Color space RGB or YUV?

Hello. What color space in premiere? RGB or YUV? How I can change color space? In Avid composer, when importing, i can select RGB or YUV. In premiere cc is there?
screenshot from avid

How does P Pro handle YUV (YCbCr) and RGB color spaces?

Similar Messages

  • RGB Working Color SPace ....

    I'm very confused with this stuff ...
    I read that when we setup Photoshop we should set the working color space
    rgb to Adobe RGB or ProPhoto RGB .... fine I understand this up to a point.
    However what happend if the monitor can not display the color space ?
    For example when I display the Color Picker on my external NEC monitor
    everything always looks good but on my internal laptop monitor there is
    banding in the Color Picker.
    If I set the working color space to srgb then the banding disapears.
    So just how should I set all this up ?

    Michael,
    rely on a calibrated precision monitor (not the laptop),
    define all images by AdobeRGB and improve them by Levels,
    Curves and Sharpening.
    Check occasionally by Proof Colors / Gamut Warning
    (using the monitor profile) whether the colors are out
    of gamut for the monitor.
    The monitor is probably not the final output device.
    If the output device should be e.g. offset ISOCoated,
    then check by Proof Colors / Gamut Warning whether the
    colors are out of gamut for ISOCoated. If this should
    be the case, then modify the RGB source until only small
    parts of the image are out of gamut (yellow blossoms).
    Otherwise larger parts might be affected by posterization
    (blue sky).
    Theoretically one can use 'desaturate by 20%', which should
    show larger space colors mapped to the smaller space.
    I don't use it, I'm preferring the gamut warning - recently
    for a couple of landscape photos with very blue skies,
    yellow blossoms and orange sunsets.
    Best regards --Gernot Hoffmann

  • IPhoto - is it using two different color spaces?

    I know I should have a better handle on this whole question by now, but am still confused by the 1.8 vs. 2.2 Gamma issue.
    On the recent advice of an Apple PhotoServices tech, I've just changed my main display's Gamma from the default 1.8 to the darker 2.2 -- hoping to maximize consistency between what I see onscreen and what I'll receive in my printed Calendar order. (Everything else is still based on the default "Cinema HD" profile.)
    Using one particular JPEG image as a test, I'm seeing something curious:
    In Aperture, the image's thumb and its full-screen version look basically the same. But in iPhoto, that same image looks quite different depending on whether I'm viewing it as a thumb (or as an image placed in a Calendar theme), vs. when I double-click that image and see it in iPhoto's Editor window.
    When I see it in iPhoto's editing mode, it suddenly looks noticeably lighter -- as if I'd switched my display back to the old 1.8 Gamma.
    Can anyone enlighten me here (pardon the pun)? Why does iPhoto's editor window seem to display an image differently than other programs, or even than elsewhere in iPhoto itself? And why am I only seeing this discrepancy after setting my display to the 2.2 Gamma?
    John Bertram
    Toronto

    Okay --
    The plot thickens. I followed your suggestion, Terence, and did some tests. Here are the interesting (if confusing) results:
    When I open anything from within the iPhotoLibrary folder using Preview, Preview gives the Color Profile info as follows:
    Color Model: RGB
    ColorSync Profile: Generic RGB Profile
    This seems to apply to anything from within the iPhotoLibrary package, whether we’re talking images from the Originals folder, from the Modified folder, or thumbs from the Data folder. And they all (when viewed in Preview) look the same, and they all look “correct” in terms of general contrast.
    BUT...
    When I do a Finder “Get Info” on those same files, suddenly there are differences.
    1) from the Modified folder:
    Most images from the Modified folder now say (in Get Info’s “More Info” pane):
    Color space: RGB
    Profile name: Adobe RGB (1998)*
    * (A few give the Profile name as “sRGB IEC61966-2.1”, and the one that got saved as a .psd file says “Camera Sync Profile”. The strange thing is I can’t seem to find any pattern between the images which were modified using my “external editor” -- Photoshop Elements -- vs. the ones which were edited using only iPhoto’s adjustment tools. The bulk of them all say “Adobe RGB (1998)” as the Profile Name.)
    Note that these are the same images which, when opened in Preview, ALL claim the “Generic RGB Profile” -- and all look correct under those circumstances.
    2) from the Data folder:
    Meantime, ALL the thumbnail images which iPhoto has created for its Data folder, when “Get Info’d” in the Finder, all state their Profile name as “sRGB IEC61966-2.1”.
    Open the same thumb image in Preview, and it’s back to “Generic RGB Profile” (as well as back to looking correct and not too dark).
    3) from the Originals folder:
    Finally, images from iPhoto’s Originals folder give no color profile data whatsoever in the “More info” pane of the Finder’s Get Info window. So is this the same as having the “Generic RGB Profile”?
    In any case, here are three different folders (Originals, Modified, and Data), and iPhoto appears to be using a different color profile for the images contained in each one -- and in the case of the Modified folder, several different profiles.
    Yet all of these images, when opened in Preview, appear to use the “Generic RGB Profile” -- and all appear as they should in terms of Gamma/contrast on screen -- while when viewed within iPhoto the same image will look quite different depending on whether it’s being seen in iPhoto’s regular window (as a thumb or as part of a Calendar layout, for instance -- all too dark) or in iPhoto’s editing window, in which case it suddenly looks fine.
    The other mystery is why this discrepancy between iPhoto’s regular viewer and its editing window wasn’t apparent when my display was set to the default 1.8 Gamma; it’s only become an issue under the new (AppleSupport-recommended) 2.2 setting.
    = = = = = == = = = = = = = = = = = = = = = = = = = = = = = =
    My brain officially hurts now. (I guess this is just more evidence that Computers and the Internet will all be very nice if they can finally just get them working.)
    Any help in interpreting this data will, as always, be much appreciated.
    Thanks,
    John Bertram
    Toronto

  • Can you show slideshow within Lightroom 4.4 in Adobe RGB color space?

    Can you show slideshow within Lightroom 4.4 (not export out from LR) in Adobe RGB color space provided that you are using a wide gamut monitor which is capable and hardware calibrated & profiled to show such color space?
    If this is possible, what is required to do so in Windows 8 and i7-4770 & HD Graphics 4600 platform or does LR take care of it automatically?
    This is very basic question, however, I could not find a clear answer/info from LR documentation, so wish that someone can advice.

    Those settings are probably stored in a plist somewhere in ~/Library/Preferences. If you can locate the appropriate file, you should be able to copy it to all the network user folders.

  • Color problem with ProPhoto RGB color space

    Hi, everyone,
    I have wery special problem I think. I use MacBook pro 15" with retina display, adobe Photoshop CC and when I export RAW (from Nikon D7000) from Lightroom 5 to Photoshop with settings: 16 bit TIF, color space: ProPhoto RGB I have a problem with displaying the correct colors. As you can see in this picture:
    My problem are some "green" artefacts in absolutely black and white picture. I tried myself to solve this problem and found the following facts: when I convert picture into Adobe RGB or sRGB color space is everything OK - without green artefacts.
    But here is one important fact: I have calibrated monitor by datacolor spyder4elite and problem with ProPhoto RGB incorrect color displaying is only when the color calibration configuration is loaded. When I change my display calibration to standard apple color LCD profile than is everything OK.
    But using uncalibrated monitor and also Adobe RGB color space are no right solutions for me.
    My question is why I have problem with displaying ProPhoto RGB color space in photoshop under calibrated monitor profile and can anybody help me please?
    Thanks for answers.

    That's a classic example of the basic problem with 16 bit color. There is no solution that I know of.

  • Why does Lightroom (and Photoshop) use AdobeRGB and/or ProPhoto RGB as default color spaces, when most monitors are standard gamut (sRGB) and cannot display the benefits of those wider gamuts?

    I've asked this in a couple other places online as I try to wrap my head around color management, but the answer continues to elude me. That, or I've had it explained and I just didn't comprehend. So I continue. My confusion is this: everywhere it seems, experts and gurus and teachers and generally good, kind people of knowledge claim the benefits (in most instances, though not all) of working in AdobeRGB and ProPhoto RGB. And yet nobody seems to mention that the majority of people - including presumably many of those championing the wider gamut color spaces - are working on standard gamut displays. And to my mind, this is a huge oversight. What it means is, at best, those working this way are seeing nothing different than photos edited/output in sRGB, because [fortunately] the photos they took didn't include colors that exceeded sRGB's real estate. But at worst, they're editing blind, and probably messing up their work. That landscape they shot with all those lush greens that sRGB can't handle? Well, if they're working in AdobeRGB on a standard gamut display, they can't see those greens either. So, as I understand it, the color managed software is going to algorithmically reign in that wild green and bring it down to sRGB's turf (and this I believe is where relative and perceptual rendering intents come into play), and give them the best approximation, within the display's gamut capabilities. But now this person is editing thinking they're in AdobeRGB, thinking that green is AdobeRGB's green, but it's not. So any changes they make to this image, they're making to an image that's displaying to their eyes as sRGB, even if the color space is, technically, AdobeRGB. So they save, output this image as an AdobeRGB file, unaware that [they] altered it seeing inaccurate color. The person who opens this file on a wide gamut monitor, in the appropriate (wide gamut) color space, is now going to see this image "accurately" for the first time. Only it was edited by someone who hadn't seen it accurately. So who know what it looks like. And if the person who edited it is there, they'd be like, "wait, that's not what I sent you!"
    Am I wrong? I feel like I'm in the Twilight Zone. I shoot everything RAW, and I someday would love to see these photos opened up in a nice, big color space. And since they're RAW, I will, and probably not too far in the future. But right now I export everything to sRGB, because - internet standards aside - I don't know anybody who I'd share my photos with, who has a wide gamut monitor. I mean, as far as I know, most standard gamut monitors can't even display 100% sRGB! I just bought a really nice QHD display marketed toward design and photography professionals, and I don't think it's 100. I thought of getting the wide gamut version, but was advised to stay away because so much of my day-to-day usage would be with things that didn't utilize those gamuts, and generally speaking, my colors would be off. So I went with the standard gamut, like 99% of everybody else.
    So what should I do? As it is, I have my Photoshop color space set to sRGB. I just read that Lightroom as its default uses ProPhoto in the Develop module, and AdobeRGB in the Library (for previews and such).
    Thanks for any help!
    Michael

    Okay. Going bigger is better, do so when you can (in 16-bit). Darn, those TIFs are big though. So, ideally, one really doesn't want to take the picture to Photoshop until one has to, right? Because as long as it's in LR, it's going to be a comparatively small file (a dozen or two MBs vs say 150 as a TIF). And doesn't LR's develop module use the same 'engine' or something, as ACR plug-in? So if your adjustments are basic, able to be done in either LR Develop, or PS ACR, all things being equal, choose to stay in LR?
    ssprengel Apr 28, 2015 9:40 PM
    PS RGB Workspace:  ProPhotoRGB and I convert any 8-bit documents to 16-bit before doing any adjustments.
    Why does one convert 8-bit pics to 16-bit? Not sure if this is an apt comparison, but it seems to me that that's kind of like upscaling, in video. Which I've always taken to mean adding redundant information to a file so that it 'fits' the larger canvas, but to no material improvement. In the case of video, I think I'd rather watch a 1080p movie on an HD (1080) screen (here I go again with my pixel-to-pixel prejudice), than watch a 1080p movie on a 4K TV, upscaled. But I'm ready to be wrong here, too. Maybe there would be no discernible difference? Maybe even though the source material were 1080p, I could still sit closer to the 4K TV, because of the smaller and more densely packed array of pixels. Or maybe I only get that benefit when it's a 4K picture on a 4K screen? Anyway, this is probably a different can of worms. I'm assuming that in the case of photo editing, converting from 8 to 16-bit allows one more room to work before bad things start to happen?
    I'm recent to Lightroom and still in the process of organizing from Aperture. Being forced to "this is your life" through all the years (I don't recommend!), I realize probably all of my pictures older than 7 years ago are jpeg, and probably low-fi at that. I'm wondering how I should handle them, if and when I do. I'm noting your settings, ssprengel.
    ssprengel Apr 28, 2015 9:40 PM
    I save my PS intermediate or final master copy of my work as a 16-bit TIF still in the ProPhotoRGB, and only when I'm ready to share the image do I convert to sRGB then 8-bits, in that order, then do File / Save As: Format=JPG.
    Part of the same question, I guess - why convert back to 8-bits? Is it for the recipient?  Do some machines not read 16-bit? Something else?
    For those of you working in these larger color spaces and not working with a wide gamut display, I'd love to know if there are any reasons you choose not to. Because I guess my biggest concern in all of this has been tied to what we're potentially losing by not seeing the breadth of the color space we work in represented while making value adjustments to our images. Based on what several have said here, it seems that the instances when our displays are unable to represent something as intended are infrequent, and when they do arise, they're usually not extreme.
    Simon G E Garrett Apr 29, 2015 4:57 AM
    With 8 bits, there are 256 possible values.  If you use those 8 bits to cover a wider range of colours, then the difference between two adjacent values - between 100 and 101, say - is a larger difference in colour.  With ProPhoto RGB in 8-bits there is a chance that this is visible, so a smooth colour wedge might look like a staircase.  Hence ProPhoto RGB files might need to be kept as 16-bit TIFs, which of course are much, much bigger than 8-bit jpegs.
    Over the course of my 'studies' I came across a side-by-side comparison of either two color spaces and how they handled value gradations, or 8-bit vs 16-bit in the same color space. One was a very smooth gradient, and the other was more like a series of columns, or as you say, a staircase. Maybe it was comparing sRGB with AdobeRGB, both as 8-bit. And how they handled the same "section" of value change. They're both working with 256 choices, right? So there might be some instances where, in 8-bit, the (numerically) same segment of values is smoother in sRGB than in AdobeRGB, no? Because of the example Simon illustrated above?
    Oh, also -- in my Lumix LX100 the options for color space are sRGB or AdobeRGB. Am I correct to say that when I'm shooting RAW, these are irrelevant or ignored? I know there are instances (certain camera effects) where the camera forces the shot as a jpeg, and usually in that instance I believe it will be forced sRGB.
    Thanks again. I think it's time to change some settings..

  • Converting RGB images (sRGB or Adobe RGB) to 709 color space.

    I'm trying to determine the correct way to convert RGB images (sRGB or Adobe RGB) to 709 color space.  I can't just use the "covert to profile" function to do this because it does not produce results that fall within the 16 to 235 range that 709 dictates.  I've read that you can simply use the "Levels" adjustment and change the output levels to 16 to 235.  While this would clearly compress the luminance to the correct range, I'm not entirely clear if the end result would be a proper conversion (i.e. if color and gamma, for example, would be technically correct.)
    I noticed that converting the profile to "HDTV (Rec. 709)" does alter the image, so I'm wondering what the result would be if I did both this AND used the levels control to compress the output range to 16 to 235.
    Thanks for any feedback on this.

    (1)
    http://en.wikipedia.org/wiki/Rec._709
    (2)
    http://en.wikipedia.org/wiki/Rec._601
    The transfer functions for Rec.709 (1) refer to the range [0..1] or for 8 bits per pixel [0...255].
    It seems that the clipping, black=16 and white=235 has to happen after the application of the
    transfer function. If this should be true, then we don't have a level compression but a level
    clipping at both ends, as already for Rec.601 (2), like here:
    The ICC-Profile HDTV(Rec.709) in Photoshop contains the primaries and the white point
    (both like that in sRGB) and the transfer functions for [0..1], coded by a LUT with high resolution,
    as found by Profile Inspector. There is no clipping.
    By the way, that`s the internal profile name, I don't know the file name of the profile.
    Softproofing, source in sRGB, target HDTV(Rec.709), without clipping:
    With numbers not preserved: no change of the appearance, as expected.
    With numbers preserved: shows the effect of different effective gammas. 
    Your questions are very clear and I'm not sure whether my comments help. The information
    in the internet is not convincing.
    Best regards --Gernot Hoffmann

  • 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

  • For P.O.D. Printing: How to Set Adobe RGB Color Space

    Hello and thanks in advance,
    (I'm using InDesign CS 5.5 on a Mac.)
    I need to set the proper PDF export settings
    For printing a book on demand, with color drawings inside on the text pages.
    The onnly instructions that I have been able to find, say this:
    "Submit your graphics in the Adobe RGB color space, withprofile embedded."
    The Big Question: How do I do that ?
    I know enough to start with
    File --> Adobe PDF Presets --> Press Quality
    Then I click on the "Output Menu"
    and here's where I start to get lost.
    for
    Color Conversion ...
    I think I should select "Convert to Destination"
    for
    Destination
    I think it should be "Adobe RGB (1998)"
    Now in order to embed this profile,
    What should I select under:
    Profile Inclusion Policy   ?
    And is there anything else I should be doing to get these inside color images printing nicely ?
    Thanks again,
    IthacaAuthor (aka ZorbaTheGeek, but the forum would not let me log in with my old screen name)

    Virtually all digital printing is done via either PostScript or PDF. In the former case, the PDF is converted to PostScript viat use of Acrobat and in the latter case, the PDF is sent directly to the digital printer.
    In either case, CMYK is in fact the actual destination color space. There are no real RGB printers!!! What is true is that non-PostScript / non-PDF printers (typically low end laser and inkjet printers as well as specialized inkjet and dye sublimation photo printers) do take in RGB via drivers and convert that to CMYK, but I don't believe that is what you are dealing with.
    Our recommendation at Adobe for best printing results, whether for offset or digital printing, is to export PDF as PDF/X-4 with no color conversion using the default CMYK color space (SWOP CMYK) or if instructed otherwise by your print service provider, one of the other CMYK color spaces provided by Adobe or by the print service provider themselves. FWIW, most on-demand digital print devices do have settings to fully emulate SWOP CMYK printing conditions. Using PDF/X-4 in this manner allows the existing color content in your InDesign document to be properly tagged in the output PDF file and converted to CMYK at the digital printing device's RIP.
    (It might also assist us if you can provide a pointer to the explicit instructions provided by your print service provider.)
              - Dov

  • Force RGB Color Space over HDMI?

    Does anyone know how to force RGB over HDMI on a Macbook Pro with Retina Display. This is driving me nuts, as I have two U2410's. One is connected via DVI (using the DVI thunerbolt adapter), whilst the other is connected via HDMI. The monitor connected via HDMI negotiates the YpBPr color space, whilst the DVI monitor uses RGB. This makes it impossible to get the two monitors to produce the same colour. I can set the monitor to RGB within the OSD, but that just produces a mismatch of green and purple colours - in other words, the signal coming from the mac is still YpBPr so obviously setting the monitor to RGB ruins the colours completely.
    There must be some driver setting or something to force HDMI to output RGB instead of YpBPr. Through Googling, it seems this applies to pretty much any Mac with a HDMI port, hence it's got to be a software issue, that's why I chose this forum. I'm about to duck home (I'm at work) and grab one of my HDMI -> DVI cables to see if that provides a work-around.
    What happened to Mac's being a professional device. Surely they can't claim superior colour management if something as fundamental as the monitor's color space can't be controlled.

    I have given up trying to use a Mac with a Dell or Samsung or Viewsonic monitor. Just ordered and received a StarTech.com DP to miniDP cable and was disappointed to see only YpbPR being output to my 22" Dell monitor. This is on top of the general fuziness and inaccurate colors. I've tried all sorts of other cables and adapters, both Apple and 3rd party, and the plain sad fact is that none of them work properly.
    I plug in an old Cinema Display or a new Apple LED display and it works perfectly, colors look great, type isn't fuzzy.
    I boot into Windows 7 on the same Mac using Bootcamp and my Dell monitor works perfectly.
    It's OSX's display drivers that just don't play nice with Dell or Samsung or Viewsonic monitors. There's no other explanation because every other combination has problems with OSX and non-Apple monitors.
    I can get into the long description of every possible adapter and cable I've tried (as well as the terminal command to adjust font smoothing). If I want the type to look right and the colors to look right, I just have to use an Apple monitor, which is aggravating as I have plenty of larger monitors here at work that I'd rather use.
    Brief summary:
    Three different MBPs, one a Retina display. Four different monitors from 3 different manufacturers, each with various connection options (HDMI, VGA, DVI, DP). DP to miniDP cable, DVI cable with Apple DVI to mDP adapter, HDMI to DVI with mDP adapter, couple of other similiar combinations of cables and adapters.
    Bottom line is that all the screwing around produces a low quality, poor color accurate picture when the MBPs connect to 3rd party monitors. Plugging in the MBP to an Apple monitor (as old as a 2006 era Cinema Display) using any combination of adapter or cable looks great. Plugging in Windows 7 machines, either a dedicated Dell laptop or the MBPs in Bootcamp mode, all monitors look great. Also note that in OSX, the signal recevied by the monitors is YpbPr, but the same laptop in Bootcamp Windows 7 outputs RGB.
    Hence, my guess that OSX display drivers are wonky except when plugged into an Apple branded monitor.

  • New ICC v4 sRGB Color Space May Prevent Clipping Converting From ProPhoto RGB

    Just discovered and tried out this new sRGB color space downloaded from this page:
    http://www.color.org/srgbprofiles.xalter
    Here's a cropped demo with histograms of a raw image I've been working on in ProPhotoRGB in ACR 3.7 and CS2:
    http://www.flickr.com/photos/26078880@N02/2874068887/sizes/o/
    Please disregard the PRMG name in the demo. I got confused as to which was which on that site and thought that this version of sRGB was a PRMG=(Perceptual Reference Medium Gamut) profile. It's called sRGB_v4_ICC_preference.icc.
    Note the different color shifts using the Perceptual intent and unchecking Black Point Compensation=(BPC). Neat little features embedded in this profile, but not sure about how it renders certain colors close to clipping in the shadows. That site doesn't recommend mixed use of ICC v4 with v2 color spaces and output device profiles but I did it anyway just to see what it does.
    Who knows this may be the equivalent of handing scissors to children, but I'm just one of those curious children and thought I'ld share anyway.

    I'll try to respond to a few items above.
    The digital values in a Pro Photo RGB file should generally be the same as for a ROMM RGB file. The exception is that all possible Pro Photo RGB values are "legal" but not all ROMM RGB values are "legal." ISO 22028-2 restricts the legal ROMM values to those with PCS LAB values between 0 and 100 L* and -128 to +128 a* and b*.
    There is no enforcement if you use the illegal values in a ROMM file but as some of these values do not represent possible colors this is not advisable. I think it is good practice to try to stay mostly inside the ICC v4 PRM gamut with Pro Photo/ROMM images. You can check this using the gamut warning profile on the ICC site.
    If you have a Pro Photo RGB image you should just assign the ROMM profile to it. Converting to ROMM RGB should not change anything in the ideal sense but there is the possibility to introduce rounding errors and mismatch black points.
    The main difference between the Pro Photo RGB profile and the ROMM RGB profile is the former includes black scaling to zero (as is common with v2 color space and display profiles) and the latter does not (as is required with v4 profiles).
    In the duck picture, the reason for the difference is the ROMM profile black is at L*=3 so this is where the lowest blacks land when converting MRC to v2 sRGB (which has the sRGB blacks scaled to L*=0). In this case leaving BPC off is analogous to turning on "Simulate Black Ink" in Photoshop Proof Setup.
    All the ACR color space choices are v2 profiles with black scaling. If you want a v4 profile embedded you have to assign it (if you have a corresponding v4 profile) or convert to it.
    Both the sRGB and PRM gamuts fit within the ROMM RGB legal encoding range, but if you use a v2 profile with black scaling you should always turn on BPC when combining with a v4 profile. Otherwise the v4 profile will think the v2 profile represents a device with an infinite dynamic range. When BPC is on the Color Engine scales the black point of the source profile to the black point of the destination profile.
    The sRGB gamut extends outside the PRM gamut in some places, and the PRM gamut extends outside the sRGB gamut in other places. If you convert using a colorimetric intent in either direction some of the gamut will be clipped. The purpose of the sRGB v4 perceptual transforms is to minimize clipping in both directions.
    I can't do this justice here but basically scene-referred images are encodings of the scene colors and output-referred images are encodings of the picture colors on some medium for which the picture colors have been optimized. You can make a scene-referred image by setting the ACR sliders (except the white balance sliders) to zero and the curves tab to linear. You make an output-referred image when you adjust the sliders to non-zero values to make a nice picture as viewed on some medium. For example you might adjust the sliders differently to get the best results printing colorimetrically on glossy photo paper vs. on plain office paper.
    Often an important part of the transform to output-referred includes a midtone contrast and saturation boost. While there will likely be some highlight and may be some shadow compression, it is misleading to think of this transform only as a compression to some output medium dynamic range. In some cases the output medium dynamic range is larger than that of the scene.
    Usually the transform to output-referred is more complicated than a simple gamma function.
    Regardless of the image state (scene-referred or output-referred) the sRGB, Adobe RGB, or Pro Photo RGB nonlinearities will be applied to create the image data that you open into Photoshop.
    We are working in the ICC to prepare more information for posting on this topic.

  • RGB color space in LR3 - does it convert back to sRGB on export?

    First off, I've only had LR3 for two days so I am a complete novice. I've been reading my book and just came across the part about RGB color space. I shoot with and use sRGB, which apparently LR will recognize. However, it states that the develop module uses Lightroom RGB. My question is, when I export my edited photos to PSE8 (or to a folder on my desktop to save and email for my daughter's business), does it export them back as sRGB? I know there is a lot of controversy over the whole RGB thing, but after my research on the matter, I have decided that sRGB is the best for my particular situation. I'm just making sure I don't have to check something or convert them back if they don't automatically change out of LightroomRGB.

    ColeeLou2,
    Some additional thoughts to what has been said already:
    I shoot with and use sRGB, which apparently LR will recognize.
    The color space you chose on your camera (sRGB, AdobeRGB) only affects the JPEG rendering in your camera. It does not affect the RAW file, as a RAW file is not in any color space. Upon import of a RAW into LR, it will be rendered in a ProPhoto RGB color space with an sRGB tone curve (Jao will correct me if I'm wrong ) for use within LR.
    My question is, when I export my edited photos to PSE8 (or to a folder on my desktop to save and email for my daughter's business),
    I would suggest using an sRGB color space upon export for external uses (like emailing to your daughter), but use ProPhotoRGB when going into PSE in external edit. This way you will have all the color information possible available in PSE, and PSE will recognize the ProPhotoRGB color space.
    Beat Gossweiler
    Switzerland

  • In the toolbar I click on color face and see the RGB color space view. How do I put them into CMYK?

    In the toolbar left I click on color face and see the RGB color space view. How do I put them into CMYK?
    German:
    In der Werkzeugleiste klicke ich auf Farbfläche und sehe den RGB-Farbraumansicht. Wie stelle ich diese in CMYK um?

    I design print material. I hope Adobe will change it.
    The ID Color Picker works the same as Photoshop's classic color picker except that it doesn't have an H,S,B presentation (which is the more intuitive interface). So both programs let you choose an R, G, B and L, a, b presentation of color via the 6 radio buttons, and you can pick RGB, Lab or CMYK versions of the chosen color—the mode you get depends on where your cursor is. If you pick an out-of-gamut CMYK color it is brought into gamut in the Swatches or Color panels after you click OK.
    So here I'm picking RGB, Lab and CMYK Swatches or Colors of the color selection because my cursor is in a respective RGB, Lab or CMYK field, note that the Add Swatch button changes accordingly:
    When I click inside the color field, the CMYK values are a color managed conversion of the chosen color, but I also have the option of entering any value. So it would be unlikely I would get a blue gray color like 50|0|0|50 with a color managed conversion, but I have the option to enter those specific numbers.
    The 3 versions of the color added as swatches
    An InDesign document can have a mix of RGB, Lab, and CMYK colors. Colors and swatches can be converted to any CMYK destination space when you export or print.

  • Color space-creating a book in My publisher-.when I look at the share book pre print the colors are all dulled out. I work in pro photo rgb in LR and PS -.My Pub is sRGB-.where is the problem?

    Color space…creating a book in My publisher….when I look at the share book pre print the colors are all dulled out. I work in pro photo rgb in LR and PS ….My Pub is sRGB….where is the problem?

    I finally got to my references. This had to do with "soft proofing" on screen in Photoshop.
    So this may not help you at all. Re: Strange sRGB soft-proofing behavior  So go ahead and leave that setting at Basic.
    However there is a Color Management forum that you also go to and see if anyone has answers for your particular problem.
    Here is the link: Color management
    I hope they can help you out.
    Gene

  • I am using PS cs6 and lightroom and I am having a hard time know what color space to choose.  The lab that I am using told me that their color space is sRGB.  Do I need to have both PS and Lightroom set at sRGB or should I have PS set at adobe RGB and jus

    I am using PS cs6 and lightroom and I am having a hard time know what color space to choose.  The lab that I am using told me that their color space is sRGB.  Do I need to have both PS and Lightroom set at sRGB or should I have PS set at adobe RGB and just set my export from lightroom as sRGB?

    Please post in the Photoshop forum.
    http://forums.adobe.com/community/photoshop
    Bob

Maybe you are looking for