Colour Profile Question

I need an answer to this to win a bet...
Does (or can) video have an embedded colour profile as you get with graphic images?
I'm thinking specifically about why a single clip would have different chroma and gamma properties when opened in a range of different video apps.
A good detailed answer would really settle this for me!
Thanks.

Having done some digging I came across a paper by a scientist who compared the colour profiling of images and hardware (such as the TIFF format and Canon copiers amongst other things) and found that his conclusion was that video, as you say is a mish mash of awfullness and horror, for want of a better description.
His recommendation was that 'the video world' needed to start again and get some kind of standardisation and built in profiling within both formats and playback systems.
Of course in the real world that's not going to happen but it kind of proves that there is no proper colour profiling with video. yes they all have their inherent codec/format properties but even they can vary depending on what software/hardware you encode any given file on...as we well know from this forum alone!
I found some interesting facts along the way that also helped me solve a humdinger of a problem I was having in After Effects and Final Cut regarding high contrast DVCPro images, so it wasn't all wasted and I didn't feel at all sleepy`!
Thanks...

Similar Messages

Colour Profile Question - Press PDF

Hi
I've got a quick question regarding colour profiles.
I've designed an A5 flyer for a client and I have my CS3 suite colour settings set to Adobe 1998 for RGB and Euro Coated for CMYK. The client has decided that this flyer is now to be printed on uncoated paper. So, should I be converting or assigning the working/document CMYK profile to Euro uncoated?
Also on output for press I have a PDF export setting which I use for creating press pdf's which is set to 'No Colour Conversion' and 'Don't include profiles', so in fact does the above matter at all?
I'm totally confused, any help appreciated!
Thanks

I think you are guessing correctly, they may have some control which will work ok for them at a certain level.
You could convert in ID, which will alter the appearance and that will change the output file. Or you could manually adjust the colour/saturation to taste and let the printers go through their usual process and end up with better job.
They probably 'run to density' on press, so you are taking some of their control. Most printers at least calibrate their equipment to a standard, such as Euroscale and then suggest that clients use that when preparing files. That is what I guess when a printer does not have a custom profile.
What they are saying to you is that they are calibrated and their approximate appearance is based on Euro Coated on coated stock at a particular ink density measured at the press.
Uncoated stock looks desaturated, so if you increase your saturation and reduce your Total Ink, you can control the look at their desired press density.
This is not correct colour management, but reflects real world conditions in many commercial 'jobbing' printers in my experience.

Do I need to set AI colour profiles for use in ID?

My previous set up:
Mac
CS2 (Illustrator, Photoshop, Bridge)
Quark XPress 7
My new set up:
PC (Win 7)
CS5 (Illustrator, Photoshop, Bridge, InDesign)
My problem:
I work for a company that prints newspapers, but my dept also does work for glossy sheetfed printers (magazines leaflets etc)
All my work is exclusively CMYK.
With my previous set up - I didn’t want to have to switch my colour profiles via Bridge as I was constantly juggling two types of jobs:
Our tabloid press - Profile - ISOnewspaper26v4 (CMYK)
Sheetfed Printers - Profile - ISO Coated V2 (Fogra 39) (CMYK)
So I set my CS2 Suite colour settings to ISO Coated V2 (Fogra 39) and set an action in Photoshop to convert jpegs / eps photos to ISOnewspaper26v4.
So my CS2 working space was set for Sheetfed glossy publications and if I wanted to set a picture to the correct profile for newsprint I just had to open the picture and hit the action that applied the ISOnewspaper26v4 profile.
Regarding Quark – I set up separate templates for each type of job:
One for Profile - ISO Coated V2 (Fogra 39) and one for - Profile - ISOnewspaper26v4.
Regarding Illustrator - I found that Quark 7 didn’t differentiate between Illustrator colour profiles, or if it did, it didn’t show up in ‘Usage’.
If I went to Quark Usage and went to ‘Profiles’ it only listed the Quark profile and any Photoshop profiles, not any Illustrator profiles.
So in Illustrator I just set colour profiles to ‘do not colour manage this document’. So that I only had to worry about changing profiles for Photoshop jpegs / eps’s.
So I had a good little system going that served me well and now my company decided to move us to PC’s and CS5; and I still have the same problem – juggling newsprint jobs and glossy magazine jobs and not wanting to have to synchronise my CS suite colour settings every time I switch between jobs...
So I was hoping to stick with my little system on PC / CS5.
So basically my question is, do I need to worry about Illustrator colour profiles if I am bringing Illustrator files into InDesign? (To clarify, my Illustrator files are always pure vector, so there is no chance of some rogue RGB jpeg sneaking through on a Illustrator file)
Im open to suggestions regarding my set up, but really would prefer not to have to keep switching my colour profiles.
Any help would be greatly appreciated.

First, I wasn't suggesting that your PDFs be exported to RGB, but it is a common workflow these days to keep photos in RGB until you convert them to the correct profile during the export process. This maximizes the potential for re-purposing your documents and allows you to use the same RGB photos for different output purposes without having to do separate CMYK conversions for each destination, so long as you don't need to do any tweaking after the conversion.
And to answer your question, if the .ai files have no embedded color profile they will ALWAYS be considered to use whatever the CMYK working space is in your ID file, so the numbers will be preserved. This means that there will be slight differences in color on output on different devices (the whole point of color management, after all, is to preserve the appearance of colors by altering the numbers for the output device).
Does the vector work you get from Thinstock come with an embedded profile? Is there any color that is critical for matching, such as a corporate color (which should be spot, but that's a different discussion), or do you use the same art in both the newspaper and magazine, and does the client expect a match (which we know isn't going to happen anyway)?
If there's no embedded profile when you start, there's no way to know what the color was supposed to look like, so color management is not possible, really. You can assign a profile, but you'd be guessing. Since the correct appearance at that point is unknown continuing with out color management shouldn't present a problem. The only case where you would need to manage the vector art would be if the color APPEARANCE is critical or you need it to match across different outputs, and in that case you would need to assign a profile and allow ID to preserve the profile on import and remap the numbers, which means you would likely get rich blacks someplace. Since it's unlikely that you can get a good match going from glossy to newsprint, I probably wouldn't even try -- you wouldn't want, for example, to tag the art as newsprint, and have it print subdued on the gloss if it would look better or more correct with the other profile. Color management would be much more useful if you were going from sheetfed to web on the same stock.

How do I Fix Messed up Colour Profiles

I've somehow managed to completely mess up my colour profiles in Photoshop CS5. What a total Gormlops I am. Can anyone help me with these 2 related problems?
1 - ACR displays colours from RAW files as lifeless and dull compared to JPEG. I've searched countless forums and I'm lead to understand that RAW files don't include the 'in-camera' processing that we see on the JPEGS. What I don't understand is that ACR used to display the colours on my RAW files exactly like it did with JPEG files so although I understand the difference in the way ACR handles RAW vs JPEG why has this only become noticable in the last few months? I've had this installation of CS5 for almost 2 years and the problem crept in only recently. How do I fix this?
2 - Proof Colours Confusion
I mostly work on the web and rarely need to print. Round about the same time the above problem reared it's ugly head I also started having issues with how many graphics colours looked in CS5. I realized that half of the time I was working with 'Proof Colours' switched off which made my colours really intense (something to do with gamma).
I checked my 'Proof Setup' and switched it to Internet sRGB seeing as I mostly work with web graphics and photos. I then hit Ctrl+Y to switch on Proof Colours and now I see the colours as they really are.
My question for this is twofold - Am I correct to be working in sRGB and is there ar way to have 'Proof Colours' always switched on so that I only EVER see the 'actual' colours that others will see when I publish my files to the web?
I can't help thinking that these two issues arose at the same time and are linked. I tried installing a demo of CS6 in the hopes it would set me back to where I used to be but alas nothing changed.
Thanks in advance.

Try posting in the Adobe Camera Raw forum:
http://forums.adobe.com/community/cameraraw?view=discussions
You might want to do a forum search there before posting, though. This comes up repeatedly and has been discussed ad nauseam there.
In a nutshell ACR is not designed to emulate the in-camera JPEGs at all.

Colour colour profiles and JPEG compression mismatch

In preparing images for iBooks I have noticed bizarre behaviours and a number of problems with matching colours.
For example, if a JPEG image all one colour is placed in a gallery widget over a text box, and then the background colour of the textbox is set to the colour of the image by sampling the colour in the image using the colour picker, when downloaded to the iPad the colours will not match (although they appear to in iBooks Author). I presume this must be a bug with the encoding of the JPEG? Or is it a conversion issue between different colour profiles used for the solid colours in iBooks and the sRGB colours that Apple advises using for images?
I have also noticed that if you download a book to an iPad the colour matching between solids and image colours changes radically depending on what monitor you have the computer running iBooks Author plugged into (ie depending on the monitor profile in use). What colour profile does iBooks author use for solids and what for images and why are they different? Is it conversing the solids but not the images, or vice versa, and between which colour spaces? What is the working colour space of iBooks Author? Does it differ depending on the monitor profile? If so, why does converting images to the monitor profile still not result in them matching the solids used in iBooks Author?
In short, does anyone have a clue what is going on with the colour profiles and colour matching in iBooks Author and iBooks on the iPad? They certainly display the most perplexing behaviour I have ever come across.
Giles Hudson

Although you say there is no concept of a colour profile in iOS, the problem is that iBooks Author does recognize profiles, and appears to take them into consideration when downloading images to books on the iPad. For example, an image tagged with an sRGB profile placed in iBooks Author will appear differently from an identical image tagged with an Adobe RGB profile. The problem is, it is not at all clear what conversion is going on, especially when using a monitor with a different colour profile appears to cause radically different behaviour in the conversion. Is it being converted to "Device RGB" that the colour picker apepars to use? What is this Device RGB? The monitor RGB or the iPad RGB?
I understand that iOS supports RGB and CMYK. However, the important question is, which working space does iBooks Author use? sRGB, GenericRGB, Device RGB (whatever that is), Apple RGB, Adobe RGB, the monitor RGB? Without knowing this it is difficult to match solid colours to colours in images (and even arguably impossible due to the JPEG encoding problem I mentioned above).
All this vagueness in colour handling with OSX and iOS makes life very difficult, especially, as you suggest, when things have the potential to change at any minute, potentially wrecking months of painstaking work that has been put into designing books in iBooks Author.

CCP colour profiles and different lenses

Hi,
I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
M

First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate. From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image. For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look. You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
The two questions you seem to have, are: does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder. By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles.
If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise. I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop. In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference.
Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario. In my mind the works out to be "make the colors of the object look like it was photographed in sunlight". The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done. For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced. A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight. This might be an argument for NOT WBing skin in incandescent lighting. In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each:
Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)? Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers. You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting. The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different. One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast. So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
This first question dealt with the photos taken with each of the two lenses. The remaining questions are about testing with just one lens.
Is the profiling process repeatable? Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles. An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results.
Does the exposure make any difference? You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered.
If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still. I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at. Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch. An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting. You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
http://www.pbase.com/ssprengel/image/101322979
If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth. Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

Colour Profiles

HELP NEEDED. I have exported DPX log file from adobe premiere pro CC and now I have imported the same in Adobe Speedgrade. But I am not getting the right colours in speedgrade, where as the same DPX displays properly in Adobe After Effects on interpreting the footage with input colour profile "Universal film & gamma". An early reply would be appreciated. I do not know, if it is the write place to ask this question? If not, then please accept my sincere apologies.

For to see the right colors, you need to apply a "Log to Lin" lut. You can using the Lut filter in the look panel.

Colour profiles problem - images saving too dull. Please help.

I realise you have probably had this question a million times before and I have looked at enough related threads, but I am still at a loss as to what to do. Please note I'm not the most computer-savvy.
For the record I am using Photoshop 7 (yes it's old, but it suits my needs just fine!) and Windows Vista Home Premium.
What I do is take photographs of my artworks, edit them in Photoshop until they look accurate, then post them online. Images have always looked identical in every program, and I had never had any problems, until I got connected to the Internet on Tuesday. This computer has not been connected to the net for a good few years, and so lots of updates got installed. I'm not sure which ones exactly, as my boyfriend took care of that, but I'm convinced this has caused the problems I am having now:
First I found that an image I had edited and saved as .jpg for web use was showing up overly saturated and contrasty in the Windows Photo Gallery preview. I assumed I had saved it wrongly. I re-opened the jpg in Photoshop to check - it looked exactly as I had saved it. I figured something had messed up with Photo Gallery during updates, so I uploaded the jpg to the Internet. The image that uploaded was the overly-saturated, contrasty one.
After realising that suddenly ALL the images I had uploaded online, and all the images saved on my computer, now had this awful over-saturated look, and yet the thumbnails on my desktop looked fine... I realised it must be something to do with the colour profiles, and tried to find out the answer online. My monitor colour profile was set to "21.5 inch monitor" so I changed that to sRGB as default. I can't remember what Photoshop was set to, but at any rate I set it to sRGB also.
I thought I had it fixed, as it seemed to just be Photo Gallery that was not matching up (it was displaying my images with less saturation than as I saved them).
However today I took a new photo of a drawing I'm working on, to load onto my blog. I had to take it into Photoshop to make edits and correct, as always. I opened my photo in Photoshop... lo and behold, far too contrasty and saturated!!
This time, Windows Photo Gallery preview is showing the (unedited, straight out of camera) photo as it should be... Photoshop opens it too contrasty.
I made my edits anyway, saved for web as .jpg, checked the jpg in Photo Gallery before uploading... It saved duller than it should have done!
Uploaded the jpg to the internet... and I have the dull image uploaded.
So first they were too contrasty, now they're too dull. I have tried to follow advice given on similar topics, to no apparent avail.
Being an artist who displays work online and has a certain reliance on the internet... my images have to be accurate and consistent all the way through. Is there anything I can do to set things back to the way they were before?
I appreciate any help.

eartho - All my images are already converted to the sRGB colourspace by default, as far as I can tell. My images out of camera, the ones I have edited and saved as jpg - I even checked some old images. Through Mode/Convert to Profile, they're all already set to sRGB.
emil emil - Thank you. I will do that in the morning - right now my head hurts and I need my bed.

Colour profiles in Lion and windows 7 with fusion 3

Hello - I am a new iMac user and I also have windows 7x64 installed with fusion 3.
I am a keen photographer and use an external colour monitor calibrator - eye-one display 2 - not the latest version I know but it worked fine on my old PC running XP.    I have found out that Lion doesnt support this software as it needed rosetta(?) to run on a MAC but I have updated the windows driver for it to windows 7 and installed it on my windows 7 running with Fusion 3.
I have sucessfuly run the software on the windows on my mac and as always at the end it says the colour profile of my monitor has been changed to the new one.   My question therefore is:   Does this new profile only kick in when I am using windows or is the colour profile of the monitor the same in windows and Mac?   - if it is separate, is there a way I can either convert it to a MAC compatible version or transfer it to the MAC in any way as I work in Photoshop on the MAC and dont want to install it on Windows!
Thanks
Joy

well ive used both of the newest versions of vmware fusion and parallels and let me tell you, in my personal opinion i prefer parallels.
im using a 13" MBP 2.26 Ghz with 4 GB RAM, i chose to give parallels the "automatic" amount of RAM for windows 7 and it works like a charm, have no problems with it what so ever.
plus crystal viewing mode rocks!
give it a try with the demo version you might like it!

IPhoto Book Colour Profiles & File Sizes?

I want to make a book in iPhoto. All my images are Adobe RGB. Do I need to change the colour profile.
I have a Mac with and Apple flat screen that has been colour balanced. So all the images look good. I am just concerned that they will be printed in a different profile and look rubbish.
What is the smallest file size and resolution that will look good.
Any other helpful advice.

Here's what Apple responded with when I asked them about book material and print quality:
"Thank you for contacting the Apple Print Products Customer Service.
I understand that you would like to know the printing process that is used and the color mode the files should be in, so you can better advise users in the iPhoto forum.
iPhoto version 4 or later, allows you to import and print files through the Apple Print Product service as RGB, grayscale, or CMYK color space. JPEG files with *RGB color space are recommended for best results.*
While iPhoto 2 can import files of various formats, including RGB color, grayscale, and CMYK, this version requires JPEG files with RGB color space when printing photos and books.
For more information regarding iPhoto 2, please visit the following article:
iPhoto: Color, Black and White Prints Appear Garbled or Distorted
For more information regarding iPhoto 5, please visit the following article:
http://docs.info.apple.com/article.html?artnum=165501
Here are some of the technical specifications for the books, cards, and calendars. I hope this gives you an idea about their quality and form.
BOOKS
All iPhoto books are printed using acid-free paper for long-lasting image quality. The photos are printed at a high resolution (300DPI if you use iPhoto 6). There is no external modification--such as sharpening or contrast adjustment--of the photos; what you see in the application is what is printed in the book.
Hardcovers Books
The cover is hard-bound and covered in linen. You select the linen color during the book-ordering process. The hardcover books have a solid, stiff binding that is glued and crimped. The internal pages, measuring 8.5 x 11 inches, are printed on McCoy 100# Text Gloss paper stock.
Softcover Books
The softcover books come in three sizes:
- Large 8.5 x 11 inches
- Medium 6 x 8 inches
- Small 2.6 x 3.5 inches
All of the softcover books have internal pages that are printed on McCoy 100# Text Gloss paper stock. The large softcover book has a white cover (Kromekoteplus Folding Cover, 16 point) with a cutout on the front that reveals the cover-page photo in the book. The covers for the medium and small softcover books have the cover image and title printed directly on the cover. All of the softcover books have a glued binding and feature a thick cover of McCoy 100# Cover Gloss paper stock.
CARDS
All cards are printed on McCoy 120# Silk Cover paper stock. The postcards measure 4 x 6 inches, and the greeting cards measure 5 x 7inches.
CALENDARS
All calendars measure 8 x 10 inches and are printed on McCoy 100# Silk Cover paper stock.
To ensure the best print quality, we have chosen to use Kodak NexPress technology. The press uses a dry toner, which is fused to the surface of the paper. Please see NexPress' site for more information:
KODAK NEXPRESS 2500 Digital Production Color Press
I hope you find this information helpful in answering questions on the iPhoto forum."
As for file size, keep the pixel dimension of the photo the largest you can. That will convert to the highest resolution possible when converted to the pdf for uploading and printing. iPhoto will assign a warning flag to those photos that end up with a dpi of less than 180 when added to a particular frame in the book. When added to a smaller frame the warning flag may go away. I've printed books with that warning and was happy with the results.
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 08 libraries and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

What colour profile should I be using?

I am using a Canon Pixma iP5200 with Aperture. As recommended by the Aperture manual I have turned off Colour Management in the printer.
According to the canon website the printer has 6 different colour profiles that it uses for different mediums and that the driver will automatically choose the right one for the medium that is selected.
But if I have turned of colour management in the printer will it still automatically select the correct profile or will I have to select the correct one in the print dialog box of Aperture?
And if I have to select the correct one does anyone know which of the following profiles should be used with which medium?
MP2
PR1
PR2
PR3
SP2
SP4
Many thanks for your help in advance. I appreciate this may be better suited for Canon Support but their support service is close to useless in my experience.
iMac24 Mac OS X (10.4.8)

I have found this tutorial on the web that answered my questions.
http://www.steves-digicams.com/techcorner/June_2005.html

Thumbnails, but no pictures? A possible colour profile solution

Pics scanned in to iPhoto using my Minolta Scan Dual IV appeared as thumbnails, but when loading appeared as empty grey boxes surrounded by white dotted lines.
Once I removed the embedded scanner colour profile (sRGB) using Photoshop, the pics appeared as normal.
I hope this helps others who are suffering from missing pics.
17 Powerbook G4 Mac OS X (10.3.8)

Sorry but I have not idea what you have done
I thought I backed up my library using time machine to an external drive but all I see are thumbnails &
What exactly does this mean
when I click on one a big question mark comes up instead of the full size original.
Is this using iPhoto?
I tried rebuilding the library from the external drive but now even the thumbnails are gone,
Exactly what did you do? iPhoto does not rebuild from anywhere - it only will rebuild the library it is currently using
I deleted files &
Please explain
then emptied the trash when my startup disc was full
Again I have no idea at all of what you have done - but if you have deleted files from the iPhoto library using the finder and emptied the system trash then you library is toast and you will have to start over
Is it still possible the originals are there?
Of course - it is possible - if they are they will be in the Masters folder in your iPhoto library - right click on the iPhoto library and show package contents and look (BUT DO NOT TOUCH - NEVER make any changes to the structure or content of the iPhoto library using the finder)
How can I see where all the thumbnails are located?
They are in the previews folder - same warning as above
If I've lost the originals I'd still like to have the thumbnails all in one place.
Again not sure what you want - you can create a new library and import any image you want into it including the previews - but they are very low quality - almost unuseable
LN

How do I change colour profile of embedded objects?

One of my Illustrator CS6 documents was intially created some time ago without paying much attention to colour management issues. I am now trying to put that right and have assigned the document a profile of Adobe RGB (i998). However, each time I open it I am warned that 'The document has an embedded color profile that does not match the current RGB working space'. It also says that the embedded profile is sRGB, while my working space is Adobe RGB. I get this message three times and am assuming that it refers to embedded objects.
So far, I have failed to find a permanent solution. Do I have to reimport all items that may have a colour profile, having first ensured that they are tagged as AdobeRGB?
David

Hi Monika,
First of all, let me apologise for using the word 'embedded' instead of 'linked'. I was distracted by the fact that the doc in question (an award certificate) is embedded in a Microsoft Access report. That being said, I have now found that all the linked logo images in this Illustrator doc are GIFs or TIFs that don't accept a colour profile (and thus cannot be the trigger for my profile warnings).
I use a Canon 5D and (rightly or wrongly) have chosen to standardise on a CS working space of Adobe RGB. However, your reference to digital photos is not relevant in this case as there are none in the document. My only concern is to make this document match my working space and no longer trigger irritating profile mismatch warnings. My overall objective is to ensure that the colours will all be correct when it goes to a printer (one of our sponsors, a UK colour paper manufacturer, will be printing the final certificates from a PDF file).
David

Basic colour management questions

Hi,
I am a biology PhD student and I am reasonably proficient in using computers for everything except when it comes to colour management. I frequently encounter people at Uni who struggle when working on posters etc. because the colours do not print the way they looked on their monitors. I try to explain that most computer monitors are not calibrated correctly.
Anyway, I have my monitor calibrated, the area where I run into trouble is when assigning colour profiles. For example, I need to scan some photos using a flat bed scanner, and I don't know which colour profile to assign it. Should I assign it the calibrated profile that I created or will this only work on my computer. I need to be able to share these images and know that they will look the same on other computers.
I also don't understand what is meant by converting to a working space. I have an Apple PDF about Tiger colour management but it is a bit too technical for me.
Basically I was hoping someone could explain the basics to me or point me towards a good article.
One last question, the scanner I use is a very old UMAX Astra 2100U scanner that does not work in OS X. I have to boot up in Windows and scan there then go back to OS X. Am I likely to run into problems taking the picture between the two OSes?
Thank-you in advance,
Ben

Ben_ wrote:
What is the point of using profiles other than these two. For example, I know most digital cameras embed their own profile. Is there an advantage to using this over say Adobe RGB or should I always convert these images to Adobe RGB or sRGB?
Scanner & camera profiles have two main purposes AFAICT: in colour-managed environments where the original file is sent to a printer or displayed on a monitor, the profile will enable the output to be adjusted for the idiosyncracies of the imaging device; and when opening a file for editing, the device profile will (in theory at least) allow a more accurate conversion to the program’s working space.
If I was editing an image that I planned to print, why would I use Adobe RGB rather than convert the image to CMYK mode? Or is the colour mode (CMYK vs RGB) separate from the colorsync profile?
Yes, there are various CMYK profiles as well: some are for particular printers, while others (like SWOP, Standard Web Offset Printing) attempt to encapsulate typical commercial printing environments. I work in prepress, where CMYK is always the eventual destination—but a printer that uses six or more colours of ink can often represent a larger portion of the RGB gamut than a four-colour press can, for example producing more vivid blues than would be possible in CMYK.
Another issue is that CMYK images that have been optimized for prepress often look somewhat dull or ‘washed out’ on a monitor, especially one that has a high colour temperature (as is typical outside a prepress environment). If the image been tagged with an appropriate CMYK profile, the display may be able to compensate to some extent, but conversion from RGB to CMYK very frequently results in some ‘shoehorning’ of a wide range of colours into a narrower one.

Embeded Colour Profile

I search but I didn't see this topic so if I did miss it, I apologize...i actually looked in the manual with avail..
I import a lot of digital images from a Pentax ist-ds, K10d, and a Kodak coolscan. They all have different colour profiles that are not in agreement with my cs3 colour profile so when I import, I have to answer a question for every pic..this is tedious..is there anyway i can import a colour profile into cs3 (like noise ninja) or just have cs3 import the accept the profile that is in the image automatically ?
As well, importimg DDG images seems to be a two part process..can I reduce this down to one ?
Thanks
Ian.

In color settings set Photoshop to preserve profile.
then if you want the image to be in your work space you can convert to profile.

Colour Profile Question

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