS image looks washed, while the bridge and LR images look right.
The EIZO CG211 is calibrated using the Colour Navigator software.
Any idea's what might be the cause ? We'reabsolutely baffeled.
OpenGL is not active (as this is apparently not available anymore in CS5 'standard').
He used to be running on CS3 and LR2 and everything was fine.
We removed the CS3 as it was a suite (customer did only use Photoshop) and switched to Photoshop only.

Just to give an idea of the difference, I've attached a screenshot of both situations.
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Let's continue to use that same forum thread for this conversation.

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http://img.photobucket.com/albums/v520/DanThe440Man/Random%20Stuff/RolloverColou rs.jpg
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Message was edited by: pcalvin

I print on an Epson 2880 with Lyson inks and custom profiles. In Aperture 2 it worked perfectly, with exactly the same settings as for printing Photoshop - using the laboratory prescribed settings:perceptual and no black point compensation in Photoshop, and Adobe RGB Gamma 2.2 in the Print settings.
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Aperture 3.3 colour issues with DNG

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