Color conversion to 16-bit Lab

Hi,
I have rasterized a document using the AIRasterizeSuite and got the colorspace (ai::ColorSpace) and pixel data (AIImageComponent *) from the raster object.
FYI, the color space at this point is kAIColorSpaceFamilyNChannel (process + spot).
Now I can convert the pixel data to another color space using sAIColorConversion->ConvertImageColorEx with a destination color space set to kAIColorSpaceFamilyLab.
However, the output seems to be always 8-bit even when I set the dstBitsPerPixel to 48 (3*16) to try to get 16-bit Lab output (and of course allocate enough memory for the output buffer).
Since 8-bit Lab is useless to me due to precision, does anyone know how to output 16-bit Lab ?
I also tried to output the data to kAIColorSpaceFamilyRGB, then convert it to Lab but the out of gamut colors will be off.
Thanks.

coupler wrote:
Simple explanation. I record a vinyl in 24 bit 96 kHz AIFF
In Logic?
I bounce the file to 16 bit 44 kHz AIFF
With Logic?
The resulting file will be pitched extremely slow. Sounds very slow and sluggish, yet the 24 bit file is great..
What's going on here?.
what could be the issue here?
Your workflow... Or your project's sample frequency setting.
If your projects' samplefrequency setting is 96kHz, it will play a 44.1kHz file roughly approximately 2,17687074829932 times slower. Play the bounced file in iTunes, or alter your projects' Samplefrequency setting before playing it back.
regards, Erik.

Similar Messages

RIP with same color conversion as Adobe

Hi
for the color conversion of our images and pdfs we use Photoshop and Idesign (What I´m talking about here is to put an input profile, a rendering intent, and a output profile).
99,99% of the time we use relative colorimetric with black point compensation to do the conversion. So we use those 2 applications as if they were rips.
I must say that we are very happy with the results.
What we are looking for right now is trying to automate that process.
We have been using a rip called Colorgate Productionserver 7. This rip have hot folder workflow (wich is what we want) BUT the color conversion is not the same as the one that Photoshop and Indesign have (using the same input profile, rendering intents and output profile).
We have been doing much testing with rgb images and we don´t like how this rip converts the images to the output profile.
It leaves the pure blacks a little bit more washed out than what the Adobe conversion would do and also if you send the image as a tiff file the rip respects the rendering intent of that queue and converts the image accordingly but when you send that SAME image inside a pdf (whether is cmyk or rgb) the rip WILL ALWAYS use the relative colorimetric conversion (without black point compensation) to do the color conversion regardless of the rendering intent that you have in that queue. Indesign honors embedded profiles, rendering intents and output profiles perfectly.
So what we are looking for is a hot folder-queue based rip that have a color conversion really similar (or the same if possible) as the one of Photoshop or Indesign and have the black point composition option in the rendering intent menu.
I don´t know if Adobe has a similar product or if it has licensed it´s color management to anyone.
Thank you
Palodislow

Hello Palo,
Colorgate has announced, that Productionserver 8 'utilizes the latest Adobe PDF Print
Engine (APPE) by default':
http://www.colorgate.com/en/rip-software/rip-software/productionserver-8.html?aktPos=20
May be you'll get then the desired 100% compatibility...
I am using version 6. I could stabilize my processes by simplifying the workflows for PDFs.:
Just one color space for RGB images, just one color space for CMYK components,
explicit assignment of the two profiles, explicit assignment of the two rendering intents.
No use of embedded profiles and hopefully no use of InDesign's general color settings,
which may be in contradiction to the settings in Productionserver. My InDesign PDFs
are generally made for Leave Colors Unchanged.
I had discussed some issues with Colorgate: printing of Lab components and printing
of images by K-only (black and gray inks). The company is cooperative, but it's obviously
impossible to clarify the extremely complex workflows just by post and e-mail.
My experiences, which are as well based on two other RIPs (years ago), are laid down
here, a preliminary version finished just now:
http://docs-hoffmann.de/cmsflow03072013.pdf
Please contact me eventually by private e-mail (last page of doc).
Best regards --Gernot Hoffmann

[AS][INDCC] How to set Color Conversion field to No Color Conversion when creating PDF Export preset

How can i set Color Conversion field in Export to PDF dialog to No Color Conversion when creating PDF Export preset? i have done a bit of searching and have found where it has been recommended to set effective pdf destination profile to use no profile but it doesn't seem to be producting the expected results.

Yes, it seems that i had to make the change after creation, not while creating the preset. thank you.
tell application "Adobe InDesign CC"
     set newPreset to make new PDF export preset with properties ¬
          {name:"preset name", standards compliance:none, acrobat compatibility:acrobat 7}
     tell newPreset to set PDF color space to unchanged color space
end tell

Pantone Color Conversion

Have 2 Intel Mac Pros running 10.5.5, InDesign 5.0.4. When opening the same document on each machine I get 2 different CMYK color conversion of a Pantone color. Both machines have the same color settings as far as I can tell. Anyone have a idea why this happens, or how to make them the same.
Thanks

Choose the Ink Manager from the Swatches panel menu (or from Print dialog or Export PDF dialog). Look at the "Use Standard Lab Values for Spots" option at the bottom. Depending on whether on or off it will use Lab values (like Photoshop) or CMYK values (like ID and AI have traditionally used).

InDesign vs Illustrator - Color conversion - Farbumwandlung

English version further down...
Situation:
1. InDesign verwendet standardmäßig die Pantone-bzw. HKS Umrechnungstabelle zu CMYK
2. Illustrator verwendet die Umrechnung über Lab-Farben
3. Die Werte unterscheiden sich drastisch, wenn CMYK als Endprodukt steht
4. Man kann InDesign umstellen, sodass auch InDesign über Lab-Werte geht - die Farbumrechnung ist dann in beiden Programmen identisch
5. Ich habe einen HKS Vollton-Farbfächer sowie einen HKS CMYK-Fächer (basierend auf der CMYK-Tabelle) meiner Druckerei. Gleich benannte Farben beider Fächer sind völlig anders (Bsp Rot siehe unten).
Anmerkung:
- Alle beteiligten Geräte sind farbkalibriert.
- solides Grundwissen zu Farben habe ich, jedoch weniger zu Farbumrechnung, speziell wenn es von Volltonfarben in gerasterten CMYK-Druck geht.
- aktuelle Versionen bei mir: CC
Probleme/Fragen:
A. Die Unterschiede beider Varianten im Druckergebnis sind drastisch. zB. HKS 16 K aus InDesign direkt zu CMYK (per CMYK-Tabelle) ist eine Rot, das stark ins Orange geht CMYK (30,100,90,0), während über Lab-Werte es ein eher kräftiges Rot ist, das schon einen leichten Blaustich aufweist ca. - gerundet - CMYK (10,93,65,33). Die Unterschiede im Druck sind sehr deutlich.Wie kommt es, dass es so stark unterschiedliche Werte sind?
B. Welche Variante kommt dem Ergebnis am nächsten und vor allem warum? Mein Eindruck: Das Druckergebnis per Lab-Farben kommt dem Volltonfarbfächer am nächsten. Die Ergebnisse per Pantone-Definition erscheinen geradezu "abwegig".
C. Was verwende ich ab sofort für zufriedene Kunden?
(D. Neugier: Angenommen der Weg über Lab-Werte ist die beste Lösung,... Warum ist der default in InDesign immer noch die jeweilige CMYK-Tabelle???)
Die eine Technote von Adobe dazu habe ich gelesen. Weiterführende Infos oder Links hierzu wären klasse.
Danke vorab.
situation:
1. InDesign uses by default Pantone- resp.HKS tables to convert to CMYK
2. Illustrator converts by means of lab-colors
3. Diferences between 1.and 2. are drastic when used to convert to CMYK
4. One can configure to use lab-colors in InDesign. As a result CMYK-Colors are idnetical in Illustrator and InDesign
5. I got a printed HKS spot color palette as well as a CMYK color palette based on standard-tables.Colors with the same name look totally different in both printed palettes (see red further down).
remark:
- all devices are color calibrated
- I got IMHO a solidknowledge on colors,but not aboutcolor conversions esspecially from spot colors to rastered CMYK colors.
- using CC version
problems/issues:
A. Differences in print are totally different e.g. HKS 16 K from InDesign directly to CMYK (by CMYK-table) is a red, drifting strongly towards orange CMYK (30,100,90,0), while by means of the lab-values the same red (HKS16) is strong with a touch to blue app. - rounded - CMYK (10,93,65,33). Differences in print are drastic. How comes the results differ so drastically?
B. Which variant is closer to the intended result? My opinion: using lab color conversion is actually really close to the spot colors. Results by standard table to CMYK look almost "idiotic".
C. What should I use for satisfied customers?
(D. Out of curiosity: Suggested the variant bymeans of lab-colors is best... Why is the conversion by CMYK-tables the default in InDesign???)
Already read a technote from Adobe about it. Asnwers, additional infos and links would be grand.
TIA!!

Prior to CS6 the Pantone Solid libraries had dual Lab/CMYK definitions. If you had Use Standard Lab Values for Spots checked in Ink Manager a Pantone Solid would be defined as Lab and the color conversion to CMYK would be color managed—the values you get depend on your document's CMYK profile assignment. If you had it unchecked the defintion was predefined CMYK (for one set of printing conditions) and the output values were unchanged by your color management settings.
CS6+ took away the dual definition for Pantone and solid colors are always defined as Lab and CMYK conversions are always color managed. If you don't want a color managed conversion use Pantone + Color Bridge—those libraries are defined as process CMYK (not spot).
The HKS libraries still have dual definitions, so if you don't want them to be color managed uncheck Use Standard Lab Values.
while by means of the lab-values the same red (HKS16) is strong with a touch to blue app. - rounded - CMYK (10,93,65,33). Differences in print are drastic. How comes the results differ so drastically?
The conversion depends on your document's assigned profile. Looks like you are using ISO Coated ECI, but if you change the profile assignment you'll get different numbers. US SWOP returns 24|100|83|19. I think Lab conversions are better assuming the press is printing close to the assigned profile.

[AS][IDCS3] PDF Export Preferences Color Conversion setting

I want to set the field of Color Conversion (as equivalent to manual setting under Output>Color>Color Conversion) to "No Color Conversion" in Applescript but couldn't figure it out.
My skeleton Applescript is as follow:-
tell application "Adobe InDesign CS3"
   tell PDF export preferences
       -- I want to set No Color Conversion for Color Conversion here
   end tell
   tell document 1
       export format PDF type to filename without showing options
   end tell
end tell
I have search through Applescript ID CS3 dictionary but couldn't find the answer. Hope someone can advise. Thanks!

Use:
set effective PDF destination profile to use no profile
Shane Stanley <[email protected]>
AppleScript Pro Sessions <http://scriptingmatters.com/aspro>

Setting the fg/bg color of a 1 bit image

Is there a simple way to set the foreground and background colors of a one bit image? What I need to do is draw a bitmap on a Canvas component where all black pixels in the loaded (gif) Image paint as my custom foreground color and all white pixels paint as my custom background color. I'm thinking maybe something like drawing a filled rectangle using the bitmap as a mask?? I am porting code from Windows, and this is something that is kind of built in to MFC.
Currently I have this working in Windows running Java 1.4.0, but it wont work on a Macintosh running Java 1.1 (or 1.2?). I'm wondering if I stumbled upon a quirk that only works in Windows?
This is the code from my Canvas object paint() method:
g.drawImage(bitmapUp, 0, 0, getForeground(), this);
g.setXORMode(getForeground());
g.drawImage(bitmapUp, 0, 0, getBackground(), this);
'bitmapUp' is a one color gif image with transparency. Basically anything that is not transparent gets filled with my foreground color. It seems like this is not the best way to go about things (even if it worked on all platforms).
Test it here if you want:
http://www.wizardmaster.com/test/muzakaster/
- Thanks, Markus P.Spanglestein

import java.awt.*;
import java.awt.event.*;
import java.awt.geom.*;
import java.awt.image.*;
import javax.swing.*;
public class TwoTone {
     static final int SIZE = 200;
     static BufferedImage image = new BufferedImage(SIZE,SIZE,
               BufferedImage.TYPE_BYTE_BINARY); //Black&White
     public static void main(String[] args) {
          JFrame f = new JFrame("TwoTone");
          f.setDefaultCloseOperation(JFrame.EXIT_ON_CLOSE);
          Graphics2D g2 = image.createGraphics();
          g2.setPaint(Color.WHITE);
          g2.setStroke(new BasicStroke(6f));
          g2.draw(new Ellipse2D.Float(0,0,SIZE, SIZE));
          g2.dispose();
          final JLabel label = new JLabel(new ImageIcon(image));
          label.addMouseListener(new MouseAdapter(){
               public void mousePressed(MouseEvent evt) {
                    IndexColorModel icm = (IndexColorModel) image.getColorModel();
                    int[] rgbs = new int[2];
                    icm.getRGBs(rgbs);
                    Color c0 = JColorChooser.showDialog(label,
                         "Choose background", new Color(rgbs[0]));
                    Color c1 = JColorChooser.showDialog(label,
                         "Choose foreground", new Color(rgbs[1]));
                    rgbs[0] = c0.getRGB();
                    rgbs[1] = c1.getRGB();
                    icm = new IndexColorModel(1, 2, rgbs, 0, false, -1, DataBuffer.TYPE_BYTE);
                    image = new BufferedImage(icm, image.getRaster(), false, null);
                    label.setIcon(new ImageIcon(image));
          f.getContentPane().add(label);
          f.pack();
          f.show();
}

CMYK to RGB color conversion?

Hi,
I have to convert CMYK color array in the RGB color space and vice versa.
I am using the following code;-
UID colorUID = iDrawing->GetColorUID(kFalse);
UIDRef colourUIDRef(iDrawing->GetDataBase(), colorUID);
InterfacePtr<IColorData> colorData(colourUIDRef, UseDefaultIID());
char
strColor[16]={0};
if(colorData->GetColorSpace() == kPMCsCalRGB)
    ColorArray rgbColor = Utils<IUIColorUtils>()->GetRGBColorValue(m_DB, colorUID);
    sprintf(strColor,
"#%.2x%.2x%.2x", ToInt32(rgbColor[0] * 255), ToInt32(rgbColor[1] * 255), ToInt32(rgbColor[2] * 255));
else
    ErrorCode errStatus = GetRGBColorStr(colourUIDRef, strColor);
ErrorCode GetRGBColorStr(UIDRef colourUIDRef,
char* strColor){
    ErrorCode status = kFailure;
    do
          I
nterfacePtr<IColorData> colorData(colourUIDRef, UseDefaultIID());          IDataBase* m_DB = colourUIDRef.GetDataBase();
// If color sapce is other then RGB then get the colour array
    ColorArray colourArray = colorData->GetColorData();
    // If the colour space is CMYK then convert it to RGB
    if(colorData->GetColorSpace() == ICMSProfile::kSourceTypeBuiltInCMYK)    {
          IDocument* document = Utils<ILayoutUIUtils>()->GetFrontDocument();
          ColorArray rgbColor = Utils<IColorSystemUtils>()->ColorTransform( document, colourArray, ICMSProfile::kSourceTypeBuiltInCMYK,ICMSProfile::kSourceTypeBuiltInRGB);
     sprintf(strColor,
"#%.2x%.2x%.2x", ToInt32(Round(rgbColor[0] * 255)), ToInt32(Round (rgbColor[1] * 255)), ToInt32(Round(rgbColor[2] * 255)));     status = kSuccess;
}while(kFalse);
return status;
}while(kFalse);
return status;

I did some experiments with Illustrator CS6 and the MacBeth RGB test chart and verified my results with Photoshop CS6. I discovered Illustrator is (mostly) doing what it should be doing, within a 1% error (probably rounding) on the output CMYK values. Here's a summary, in case anyone else needs this info:
Assuming the source file's elements are all untagged, when a mixed RGB/CMYK PDF is opened in Illustrator and CMYK mode is
chosen, Illustrator will use the profiles and rendering intent defined in
Color Settings to make the color conversions from RGB to CMYK. Thus, we
have control over the profiles used for this conversion.
If the RGB elements in the PDF file have embedded ICC profiles,
Illustrator will use the embedded ICC profile instead of the RGB profile
defined in Color Settings. This ONLY happens, however, if the PDF file
also includes the correct CMYK output intent profile.
If the PDF doesn't contain a CMYK output intent, Illustrator will fall
back on the Color Settings RGB profile for RGB->CMYK conversion. I believe it
would be more correct for Illustrator to use the embedded RGB profile and
the CMYK profile defined in Color Settings, but that's not how it seems to work.
If the PDF contains the incorrect CMYK output intent, Illustrator will
ignore the Color Settings and respect the embedded RGB and CMYK profiles
for the conversion, as might be expected.

DNG & Camera Manf. JPG color conversions

IF, a Camera Manf. had a camera that outputs to DNG ... could they imbed in the DNG file ... the "equivelent" of LR "pre-sets" for "there" JPG Color conversion.
* So, In LR at a click of a Pre-set listing you could see what the Camera Manf. JPG out of the camera would be like. (if you "would have" shot this DNG in JPG) ... and then you could do a compair.
Or maybe you would "just" run it as a choice on import ... as a starting point, or when in a rush a result.
* Just curious ... could this be done?
Is it only me, or could this be a useful productivity feature for LR.
p.s. I do get the fact that you could make your own pre-sets for your camera.

> "being a designer/distributor myself you are always trying to find ways to make your product (output) different and exclusive ... so yes, having a Generic DNG and making "my" product/output a commodity would not be my first choice either".
I used to help design large, complicated, multi-supplier computer systems. I sometimes got involved with helping to procure products.
The suppliers would try to make us enthusiastic about their special features. If we procured their products, we would often simply lose those features under an abstraction layer of software - they were unwanted! We needed interchangeable components. Call it "commodity" if you like - but I don't really agree with that term here. "Commodity" to me implies that it doesn't matter which you choose. "Interchangeable" still leaves other factors to be taken into account.
If Nikon adopted DNG (chuckle!) we wouldn't really claim that a D40 and D80 and D200 and D2Xs were "commodity"! They would still be high quality high value differentiated products.
In fact, camera manufacturers are pretty foolish if they adopt such an attitude. Within weeks of camera launch, all the major raw converter suppliers have reverse-engineered the raw files and camera details enough to be able to perform high quality raw conversions. All essential aspects of the specification are known, and sometimes even published by 3rd parties!
Who do the camera manufacturers think they are hiding information from? Answer: "from 3rd party software companies whose mission is, in effect, to make the images from the camera look as good as possible"! How stupid can camera manufacturers be?
DNG still has ways for camera manufacturers to hold what Adobe call "secret sauce". There may well be limitations in the current specification of DNG that causes problems for some manufacturers - Hasselblad-Imacon apparently had problems. But most manufacturers almost certainly have no such problems - and Pentax shows what CAN be done by a camera manufacturer, (the one who once tried to promote the idea of a universal lens mount), that cares about its users and sees the way the world is moving.

Printing RGB colors - Conversion to CMYK?

Hi,
I have been working for a little while in converting my old RGB colors to CMYK printer friendly colors.
However, I carefully choosed my printing friendly CMYK colors to be as close as possible to the RGB colors but the prints are dull !
On the other hand, when I print my file withj RGB colors using the PDF Distiller tagged with Adobe1998 profile and send the file to the printer, colors look smarter !
It means that the CMYK colors I picked myself are not good enough anf the Color Managment in Adobe PDF or Illustrator are better than me ! As follows:
- In Illustrator -> Print -> Color Management tab -> Color Handling: Let Illustrator determine colors
- in Acrobat Reader -> Print -> Color Management tab of the plotter: Application managed colors
Both ouput similar quality prints, and better than my own CMYK colors !
Are the Application Color Management engines in Illustrator and in Adobe Reader similar in their conversion?
How can I find out which are the CMYK colors printed when the application (Reader or Illustrator) manages colors, from my initial RGB colors? I would like to use them directly in my document...
Thanks

Hi,
Thanks for your response. I put these color issues on hold because I had no time to search more on that recently...
However, I have still lots of questions about color conversion!
When I said "carefully choose" CMYK colors, it means CMYK colors printable and which look similar to my old RGB colors on-screen. But of course, screen is not enough!
What I noticed is that when I print my old RGB colors (not in printer color space), Adobe Reader or Illustrator were able to make good conversion to CMYK for printing.
Now, I would like to find out to which CMYK color codes Adobe Reader or Illustrator converted my RGB colors? Then, I would be able to use these CMYK color codes directly in my application...
Is there any way to find out that?
Cheers

Color conversion : special behavior with Spot Color "All"

Hello,
I have a document with printmarks which have a spot color "All". While I convert the page using the "Color conversion" to Gray 1.8 with Adobe Acrobat X the spot color "All" are still present (with the alternate color space DeviceGray).
Using Adobe Acrobat 9.x all objects have a DeviceGray color.
Is it a bug or a new behavior? Moreover the SDK method doesn't convert the spot color but keep the name (but I know this is not the right place to post it - it's just for information).
Regards,
Joe

I sense you may not understand the difference between sopt and process colors in the printing process.
When you use process inks you build all color representations by combining dots of varying sizes from each of the four process colors, cyan, magenta, yellow, and black. Because the dots are two small to be seen individually your brain is fooled into thinking it sees other colors. Process color printing requires four printing plates to produce the full range of colors possible, but that range is limited compared to what you can see in real life or capture in RGB.
Spot colors, in contrast, are similar to paint. Each color is mixed individually, and every spot color requires its own plate on the printing press (and you must use a press -- toner and inkjet printers use cmyk inksets and cannot print real spot colors). Because of the expense of these plates, the use of spot colors is usually limited to one or two colors in any print job, and if the job has other color (like photographs) that requires process inks, converting the spot colors to the closest process simulation is often employed if the spot colors can be simulated "close enough" to satisfy the client and the budget is tight.
I would avoid using process colors for type in small sizes or for very thin strokes, especially in lighter colors, as you are likely to see ragged edges.
So, how many spot color swatches did you use? More than two? More than four? Do you have a huge budget to produce the work? This may be a project that really should be designed from the ground up as process, or process and one spot for that hard to print bright accent color.

Disable color conversion when PDF export

how to disable color conversion in my sample scritp?
pdfExportPreset = app.pdfExportPresets.add({
name:"sample preset",
pdfExportPreset.standardsCompliance = PDFXStandards.PDFX1A2001_STANDARD;

actualy, if you need PDF-X1A standard, it's not as much about the export preset as is about the workflow. PDF/X-1a requires all fonts need to be embedded and all images need to be CMYK or spot colors. So if you have RGB images, they will be converted to obey the standard.

Crash while launching in "building color conversion tables"

Photoshop CS6 crashes while "building color conversion tables" I reinstalled the program but it still hangs up at this point. please help!

I've only seen 3 things that can cause a crash at that point: corrupt profiles (mostly display profiles), corrupt information coming from the OS about the system profiles, and bad floating point units in CPUs.
First thing to check is the display profiles. If setting them to sRGB doesn't solve the crash, it might be a bug in the OS profile cache. And let's hope it isn't the CPU, because those problems are a @$%^@#%# to track down in modern processors.

Choosing profiles for forced RGB to CMYK color conversion

When a mixed RGB/CMYK PDF is opened in Illustrator CS6, Illustrator forces a conversion to one color space or the other. See this screenshot: http://imgur.com/sK8iEdn
I assume this is a limitation of Illustrator and there's no way to keep both color spaces. Under that assumption, Is it possible to choose the profiles used for the conversion from RGB to CMYK? Can Illustrator be made to use the RGB and CMYK profiles defined in its Color Settings to make this conversion?

I did some experiments with Illustrator CS6 and the MacBeth RGB test chart and verified my results with Photoshop CS6. I discovered Illustrator is (mostly) doing what it should be doing, within a 1% error (probably rounding) on the output CMYK values. Here's a summary, in case anyone else needs this info:
Assuming the source file's elements are all untagged, when a mixed RGB/CMYK PDF is opened in Illustrator and CMYK mode is
chosen, Illustrator will use the profiles and rendering intent defined in
Color Settings to make the color conversions from RGB to CMYK. Thus, we
have control over the profiles used for this conversion.
If the RGB elements in the PDF file have embedded ICC profiles,
Illustrator will use the embedded ICC profile instead of the RGB profile
defined in Color Settings. This ONLY happens, however, if the PDF file
also includes the correct CMYK output intent profile.
If the PDF doesn't contain a CMYK output intent, Illustrator will fall
back on the Color Settings RGB profile for RGB->CMYK conversion. I believe it
would be more correct for Illustrator to use the embedded RGB profile and
the CMYK profile defined in Color Settings, but that's not how it seems to work.
If the PDF contains the incorrect CMYK output intent, Illustrator will
ignore the Color Settings and respect the embedded RGB and CMYK profiles
for the conversion, as might be expected.

OLE Color Conversion

I became acorss the function below. What is the relationship between OLE and RGB color? Can you give me some background on them? For the function below, is the input supposed to be OLE or RGB? Thanks!
Convert OLE Color VI
Owning Palette: 3D Graph Properties VIs
Requires: Base Package (Windows)
Converts LabVIEW colors to or from colors used by ActiveX.
You can use the property page for the 3D graph to set all of the colors. Color conversion is necessary for use with ActiveX Property Nodes.
Kudos and Accepted as Solution are welcome!

If you would read throught he examples and source code you would have found your answer! MSDN has to say this http://msdn.microsoft.com/en-us/library/windows/desktop/ms694353%28v=vs.85%29.aspx. Basically if the MSB is 0, the other 3 bytes are directly RGB colors, otherwise they are either a system color index or palette index. The LabVIEW Color is built in a similar way, but the meaning of the MSB is different.
Rolf Kalbermatter
CIT Engineering Netherlands
a division of Test & Measurement Solutions

Color conversion to 16-bit Lab

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