Color space setting for new monitor?

New HP LP2480 monitor.
Has multiple settings for colorspace.
For use with FCS- should I be at adobeRGB or Rec 601 or Rec 709?
(Prior to this I used a Apple display and never messed with settings)
Thanks

Does anyone know the color space used in FCP?
Avid is 601
but I think might FCP might be 701 or RGB- yes? no?

Similar Messages

To retain color space value for Monochrome images during flattening.

In our project, we are extracting image content from PDF file and doing some raster operation by using LeadTool and then flattening the processed image in PDF file.
Input PDf file: One page which has monochrome image
For extracting image content from PDF file, we are using below Acro Plugin API:
AVConversionConvertFromPDFWithHandler
After this, we will perform some raster operations by using LeadTool and then flattening will happen.
While doing flatten we are performing below operations in sequence:
1. Set bitspercomponent =1.
2. Create a new color table using DeviceRGB.
3. Create image by using below Acro Plugin API:
pdeimage = PDEImageCreate(&attrs, sizeof(attrs), &matrix, 0, cols1, NULL, &fil, asstm, NULL, 0);
4. Add image in PDF content.
Now flattening is successful, but monochrome(Original Image format) is changed to RGB. We want to retain the color space(DeviceGrey).
We have tried the below solution to retain the color space:
1. Using the old image's color space value for new image creation. But this gives inverted color(Black to White and vice versa)
Please help us to retain the color space while flattening.

We are using JPG file format.
Please find below the code portions which we used to add image in PDF file,
//Read Image Data
========================================================================================== ==================
ASBool ret = TRUE;
// analyze img
ASInt32 index = 0, quadSize = 0;
BITMAPFILEHEADER* bmfh = NULL;
// BITMAPFILEHEADER
if( !bQuadSize )
bmfh = (BITMAPFILEHEADER*)img;
index += sizeof(BITMAPFILEHEADER);
// BITMAPINFOHEADER
BITMAPINFOHEADER* bmih = (BITMAPINFOHEADER*)(img+index);
index += sizeof(BITMAPINFOHEADER);
// RGBQUAD
if( !bQuadSize )
quadSize = bmfh->bfOffBits - sizeof(BITMAPFILEHEADER) - sizeof(BITMAPINFOHEADER);
else
quadSize = size - bmih->biSize - bmih->biSizeImage;
ASInt32 rgbquadNum = 0;
char* quad = NULL;
if (quadSize > 0)
rgbquadNum = quadSize/sizeof(RGBQUAD);
quad = (char*)(img+index);
index += quadSize;
// Image
//ULONG imgSize = size - bmfh->bfOffBits;
char* image = (img+index);
DURING
   if(!pd)
    E_RETURN(FALSE);
   PDPage pp = PDDocAcquirePage(pd, page-1); // Get Page(PDPage) of specified page number
   PDEContent pdeContent = PDPageAcquirePDEContent(pp, gExtensionID); // Get PageContent(PDEContent)
   ASInt32 numElems = PDEContentGetNumElems(pdeContent); // Get PageContent num
   // Check BitMap width, height, biXPelsPerMeter, biYPelsPerMeter changed
   ASFixedRect mb;
   PDPageGetMediaBox(pp, &mb);
   ASFixedRect chgMediaBox;
   memset(&chgMediaBox, 0 , sizeof(ASFixedRect));
   if (paperSizeChangeType == PAPERSIZE_SIZESPECIFICATION)
    chgMediaBox.right = width;
    chgMediaBox.top = height;
   // Get PDEImage's Attributes & Filters & ColorSpace from Old Image in PDF file
========================================================================================== ===================================
   PDEElement pdeElement;
   ASInt32 importIndex;
   ASInt32 type;
   PDEImageAttrs attrs1;
   PDEColorSpace cols1;
   //ASAtom colname;
   PDEFilterArray fil1[20];
   ASInt32 filNum1;
   ASFixedMatrix matrix1;
   bool isTransformedPage = false; //EV2.8.02000_19651_Retain color space_20141016
   for (int i = 0; i < numElems; i++)
    pdeElement = PDEContentGetElem(pdeContent, i);
    PDEObject obj=_objHelper.TraversePDPageContentsImage((PDEObject)pdeElement);
     if(obj == NULL)
      continue;
     pdeElement= (PDEElement)obj;
    type = PDEObjectGetType((PDEObject)pdeElement);
    if (type == kPDEImage)
     // Get Attr
     PDEImageGetAttrs((PDEImage)pdeElement, &attrs1, sizeof(PDEImageAttrs));
     // Get ColorSpace
     cols1 = PDEImageGetColorSpace((PDEImage)pdeElement);
     // Get Filter Array
     filNum1 = PDEImageGetFilterArray((PDEImage)pdeElement, fil1);
     // Get ASFixedMatrix
     PDEElementGetMatrix(pdeElement, &matrix1);
     //EV2.8.02000_19651_Retain color space_20141016 - Start
     if (matrix1.a < 0 || matrix1.b < 0 ||
                    matrix1.c < 0 || matrix1.d < 0 ||
                    matrix1.h < 0 || matrix1.v < 0)
      isTransformedPage = true;
     //EV2.8.02000_19651_Retain color space_20141016 - End
     // Set Import and Delete Index
     importIndex = i;
     break;
   // Create image data (for PDEImage)
========================================================================================== =================================
   ASInt32 bitPerComponent = bmih->biBitCount;
   ASInt32 bitWidth = 0;
   ASInt32 width1 = bmih->biWidth;
   ASInt32 height1 = bmih->biHeight;
   // Create image size
   if (bitPerComponent == 1)
    if (width1%8)
     bitWidth = (width1/8) + 1;
    else
     bitWidth = width1/8;
   else if (bitPerComponent == 4)
    if (width1%2)
     bitWidth = (width1/2)+1;
    else
     bitWidth = width1/2;
   else if (bitPerComponent == 8)
    bitWidth = width1;
   else if (bitPerComponent == 32)
    bitWidth = width1*4;
   else // if (bitPerComponent == 24)
    bitWidth = width1*3;
   ASInt32 imgSize4Acrobat = height1 * bitWidth;
   char* image4Acrobat = (char*)ASmalloc(imgSize4Acrobat);
   if( image4Acrobat == NULL )
    E_RETURN(FALSE);
   memset(image4Acrobat, 0, imgSize4Acrobat);
   // Create image
   ASInt32 nokori = (bitWidth)%4;
   ASInt32 bitWidth4hokan = 0;
   if (nokori)
    bitWidth4hokan = bitWidth + (4-nokori);
   else
    bitWidth4hokan = bitWidth;
   ASInt32 hbw = 0;
   ASInt32 hbw4hokan = 0;
   if (bitPerComponent == 1)
    for (int k = height1-1, l = 0; k >= 0; k--, l++)
     hbw = l*bitWidth;
     hbw4hokan = k*bitWidth4hokan;
     memcpy((image4Acrobat+hbw), (image+hbw4hokan), bitWidth);
   else if (bitPerComponent == 4)
    for (int k = height1-1, l = 0; k >= 0; k--, l++)
     hbw = l*bitWidth;
     hbw4hokan = k*bitWidth4hokan;
     memcpy((image4Acrobat+hbw), (image+hbw4hokan), bitWidth);
   else if (bitPerComponent == 8)
    for (int k = height1-1, l = 0; k >= 0; k--, l++)
     hbw = l*bitWidth;
     hbw4hokan = k*bitWidth4hokan;
     memcpy((image4Acrobat+hbw), (image+hbw4hokan), bitWidth);
   else if (bitPerComponent == 32)
    for (int k = height1-1, l = 0; k >= 0; k--, l++)
     hbw = l*bitWidth;
     hbw4hokan = k*bitWidth4hokan;
     for (int kk = 0; kk < bitWidth; kk += 4)
      *(image4Acrobat+hbw+kk) = *(image+hbw4hokan+(kk+3));
      *(image4Acrobat+hbw+kk+1) = *(image+hbw4hokan+(kk+2));
      *(image4Acrobat+hbw+kk+2) = *(image+hbw4hokan+(kk+1));
      *(image4Acrobat+hbw+kk+3) = *(image+hbw4hokan+(kk));
   else
    for (int k = height1-1, l = 0; k >= 0; k--, l++)
     hbw = l*bitWidth;
     hbw4hokan = k*bitWidth4hokan;
     for (int kk = 0; kk < bitWidth; kk += 3)
      *(image4Acrobat+hbw+kk) = *(image+hbw4hokan+(kk+2));
      *(image4Acrobat+hbw+kk+1) = *(image+hbw4hokan+(kk+1));
      *(image4Acrobat+hbw+kk+2) = *(image+hbw4hokan+(kk));
   //Invert Image Data
========================================================================================== ================================
   for(int it = 0; it < imgSize4Acrobat; it++)
      image4Acrobat[it] = 255 -image4Acrobat[it];
   // Open Image Data
========================================================================================== ================================
   ASStm asstm = ASMemStmRdOpen(image4Acrobat, imgSize4Acrobat);
   // Create PDEImage Attribute etc.
========================================================================================== ================================
   PDEImageAttrs attrs;
   memset(&attrs, 0, sizeof(PDEImageAttrs)); // necessary
   attrs.width = width1;
   attrs.height = height1;
   if (bitPerComponent == 1) {
    attrs.bitsPerComponent = 1;
    if (rgbquadNum) {
     attrs.flags = kPDEImageIsIndexed | kPDEImageExternal; // Indicates image uses an indexed color space.
    } else {
     attrs.flags = kPDEImageExternal; // Indicates image is an XObject.
     // B&W
   } else if (bitPerComponent == 4) {
    attrs.bitsPerComponent = 4;
    if (rgbquadNum) {
     attrs.flags = kPDEImageIsIndexed | kPDEImageExternal; // Indicates image uses an indexed color space.
    } else {
     attrs.flags = kPDEImageExternal; // Indicates image is an XObject.
   } else if (bitPerComponent == 8) {
    attrs.bitsPerComponent = 8;
    if (rgbquadNum) {
     attrs.flags = kPDEImageIsIndexed | kPDEImageExternal; // Indicates image uses an indexed color space.
    } else {
     attrs.flags = kPDEImageExternal; // Indicates image is an XObject.
   } else if (bitPerComponent == 32) {
    // not support (acrobat)
   } else { // (bitPerComponent == 24)
    attrs.flags = kPDEImageExternal; // Indicates image is an XObject.
    attrs.bitsPerComponent = 8;
   // matrix
   ASFixedMatrix matrix;
   memcpy(&matrix, &matrix1, sizeof(matrix1));
   if (paperSizeChangeType == PAPERSIZE_SIZESPECIFICATION)
    matrix.a = chgMediaBox.right;
    matrix.b = 0;
    matrix.c = 0;
    matrix.d = chgMediaBox.top;
    matrix.h = 0;
    matrix.v = 0;
   // Filter
   PDEFilterArray fil;
   memset (&fil, 0, sizeof (PDEFilterArray));
   PDEFilterSpec spec;
   memset (&spec, 0, sizeof (PDEFilterSpec));
   memcpy(&fil, &fil1, sizeof(PDEFilterArray));
   CosDoc cosDoc;
   CosObj cosDict;
   // Build the CosObj for the filter specification
   cosDoc = PDDocGetCosDoc(pd);
   cosDict = CosNewDict(cosDoc, false, 2);
   CosDictPut(cosDict, ASAtomFromString("K"), CosNewInteger (cosDoc, false, -1));
   CosDictPut(cosDict, ASAtomFromString("Columns"), CosNewInteger (cosDoc, false, width1));
   //memset the filterspec so there are no garbage values if we leave members empty
   spec.encodeParms = cosDict;
   spec.decodeParms = cosDict;
   spec.name = ASAtomFromString("CCITTFaxDecode");
   fil.spec[0] = spec;
   // Create PDEImage
========================================================================================== =================================
   PDEImage pdeimage;
   pdeimage = PDEImageCreate(&attrs, sizeof(attrs), &matrix, 0, cols1, NULL, &fil, asstm, NULL, 0);
   // Delete PDEImage at importIndex(==j) of page -> Delete old image in PDF file
========================================================================================== ====================
   PDEContentRemoveElem(pdeContent, importIndex);
   // Add PDEImage
========================================================================================== ==========================
   PDEContentAddElem(pdeContent, importIndex, (PDEElement)pdeimage);
   PDPageSetPDEContent (pp, gExtensionID);
   PDPageReleasePDEContent(pp, gExtensionID);
   // Release object
   PDERelease((PDEObject)pdeimage);
   PDPageNotifyContentsDidChangeEx(pp, TRUE);
   PDPageRelease(pp);
   ASStmClose(asstm);
   if (image4Acrobat)
    ASfree(image4Acrobat);
   if (lookupTable)
    ASfree(lookupTable);
HANDLER
   ret = FALSE;
END_HANDLER
return ret;

Color space question for photoshop cs on mac os10

I'm sure this has been beaten to death here before. I've been dealing with color space issues for months now, and I'm about at my wits end.
I realize that I should be saving in sRGB in order to get the same looking photo on the web that I get in photoshop. I go image-mode- convert to profile- destination space- profile: srgb profile. I've tried saving for web. I check "ICC" when I do that. When I just save an image as a jpeg (from a tiff), I check the box that says, "embed color profile." Still, my images look washed out on my website (which I made with iweb)- which I'm trying to put my images in a new web interface (flash palette) and my images STILL look washed out. The weird thing is, I NEVER have this issue when I upload images to photobucket or to the photography forum that I frequent.
What the heck am I doing wrong??
Thanks,
Hope

>> images are still a bit washed out with a warmish/ yellow cast to them, particularly, my black and white images
Here is a simple test to help evaluate if the monitor profile is reasonably good:
Open a RGB file in Photoshop (flatten if not already flattened).
Press M key> Drag a selection> Com+Shift+U (Desaturate).
Com+Z (to toggle back and forth).
If the unsaturated selection looks neutral you've got a reasonably fair monitor profile.
If selection has color casts (not neutral) -- you have a bad monitor profile
+++++
Here is a simple test to help evaluate if a bad monitor profile is whacking out your Photoshop color:
Monitors/Displays (control panel)> Color> highlight AppleRGB or sRGB (don't run Calibrate), quit and reboot.
If the Photoshop colors are back under control, then the problem was most surely a bad monitor profile go back into Monitors/Displays> Color and Calibrate a good profile highlight (load) sRGB, or preferably, the monitor's OEM profile as a starting point.
If you are using a puck, it is likely defective; or your monitor hardware is the culprit...search it on Google by model number

Color Space info for images

Hi all,
I would like to show the color space details for an image. Do you know what field mapping is required?
Thanks,
A.

>> images are still a bit washed out with a warmish/ yellow cast to them, particularly, my black and white images
Here is a simple test to help evaluate if the monitor profile is reasonably good:
Open a RGB file in Photoshop (flatten if not already flattened).
Press M key> Drag a selection> Com+Shift+U (Desaturate).
Com+Z (to toggle back and forth).
If the unsaturated selection looks neutral you've got a reasonably fair monitor profile.
If selection has color casts (not neutral) -- you have a bad monitor profile
+++++
Here is a simple test to help evaluate if a bad monitor profile is whacking out your Photoshop color:
Monitors/Displays (control panel)> Color> highlight AppleRGB or sRGB (don't run Calibrate), quit and reboot.
If the Photoshop colors are back under control, then the problem was most surely a bad monitor profile go back into Monitors/Displays> Color and Calibrate a good profile highlight (load) sRGB, or preferably, the monitor's OEM profile as a starting point.
If you are using a puck, it is likely defective; or your monitor hardware is the culprit...search it on Google by model number

Color space support for png files

kindly suggesting :
color space support for png files, requiring the support (read/write) of the chunks: iCCP, cHRM, gAMA, sRGB

Hi ChrisT,
Thanks for the suggestion. I went to:
http://h10025.www1.hp.com/ewfrf/wc/softwareCategory?os=4063&lc=en&cc=us&dlc=en&sw_lang=&product=4148...
Which is the software update page for my model. I see 10 items under Software Solutions, 8 of which are just video tutorial updates, not actual application updates (and none of those are for the Photo App). The two application updates are:
HP TouchSmart Recipe Box Application Update
HP Support Assistant Application Update
So, are you saying that PNG file types are supported in some versions of the Photo App and I don't have the correct version? Or in other words, what am I missing?
Cheers,
D

Photoshop not seeing export color space setting in Lightroom 4

MY LR or PS programs are not acting as expected.
When my Lightroom 4 is set to export to Photoshop in either the sRGB color space or the AdobeRGB color space, and Photoshop is set for the sRGB space, Photoshop gives a color mismatch error in both cases, saying the image is an AdobeRGB embedded image. However, if the color space in PS is set for AdobeRGB, even if the export setting in Lightroom is sRGB, there is no mismatch error.
Apparently, PS sees every image as embedded with AdobeRGB.
I have a Sony NEX6 camera. I have taken pictures in the camera sRGB color space and the AdobeRGB space, which I used for this test. Since I shoot in RAW, this should not matter, so I don’t think it is the issue, and, in fact, I get the same result no matter which color space the camera is in.
If LR export and PS color space are the same, why should there be a mismatch, and why is PS not seeing the sRGB space? Might there be a setting in Lightroom or Photoshop that I am missing?

howdego wrote:
I am, however, trying to decide on the right color space to use, which is how I noticed this problem. I rarely make prints of my photos. I make bluray movies using Proshow Producer. I recently got a new monitor and Samsung LED HDTV, and found that my photo videos did not display right and I am trying to find out why. I found the normal viewing settings of the TV have too much color and sharpness, so I established another group of settings for photos, which helped. However, I am still not satisfied.
These are two separate but related issues.
1) It's almost impossible to get accurate Color and Luminance level rendering inside LR if you don't use a hardware monitor calibrator to adjust your computer monitor.
2) LCD TV's use settings to "enhance" color, brightness, and contrast that is usually very, very inacuuarte. But this is what most non-photography people seem to like so TV manufacturers crank up the "default settings." I also have an older 52" Samsung TV (LN-T5265F) that I've manually adjusted for more accurate color. Try using the 'Movie' mode, which is the most accurate mode and turn the Backlight setting down. Here are the settings I use with my Samsung TV. I assume your Samsung TV's controls are similar:
Setup Screens
HDMI 1 (Cable Box) & Coax (Cable)
HDMI 2 (Panasonic Blu-Ray Player)
PICTURE - 1
Movie
Standard
Dynamic
Movie
Standard
Dynamic
Contrast
82
82
82
82
82
82
Brightness
43
45
45
43
45
45
Sharpness
25
25
35
15
15
25
Color
42
45
45
44
45
45
Tint
77 R
77 R
84 R
77 R
77 R
84 R
Backlight
5
6
7
5
5
6
PICTURE - 2
Color Tone
Normal
Normal
Normal
Normal
Normal
Normal
Detailed Settings
Black Adjust
Off
NA
NA
Off
NA
NA
Dynamic Contrast
Low
NA
NA
Low
NA
NA
Gamma
-1
NA
NA
-1
NA
NA
Color Space
Auto
NA
NA
Auto
NA
NA
White Balance
R-Offset
13
NA
NA
13
NA
NA
G-Offset
15
NA
NA
15
NA
NA
B-Offset
17
NA
NA
17
NA
NA
R-Gain
15
NA
NA
15
NA
NA
G-Gain
12
NA
NA
12
NA
NA
B-Gain
17
NA
NA
17
NA
NA
My Color Control
Pink
15
NA
NA
15
NA
NA
Green
15
NA
NA
15
NA
NA
Blue
15
NA
NA
15
NA
NA
White
15
NA
NA
15
NA
NA
Edge Ehnacement
On
NA
NA
On
NA
NA
xvYCC
Off
NA
NA
Off
NA
NA
Digital NR
Low
Low
Low
Low
Low
Low
Active Color
Off(NA)
Off(NA)
Off
Off(NA)
Off(NA)
Off
Dnie
Off(NA)
Off
Off
Off(NA)
Off
Off
SETUP - Screen 2
Energy Saving
Off
Off
Off
Off
Off
Off
SETUP - Screen 3
HDMI Black Level
Low
Low
Low
Low
Low
Low
Film Mode
Off(NA)
Off(NA)
Off(NA)
Off(NA)
Off(NA)
Off(NA)
howdego wrote:
So it occurred to me that some colors might be wrong, or too saturated, because I am not seeing them on my monitor as they will appear on the HDTV. I am thinking that since sRGB is my final color space, I would try to do everything in the sRGB space, including setting my monitor to sRGB (I have a Dell 2413 which supports adobeRGB too). I was inn the process of trying this when I found the issue at hand. Might you have any thoughts about this color space choice
If you have a wide-gamut monitor you are better off using it in Adobe RGB mode with a monitor calibrator. But then the monitor will not look correct in non-color managed applications:
http://www.gballard.net/photoshop/srgb_wide_gamut.html
You can circumvent this issue by using your monitor in sRGB mode, but I'd still suggest you use a hardware monitor calibrator. Either way it is imortatnt that you have a proper monitor profile assigned in Windows or OS X Color Management. The monitor manufacturer provides these, but they don't always work well with LR for numerous reasons.
To insure the best image quality you should do all of your editing in PS using 16 bit TIFF with ProPhoto RGB profile format until you are ready to Export. For use with ProShow you can use TIFFs or JPEGs, but use sRGB color profile to avoid any color management issue. JPEGs are fine and a LR Quality higher than 80 (10 in PS) is a waste of disk space for slideshow images.
In short you've got a lot of "variables" between the uncalibrated monitor and out-of-the-box non-adjusted TV. The former requires a good hardware calibrator aad the latter a good "eye" to adjust it.

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?!?

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 setting won't hold

My display setting for the color space won’t hold. I’ll set sRGB (Control panel/Display/Change display settings/Advance settings/Monitor Color) close the dialogue and all is well for a nonspecific period of time. At some point the sRGB setting will deselect. I’ll reset it but the cycle goes on and on. Has anyone had this experience or know the whys and wherefores?
System: W701; Windows 7 64; Quadro FX 2800M; hueyPRO
Many Thanks,
Fred
Solved!
Go to Solution.

I had a similar problem with my T410, using Windows 7's Calibrate Display under Color Management in Control Panel and I found two critical issues with keeping color calibrations (profiles) active. The first involves setting Windows up to use the profile and the second involves preventing the graphic card's applications from resetting and loosing the color calibration.
First, in order to get Windows 7 to use your color profile, it must be associated with your display in Color Management under the Devices tab. Also, two check boxes must be checked; the first being Use my settings for this device on the Devices tab and the second is Use Windows display calibration on the Advanced tab. This second check box will remain grayed out until you click Change System Defaults and then clicking the Advanced tab.
It is my understanding that color profiles generated by display calibrators can be loaded and handled by Windows in lieu of the third-party loaders. The following link will shed more light on this use of Windows to load the profiles:
http://www.pusztaiphoto.com/articles/colormgmt/win7/default.aspx
Secondly, the graphics card's user interface modules seem to constantly re-set the video card thereby loosing the color calibrations. These may be disabled under the Startup tab in MSCONFIG. On my machine, I disabled three Intel® Common User Interface items: igfxtray.exe, hkcmd.exe and igfxpers.exe. The following links may shed some more light on this:
http://www.bleepingcomputer.com/forums/topic371918.html
http://answers.microsoft.com/en-us/windows/forum/windows_7-desktop/color-profile-switches-when-compu...
ThinkPad T410, Model #: 2516-CTO/ i7-620M 2.66 GHz, 4 MB L3, Win 7 Pro 64 bit
4 GB PC3-8500 1067 MHz 2 DIMM, Intel GMA 5700MHD – AMT, 500 GB HDD 7200 rpm
DVD Recordable 8x Max Dual Layer, Ultrabay Slim (Serial ATA)

Color Space Question For Printing

I have multiple newbie questions so please bear with me
Normally when working in photoshop, I tend to use the RGB color space as I need the use of filters and other effects not available in CMYK, Now when printing flyers E.g A4 Sized I tend to save the PSD in RGB (Without Flattening) and then importing it into a CMYK color space in illustrator and then exporting as a PDF, as illustrator gives me the option to create bleed as well as trim marks, I have never exported a PDF from photoshop as it always gives me the option of photoshop pdf which is kinda heavy.
My question is, is the process I use okay for printing? or do I first need to convert it into CMYK? or just export from photoshop itself? Also, the other reason I use illustrator is if i'm making a business card with two sides, since text is better exported from illustrator.
Could anyone tell me a simpler process for creating for digital print? Especially if I need to do some items in illustrator as well.

>> images are still a bit washed out with a warmish/ yellow cast to them, particularly, my black and white images
Here is a simple test to help evaluate if the monitor profile is reasonably good:
Open a RGB file in Photoshop (flatten if not already flattened).
Press M key> Drag a selection> Com+Shift+U (Desaturate).
Com+Z (to toggle back and forth).
If the unsaturated selection looks neutral you've got a reasonably fair monitor profile.
If selection has color casts (not neutral) -- you have a bad monitor profile
+++++
Here is a simple test to help evaluate if a bad monitor profile is whacking out your Photoshop color:
Monitors/Displays (control panel)> Color> highlight AppleRGB or sRGB (don't run Calibrate), quit and reboot.
If the Photoshop colors are back under control, then the problem was most surely a bad monitor profile go back into Monitors/Displays> Color and Calibrate a good profile highlight (load) sRGB, or preferably, the monitor's OEM profile as a starting point.
If you are using a puck, it is likely defective; or your monitor hardware is the culprit...search it on Google by model number

How to find the Color Space name for a PDEElement

Hi
I am trying to find out the color space for each PDEElement in my PDF file. While doing this,
I put some debug statements ( cout stmts ) that print the color_space as integer values. I gave this list
after the code. I belive the color spaces should be something like CMYK, DeviceRGB,DeviceGray..etc.
How can I know the actual color space name coresponding to these numbers printed in Debug statements.
Kindly please help me..
void   ProcessElementDetails(PDEElement element)
                PDEGraphicState gfx_state;
                ASInt32 pdeType = PDEObjectGetType(reinterpret_cast<PDEObject>(element));
    ofstream outfile("E:\\temp\\test.txt",ios::app);
    outfile<<"ProcessElementDetails\n";
    if ( pdeType == kPDEText )
      outfile<<"PDE Text type\n";
      PDEText pde_text = (PDEText) element;
      ASInt32 num_run,i;
          num_run = PDETextGetNumRuns(pde_text);
      outfile<<"Number of Runs for PDEText :"<<num_run<<"\n";
      for (i = 0; i < num_run; i++)
        PDETextGetGState(pde_text,kPDETextRun,i,&gfx_state, sizeof (PDEGraphicState));
        ASAtom color_space = PDEColorSpaceGetName(gfx_state.fillColorSpec.space);
        outfile<<"Color Space :"<<color_space<<"\n";
    if (pdeType == kPDEImage )
      outfile<<"PDE Image type\n";
      PDEElementGetGState(element,&gfx_state,sizeof (PDEGraphicState));
      ASAtom color_space = PDEColorSpaceGetName(gfx_state.fillColorSpec.space);
      outfile<<"Color Space :"<<color_space<<"\n";
    if (pdeType == kPDEContainer)
      outfile<<"PDE Container type\n";
                        PDEContent content = PDEContainerGetContent(reinterpret_cast<PDEContainer>(element));
                        ASInt32 numElem = PDEContentGetNumElems(content);
                        for (ASInt32 i = 0; i < numElem; i++)
                             element = PDEContentGetElem(content, i);
                             ProcessElementDetails(element);
Debug statements with color numbers:
====================================
ProcessElementDetails
PDE Image type
Color Space :700
ProcessElementDetails
PDE Text type
Number of Runs for PDEText :63
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
ProcessElementDetails
ProcessElementDetails
PDE Text type
Number of Runs for PDEText :38
Color Space :389
Color Space :700
Color Space :390
Color Space :388
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :389
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
SeparateColorPlates
PDF file exists
Number of Pages:1
Number of Elements:5

As you may have noticed, the "numbers" you see are actually of type ASAtom -
which is a type declared in the SDK to represent reused strings. You have to
read the relevant documentation to learn how to use the SDK - there is no
way around it. The Acrobat SDK is very powerful, but also a lot more
complicated than most people expect when they start to work with it. Take
your time to learn how to use it.
In this particular case, you need to call this function to convert the
ASAtom to a string:
const char* ASAtomGetString<http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html#ASAtomGetString135%28%29>
(ASAtom<http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html#ASAtom>atm)
(from
http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html
Karl Heinz Kremer
PDF Acrobatics Without a Net
[email protected]
http://www.khkonsulting.com

Rebate agreement setting for new customer

I have a scenario, where business has a customer who had some sales and now that the cusotmer has changed his name and new customer is created for that. old customer has been set for deletion. now business wants to transfer the old customer sales data to new customer inorder to create the rebate agreements. as i understand rebate agrements are created based on customer and cannot be created for old customer and accru another customers sales. did any one came across such scenario, please give your suggestion.

Hi
No it is not, it is accrued into the accruals account based on the accruals value you have defined in the condition record of the agreement.
Example scale :
scale value            Amount             Accruals
       0,00 EUR         5,000- %          7,000-
100,00                   8,000-
1.000,00                12,000-
If you create a real invoice for less than 100 Euro according to your current understanding the 5% rate would apply and if the invoice value was over 100 Euro the 8% rate would apply. In both cases the 7% accrual rate would apply with no consideration of the scale.
When you create rebate condition with scales, for the individual customer billing document,the system will take the first scale level / the accruals amount. Only during the final settlement, will the detailed scales condition be taken into consideration for the real customer payment.
Check this note: 392711 - Rebate conditions with scales
Most customer's would maintain their accruals amount as an average based on the business reality when using rebate scales.
Hope it helps
Kind regards
Brian

In PS C6 I'm getting a warning that "No color management" setting for printer isn't supported. Why?

I'm using Photoshop Extended CS6. I'm printing to either an Epson Stylus Pro 9900 or an Epson SP4900. In the print dialog, I get a warning I haven't seen in a long time. It says the setting "No Color Management" at the printer is not supported. This is patently false. I am given a link to download the Adobe Color Print Utility (which gives abominable results; I know this from repeated uses in the past), and a service note saying this issue is for Photoshop CS5. Clearly there is a problem, possibly a bug.
I have never had CS5 installed on this machine. I do have PS CS5.5 and PS CS6 on this machine (I have used all versions of CS in various suites from the start of the product line).
Can anyone explain this annoying intrusion on my workflow? Of course "no printer management on printer/Photoshop manages color" works... There must be an explanation.
Thanks.

An excellent question, and worthy, in fact of an essay, if not a chapter in a book on color management and proofing issues. And as you suggested earlier, it's a philosophical question (not strictly conceptual to my way of thinking).
It's also a question I can't answer, in terms of practicality and a personal sense of efficacy in dealing with a monolithic process (producing a print). That is, I can't answer for you, or anyone else I'd venture to say.
Stepping back for the briefest of moments, we should remember we live, on computers, in a virtual world. Whatever we see is a simulation, or if you prefer a simulacrum. Plato would probably say, not much better than the play of shadows on the cave wall from the flickering flames.
It's called soft proofing for a reason. The only hard proof is a print. I am old enough to remember the days when producing a color print from a chrome (requiring an internegative) or even directly from negative images, was an art, best left to skilled technicians in a lab. And even then it was an iterative process. Making an image ready for accurate color rendition in lithographic reproduction was the same things, maybe times ten. And required sometimes a whole team of skilled technicians, the last of them being the press operator. You can't appreciate the full impact of these facts of life back then unless you have been "on press" in some plant, invariably in the hinterlands, looking at actual press proofs under 6500K calibrated proofing lights, comparing them against the original chrome, the separation proofs used to make the plates. You had to understand not only the physics (and biology) of RGB imaging, but the intricacies of subtractive technology, aka CMYK. As in so much else in life, less is more, and so you had to understand that sometimes the least adjustment was the best (because you were also dealing with the physical constraints of layers of ink on paper), so if an image looked too green on the press sheet, it might be best to throttle up on the magenta just a touch, rather than cut back on the yellow and cyan. You balanced one against the other, because of the possible effects on other parts of the image.
This long-winded, probably tiresome if not boring, anecdote is meant to be illustrative of the analogous situation in which we find ourselves printing images with digital technology, combined with electromechanical devices spraying pigmented fluids in drops measured in picoliters of volume on substrates of varying physical properties related to absorbency, refractive index, contribution to an arcane phenomenon known as metamerism.
We can't hope to see anything but a, pardon the expression, simulacrum of the combination of the effects of these phenomena (and other phenomena as a result of the interdigitation of these different technologies, at the software level, and even more so at the hardware level), at least not on a screen (which introduces a whole other set of variables). We can't see what we will get unless we actually go through the ordeal and expense of producing a hard proof. And then using our experience and deductive skills to make adjustments, not unlike maneuvering a rover on the moon from a control station on earth, that will produce the desired outcome within a very narrow (I assume) set of parameters.
Personally, I prefer working in Lightroom and in Photoshop in order to produce the image I would like to see in an ideal, if you like a Platonic, world. If what was on the screen could somehow be transferred magically to the surface of a lovely unsullied sheet of Arches cold press watercolor paper, 350g/m^2 coming out of an Epson 9900... (I've done it). Not so easy.
What the soft proofing capabilities of Photoshop are good for, from my point of view, is to show me how far off the image I am looking at as ideal will fall short on the intended target substrate. I must always remember, it is not a wholly accurate rendition of what the printer will do with a sheet of paper from a particular production run, with the particular combination of inks (with varying dates of origin of manufacture), never mind the vagaries of temperamental nozzles in the printhead, not to mention conditions of humidity, temperature, etc.
What the softproof tells me is that the red in that scarf on my subject really needs bumping up, if I expect the level of vibrancy I see I need in the ideal rendition. And I make the adjustment in the RGB representation on the screen, etc. When I have made my by guess and by gosh adjustments to all problem areas as suggested by the soft proof (it is only as accurate after all as the RGB image is in depicting any realistic expectation of a final result—the only assurance I have is that if I really want people to see my image as I see it on the screen I had better show them the screen...), I make a print. Sometimes I have to make two or three until I am satisfied this is truly the best I will get from the beautiful, but arcane, surface of the paper I have chosen.
In short, it's a risky business, and expensive.
If you want fast and affordable, frankly, stick to premium grade high gloss surfaces, preferably from Epson, in your case, or the manufacturer of your printer in general (Canon, incidentally, produces spectacular results on their Pixma Pro series printers and their own papers, especially the Pro Luster surface... I don't even bother with soft proofing... so there is an exception even to this rule I am taking a lot of time to point out to you). High gloss papers tend to have the widest gamut, give the deepest blacks, and the best renditions of saturated color, red and blue particularly, for some reason often the hardest spectral colors to render with the level of saturation you might like. Especially if you tend to shoot vividly colored subjects.
If you regularly use matte surface, or so-called fine art or watercolor surfaces, I think even if you adhere to the workflow implied in your question... Just set the computer and screen to "soft proof" in effect in Photoshop and work from their, and hope for the best... you are in for massive chronic dissatisfaction.
One last thing, I produce what I consider a basic working image in Lightroom, add further effects using a battery of third party effects software (from Google Nik, OnOne, Imagenomic, AlienSkin, etc.) and then go to work further on the image in Photoshop, but I never save the image, except as a revised file, once I'm done with Lightroom adjustments (which are never applied to the RAW file, but kept as meta-instructions separately in the LR database). So any effects added produce a new file. Any changes in Photoshop produce a new file. And when I am working, finally on an image to make into a committed hard print, I NEVER save the settings I use to produce a print, including a print I deem acceptable for exhibition. If nothing else, I can honestly tell a print buyer they are getting a unique "hand-made" image. I don't feel I'm operating a factory after all, but a studio. Further, changes in technology occur dynamically and continuously. I don't know what I would do with the settings I derived from working solely in the "soft-proofing" mode you think you might prefer in your workflow, if a new paper or ink set, or printer came along that solved the problems I had to fudge around to get a decent print with the existing technology at the time. At least if I work solely in RGB trying to achieve an "ideal" rendition, I will always be able to start from that same point, the next time I want a print worth saving of that image.
We've gone, or I've gone, way off topic here, and I beg the indulgence of anyone else who might be reading this, hoping for a simple fix to the original simple problem.
H

Change dedicated meeting space options for new Lync Meetings

Is there a way to change the dedicated meeting space option to change "These people don't have to wait in the lobby" to Anyone? I know we can run set-csmeetingconfiguration on the global object, but this seems to change only new meeting
spaces not the dedicated meeting space?
Please remember, if you see a post that helped you please click "Vote As Helpful" and if it answered your question please click "Mark As Answer".
SWC Unified Communications

Per my understanding, the purpose of dedicated meeting space keeps the same ID and permissions. Content, such as PowerPoint presentations or other files remain in the meeting until you delete them. It is option for informal meetings with
coworkers, which lets them sign in at any time with presenter permissions. There is no way to apply the option "These people don't have to wait in the lobby” for the dedicated meeting space. It’s by design.
Kent Huang
TechNet Community Support

Drivers for Ultra 10 for newer monitor?

My customer has a few old Ultra 10's running Solaris 8. He purchased new 22" Princeton Monitors (model LCDW2200PD; Res = 1680x1050) for them and we cannot get them configured quite right. Tried many combinations using the 'm64config' command but I know it could be better.
Does anyone know if/where I can get drivers/installation instructions for he Ultra 10. Is it even possible?
Brd Type MHz Slot Name Model
0 pci 33 19 SUNW,m64B (display) ATY,RageXL
Any help would be GREATLY appreciated :-)
Thanks,
Ed

I fear it's not going to be possible, so long as they use only the onboard graphics.
That ATI RageXL chipset is vintage 1997.
It's only capable of traditional 4:3 resolutions.
The limited 4MB of video RAM will also limit you to 8-bit color if you exceed the default 1152x900 resolution.
Stay with "standard ratio" monitors and keep it at 1152x900, or down to 1024x768.
You could add a PCI graphics card, such as a PGX32 or PGX64,
or perhaps a UPA card such as Elite3D, but you're still talking 1997-era hardware.
Wide screen (16:10 ratio) monitors were not expected to run on them.

Color space setting for new monitor?

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