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)

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?!?

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

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.

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?

Invisible Setting won't hold

I try to set to invisible but it reverts back to online each time, What gives?

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)

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.

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..

DreamColor Monitor from PC via VGA: Color-Space & Settings?

Context:
Premiere CC on a WIndows 7 laptop with an external DreamColor monitor connected via VGA port (for convenience rather than bit depth).
What color space is appropriate in the DreamColor settings, i.e. what is the VGA likely to be supplying? DreamColor's config options are: [ Full | AdobeRGB | Rec.601 | sRGB | Rec.709 | DCI P3 Emulation ]. I'm guessing sRGB, but is that reasonable e.g. is it the Adobe kind?

Several questions spring to mind ... first, are you calibrating this with an actual "real" calibration tool, such as the i1Display units, anything? Because ... if the answer is no ... well, the output isn't set to any particular "there" before you even start, is it?
Next ... what are you going to be outputting for? B-cast TV? Critical web use? Your own YouTube/Vimeo channel for the heck of it? Family records? Whatever is going to be the "heaviest" output (meaning demands on color space) sets the minimum from what your choices can offer. Critical web work or such, you would either want the Adobe RGB or the Rec.709 I would think. For just fun stuff, the sRGB would work ok.
Fwiw ... Adobe RGB is a wider color space than "standard" sRGB. Rec.601 & Rec.709 are "broadcast" standards that include specialized base/gain/gamma settings. Rec.709 is the newer and far more common one of the two ... and it sets "black" as at value (in 8-bit terms) of 16 and "white" at 235. Data outside those values are used for technical purposes within the "system". Some modern video cams record in Rec.709, btw.

Color space conversion due to transparency ...

Hi there!
Let's assume we have a document that contains two RGB images, one of them is set to 70 % transparency. When printing to PDF, the 70 % transparent RGB image is converted to CMYK, the other one retains its RGB color space ...
I seem to understand that this is due to the current transparency color space setting. I could change that to RGB.
But I wonder: Is there no way to keep the color space here, no matter if it is CMYK or RGB the images are coming with?
Thanks,
Klaus

Klaus,
To learn what happens with flattening and color, you should refer to this excellent document, "Transparency in Adobe Applications: A Print Production Guide."
http://www.adobe.com/designcenter/creativesuite/articles/cs3ip_printprodtrans.pdf
Here's are relevant section (page 24):
Printing transparency: step-by-step
When printing a page containing live transparency from InDesign CS3 and the Transparency Blend Space is set to Document CMYK, the following steps will take place (steps 3 and 6 may perform color conversions):
1 Transparency is detected on a spread by the Flattener.
2 The Flattener refers to the Transparency Blend Space setting to determine the appropriate color space in which to blend transparent objects. In this example, Document CMYK was selected. The Document CMYK color space is determined by the active color settings (Edit > Color Settings).
3 Any image that is tagged with a color space that differs from the selected blend space is converted to Document CMYK.
4 The Flattener flattens the transparency.
5 The flattened data is passed to the print engine.
6 The print engine compares the color information in the flattened data with the Printer Profile color space set in the Print dialog box. If the color settings dont match, the print engine converts the colors to the color space indicated by the Printer Profile.
7 The color-managed job is printed.

Color Space Question... using Lagarith Lossless Codec.

Hi all,
I use the Lagarith Lossless Codec for all my source editing files importing into Premiere Pro and for exporting to my encoder I use.
My question is this. I found that most of my sources are in YUV color space, so when I prep them for editing using VirtualDub, etc... I export them to Lagarith Lossless Codec in the YUY2 color space setting. The size difference between using RGB and YUY2 is enough to make me want to just use YUY2. So when editing those prepped files in YUY2 in Premiere Pro and them exporting the in the same YUY2 color space configuration, does it degrade in quality at all? I heard somewhere that Premiere Pro ONLY edits in RGB color space. So am I really messing up here or is it safe to do what I am doing?
Thanks in advance!

Premiere Pro will keep the color space of the original media. And many of the effects can now also operate in YUV space (They are marked by the YUV icon.) However, any effects you use that are not marked with that icon will force an RGB conversion.

RED Color Space

Hi,
I'm having issues determing the correct Color Space for my RED footage. I set the project color space to HDTV Rec 709. I bring the footage into the project, I interpret the frame rate from 23.98 to 29.97, then I Add to Render Queue. I set the Render Color Space setting to HDTV Rec 709 as well. And when its done, the final quicktime is close but slightly different colors than the original.
I've tried doing the same with color management turned off. The codec I'm trying to export to is DNxHD.
If I take the same original RED file and bring it into Avid Media Composer at DNxHD resolution, the colors stay the same. But I need to use After Effects for the frame rate conversion. How can I get After Effects to keep the colors the same when converting to DNxHD please?
-Matt

1. Make sure your AE project is set to 32 bit.
2. See this thread on exporting to DNxHD in MOV container out of Adobe Suite.
3. Keep in mind that DNxHD is literally for 1080 and 720 only.

HT1338 my screen won't hold the color I chose

My screen won't hold the color I chose, keeps turning yellow

Are you using any other settings? Are you overclocking at all?
CD/DVD is a generic term used for all DVD drives, so it should automatically detect your installed DVD drive and use that to boot if it's set up as the boot deviI
I put it back to default. No overclocking. I agree about the CD/DVD is a generic term but the motherboard disagrees with you. Also when I "save change and reboot and go to Change setting info my DVD is disabled and is not set to first boot and there is no place to change it. The boot disk I'm using works fine on other computers and I also tried another DVD drive but the BIOS just isn't letting me boot to my DVD?

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

How to set PS for the most reliable image previews and how to make sure the color spaces are the same across plateforms

I've been having an ongoing problem with some of my images changing color/luminance values after merging or flattening an image. This seems to most often happen if I use one of the filters (like crosshatch or notepaper, not sharpen or blur). I can make a copy using command/option/shift + E which most often will look exactly like what's on screen.
Some people have suggested that it's to do with resolution, PS showing me a low resolution image but I don't think so because the histogram changes -- sometimes in a big way, but most often those spikes in the luminance levels are shaved off. Also, when I have the image open at 100% and effect a merge/flatten, the color changes.
I'd like to know if there's a way to have PS show me one for one what I'm working on while I'm working on it, or if there is a way to control the color profiles when I'm saving. My best guess at this point is that there is a color profile mismatch going on somewhere. I just don't know where to look for it.
Typically I work in 16 bit, so my color space is set to ProPhoto RGB; my camera is set to the Adobe color space;
color management policies are set to preserve color profiles;
conversion options --> intent is set to relative colorimetric.

But it is calibrated. I use Xrite 1 and update it every month (on the first).
The colors can be really off. Here's an example.
https://flic.kr/p/r6A1Zd (what I want) https://flic.kr/p/qc5QTD (not what I want)
Also, I can't see how the bit depth will have any effect since the change in color happens in PS when I merge or flatten. It's 8 bit through the editing and 8 bit when I flatten it.
Have you any suggestions on what I can do on the computer side?

Color space setting won't hold

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