AppleTV 2G Color Gradient Issue

Hey there.
I just bought an AppleTV hooked it up to my TV via HMDI (how else…) and I have a strange kind of issue. Gradients look like they were taken from a gif... or something running 8bit/16bit color depth.
I have a 2-3years old Grundig Lenaro 32. Tried both of its HDMI ports. Neither seems to work correctly. I yet have to check it on another TV-set, but I doubt that it is an issue with the AppleTV or the HDMI cable.
My AppleTV runs the latest Firmware... and I also checked about every setting my TV has to offer.
Has anyone ever had a similiar issue or seen something like this. Any suggestions as to what causes the problem? I mean, HDMI being digitial shouldn't have signal issues or something like that.
Take a look yourself:
http://i279.photobucket.com/albums/kk140/TheralSadurns/photo1.jpg
http://i279.photobucket.com/albums/kk140/TheralSadurns/photo2.jpg
Thanks for your help and Merry X-Mas to everyone.

Televisions have become commodities and it is difficult to learn much about their details. The manufacturers deliberately make it hard to learn more than the basic specifications, which are often nothing more than a list of features and the number of inputs and outputs. I bought a new Sony when I bought the Apple TV, but even Sony says little about what happens inside the television after you connect the inputs:
http://www.sonystyle.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=1055 1&storeId=10151&langId=-1&productId=8198552921666076677
Grundig is doing the same as Sony so it is unlikely that any television manufacturer would do more.

Similar Messages

SampleImage() in 4-color gradient issue

hi there
I am trying a technique for logo/element removal that I saw in a post from a couple years back, where a tracked, solid "patch" is placed over the unwanted element, and a 4 color gradient effect is applied to the patch, which then uses the sampleImage() method to grab local colors around the element.
I've gotten it working fine with the below code, except for one problem: when I parent my null (acting as a "color picker" position) to the original tracking info, the color no longer samples properly. Unparenting the null makes the sampling work fine, but then, I have to hand key the null, which is a pain and doesn't produce great results.
myPoint = thisComp.layer("Null 1").transform.position;
target = thisComp.layer("myAwesomeFootage.avi")
target.sampleImage(target.fromWorld(myPoint), radius = [1, 1], postEffect = true, t = time)
Any tips on getting around this parenting problem?
thanks!
ML

You need to add an extra toWorld() layer space transform to convert the layer coordinates to comp/ world coordinates.
Mylenium

Tri color gradient issue

Hi,
I am trying to build an application where tricolor gradient is used but i found abrut change in the color. But there is smothness in the case of 2 color gradient. So please help me out to create an tri color gradient with the smothnes of all three color.
Note: In image you can see a strip of yellow,green and black color.I want, there is smothness when two color intercept

Thanks for reply but this thing give me same output like my code. I tried to adjust tx and ty value but due to that black color increase.
var rect:Shape=new Shape();
this.addChild(rect)
rect.x=100
rect.y=300
var rectWidth:Number=1000;
var rectHeight:Number=750;
var mat:Matrix;
var colors:Array;
var alphas:Array;
var ratios:Array;
mat=new Matrix();
colors=[0x000000,0xF0DC31,0x2C6D38];
alphas=[1,1,1];
ratios=[0,125,255];
var angle:Number = -45;
var radians:Number = toRad( -45);
var boxWidth:Number = rectHeight * Math.sin(radians) + rectWidth * Math.cos(radians);
var boxHeight:Number = rectHeight * Math.cos(radians) + rectWidth * Math.sin(radians);
trace(boxWidth+":"+boxHeight)
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rect.graphics.drawRect(0,0,boxWidth,boxHeight);
rect.graphics.endFill();
function toRad(a:Number):Number
return a*Math.PI/180;

MacBook Pro Color Gradient Issue?

Hey there,
I have a new MBP 15-inch with the LED backlit screen. Some sunset photos (with large areas of fine gradients), look pixely. I've seen the photos on a really nice CRT and there's no pixellation in the photos. They're 8 megapixel RAW files from a Canon DSLR.
Is this simply due to the LED screen's lack of color depth, or is my computer having issues?

Hi there,
I have the same problem here with my MBP (Mid-Summer 2007, 2,4 GHz, LED) and I pretty sure, that this started to appear recently and wasnt there from the beginning. I you look down from the top of your screen (in a very sharp angle) then the affected area where gradients look bad is looking blue colored. I attached a "screen shot" of the greek sunset and another picture and screen shots with the same issue.
TIA and greetings!
X.
Screen 1: http://img507.imageshack.us/my.php?image=problembild2abfotographik8.jpg
Scrren 2: http://img256.imageshack.us/my.php?image=problembild1al1.jpg (another picture with strange gradients)
Screen 3: http://img229.imageshack.us/my.php?image=dsc00944yr3.jpg (the screenshot of screen 2)

Weird and unwanted color gradient after Photomerge

Hi all,
I got an annoying problem with a weird color gradient that appears where it shouldn't. My context is, that I'm producing underwater photomosaics. I use Photomerge for merging, which works great for the often uniform seabed sediment images.
[merge1.jpg]
The example is 65 images, btw. After placing the images manually within Photomerge, all looks great and ready for a perfect result after rendering (see above). However, when doing so, the final merge from within Photomerge (by clicking the OK button) creates perfect smooth blending, but a weird color gradient crossing the whole mosaic. this might originate in the fact, that the individual images also are not perfect, due to the uneven lighting situation underwater. In case all images are a bit reddish at the top and yellowish at the bottom, the final gradient over the full mosaic shows that as well. So to me it looks as if Photoshop just tries to be too smart and thinks, reapplying that pattern to the whole would be a great thing to do, which it isn't of course.
[merge2.jpg]
I discussed this "bug" with (indeed very helpfull) Adobe staff and they recommended, to create the merge with the "Blend Images Together" option in the "Load" dialog unchecked. This creates a mult-layer document after rendering, with the images being placed properly but not blended.
[merge3.jpg]
From here on, Adobe staff recommended, I shall use the "Auto Blend Layers" function (File menu), but the result is identical as image 2. Ok, then, they recommended, to uncheck "Seemless Tones and Colors" in the "Auto Blend Layers" dialog. Indeed, this gets rid of the gradient, ...
[merge4.jpg]
... but shows very hard edges of the images, which get very prominent after optimizing levels:
[merge5.jpg]
Was that understandable? Would anyone have experienced (and solved) the same issue? Or would anyone have an idea, how this could be handled in a way, that my resulting mosaic looks as perfect with respect to the original colors as in the initial merge window before rendering it (image 1)? Maybe it's a specific Color Setting (Edit menu)? I tried a lot so far but nothing helped and I might not have tried the right thing.
The problem appears, btw, in CS3 to CS6!
Any help appreciated, more information on request! Many thanks,
g

H there,
@TLL: you're right with what you said about the subjective element. Getting spoiled is easy, but staying ambitious is good as well. I do these mosaics since 2003, when Photomerge was part of Elements only. Then, in the first years with CS and CS2, I never had this bug with the color gradient being applied to the final merge. This started with, I guess, CS3 and I think it's due to enhancements Adobe made to the programm (making it more "intelligent"). Unfortunately, sometimes enhancements have dark sides and cause unexpected issues elsewhere. And since we are a minority (making large merges), these do not get fixed, since the majority, stitching what, 20 image panoramas of their home and garden do not suffer. Their images have strong contours and contrasts and the issue gets effective only on uniform images like underwater sediment or, in your case, landscapes shot from above. Going back to CS or CS2 is no option, since only the newer versions give me the processing power I need, also is the blending much smoother.
I played around with gradient masks but I haven't got the right touch yet. Even if I get rid of the color differences, there will always be a brightness gradient, since borders of the images are always darker. And then, the weird gradient is a bright / dark one, not a red / yellow one. Not much better. Also, each batch job has to work for thousands of images, so has to be a compromise. I just cannot spend more than a day for a 1000 image mosaic, or a week for 6000 images, time is money on a ship (and elsewhere).
I just think the solution would be, splitting the "Seemless tones and colors" function up into "Seemless Blending" (doing soft blending but not changing the colors) and "Seemless Color Transitions" (just dealing with the colors). And making both optional by check boxes...
So far,
g

Color gradients not displaying correctly

I'm having an issue with my color gradients in type and objects not displaying correctly in the content viewer. For the last app I created, I made sure the colors were RGB and that seemed to fix it. With the current app I'm working on, that dosen't seem to fix the issue. Actually, when I test in the viewer on my iPad, it shows the correct gradient in the split second that it's loading the update but then once it's loaded, it goes to a gray white gradient (the correct gradient is from a yellow to a gray; attached a pict for referrence).
Anyone know why this is happening? Thanks in advance!
UPDATE: It seems to view fine if I preview the page via the foilo overlay but when I preview the folio, that's when it's no viewing correctly.

The Color Picker is unreliable for choosing colors based on what you see because it is not color managed while Color panel and Swatches are.
In your image, the color that you see in the Color Picker is how your monitor displays R=0 G=255 B=0. The color that you see in the Color Panel represents the same values in the file but the color management sends different values to the video card and thus to the monitor to display a color with appearance in the color space selected for the document. In your image this is a CMYK color space which you can check from the Show popup menu at the bottom left of the document window. To check the different values the video card is using, make a screen capture, save the image, open it in Illustrator and measure the color with the eyedropper. The color translation from the values in the file to the video card allows simulation of color spaces other than your monitor's. This simulation is accurate if you have a monitor profile installed in your system that correctly describes how your monitor displays colors. Such profile is created by using a color measuring device and profiling software. If your monitor profile (color space) installed in the system is the same as the color space of the document then there will be no translation (simulation) which in effects shuts down the color management - then the colors in the Color Picker will be the same as in the document. Many people do not bother to get an accurate profile of their monitor and use a generic sRGB profile for that. In such case working in RGB color mode using the sRGB color space (default in the Color Settings) will give the same colors in the Color Picker and the document. This usually is a sign of using a monitor that incorrectly displays colors.

Un-smooth color gradient

I'm a new mac user, and had used the macbook pro 2.4G with LED backlight for one more month. I find the color gradient is not smooth in second primary color to primary color. Please check the PNG files as bellow links.
http://img.photobucket.com/albums/v102/teazeb/colorgradient001.png
http://img.photobucket.com/albums/v102/teazeb/colorgradient002.png
http://img.photobucket.com/albums/v102/teazeb/colorgradient003.png
http://img.photobucket.com/albums/v102/teazeb/colorgradient004.png
http://img.photobucket.com/albums/v102/teazeb/colorgradient005.png
In those patterns you will find many vertical lines. Those will make you see some photos with contour or noise by Macbook Pro. I have double check many other PC notebooks. They don't have this issue. It is hard to believe the high-end notebook has such kind of color performance. The color performance is too poor to use the "Pro" title. I feel so disappointed to spend a huge amount of money on the Macbook pro( Poor?).

Mylenium,
thank you for the answer. But unforunately I'm a newby. Could you go into more details please ?
Mark
PS:
The problem I always got with the gradient tool is the following
The gradient starts at a certain point and uses a hard coded distance (e.g. 50 pixels from this point to this direction like a vector)
This makes it impossible to change the geometry with the full gradient
For example :Filling this rectangle with a gradient and I’m defining a vector mask to it
Afterwards I changed the vector mask to this
The gradient is cut instead of changing, compressing it.
Is there no way to define a starting point (edge, path), a direction and a target edge, path ?
Because then, after changing one of the edges, the gradient has to be recalculated.

Multi color gradient for touch and selected color of spark mobile list

multi color gradient for touch and selected color of spark mobile list
how to get dat?

or how about a bitmap as the background for the touch and selected color for the items in a list.

A different take on the "Save For Web" color shift issue...

Ok, everyone who has fussed much with photoshop and "Save For Web" knows about the color shift issue. If you want your colors to look right after you "save for web", you have to work in the sRGB colorspace, and have Proof Colors checked (soft proofing on) and the proof color setup set to Monitor RGB, otherwise what you get looks terrible when displayed in a browser.
But of course if you are editing for print, this is exactly what you DON'T want to do. Well, I work in both. In fact, often the same images, and I want them to appear as close as reasonably possible in both print and web formats, and without a lot of fussing on my part. And I'm pickiest about the print mode, since I have the most control there, so that's the way I want to edit by default.
Nothing new here.
Now comes the interesting part (in my mind, anyway). Obviously there is a known remapping -- because PhotoShop DOES it when you select Proof Colors. So the inverse mapping must also be known (with some gamut issues, but I'm not concerned with those, because, after all, I'm VIEWING it on a monitor anyway!). What I want is a plug-in that automatically applies that inverse mapping so that, when I do a Save For Web, I end up with the colors I've been viewing all the time when setting the shot up in print mode. Then, too, I don't have to worry about what mode I'm in when I'm editing -- it just fixes it when doing a save-for-web.
Again, I want to edit in my normal print mode (typically ProPhoto colorspace, and with soft-proofing off or set to the printer/medium combination I expect to use), then do a single operation (might be a multi-step action) to "screw up" my colors so that when I then do a "Save-For-Web", the resulting image, when viewed on the average color-stupid browser, looks like the image I've been seeing in Photoshop.
Anyone know of such a beast?   I would gladly pay for a plug-in that really works and fixes the problem.
And if you have other solutions, I'm interested, but the absolute requirement is that it I do one single edit pass for my colors for both print and web use, and I get what I see on the screen in PS on both the prints and on the web display (i.e., working in sRGB/Monitor RGB mode all the time won't cut it). And PREFERABLY, let me do all my editing work in the ProPhoto (or at least AdobeRGB) colorspace so I have a gamut closer to what the printer can do.
Anyone got a decent solution for this?

Sorry, I think I'm being unclear. This has nothing to do with individual monitor profiles. In Proof Setup, "Monitor RGB" amounts to turning off ALL color management, and simply letting the monitor do what it will. It is what the vast majority of web browsers do (even if the operating system provides color management, the browsers don't take advantage of it), so that is what you need to consider for images that will be viewed on a web browser. If you convert your image to sRGB, select Monitor RGB in Proof Set up, and turn on Proof Colors, you will see the image as it would appear on a web browser (after you save it as a jpg or use "Save For Web/Devices" to save it as a jpg).   Since almost everyone is running different uncalibrated monitors, there will be lots of variation in how it will look to them, so precise control of the color is unimportant.
That said, I would expect the color on a calibrated monitor (such as the one I use when editing) to be reasonably close to the colors I am seeing while editing in PS. To the extent a monitor deviates from "calibrated", those colors will vary, but a good monitor should show good colors.   Unfortunately, this is NOT the case, as my previous post shows. The colors produced by the steps above are oversaturated and significantly shifted in hue. There is, to my mind, anyway, no reason for this. Adobe clearly knows what the mapping is between the colors as it displays them in PS and the un-controlled "Monitor RGB" -- that is, it is the color map they are using during normal editing display. If they were to reverse-apply that map prior to saving it as a jpg, then the image would appear on a browser on that same (presumably calibrated) monitor very similar to what you set up when editing. Anyone else viewing the image on a web browser with a calibrated monitor would also see good colors. To the extent other viewers' monitors are out of calibration, their colors will suck, but there's nothing you can do about that.
I guess in some sense I AM "asking for a Color-Mamangement-solution for a "non-Color-Management-situation", but specifically I'm asking for PS Color Management to do the best it can for non-Color-Managed situations that we all face every day.
Does that make more sense?

Looking for a better solution to the "Save for web" color shift issue

Ok, everyone who has fussed much with photoshop and "Save For Web" knows about the color shift issue. If you want your colors to look right after you "save for web", you have to work in the sRGB colorspace, and have Proof Colors checked (soft proofing on) and the proof color setup set to Monitor RGB, otherwise what you get looks terrible when displayed in a browser.
But of course if you are editing for print, this is exactly what you DON'T want to do. Well, I work in both. In fact, often the same images, and I want them to appear as close as reasonably possible in both print and web formats, and without a lot of fussing on my part. And I'm pickiest about the print mode, since I have the most control there, so that's the way I want to edit by default.
Nothing new here.
Now comes the interesting part (in my mind, anyway). Obviously there is a known remapping -- because PhotoShop DOES it when you select Proof Colors. So the inverse mapping must also be known (with some gamut issues, but I'm not concerned with those, because, after all, I'm VIEWING it on a monitor anyway!). What I want is a plug-in that automatically applies that inverse mapping so that, when I do a Save For Web, I end up with the colors I've been viewing all the time when setting the shot up in print mode. Then, too, I don't have to worry about what mode I'm in when I'm editing -- it just fixes it when doing a save-for-web.
Again, I want to edit in my normal print mode (typically ProPhoto colorspace, and with soft-proofing off or set to the printer/medium combination I expect to use), then do a single operation (might be a multi-step action) to "screw up" my colors so that when I then do a "Save-For-Web", the resulting image, when viewed on the average color-stupid browser, looks like the image I've been seeing in Photoshop.
Anyone know of such a beast? I would gladly pay for a plug-in that really works and fixes the problem.
And if you have other solutions, I'm interested, but the absolute requirement is that it I do one single edit pass for my colors for both print and web use, and I get what I see on the screen in PS on both the prints and on the web display (i.e., working in sRGB/Monitor RGB mode all the time won't cut it). And PREFERABLY, let me do all my editing work in the ProPhoto (or at least AdobeRGB) colorspace so I have a gamut closer to what the printer can do.
Anyone got a decent solution for this?

Chris
I spent all day Googling and doing side by side comparisons of my old and new systems.
My display is a Dell U2410. It has several presets, including sRGB and Adobe RGB. I've been using sRGB.
On my OLD system, (Win XP, PsCS2, DwCS4) there seems to be no distinction between color managed and non color managed apps, even on this wide gamut display. I could capture (digital camera) in Adobe RGB, open and edit in PsCS2, save as .psd, convert to CMYK for print, or convert to sRGB for SFW. All images looked identical and they printed and displayed perfectly. I thought this was normal, and seemed logical. This also seems to be the source of my incorrect assumptions. I was trying to get my new machine to behave like my old one.
So I get this new machine (Windows 7, PsCS5, DwCS5) and now (still in sRGB display mode) all color managed apps appear de-saturated. Non color managed apps are OK. If I switch the display to Adobe RGB, color managed apps are OK, but non color managed apps are way too saturated. From my investigation, I believe this is normal behavior on a wide gamut display. I've tried changing the Control Panel > Display > Screen Resolution > Advanced settings > Color Management options, but to no avail. Either I'm missing something, or Windows 7 is doing color management differently.
It seems my only option now is to use Adobe RGB display setting for Ps, etc. and switch to sRGB for Dw and non color managed apps. Or, have 2 separate files for print and web. I've Googled 'til my eyes are numb and still not sure I'm getting this. Any enlightenment would be greatly appreciated.
Finally, I don't see an edit function here, so I can't remove my previous incorrect reply. Moderator, please feel free to do so.
Thanks

Color Management issues with Illustrator

Can someone help me figure out the color management issues I'm getting when printing on an Epson 3880 from Illustrator?
The image comes out severely red as evident on the face. I'm not getting the same problem when printing from Photoshop, even though I set same paper profile in printing dialog box.
I attached two printed picture (one from Photoshop CC, and one from Illustrator CC) that I took with my iphone so that you can see the printed result. Even when I try to simulate same thing using illustrator soft proofing process, the soft proof does not show me anything close to how it gets printed out. And I tried all device simulations to see if any would match it. Im using CMYK SWOP v2 for Color space in both programs.

Dougfly,
Only an hour wasted? Lucky you. Color is an incredibly complex subject. First, forget matching anything to the small LCD on the back of your camera. That's there as a basic guide and is affected by the internal jpg algorithm of your camera.
2nd, you're not really takeing a color photo with your digital camera, but three separate B&W images in a mosaic pattern, exposed thru separate red, green and blue filters. Actual color doesn't happen until that matrix is demosaiced in either your raw converter, or the in-camera processor (which relies heavily on camera settings, saturation, contrast, mode, etc.)
Having said the above, you can still get very good, predictable results in your workflow. I have a few color management articles on my website that you might find very helpful. Check out the Introduction to Color Management and Monitor and Printer Profiling. In my opinion, a monitor calibration device is the minimum entry fee if you want decent color.
http://www.dinagraphics.com/color_management.php
Lou

The Brightness Gradient Issue DOES EXIST With The 24" iMacs.

Four years ago I bought a hefty G4 eMac and a few months later the G5 iMac was introduced.
I was impressed and vowed I would get one the following year, but as each new version was introduced I put it off, waiting for an even better model.
I spend most of my time on the FCE forum but regularly visited this one to read about the various problems people were experiencing.
The G5s were prone to overheating, dead or stuck pixels have always been around, and latterly with the aluminium iMacs we have had the gradient issues.
All my life I have gone for the cheapest item that would do the job, but with the introduction of this latest version I decided to get the "best".
I bought it last Wednesday and was duly impressed.
To my relief it appeared to run cool and the screen did not seem to have any of the problems I had read about ........... though I did not examine it minutely.
Suddenly, yesterday (Sunday) I noticed that the "wallpaper" photo on the screen looked distinctly brighter on the left.
I put a uniform grey card on and there was no doubt ! I altered backgrounds and even moved my head to view from numerous (unnatural!) angles but the left side was undoubtedly brighter.
Writing this letter, the difference is very obvious.
What is more I don't need to test the whole monitor. Viewing a photo that is less than half the screen's width shows a brighter left side.
This leaves me with 2 questions which now I can never definitely resolve :-
1. Has the screen been like this for the past 4 days and has my vision suddenly become more discriminating ?
OR
2. Has the screen suddenly deteriorated (and will it continue to deteriorate) ?
I have a nasty feeling it could be number 2 as I had looked at identical pictures in two windows of FCP (side by side), a couple of days ago, and noted that they were of equal brightness! Not so now.
I mainly use FCE/FCP and Photoshop, but being an amateur, I am not too fussy about the exact shade of a colour. So long as what I am watching is bright and sharp, I am usually content.
However, I must say that my current emotion is one of disappointment.
Ian.

That's very comforting George.
As you can guess, I was expecting it but thought I had escaped !

Will gradient issue 24" iMacs end up as refurbs?!

I've just ordered a 24" 2.8ghz Extreme refurb here in the UK. Now having read various posts over the net regarding the gradient issues, I'm worried I'll be opening my new machine to find a dodgy screen.
What is the likelihood that all the returned iMacs with gradient problems are just being sent out again as Refurbs?! Has anyone had any experiences with this?
Thanks in advance

I think it's inevitable that iMacs returned for screen problems such as gradients or other aberrations will end up recirculating as reburbs, and I would also think most people buying a refurb system will have some concerns about prior existing faults or reliability, just as you have. However, in general terms there's nothing to suggest refurbs are less reliable than new, and based on Apple's published refurbishment procedures, every reason to believe they may actually be less prone to flaws and failures. Of course, that's assuming Apple actually do follow the procedure they claim.
I must say though that from personal experience, I would have no hesitation in buying a refurb. Not only is it more likely to have undergone thorough testing than a unit shipped directly from China or that has been sitting in a warehouse after production, waiting to be bought, but it is covered by the same warranty as a brand new unit, so even if it escaped the stringent testing Apple claim it does on these systems, and ends up exhibiting faults, you get it repaired or replaced like any other system.
Although I'm typing this on brand new 24" iMac at work, when I go home I'll be working off a 24" refurb of my own. You can't tell the difference, except mine cost $300 less!

Camera Raw Color Temperature Issue

Help me verify color temperature issue please.
I shoot with Canon EOS 5D.
I sat white balance mode to K - Manual Kelvin temperature - and set value to 6000K.
So my raw files should have this setting - color temperature 6000K.
Canon ZoomBrowser EX shows me the value - 6000K
Nevertheless I see different reading in Adobe Camera RAW converter (as shot)?
Photoshop CS2 Camera Raw CT=5600K Tint=+3 (! as Shot !)
Why?

Ramon seemed to have the answer in hand, then G Sch above chimed in with some random comment about coordinate systems. Weirdly, Ramon then agreed with G Sch's nonsense and thanked him for it. Suddenly the thread has suffered an ineluctable defenestration.
Is:
- camera maker's control for XXXX Kelvin wrong?
- Adobe's control for XXXX Kelvin wrong?
- the use of the designator "K" in these contexts wrong, as it implies physics reference for the measure while the camera and ACR just do their own thing?
By the logic used in this thread, 1/250sec shutter doesn't have anything to do with a time standard, nor does F4 mean an aperture, it's just a coordinate in a locally defined system, la la la. So why bother to even code it in EXIF? What's the point of providing a control in terms of K if K isn't normalized?
The question was answered at Ramon's first post: ACR doesn't read the 5D white bal metadata. The camera K setting is used for in-camera processing and by Canon utilities. But note that the raw data are white bal agnostic but white bal results are subject to a camera profile which may differ between OEM and ACR, and at which point there is room for discrepancy for interpretation of color. Which one is right? I can't say. It's important to realize the results for a given K setting may differ between OEM and ACR because of this. Contrary to what G Sch writes above, the same K setting ought to give the same results if a "Kelvin" setting is to have real meaning, but the seems to be impracticable if the developers don't agree on the characterization of the gear.

2 Color Gradient Question

I am working with our logo to be used on an envelope. It has a gradient in it that goes from Reflex Blue to Black.
I'd like this to be a 2 color gradient but the problem is the transition from a spot color to a spot color makes for some real muddy colors in between. Going from process to process blends nicely but then it becomes a 4 color job.
Does anyone have any pointers on getting a nice gradient with 2 spot colors? Thanks much.

Robert,
Reflex Blue cannot be shown correctly by standard monitors.
That's one problem. The other is, that a gradient from blue
to black is looking anyway rather ugly (IMO, of course).
I've tried some remedies:
1) Replace Reflex Blue by a a color more towards Cyan.
2) Use tints of Reflex Blue and Black. A tint is a
less dense color, which can be created by rasterizing.
See help texts. This would still require only two spots.
3) Insert a tint of a spot as a halfway gradient color
(drag any swatch to the gradient midpoint).
All this would work technically, but esthetically I can't
see an improvement (except 1, perhaps).
My opinion (OT): a gradient from Blue to paper white is
more convincing.
Best regards --Gernot Hoffmann

AppleTV 2G Color Gradient Issue

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