Color editing and correction ?

Ive read on a few videos posted on vimeo.com
video shot with such and such a video camera and coloured with some programs name i forget which one it was
For colour correcting and modifiying the videos color are the tools in adobe premiere cs3/4 enough or is there other programs / plugins for premiere ?
Can someone give a newbie a hand
Thanks!

im looking for a clean , crisp , video with sorta a glossy film look too it ( hope that makes sense )
example
http://www.vimeo.com/4478562
I know alot will be due too the video camera
which is ok I have a sony ex3 which is faily decent !

Similar Messages

Removing color casts, and correcting colors to match reference materials? any guides/tutorial/videos

I have been looking for tutorials showing how to use SpeedGrade. I am now comfortable with the UI enough to use it after watching these: http://www.youtube.com/user/AdobeTV/videos?query=speedgrade
I am looking for tutorials that show how to do a couple things, first I would like to be able to remove any color casts. In photoshop to do this you can use a curves layer and use the set white point color picker and click somplace that is supposed to be white. and in premier you could do something similar using the Fast Color Corrector. So basically I am looking for a way to target an area in a frame that should be grays, In Anime, the eyes generally will always be shades of gray, so that is what I would target usually when working with anime in photoshop/premiere. If anyone knows of a tutorial that shows how to do this type of color cast removal color correction in SpeedGrade could you please share a link.
Some of the older 80's and 90's anime on film, the film has aged and that is where the color cast came from. There is also a loss of color information across the board. For instance in the below picture. The sky is supposed to be more blue instead of teal/sea green.
Another thing is back in the 80s and 90s a lot of Anime worked from limited color palletes; something like maybe 16 colors total, so a lot of colors are used repeatedly. So even with only a limited amount of reference material I should be able to get the corrections close. (I dont have reference clips for every single episode, only a handful of scenes from a handful of episodes.)
I have some reference material showing approximately what the colors should be. So my next question is if anyone knows of any tutorials/guides/videos showing how to use SpeedGrade to color correct a clip so that the colors match up with the colors used in a reference clip
I was also wondering about auto correction based on a reference clip, although I am guessing this is still not possible.
When I watched the websiminar: http://seminars.adobeconnect.com/_a227210/p738pxm9zs0/ at about 43 minutes into it, a feature is shown that automatically adjust the color using a clip that contains a colorchart.
I was wondering if a tool like that could analyse a clip start to finish, to create a pallete of used colors, and then compare that to the colors used in another clip and correct them. (a feature like this would probably be more useful/accurate in anime than it would liveaction but who knows.)
Another UI related question:
I did have one question, the only place I see to access the colorwheels is in the looks tab, my video I am working on, just manages to fit at 100% in the monitor.
So I would prefer to hide or collapse the different looks(maybe even with a hotkey) so that I can access the color tools that it is covering, I attached a picture of what I am talking about. I know pressing "P" hides everything at the bottom, and figured maybe there is already a way to hide/minimize/collapse the look presets to access the tools behind them without shrinking down the size of the monitor preview.

There is a special grading filter called "Color match" which can assist in cross-referencing the black/white/gray levels from one playhead to another but it's not documented yet. The suggested way to set black/white/gray points in Sg is to adjust it visually, using the waveforms as a guide, but there's no chance of doing that for something as small as a character's eye. There's no "eyedropper" picker on the primary grading panel because Sg isn't a correcting tool, but a cinematic grading tool. 99% of the time the end result of an Sg grading session is a long way from what the camera pixels actually recorded.
If all you are doing is reversing a color cast then Speedgrade isn't the right tool to use - you should be working in Premiere Pro (with the Fast or 3-Way Color Correctors). If you're a Photoshop person the UI is much more recognizable, it'll handle all the native footage you can throw at it, and you get your B-G-W eyedroppers.
In Speedgrade CS6 you cannot hide the Presets panel in the Look or Mask tab. The UI is really designed for use in a two-monitor system (which all professional colorists will have), and/or with a hardware controller (which means you can keep the entire bottom panel hidden).

Kindly suggest me a free effect or plugin for color grading and correction in fcpx ....

I can't buy any more third party plugins at the moment .....plz now the only work remaining in my music video is color correction ....I want to give it a film look....can you suggest me a free effect or plugin with some presets to give it a good look.....Thank you....

I'd have to start by echoing what Tom said - the color tools in FCPX are well capable of creating a "flim look" and fixing color issues - which is all you've said is required.
I'd start with effects like "Dry Heat" and combine it with other effects and coloring.
3rd party tools are only going to give you similar presets that won't work in all cases, and you'll have to do the same thing. That is, you still need to figure out how to color properly whether you get 3rd party tools or not.
Having said that, I use Magic Bullet Mojo, because it ultimately combines many useful "Dry Heat"/filmy type effects into one and is sensitive to, and has several special parameters, for getting skin tones right.

Edits and corrections not saving

Hello,
A friend of mine is running iPhoto 5 and is having a problem that none of the changes she makes are being saved. It doesn't seem to matter if the edits are in Red Eye or contrast or anything, the programs acts like it's saving but then reverts back! Any help you can give would be great (I really don't use iPhoto for much, so I am of no help)! Thanks!
-Lisa

Lisa
Start with the troubleshooting basics:
1. Repair Permissions using Disk Utility
2. Delete the com.apple.iPhoto.plist file from the HD/Users/ Your Name / library / preferences folder. You'll need to reset your User options afterwards.
3. Create a new account (systempreferences -> accounts) and see if the problem is repeated there. If it is, then a re-install of the app might be indicated. If it's not, then it's likely the app is okay and the problem is something in the main account.
Regards
TD

Color fidelity and the New MacBook Pro glossy display like iMac

I'm very concerned about the new MacBook Pro display which is glossy like the iMac. Can Apple guarantee precise Color fidelity and correct calibration for Pro users? Aren't glossy glass screens more saturated, deeper Blacks and higher contrasted. Aan Apple answer to this very important question that will draw or throw thousands of Professionals off the new Pro laptop.

Sorry, your comments only confirm the post above. Below is a copy of a comment from Charles Higgins posted to Maintouch. I copied it for posting here (I hope that is legal).
Charles Higgins
To those who must work in bright, unshaded sunlight, Hoodman makes a pretty good reflection/glare 'hood' (sic) that does its job, except it's godawful ugly and bulky.
To everyone else (designers, photogs, and image editors), who must often work in less than ideal outdoor and indoor environments with their MBP's (including the dreaded airline seat), I feel your pain. I do ALL of these jobs, professionally, am an Adobe Beta Tester, have a Cisco CCNE and independently consult for folks like The University of Massachusetts (all campuses), Smith College, Middlebury College, to name a few, on everything from spec'ing Video, Graphics, and Photography labs to deployment, training, etc...
However - the MBP's screen, reflective though it may be, is my favorite laptop screen so far, and I've tried all brands for a long time. I've owned and professionally used, daily, Mac laptops/notebooks since Wall Street.
If it's a deal-breaker to have a glossy screen, you need to re-examine your techniques for use- how you work, where you work, light sources, etc.- because it's a really good indicator of how accurately you perceive color, brightness and tonality accurately... in other words, under conditions that I get unacceptable glare and reflections on my new MBP's glossy screen (CTO 2.8, 320GB 7200 RPM, new 24" on order, DP to DVI adapter out to 30" Cinema Display in home office), I would be getting unacceptable 'light pollution' onto my matte 30" Cinema Display, or any number of CRT monitors I used professionally in days past (Sony Artisans, Barco, etc.), and that's a good barometer, to me, of whether I have a 'pure' viewing environment for critical color work. Just because one can eke out a good or acceptable image view on a matte LCD MBP screen, doesn't mean you should do color critical, submit billing to client work in that already compromised situation. The matte screen often delivers a 'false sense of security' to those folks who work professionally in graphics, video and image editing. I find, or create, an environment that I can work well in with regard to screen viewing, and that's where, matte LCD screen or Glossy, I can get the best results. If I cannot get that environment, I curse my lack of resourcefulness and do work that isn't color-critical, just as I would with any matte screen Mac notebook LCD. In my long experience, and comparing them to even midlevel CRT monitor screens (Mitsu Diamond Pro 22", etc.) is absolutely no contest. Matte screens have an unacceptably low contrast and brightness, and a more primitive rendering of fine tonal gradations and shadows to blacks. My 30" Cinema Display has some of these same shortcomings, of course - but to a far lesser degree. Still, those shortcomings are there, and for the same reasons. The new, DP equipped 24" Cinema Display is a piece of pro equipment that I look forward to immediately calibrating and putting to work immediately!
The clients I've converted to MBP glossy screens because of the shortcomings of any laptop matte screen BTW, my new MBP has a noticeably better screen than the glossy one on my early 2008 MBP (LED backlit); I calibrated both with Gretag MacBeth calibration hardware. I have been able to hardware calibrate the newer MBP to a tighter tolerance.
Got glare? That's a symptom you're gonna probably get less than accurate results from any screen. Having used matte LCD screens in Mac notebooks for many years, I'll take the new LED backlit glossy MBP screens over anything available so far.
----------------------------------------------------

5930K vs 5960X for AVCHD editing and color correction?

***I have also posted this in Hardware Forum because I'm not certain which forum will be the best place to ask. Mods, I apologize if this is a no-no and of course you're welcome to remove the one you deem inappropriately placed. Thanks**
Hi guys, getting ready to have a new custom system built (probably iBuyPower, not sure yet). I would love your input on choosing the ideal processor. I have read benchmarks and forums on both the Intel 5960X and the 5930K. Most benchmarks are only concerned about encoding times, not the actual editing and color correction processes. I realize that encoding (exporting) would be generally faster on the 8-core 5960 compared to the 6-core 5930. HOWEVER, all my source material is AVCHD and for that, higher clock speed does make a big difference during the actual editing. So let's forget about encoding/exporting right now and ONLY think about the actual editing. Let's also assume I will not overclock, or if I do then never more than 20%.* I 'm not a gamer and this workstation is ONLY for editing. I use Premiere Pro CC 2014.x and always keep it up to the latest version.
Since the 5960X is only clocked at 3.0 Hz. I'm concerned that editing and color correcting AVCHDs will be not as smooth as one would expect from a $1000 chip. The editing process is quite complex, with multiple video layers (all AVCHD, either 60p or 60i), picture-in-picture, color correction (mostly GPU-accelerated ones such as the Three Way CC and RGB Curves), and so on. It's not simple cuts and a few transitions. In fact, the work required on those AVCHD files is very much beyond what AVCHD is meant for but it is what it is.
So, considering all that, would you STILL fork out the extra cash to get the 5960X versus the 5930K, and if so, why?
I thank you in advance for your opinions and insight!
Current planned system specs (highlights)
- Win 8.1
- 5930K or 5960X (help!)
- Asus Rampage V
- 32 Gb 2666 RAM
- GTX 780 (possibly will invest in a Titan X 12 Gb if funds allow)
- Intel 730 SSD (480 GB) for OS and programs
- I will use my current set of 5-6 SSD drives for sources, scratches, misc pull files, exports
Thanks again for your feedback!
PS: I would like to emphasize again that the actual process of editing and color correcting AVCHD files is what matters most to me here rather than getting the absolute fastest encoding times.
* I realize that both chips are unlocked and made for overclocking. I've overclocked for years but frankly, I was never that comfortable with it, lots of crashes and instability - and that was at low overlock levels of around 20% or less. I do not want manage overclocking or thermal management or worry about frying the chips. If at all possible I would like to run the chips at stock, or as close to stock as possible. However I'm also open to suggestions about that.

Actually the 5960X will clock the turbo speed for all cores if you set it that way which is one of the things we do with our systems. All Intel chips that are not locked can clock to their turbo rating for all cores if set that way. Even without setting all cores to the peak turbo ratio they will turbo to a clock speed higher than base when all cores are active. It's just not the peak turbo ratio. That has to be manually set. Turbo occurs anytime the system load reaches beyond a low level regardless of what your doing. The system boards and bios effect that. You can also disable a setting in the bios and the system will always stay at it's peak clock ratio. The 5960X clocked at 3.9 will easily outperform the 5930K with all codecs due to the cores and cache.
We can configure the systems with any hardware available in the market. However we cant include all those items on the website right now without making it far harder for people to configure systems. The hardware options we list are there because they are tested to work with the video and audio hardware/software and the reliability. We also support the systems as a solution for the life of the system. We have price the systems for that support which is part of the price difference. The options you are looking at wont have near the same support or expertise with the hardware and software together hence why your asking the questions here.
Eric
ADK

Colors not printing correctly. Only blue and black work.

I just got a new HP OfficeJet all in one inkjet 8620 printer. The colors aren't printing correctly. Everything comes out light blue with black lettering. I tried installing new cartridges (genuine HP) and also tried gently shaking the cartridges. But the problem persists.

Hi @Iolanthe ,
I see that you are experiencing issues with the colors not printing correctly. I would like to help you resolve this issue.
I have provided a document with some steps to try to see if that will resolve the issue.
Fixing Print Quality Problems for the HP Officejet Pro 8610, 8620, 8630, 8640, and 8660 e-All-in-One...
Please let me know the results of the Print Quality Diagnostic Page?
If the test pages are printing properly, it could be a software issue.
What operating system are you using? Mac OS X: How Do I Find Which Mac OS X Version Is on My Computer?
Check the driver name that is installed for the printer. Make sure it shows just the printer's name.
Click the Apple menu and then click System Preferences. Click Printers & Scanners, highlight the printer name on the left side and on the right side of the screen it should show the printer's name. (Officejet 8620)
If the full printer name isn't listed correctly, delete it and add the printer name back in from the list. Click the - sign to delete the driver and then click the + sign to add the driver, might have to click the drop down to select the printer's name to add it in.
Let me know how the printer name was listed.
From the application, make sure you are selecting the proper paper type.
Try another application to see if you have the same issue.
How is the printer connected? (USB/Ethernet/Wireless)
If you need further assistance, just let me know.
Have a great day!
Thank You.
Please click “Accept as Solution ” if you feel my post solved your issue, it will help others find the solution.
Click the “Kudos Thumbs Up" on the right to say “Thanks” for helping!
Gemini02
I work on behalf of HP

I have a color management problem. I have OS X v 10.5, Adobe Photoshop Elements 6, and an Epson Stylus Photo R800. I want to print images I have scanned on a Epson Perfection 1660 Photo and corrected in Photoshop and get the colors accurate.

i have a color management problem. I have OS X v 10.5, Adobe Photoshop Elements 6, and an Epson Stylus Photo R800. I want to print images I have scanned on a Epson Perfection 1660 Photo and corrected in Photoshop and get the colors accurate.

I used the ColorSync utility to verify, and it came back with this report:
/Library/Printers/EPSON/InkjetPrinter/PrintingModule/SPR800_Core.plugin/Contents /Resources/ICCProfiles/SPR800 Standard.icc
   Tag 'dmnd': Tag size is not correct.
/Library/Application Support/Adobe/Color/Profiles/Recommended/CoatedFOGRA27.icc
   Tag 'desc': Tag size is not correct.
/Library/Printers/EPSON/InkjetPrinter/ICCProfiles/Standard.profiles/Contents/Res ources/Epson IJ Printer.icc
   Tag 'dmnd': Tag size is not correct.
/Library/Printers/EPSON/InkjetPrinter/PrintingModule/SPR800_Core.plugin/Contents /Resources/
I did not know what to do next. At the bottom of the window it said to go to www.apple.com/colorsync to find a tutorial. I got a message saying that link does not work. Tried to find the tutorial by searching at apple.com, but could not seem to locate it. Does anyone know what the report above means and what I should do about it?
Also, how to find that tutorial?
Re Using RGB all the way through, When I print from Photoshop Elements, I select Adobe RGB, Photoshop Manages under "Color Handling", Relative Colometric under "Intent" and "ColorSync" i the Epson printer box. Do you mean to do something different in this sequence?

My wife is very color deficient and has a hard time with the font colors in call log. Any way to change and does Apple have plans to correct?

My wife is color deficient and has a hard time with the font colors in the phone log and messaging. Is there any way to change color or background and does Apple have plans to correct this?

There are some minor settings in Accessibility that you can look at, however it really isn't much for color changing. As far as what Apple might have in mind, we are not Apple here, we are users like you. It is against the terms of service to speculate what Apple might have in mind. If you want to provide feedback to Apple, that is done here: www.apple.com/feedback and click on the appropriate link.

MacMini DVI colored static and KVM's

Hi
I manage 50 odd Mac's at work and have a new 09 MacMini. I have it connected via the Mini-DVI to DVI connector to a Rextron DAG12 DVI-I / USB KVM switch. I have been using the KVM for a year or 2 with a PowerMac G4 machine with no problems. When I connect the MacMini all I get is multicoloured static / a snowstorm (as described elsewhere) for about 3 seconds, then I see the actual screen for about 1 second and this repeats over and over making it unusable. I tried various resolutions / refresh rates and it made no difference. If I unplug and re-plug the DVI adaptor about 5 times it eventually stops doing this and I just get the screen as it should be. I then used it all day, switching between my mac and PC and left it on over the weekend and it was fine on Monday.
I discovered restarting the machine brings me back to the static mess (after the grey apple screens). As does opening iTunes or Quicktime. It appears to be related to video rendering. I also tested it on a new MacBook with the 9400 Nvidia chipset and get the static. I tried another 09 Mini and same problem. Tried another Mini-DVI adaptor and same problem. Tried both DVI-I and DVI-D cables from the switch to Mac.
I tried an older MacBook with the Intel X3100(?) chipset with the same DVI adaptor and it works fine. As did an old 1.83Ghz Intel based graphics MacMini.
Using the screen without the KVM seems to work OK but is no use to me. The fact that I can get it working for days as long as I dont restart or open iTunes / Quicktime seems to suggest it's something driver / software related to the Nvidia 9400 chipset on the Mac. Any ideas / thoughts? HDCP? I will try and get a mini-displayport to dvi connector to test that.
Matt
Message was edited by: Matt Hall

Matt,
It's been quite a while since I had this problem, so I was looking for my notes on fixing it. No luck there.
The bottom line is that the "native" refresh rate on your KVM is far enough out of specs for your monitor that it's affecting the display. When you plug directly into the mini, the display automatically senses the correct refresh rate and looks fine.
It's a hack, but here's what I did (after giving up on manually modifying the settings in Terminal and failing miserably):
1. Plugged the display directly into the mini and created a "calibrated" color profile for it in both user and admin accounts.
2. Connected the KVM and booted in safe mode, selected the "calibrated" color profile with appropriate resolution in all profiles.
2b. Made sure I unchecked the +Show profiles for this display only+ box in the Display > Colors tab for all users.
3. Plugged in the KVM and restarted in safe mode, doing 1 & 2 above.
4. Restarted and manually set the color profile and resolution.
It can take a few tries to get the settings to "stick."
-Wayne

Why can't I get Blue Colors to Print Correctly??? It prints violet/blue!!

I'm runing Windows 7 - 64 Bitwith Adobe CS5 Master Collection. But ever since I allowed CS5 Photoshop to control my new printer (HP Photosmart Prem C310) to do a test print of a graphic that I created all of my Blues print a violet/blue color, no matter what color blue I try to print. It has even affected MS Word & MS Project when I try to print known blue colored fonts or Gantt Chart Blues will no longer print blue. but it will print the same violet/blue color. I've even tried a brilliant stock windows blue which all view great, but prints the same shades of violet/blue! All my color paletes and blues view perfect. My monitor is calibrated and I've reset my new printer several times and still the same problem. I never had this problem before until I installed CS5 Suite.
A strange thing is that I can run the check printer test and the data and image that is stored in the printer willl print every color perfectly, including blues. Plus I've ran a full color copy directly from the scanner bed and the copy prints perfect as well. I almost feel as though Adobe CS5 has possessed my PC and Printer! So does anyone on here have the knowledge of getting this to print correctly like it did before installing CS5 Master Suite? Thanks to all who can take the time to respond back with solutions to my problem as I have been trying to correct it for nearly three weeks now! Could the problem be in Adobes hidden files possibly??? Thanks....

Dave,
there are at least two explanations, why Blue appears Violet on a print:
1. The printer isn't correctly calibrated or not calibrated at all.
2. A difficult explanation, please look here at p.60,61:
http://www.fho-emden.de/~hoffmann/cielab03022003.pdf
(the doc may have 2MBytes)
We are in the color space CIELab. A printer color space (gamut volume)
looks like a fruit in CIELab.
Pure (saturated) blue is mostly out-of-gamut for the printer space -
it cannot be printed with correct appearance.
A gamut compression is required. The blue has to be shifted towards
the middle axis L* of CIELab, in order to make it less saturated.
Correctly that should be done on a curved line (p.60, plane a*,b*),
but often it's done on a straight line towards the middle axis (dashed).
This straight line crosses areas which are not blue but slightly violet!
Remedies:
Use Softproofing for the appearance in the simulated prints.
If it is photo, for instance a blue sky, then shift the sky blue slightly
towards cyan.
If it is a spot color or a strong RGB blue, then use something else.
Related:
Handling sky blue
http://www.fho-emden.de/~hoffmann/skyblue14072008.pdf
Gamut mapping
http://www.fho-emden.de/~hoffmann/gamshow15052009.pdf
Some illustrations are understandable without mathematics
(p.18-21).
Hope this helps a little.
Best regards --Gernot Hoffmann
Message was edited by: Gernot Hoffmann

Colors not rendered correctly in Photos

The Photos app is not rendering colors correctly. I just downloaded the Loom photo organizer app, which accesses photos from my iPhone Camera Roll. As I was using Loom to scroll through photos on my iPhone Camera Roll I noticed that one particular nature photo displayed vividly, the way I remembered it when the photo was taken a few days ago. The image was of a large grove of golden aspen on a mountainside in Wyoming. I had viewed the same photo using the Photos app and thought the yellows looked muted but assumed that the colors had been affected by the glass car window, through which the original image was taken. Curious, I compared architectural photos I took in Denver earlier today and noticed the same thing. Colors were presented correctly by Loom, but yellows were not expressed correctly in the Photos app. Neither of these photos had been edited in any way and both were taken in natural light. The architectural shot was not taken through glass.
I looked for a color correction or color balance setting on the iPhone, but did not find one. My iPhone dsplay hardware seems fine, again, becuase Loom presented the colors correctly.
I am curious if anybody else has noticed this and also wonder how I might notify Apple.

Now I understand the problem described in my post, above. I don't know how it happened, but a "Fade" filter was being applied to all of my recent photos in the Photos app. When I selected "None" in the filter menu, the yellows were expressed properly. Again, I don't know how this happened. Older photos did not have the Fade filter applied. I'll have to pay attention to this in the future.
But, if you want to reduce the yellow in your outdoor photos, the Fade filter works well.

How to control Color Mode and Resolution for brochure creation?

Hello guys,
I am trying to find some settings within Pages, where I could set CMYK color mode and 300 dpi resolution for my pdf file.
I am creating brochure from scratch, using blank document, because non of brochure templates work for what I need. But I can't find any controls for color mode and resolution set up.
Is there any solution for this?

There has been a lot of discussion in the Pages forum about resolution and some on CMYK.
Much of the discussion has been incorrect.
For the colour handling there is the colour palette
The Apple Colour Palette is the user interface for colour managing vector objects created in Apple Pages such as rules and panels and for colour managing one class of vector objects not created in Apple Pages, namely typographic objects.
Imported objects maintain their colourant model and colour space, if there is one. If there is none, a colour space is assigned and the assigned colour space is saved out into the PDF, opposite e.g. Adobe Photoshop which will colour manage the object in the open editing session, but will then save out the object to disk without the assigned ICC profile if 'Colour Management: Off' is configured.
Therefore, if the imported object is data space CMYK and the colour space device CMYK, the system will assign the Generic CMYK Profile which is equivalent to ANSI CGATS TR001 colourimetry (US SWOP); if the imported object is data space RGB and the colour space is device RGB, the system will assign the Generic RGB Profile which is equivalent to sRGB colourimetry in OS X 10.5 and higher.
In general, always capture and then convert for correction in one of two data spaces with three channels, either ICC colour managed RGB or ICC CIELa*b D50. Then convert to CMYK1, CMYK2, CMYK3, CMYKn from the ICC colour space chosen for correction and archiving. This colour space should be large enough to hold any colours that the output colour spaces can hold.
The Apple ColorSync Utility has a gamut comparison dialogue which is 3D (point, press, and turn the 3D gamut comparison). Use this facility to pick an ICC colour space of reasonable size and shape for correction and conversion into final output. Don't pick sRGB as a quick look will show that it can't hold as input what ISO reference offset can hold as output for pure cyan, let alone hold what a big inkjet can hold in greens, blues, reds and yellows.
The ICC architecture lets the ICC profile for the printed output match out of gamut colours to in gamut colours using the Perceptual rendering intent, as intended in the original architecture from 1995. Adobe internally introduced an inhouse conversion for compatibility with PostScript and as default for PDF, Relative Colorimetric with Adobe Black Point Compension. Relative Colorimetric is in fact a proofing transform, without gamut mapping. Black Point Compensation is a simple linear scaling of the lightness to compensate for the fact that the shadows will be clipped in a Relative Colorimetric conversion.
The other problem is transparency, introduced in the QuickDraw Graphics Extension for Mac OS 7.5. Transparency is not supported in any version of Adobe PostScript (level 1, level 2 or level 3). Transparency is also not supported in any version of Adobe PDF prior to version 1.4 and higher. Therefore, unless the RIP Raster Image Processor is able to accept PDF 1.4 and higher, transparency has to be rendered / flattened which is done in the PDF/X-3 filter of the Apple ColorSync Utility.
The idea in the PDF/X-3 filter (for Adobe PDF 1.3) is that the everyday enduser, after placing ICC colour managed RGB or CIE La*b D50 objects, and after choosing an ICC colour space for objects created in Pages, chooses the ICC colour space for the output condition. The filter accepts both ICC profiles of type MNTR Monitor with data space RGB, ICC profiles of type PRTR Printer with data space RGB, and ICC profiles of type PRTR Printer with data sapce CMYK.
The colourant conversion (RGB to CMYK) and the gamut mapping (out of gamut colours in input colour spaces mapped to in gamut colours in output colour space) is then calculated as per the ICC profile for the output condition. An output condition is the combination of factors that affect how colour is formed: the colour lightness and colour tint of the paper, the colours of the colourants, and the tone value increase. Think of gamut mapping in a good ICC profile as Format 1 kerning in a TrueType font (where your font has state-based kerning for up to 8 glyphs simultaneously).
Below a link to a discussion of how to change the default PDF/X-3 filter the Apple ColorSync Utility. "Wegen diverser Fehler im Mac OS X empfiehlt es sich, wo immer möglich, die PDFs ohne Transparenzreduktion (also auf normalem Weg) über den Befehl Als PDF sichern zu erstellen und das Flattening der Druckerei zu überlassen," that is, pick the plain save as PDF path and leave the transparency flattening to the prepress technician.
Henrik
Reference:
http://www.icalamus.net/tutorials/howtocreatepdfx.php

Color Space and Bit Depth - What Makes Sense?

I'm constantly confused about which color space and bit depth to choose for various things.
Examples:
- Does it make any sense to choose sRGB and 16-bits? (I thought sRGB was 8-bit by nature, no?)
- Likewise for AdobeRGB - are the upper 8-bits empty if you use 16-bits?
- What is the relationship between Nikon AdobeWide RGB, and AdobeRGB? - if a software supports one, will it support the other?
- ProPhoto/8-bits - is there ever a reason?...
I could go on, but I think you get the idea...
Any help?
Rob

So, it does not really make sense to use ProPhoto/8 for output (or for anything else I guess(?)), even if its supported, since it is optimized for an extended gamut, and if your output device does not encompass the gamut, then you've lost something since your bits will be spread thinner in the "most important" colors.
Correct, you do not want to do prophotoRGB 8bit anything. It is very easy to get posterization with it. Coincidentally, if you print from Lightroom and let the driver manage and do not check 16-bit output, Lightroom outputs prophotoRGB 8bits to the driver. This is rather annoying as it is very easy to get posterizaed prints this way.
It seems that AdobeRGB has been optimized more for "important" colors and so if you have to scrunch down into an 8-bit jpeg, then its the best choice if supported - same would hold true for an 8-bit tif I would think (?)
Correct on both counts. If there is color management and you go 8 bits adobeRGB is a good choice. This is only really true for print targets though as adobeRGB encompasses more of a typical CMYK gamut than sRGB. For display targets such as the web you will be better off always using sRGB as 99% of displays are closer to that and so you don't gain anything. Also, 80% of web browsers is still not color managed.
On a theoretical note: I still don't understand why if image data is 12 or 14 bits and the image format uses 16 bits, why there has to be a boundary drawn around the gamut representation. But for practical purposes, maybe it doesn't really matter.
Do realitze hat the original image in 12 to 14 bits is in linear gamma as that is how the sensor reacts to light. However formats for display are always gamma corrected for efficiency, because the human eye reacts non-linearly to light and because typical displays have a gamma powerlaw response of brightness/darkness. Lightroom internally uses a 16-bit linear space. This is more bits than the 12 or 14 bits simply to avoid aliasing errors and other numeric errors. Similarly the working space is chosen larger than the gamut cameras can capture in order to have some overhead that allows for flexibility and avoids blowing out in intermediary stages of the processing pipeline. You have to choose something and so prophotoRGB, one of the widest RGB spaces out there is used. This is explained quite well here.
- Is there any reason not to standardize 8-bit tif or jpg files on AdobeRGB and leave sRGB for the rare cases when legacy support is more important than color integrity?
Actually legacy issues are rampant. Even now, color management is very spotty, even in shops oriented towards professionals. Also, arguably the largest destination for digital file output, the web, is almost not color managed. sRGB remains king unfortunately. It could be so much better if everybody used Safari or Firefox, but that clearly is not the case yet.
- And standardize 16 bit formats on the widest gamut supported by whatever you're doing with it? - ProPhoto for editing, and maybe whatever gamut is recommended by other software or hardware vendors for special purposes...
Yes, if you go 16 bits, there is no point not doing prophotoRGB.
Personally, all my web photos are presented through Flash, which supports AdobeRGB even if the browser proper does not. So I don't have legacy browsers to worry about myself.
Flash only supports non-sRGB images if you have enabled it yourself. NONE of the included flash templates in Lightroom for example enable it.
that IE was the last browser to be upgraded for colorspace support (ie9)
AFAIK (I don't do windows, so I have not tested IE9 myself), IE 9 still is not color managed. The only thing it does is when it encounters a jpeg with a ICC profile different than sRGB is translate it to sRGB and send that to the monitor without using the monitor profile. That is not color management at all. It is rather useless and completely contrary to what Microsoft themselves said many years ago well behaved browsers should do. It is also contrary to all of Windows 7 included utilities for image display. Really weird! Wide gamut displays are becoming more and more prevalent and this is backwards. Even if IE9 does this halfassed color transform, you can still not standardize on adobeRGB as it will take years for IE versions to really switch over. Many people still use IE6 and only recently has my website's access switched over to mostly IE8. Don't hold your breath for this.
Amazingly, in 2010, the only correctly color managed browser on windows is still Safari as Firefox doesn't support v4 icc monitor profiles and IE9 doesn't color manage at all except for translating between spaces to sRGB which is not very useful. Chrome can be made to color manage on windows apparently with a command line switch. On Macs the situation is better since Safari, Chrome (only correctly on 10.6) and Firefox (only with v2 ICC monitor profiles) all color manage. However, on mobile platforms, not a single browser color manages!

Premiere Pro CS5.5 -very strange issue with the color tones and Preview-

I deal with a very strange and not usual problem in Premiere Pro CS5.5 (also the version CS5). What I try to do is just a simple color correction. The problem occurs when I try to use Three Way Color Corrector but it happens with Fast Color Corrector also.
When applying the Three-Way Color Correction and without changing anything else (just applying), can be seen in the preview of the soft how sudden changes in color tones. For example, the gray tone becomes a little more green, but also can be seen very easy a change in the other color tones too. In fact even RGB Parade show the same thing. This is very, very strange and unacceptable and saw that it happens when trying to use Colorista II too.
I tried the same thing in Sony Vegas Pro 11 and I downloaded the trial version of Edius 6 to convince me if the same thing happens. Not! In Sony Vegas and Edius everything is working correctly, I have not experienced these problems in the preview's of this 2 others softs.
This issue is very annoying because every possible color correction is based on what we see in the preview and if in this preview the tones are seen altered realize that can not make a decent color correction. So what happens here?!? I uploaded a small video demonstration to see very clearly about what I'm talking. You can see in the next link: http://vimeo.com/35317616

Yes Jim, you're right. No changes in the scopes when one just apply RGB Curves, Fast Color Corrector, RGB Color Corrector or the Three way Color Corrector (last three thanks to the new update 6.03). I already wrote that Adobe team has been able to fix this bug for some of the tools/effects.
But Brightness&Contrast? Change Color? Color Balance? Levels? MBLooks? Twixtor? Colorista II? Does it seem normally that all scopes or just one of them jump when you just apply one of these effects/tools? Not to say that in some situations even the tones change (especially in shadows&midtones).
You say this is something "very minimal". I say it is not so. I don't find normally to make a very detalied CC with Three way Color Corrector and then when applying Colorista/MBLooks, for example, the scopes jump and inclusively some tones may be influenced. And I left clear examples in this topic where you can see that this is possible. I don't know if this is "very minimal" or not, but is really so impossible to edit in Premiere without this "very minimal" issue?!? How can it be possible in other softs (Edius, Media Composer, Vegas Pro) and in Premiere not?!?
One more thing: many of us use intermediate codecs in the editing process. Do you find normally that a AVCHD video have the lumninance at approximately 110IRE, to export it directly to Cineform and then import it in Premiere, and the waveform shows the luminance at 100IRE?!? How is this possible?!? So the AVCHD video have a 110IRE luminance, you convert this video to Cineform without changing anything, and then this Cineform video have the luminance at 100IRE?!? And anyone can verify this example.
So, how can one trust in this soft?!?

Color editing and correction ?

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