Color space AE CS5 Versus AE CS4 = !#%%$

Hello,
I'm trying to export HD uncompressed 10-bit with color space HDTV (rec.709) clips of VFXs footage that were done on AE CS5.
My main project file to which I want to integrate them in on AE CS4 which I am using (the AE CS5 render are made by someone else that has it).
My project file settings is in HDTV (rec.709) 16bit with mostly cineform clips, but with a few other VFXs shot that were renderer in HD uncompressed without problems (using CS4). I plan to them export my main project into HD uncompressed
We tried to batch of export:
First one was done in CS5 with HDTV (rec.709) in export settings but the project settings wasn't set to HDTV (rec.709) by the VFXs guy.
When I imported those clips in my CS4 main project there was difference in color (more golden) and blacks (more crushed).
You can it with the blacks's difference on the girl's hair and the side planel of the plane and the golden is less ovious on the picture quality but you see it a bit on the woman's face.
I then proceeded to check color space, and it was imported by default by AE in sRGB IEC611966-2.1.
I then changed it to HDTV rec.709 using interpret footage; it was a closer match, but not quite.
I then noticed that all my project's clips, including the HD uncompressed one that I rendered (under CS4) from work done by another VFX artist, were all in HDTV rec.709 YCrCb, but the the imported clips I was trying to match were in HDTV rec.709 only with no YCrCb mention afte them.
I talked with film's colorist and VFXs artist that worked with those projct file from which all the problematic shots comes (because problem is isolated to project file this person worked on), because we both over our head in color space territory.
We came up the the possible solution that the project setting might have been altered for quicker workflow and not set rigth again.
We checked and color space wasn't set in setting; colorsit suggested that if it's not set in settings no mather if you set it in your export settings, AE won't allow it and that's why it might have forced RGB, hence the sRGB IEC611966-2.1. It was in 32bit float instead of 16 bit, so that's ok, we initialy suggestedthat it might have been reduced to 8bit for quicker workflow.
After this, we proceded to re-render in CS5, bu we found a weird thing that we both don't realy grasp.
After he did the 2nd render (in CS5 still), he tried importing clips with old ones, to compare them to my unafected originals clips, in my CS4 project that he converted in CS5. It was worst. He then switched off the "blend color using 1.0 gamma"; which my project file didn't have on in CS4. The files are in 32bit float and color space was HDTV (rec.709), but since it's not embed in HD uncompressed files he set them manualy after importing them.
The OLD render batch was matching, but not the NEW ones.
Then he tried importing both render batch in the original project file he exported them from, and it was the NEW batch that now matched.
He's now doing test in my main project file in CS4 which is were I'd ultimately like it to work in,
but if anyone could gives us pointer as to why this is happening and how to make it match with no hassly tat would be great help.
Thank you for your time and interest.
Frédéric

You've lost me, honestly, but obviously you seem to be close to the solution. Your colorist is mistaken, though, about how AE handles color profiles. It doesn't discard or enforce profiles, it really seems you just forgot to carry them somewhere. Also, since these are different machines, maybe a specific profile was not available. eitehr it was never installed or it is blocked due to permission issues...
Mylenium

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Color Shift with ProPhot RGB in CS4

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There is no color sift when I open the same image using Adobe RGB.
Why is this happening?
Lynnea

There is a color shift when the Photoshop color space is set as ProPhoto (Edit>Color Settings) and the RAW color space to open in Photoshop is set as ProPhoto.
There is no color shift if RAW color space is Adobe RGB and the Photoshop is set with ProPhoto (Edit>Color Settings).
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Could this be connected to GPU and "Move Color Matching to the GPU?"
I have seen comments concerning GPU and color sifts, but I don't really understand them.
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Why is a color print from CS5 so different from the same image in CS4?

I have made prints from the same file using CS4 and CS5, and the prints from CS4 are showing what I think is good color. My monitor is calibrated, and I have always been quite happy with prints from CS4. When I make prints of the same files using CS5, the color is terrible compared to the CS4 print. I am using the same printer, same sRGB color space and all the settings in the "Print" dialog windows. I make sure the Color Handling box is set to "Photoshop Manages Colors" and I then go to the "Page Setup" box and make sure Color Settings is set to Off (No Color Adjustments). I am using a New MacPro Quad-Core Intel Xeon with 16 GB ram. I did notice that Apple Software Update did install Epson drivers after I installed CS5 Creative Suite 5 Design Premium. The color using CS5 looks the same starting in either 32 bit or in 64 bit. Another thing I notice is that printing on an Epson 2200 Stylus and using their 13x19 paper that the prints are being cropped to 5/8 inch into the full screen size of the images. I.E. The prints are losing 5/8 inch of what I see on the 30" Apple monitor. in both dimensions of the screen image. This cropping effect is showing now using CS4 and CS5. I have "Position" checked for Center Image, and Scale to Fit Media is also checked. I've been using PS since version 2 and have always been quite happy with the prints from my Epson printers and the prints from my Photo Lab, but the prints I am getting using CS5 are terrible. All the settings are the same in both the CS4 and CS5 "PRINT" windows.
HELP!!!! :-)

I have tried all of these things. I have checked and double-checked the print dialog. Sheet after sheet of paper goes by. Ink, at $40 per tank, is wasted. Results are still wrong. I followed your video. You use an Epson printer. I use an HP. Different print dialogs. different results. Whatever worked in previous PS versions does not work now. PS CS5 requires new settings to get the results that match what was determined by years of evolution and fine-tuning.
I set up all of those print dialog parameters but it required an adjustment layer or two to get the results I got using previous Photoshop. So I could do that with every image I printed with good results using previous versions. There is nothing out of gamut in these images, so I don't have unrealistic expectations about more saturation in the prints. Anyway, it's an 8-color printer that can handle a pretty wide gamut compared to a 4-color.
Wade, I know you are trying to help but this finger-wagging "error in your ways" and "you need to change your ways" stuff is patronizing. I did "change my ways" and try everything in your video. All was not well on the paper. I'm glad it worked out for you but it didn't for me. Accept it. I'm not some novice hobbyist still getting the hang of Photoshop. I've been using Photoshop since version 2. Adobe changed something in CS5. I haven't seen Chis Cox or any Adobe staffer jump into this discussion and say otherwise. Maybe there are no answers from the folks who should know the most about it. Maybe they're working on it.
It's not the first time Adobe has broken a tool. Anyone remember what happened to Outline Stroke in Illustrator CS2? It had previously made a path that could be edited by selecting points but after CS2, it was broken. Illustrator made a filled path that was nearly impossible to edit with all of the overlapping points. It was finally fixed in CS4. It's hard to understand how a useful tool that functioned properly in every version since it was introduced became an unusable mess. Maybe that's the case with PS CS5 and printing.
With 4,300+ posts in 14 months, maybe Wade has more time to tinker and tell us about it. I don't.
Or I could just print in CS4. At this point it's not that important to spend several days of testing to be able to say that CS5 can print my legacy stuff that was created and printed with various color profiles over a 12 year period. Maybe a more disciplined approach to color management would be a good way to work in the future when creating images, I'm dealing with tried-and-true printable images that were not done that way.
As long as Adobe doesn't make me give up CS4 to use CS5, I'll use it for printing.

Color space comparison in PS versus Aperture 3

Photoshop uses ECI-RGB color space in its RAW conversion process. What color space does Aperture 3 employ? Are we comparing Apples to Apples with initial RAW processing with these systems?
Thanks

From Aperture: Color and gamma settings for print and web
Setting your colorspace in Aperture
In contrast with Adobe Photoshop, you don't have to set your "workspace." Instead, Aperture will always work in a wide gamut, except for when you apply Onscreen Proofing, which shows you how your work should look in final output. When you know your project is bound primarily for one medium, such as RA-4, it's a good idea to leave Onscreen Proofing on all the time while editing, which would give you the equivalent effect of setting your workspace.
Also see this thread: How can I set my work space to sRGB or aRGB & let Aperture handle color mgt

Asking the Bridge Team: Bridge "working color space" setting when one does not have the Suite?

Common sense tells me there is really no such thing as a
"working color space" in Bridge, because
Bridge is not an image editor, just a browser
Therefore, this may turn out to be a purely academic question; but that doesn't keep my curiosity from forcing me to ask it anyway. ;)
Is there a way to set the Bridge
"color settings" when one does not have the suite?
The only Adobe program I keep up to date is Photoshop, so I've never had the suite. My version of Photoshop is 11 (CS4) and I run updated
(not upgraded) versions of Adobe Acrobat 7.x, Illustrator 10.x and InDesign 2.x. Consequently, the Synchronize color settings command is not available to me.
It seems to me that Bridge is behaving like a proper color-managed browser (e.g. Firefox with color management enabled), in that it displays tagged image files correctly and assumes sRGB for untagged image files. This normally works fine.
But what if I wanted Bridge to assume my
Photoshop color working space for untagged images
so that it behaves the same as Photoshop? I'm just curious, as I deal with a minuscule, practically negligible amount of untagged files.
My reason for bringing it up now is that I don't recall this being explicitly mentioned in forum replies when users inquire about color settings in Bridge. A recent post regarding Version Cue in the Photoshop Macintosh forum got me thinking about this. Just wanting to make sure that I'm right in my assumption that
there is really no such thing as a
"working color space" in Bridge, because Bridge is not an image editor, just a browser.
Thanks in advance.

Hi Ramón,
Thanks for sharing the outcome of your tests. However, I may have found a bug/exception to Bridge's colour management policy!
It appears that CMYK EPS photoshop files are not colour managed in Adobe Bridge, even if they contain an embedded ICC profile.
I've tried every combination in the EPS 'Save As' dialogue box, so it doesn't seem to be an issue with file encoding. Also, Bridge doesn't rely on the low-res preview that is held within the EPS itself.
My guess is that Bridge is previewing the CMYK EPS with a Bridge-generated RGB image, but it's being displayed as monitor RGB (assigned) rather than colour managed (converted to monitor RGB). For most users the difference will be barely perceptible, but the problem became very noticeable when using Bridge to preview Newsprint CMYK images on a wide-gamut monitor (images that should have appeared muted really leapt off the screen!).
How do I report this to the Colour Police at Adobe?!?

Lightroom's 4 color "spaces"

I’m working on designing an advanced photography course. This course makes use of Lightroom and Photoshop in the photographic workflow.
I’m learning and researching myself as I go along, and I feel I have reached a ceiling on what I can work out from the sources at my disposal thus far.
So I am turning here for help.
I am trying to clarify how tones and colours are affected from the actual scene through to the printed page. This might seem like overkill to some. However, there is a lot of misunderstanding and confusion, not to mention heated discussions amongst photographers about these issues. I’m experimenting with metering and colour / tone targets and my calculations are only meaningful if I understand how tones and colours are affected at every stage of the workflow.
Here’s how I understand it:
There are 4 (sort of) Colour “spaces” in Develop where a real-time dynamic preview of an image is rendered
1.       The “viewing space” (ProPhotoRGB Chromaticity co-ordinates, sRGB gamma)
2.       The “computational space” (ProPhotoRGB chromaticity co-ordinates, linear gamma – “MelissaRGB”)
(Martin Evening’s Lightroom 3 book published by Adobe press - Appendix B, section on color space page 628-632)
Below that, things get a little fuzzy. According to Jeff Schewe (Real World Camera RAW for CS5, page 32) there is a sort of
3.            “Native Camera Space” and of course there is the
4.            RAW data in the file on disk.
So to generate the dynamically rendered preview, the image goes through the four “layers” as follows (from bottom to top). This is almost certainly flawed, but one has to start somewhere when trying to work things out :-)
1. The RAW file is read from disk. Colorimetric interpretation is performed using a camera profile (e.g. Adobe Standard for whatever camera it is you are using). This process puts the image data into “Native camera space” (“Plotted” onto CIE XYZ with D50 white point)
2. In “Native camera space, the scene white balance (as selected by user, guessed by Lightroom or reported by camera) as well as additional camera calibration panel matrix tweaks “informs” the colorimetric conversion into Lightroom’s “computational space” e.g. Melissa RGB. The colorimetric definition of camera RGB primaries and white is re-DEFINED. The demosaicing as well as chromatic aberration corrections are performed in “native camera space”
3. Almost all image processing calculations occur computationally in the “MelissaRGB Lightroom computational space”
4. What is displayed on the screen, however, has an sRGB tone curve applied. This represents the “viewing” space. The histogram is generated from this and the RGB colour percentage readouts are generated from this as well. In addition, some slider controls from user input are weighted back through the tone curve into the computational space below.
Could someone from Adobe kindly help me to clarify the steps? Eric are you reading this? :-)
Thanks in advance

Sandy - Thanks for the link. The spreadsheets you posted on your site is quite helpful.
Jao – I think what you said goes to the heart of what I am trying to achieve here: “Photograph a grey target at the exact same exposure with the exact same lighting but with different cameras and you'll end up with different values in the raw files” Which is why I encourage photographers to experiment with their cameras in order to understand exactly how the camera will respond in the heat of a real shoot. Set up a scene; take a picture, open in Lightroom. What is clipped and why? Use a reflective spot meter. Repeat. Use a hand held incident meter. Repeat. How much can you reliably recover? Are you happy with what your meter considers the mid-point (and what you set your exposure for on the camera) or do you need to compensate? Just how much latitude do you have between what your camera histogram shows as a blown out highlight and what Lightroom shows as a blown out highlight. This relates to tone. I could go on with more examples, but by now, I am (hopefully) making more sense.
I’m merely trying to clarify that which is already public in order to form a coherent mental picture. And by mental picture I do not mean an accurate representation of the minutiae and maths involved. Think of a subway map. It represents a bird’s eye view of a transportation system in a logical fashion, yet it bears almost no resemblance to the cartographical reality of the physical topography. I really don’t care where the tunnels go, how they were dug, how they are maintained or where they twist and turn. What I AM looking for is a logical (not physical) map. This map tells me where the different lines begin and end, and where I can change from one line to the other. The most important quality of the map as a whole is that it provides context. You can tell, at a glance, how different lines interact with each other and even how it links to other entities such as bus stations or public landmarks.
As many have rightfully pointed out, I should not have to care about the maths/secret sauce/internal calculations. And I don’t. In addition, I am a very happy Lightroom user and I am very comfortable using it. I know what a user needs to know to get his picture from A to B. There is no shortage of information on how to accomplish that.
It might help if I illustrate what I am trying to do below:
Please excuse the low resolution, the maximum height allowed for upload is 600 pixels. The picture below goes on the bottom left of the "layer" picture above.
Even though there are certainly many mistakes in my diagram, this is a helpful visualisation. I derived this diagram from publicly available information. As the subway map, this is a logical (not physical) representation that provides context in a visual form. With a little help from people like Eric I am sure I can correct and expand it. The net result is an enhanced understanding of Lightroom and ACR and where it fits into the photographic process, both in terms of tone and colour.
I am not posting the entire chart here since I am not even certain that a 4 “layered” representation is an appropriate logical representation. I posted the spine of the chart with the 4 “layers” and one part that elaborates on the colorimetric interpretation between the two bottom layers. Comments and corrections are welcomed. And I am convinced that this can be accomplished without divulging anything confidential.

Different results of color space conversion

I am converting a raw image.
1. First in ProPhoto, passing it to PS CS3, accepting ProPhoto (against the working color space), and then I convert it in sRGB in Edit.
2. Next, converting it in ProPhoto, but when CS3 receives it, I ask for immediate conversion in sRGB, the working space.
3. Third, I change the color sapace in ACR to sRGB and pass the image to CS3.
Of course, the ACR adjustment parameters are identical in the three processes.
1 and 3 are almost identical (a difference layer does show differences, but I don't see them on the results without huge boosting, and that shows quite random, noise-like difference).
However, 1 and 2 are *vastly* different. The difference, boosted by 2 EV clearly shows the original texture, which is determined by a pecularity in the blue channel.
What is the explanation for the difference between the two conversion from ProPhoto to sRGB?
The conversion engine is Adobe (the conversion immediately at receiving the image does not ask me for the engine).
http://www.panopeeper.com/Download/ProPhoto_to_sRGB_Discrepancy.tif contains three layers with the three versions.
http://www.panopeeper.com/Download/ProPhoto_to_sRGB_inProPhoto.tif is the unconverted, i.e. ProPhoto version.

> I played around a bit with your samples and I could get close to your "Converted when receiving" version by using the Microsoft ICM engine (other options like Dither and Black point comp didn't produce big differences that I could see). Is it possible that is what you have as the engine in Edit>Color Settings?
As I posted, I am using the Adobe engine.
> I reproduced your exact steps (but in CS4), and there was no difference whatsoever between the three. Pitch black in difference blend mode.
I don't understand how you reproduced these steps. The file I uploaded is already in sRGB.
Anyway, I repeated the entire procedude carefully, the result is the same.
The raw file can be downloaded from http://www.panopeeper.com/Download/CCC_ISO0100_01208.ARW, the adjustment parameters are in http://www.panopeeper.com/Download/CCC_ISO0100_01208.xmp
With these files it is possible to repeate the entire process.
Pls note, that the conversion from raw to TIFF occured in 16bit mode, I converted the demo file to 8bit in order to reduce the size.

PS CS with color space set to Prophoto RGB - will ACR change embedded profiles?

Probably a foolish question but my problem is that I have a mixture of files:
My own files (all initially RAW (NEF) which I import into ACR as 16 bit Prophoto RGB ).
Files from family members and from slide scanning performed elsewhere - they are in 2 groups:
The first of these from elsewhere acquired files were all JPEGs that I converted to Tiffs in Bridge before setting out to edit them-- all unfortunately 8bit and sRGB.
The scanned files were scanned as tiffs but also 8bit and sRGB.
My normal procedure is that I in ACR I have set the files to 16 bit and Prophoto RGB. In PS the same but also to preserve embedded profiles. I have the impression that working with the "foreign" files in 16 bit does give me more room for editing but that I should continue with the embedded profiles.
Is there a way to ensure that the color profiles are not changed in ACR even if the line in the middle below says 16 bit Prophoto RGB (I have PS CS5). I would hate to have to change this line each time I view a file in ACR. I would hate more to loose the editing facilities in ACR as these acquired files do need som special care before they are mixed with my own in our family albums. I prefer the 16 bit Prophoto RGB option for my own files as I like to play with them - i.e. apart from including them in Photo Albums.
I do see that a logical way is to process all the acquired files before going to my own files but it is so much more practical for me to work with a mixture of the files sorted chronologically - a year or month at the time.
I would even consider getting an upgrade to CS6 if this version could help me.
Can someone enligthen me?
Thanks, Git

Hi, Tom.
The real issue here is getting accurate color. You can't get accurate color by setting your monitor profile to sRGB. sRGB is a virtual color space that doesn't describe the exact color gamut of any physical device. But, in order to display sRGB or any color space accurately, you need to get a characterization of your monitor.
Here is an AWESOME way to get access to a colorimeter: http://www.lensrentals.com/rent/pantone-huey-colorimeter Looks like for $32 you can rent this for a week. Go in on this with a friend and profile both of your monitors and hardly pay a thing. If you have a reasonably good quality LCD monitor, this custom profile you make will be fairly accurate for many months. At the very least, this is way more accurate than having no regular calibration at all.
Hope this helps!
Bret

Color space problem/confusion

I posted the following message to another thread, but at the recommendation of a member I am starting a new thread here. For a couple of answers see the thread below.
http://forums.adobe.com/message/3298911#3298911
I will provide much more information hoping an Adobe support person will chime in. This is extremely odd.
System: HP, AMD, Windows 7 64-Bit, Nvidia 9100, all updates to Windows, latest Nvidia 9100 driver
Display: Samsung 226CW, Windows settings 32-bit color, correct resolution,
Calibration: Done with ColorMunki, D65 target, done after monitor has been on for more than 30 minutes
Personal: (I am adding this information with some hesitation, please excuse it if it sounds like I'm bragging; I am not). I have multiple posts on my blog, have made many presentations on color managed workflow and am very comfortable with the settings in Photoshop and Lightroom. Please take this only as a baseline information, I am not bragging. In fact, I am begging for information!
Problem:
Any, I mean ANY, original JPEG image in sRGB space coming out of the camera with no adjustments, any PSD file in sRGB space, any TIFF file in sRGB space look significantly paler in Lightroom and in Photoshop CS5 than they look in other Windows based image viewers like FastStone or XnView. This should not need these applications to be color space aware, but the situation is the same with or without their color managment turned on or off. I have done the following:
1. Totally uninstalled Lightroom 3 and reinstalled it
2. Recreated a brand new Lightroom catalog/library and reimported all the images, converting all the RAW files to DNG (just in case!)
3. Recalibrated the display
When I view a file, any file and I will use for the sake of simplicity a JPEG file in sRGB color space, in Lightroom it looks pale. Since the file is in sRGB color space, I have verified this, the rendering in Lightroom should be the same as rendering in anything else. But it is not. I took my monitor and connected it to this system with the same odd behavior of rendering in Lightroom being much paler than outside. It appears as if I am viewing an image in Adobe RGB in a windows viewer that is not color managed.
I further tried the following:
1. I copied various versions of one file, all in sRGB color space. One PSD and two JPEG files from the folders of the above system and copied them to my system, Intel, Windows 7 64-bit, display calibrated and profiled with ColorMunki to the same standards as the problem system above.
2. Imported them to Lightroom on my system
3. The rendering in Lightroom is identical to rendering outside Lightroom for all the files and all are same as the rendering in FastStone on the problem system. Outside rendering was done using FastStone as on the problem system.
My deduction is that something on the problem system outlined in the opening of the message is interfering with the Adobe rendering engine and I have no idea what it could be. I WILL GREATLY APPRECIATE if an Adobe engineer could chime in and steer me in the right direction. I am willing to try other things but I have run out of ideas despite the fact that I have reduced much of the problem to the lowest common denominator of sRGB and JPEG against a PSD in sRGB.
Waiting anxiously of your help.
Cemal

Also, I know enough to calibrate a monitor when it is connected to a new computer. That said, even without calibration the behavior should have changed to display all the images in question the same but perhaps with somewhat off colors. Am I right? I am not arguing the point, I am rhetorically raising the question. If the 226CW is wide gamut and 244T is not, when I connect 244T on the same computer the wide gamut issue should be eliminated, should it not? I am not talking at this point about the "correct" color, but the same color in or out of Lightroom.
Unfortunately when you connect another monitor to a computer and don't calibrate or manually change it, Windows will not change the monitor profile. Macs will autodetect and change the profile but this innovation has not reached windows yet. The behavior you observe is caused by managed apps using the monitor profile and unmanaged apps not. If the monitor profile is not changed, the behavior doesn't change.
BTW, for a "cheap" software to be color space aware it does not need a quantum leap in technology I believe. It simply needs to know how to read the ICC profile and the LUT, is that correct?
It's extremely simple to program color management into apps. Standard API libraries have been available in Windows for over a decade. The reason why this hasn't happened is related to the fact that Microsoft hasn't made IE color managed and the software makers do not want to confuse folks when images look different in their program vs IE. Considering that this still is the biggest issue people wrongly complain about in every color managed application (just check Photoshop fora) that is maybe not that strange.

Lightroom,Nik plugins and color spaces

I'm having an issue and not sure who is holding the smoking gun. I have the Nik ultimate collection installed which covers Lightroom and Photoshop CS5 extended. I work primarily in Lightroom and apply most corrections globally but occasionally i need to do localized adjustments so the photo gets shipped off to Photoshop. Here's a typical scenario:
1) From Lightroom edit in Dfine 2.0 for noise - as copy with Lightroom adjustments which gets copied as a tiff.
2) From Lightroom edit in Viveza 2 - as original since we're now working with a tiff and I don't want a copy for every single thing I'm doing.
3) Edit in Photoshop
Now there's two issues at this point:
1) The edits do not show up in the Lightroom history - it's like nothing happened.
2) Photoshop will complain that the assigned profile is sRGB. Really?
#1 is a PITA because if I want to rewind I have to start all over since there's no history - what exactly is responbsible to set an edit as history? Lightroom or the plugin?
#2 is by far the most serious as it degrades the work in a seriously bad manner. I mean, WTH - I'm moving along in ProPhoto Ferrarri space and all of a sudden - *boom* - I'm running in sRGB moped mode.
I looked at edit->Preferences->External Editing -> Additional External Editor and indeed when I select the Nik plugins from the combo box preferences the default for the plugins is sRGB. I can change to ProPhoto and quit. I repeated this for each plugin assuming that somewhere the setting was remembered. Nope LR acts dumb as a rock and shows sRGB as the defaults for all except the currently selected plugin.
So my questions are:
- who's gonna own up to the problem - LR or Nik?
- how can I work around it?
- how can I make LR remember the settings? Not a registry key nor INI file in sight to set them - so where/how are the plugins tracked?
Thanks for any help!
Jon

Jon,
The User Interface for changing how external editors are invoked is about as smart as your average chunk of granite.
After you change the Color Space to the one you want, you have to click on the Preset box and choose "Save current settings as new preset...". Not exactly intuitive, but there you are.
Hal

Severe color issues in CS5, EizoCG245W monitor, calibrated...help!

Hi!
I'm working with an entirely new system here from the ground up. New computer with Windows 7, Eizo ColorEdge CG245W monitor and Photoshop CS5 (I had previously been using CS3 on my old system/monitor). Everything was hooked up within the last couple of days and PS installed as well.
The problem I am having is that when I open an image in PS, it is severely dull and desaturated looking (esp in the reds, yellows and oranges).
The "color settings" I am using are correct for the lab I print at. I am using sRGB.
Thing is, when I view the image in My Pictures or on the Web (IE or Firefox) or in Microsoft Office Picture Manager....the image looks correct and the same as my lab test prints.
But if I view the image in either CS5 or Windows Photo Viewer, I get that horrible dull/desaturated look.
I should mention as well that my monitor is calibrated...I did that yesterday upon getting everything hooked up. When I am in CS5 and choose "Assign Profile"...if I choose the monitor profile generated by the calibrator (mine is CG245W (22547100) Photography, Graphic Design) then the image looks correct and all of the colors are saturated nicely. But, obviously, I cannot choose this as my working space or color profile!!!
What is going on? It's almost as if there is a problem with Windows not recognizing the calibrated profile or something...but I am unable to fix this and I NEED it fixed asap!!!
Thank you!

Is it possible that what you perceive as "correct" is actually oversaturated?
I'm not familiar with that monitor... Is it a wide gamut monitor? If so, you'd expect sRGB to look less saturated than the same images displayed in non-color-managed applications.
You do realize that images displayed in IE 8 and earlier, and many other photo viewing applications, are not displayed through a color-management system, right? These are not color-managed applications. Photoshop is. Also, assigning the monitor profile to your image essentially shuts color management off.
What you're saying is essentially that you like what you see when color is not managed.
Assuming no unexpected glitch, such as a bad profile, all seems to hinge on what color space the monitor is delivering, and whether it was delivering that same color when calibrated.
How did you calibrate/profile it, specifically?
-Noel

Photoshop and Bridge Color Space Mismatches

I've recently scanned a number of photos (.TIFF) using the Wide Gamut Color Space (Nikon AdobeWide 4.0.0.3000).
Bridge shows:
Color Mode = RGB
Color Profile = Nikon AdobeWide 4.0.0.3000
However when I open them using the embedded profile, Photoshop CS5 shows on the file Info/Camera Data Tab
Color Space = sRGB, or
Color Space = Uncalibrated.
I opened the files in IDImager to see what it showed. It had under Technical Data
Color Space = AdobeRGB
Color Profile = Nikon AdobeWide 4.0.0.3000
So, Bridge and IDImager seem fine; Photoshop seems to have some difficulty.
The monitor is calibrated.
Why would Photoshop behave in this way? Is there anything I should be concerned about in what PS may be doing.
Dale

Probably something to do with your Edit->Color Settings. Is the second RGB dropdown set to Convert to Working RGB?

Color Space Problems w/ Files?

I use Lightroom 2.5 to manage my photos. There are several things I don't understand regarding embedded color spaces in files.
When I export a file from LR to Photoshop CS4 as a TIF in the Adobe RGB color space the file shows as "Uncalibrated" in the EXIF & XMP metadata.
Using PS CS4, if I save a JPG file from the above Adobe RGB TIF file, and then use the edit -> convert to profile function, with Destination Space -> Adobe RGB selected, toggling the preview check box shows a color shift in the image. If I convert an image to the same color space why is there a color shift?
Is the color profile stored in the EXIF or XMP metadata?
Jack

I can provide some general information on the topic, though I do not use Lightroom so thers may jump in.
Information about color space is contained within the tiff file proper. That is, in a tag (the T in TIFF) and if I am correct it is tag 262 (PhotometricInterpretation). I do not know if LR also puts this info into the metadata.
When you convert a file to jpg you invoke the YCbCr color space and convert your source data into it. That is, the "compression" process also involves a color space change if you did not start out with YCbCr. This could account for the color shift you are seeing.
Paulo

Strange posterization/color banding effect (CS5.1/CS6)

Stumbled over a strange effect with only one of my photos:
As usual, I made basic development on a DNG file in Lightroom 4.1RC2. Then, again as usual, I select "edit in Photoshop" in the context menu in the library grid. Both Photoshop CS5.1 and CS6 open the DNG and show me an image where I can clearly see strong posterization in the blues.
I save the psd file and go back to LR4: When I let LR4 display the psd, everything looks allright, as if there never was posterization! Looks like the original dng! Tried to apply different color spaces, reducing bit depth, no success.
Only cure for me at the moment is to open the dng in Photoshop and then switch to 16 bit mode... First thought it's somehow a LR4 issue, but on the other hand, LR4 displays the psd file correctly, Photoshop doesn't...
Andreas

OK, so the problem is something in the GPU color conversion path.
That could be a driver bug, a GPU limitation (some older cards don't interpolate correctly, and fail to say so in the driver), a problematic display profile, or a bug in the Photoshop GPU display code.
Since this happened in 5.1 and 6, I'd bet on one of the first 3 items.
Which GPU/video card are you using?
Which GPU driver version?
(you can look in Help->System Info for that)
Can you post your display profile somewhere so we can take a look?
And what profile are you using for your documents?

Color spaces not sticking...?

What's Confusing: I have a layered file, the color space assigned to it is sRGB. I save a png file via Save For Web, tick the option to convert export to sRGB. All looks good in the save for web 2-up preview. But when I open the new png file, it's color profile is set to Adobe RGB, and the color space looks off—not like it did in the SFW preview.
Details: My default color space is Adobe RGB. Sync'd across all CS5 apps. I have the option ticked to warn me on profile mismatches when opening a file. So far so good.
So it seems like my Working Space color (Adobe RGB) is overriding SFW settings as well as my document color space settings
Same thing happens when saving as a jpg.
Any thoughts?

To erase, delete or reset Save For Web & Devices SFW preferences:
Open a small .jpg in Photoshop (to ungray the File menu).
Mac: Press and hold Option+Command keys, while File> Save For Web Devices (you will get a prompt confirming you want to erase all Save for Web preferences).
Windows PC: Press and hold Control+Alt keys, while File> Save For Web Devices (you will get a prompt confirming you want to erase all Save for Web preferences).
that should configure SFW default settings to CONVERT your Photoshop Source Space to sRGB and strip the ICC profile by default
How to reset Photoshop's preferences using special key combinations (most Adobe apps use this method of keystrokes):
First Quit Photoshop.
Mac: Press and hold Command+Option+Shift keys, while opening Photoshop (you will get a prompt confirming you want to delete the Adobe Photoshop settings folder).
Windows PC: Press and hold Alt+Control+Shift keys, while opening Photoshop (you will get a prompt confirming you want to delete the Adobe Photoshop settings folder).

Color space AE CS5 Versus AE CS4 = !#%%$

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