Color Management between AE and Pre Pro

Hello,
I'm posting this in both the AE and Premiere Pro Forums
I was working on clip in Pr Pro, sent it over to AE to do some color correcting. Normally when I have the 2 programs open, one is on my Apple Cinema Display monitor and the other is on my old HP monitor, so I expect to see some color differences. However, by chance I had both on the apple monitor and noticed that there was a color/luminance difference of the same exact clip on the different programs.
Which Program is displaying the true colors????????
Which program should I use to make my coloring decisions?
Should it be the program that will be doing the final render once the project is complete??
Is there a way to make the 2 programs uniform????
Lastly, if I choose a color management in AE project settings, should it be my monitor, NONE, or what? This color management issue is very confusing with so many different choices.
You guys (Adobe) need to simplify this.
Thank You
I'm using CS4 on a Mac OS 10.5.8.

I second the request--I know that getting TRUE color representation on a computer monitor is very hard, if not totally impossible, and that we really need to use a real reference monitor, but for those of us who cannot afford a proper reference monitor, it would be very nice to have some better color management options built into Premiere for getting our computer screens properly calibrated... I think I'll post a feature request! :-)

Similar Messages

Color Differences between Lightroom and Premiere Pro

I have been making color adjustments to movie clips in Photoshop or Lightroom (both of which do a great job), but when I bring the clips into Premiere Pro or Premiere Elements the colors are not the same as what I was seing in the other programs. It is as if the programs are using different color profiles. How do I resolve this problem?

bryanbrowne1 wrote:
I have been making color adjustments to movie clips in Photoshop or Lightroom (both of which do a great job), but when I bring the clips into Premiere Pro or Premiere Elements the colors are not the same as what I was seing in the other programs. It is as if the programs are using different color profiles. How do I resolve this problem?
Photoshop and Lightroom are designed for still photography. Still photographers use a color managed workflow that in general ends in a paper print. Since printers/inks/papers can in general display a wider gamut than computer monitors can display, we use tools manage it, such as soft proofing. The efficient way to control this is through ICC profiles of the printer/ink/paper combinations, of which there are thousands. Thus Photoshop and Lightroom and other still photography tools are esentially required to be color managed.
PPro and film/video have decidedly different requirements. The video workflow ends in a light source display (projection, HDTV, or web video, all are light sources, where a pigment ink print is a reflective source, which has entirely different characteristics). These end displays are not variable workspace displays. HDTV displays only in REC.709 workspace, its gamut, contrast, etc. are tightly defined. Web video uses the sRGB workspace. Etc.
I'm just sayin' that still photography and video have very different requirements. Trying to force still photography methods onto a video workflow is bound to be difficult and full of problems, as you have found.
The answer to your "How do I resolve this problem" question is perhaps to use the still photography tools for still photography, and the video tools for video. A stills workflow for stills, and a video workflow for video.
A video workflow implies doing color correction and color grading on external monitors that natively support the target work space (Rec.709 in the case of HDTV, Blu-ray, or DVD output [OK, technically DVD uses SDTV's REC.601 work space, but 709 is "close enough" that you can get by in all but the most critical applications]). IOW, use a production monitor, or at least an HDTV (calibrated of course), to judge final output.
Trying to color correct video on a computer monitor is just asking for trouble. As you well know by now.
A good place to start learning the video way of things when it comes to color correction and grading is Alexis Van Hurkman's Color Correction Handbook. Highly recommended; it answered questions that I didn't know enough to ask yet. Might for you too, IDK.

RGB Color management between Illustrator and Photoshop

Hi,
I have a color management issue when exporting JPGs from Illustrator and opening them in Photoshop:
In Illustrator (file is in RGB mode), I have a logo which has the color RGB 0/0/153 and I export a JPG. When I open the file in Photoshop, the color is RGB 1/0154.
I have activated Adobe CC Color Manegement via Adobe Bridge (option "Europe, Universal 3"), which should produce consistent results in all Adobe applications.
So which is the color that is actually in the file? And what do I have to do to get the color I want (0/0/153) actually exported from Illustrator? I need this color to comply with corporate design specifications of my client.
Since I have to produce a lot of files it is not possible to readjust all colors in Photoshop ...
Thank you!
Michael

First, check to make sure that the RGB working colorspace is the same for both Illustrator and Photoshop.
When exporting the jpeg from Illustrator make sure the 'embed' color profile is selected, and it is the color profile that is required for your client. If this is for web use, then sRGB is your best choice.
When you open the exported image in Photoshop, make sure that the color settings for Photoshop are set to 'Preserve Embedded Profiles'. After you open the image in Photoshop, you can double check by going to Edit > Convert to Profile... The source profile should match the embedded exported profile from Illustrator. If these match, your RGB color values from Illustrator and Photoshop should also match.
If the source profile does not match, cancel out of the 'Convert to Profile" and go to 'Assign Profile". Assign the profile that you embedded when exporting from Illustrator. Now Photoshop should have the same values as Illustrator.

Color Managment between Photoshop and Illustrator

Hi All,
Can anyone give me some tips of how to do the color managment in both Photoshop and Illustrator? I'm using Ai CS3 and PS CS3, although I have using CMYK mode in both software and having them in same Color profile setting, when using Ai to open a PS file the color is still different from what I see in PS. I would like to know is it possible to make it looks the same?
Thanks

Imo, you should establish a rather strict
color management strategy (examples):
1. Define in Photoshop:
RGB: AdobeRGB(98)
CMYK: ISOCoated
Gray: Black Ink ISO Coated (Custom profile)
Spot: Black Ink ISO Coated
2. Distribute this profile set by Bridge
3. Convert RGB images in Photoshop to CMYK
4. Define Color space in Illustrator as CMYK
5. Open the Photoshop file or the Tiff file in
Illustrator: here it looks as expected.
Problems: the CMYK file contains an ICC-profile
which is different to the global CMYK-definition.
Now it depends on the CMS strategies, and that's
the point where I'm usually giving up.
Best regards --Gernot Hoffmann

Color mismatch between CS4 and Canon PIXMA PRO6500

Hi there! I am trying to research if anyone else is having a problem with color mismatch between CS4 and their printer. Last night I printed a .tiff image out of CS4 to my Canon PRO6500 printer and the sky came out purple / pink! It was supposed to be a stormy grey color. I have the color management turned off on the printer settings. I have CS4 manages color turned on and the correct ICC profile selected for the paper I am using. When I do a soft proof in CS4 the image looks fine, but when I print I get something completely different, mostly with the sky (purple / pink) color! Just for the heck of it I did a Print Preview under my Page Setup and guess what, the sky actually shows purple / pink! So I have no idea what's going on. I checked all my setting, ink cartridges, tried different paper with the appropriate ICC profile and no dice. Still have a goofy looking sky! I thought PROOFING the image is supposed to show you how the printed image is going to look? apparently it doesn't because it's not. The Print Preview has an accurate representation of the print but I have no idea where the pink / purple sky is coming from. They are supposed to be stormy clouds as I said. I appreciate any help anyone can provide .
Sabciu

I have the color management turned off on the printer settings.
But do you have a measured color profile based on a sample print? Most likely not, so this is not doing anything in your favor. The current profile may present the defaults for a given printer, but not the actual density based on your other printer settings. So by all means, unless you can be sure to obey a full calibration throughout, turn on the printer CM. Also, since it is a Pro model, you may actualyl have to use the dedicated RIP software that was bundled with it to get correct results, not the default windows print engine.
Mylenium

Color management for web and print.

Hi there. I would like to post my images and have them print ready for clients. When I read about both of these I find one thing for web and one thing for print. I don't want to edit them twice. What would you suggest for easiest workflow? I like to post the images in an online gallery for my clients and if I really like them maybe use on my homepage. Do I have to edit twice or what is the optimal setting for a photographer. I do mostly portraits --family, baby, couples, etc.
I am pretty well versed in actual editing processes but my understanding in this portion is still lacking. I am trying prophoto rgb on photos today, but will this compromise my online quality?

brwmmw wrote:
…I knew of this option but did not know if it was optimal quality…
You define the quality of the saved image in the Save for Web and Devices dialog box.
brwmmw wrote:
…I have just been… using same files for web and print. I wanted to increase quality across the board in print and web…
That is absurd! (Sorry.) By doing that you are generating unconscionably and unnecessarily large image files. You're clients won't like that.
Remember that you have no control over how anyone sees your images on the web. Something like 97% of Internet users are running non-color-managed web browsers and uncalibrated monitor.
You and you're clients are best served when you stick to the lowest common denominator, namely sRGB images, for web.
brwmmw wrote:
…What mode do you use for prints?…
Personally, I like to stay in 16-bit ProPhoto RGB when I print my images myself. If sending them to a pro lab, I discussed it with the lab techs. But I have gathered a lot of experience by now. One really has to know exactly what one's doing to edit in ProPhoto RGB and stay in that color space. If sending my images to a cheap lab like Costco, I stick to 8-bit tagged images that I soft-proof with the specific printer profile that will be used by the local store.
You should—and probably do—know that ProPhoto RGB has a very wide gamut that includes colors that cannot be printed by many printers, and it's up to you to compensate for that. If you run into problems with ProPhoto RGB consider converting to Adobe RGB for print. Make sure the printer drivers that will be used to print actually support 16-bit printing, otherwise convert to 8-bit.
Since you're a pro, I would warmly recommend you watch the video tutorials comprising the "From Camera to Print - Fine Art Printing" series by Jeff Schewe and Michael Reichmann, that are/were available for download from the Luminous Landscape. They're working on a new 2011 edition, but the 2008 edition was just superb. Best $35 or so I've spent in a long time.
http://www.luminous-landscape.com/videos/camera-print.shtml
Wo Tai Lao Le (no connection to Adobe or Schewe/Reichmnan/Luminous_Landscape.)
我太老了

Color shift between play and pause

Hello,
On CC 7.0 and 7.1, I noticed there is an important color shift between pausing and playing my timeline when using "CineForm Visually Perfect" encoded source material.
This is especially noticeable on reds.
Using other codecs, there is no such shift.
My video card is a Geforce 650M. At first, I thaught it might be related to the video overlay settings of the card, but there are no such settings in the control panel.
Besides, using Quicktime to play the source produces no shift as well.
As I am often doing color correction using Premiere, and as I have dropped Avid exactly because I always had this same problem (when using a profiled calibrated screen), I would like to know precisely what is going on. As I'm regularly producing shows for broadcast, it is a real problem not to be sure whether what you see matches the final exported output in all circumstances.
NB : For the need of searching the cause of this problem I disabled any custom profiling of my screen.
Thanks ! for any answers.
Fred

Sure and thanks. But nevertheless, if you color correct using a calibrated screen, and produce for the web ; or if you do a first pass of color correction before the ultimate pass happens with a "properly calibrated TV", wouldn't you like that your paused frame would look like your playing frame ?

Pages and Numbers not sync between ipad and macbook pro. icloud problem?

My Pages and Numbers are stopped synchronizing via icloud between ipad and macbook pro. Everytime I edit something to Pages or Numbers on my ipad, my ipad failed to upload the edited version to icloud. what happened?

I have a slightly different problem with Numbers and Pages failing to sync between a Macbook and iPad via iCloud. I have checked all the obvious settings. I think the problem may be that the Macbook username is my email address, whereas the iPad username is my wife's email address. However, both addresses are named alibis for exactly the same email address from our internet provider – eg we get the same emails, despite appearing to have different addresses. So I don't understand why the iPad cannot pick up Numbers or Pages files that have been opened and saved in iCloud on my Macbook. Other apps, such as iCal, sync perfectly, but i guess they don't use iCloud. Any help appreciated!
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How to synch calendars between iPad and MacBook Pro?

How do I synch calendars between iPad and MacBook Pro?

Thank you for your help. However, I still have no connection; could it be that the laptop is signed in through my account and the iPad through my wife's?
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Difference between Satellite and Satellite Pro L100

what is the difference between satellite and satellite pro? for example - satellite L100-175 and satellite pro L100-176?

Hi,
the difference between Satellite and Satellite Pro is the operating system:
Windows XP Home for Satellite
Windows XP Professional for Satellite Pro
The difference between the models L100-xxx is just the equipment.
For Example the CPU:
Sat L100-175: Core Duo T2500; 2.0 GHz
Sat Pro L100-176: Core Duo T2400; 1.83 GHz
For further details look in the specs of the models.
Bye

Color shift between viewer and browser after pro kit update

hi there,
i thought i be one of the lucky guys since updating and running 3.0.1 was easy on my system. but after yesterdays pro kit update i experience a weird color shift between the look of pictures in the browser and viewer.
there is a strong colorshift in orange parts of sundown pictures. they turn magenta in the viewer but stay orange in the browser. the difference can easily be seen in the split screen. even weirder if i export a picture from the vier/split screen the exported files show the magenta tint. if i export them from the browser, they have the "right" orange tint.
this happens with raw-files from both d200 and d70. also exportet the raw and processed it with ps cs3 and everything was ok. anyone got a clue?
thanx in advance

just found the explanation. after my prokit update, all raw-files needed to be reprocessed and then i needed to select the standard apple camera module for the d200. that was quite tricky and i don't understand why something like this happens. why do all files need to be reprocessed and than afterwards you would have to manually select the apple standard converter and why did the viewer look different than the browser and why is there no warning module that tell you all files will have to be reprocessed?

Color Management Confusion-Photoshop and monitors

Ok, so I am asking this question because I am literally at my wits end with this color management stuff. I have become so confused in the past few days that I can’t even think straight. Anyway, I am hoping you all can help me “understand” how it all work. Let me start with some background information (since I know it will probably be asked)
am a photographer, I utilize Lightroom 4 and CS3 (I know its old but I am planning on getting CS6 soon).
put my pictures on the web that I will assume will be viewed on multiple different browsers.
also will be sending my pictures to print at mpix or whcc. I may decide to print my own but haven’t really made that determination at this point.
have a mac book pro that I work from.
Ok, so I need to get a monitor to work with but I am unsure if I should just buy the thunderbolt mac monitor or get a wide gamut monitor. I have heard so many people say that the wide gamut monitors just messed them up. Also, I am bit confused on the nature of monitor profiles and how they work with photoshop and lightroom. I would assume the monitor applies a profile at all times? I also don’t understand the existence of the prophoto and wide gamut profiles for the mac monitors… they clearly are not wide-gamut monitors, so how do these profiles exist for them, and why would they be useful (if you set the profile to prophoto for example, it is all washed out as expected). Are these profiles “assigning” a profile to the color? I am assuming so because if they were converting them to just a standard rgb then you wouldn’t have the faded colors (correct?).
I just am so nervous that I am going to create something that looks great in Lightroom or Photoshop but that looks awful on the browser, or worse, on a different monitor (standard monitor) and I would have no idea that it looked bad. Or, if I send something to a printer only to get a mess back.
Also, please let me know if I correct in this. If I am in photoshop and I have an untagged image (send via a friend), and lets just say it is really a prophoto image (although my friend didn’t tell me) and I say to assign the prophoto profile (upon import to photoshop). If that truly is the correct profile, the image should look correct. Now consider two scenarios from there: 1) I embed that profile in the image, if I upload that to the web (I know to be cautious, you should always use srgb for web), if the person has a color managed browser, the image would properly appear, because the browser would recognize the profile (in this case “prophoto”) and convert it to whatever it needed to be. But, if it was not a color managed browser, I run the risk that the web browser will just assign a profile, which will wash the photo out most likely, correct? Ok… and scenario 2) after I get the image from my friend and assign the prophoto profile (since that is the correct profile the image was actually created in, although it was untagged when it was sent to me), the image will look correct… BUT, is photoshop displaying the prophoto profile, or is it converting to RGB for my viewing, or is my monitor converting it to rgb for my viewing? I guess I just don’t understand how the monitor fits into all of this. You HAVE to use your monitor to see your images, and since most monitors (including my current one are standard gamut) it would make sense that you actually can’t see anything in the prophoto profile, and you are truly looking at an srgb profile since that is all your monitor can display.
Oh ya, and what benefit is the color match rgb? It seems everyone speaks of the srgb, prophoto, and argb.. but never some of the others.. so maybe I am just lost. I would even appreciate a link to some tutorials if you think those would be helpful.
I am seriously confused.. I would really appreciate the help.

I am not surprised you are confused about colour management because its a confusing subject. Luckily you own a Mac so you can get to grips with what the problems that colour management solves using the "colorSync Utility" and you will find this in Applications >> Utilities >> colorSync Utility. If you own a windows computer then I am sorry but you will be out of luck here and you should know better when you buy your next computer!! I am not sure why Apple gave us this application but it is really useful and all will help you understand Color Management.
1. Launch Applications >> Utilities >> ColorSync Utility.
2. You will see a list of "Installed ColorSync Profiles". Choose Adobe RGB 1998 which I hope you have chosen in you camera preferences.
3.You will see a 3D representation of the Adobe 1998 Colour space. This represents all the colors this colour space will hold.
4. Top left hand corner you will see a little arrow pointing down next to "Lab Plot". Click on this and a drop down menu will appear.
Choose "Hold For Comparison"
5. Now somewhere in the "Installed ColorSync Profiles" list you will find the profile for you monitor. Choose this.
6. You will now see a new colour space inside the Adobe 1998 Colour space. If you have a cheap monitor the colour space will be small
inside the Adobe 1998 profile. This means that you monitor cannot show you all the colors that are missing.
7. Now choose a printer profile say, if you use them a profile for an Epson paper or any printer profile you have and you will see another profile in the Adobe 1998 box which shows you the only colors that your printer can print. If you like choose your monitor profile then hold for comparison then the printer profile and it will clearly show the mis match between you monitor and printer.
8. Now choose SRGB and this will show you what colors a person using an average Windows monitor can see, poor people.
So this is the problem, all devises can reproduce only a certain range of colors. The adobe 1998 profile does not show all the colors our eyes can see " choose Generic Lab" profile, then "hold for comparison" then Adobe 1998 and you will see Adobe 1998 is a small profile but is a good average of our collective colour vision.
So how to solve all these missing colour problems. Well if you think of each devise, including you camera as speaking a different language from you monitor and printer then it is easy to understand that you need some sort of translator so that they all know exactly what colour is being talked bout pixel by pixel in an image. This is held in the ICC profile, but an ICC profile has o do more than this.
Say you camera can produce a specific red we will call for demo purposes "001" and your monitor cannot produce it, how do you solve this? Well it is very easy to fool our eyes. Our eyes work by comparison so if the profile maps red "001 to the nearest red that the monitor can show and then proportionally remaps all other reds to fit within the reds the monitor can show us then we actually think we are seeing a full range of reds. The problem comes if we use the wrong profile for this. The red 001 could be re mapped anywhere and could be outside what the monitor can show. Say that happens but the printer can reproduce that red 001. We would see an image on the monitor with not many reds and when we printed it we would be shocked to find reds on the print. Worst, we would see an image on the monitor without reds and would correct for this and end up with a print with heavy reds and would not be able to work out why.
So to solve this we should:
1. use the correct camera profile when we are opening "Raw" files.
2. Make sure you have the correct monitor ICC profile selected in "System Preferences" >> Displays.
3. In photoshop we should make sure that the " Edit >> colour settings " are set to Adobe 1998 for RGB.
4. If you are going to print you own photo in Photoshop go to "View >> Proof Setup >> Custom" and a box will
open. Choose the profile of your printer and paper and choose "Perceptual" for rendering intent and then " OK". If you cannot find
a profile for you printer and paper go to the printer of paper manufactures web site and download the profiles and instal
them.
5. You can now adjust the colors and contrast and photoshop will simulate how the output devise will deal with this. If you
are using an outside printing house, they will supply you with their ICC profile to download so just follow the same procedure and
choose their ICC profile and and do you colour correction.
If you have a cheap monitor you will still not get a 100% result but you will get closer. You really need a monitor that you can calibrate
regularly because generic ICC profiles are just that. They are made from the results of many monitors and so are 90% or worse accurate.
If you want to see a flag ship monitor at work go to http://www.eizo.com/global/support/db/products/software/CG223W#tab02 and go
to the bottom of the page and download the Eizo Coloredge CG223W monitor profile, instal it on your mac then open then ope
Launch Applications >> Utilities >> ColorSync Utility choose Adobe 1998 the hold and compare it with the Eizo Coloredge CG223W
profile. This is not the top of the range Eizo monitors that we use but you will see that this monitor will show most of the missing colour you monitor does not. This is actually a good tip if you are buying a monitor. Download the monitors profile and see how good it really is.
The weak link still is printing. The colors you see in RGB on a back lit RGB screen are very hard to reproduce by CYMK inks on paper. Here you really should have a profile made for your printer and chosen paper. If you don't want the expense of buying a calibrator and doing it yourself, there are on line services that will do this for you.
One final point you must remember. If you are using soft proofing in Photoshop ( "View >> Proof Setup >> Custom" as explained above), when you print you MUST choose in "Colour Handling" "Photoshop Manages Colour" and in the next step when the printing box appears
you will see a drop down box with "Layout" in it. Click on this and choose "Colour Management and choose "Off No Colour Management". If you do not do this Photoshop will manage the colour then the printer will do it again and the print will be a disaster.
This is a starting point really. Colour management is difficult but just try to remember that you need a translator between each step in the process to make it work so you have to make sure the correct profiles are being used by you camera, the program you use for opening the Raw photo files (Please don't use jpegs straight from the camera, but thats another subject), the correct monitor profile and output profile. If you don't check these it is like chinese whispers and your picture will be printed in Double Dutch!!.
Hope that helps. I am on location In Italy for a couple of months so will be unlikely to be able to reply to any questions for a while. Will try to check back and see how you are getting on. Drop me a line at [email protected] if you have any questions. Good luck.
Paul Williams

Color management problem (Leopard) and 1.3.1

I am getting good screen to print match with Photoshop CS3 printing with Leopard and the new Epson drivers, but Lightroom 1.3.1 prints like there is no, or very bad color management. The older (1.2) version on another computer prints fine. I am using the same custom profile and the same printer settings on an Epson Stylus Pro 4000.
Thanks,
Peter

Thanks so much for the straight forward explanation my friend! Much appreciated. I've been pulling my hair out over this.
When I got to around 20,000 10MP images (D200) in Lightroom on my 4 year old Powerbook G4 17inch (with two 500GB external drives of course ;-) and a hardware calibrated 22inch Viewsonic VG2230wm LCD), she started to give me the dreaded "pizza of death" far too often and I'd lose 30 minutes of work here and there. Very frustrating. So I recently (about 2 weeks ago) bought the MacBookPro 15inch (2.4Ghz, 250HD) with Leopard pre-installed. I'd gotten so used to printing straight out of LR 90% of the time, that when I finally got everything migrated and went for my first print a couple days ago, I was heartbroken (not to mention, in-a-panic with clients waiting!). Fortunately CS3 still printed flawlessly, but it was far more time consuming to have to create a separate (stacked) PSD file (and eat up additional HD space).
Anyway, I don't know why I'm telling you all this except I feel you probably can empathize with my situation, and your answer has at least put me at ease to know that it isn't some stupid move on MY part that has caused my meticulously built color management house of cards to suddenly crumble into a pile of *hit overnight! ;-) It makes me realize how much emotion I have invested in all the late nights striving for color perfection.
Speaking of late nights, it's after 1am here (Washington state) so I better wrap this for now. but a big thank you goes your way! And as a closing note, your 3800 comment has caused me to spend the last few hours doing research and I discovered that Epson has announced it is doing a year end clearance on the 7800 for $2000 so I'm seriously thinking about heating up one of the pieces of plastic in my wallet tomorrow morning and biting the bullet on a serious 24 inch printer. I can't really afford it right now, but that's never stopped me in the past! hehheh If I've learned any damn thing in my 53 years on this planet, it's that sometimes ya just gotta step up to the plate and swing! And this one is all your fault, you *astard! *just kidding* Hope to see ya around.
Cheers,
Jeff

Share iTunes library between Tiger and XP Pro?

I just recently got windows XP running on my macbook. I have already imported all my music (as unprotected MP3's) in iTunes for Mac. Since hard drive space will be slim for Windows, I would like to have iTunes for windows use the same library as iTunes for Mac. I'm running MacDrive 7 and iTunes-Windows sees everything just fine, but I have MacDrive set to make my Mac partition read only so as not to corrupt it. This makes iTunes-Windows unhappy. Is there any way to make this work?

Just for your info, Vista ***** whatever you try to do. I'm stuck with Vista on a pre-installed laptop. All experience I have from Vista is bad, don't buy Vista or a computer with preinstalled Vista if you can avoid it.
We have three computers in a home network, one Macbook Pro, one PC with Windows XP, and the Vista laptop. All are using iTunes-8, downloaded and installed last week.
Sharing iTunes libraries using the option to share libraries on a local network works fine between Mac and Windows-XP. The sharing also works fine between the XP and the Vista PC.
But the Vista PC can't access the Mac iTunes library. When trying to open the Mac library, iTunes on the Vista computer says something like "Fetching library info from...". It's the same problem when trying to access the Vista library from the Mac.
We had a similar problem when trying to access shared folders on the local network. Thanks to a tip on this forum how to tweak the Vista registry, the shared folder problem was solved.
I'm think some registry setting in Vista might solve iTunes shared library problems. Maybe some Windows freak knows how to patch the registry to solve this issue.
Otherwise the solution is to trash Vista, and install Windows-XP.

Color Management, Photoshop CS3 and Epson Inkjet Printer

I have been down this road before but here goes again...
Im using Photoshop CS3.
Im printing on an Epson Stylus Photo RX680 using Photo quality inkjet paper.
I know this printer is capable of very good quality prints.
Thing is I can not figure out the correct combination of color management settings to get a decent print out of Photoshop or InDesign.
I have read that you are supposed to turn off all printer color management and let Adobe manage the color. Doesnt seem to work.
I just get overly magenta images that look awful.
If I let the Epson color management control color I can get a lot closer but the print out is far from accurate or high quality.
So what the heck IS the correct protocol for printing to an Epson inkjet printer from an Adobe app.
BTW, I do seem to get a fairly decent print out of something like a PDF which I understand does its own postscript conversion before hitting the printer.
Is this what my issue is?
Does Photoshop or InDesign require postscript ripper software to get decent results out of an inkjet printer?

Have spent hours with both Adobe and Epson support people. I've read several of these forums. Is there an insurmountable problem with CS3 and Epson (2200/2400 are mine)? I have the Leopard patches and upgrade 10.5.4.
With Photoshop managing the color I get prints that are slightly underexposed and carry a pink cast. Color management is off. With the printer managing the color I get prints that are too green and dark. Epson advice here is to have color management off. There are two other choices for management but to adjust a perfectly balanced print to the printer's whim seem like cruel punishment.
Have a calibrated monitor and my CS2 works beautifully. Perhaps the best idea is to just go back to CS2 until Adobe and Epson can decide what to do. According to Adobe people, the CS3 gives much of the management back to Epson. According to Epson -- with CS3, you should choose the printer to manage the color (since this seems to be the trend between the two companies) but we users are not happy with the results.
What is the solution for right now?

Color Management between AE and Pre Pro

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