Assigning Color Profile to source clip

I'm looking for a way to assign a color profile for a source clip which was rendered in AE as Rec 709 16-235. The rendered file appears as 7.5 IRE to 100 IRE and but I'd like to interpret it and be able to 'tell' Pr I want to treat it as 0-109 IRE. Is this there a way/does Pr support mapping black/white points / overbrights in this way? I can't find any relevant links or documentation on this, nor any way to do this, so I think not. Maybe there's a interpretation rules file somewhere? I'm accustomed to Avid's ability to import as either RGB or Rec 601/709 and subsequently output overbrights, so I'm looking to replicate that functionality for a particular deliverable we're regularly required to deliver. Thanks in advance!
-Troy Murison
Seattle, WA

We are having this problem as well. About 5% of the time, Color will choose to render the entire source clip instead of the clip used in the sequence.
Sometimes it shows the incorrect clip in the sequence and we're tipped off ahead of time that there's a problem. Sometimes it doesn't start until we look up and see that rendering is taking 45 mins for a clip.
We checked and we do not have anything on the motion tab for any of the clips which have been problematic.
Our workaround has been to create a new sequence and pop the messed up clip onto it and take it through Color again. Usually it works on the 1st or second try. We then pop it back into the original sequence in FCP.
For reference, we shot at 24PA using DVX 100 A's. We capture as much as we can at a time (with a Sony DSR-11), which varies depending on the tape - rarely does it come over in one piece.
We have experienced some sort of clip issues on occasion within FCP as well, and we wonder if the issues are related.
When upgrading from FCP 5.0-6 it destroyed a 23-minute documentary film by doing the following: a good percentage of the clips looked fine when playing in Canvas. When we would scrub it though (running the selector back and forth on the timeline), it displayed a different seletion from the source footage of the clip. Exporting the sequence would give us the wrong footage for the clip. It trippled the time to edit the film since we often couldn't see the real clip in the Canvas and thus had to work around this issue.
We continue to have this problem on a small % of clips, and were wondering if this may be related to the confusion that Color has. Currently we have to do 2-3 round trips in to color to account for all of the clips that come back messed up.
In addition to the wrong footage, we are often experiencing clips coming back 1-2 frames shorter or longer than they were going into Color.
It's been kind of a nightmare...

Similar Messages

Assigned color profile won't stick

I have documents I need to send to China for production and their assigned color profile doesn't seem to be saving. Under the "edit" menu I've selected "Assign Profile" and checked "working CMYK". Then I save and close my document. When I reopen the document to double check it's color assignment I find that half the time the file has returned to "don't color manage". I'm not doing anything differently but I keep getting different results.
What am I doing wrong?
Thanks,
Christy

Hi,
I just want to sympathise with the China/Printer issue.
Most of my artwork goes over there and I want to rip my hair out with every new job. Steve is right that we as artists really should go by the printer's specs, but when dealing with a language barrier, not to mention a 12 hour time difference it's so far been imposssible for me to do. I keep a Pantone color picker at my desk and manually enter in the CMYK values. It doesn't always work though.
About your problem, the only thing I can think of is that you have images in your file that were RBG when placed in your file. It might not be what's going on, but something to check anyway.
Good luck,
Cherie

How to assign color profile to scanner in ColorSync Utility?

Hi,
I have run into trouble when trying to assign a color profile of my Epson 2480 flatbed scanner. I have a profile that came with the drivers, but every time I try to click on the device and change the Current Profile, the list of profiles available in the system Profiles folder only shows Apple generic profiles. I can't change the Default profile either (the blue dot next to the device profile list).
What can I do to change this? If you don't know the answer, can you point me to the best (in your opinion) forum where those issues are frequently discussed?
I'll continue my research in the meantime...

OK, I answered myself...
ColorSync Utility was by default looking in the System/Library/ instead of the main Library/ directory. The path is almost identical and I got fooled by this.

Smart collection has "source color profile" as filter option, does not work on camera profiles

In Lightroom 5 i tried to use the "source color profile" filter option in smart collection, however it only seems to work on rgb files (jpg, tiff) that have a profile embedded. It does not work on values like "Adobe Standard" which is a "source" profile of a RAW file, or any of the camera profiles i can choose fo given Raw file. What am i doing wrong?
The Help does not give any clue on this, nor does the coverage by any of the Lightroom guru's like Juleanne Kost.

In my opinion the filter is acting correctly.
The Adobe Standard profile is not a profile defined in the source file, it is a profile assigned to the file in the raw converter and used with raw files that do not have a source color profile, already, so to me the filter is acting correctly because “source” means where the profile comes from, rather than what profile a master photo has had assigned to it.
The source-color-profile option is useful to determine the size of the color gamut in a file’s color numbers which indicates its suitability for various purposes: An sRGB file can be safely uploaded to the web, an AdobeRGB file is going to look right on a wide-gamut monitor and printablebut shouldn’t be uploaded to the web, while a ProPhotoRGB file has a large color space and can be safely edited in a way that adjusts the colors significantly, especially if it is 16-bit, without color-banding or posterization, but a ProPhotoRGB file will probably not look good if directly uploaded to the web or sent to a print-shop that doesn’t do their own color profile conversions.
I would agree that being able to filter raw files based on the assigned color profile would also be useful, but this is a different thing, to me at least, than filtering by the source-color-profile.

How To Identify An Illustrator File's Color Profile?

Hello,
I cannot seem to find where to ID an Illustrator (AI) file's assigned color profile (CS6). I looked in Bridge's Metadata panel, the File Info inside Illustrator, but don't see a color profile anywhere. I can bring up the "assign profile" dialog but it doesn't reveal what the CURRENT color profile is.
Any hints?

At the bottom of the document window where it reads the currenty used tool or the number of back steps, you can also select to show the color profile

Exported Raw Conversion Image Resolution and Assigning a Color Profile, etc

In Aperture 1.1, although I set the exported Raw conversion image resolution to 300 dpi in the preferences, it continues to come out at 72 dpi which is something of an inconvenience. Also, is it possible to assign a color profile to the "exported version" so that it is congruent to my PS CS2 color workspace (if that is what its called). Is this program capable of carrying out a conversion as a background operation? Finally, can the layout windows be configured so that they remember how they have been used in the past? Thanks.

Iatrogenic huh! Cool!
Anyway, I'm not real clear on what it is you are trying to accomplish. Despite your obvious vocabulary skills, there seems to be some disconnect relative to what you are trying to accomplish. You are right that "exporting a version" in Aperture is roughly equivalent to what happens in ACR when you "Open" a RAW image into Photoshop. In both cases you have, hopefully, already done the adjusting of parameters you want prior to "exporting", or "opening". When you "open" or "export" you wind up with an "image" composed of pixels, whereas in the RAW adjustment phase you are just working with a temporary thumbnail and a set of mathematical instructions. Big difference, I suppose is that when you "open" and image from ACR into CS2, the resulting image is truly just pixels and has not had a "file type" applied to the file yet, until you "save" it, while in Aperture, if you "export" a file to CS2, or to the desktop, you end up with the file type already applied. Presuming you "export" a 16 bit TIFF or PSD, there is no operational difference.
I could be wrong, but with the new Bayer Demosaicing algorithms in Aperture 1.1, and the Camera RAW adjustments, you should be able to come up with an adjusted image that is VERY close if not identical to one done in ACR, with the possible exception of lens abberation adjustment. I was very critical of the RAW adjustments in 1.0.1, but I am very happy with the capabilites in 1.1. That said, I think there is still some room for improvement in user friendliness of some of the adjustments such as Levels.

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

How to assign a specific color profile to an image?

I am in the process of submitting an image electronically.
They want me to submit images that have the color profile "ISO Coated v2 ECI".
My image has the color profile "Adobe RGB (1998)", according to File Info, and according to Preview.
I have downloaded the color profile from eci.org and put them in /Library/Color Sync/Profiles.
When I open the image in ColorSync Utility, I can see the profile under 'Profiles'.
However, when I try to assign or match or apply the profile to the image in ColorSync, it does not "stick".
With 'Match to Profile', I can select the profile (in the dropdown menu under 'Output'). But when I then save the image (using Save, Save As.., or Export..) it seems like it does not put that profile in the image, i.e., when I open the new image using Preview, I still get the "Adobe RGB (1998)" profile.
Same with 'Apply Profile'.
With "Assign profile", the profile I want is greyed out.
I also tried Pixelmator, but that does not offer me the profile "ISO Coated v2 ECI".
Am I missing something?
Could some kind soul please shed some light on this?
Or point me to the right web page or forum?
All insights and suggestions will be highly appreciated.
Best regards,
Gabriel.

Thanks for your response.
But, first of all, the profile I want to "set" is not in that list in Preview.
Second, I believe now that I don't need to just *assign* the profile, I need to *match* the image to it (the profile is an output profile).

Why CMYK Color Profiles Warning?

Hi guys,
I just made a couple of CMYK shades of grey. Here is a sample:
http://www.pixentral.com/show.php?picture=1fo01uualiQLkc4uuLbXfnAoWsiVw
When i export the PDF to High Quality Printing, i get Warning Icon with the message "The preset specifies source profiles that don’t match the current color settings file. Profiles specified by the current color setting will be used" Why do i get that message? i am not using or importing any Photoshop Image with a different color profile...i just created my CMYK color inside my document.
I am sending this PDF to a Laser Color CMYK Printer (not my own home laser printer) something like a Kinkos Store. Could that be a problem for color settings to a this kind of printers? By the way, these are my color profiles.
http://www.pixentral.com/show.php?picture=1EEuCxcbSjWaY2cNQj8dBAFedNlly0
is in Spanish but i think i quite clear.
Thanks for any info on that!
Cheers,
S

I'm here because I was researching the same error. I've gotten it for years, and usually worked around it but finally got around to trying to get to the bottom of it. One thing I just noticed is that I had a file where I received this warning, and then went to Edit > Convert to profile in ID. I noticed that the Source of the file was NOT the working space set in my color settings (different computer from where I created it). I converted the file to the working space profile, and went back to Export to PDF again, and DID NOT get the warning.
My concern would be what ID does if you ignore the warning. If my profile was different from teh working profile and I go ahead and covert anyway, will ID ASSIGN the working profile to my file, or CONVERT my images to the working profile specified in the color settings file. Which it chooses will likely have an inpact on my color. I might try to test this by creating an image in a wierd source profile that will look quite different if the numbers are just ASSIGNED a new profile and Export to PDF and see what happens. I think that might tell me what ID is doing.
I really would like to understand this for certain.

Changing color profile in Lightroom 5 Soft Proofing from ProPhotoRGB to sRGB is not showing any changes, changes in Photoshop CC are dramatic

I am working with the color profile ProPhoto RGB in both Lightroom 5 and Photoshop CC. In preparing for my first Blurb book I have tried to generate pictures in sRGB in Lightroom, using the Soft Proofing feature, but there are no changes at all. Then I transfer the same pictures into Photoshop, change the color profiles and the results are dramatically different.
What can I do to achieve the same results in Lightroom

With an average monitor what you see on-screen is already soft proofed to sRGB (or something very close to it), because that's all the monitor is capable of displaying anyway. So soft proofing to sRGB won't tell you anything. You won't see any difference.
In Photoshop it sounds as if you assign profiles. That's not the way to do it. If you convert correctly you won't see any difference. Same principle as above: there may be clipping in the process, but what you see on screen is already clipped, so no visual on-screen difference.
With a wide gamut monitor soft proofing becomes slightly more useful. But still you won't see any changes occurring outside Adobe RGB. You'll get a better idea by keeping an eye on the histogram. Ideally, all three channels should taper gently off towards the endpoints. If any one or two channels are backed solidly up against the endpoint, on either side, that's gamut clipping.
If Blurb gave you a real profile, one that reflected their actual printing process, you could soft proof to that. But apparently they don't.

Why is Bridge reporting color profiles incorrectly?

Why is Bridge seeing this image as an Adobe RGB when it is really Colormatch RGB?
I am using CS5 on Windows 7 64bit. I have purged the cache and did a full restart of the OS.
1.       The top dialog is Bridge and it is reporting the image as Adobe RGB (1998) in three places.
2.       Next, with Photoshop’s rgb color setting is set to Adobe RGB and I get an Embedded Profile Mismatch.
3.       I reset the color setting to Colormatch an opened the file without a mismatch. The status bar Document Profile confirms Colormatch
4.       In the convert to Profile dialog, the source profile is Colormatch. (Is this a reflection of the working space setting?)
5.       In file Info Raw Data Colormatch is reported.
6.       I then opened the image as a TXT file and found a tag for Colormatch. There is no reference in the TXT file or Raw Data to Adobe RGB (1998).
Why does Bridge report this image as Adobe RGB (1998) when the file seems to have no reference to Adobe RGB?

I am assuming that some remnant of a former state of these files is causing Bridge to report the color profile incorrectly.
I made a workaround to fix these files by creating a Droplet (With 'Save on Close' and 'Override Action "Save As" Commands.) to run an action with the following steps:
Convert color to Lab.
Convert color back to RGB. (Working space:Colormatch RGB)
Assign Profile to Colormatch RGB.
Save As. (With ICC Profile: Colormatch RGB checked.)
Close.
With Profile Mismatch Warning set to' Ask When Opening', the droplet stops on any images that are not Colormatch and resumes after making a selection.
This is correcting the files and they are now reading correctly in Bridge.

What is Acrobat's Default Color Profile?

Hello,
We have a client's client who used a novice graphic designer who didn't color manage, and created a PDF containing colors that the client is pleased with. Trouble is, we have no idea what the desiner assumed as the color profile and the color profile that the client's Acrobat defaults to when displaying the PDF. And now we're having trouble recreating a PDF that the client deems matching. Our office has long since switched to ProPhoto RGB as our default RGB color profile, so we don't know what Adobe Acrobat ships with as its default (assumed) color profile when there are none embedded/assigned in the PDF (ours is now ProPhoto RGB).
1. Can someone who's not monkeyed with their color settings open up their Acrobat and look under the Preferences (ctrl-k), and "color management" and let me know what the working spaces read?
Also,
2. Is there a way to know what (if any) color profile a PDF has embedded in it? I cannot seem to find it in the PDF's metadata, and typically play with the "output preview" settings until I find one that doesn't alter the appearance (not the most efficient).
Thanks!

DeviceRGB is the default condition for many PDF creation workflows as it was the very first one supported in PDF version 1.0. - because PostScript 1.0 initially supported DeviceRGB and DeviceGray, with DeviceCMYK arriving later. ICC-based spaces came in PostScript 2 (PDF 1.3).
"Device..." spaces simply mean that the color data is preserved as-supplied from the original material - for example a scanner will see a particular red ink on the paper and record it with a certain RGB value. Unless that scan is subsequently assigned a calibration profile, the bitmap image may not look identical when re-printed but it is "accurate" in terms of what the scanner wrote to file. You can think of "Device..." spaces as being "raw data", so if you have two photographs on a PDF page, both from different sources but with DeviceRGB space, then pixels of (123,0,0) in each image will be an identical color on one particular user's monitor and printer. That color will only match the actuality of what was photographed (and what other users are seeing) if the user's display hardware is calibrated, but that's a different question entirely. Acrobat cannot correct for an uncalibrated monitor.
In the very early says of PDF and PostScript it was adopted as a print/prepress format, so color accuracy was important and features such as Output Intents and PDF/X were rapidly developed. Now, the majority of PDF files are never printed and many are designed with on-screen display as the only planned use - where RGB and unmanaged colors are perfectly acceptable. Nobody will ever notice the difference between AdobeRGB and sRGB when peering at a PDF file on a cellphone, but embedding the profiles will dramatically increase the filesize.

Monitor/Photoshop/Color profile issue

heyz! yesterday i changed my monitor profile from srgb to prophoto rgb while viewing some images in photoshop. they displayed the same colors after the change, but today i opened photoshop again and with the same images and all the colors were dissaturated. ive done some search and found the probable cause is a ”broken” monitor profile, or one that doesnt match its capabilities. i changed to adobe rgb, reopened photoshop and that image seems to look right, but i think still not how i remember it from yesterday. my question is: is this really the problem and is there a way i can find whats the largest color space my monitor can display without reading its tech book?( cos its long lost)
thanks!
ps: when changing the monitor profile to prophoto i also played with color settings in ps and set it to prophoto/adobe rgb, but that image has an embedded profile and i chose preserve embedded profile when opening it, so i dont think thats the problem.

If there's a question here it's pretty vague. So, here's how it works, in general terms:
A monitor profile is a description of the monitor's native color space. And as such it also defines the gamut of your monitor. But the profile doesn't actually "handle" anything, it doesn't do anything - it's just a description.
Photoshop's color management system is where things are handled. Here, the document color profile is converted, on the fly, into the monitor profile, and these modified RGB values are sent to the monitor. That's all there is to it - a straight and perfectly normal profile conversion. RGB values are remapped to produce the same color.
Any profile can be converted into any other. But any colors in the source color space that would fall outside the target color space, are just clipped to the gamut limit, and they're effectively gone forever. If you have a ProPhoto file displayed on a standard monitor, it's reasonable to assume that a lot of gamut clipping has occurred before it hits the screen, because the monitor color space is a lot smaller.
A standard traditional monitor has a native color space that is very close to sRGB. That's why you can use sRGB as display profile, although of course a calibrator will make one that is much more accurate. This is also why sRGB is the standard for web, because it will display roughly right even without any color management.
Some monitors have a larger color space, and are close to Adobe RGB. These are relatively expensive and are known as wide gamut. If you have such a monitor, it can only be used with full end-to-end color management. In the absence of color management, sRGB material will not display correctly on these monitors, but considerably oversaturated. This is the implication you have to accept when you buy a wide gamut monitor.

Which color profile to work with

hi,
since recent i'm working with linux open source software for my DTP, which has been posing some problems, especially concerning my colors. This has nothing to do with Linux but with the fact that i don't know a lot about color management (though do find it interesting)
I have a hard time understanding (visualizing) the actual workflow of color management.
What i understand so far: When i import an image in my DTP software (Scribus), that image may have an embedded color profile (RGB) or may not. When it doesn't, the software assigns a profile to it, through the color engine (Litlle CMS). I assume it does this automatically? Otherwise I am able to assign my own profile to it, directly in Scribus. But what color profile do i assign when i export to PDF, to send off for printing? What is important to take into account regarding the commercial printer?
I've calibrated my screen using the Spyder 2 Express software, and the software has created an .icm profile for that screen. This .icm profile is automatically installed in the directory and thus also in Scribus. But when i assign this profile to my file and i export to PDF, does my commercial printer on the other side of town recognize this profile? Shouldn't i be exporting in a standard ICC profile, like Adobe RGB(1998)?
This is the part where it's hard for me to understand what to do with the profile my Spyder has created.
My sole objective however is to see on my screen as exactly possible as what comes out of the printer on the other side of town.
Thank you for your help.
Bart

borisbastoss wrote:
But what color profile do i assign when i export to PDF, to send off for printing? What is important to take into account regarding the commercial printer?
Just to be clear, in a properly color managed workflow, you do not assign at the PDF export stage. You would either preserve all profiles, or convert to a destination profile. The term assign would lead some to believe there is false profiling going on but I realize that is not what you meant.
You must contact the commercial printer to find out whether to convert to his destination color, or instead perform no color conversion and preserve your current source color spaces.
Hopefully he can provide you with a destination ICC profile which fully describes the print condition. In that case, you can convert to this color space when you export. After PDF creation you can view the destination color with an ICC compliant PDF reader to soft proof the print result.
I am not familiar with the applications you have mentioned. Adobe apps have a way of previewing destination color while still in the source space. It is called Proof Setup. You may or may not posses a tool like this. If you do you may be able to soft proof before PDF creation.
Also I am not sure if you are using Adobe Acrobat to view your PDF output. Whatever you use, it needs to honor ICC profiles to render accurate soft proofs.
As already mentioned, your monitor profile is for your soft proofing purposes only. It is not a source color space or a destination color space, and should have no involvement in PDF output.
borisbastoss wrote:
My sole objective however is to see on my screen as exactly possible as what comes out of the printer on the other side of town.
It can be difficult to get an extremely accurate soft proof. You need the destination ICC profile, and the proper tools for your display to translate this color space for you to see. If your printer is using the SWOP (Specifications for Web Offset Printing) standard or GRACoL, then there are ICC profiles you can download from the IdeAlliance website:
http://www.idealliance.org/industry_resources/branding_media_and_color/g7
Bear in mind, if the printer specifically tells you not to convert and to include all source profiles, this is called a late binding workflow (relatively rare). Late binding is progressive, but the problem is that you can't soft proof in the print color space. Even though the idea behind any color conversion is to preserve appearance, there are many source RGB colors that cannot be reproduced in print (referred to as out of gamut colors). Examples are vibrant blues, greens, oranges, and violets. You probably won't encounter a late binding printer, but without a destination ICC you just have to trust him to do the best possible conversion to move the job to his output device, whatever it may be.

Untagged color profiles

When I assign a color profile to an AI document and check Embed ICC profiles in the Save dialog, the profile shows up in Bridge metadata as "untagged." In the InDesign Links panel, the profiles for my PS files is correctly listed, but the color profile info for my AI files is blank.
Is there some reason this is happening? Notes: When I assign the profile, I see a slight shift in the color on the monitor, so I'm pretty sure something is happening. Also, the working profile is the same as the profile I'm assigning.
I've just sent some InD files to Hong Kong for wet proofs, so I'll find out soon enough from the print service bureau if this is actually a problem. But I'd still like to know why I don't see the profiles in Bridge and InD.
Thanks in advance.
Toni

I've never seen the Info panel display the profile for a PDF, which makes sense because a PDF could have any number of objects with different profiles, color spaces, and resolutions (which one should be displayed?). Here's what I get with a Photoshop PDF:
because ID doesn't want a PDF placed...or something like that?
There's no problem placing PDF's and ID will honor their profiles if the document's policy is preserve. It doesn't recognize Output Intents so maybe you are saving as PDF/X-1a?
so ID is defaulting to SWOP (our working space in color settings)
ID looks to the document assignment first, so if the assignment (Edit>Assign Profiles) is SWOP, it will use SWOP no matter what the current Color Setting's Working Space is. If there's no assignment then it falls back to the Working Space.
Like policies the document profile is assigned when the doc is created and it would be up to you to change it from Assign or Convert to Profiles if needed—changing the Color Setting's Working Space has no effect on existing documents unless its policy was set to Off.
Again there has to be a source profile for there to be color conversions—including the conversion to monitor RGB for display. It's completely logical to make the assumed source profile of untagged CMYK files Document CMYK.

Assigning Color Profile to source clip

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