CMYK oversaturated on NEC 3090

I'm using a new NEC3090WQXi with Photoshop CS4, working RGB of Adobe'98, and working CMYK of US Web Coated (SWOP) v2.
Changing from RGB to CMYK under the above settings, the CMYK values represented on the above display are oversaturated and not in sync with what the actual CMYK number values are of the image(s). This monitor does have an extremely wide gamut, but this effect is not repeatable in CS3, on the smae exact images, so it is throwing me for a loop. I never had this problem before using CS4, so I am assuming it is something that must be adjustable without having to go back to CS3 in order to view CMYK for more true color representation.
I attached ascreen cpoture here of what I am seeing - the top images is CS4 and the bottom is the same image in CS3 (please disregard subject matter - its the project I am currently in work on).
any input woulkd be greatly appreciated. thanks

Still have not been able to solve this, and I am getting very frustrated by the problem. Working in CMYK on this monitor with CS4 is impossible - it should not be more saturated than RGB, as we all know about the CMYK gamut. Why it does not have the same issue in CS3 is beyond me.
After recalibrating numerous times over the last several months, I have attempted to contact NEC to see if they can offer any advice on the problem, as far as the monitor and their SpectraView calibration software (with internal LUT adjustments) is concerned. If I can get a response from them, I will post it here. Meanwhile, I can work in CMYK in CS3 just fine,but CS4 is still over saturated, both using the EXACT same color settings, on the same monitor, as listed above.
Here's another view of what is happening in CS4 (attached) - CMYK on left, and in RGB on right [ image>mode>RGB ]
Any other ideas would be greatly appreciated. thank you again

Similar Messages

2006 Mac Pro + NEC 3090 - grey screen not displayed during boot

I have a September '06 Mac Pro 1,1 (Woodcrest variant) hooked up to an NEC 3090 30" LCD monitor, running OS X 10.5.7. Previously, I was using an Eizo S2110W 21" LCD; turning the monitor and computer on would cause the following to be displayed (in order):
1. Light grey background with dark grey Apple logo with spinning thing.
2. Solid blue background.
3. Leopard wallpaper.
4. Log-in dialogue.
Since using the NEC, the grey screen is not displayed at all: the display stays blank until the blue screen is displayed, and then the Leopard wallpaper and so on. This is using the 2560x1600 native resolution of the display, and has occurred using both 10.5.6 and 10.5.7.
If I change the resolution to 1280x960 and boot, the grey screen is displayed. If I change it to 1600x1200, I get weird corruption on-screen during the period when the grey screen should be displayed; for some reason, this includes part of the desktop wallpaper I was using before I rebooted.
Resetting the non-volatile RAM using Command-Option-P-R works for the very first time I boot the computer, though the grey screen is displayed at very low resolution. If I reboot from the log-in dialogue immediately afterwards, normal behaviour occurs - i.e. the blank screen.
The upshot of all of the above is that if I want to boot into Windows, or install OS X (e.g. when Snow Leopard comes out), I have to remember to boot into my existing OS X installation, change resolution, reboot whilst remembering also to hold down the ALT/Option key. It would be much easier if I could do away with having to change resolution.
I have tried connecting the monitor to a PPC Mac mini at 1600x1200 (it won't go any higher), using Tiger 10.4.11 (not sure of exact version - the latest). At this resolution, the grey screen is displayed.
Using a '08 MacBook Air (first generation) and the supplied DVI adapter, also at 1600x1200, nothing is displayed on the NEC until I get to the log-in screen. This occurs if the NEC is set to be the primary display or the secondary one - the only difference is where the log-in dialogue is displayed. I am not familiar with dual-screen behaviour, so I can't say whether anything is supposed to be displayed or not (i.e. does the grey appear on both displays?).
I have been in touch with NEC Europe support on this issue, who suggested it might have something to do with the 10.5.7 release. I know this not to be the case, as it was occurring prior to 10.5.7 being released.
Any ideas?

Put more of your hardware listed in your profile.
I looked and don't see you list your graphics card anywhere.
Graphic card it came with was either X1900 (watch for heat and dust bunnies and clogged vent);
OEM 7300GT (seems unlikely).
You could have replaced either with 8800GT or ATI 3870.
Require 10.5.2+ ideally 10.5.6+.
Some problems cropped up with 10.5.7. 10.5.7 doesn't work on some (many) 3rd party displays and stay with 10.5.6 if necessary until it is fixed or resolved.
But you say it happens with 10.5.6 also, and was doing so before 10.5.7? which makes your problem somewhat different or unique.
Zapping PRAM or NVRAM reset obviously shouldn't be needed repeatedly. And your graphics card probably needs to be replaced, or test with another card to rule it out.

2560 x 1600 & import lockups in LR 3.x with 30" monitor

Ever since I upgraded to a Nec 3090, 30" monitor, I have problems with importing in LR 3.3 3.2 etc. This problem does not occur on LR 2.x or 1.x.
If I am running the monitor at 2560 x 1600, and I hit import. LR will freeze totally. I can't recover the system without a total power off. If I drop the res to 1900 x 1200 on the same monitor it works fine. The freeze is where LR3.3 would open the GUI drop down where on the older versions of LR you just get a windows dialog box.
I have noticed that if I minimize the LR window to less than 1/2 of the screen on import then it works at 2560 x 1600. However this is a pain.
Usually after I have finished importing, I can take the window back to full screen.
System is XP 32 bit, 8 Gb of ram. Video Nvidia GEforce 450.
Paul Caldwell

Ian:
Yes I have the 3GB switch on. I will try it with the swtich off. I will also take your advise and repost on the feedback area.
Thanks
Paul Caldwell
Date: Sun, 3 Apr 2011 01:07:59 -0600
From: [email protected]
To: [email protected]
Subject: 2560 x 1600 & import lockups in LR 3.x with 30" monitor
Are you using the /3GB switch to help Windows access more than 2GB of your 8GB ram? If yes then that's very likely the treason for the lock-up. That being said, you may wish to repost your issue over at the new feedback portal http://feedback.photoshop.com/photoshop_family/products/photoshop_family_photoshop_lightro om Adobe engineers are watching same and engaging with users.
>

AE CS4 Color management with HDTV

Working with the Sony EX1 and EX3 which according to Sony engineers works in the 709 HDTV colorspace.
This space is about a dead ringer for sRGB when overlayed in Colorthink. The issue I am having is that if you actually assign the 709 or sRGB profile to a still image that is captured off a recorded clip, the blues are out of wack. I can export a single frame of the color bars from the Sony application, and the frame is tagged sRGB. Open the image in Photoshop CS4 or AE CS4 and use the embedded profile and the bars look purple. Apply no color management, and the lineup looks correct, nice and blue. Anyone know what is going on here?
I'm not exactly sure how to integrate AE sequences if assigning the 709 output profile is going to wack the colors.
Yes the monitor is calibrated, its the NEC 3090 (12 bit Hardware LUT) with Spectraview II.
TIA,
Cris Daniels

ok, I think I am onto something. My footage is 709, and my workspace is 709. It defaults to "none", but I change that to the 709HD profile. I am not checking any of the linear options because it is all 8-bit footage and if this is anything like Photoshop, 8-bit data in a linear space is a no-no.
Here is the $64,000 question, what the heck does the "Use display color managment" option in the "view" menu actually do?
At first I though that I should leave this on, but THIS option is what is wacking my footage. If I leave that setting off (unchecked), my colors look ok. Even if I leave this option on and set to "no output simulation" it changes the preview.
Right now I am a little confused as to exactly how that "use display color management" functions. It almost looks like turning it on is somehow double color managing my display and therefore the weird color shift. Is it safe to assume that AE is already using my colorsync profile like it does in Photoshop and that I do not need to check the "use display color management" at all?
For what its worth, the AE color when setup correctly (uncheck the display color management), matches the Sony HDCAM clip browsing and transfer software, and Photoshop. Originally I was comparing AE to Premiere Pro, and Premiere Pro doesn't match anything perfectly (grrrrr....) but at least I now have three apps matching up great.
Premiere Pro is weak on color management to say the least, and I've heard that it does not correctly display the Sony HD footage, so looking for a total match to AE is probably a dead end.
Anyway, if you can explain the display color management option I can get my head around that a little better.

T420s with large external monitor

I have a 420s with Intel HD 3000 graphics and would like to connect my 30in external monitor (NEC 3090). However the highest resolution I am able to select is 1920x1080 (wrong aspect ratio). I tried both the latest Lenovo drivers and the latest Intel drivers.
My research suggests that 1920x1200 should be supported, and that HD 3000 can technically support my monitors native 2560x1600 via displayport..
Attempts to create a custom resolution results in an error (something about lack of bandwidth). (Note that the T420s usually drives dual monitors - a 24in 1920x1080 (DVI) plus a 1280x1024 (VGA) - so I doubt that just going from 1080 to 1200 busts a bandwidth limit)
I tried both direct DVI (dual link) and displayport (to DVI via HDMI adapter) (using dock) but nothing allows me to see any option beyond 1920x1080.
1) What is the real limit on supported resolution for T420s?
2) If it's more than 1920x1080, how do I make it work?
THANKS!

Thanks again.
The NEC3090wxqi is a 30" monitor which normally supports 2560x1600, (it has dual DVI, no displayport)
The Lenovo 420s 4174 spec clearly states that 1920x1200 is supported, Here:
http://www.lenovo.com/shop/americas/content/pdf/system_data/t420s_tech_specs.pdf
However when I try to force 1920x1200 (using a custom resolution from the Intel graphics panel), I get a "exceeds bandwidth" message. Note that I normally drive a dual monitor setup: 1920x1080 PLUS 1280x1024 (using DVI and VGA from the dock), so I doubt that is a true physical limit.
(I also tried the latest Intel driver but that did not change anything.)
Is this a driver issue? Is there a registry edit that might remove this limitation?

Adobe Gamma error on boot

Recently, when I boot my machine, I am getting an error that Adobe Gamma failed to load.
The error comes up as a microsoft error, where you get the tradtional microsoft box that contains
the error asking if you want to send a message to microsoft or not. It's not happening when I
start CS3 or CS4. I have made no recent change to this machine.
My main question, is this an important error?
I am running a NEC 3090 with spectraview and when I open CS it still is seeing my monitor
profile. I haven't messed with Adobe gamma in years back in Photoshop 7.0 or older.
So far nothing seems to have been effected, however I wanted to see if:
1. anyone knew how to get the error to go away as I get it on each boot (actually I get
2 error, both saying the same thing.
2. Can this cause problems in the CS3 through 5 families?
This machine is an old XP SP2 box, with an Nvidia card 9500 GT. I haven't updated the card firmware
or the machine's firmware. It's an older ASUS board.
Thanks
Paul Caldwell

Adobe Gamma is not installed with photoshop since??? a long time.
You do not need it, especially if you have an hardware calibrator.
Uninstall it.

CMYK Conversion

I recently photographed a set of pastels in raw. The body of work has been reviewed and the final color balance has been approved by the artist. I now need to export the images from their raw files to CMYK. to provide for offset printing. Adobe provides a number of options. I am completely lost on the options to select. Can you help me?
The Source Space is Adobe RGB 1998
The Color Space Conversion Options are:
Conversion Options
Engne:
    Adobe (ACE)
    Microsoft ICM
    Adobe CMM
Intent:
    Perceptual
    Saturation
    Relative Colorimetric
    Absolute Colorimetric
Selections with Selection Boxes
    Use Black Point Compensation
    Use Dither
And, of course there is a CMYK Set of selection options that I assume are based on the paper the printer will use.
Do you have a recommendation on the Engine, Intent, Black Point, and Dither.
Thank you

I'm not that terribly knowledgeable at all in these areas, actually; they're really just random bits and pieces I learned over time from others and through what little work we do on that end (one of our clients is actually a print machine manufacturer, so you see the connection... ) Regarding the color conversion, just leave everything as it is. Use the Adobe engine and use Relative Colorimetric. It does all the necessary technical tricks. One would e.g. only use Perceptual, if a specific printing process got involved and/or you would want to create/ retain a very specific color by doing further adjustments in CMYK mode. Black point compensation should always be used to produce the correct "rich blacks" or in reverse, avoid oversaturating your dark colors and muddying your other colors. Again one would only turn this option off if you planned to extensively manually mangle your CMYK file and thus tweak the resulting densities. Whether or not you provide 16bit images depends on the image content and how you print it. Generally the gamut of CMYK work is nowhere near 16bit, but some facilities can use the extended color range to produce extra separations e.g. for inkjet printing with more than the 4 CMYK inks that produce finer tones. It's mostly irrelevant for mass offset printing, though, so using 8bit files will do just fine. It's really more critical to not introduce any clipping or other artifacts during the conversion.
Mylenium

Lack of LAB and CMYK support in Lightroom is plain dumb

There is a lack of consistency in Lightroom if it allows you to elect to edit an image in Photoshop but then it can't follow through and display either a LAB PSD or a CMYK PSD. Both these file types are widely used by Pro-photographers. Afterall there is a whole bunch of stuff that's easier to do in Lab or CMYK rather than in RGB. The lightroom development team seem to suggest that photographers shouldn't be doing anything more advanced than Lightroom can handle. Well if you look at pre-print sharpening Lightroom is still awful - LOW/MED/HIGH just doesn't cut it and isn't at anything like pro level. To get any sensible preprint sharpening you've almost gotta go to photoshop. For many images sharpening is best done on the L channel of Lab (along with a whole bunch of other adjustment layer corrections). Most people like to keep these layers and so returning a master file to RGB just isn't an option. Sure there is no further need for editing such an image in Lightroom, but as part of Lightroom's function is DAM then its fairly essential to be able to at least preview all your image files - to know where they are and what you have.
Its just no good boasting about Lightroom's ability to search through images using metadata etc if ultimately it can't find and display your -finished- image versions 'cos they just happen to be Lab or CMYK PSDs.
If Adobe Lightroom team are promoting Lightroom as a pro-photographers tool them you gotta listen to how pro-photographers work and not get lost in your own ideology based rhetoric of keeping Lightroom pure. I haven't yet found two pro-photographers with identical "pure" workflows.
Come on Adobe - we don't want to edit them - we just want to be able to preview them in Library ;-)

Have to say as a working professional who earns his keep from doing raw conversions, proof prints, cutouts etc Lightroom's lack of CMYK support is very much a pain in the a**. I'm not asking for a full set of CMYK editing tools - I've got those in Photoshop thanks very much.
What I am asking for is at least the ability to round trip files from Lightroom into Photoshop, convert to CMYK and reimport the CMYK version into the catalog alongside the RGB file from which it originated and then to allow me to open the original CMYK file back into Photoshop without any tweaks being applied by Lightroom. This would allow Lightroom to really fill the role of a DAM in our studio and allow us much simpler workflow tracking than at present. As things stand we have to save the files in separate locations from our RGB versions on our server and then catalog them using another application.
Come on Adobe please listen to your professional user base as I know I'm not alone in these requiements and the studios that I've shown Lightroom to have all ended up asking the question "What about the final CMYK versions?"
BTW I'm in full agreement with Ian on the other points and without sounding snotty to Don - who I have read many interesting and sensible posts from - maybe if you don't want to cover this ground again just walk a different direction and leave those of us who do NEED this feature to discuss the best way of implenting it. I have also sent this request to Adobe so I'm not just a moaner who sit's here doing nothing about the issues that affect me.
Cheers for now.
Jason Hicking
Replica Imaging Limited - UK

I am trying to softproof an image using a CMYK .icc file. I sent an image from LR 5 to PS CC 2014, opened the Camera Raw FIlter, but the hyperlink to access workflow is not showing up in the CR dialogue box... Any ideas why this might be?

I am trying to softproof an image using a CMYK .icc file. I sent an image from LR 5 to PS CC 2014, opened the Camera Raw FIlter, but the hyperlink to access workflow is not showing up in the CR dialogue box... Any ideas why this might be?

I am trying to softproof an image using a CMYK .icc file. I sent an image from LR 5 to PS CC 2014, opened the Camera Raw FIlter, but the hyperlink to access workflow is not showing up in the CR dialogue box... Any ideas why this might be?

Anyone else having trouble opening CMYK PDFs from Photoshop CC with JPEG 'high' compression?

(Cross-post from the Photoshop forum, where I was asked to post in the Acrobat forum: http://forums.adobe.com/message/5553829 )
When I save a PDF file in Photoshop CC in CMYK color with JPEG compression (quality = high), it will save without any errors. However, when I open the file in Acrobat (11.0.3), I get an "Out of Memory" pop up error. I press Ok, and the document is just displayed as a blank white image.
I'm using Win7 64-bit, Photoshop CC 64-bit. Plenty of memory (24GB) and allocated RAM in preferences, and I've done some troubleshooting that leads me to believe the error is not due to system memory, but rather a specific bug in the software. I have Photoshop CS6 on the same machine, and if I open the PSD, save as PDF with the above settings, everything is fine when I open it using Acrobat. This seems to just be for Photoshop CC, not CS6.
Here is the troubleshooting I've done so far:
PDF format, RGB color, any other settings --> Acrobat can open the file.
PDF format, CMYK, no compression --> Acrobat can open the file.
PDF format, CMYK, JPEG compression [medium] --> Acrobat can open the file.
PDF format, CMYK, JPEG compression [high] --> Acrobat can NOT open the file because it encounters the "out of memory" error.
PDF format, CMYK, JPEG compression [maximum] --> Acrobat can open the file.
This is silly. I don't get it. Can anyone else confirm this problem for me?
Updated:
Like you said, there isn't enough information to rule out an issue with Photoshop CC, as the same action using Photoshop CS6 results in a usable file.
New information (while making files for uploading):
The error only occurs with CMYK files of larger dimensions. On a 500x500px image, Acrobat throws out "A drawing error has occured". a 2500x2500px image runs into the "Out of memory" error. In either case, Acrobat cannot successfully open the file generated by Photoshop CC, while it can if it was made using Photoshop CS6.
RGB PDF JPEG HIGH - PsCC - No Error.pdf
https://drive.google.com/uc?export=&confirm=no_antivirus&id=0B9lLW1Ml0 0iQc2ltUXhqVTRVaWs
CMYK PDF JPEG HIGH - 500x500px - PsCC - Acrobat drawing error.pdf
https://drive.google.com/uc?export=&confirm=no_antivirus&id=0B9lLW1Ml0 0iQZ3M2SS1PbEJuN0k
CMYK PDF JPEG HIGH - 2500x2500px - PsCC - Acrobat out of memory error.pdf
https://drive.google.com/uc?export=&confirm=no_antivirus&id=0B9lLW1Ml0 0iQd2dxWm9xWjk3bEE

Another observation for what it is worth (not a solution again). I was able to open all 3 PDFs in Irfanview as graphics. The properties of the image were
The major changes for the others within the JPegs was the number of pixels (133X133) and the size (1.4inX1.4in). There is also a reduction in the number of colors.
Just for information, I opened the big JPeg in Acrobat (9.5.5) and it opened fine. However, it looks like the color space was changed as shown below:
Even if I change the input to use CMYK and not RGB, it looks like it gets converted to RGB. I haven't spent time to figure out the preflight analysis properly, but at least this may give you some info back.

CMYK layers showing up when spot color illos placed in InDesign CS3

When I place an Illustrator CS3 (13.0.2) illustration into InDesign CS3 (5.0.3), Preflight tells me that CMYK colors are being used, even though the imported illustration has only 2 Pantone spot colors matching those used in the InDesign document (the 2 spot colors show up in Preflight as well). I double-checked to make sure they were spot colors, not CMYK. When I go to Separations Preview, my 2 spot color show up but nothing shows on the CMYK layers. I deleted all unused color swatches in my InDesign file (and the Illustrator file), and when I delete the illustration Preflight just shows the 2 PMS spot color that I'm using in the document. I'm using Mac OS 10.5.4 on a brand-new Quad-Core Xeon, if that matters.
I've tried saving the illustration as both AI and EPS, and using CMYK and RGB color modes. I deleted all unused color swatches from both Illustrator and InDesign. For another test, I created a fresh Illustrator file that just had a box in 1 spot color and placed it in a fresh InDesign file, and again Preflight said that CMYK was being used. Besides the usual work-around of telling my service bureau to not output the CMYK film, does anyone have any idea of how to correct this? I've encountered it several times. (BTW, my service bureau didn't know what the problem is).
This is my first visit and post here, so if I have violated some forum etiquette, please forgive me.
James

Save a PDF and place that.
Bob

How to Get RGB Values from a CMYK Color in the DOM (CS5)

(CS5, Actionscript)
Hi all,
I have an InDesign document containing TextFrames whose border colors are specified as a CMYK array.
I would like to be able to get its color specification as its closest RGB equivalent.
Does the InDesign DOM contain a method for doing this for me automatically? If not, what workarounds are there?
TIA,
mlavie

Here's how to convert RGB to CMYK:
function rgb2CMYK (r,g,b){
    var color = app.documents[0].colors.add({space:ColorSpace.RGB,colorValue:[r,g,b]});
    color.space = ColorSpace.CMYK;
    var retVal = color.colorValue;
    color.remove();
    return retVal;
The same idea for the reverse.
For info on converting to grayscale, check out this:
http://in-tools.com/article/scripts-blog/convert-colors-to-grayscal-in-indesign/
HTH,
Harbs

Can I use a thunderbolt to DVI adapter to connect my NEC montor to my MAC MINI?

I guess I can turn the question around and ask how many differnt ways are there to attach a monitor to a MAC MINI?

It should work if the NEC is DVI.
Other ways are expensive Apple Thunderbolt Monitor, or these..
http://eshop.macsales.com/item/NewerTech/VIDU2DVIA/
Resolution:
Supports resolutions up to 2048 x 1152 including SDTV/HDTV resolutions: 480i/p (640x480), 720p (1280x720), 1080i/p (1920x1080)
Macintosh:
Intel based Mac OS X 10.4.11 and above
(not compatible with PowerPC based Macs)
Supports up to four monitors

I have 12 core with Quatro 4000 and 5770, I want to use dual monitor setup, monitors are NEC with Spectraview-II. How do I connect? 4000 only has 1 Display Port and 1 DVI. 5770 has 2 of each, if I use both 5770 Display Ports, does the 4000 contribute?

I just bought a 12 core with Quatro 4000 and 5770, I want to use dual monitor setup, monitors are NEC with Spectraview-II. How do I connect? 4000 only has 1 Display Port and 1 DVI. 5770 has 2 of each, if I use both 5770 Display Ports, does the 4000 contribute any work at all? I read where on a PC they would work together, but on a MAC they do not.
I read that Display Port has higher band width than DVI, NEC monitors for best performance they recommend using DIsplay Port.
When I was setting this up I looked at a Nvidia Quadro 4000, unfortunately it was for PC, it had 2 Display Ports, in the Mac version they reduce it to one. I did not think there could be a difference.
Mainly want to use it for CS6 and LR4.
How to proceed???
I do not want to use the Quadro 4000 for both, that would not optimize both monitors, one DP and 1 DVI. Using just the 5770 would work but I do not think the 4000 would be doing anything, and the 5770 has been replaced by the 5870.more bandwidth.
Any ideas, I am a Mac newbie, have not ever tried a Mac Pro, just bought off ebay and now I have these problems.
As a last resort I could sell both and get a 5870. That would work, I'm sure of that, it's just that I wanted the better graphics card.
Thanks,
Bill

The Hatter,
I am a novice at Mac so I read all I can. From what I understand the NEC monitors I bought require Display Port for their maximum performance. The GTX 680 only has DVI outputs. Difference from what I understand is larger bandwidth with the DP.
You said I have the 4000 for CUDA. I am not all that familiar with CUDA and when I do read about it I do not understand it.
A concern I have is, that if I connect the 2 high end NEC monitors via the 5770, using it's 2 Display Ports I would have nothing connected to the 4000. Is the 4000 doing anything with nothing connected? I read where in a PC system the 2 cards would interact but in a Mac system they do not.
Bottom line, as I see it, the 4000 will not be useful at all to me, since I want a dual monitor set-up.
So far the 5870 seems the best choice, higher band width than the 5770, and it has 2 Display Ports to optimize the NEC monitors.
I'm not sure how fine I am splitting hairs, nor do I know how important those hairs are. I am just trying to set up a really fast reliable system that will mainly be used for CS6 and LR4. Those NEC monitors are supposed to be top notch.

Need Info on RGB to CMYK

Hi,
I am new to Illustrator (CS5) and not fully comfortable with RGB vs CMYK. For instance, I created a logo for use on the web using Document Color Mode: RGB where my background color in RGB is 0, 0, 130. When I create a Print document using Document Color Mode: CMYK and copy the logo into the print document, it converts that background color to CMYK (C:100, M:98, Y:16 K:18) where the RGB is now (44, 45, 111).
Is there a way to get a closer match to the original RGB color 0, 0, 130? When the specifications for the print advertisement says images must be in CMYK, I hope I am accomplishing this by using the Print Document Color Mode of CMYK vs RGB? I feel somewhat ignorant on utilizing the RGB vs CMYK color modes and if anyone can give me a tip on what techniques they use to get a closer match of colors for RGB to CMYK or vice versa, I would love to hear it.
Thank you,
Keith

Keith,
First, be aware that you have posted to the Photoshop forum, not the Illustrator forum. The general concepts of color and color management are the same across the spectrum of digital imaging. However, its implementation is slightly different from application to application, so you may also want to post your question to the Illlustrator forum.
[EDIT: Brain fart on my part... This is the color management forum, NOT the Photoshop forum, so you are in the right place! (I spend most of my time in the Photoshop forum; I lost track of where I was...)]
That said, you're running up against a general concept: color gamut.
The color you've spec'd in your RGB file (0/0/130 - and we'll assume for now that it's in the sRGB color space) is outside the gamut of every CMYK color space. That means that the RGB color you see can not be reproduced using a mix of the four CMYK process colors (cyan, magenta, yellow, black). When converting to CMYK, the software picks the closest color that is within the gamut of the CMYK space, hence the color shift.
When you're designing for CMYK, it's best to work in soft-proof mode which allows you to see a pretty close approximation of what your colors will look like in the final color output space - in your case, CMYK.
In Photoshop, to turn on soft-proof, go to View > Proof Setup> Custom... and choose the CMYK output space that matches the press conditions you are designing for.
There are books written about this, but hopefully this short answer points you in the right direction.
Message was edited by: Rick McCleary

CMYK oversaturated on NEC 3090

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