Color sending out bad color!

OK so I did the update for Color this morning (yeah I know, middle of a project not a good idea).
I opened up my project and it looked very different. Everything had an excess of red through it. Flesh tones were screaming red. So I figured maybe the project was affected by the update, so seeing as I wasn't too far in I started from scratch with a new sequence from FCP. Still too red. I then recalibrated my monitor and and ran SMPTE bars through FCP and Color. They checked out ok on the scopes and the monitor. Sent another new sequence to Color and still way too red. A comparison from the computer monitor to the broadcast monitor in FCP shows no significant shift but the same shot within Color has a HUGE shift.
I'm using PAL footage digitised at 10-bit uncompressed Kona 3. Mac Pro Dual Quad, ATI X1900.
Anyone else having a similar problem?

I'm getting the same thing here. REALLY overly saturated renders in PAL. I;m also getting a noticeable difference in renders in NTSC too but nowhere near as bad the PAL problem.
I just graded a clip shot in ntsc where I did the basic grade in Colour before converting it to PAL in Shake for its final output. I had accepted the small shift in colours from Colour to FCP in NTSC but when I put the PAL footage in to do a tweak and sent it back it was horrible!
So now do all us PAL users have to wait for 1.0.2 to get a vaguely functional product?
Cheers,
Toby

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Web Colors: Washed out. Color Profile?

When using lightroom, I find that photos that are exported as Web images appear washed out and lighter than when I'm in the "Library" section. I find myself compensating by darkening the images in the Library to get the just right in "Web".
I guess I attribute that to a mismatched color profile. But I can't find any settings saying "the Library color profile is AdobeRGB and the Web profile is sRGB" or something like that.
Where is that setting? Am I crazy? Again? :-)
gm.

After so many people here and in every other photography forum asking why their images look 'wrong' in a browser, and the answer being, over and over, that they are using the wrong color space for output, it should be obvious that the reason that they notice and catch the problem is because they are using a non-managed browser. The ONLY reason they caught the problem is because they are using a non-managed browser. If they are using a managed browser, they won't catch the problem.
I would much rather use a browser that represents an average view and have confidence that people are seeing something reasonable, than assume that everything went right and post stuff indiscriminately and in a sense blindly. After all, if there is going to be so much variation between monitors, why stress out with color management in the first place. Just calibrate your monitor so you have a decent baseline and move on. But have SOME way to know that the workflow went as expected... use a managed browser and that final check is inexistent.
Suppose you print at a place like Lulu.com. Would you upload and order
50 copies of a book before you buy one copy of a book and make sure that everything is correct? That would be just plain stupid. Well, putting up a website without checking it on a non-color managed browser is just about as silly.
To each his own... some advice is practical, some is theoretical... understand the theory, but live in a practical world. And take simple steps to catch stupid mistakes, like making sure that you use a non-managed browser to make sure that you output the right colors.

Printing to an Epson R2880 results in bad color (only from Adobe SW)

I've had a nice workflow that I've used for years. I'm sure many of you would find it a bit tedious and I won't go into the details of it, but the important part is that I always printed out of Photoshop (CS6 Extended - now at 13.0.3 - yes I have the stupid Trial window bug, but that's another matter). My monitors are profiled (no custom printer profiles, but I've downloaded appropriate profiles from PixelGenius for those times when I've needed them, and with my color management my prints have been fairly accurate. I use and Epson Stylus Photo R2880 and I've been very happy with it. I mainly work on a 24" iMac (2009 vintage). Recently I decided to change my workflow entirely based on some of the tutorial videos I've purchased from LL. I decided I was ready to integrate much more LR into the workflow, especially now that it includes soft proofing. Because of the new workflow I was really looking forward to printing out of LR. That should more or less get you current.
To date, I haven't printed with my new workflow and I'd say I haven't printed anything since 13.0.1 on PS and 4.1 on LR (not that I was printing from LR at the time). Having not printed in a while I knew I'd need a head cleaning (sure enough I did) and, as is my habit, once the head was clean, I printed (from LR) a 4x6 of the image I planned on printing at a larger size. It catches any lingering gunk after a cleaning. The print just didn't look right to me (too dark and the colors were a little off). I've encountered prints with bad colors once before and it turned out to be a driver issue. In the process I found a great image that is indicative of some kind of problem and I keep both good and bad prints of it handy... just in case. I decided to print this image, and sure enough it came out looking like the standard craptastic version I was getting with the bad driver ages ago. Just to check out that it didn't have to do with my new process, I printed the same image from PS (which worked fine last time I printed this image). It too came out all wrong (the same all wrong as LR). Since the bad prints looked just like the old "bad driver" prints, I figured I knew what was going on and worked with Epson to reset my print pipeline and reinstall my printers (I also have a Workforce 845 for "throw away" printing and for my wife to use).
With new installs for my printers in place I went ahead and printed again... and again it came out wrong. I was, to say the least, despondent. As a final sanity check I loaded the image up in Nikon Capture NX2 (version 2.3.1) and did a print. All of a sudden the print came out perfect. It matched my old "good" prints and, just as importantly, was a dead ringer for the image on the screen. This is where I find myself. Apparently color management is broken in my Adobe products, but works fine in my Nikon software. I'm at a bit of a loss. I'm 99.999999999% sure that I'm printing out of LR, and especially PS, correctly. Anyone have any ideas? I'd love to be able to print again. Printing out of Capture NX2 is really not a great option.
Thanks in advance,
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I agree this whole issue is confusing. I have been on the issue (proper printer driver behavior and proper application behavior) using Apple's new print path for a few years now, so I will try to make an attempt to clear up as much confusion as possible.
If drivers and applications are working (written) properly this is how it is supposed to work.
When printer manages color is selected in an application print dialog then all functions of the printer driver are available.
When applications manages color is selected then Color Matching is grayed out defaulted to ColorSync, and the property written print driver defaults to No Color Adjustment (Epson) or No Color Correction (Canon).
See attached examples of both Epson 9600 driver version 8.19 and Canon iPF driver version 2.14.
Epson can and has definitely gotten it right with their latest drivers.
Canon on the other hand uses a special case file (AppColorMatchingInfo.xml) which list the applications that use Apple's new printing path. New application like Photoshop CS5 will need to be added to this file or the driver will default to color management when application manages color is chosen which results in double profiling.
I see nothing that indicates to me that neither Apple or Adobe have problems or bugs in this printflow. Only drivers (and old drivers) that are not written correctly for Apple's new printing path seem to have these problems with double profiling. That being said, do I agree with Apple's approach regarding the new print path? NO. It appear to be an attempt to idiot proof printing using application manages color printing, although it is claimed to be necessary for 64-bit applications. I personally would prefer to use the old print path (like still available in Indesign) where all options are available in the driver regardless of what CM setting I choose in the application print dialog. But it is what it is.
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Bad color profiles on B8850

posted in another forum but thought I'd try here before I lose my mind trying to figure this out...
I think perhaps my color profiles are bad? Here's the situation:
1) printed a color wheel image on plain paper to test what colors I'm having problems with, and everything looked fine.
2) printed the same color wheel on photo paper and the oranges are just dead, really grey looking, but the rest of the colors are fine.
So, seems like the question is why are my photos not printing correctly on photo paper but do on plain paper? Any ideas or suggestions? Bad color profiles or something for the HP Photo Paper?
I'm losing my mind trying to figure this out. Any ideas are greatly appreciated.
cheers,
Aaron

Every type of paper accepts ink a little differently. If there is a setting that matches that particular paper right in the driver preferences available, I would try that. However, if that is what you are using, then try a different selection, or go into the color management tab (depending on operating system, drivers installed basic versus full) and adjust colors that way to improve the output on that media.
This might offer some additional help:
http://www.hp.com/united-states/consumer/digital_photography/print_better_photos/tips/printer-settin...
007OHMSS
I was a support engineer for HP.
If the advice resolved the situation, please mark it as a solution. Thank you.

Bad color after exporting in iMovie 11

I just got a Macbook Air (mid 2012 model) mainly for iMovie and I have to say I'm disappointed with the export quality.
I tried the standard export option and that results in a low bitrate washed out(color) video.
I tried just about every other option in the 'export with quicktime' including increasing the saturation using the filter menu.
But every option results in a video that has really bad color It's messed up and has a 'blackish' look. WHat I mean is that red lips look a little brownish pink, colors and blacks are darkened, they lack the shine the original vid had.
In iMovie, everything looks great. Can somebody please help me out?
The animation codec resulted in a 16gb file for a 3min vid but the colors were normal. But when I played it back in Windows 7, the colors were messsed up again.
Can someone please tell me the settings (when exporting in iMovie) for the best quality when played back on a PC?

Fortunately you didn't do anything wrong. Unfortunately iMovie is not geared towards import and editing of MiniDV video the way it used to be.
DV video shot on a MiniDV camera has lines of video 'interlaced' with one another. So you half the video lines at any one time and your brain combines them up into a smooth looking image. Ever since iMovie '08 came out including later versions ('09,'11), on importing the DV/MiniDV format or any video with interlaced lines of video iMovie drops, or deletes 1 whole set of scanlines. That means 1/2 of the video signal is discarded on importing it into iMovie.Then it attempts to 'regenerate' the missing video by 'doubling up' the video lines that still exist. Unfortunately the side effect of this process is quality visually is degraded, suffers and people are unhappy. The benefit to iMovie, the Macintosh and Apple is it's easier to 'playback' and preview the video as you skim it on the timeline. And it works on even the less expensive, less powerful macintoshes available on the market. You don't need the most expensive powerful Mac Pro to get good performance out of iMovie now. So that's the compromise and trade-off working with interlaced video on any version of iMovie made since roughly 2007. Prior versions of iMovie like iMovie HD 6 were very tailored to MiniDV camera video and were able to maintain the interlaced video data by design.

Enabling firewire out from Color?

Has anyone attempted to edit the file in color where it says video output disabled?
I truly believe that Silicon Color the originator of Color intended for firewire out to be enabled, is it possible the apple made a deal with the AJA Kona and the Black Magic design that make the cards for video output to boost their sales?
If you are just working with standard DV, firewire out should be available don't you agree?
in one of the forums a user asked this question and several responded, if you want to play colorist, you must pay the big bucks, but why? if there is a way around.
I look forward to some feedback
Thanks
Sigi

Maybe Sigi lives closer to the source, and knows something the rest of us don't (and obviously there is much that is unknown), but...
if you're strictly going on "faith", my perception is that Final Touch was NEVER intended to work over FireWire; the original team considered anything less than a 3-monitor Kona/Blackmagic configuration to be at best a joke, and at worst an insult. Maybe both. But that was a long time ago in computing terms.
But here's some financial and historical background that might be instructive, and may help to shed some light on the path this app has been following.
FT was originally envisioned to be a dpx DI solution, but for business case considerations was diverted into a Quicktime corrector, and further perverted to work with Long-GOP formats, and then purchased (rescued?) and scabbed onto FCS2. COLOR 1.0, as most FCP users came to know it, was really FT version 2.7+? or maybe 8-something. We all got the rug pulled out from under us virtually within days of 2.7 Release Candidate 2 being posted on the old Silicon Color website. The whole thing went dark from October 2006 until April 2007. Six months, no support, no news, no fixes, no updates, no contact, nothing. Some of us had spent anywhere between $5K and $32K depending on whether one opted for the HD or 2K versions. Apple's compensation for the lost investment was a "free" upgrade to FCS2.... if you still had a valid Support contract. Now, interestingly enough, sales were suspended as of October 2006. FTHD service contracts were only valid for a couple of months, while 2K licenses came with a year of support. So effectively all of the HD licensees' contracts expired in that period. As compensation, Apple offered them an "upgrade" to FCS2, including COLOR, for $US499. The 2K licensees whose contracts still hadn't expired effectively wound up with a $30,000 version of Final Cut that came with a slightly better integrated Final Touch. (If they argued in order to receive it.)
Just like Warren Buffett said.... "There were mistakes made". I don't know if its a widespread attitude, but COLOR, née Final Touch, as it exists now, still has the feel of an "awkward child". You could say "special needs" if you follow my meaning. It has lost all of the cachet that it might have had as a serious grading tool. Speedgrade is pretty much the indie choice of the moment if you can't afford a Lustre, Baselight, Scratch, or whatever, etc. (At least my Tangent panels would work with the new system.) Apple's non-presence at NAB2008 pretty much suggested "withdrawal" in the eyes of broadcast professionals. The rampant secrecy that the company operates under is poison if there are large budgets involved -- consumers might find the whole thing delightful because they like to be surprised. You'd be amazed at how dim the view is from completion bonding companies when certain technical solutions are suggested as part of a project's workflow.
Showstopper is the word.
So, now you want FireWire for your SD projects. It seems like a trivial thing, doesn't it? But how would you assess the odds of that happening?
Given the history of decline, maybe you will get your wish. And then the app will be remaindered like LiveType and Shake. Because there will be no business case to put further R&D into it. I know, Apple sells hardware and the software is the frosting on the cake. I understand that. But the math of the bottom line will also start speaking louder than anything else. Under present economic circumstances maybe sooner than later.
Anything in this that is not true? Let me know.
jPo

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jubgb
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Hi
> Also, as noted, during initial boot-up the display appears to be of relatively normal brightness and the colors are as they should be... It is not until the XP desktop launches that things go astray.
According to your description I believe that this might be a graphic card problem.
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Bye & Greets

Color sending out bad color!

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