Colors in export don't match AI file

I hired a logo design company to make a logo, and they did an excellent job. They provided TIF previews of their work at each revision stage, but when I got the final AI file all the dark blue coloring was a light blue. Every other file type they exported (PNG, JPG, PSD, etc.) had dark blue coloring, but both the AI and SVG vector files were different. I opened the vector files in Illustrator and Inkscape to verify.
The problem is they say that there's no way the AI file is different, and I don't know enough about Illustrator to figure out if they have some sort of color changing plugin or strange color pallette. They want money to "fix" the file, but I'm afraid that their fix isn't going to look any better since it seems like they can't even see what's going on with their computers. I've tried two clean installs on two different computers to verify that I'm not crazy =).
Any suggestions?

It was finally resolved (one week later). To correctly view, I had to go to Edit -> Colors -> "Emulate Adobe Illustrator 6" and then all looks good in Illustrator. Is there anyway for me to resave this AI file in a manner that has this color information embedded in it? I guess now I can at least save high resolution PNGs, but it would also be great if I could open it in Inkscape and have the colors appear correct.

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In your bottom capture the 187 swatch is from the the legacy Pantone library where solid color swatches were defined as CMYK. Here I'ved saved the old pre CS6 coated library and 187 is defined as a spot color but with CMYK values:
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Colors of imported illustrator files don't match indesign colors

I'll be honest: I'm likely missing something really basic. This is really frustrating, though.
The simple version: when I drag an Illustrator file into my InDesign document, its colors don't match the colors of shapes in the InDesign document drawn with the same color values.
The long version:
I'm working on a resume document. I've created a logo in Illustrator - the document is in CMYK color mode and uses SWOP v2 color space. I've dragged the file into InDesign, where I have some basic geometric shapes that intersect the logo. The InDesign document is also set to CMYK and is using the SWOP v2 color space. I've noticed, however, that the colors of my logo (which, again, was imported from Illustrator) do not match the colors of shapes drawn natively in InDesign even when their hexadecimal color values are identical. To further this point. I created a shape in InDesign with color #86c8cf. I then copied the value #86c8cf into Illustrator and drew a shape using that color. I imported that Illustrator shape into InDesign and placed the Illustrator Shape and the native InDesign shapes side by side. I even exported to PDF and pulled it up in preview to proof it. The colors, while very similar, are NOT the same color.
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Dunno why. Which versions of ID/AI? Not that it should matter, I get the same results with CS6 and CC2014.
One square in ID is native, the other from a placed AI file--though drag and drop are the same results.
Acrobat, hovering over one square...
And over the other square...
I used your hex values in Illy, used Illy's CMYK values in ID.
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There must be a way to calibrate the colors among the CS4 software.....
(Mac OS 10.6.4 on 27" iMac)

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Black lines not all showing up the same color when exported as any type file

Hi everyone,
I could really use some help as this is driving me crazy! Whenever I upload my Illustrator file with my logo online or export my logo as any type of file, certain black lines are lighter than others. I checked in Illustrator by clicking the lines that were showing up different shades when exported and all have the same #000000.
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Unfortunately my file is set up like a hot mess. Everything is in the same layer and I should have definitely done multiple ones. This is only the second logo I've designed and I'm learning as I go. Basically I did an image trace of the drawing and then went back and manually fixed lines. Instead of having only a few to select I have many all in the same layer as my color.
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After some additional experimentation, I discovered the problem was with images dragged from iPhoto and dropped into an illustrator file. When I placed the files instead, the colors matched the selected color group. After trying several other images using both methods, it appears as if dragging and dropping from iPhoto is a no-no when wanting to image trace and change the colors.

In iPhoto how do I stop files from auto resizing as they import? I don't want my files reduced to 72. The option to choose size on the export menu not suitable for up sizing, as you can't restore the quality removed?

in iPhoto how do I stop files from auto resizing as they import? I don't want my files reduced to 72. The option to choose size on the export menu not suitable for up sizing, as you can't restore the quality removed.

Short answer: They are not resizing, there is no quality lost. The dpi is only set when you decide what size you're printing at
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16x9, 300ppi, 75mb tiff file, LR converts to 1mb jpg. Export in LR 5 is being done at 100%, no file size reduction.

I've got a 16x9, 300ppi, 75mb tiff file that LR converts to 1mb jpg. Export in LR 5 is being done at 100%, no file size reduction. Can't figure out why it is downsizing so small? Even upsized to 420ppi in PS and the export was still only 2mb. Stock agency wants 3mb .jpg minimum. Any help appreciated. Thanks.

Using PS CS6 with NO changes applied to the original TIFF the JPEG file size is 8.686 MB. The slightly larger file size is due to metadata differences between LR and PS.
Both Adobe applications (PS CS6 and LR 5.71) are producing near identical and much larger highest quality JPEG files. PS 12 Quality is the same as LR 100.
SUGGESTION:
1) Close LR and rename your LR Preferences file by adding the extension .OLD to it:
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Preferences
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Windows 7 & 8
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3) If all is well now close LR and try restoring you original Preferences file by renaming the new Preferences file something like .OLD.OLD and removing .OLD from the original file.

The availability of color space in RAW, TIFF and JPEG files

This is useful if your new to DSLR photography.
This is Nikon response on my question in the discussion: View photo metadata
I'm assuming that you know that Adobe RGB shows about 50% and sRGB 35% of CIELAB color space.
In a DSLR camera like the Nikon D800 you can select a color space (Adobe RGB or sRGB) in the shooting menu.
In Adobe Lightroom 4.3 the RAW metadata shows no color space info. Therefore I asked why not?
In the (Dutch) Nikon D800 manual on page 84 (about RAW) and 274 (about color space) and Nikon FAQ website there is no descripton about the color space availability/behavior in RAW, JPEG and TIFF files.
In the book "Mastering the Nikon D800 by Darrel Young" on page 125 - 126 is written: "If you shoot in RAW format a lot, you may want to consider using Adobe RGB....."
All experts on this forum answered: color space does not apply/affect the RAW data file or RAW files have no color space.
The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are always physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available. So the forum experts gave the correct answer!
Of course you can convert afterwards a JPEG or TIFF file with sRGB color space to Adobe RGB but you don't get more colors.
When you install the Microsoft Camera Codec Pack or FastPictureViewer Codec Pack they only show color space metadata for JPEG and TIFF files and nothing for RAW because color space "doesn't exist". I thought the codec packs removed the color space metadata for my RAW files.
Adobe Lightroom also can not show color space for RAW files because that "doesn't exist".

Van-Paul wrote:
The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available.
I still think this is an evasive answer that doesn't really pinpoint the exact chain of events that take place. They are:
1. The raw file contains the naked data captured by the sensor. This is just a very dark grayscale image.
2. In the raw converter it is encoded into a working color space to process the information. In Lightroom this is known as "Melissa RGB", or linear gamma Prophoto. It is also demosaiced to bring back the color information.
3. From Lightroom it can be exported to one of the familiar color spaces like sRGB or Adobe RGB. This is, in principle at least, a normal profile conversion.
These three steps are what the camera does to produce a jpeg. So the basic steps are the same, the camera is just doing it automatically (and usually butchering the image in the process...).
This Darrell Young is, I'm sure, an excellent photographer, but in this he is seriously confused and just propagating a common myth. Anyway, thanks for bringing up this discussion, hope you didn't object too much to the tone of the answers... Our only concern here was to get this right and with no room for misunderstanding.

How to export sequence of identical audio files?

Adobe Premier Pro CC 7.2.1
I have a big audio mix on the soundtrack consisting of many short different same duration audio files. now I need to export a sequence of identical files into separate audio track for further processing in to the DAW. the best way to do it is change the color of each identical audio, but I have not found this function or mute from project or just see titles or set up so that when I add new audio file it created a separate channel in the mixer not available for other or something like this... otherwise I must push each audio to see title to drag sequence of identical audio file to separate channel and mute others. my mistake is that from beginning I did not put the identical files to separate channel and now everything is mixed. is there any solution?

Sorry, but the previous answers are not quite correct. Consolidate tracks will only merge all your edits and fades and make a new audio file out of it. It wont consolidate any automation or insert effects. The same is true for exporting audio from the regions pane. Therefore you still have to perform a "bounce to disk" in order to consolidate properly. So no it doesn't have the "Export All Tracks as Audio Files" option......
Christian,
When "exporting" from one DAW to another, it's generally understood that automation and plug-ins will not be included.
Exporting from Pro Tools does indeed bounce the files to disk. We aren't talking about a stereo mix here. We're talking about exporting all the individual tracks. Are have I misunderstood you?
.... which leads me on to this question. How long has logic had the "Export All..." function as I have been performing "track lays" (i.e. getting my logic stuff ready for a pro-tools mix) for films that can often take days to perform and am embarrassed to stumble across this option on this forum as I fear I may have cost myself several weeks of my life working the long way round!!!
"Export All tracks as Audio Files" was introduced in version 7.0.
Don't feel too ashamed though. I have a good friend, who has been using Logic daily as long as I have (8 years or so now), who only 3 months ago, saw me utilizing that feature, and his jaw dropped. He too, had been wasting "weeks" of his life, doing it the way you have been doing it. : )
You're gonna absolutely LOVE using that feature from this day forward...!

Grayscale Images Colorized in InDesign Don't Print Properly

Hi, we're having trouble getting proper color output when we colorize grayscale TIF files in InDesign CS3.
We have just a couple basic grayscale TIF files, no transparency, saved with or without embedded profiles (Dot Gain 20%).
We add a foreground and background color to these in InDesign using process colors (no spots). These colors should, and need to, match a couple large swatches of these colors elsewhere on the document.
When we check the colors using Separations Preview, the numbers on the light and dark parts of the image are identical to the process colors they should be. They look correct on screen (with or without Overprint Preview).
We usually print using 'Postscript Printer Determines Color' and let our RIP determine color settings (we have a Doc12 w/ Splash RIP). We tried many different settings on the RIP, no luck. We also tried printing using 'Let InDesign Determine Colors'. No luck. The colors are just slightly off. (ie - 0, 30, 100, 0 looks almost like pure yellow, much brighter).
If I export to a PDF and print, it looks correct. If I make a CMYK version of the photo in Photoshop and use a gradient map to apply the same colors, it prints correctly.
- ANY IDEAS???
Thanks a lot.

I am also having problems. Upgraded to Acrobat DC. I use a Mac (latest software)
When I export from InDesign CC to Acrobat DC the interactive elements - especially buttons - go cranky. I get a strange smudgy kind of drop shadow but in a variety of colours behind the arrows, buttons etc. All very strange. It gets worse if I apply a drop shadow and bevel and emboss to the button (even a home made button rather than one of the sample buttons).
I'm currently working away from home and so can't try any other computer.
Strange.
Richard

Timecodes don't match from same clip?!

I'm trying to relink audio to a clip that I added to the timeline but deleted the audio track. But when I double click on the clip on the timeline copy the timecode and then load the original clip from the bin and paste the timecode. The times don't match. The two clips which are the same clip one just on the timeline with the audio unlinked, have different starting timecodes. I've attached a pic to show what I mean.

Without any 3rd party tools (except Word) you have three other options -
1. fastest - temporarily set up your track to match the timecode of your STL file.
You can do this by exporting a reference movie of your sequence with a modified starting time code. Bring in this asset to DVDSP and drop it in your track, import the STL, and then replace the reference movie with your encoded asset. The subtitles will stay put and should stay lined up.
This method can also be effective for compensating for smaller offsets casued by differences between the encode and tape master caused by trimming, encoding, etc. You can temporarily adjust the start trim of your asset if subtitles are coming up early, or add a still image to the beginning of the track if the subtitles are coming up late. Once the subtitles are imported to the track, they will stay in the same positions when assets are moved around or replaced.
2. re-encode your video with the correct starting time code - make sure whether the TC is supposed to DF or NDF. The advantage here is that if the subs need to be re-imported for any reason, you won't have to go through the flip-flopping of assets in option 1.
3. more complex, but still fast - change the timecodes in your file using find and replace. This will really only allow you to change the hour place in the timecodes, but may be all you need. Open the file in Word, and you should see comma-delimited data in a 3-column format:
[start time] , [end time} , "subtitle text"
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Why does Logic Pro 9 add 0.3s silence at start of all my tracks when I "export all tracks as audio files"?

OK - when I "export all tracks as audio files" it works fine - I get a load of exported tracks (annoyingly with the stupid "_bip" prefix at the end).
But I find that they all have about 0.3s silence inserted at the start. WHY??!!!
I checked, and on the timeline all the tracks start with their first note at the beginning of the track so there is no silence in the arrangement. But still this silence on export.
This Logic feature is so badly designed - why can't it do the simplest things as expected.

rbdavis wrote:
Thank you I will look into plug-in latency compensation. However, there is no latency or need for latency compensation when outputting offline files in this way. Latency compensation is for live playback where real-time processing matters. So this is flawed software design, hence my comments about it being illogical.
"there is no latency or need for latency compensation when outputting offline files.....etc"
You don't fully understand how Logic's audio engine and buffering scheme works... not that anyone fully does except the programmers. Basically your above statement is incorrect, as some plugins have built-in-latency and others don't, but that's not the complete picture. The problem is a combination of a plugin's built-in-latency and how Logic buffers data. Logic deactivates the audio engine when stopped, all plugins and software instruments become deactivated including the ability to load or purge data buffers with the exception of a software instrument or audio track that is selected for "live" input.
(Look up Plug-in-Latency Compensation in the manual for a full explation of the choices available)
I won't disagree with you about the software design, however, rather than flawed I tend to think of it as antiquated. The positive side of this is extremely low processor use and the ability to design templates with all plugins and software instruments loaded and ready to start a new project. The downside most Logic users are familiar with... unexpected overloads in the middle of a project when a approaching a region that makes use of processor intensive plugins, Loops that don't match up perfectly when starting a project from bar 1 and/or missing notes at the beginning of MIDI loop if starting at bar 1.... plus a half dozen other anomalies related to Logic's "efficient" audio engine. The efficiency concept made sense back when computers didn't have enough power to handle active or semi-active plugins, seems it causes more problems than not these days.

Colors in export don't match AI file

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