Color mode conversion

Fireworks CS3 question:
Photoshop lets you convert an image from RGB to CMYK to
etc... Can you
do that in FW?
Alec
Adobe Community Expert

Fw only outputs RGB color modal.
You can incorporate CMYK color specs by using the Color
/Mixer Panel, but even then, accurate output will still need to be
managed by Photoshop or Illustrator.
h

Similar Messages

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

Spot and Process colors - Color Mode confusion?

I have a question about how to choose colors in the New Color Swatch window. I think that I understand the difference between spot and process colors, but the dropdown options confuse me because whether I choose Spot or Process in the Color Type dropdown, the same list of libraries appears in the Color Mode dropdown. How does that work, or why does that happen? Is it a conversion? For example, if I choose Process as the Color Type, but then choose Pantone Solid Coated in the Color Mode, it shows me the colors available, but aren't the Pantone libraries for spot colors? And if I choose Spot as the Color Type, but then pick CMYK in the Color Mode, it gives the CMYK sliders. But shouldn't I be forced to pick from a Pantone library for a spot color? I would appreciate any explanations of this as I want to make sure that I pick the appropriate colors for my printed projects. Thank you!

You can create a spot color with a custom CMYK mix (and even name it the same as a library color if you want). The utility here is that you can create a custom spot color with a custom process conversion, or use your own own conversion numbers for one of the book colors if you think you have a better mix. I recently had to do a special mix for a Pantone spot conversion to fit a particualr press in order to get a better match to some other materials. That's how we handled it, though I did it by aliasing the pantone swatch to my custom spot and then changing that to process in the ink manager, rather than messing with the library color directly, which meant I could have either the custom or the book values, depending on the settings I chose, if the job went to another press.
There are, I believe, four sets of process libraries included in ID. The Pantone Process libraries are sets of stepped percentage mixes of the four process inks and have names that start with DS followed by some numbers. I think TrueMatch is a simialr system, though I've never worked with a printer who used it. Pantone Color Bridge and Solid to Process libraries are both process simulations of the Pantone Solid spot libraries. The Color Bridge is newer, and I think is largely replacing the solid to process.
You can get printed swatch books for any of the included libraries (spot and process) and you should do so for any library that you are going to use to specify color. Spot colors in particular may not render well on your monitor, and the press operator couldn't care less what you see on your screen. He's going to pull out his swatch book to verify that the color he puts on the page is the same as you specified.

Illustrator CC: Changing Document Color Mode + Edit Colors

Let's say I'm going to export a PNG.
If I switch the Document Color Mode from CMYK to RGB, IS IT THEN NECESSARY to also Edit/Edit Colors/Convert to RGB, if I'm just going to select each element and assign specific RGB values anyway?
In other words, is simply switching the Document Color Mode to RGB sufficient before manually assigning specific RGB values?
I'm thinking Edit/Edit Colors/Convert to RGB or CMYK is just relying on Illustrator's best judgment. Am I correct?

Color management needs to be set up in a way that it works as you want it to. Don't turn it off.
BTW: actually you can't turn it off. It is so deeply integrated in modern software that it will always work somehow.
Have all the numbers you set up in your colors be transferred correctly into the PNGs? Then don't worry.
When converting your document from CMYK to RGB all color values get converted: object colors as well as swatches. No need to use the Edit colors function.
When using File > convert to RGB resp CMYK document color mode, Illustrator applies the rules you have set up in Edit > color settings. That is: the profiles, the conversion engine, the intent.
Change one of the settings and you get different colors.
If you need to use specific RGB values, first convert the document color mode, then set up the color swatches and apply them to the objects.

Is it ok in the long run to placing a RGB photoshop eps file into a Illustrator CS2 CMYK color mode

Is it ok in the long run to placing a RGB photoshop eps file into a Illustrator CS2 CMYK color mode document ?
I am using windows XP with Adobe Creative suite 2.
In both Adobe Photoshop CS2 and Illustrator CS2 have the same color settings.
If I take a RGB file that was created in Photoshop CS2 and place this file in a CMYK color mode document in Illustrator CS2, does this cause a problem for the output of the document ?
If you look at the ''Document Info'' window you can now see that the RGB file is now a CMYK file. Is this a good working habit ?
Thanks in advance. :)

>Is it ok in the long run to placing a RGB photoshop eps file into a Illustrator CS2 CMYK color mode document ?
Please explain why you would do such a thing? (Why RGB, and why EPS.)
>If I take a RGB file that was created in Photoshop CS2 and place this file in a CMYK color mode document in Illustrator CS2, does this cause a problem for the output of the document ?
Yes.
You are working in CMYK mode presumably because your Illustrator document is destined for output on a PostScript device -- e.g., a printing press. That means that your RGB image will undergo a space conversion somewhere in the process, and the questions are when and how?
The issue is compounded by the fact that Illustrator ignores color profiles embedded in EPS files by Photoshop. (Just another reason not to use EPS.)
By performing the conversion yourself in Photoshop, you take control of the process and ensure predictable color.

Is color space conversion destructive?

Is a simple color space conversion from RGB to CMYK, and then back to RGB a destructive process – meaning will image data be altered in a way that makes it different that the original image? Like jpg compression? I’ve been working with multi-spectral image data in 4 bands (channels) that is not recognized by PS in it’s original form (R,G,B,NIR), hence the color space swap in order to manipulate. It is a very kludgy way to work with output from some amazing imagery. If the image is trashed by doing this, it becomes another reason for seeking out a better way to edit them. If it does not negatively effect the data I have a bit more time to find a better way. So far, it’s a tough row to hoe.
Thanks! TLL ( long time no post )

The experimental evidence is that the conversion is a lossy process. Take an image & duplicate it. Change one of the images from RGB to CMYK and back.Then change the blend mode to difference and you will see the resulting image is not black, but has low level colored noise - conversion errors.
Paulo

Enabling LOG C color space conversion with cLog or sLOG footage.

Hi Gang,
I shoot Sony F3, Canon C100 and Canon 5DMk3 cameras in their respective LOG modes whenever possible.   I would like to apply the newly added LOG LUT feature designated for ARRI footage to footage from these cameras. Although LOG C is different than the other LOG modes, it should be a good starting point to color grading.
Unfortunately, I can't seem to get the ARRI Log C toggle option to appear with my footage. Apparently there is a certain Metadata Tag in Alexa footage which must make it possible for the Radio Button to appear. I basically want to trick my FCP-X interface into believing the footage is ARRI Alexa Log-C footage even though it is actually Canon cLog, Sony sLog or Cinestyle. Yes, I know the Alexa Log-C profile is a bit different from the ideal profiles for each of these cameras, but it should be close enough for my needs. I will then fine tune each individual camera's color corrections using the FCP-X color panes. What I want is the Curve effect which is difficult to mimic using the Standard Color Panes. BTW, I've been using a 3rd party effect called Natress Curves for this until now, but would like to start using the built-in LUT feature instead since my company has multiple editbays which lack 3rd party plugins. Also, using the built-in color space conversion looks much simpler than the techniques I've developed for the Natress Plugin.
Can anyone tell me which metadata tag is necessary in order to activate the LOG-C LUT option?   Thanks Matt Thomas

Thanks for the reply BenB. I appreciate your willingness to help with this topic, but I'm not sure you understand what I want to do and why.
I want to use the LUT for its Luma curve in actual color corrections in FCP-X. I am not trying to use it for display of dailies or other uses which are common with LUTs.
LOG space color space is similar, but not identical with many cameras.   ARRI LOG-C is also very similar to the color space used in Cineon and DPX film scans which I used to see regularly. The black points may vary, but I can adjust black points in many ways. The general shape of the LUT curve should be very similar to other curves used to correct other LOG spaces. If these curves were dramatically different from eachother, they wouldn't be defined as LOG space. LOG is a mathematical formula for how the bits are arranged and reserved in the file structure which is somewhat similar to how stills photographers manage Zone System exposure indexes There is no magic about the way ARRI defines this. It is a way for ARRI footage to match 35mm scans easily and other cameras using LOG space such as the ones I am using regularly. I would LOVE to have Apple include specific LOG LUT's for each camera which I use, but since they have not done that yet, I would like to experiement with the included one which is designed for ARRI LOG-C.
I am a very experienced professional and understand very well how and why LUT's are being used in many ways across the industry. Yes, I use Resolve for certain tasks and yes, it is the best place to do advanced color work. The new Resolve LOG color correction pane is very useful and superior to all tools I've seen.   But I also use and enjoy the convenience of keeping my material within FCP-X as much as possible. And in many cases, FCP-X color correction tools are adequate for my needs. But when using Cinestyle, cLOG or sLOG footage on my cameras, controlling the rolloff of highlights is very difficult to do with the simple 3-way controls. in FCP-X.
Since FCP-X has no Luma or RGB curves tool built-in, I currently use the Nattress Curves plugin in an Adjustment layer over my timelines to provide a basic film look. The downside to this is that not all my editbays have licenses for the 3rd party plugins, and also there are some odd workflow issues which would be much simpler to manage the way that FCP-X does with Arri LOG-C footage.
My question is how to trick FCP-X into thinking the footage is LOG-C so I can use the newly added checkbox to interpret the footage using the LOG-C LUT in an early stage of color correction while the footage is still managed in Floating Point color space.
The LOG-C profile in the Nattress plugin works as a very good starting point for advanced color correction for footage shot by Sony F3, Canon C and Canon Cinestyle cameras. In fact, it is also a fairly good starting point for GoPro Hero3 ProTune footage as well. I am not attempting ot use the LOG-C LUT solely for color correction. Instead, I want to use it for CineGamma tonal correction which is only possible with a proper luma or RGB Curve.   I will then use the FCP-X color panes to ad specific modifications to each camera's footage to more closely match what I'm looking for. If I'm dealing with a camera with lower dynamic range, I adjust the FCP-X panes to compensate for that particular camera, then Paste these attributes to all the clips from that camera. This often results in a very good match from camera to camera while using the same LUT for the tonal look.   I would like to test this technique using the built-in ARRI LOG-C feature, but unfortunately, cannot until FCP-X allows me to use the LUT on other kinds of footage.
I hope this makes sense.   Keep in mind I am a very experienced and technical user and have a long history in the blogosphere and forums about these kinds of topics. I have very specific reasons for why I want to do this, and until Apple provides other LOG correction tools or a bonafide Curves tool, I am seeking to find a way to use the LOG-C as an alternative solution. BenB, it could be that Apple has closed out the LUT from other types of footage because of comments from their close peers which are not exactly helpful to actual real-world users. There are many more cLOG, sLOG and Cinestyle users using FCP-X than there are ARRI users and it is unfortunately they chose to limit their features to exclude these somewhat arbitrarily. My goal is to find a workaround for this odd decision and would love any tips or suggestions if the answer lies in the footage Metadata.

Automatically convert from RGB to CMYK color mode

I have over 900 barcodes provided in EPS format. When I open them in illustrator, they are coming in as an RGB color space file. I need them gray scale solid black in CMYK color mode. I can batch using actions to convert the artwork using "Edit Colors > Convert to Grayscale". However, the document color mode remains RGB. It appears, even after using "Convert to Grayscale", that the RGB color mode goofs up the placed .ai file in InDesign, treating it as RGB and seeing it as a mix of CMYK rather than the 100% black only it needs to be for proper sharp printing.
The actions pallet doesn't record converting the document color mode. Is there a way to automate that file conversion so they are all saved as CMYK rather than RGB, or am I stuck opening each of the 900+ files manually?

While recording the action, from the popup menu in the Actions Panel choose Insert Menu Item, then from the main menu choose File > Document Color Mode > CMYK color.

I try to insert some images on a website but the images are not in the right color mode. I do not know what to do? and also I have 1200 images to insert so I can not change one after one. So I need to set up an action, but I donot know how to do it... Tha

I try to insert some images on a website but the images are not in the right color mode. I do not know what to do? and also I have 1200 images to insert so I can not change one after one. So I need to set up an action, but I donot know how to do it... Thanks

What is the problem specifiaclly?
If the images are intended for web use I would recommend converting them to sRGB which could be done with Edit > Convert to Profile or with File > Save for Web, but as including a Save step in Actions and applying them as Batch can sometimes cause problems I would go with regular converting.
You could also try Image Processor Pro.
Scripts Page

Converting from pantone to cmyk color mode in Indesign CS3??

I am working on a business card for a customer, I am using Adobe Indesign CS3.
I use an outside company for the printing job called 4over (4over.com) and they require you use their cmyk pdf print engine so they can do the job properly... Basically to break it down: I am in Indesign CS3, I choose Print, and as the printer I choose their "4over pdf cmyk print engine" so the colors do not convert and the color doesnt change when they use their printers.
4over is telling me my document is in pantone color mode, they can see the pantone color 371C, but not the cmyk values.
How do I change from pantone color mode to cmyk color mode???
if anyone can help me please. I would really appreciate it.
I attached the file I sent to 4over incase that helps anyone answer my question.
Thank you,
Brandon

Before exporting, in the swatch panel, select your Pantone colour, right click and select swatch options. Change the color type to Process and the color mode to CMYK.
If it's a business card and you showed the client a pantone swatch, know that you won't get the same colour results. There's a very useful Pantone book available that shows swatches side by side with CMYK values.
http://www.pantone.com/pages/products/product.aspx?pid=283&ca=1&s=4

ITunes puts my computer in windows 7 basic color mode. It also does not recognize my iPad as viable video source

When I start iTunes on my desktop computer, instantly it switches to Windows 7 Basic Color mode:
"The color scheme has been changed
The following program has performed an action that requires Windows to temporarily change the color scheme to Windows 7 Basic.
Program: iTunes
Publisher: Apple Inc.
Process indentifier (PID): 3296
Windows will automatically change the color scheme back to Windows Aero when this program or other programs performing similar actions are no longer running."
When I close iTunes, it immediately switches back.
THEN, when I try and move a movie I have recently downloaded ("Tangled (2010)" or "Tron: Legacy") to my iPad (1st edition) or iPod Touch, iTunes tells me these devices are not supported:
"Tangled (2010) was not copied to the iPad "My iPad" because it cannot be played on this iPad."
I get the same message with "Tron". This is only happening with the movies I have downloaded after February. All previously downloaded movies work just fine. I have found when I transfer the new files to my laptop and use iTunes on there, everything works normally.
New for today...
When I plug the iPod Touch into the the desktop computer, iTunes locks up completely. I only get it back when I unplug the iPod.
Solutions...
I have done minimal talking via email with iTunes support. They told me to make sure I had the updated version of everything. I had explained in my original inquiry I had done that already. When I replied as such, I did not get a reply. I sent several messages explaining that I have deleted itunes all together from my computer and reinstalled the program from scratch. Finally, I received a second reply to reinstall iTunes.
Also, I have tried several ways of moving the movies over to the iPad and iPod: dragging/dropping, sync, auto sync. I get the same error message every time.
I am more than a little frustrated with Apple's lack of support and hope someone out there knows something that can be done. PLEASE HELP!
My desktop computer:
Homebuilt with EVGA 58x motherboard
Processor: Intel i7 920 @ 2.67GHZ
RAM: 12 GB
System Type: 64-bit Operating System
OS: Windows 7 Ultimate w/Service Pack 1
nVidia GeForce GTX 275 1GB GDDR3
DirectX 11.0
My laptop:
HP Pavilion dv6700
Processor: Intel Core Duo T8100 @ 2.10GHZ
RAM: 3 GB
System Type: 32-bit Operating System
OS: Windows 7 Ultimate
nVidia GeForce 8400M GS
Thanks in advance,
Scott

Just curious, have you resolved your issue yet?
I am working on a friend's computer that had the same issue and it turned out that her iTunes was set by some crappy program called TuneUp Companion to use Windos XP compatibility.
If you have TuneUp Companion, uninstall it.
Then check to see if iTunes is trying to run in some prior windows version compatibility and turn it off
http://support.apple.com/kb/TS1489

My illustrator CS6 crashes when i try to open an AI file with RGB color mode

My illustrator CS6 crashes when i try to open an AI file with RGB color mode. I worked on this file yesterday and changed it to RGB mode. Today i tried to open the file again but illustrator won't open it and crashes. It does work when i want to open a file with CMYK color mode.
Anyone know how to fix this ?

Have you tried trashing the prefs?

Can't see color mode in .ai files

Is Bridge not supposed to show detailed information about illustrator files?
I'm trying to view the color mode of ai files, but I can't get them to show.
I would think that it being a long-standing Adobe app that Bridge would allow it.
Any ideas?

You'll need to provide some better specifics.
I brought it in from final cut 6 as a quicktime output.
Did you use the Send To Color command from within Final Cut?
I'm going to suspect that your problems are a result of using a Mac Mini. Color requires the use of a graphics card, not an integrated graphics chipset (like those found in Mac Minis and MacBooks).
Quote from the Final Cut Studio Requirements page:
An AGP or PCI Express Quartz Extreme graphics card (Final Cut Studio is not compatible with integrated Intel graphics processors)

Why does my Bridge read RGB or B&W for the Color Mode on a file, when in Illustrator I have set it to CMYK?

I'm kind of stumped and this has been a question of mine for some time. I did some further digging on it, and did find that what it's reading is the Photoshop Color Mode XMP data, which is odd since the files were never in Photoshop, and were created in Illustrator. Is there a way to remove this info? How do I fix it?

Probably can be chalked up to one of Illustrators mysterious color issues.
Therefor it might be best to drop this question in the AI forum itself. I know to less of AI but just tried a bit with a new document, you can't convert to a new color profile like used to in PS, only select CMYK or RGB and assign a profile but that is not the same as converting.
Also in color settings it says by default to preserve numbers in stead of the profile itself.
And yes, mysteries are common at Adobe, although being one company one doubts often if they are even aware of the existence of Bridge and even other applications in the suites. Not even all file types of Adobe seem to be fully supported in Bridge…

I am new to scripting & I need Script for Document color mode

Hi,
Please help me to create a script which should find the Document color mode. I am new to scripting. And please let me know how to use the same.
Balaji

Are you using the Extendscript Toolkit Editor (ESTK)? In the Help menu you can find all the properties for Document that can be queried/changed.
(Personally, I don't use ESTK, because I really really hate it. But I don't want to miss the Help, so I made my own version. I have Illustrator CS4, and it's possible your version doesn't have this, but under Document I find:
documentColorSpace
DocumentColorSpace:
DocumentColorSpace.RGB
DocumentColorSpace.CMYK
readonly
The color space used for the document.
For the how-to-use I glady refer you to Adobe's own Starting With Scripting guides.)

Color mode conversion

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