COLOR MANAGEMENT PROFILE

Hello!
      I would like to ask this:
I want to export my project and in such a way that the final clip to look the same in every monitor (PC, Mac, TV, even film). The
only way of achieving that is by embeding a color profile. That can be done only in After effects. The  problem is that I use After
effects in order to make the effects or some color correction. You can never use  After effects to render the whole movie.
So, the final render is done by Premiere Pro. Premiere Pro though is not equiped with color management. So how can I embed
a certain color profile when exporting the final project from Premiere?
      If I render the clips consisting the whole project in After effects and render them out with the embeded color profile and then
import them into Premiere for the final editing and exporting, will it be possible to maintain the spesific profile, since during clips
exporting from After effects, I checked "include metadata" (on)?
Thank you!

giannis72str wrote:
Hello!
      I would like to ask this:
I want to export my project and in such a way that the final clip to look the same in every monitor (PC, Mac, TV, even film).
This isn't possible.  Just about every monitor has display settings that can defeat whatever your intention was to view it.  This especially goes for digital TVs that have different viewing modes, and Never Twice the Same Color, NTSC.
The Color Management in Ae is extremely untrustworthy (in many professional opinions), and I'd guess that most people using Ae turn it off completely, and instead use LUTs with their monitor, with the possible exception of people doing film outs.
You can never use  After effects to render the whole movie.
Wrong again.
I think the best you can hope for is to color your project on a high quality calibrated monitor, and just wish and hope that people down line have made a similar attempt to set up their display devices properly.

Similar Messages

  • Help setting up color management profiles on mac

    I've downloaded the lasted drivers for my Canon MP620 printer, and installed them. But when I go to color management in the print module and click on managed by printer and then select others, the Canon drivers are not there. Wondering if I'm missing a step here for getting the Canon profiles to the right place. I'm using mac os 10.6
    Thanks

    gme109 wrote:
    I've downloaded the lasted drivers for my Canon MP620 printer, and installed them. But when I go to color management in the print module and click on managed by printer and then select others, the Canon drivers are not there. Wondering if I'm missing a step here for getting the Canon profiles to the right place. I'm using mac os 10.6
    Thanks
    From my little experience with Canon 'multi' printers, I would forget printing out of Lightroom with anything other than Managed by Printer. The Others you mention are profiles necessary for allowing Lightroom to manage the printing. I've set up two Canon multi models (MX860 & MP560). Neither managed to produce decent prints using Managed by Lightroom - largely because of the way that the Canon driver controls are configured. I talked at length with Canon (UK) about a work around, but in the end they gave up. That's the downside. The upside is that both printers produced great quality prints using the Solution Menu software that comes with the printers.
    Unless, of course, someone knows better.

  • Photoshop CS3 doesn't like "Lenovo ThinkPad LCD Monitor" color management profile

    When launching Photoshop CS3 Extended, I get a warning:
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    This recent T61p 15.4" WSXGA+ notbook's monitor is honestly pretty bad in terms of color accuracy. The overall sense is very blue; yellows show up orange. Is this normal? But that's really a side issue. I do most of my work on an external monitor anyway.
    Solved!
    Go to Solution.

    Thank you very kindly, Erik; my searches hadn't found that. However, my T61p appears to already have that software -- not surprising as that was released in December and this notebook was built about a month ago.
    I tried the instructions given, but Windows said my computer was already up-to-date. I suppose I could try uninstalling what the computer came with and reinstalling the download...
    [Edit 1]
    Ah, wait... I retried it from the device manager instead of display properties -- here, I could be sure I was picking the proper "monitor" (the display properties showed only my external monitor). It did instal... said I had version 4.0 and v 4.1 has the "fix" according to the readme.
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    Message Edited by davidhbrown on 04-21-2008 09:36 AM
    [Edit 2]
    Yes, indeed... Photoshop no longer complains. So, I wonder why this isn't in the software build or at least in the updates I've been faithfully downloading. But thanks again, Erik.
    Message Edited by davidhbrown on 04-21-2008 09:47 AM

  • Color management / profile problems for HP Designjet 5500PS UV

    Hi -
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  • Color management/print profile setting in LR2

    I tried to set a custom print profile in the LR2 Print Module. Specifically, I picked print to JPEG and under "Color Management" I picked "Profile/Other. When I pick other, an empty pick panel pops up. I use Vista 32 and under "\Windows\system32\spool\drivers\color" there are lots of ICC profiles available. How do I point LR2 to the location where Vista stores these profiles?
    Franz

    franz:
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  • Which monitor for accurate color management?

    I shoot digital product and food photography using a mac powerbook. I've been using a LaCie CRT (yes, I said CRT) monitor for fine tuning my photos. It has finally started acting up so I'm ready for a new monitor. Can anyone recommend a dependable monitor that has color, brightness and contrast controls for use with establishing color managed profiles using eye1 macbeth (now that company is called something else which I can not remember at the moment). Obviously it needs to be accurate when it comes to color, brightness and contrast as well.
    I ended up using my laptop screen this past shoot cause I had no other choice - but it made me really nervous.....
    thanks -

    First of all, my sincere condolences for your loss.  Losing your last high-end CRT is a traumatic loss.  I'm still hanging on to two (2) of them!  (Knock on wood!)
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    The NEC 2690 and 2490.
    You want to use the SpectraView II software to conduct all the work internally and use GammaComp and ColorComp.
    If Andrew Rodney chimes in with updated recommendations, listen to his advice.
    Wo Tai Lao Le
    我太老了

  • Which color management monitor?

    I shoot digital product and food photography using a mac powerbook. I've been using a LaCie CRT (yes, I said CRT) monitor for fine tuning my photos. It has finally started acting up so I'm ready for a new monitor. Can anyone recommend a dependable monitor that has color, brightness and contrast controls for use with establishing color managed profiles using eye1 macbeth (now that company is called something else which I can not remember at the moment). Obviously it needs to be accurate when it comes to color, brightness and contrast as well.
    I ended up using my laptop screen this past shoot cause I had no other choice - but it made me really nervous.....
    thanks -

    As for the last sentence in my previous post, I thought we were in the Color Management forum, where Andrew Rodney is often active.
    You may want to post there too:
    http://forums.adobe.com/community/design_development/color_management#
    This Photography forum is a graveyard these days.
    Wo Tai Lao Le
    我太老了

  • Invalid Color Management in Lightroom? (RAW)

    I've noticed the strange thing, how Adobe Camera RAW 4.1.1 displays the same image differently in Photoshop CS3 & Lightroom 1.4.1
    Here are the screenshots from both programs:
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    http://www.imagebam.com/image/956c3d6537871
    What I've got in Photoshop:
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    Notice the reds on the face and oranges on the trees on the background. 1) Face on second, photoshop variant is more reddish. 2) The contrast differs as well!
    3) There is more orange on the leaves on the second image.
    That's all happens in the preview in Lightroom - if I export image as a JPEG and open it in Photoshop - the images will be the same. But BEFORE the export they're DIFFERENT! What's wrong?
    (Image is shot on Sony Alpha 350, white balance and all the settings in Camera RAW are the same in two programs).

    >yes they are, but in practice PDF causes lot's of bugs.
    My experience is opposite in that pdf is usually the only thing that actually works for multipage documents and things containing vector graphics. For single page photos of course tiff always works, but there are lots of clueless operators that do not know their behind from a color profile.
    >In my experience colors will be different even for an eye of a consumer. On some printers red will be more reddish, on others green more greenish etc. The contrast will differ either. Maybe you and we use different printers. BTW I work on Windows, maybe that's the point.
    I have always had basically perfect results. There was a time when Lightroom interacted wrong with printer drivers when you used profiles inside of the program instead of having the printer driver manage for you. This has long been fixed. Of course there are subtle differences between printers and it would be good if Lightroom had some sort of soft proofing to judge this in advance. The differences are usually pretty minor though nowadays.
    >Well, Noritsu, as I know, for example, uses its own color management profile, which you cannot tune even in Photoshop. If you use sRGB, it will be ignored, and you'll get a very low contrast print with desaturated color and you have to be there when it's printed to tune it with the lab assistant. Usually they do it themselves ... well... good. I have SOME good experience with Costco. But for many cases I can't get my colors and contrast without being there when it's printed. And it depends on paper - is it metallic, for example, or matte. The picture will be different. The colors will be different. And you can't check it exactly on your monitor being at home, or in office.
    I tested this extensively. If you do this right, it is very hard to see the difference between a sRGB print and a print converted to the profile. With well-tuned Noritsus, you get a small difference in oranges, and a tiny difference in greens - independent of the paper you use. This is the whole point of these machines. If you feed them sRGB, they should give you great results. Maybe my local costcos is very good, but I doubt they are very different from other labs. I tried both Matte and Glossy and they both showed the same result. This is borne out by softproofing in Photoshop that shows exactly the same effect. Note that I wrote about using lab profiles with Lightroom extensively and always tell people to use the profile, but in reality it really is not that important.
    See for example: http://lagemaat.blogspot.com/2008/05/great-prints-from-labs.html
    If you see large differences in contrast and saturation, there really is something wrong with your calibration workflow or your lab. FOr good prints, the only thing they need to do is to turn off their auto color correction, which with most labs you can do automatically in the online submission pages. I should tell you that you do have to judge prints under good lighting. Often these differences are simply caused by one day being sunny and the other overcast when you walk out on the parkinglot and take out your prints. This is not a real difference. Use a good high color rendering index lamp of high color temperature and you will see that they were the same. My local costcos is calibrated by drycreek photos every month and the profile hardly changes at all over time.
    >I don't know, Jao, maybe your point in photography is different, and you don't pay so much attention on colors. These things are subjective! Maybe you pay more attention on other components of photo. In my experience it takes lots of time to prepare a 40"x30" photo for print and then it takes more time and money to colormatch it.
    Actually my work is almost always about color. Perhaps I don't sweat it as much. I'd really like Lightroom to have some kind of soft proofing though showing how anal I am about color. I don't use costcos for prints larger than 12x18 as they don't do it locally, but I usually use smugmug's lab (EZprints) for the really large prints. They color manage for you and supply a profile that you can soft proof to if you want. They also appear to scale and sharpen the prints somehow. I've always had outstanding results from them and you can send back the images that you don't like at no cost, although I have never had to do that. I also use smugmug for galleries that clients can order from directly. They have always been very happy with the prints.
    >And I work in Windows, maybe your Mac does it better, maybe that's the point of my sad story. But Windows is my karma for many reasons.
    The point maybe, also, you print every time on the same printing hardware in Costco - that can explain it all.
    I have been happy with my costcos and with EZprints, but I doubt that it is much of an issue. As said, I don't use inkjets very often as they are so darn expensive and annoying to operate but I have never had much issue with bad prints. There is no reason why you could not get windows to behave better. The only thing that you need is to calibrate regularly. I have seen on this forum that windows tends to corrupt monitor profiles over time. The issue is always fixed by recalibrating regularly. Once every month should be plenty.

  • With color management, color picker current color does not match canvas color

    What gives here with color picker in CS3?
    RGB doc
    using color management/profiles
    View>>proof color using my Epson RGB printer profile
    create box
    double click fill box in palette box to view color picker
    pick color from spectrum area
    close color picker
    want to change color of box
    double click fill box to view color picker
    NOW current color does not match color on canvas, subtle but vexing color shift. So how can I use current color to pick a new color on the canvas is always different.
    here's an in illustration of the problem:
    http://docs.google.com/Presentation?id=dfv8h494_18gwqbsjg5

    Rob, here's screenshot of Acrobats Output Preview Object Inspector. You can download my PDF here - //www.fileswap.com/dl/Q1CzzOzEqt/
    I'm not sure if CM was assigned to document when created or  afterwards. In Color Settings preferences is stated Fogra 39 (if it matters - document was meanwhile saved and opened...). Are there other options to assign workspace to exsisting document?
    Peter, this is not the case. Placed image has embeded same color profile as is working space of document in ID. I tried the same with sRGB image placed in same ID document and compared it to PS but color shift (greenish) is present - it looks exactly the same.
    Guys, I can't tell you how happy I am to have you help me with this terrible and nerve-wracking problem.

  • Canon pixma pro 9000II printing - color management and resolution settings

    1) is the printer color management automatically turned off when I select the paper in the color management profile drop down? Or do I need to do something else as well?
    2) a little bit of a newbie question, but I'm wondering what resolution to select (for presentation prints) - auto or 300 dpi. And again in the print dialogue box (under "quality and media"), whether to use high or standard. Wondering what to match with what, etc.
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    The answer to the first question appears to be yes. ColorSync is automatically enabled, and Canon Color Matching is automatically disabled.
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  • Color Management Custom Profiles - None available (Vista)

    I get bad color in my prints from LR. My printer supports Adobe RGB, and hence I believe it would fix the problem is I could get LR to convert the image to Adobe RGB before printing. Under Color Management, I click on "Managed by Printer" to get a popup menu that has both "Managed by Printer" (checked) and "Other" as options. I select "Other" and a window appears with the title "Choose Profiles" and the text "Choose profiles to appear in Custom Profile popup:" The problem is that the window is empty. There are no choices! I have checked and I have the ICC files installed in Windows\System32\spool\drivers\color and they are associated with my printer by windows. I copied and add icm versions of the icc files. Still no profiles appear.
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    AdobeRGB and sRGB are NOT printer profiles, they are color spaces and you should not be able to select them in Lightroom. You need actual printer profiles if you want to print application managed from lightroom. Almost every reasonably modern printer includes them. It looks like this printer does not include them in a way so that you can use them. On most printers, you can still print printer managed, but it appears that this printer is not correctly color managed. I checked out the manual for it and it clearly is not color managed at all. Typical for HP's consumer line unfortunately. Apart from having a profile generated by any of the places that do that for you (which is about as expensive as an ink cartridge), I don't think you can print to this thing from Lightroom at all. In this case, really the printer manufacturer is to blame. They should have been doing ICC/ICM color management ages ago instead of relying on all applications to be dumb. It still stinks though.

  • Color management question on having separate profiles in one document

    I have a document with images in it that have attached printer profiles with different separations, I'd like to print without further conversion of these images since they are profiled to be printed with no color management, how do I go about this?
    Does Indesign see the attached profiles and ignore the document profile? Or Do I have to set a document profile with no UCR/GCR that will maintain CMYK values.
    Thank you

    >I'd like to print without further conversion of these images
    Profiles are only useful if there needs to be additional color conversions at output or exporta conversion to a new CMYK space (new press conditions) or conversion to RGB for monitor display or an RGB proofing device.
    You don't want or need additional CMYK to CMYK conversions so you don't need the embedded profiles. When the profiles are ignored, the ID document profile is assigned to the images (there's no conversion) and as long as you output with the destination as Document CMYK the image values will be output with no change.
    Ignoring the profiles can potentially change the ID preview of images separated with conflicting profiles (CMYK>RGB), but it sounds like you are simply separating for different black generations so you shouldn't see a preview change.

  • Need help understanding profiles and color management

    I made the big leap from inexpensive inkjets to:
    1 Epson 3800 Standard
    2 Spyder3Studio
    I have a Mac Pro Quad, Aperture, PS3, etc.
    I have a steep learning curve ahead, here's what I've done:
    1 Read a lot of books, watched tutorials, etc.
    2 Calibrated the monitor
    3 Calibrated the printer several times and created .icc profiles
    What I've found:
    1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
    2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
    3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
    4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
    5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
    So, why am I confused?
    1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
    2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
    I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
    Any help is greatly appreciated.

    Calibrated the printer several times and created .icc profiles
    You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
    So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
    The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
    The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
    By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
    You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
    The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
    The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
    If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
    The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
    You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
    As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
    Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
    If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
    The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
    You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
    So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
    As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
    There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
    Hope this helps,
    Henrik Holmegaard
    technical writer
    References:
    http://www.adobeforums.com/webx?14@@.59b52c9b/0
    http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

  • ICC profile from SmugMug not showing up in LR Color Managment

    I've installed the two standard ICC print profiles from the SmugMug website.  One is for EZPrints and the is Bay Photo  http://www.smugmug.com/help/choice-of-printing-labs
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  • Possibility to assign a color profile in the color management tab for more video formats

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

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