Color Space Management & Final Color Output-not WYSIWYG?

I have constantly had problems with getting final output color to match what i am seeing on my monitors when color correcting. This has been a continual problem mainly with R3d footage and going to Prores...but for the sake of this discussion here is my prime example:
Start a new project in PrPro and clor from PrPro adding effects, 3 way color, 3rd party effects like Finesse and Colorista...then output the project to Tiff for master then convert from Tiff sequence to Prorest; H264 or anything else....But, when i output a prores file, and then open the prores file on its own--not brining it back into Premier...i notice a shift in colors....completely desaturated etc...this happens whehter i choose for gamma as "auto" or "none" when choosing codec settings for prores. I've had this continual problem for many years and the ONLY way i have found it to work is by using Apple's Color and then going to Prores....seems apple hardware and software work well together...but this cannot be an isolated incident with me only...AND coloring a project on your desktop and putting all that work into it and seeing it DIFFERENT at the end of the day is more than a let down...
...so maybe a discussion on properly setting a project for color work is in order...I came across another forum members website reToolednet and he had some great info on setting up the sequence timeline and video preview area that is great info...but even when i do that i cannot get a perfect match at the end of the output....Exapmples below all done in PrPro and then output to Prores 4444.
I've found info on Adobe site that does not seem current about setting project settings and color space, but no place in PrPro do i find that setting...is this only AE? OR...can we even do a proper color job within PrPr? or should that be done elsewhere?
Id like to go through the proper steps of setting workspace and color schemes for say a Prores output since that is likely 75% to 90% of everyone's deliverables in the tv realm....
Snapsot of Tiff sequence WITHIN PrPro (colored)
Final Output from PrPro to Prores--snap from actual QT prores file--(Desaturated)
When i began this project i had my sequence settings to R3d 1080p @ 29.97 and video previews to Iframe....
**NOW, i think i would have been better off to change video preview to my final output of Prores 4444...BUT, i tried that and still see a color shift.
**Note, i oriingally colored this on 5.5 with Matrox out to my color corrected monitors....and results on those monitors DO and WILL be diffrent than what you see on your computer screen....my monitors were set to rec709 and RGB at end of the line for viewing....but i see nothing within PrPro on how to set this....however at end of the day i do not get what i see on my preview monitors....

Thanks Jim....yes, i'm covered on all cc monitors and quite used ot viewing output on color calibrated...as well viewing both on the same platform/monitor....The BIG question is PrPr being able to do color work---and my question is why would it have all the color effects if it did not? But i agree with you....first place to start is can you do proper color work on PrPr AT ALL? no problem to do a quick web video...but can you properly color a for television product---I seem to think NO....i could not get colors in end to match....i can view out on PrPr view my I/O box (Matrox MXO2) and see great colors that i colored the project on to my FSI color corrected monitor....but then when i view the ProRes file back (not on PrPro)...but on it's own with its own codec engine...this is where things go awry and stray from colors i originally put on the images...
But this is a PARAMOUNT subject as Pr is offering coloring....i hate to bring this in, but in FCP i can get accurate colors on my Matrox and same when rendered out to Prores file....Again, i think Apple plays well with apple.....but as you say, there are a great number of varialbes involved in the preferences etc...within PrPr...seems to me AE may be better just by reading about it...but why not both?

Similar Messages

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?!?

Color Space Management in PS5

I have a photo that was taken as RAW with a color space of Adobe RGB.
I would like to submit this photo to a competition. The competition prefers the photo be a JPEG in sRGB.
I have edited the photo, so I don't want to start over. I believe I could change the color space when I brought the photo into PS.
Is there a way I can change the color space to sRGB and still use the editing I have aleady done?

You can change the profile anytime you want. You'll be looking to "convert" the file to the sRGB profile.
I would use the save for web feature to do the conversion, size the image for the web, and also strip out any metadata.
But you can also (working on a duplicate) use image > convert to profile.

What color space are the Color Lookup presets meant for?

I've noticed that if I convert the same image to multiple color spaces and apply a 3D LUT with the new Color Lookup adjustment, the result is noticeably different. From experimenting, it seems that the lookup tables operate on whatever RGB value is given to them no matter what color space. Is there a certain color space these were optimized for? For instance, would a certain color space give me a more authentic 2-strip look than another because of the space they were sampled in? And if I create my own 3D LUTs, would I have to create a separate one for each color space in order to get a consistent look in all spaces?

So do you know what color space was used to create the presets that are there, such as 2-strip and 3-strip? Even though they don't know about color spaces, the different gammas on the input cause the look to come out different in all colorspaces, so it stands to reason that whatever color space the calculations and/or sampling was done in is closest to what was intended while the others are rough approximations. For things like "warming" it doesn't matter, but for ones that simulate actual films I'm curious to know, especially since the 2-strip ones looks a little different than when you just copy the green channel into the blue and green channels as described on all the websites.

Have any tutorials to explain 3D color space scope in Color correction

Taiwan Have no Large information to learn Apple Color, then Color manual Have no to much explain for operate 3D color space scope.
Have Anyone can tutorial that operating? thanks a lot

The Color manual describes the 3D scope in the space of a cube, but I find it much easier to understand in the form of two cylindrical cones.
You can imagine the two cones being placed end-to-end, with their flat sides touching. At the tip of one cone is white, and the tip of the other is black. Where a color falls in this space between the two tips demonstrates the color's value (its brightness).
In the middle, the color is most saturated. This region (where the flat sides of the cones would touch) forms a color wheel. The hue of a color can change by rotating around the wheel.
As a color moves toward one tip or the other, closer to black or white, the color necessarily becomes less saturated. You can't have a color that's almost completely black and is also highly saturated. In this cone configuration, it becomes clear that a color loses its saturation as its value moves toward one extreme or the other.

Separation color space - get alternate color (function of type 0)

Hello,
I'm trying to retrieve the alternate color value of a spot color which has a function of type 0. Actually I just want to retrieve the result of the function when the tint is 1.0.
How can I do that?
Thanks in advance,
Joe

Right Leonard.
The function is PDApplyFunction().
Thanks,
Joe

Trying to Export - Quicktime to DPX - in Linear (R709) Color space NOT LOG

Hello,
I am trying to export an image sequence through compressor from a Linear (R709) color space. When I try to do the dpx image sequence output it changes the files to LOG.
Is there a way to pass the material through without any color space changes?
Thank-you,
Carl

FYI, In the Inspector, and filtes, COLOR tab> Output Color Space: Default for Encoder (CAN NOT BE CHANGED - It is greyed out)

Is there a way to assign Color Spaces in AME (Adobe Media Encoder) CC?

I am trying to output h.264 video for a web project and cannot seem to get sRGB color match when rendering out from AE.
I see it in AE's native renderer, but not in AME.
Thanks.

AME (and Premiere Pro) does not support color management in the way that After Effects does. Via Dynamic Link, which is how AME reads After Effects comps, the color-space-adjusted pixels are not corrected for screen display.
To get the results you want, add an adjustment layer to the top of the layer stack in the comp and apply the Color Profile Converter effect. Set the Output Profile to Rec.709 (sRGB is practically identical and will also work, but Dynamic Link uses Rec.709 internally so is a better match). This forces After Effects to transform the adjusted pixels into a non-linearized color space that looks correct.
Note that while the CPC effect is active and View > Display Color Management is enabled (it is enabled by default), this extra layer of color transforms will make the comp appear incorrect in After Effects, at the same time the comp will now look correct in AME or Premiere Pro. Disable Display Color Management to make the appearance of the comp in After Effects match what you see in AME or Premiere Pro. While working on the comp, however, you probably want to work with Display Color Management enabled and the adjustment layer disabled.
Under the hood, when color management is enabled in After Effects, the pixels it writes into the cache include the appropriate color transforms for the settings you have chosen. When the comp is displayed in the Composition panel in After Effects, an additional transform is added to the screen buffer pixels (not the pixels in the cache) to make it look correct on your computer screen, or not if you have disabled Display Color Management. When the pixels are read through Dynamic Link, no display color management happens, nor does AME or Premiere Pro apply any, so you get the same appearance as having Display Color Management disabled in After Effects.
Make sense?

When to use ProPhoto RGB color space?

I've read articles recommending to use ProPhoto RGB color space because the color gamut is greater. At the same time, I've had to convert some images I created using ProPhoto RGB templates to sRGB so they will display with the right colors in applications that don't support it. I'm wondering (just curious) when it is appropriate to use this color space. Is it only for professional graphic image designers and photographers who send their images to a professional printer?

in addition to what ssprengel said and some of it may be in other words:
There are several standard profiles listed in a separate section in the menus displaying color profiles when you use Assign Profile, Convert to Profile, and when you choose Working Spaces in the Color Settings. These profiles are so called 'well behaved' or 'editing' color spaces. They are device independent and created synthetically for editing purposes - in these color spaces R=G=B is perfectly neutral gray which makes the numbers of color values make sense when editing images referring to the numbers, histograms, curves, etc. ProPhoto RGB is one of these spaces and have the widest gamut, parts of which exceed the visible spectrum. This allows you to have an image with colors that are not limited to the color gamut of eventual destination color spaces like printers and monitors. That's why some people prefer to use Prophoto RGB for images with destination unknown. When you know the destination, in your case an online printing service, get the color profile used by the printing service, install it on your computer, and use convert (Edit menu > Convert to Profile) from ProPhotoRGB to the color profile of the printer. The color management trys to make the conversion to the best possible color match when the destination color space is with a narrower color gamut and you may see color shift of the colors outside the color gamut of the destination. You can also use soft proof (View > Proof Colors with View > Proof Setup set to the destination profile) to edit (optimize) the colors of your document to the destination before the conversion if you can do better than the color management conversion. It is a good idea to make this on a copy of the original image or different layers dedicated to editing colors for a particular destination (color space).
Also have in mind that the conversion can be done on any other computer with Photoshop provided that along with your image they have the source and destination profile. So it can be done by your printer too but without the printers profile on your computer you wont' be able to proof and edit the final appearance.
If you create or edit your artwork or photos with destination unknown in a color space with a comparatively narrower gamut then when in the future you have the opportunity to use a destination with a wider color space you won't be able to take advantage from all possible colors.

Problem of color spaces when i switch between photoshop cc 2014 and lightroom 5.7. where to ask

hallo,
where can we ask questions on photoshop cc 2014 tools ?
i have a prophoto nef in lightroom which is retouched.
i edit in photoshop cc to make a selection and come back to lightroom with a huge psd.
it says color space of photoshop is not correct and advises prophoto. i say yes.
first one day i lost the pen tool mask when i wanted to re-edit from lightroom. fortunately the version of psd on hard disk was ok. never understood what happened
second is i want to open a jpg background on my hard disk, perhaps srgb, in photoshop and add the selection.
how to manage color spaces because my colors of the selection or the background become ugly
not sure i still need to use lightroom for this step. bridge or photoshop itselfs can open files,...
best regards
marc

That's great, but what exactly did it - matrix (gamma) profiles instead of LUT? It would be good to know for future reference.
I have seen small problems with LUT profiles in Firefox, like black clipping up to value 6 or 7, but Lightroom seems to behave well with LUT profiles here. The problem with LUT profiles is that they are "heavier" and more complex, because they contain complete tables for all possible transformations - whereas matrix profiles do it by much simpler mathematical formulae. LUT is more accurate, but matrix simpler and more reliable.
Not that I think accuracy is a problem with Eizo CGs. Which is why it's a bit puzzling that ColorNavigator has LUT as default. I use mostly matrix targets these days, my feeling is that the simpler the profile, the better.

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

Visual representations of color spaces

I copied these diagrams from the program called Color Space ...
Can be downloaded from here: COULEUR.ORG
I think that it draws spectral locus on xyY by just plotting matching x, y and Y values for every interval of monochromatic lights on the spectrum ... just like we draw the locus line in XYZ by plotting matching tristimulus values X, Y and Z.
Because the underlying data for the most saturated colors human can see is CIE XYZ color matching functions, I think that we can draw the line of spectral locus in every model originated from CIE XYZ by just making necessary transformations to the XYZ tristimulus values for the intended model.
3D representation of the entire human gamut is more tricky, I think. I will ask about it, after getting your confirmation about the spectrum locus.

A set of three numbers in xyY or XYZ defines a color.
How does it look? How can it be reproduced?
A good occasion to go back to the roots.
The CIE color system is essentially based on the work of Hermann Graßmann,
one of the greatest scientists in the 19th century [1].
Mostly his four laws are quoted [2], but it boils down to this [3]:
"The whole set of color stimuli constitutes a linear vector space,
named tristimulus space."
Colors behave like vectors in a three-dimensional space. A color is
characterized by three numbers. A fourth number would be redundant
(linearly dependent). A color is not characterized by just one spectrum. For
one color exists an arbitrary number of different spectra, called metamers.
The explanation of Graßmann's laws via spectra [4] is wrong.
Nobody knows what a color 'really' is. Acccording to the philosopher Kant,
we don't know what any object in the space 'really' is. We have just an
impression by our senses, eventually enhanced by instruments.
Colors are described by comparison with reference colors. For length and
weight we need references as well: the meter, the kilogramm.
Reference colors are (for instance) the three CIE primaries, spectral colors
with well defined wavelengths (it's not important, that the first experiments
were executed with a different set). Let's say R,G,B.
According to Graßmann one needs exactly three 'primaries'. This should
have ended a long dispute: three or four?, but it didn't.
Now we can use these spectral colors as base vectors of a coordinate system.
According to Kant, humans have an a-priori idea of space (without any proof),
where we can position objects. By intuition the axes are orthogonal.
Any other color can be described by a linear combination of the three primaries,
according to Graßmann exactly in a vector space. Color matching means:
find the three weights for the primaries to match a given (numerically unknown)
color.
Unfortunately, one needs for the matching of some colors negative weight factors,
which is possible by the concept of vector space, but somewhat disturbing for
real color mixing.
In RGB we can describe a new vector space by base vectors X,Y,Z, which form
a non-orthogonal coordinate system. All colors have non-negative coordinates X,Y,Z
and this construct has the funny feature, that luminance is identical with Y,
whereas the 'imaginary primaries' X and Z don't have luminance. Mathematically
this is not a problem.
The relation between the two spaces is given by a matrix Cxr and its Inverse:
X=(X,Y,Z)' (column vectors)
R=(R,G,B)'
X=Cxr R
R=Crx X =Cxr^-1 X
Conventionally we draw XYZ as a cartesian coordinate system (with orthogonal axes),
and R,G,B is the set of non-orthogonal base vectors – the arrangement has been swapped.
There is no natural law, which of the coordinate systems has to be shown as a cartesian.
XYZ is universal. Other RGB-systems with new primaries can be added, either as
working spaces like sRGB, aRGB or pRGB (ProPhotoRGB, which uses two non-physical
primaries, which doesn't surprise, because we got used to entirely non-physical primaries
X,Y,Z), or device RGB systems like monitor spaces. Each RGB system is related to XYZ
using a matrix, thus we can transform as well from one RGB-system to another.
Now it's possible to render a threedimensional visualization of a color space by appropriate
colors, for instance aRGB. But for a monitor these colors would be clipped almost at the
sRGB boundary.
Of course it's not possible to render pRGB correctly, because the blue and green primary
are outside the human gamut, and the red primary would be too dark. Therefore it's wise,
to use pRGB only for regions or real world colors.
There might be still an objection: the reference system contains only spectral colors.
How are the little saturated colors looking? This had been clarified by Graßmann: the vector
addition of any two colors is valid mathematically and by appearance.
These explanations may also help to end the dispute about the 'basic colors', especially
for painting. Many artists have invented their own system. The answer is simple: basic
colors are like primaries. Their location in the XYZ-space defines, which colors can be
created with positive weight factors or mixing ratios. By the way: one shouldn't worry here
about the difference between additive and subtractive color mixing.
One may have serious doubts, whether Graßmann's laws and the whole CIE colorimetry
is really valid, especially considering numerous optical illusions [5] and all these special
effects in color appearance, like Helmholtz-Kohlrausch and other nonlinearities.
It's perhaps surprising, that CIE colorimetry works so very well for image processing and
device calibration for monitors, printers and cameras.
Finally I would like to mention another scientist, which is not as popular as others,
probably because his work is mathematically difficult: Jozef B.Cohen [6].
His work has been continued by William Thornton, Michael Brill and James Worthey
(for a further search).
Best regards --Gernot Hoffmann
[1] Hermann Günther Graßmann (Grassmann)
http://en.wikipedia.org/wiki/Hermann_Grassmann
[2]
http://de.wikipedia.org/wiki/Gra%C3%9Fmannsche_Gesetze
[3] Claudio Oleari
http://www.slidefinder.net/o/oleari10/32197498/p3
(6th slide).
[4]
http://en.wikipedia.org/wiki/Grassmann%27s_law_%28optics%29
[5]
http://www.michaelbach.de/ot/index.html
[6]
Jozef B.Cohen
Visual Color and Color Mixture
http://books.google.de/books?id=W8QeI5di7t4C&pg=PR13&lpg=PR13&dq=cohen+color&source=bl&ots =aYGoI0I99g&sig=IJEgdJjk3yDhi-1NvTD4GdyUIXk&hl=de&sa=X&ei=614hVM_dFsrMyAPbzoDwCA&ved=0CGsQ 6AEwCA#v=onepage&q=cohen%20color&f=false

Export Color Space, etc?

I'm a couple of days into a trial of Fireworks and I got it
only for two reasons: First to be able to create navigation bars
with popup menus on some of the menu options and second, to more
easily create photo galleries for my web site. (I'm quite
comfortable with PhotoShop and creating web-optimized images.)
Anyway, I've run into a couple of things that have got me
stumped...
If I use FW CS3 to optimize a JPG image for the web (either
from directly within FW or via the Create Web Photo Album command
from within Dreamweaver CS3) the resulting images no longer have a
color space embedded. And I can't find out how to embed one. The
original JPG images were created in PS CS3 and had the sRBG color
space embedded and the colors displayed as expected in a web
browser. The resulting "optimized" images no
longer have a color space embedded and the colors appear quite off.
This might be acceptable with some vector graphics or logos but
it's not acceptable with photgraphs, especially for a photography
web site.
(It's quite well-known, at least in photography circles that
for proper display of the colors, images designed for the web
should be in sRGB with that space embedded, as that is what web
browsers are optimized for. Anything else, including not embedding
a color space results in colors that are "off".)
A related issue is that when using the Create Web Photo Album
from within DW CS3 the resulting files all have a new suffix of
"_jpg" added to the name. Meaning that my
original "name.jpg" gets named
"name_jpg.jpg". I really don't like that, and
can't find how to turn it off.
(I went to a large bookstore to buy a FW book today but they
didn't have any. And the only one they even listed on their
computer is due to be published at the end of February!)
Any help would be greatly appreciated. Thanks.
Eldor - Montreal

quote:
Originally posted by:
Newsgroup User
EldorG wrote:
> As I said, PEBCAK error. But that still leaves me
with the file name 'problem'
> I mentioned... that my images get named from
'name.jpg' to 'name_jpg.jpg'.
> This happens when I use the 'Create Web Photo Album'
from Dreamweaver CS3
> (which in turn calls FW to do the work). Should I
post that in the DW forum,
> or is it a FW thing? Thanks very much! Eldor
Don't name them in FW. Allow them to be exported with the
names they
already have.
Linda Rathgeber [PVII] *Adobe Community Expert-Fireworks*
http://www.projectseven.com
Fireworks Newsgroup:
news://forums.projectseven.com/fireworks/
CSS Newsgroup: news://forums.projectseven.com/css/
http://www.adobe.com/communities/experts/
Linda, I'm
not naming the images in FW. As a matter of fact, I never
even see a FW dialog. If I optimize an image directly from within
FW, there is no problem. But doing so from Dreamweaver (through the
Create Web Photo Album command which seems to call FW to automate
the work) causes the images to be reduntantly renamed. And I don't
see an option anywhere to change this.
As I said, I'm not sure if this is something I should be
asking in the FW forum or the DW forum. But since this option
doesn't even exist in DW until FW is installed and FW is called
from DW to do this, I really don't know where to ask.
How does that FW automation work? Is there a script file or
something somewhere that I might find and modify?
That option in DW not only optimizes a bunch of images, it
creates thumbnails as well, and writes all the stuff into HTML code
to produce a table of the images. So I can't just go to FW and
manually optimize an image.
Regards...
Eldor

Color space from lightroom to flickr

Can anyone help me with this question....having developed raw images in lightroom, I then may publish some of them on my flickr account. When these images are exported directly from Lightroom to Flickr, are they automatically exported in sRGB?....especially considering that Lightroom is a ProPhoto RGB color managed application. I ask this because I know that people may look @ my images in non-color managed web browsers, like Internet Explorer, and if the images are exported in the ProPhoto RGB color space, the image colors will render poorly on that non-color managed web browser. Are they automatically exported in the web friendly sRGB?? Thanks for your comments:)

Perhaps you could help me with another question. I always shoot in raw and process using ProPhoto RGB throughout my entire workflow. However, 5 years ago, I shot in Jpeg. I couldn't tell you what colour space my camera was set to then. When editing those JPEGS in Lightroom, in what colour space should I apply to those images when I send them over to Photoshop? I know JPEGs already have a colour space applied, but the camera I used then is long gone and therefore can't remember if they were shot in sRGB or Adobe RGB. Also, whatever colour space I do use when exporting from Lightroom to Photoshop, I should set up Photoshop's working colour space to match the image's profile, correct? So, should I apply sRGB or Adobe RGB to my JPEGs when going from Lightroom to Photoshop?? Thanks:)

DISPLAY FOR VIDEO. Proper color space

Hello,
I do you configure your macbook pro display to the proper color space?
(RGB color space is for graphics, YUV 601-709 is for vidéo)

Hi l,
I'm not sure if this is what you're looking for, but open System Preferences > Displays. In the window that opens, click on the Color tab, then click on Calibrate.

Color Space Management & Final Color Output-not WYSIWYG?

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