Confused by embedded color profile vs. working space

If you know that the destination of a photo is ultimately going to need the sRGB color profile (uploading book to blurb), and you are going from Lightroom to Photoshop ("edit in Photoshop CS5") do you "Convert document's colors to working space" of sRGB?
This is what I have been doing, but when the photo is saved (in Photoshop) and then I view it in Lightroom, the photo looks completely different & gives me Exposure warnings.
Is this because Lightroom is showing me the photo with the color profile of Pro Photo RGB?
If yes, do I leave the photo alone, knowing that it should print correctly by Blurb &/or view correctly on a website?
Thanks for any help you can give me!
Laura

The "working space" is the colour space a program uses internally. Lightroom always uses Pro Photo RGB, there's no choice. With Photoshop you can choose Working Space:
I'd recommend ProPhoto, if only because that's what LR uses, so it avoids any change of working space. I would also choose "Preserve..." in the options below, and check all the "Ask When..." options (so it warns you when something funny happens).
If you save in Photoshop, and then re-import into LR, and it looks different, then some colour space mismatch might have happened. The problem is likely to be in Photoshop (as there aren't any options in LR you can get wrong!) Make sure the Photoshop "Color Management Policies" are as I've got them above. It shouldn't matter what colour space the image is in when you import back into LR, so long as there's an embedded profile. The embedded profile merely indicates in what colour space the image is. LR takes note of the profile, and when you work on the image in Develop Module, it converts internally to ProPhoto RGB (but LR never alters files except metadata - if you import an sRGB jpeg then it stays sRGB - LR converts to ProPhoto RGB only for internal use).
When you save the image in Photoshop, if you want it in sRGB:
either use Save for Web... (and make sure "Convert to sRGB" and "Embed profile" are checked)
or use Edit... Convert to Profile (not Assign Profile) and then save.
Does that help?

Similar Messages

Aperture 3 embedded color profile bug still unsolved (worked in Ap 2)

RE: Aperture 3.x cannot display images with certain color profiles embedded. This bug was reported
on March 11, but is still unsolved and basically makes Aperture 3 unusable for my large collection
of scanned slides which have a special color profile embedded. Viewer and sometimes Browser turns
either black or go haywire.
What is it about:
When you scan slides with a scanner, you can generate a special color profile so that the image
looks good and you can then embed this profile in the scanned tiff and jpeg images. Most pro applications honor the embedded profile and display the image correctly. In our case, we
generated a special profile named Nikon-LS5000 (it was tested for correctness!):
1) It worked fine in Aperture 2.x
2) It never worked in Aperture 3.x
3) It does not depend on the Operating System (i.e, the bug manifests itself in 10.6.2, 10.6.3 and now in 10.6.4)
4) It is no question of a special Mac Model (the bug shows on iMacs, ibook profs, and iMacs 2010)
5) It is irrelevant whether you start Aperture 3 in 32-bit or 64-bit mode
6) It shows with jpegs or tiffs, no matter
7) Preview.app or Photoshop CS4 display the images correctly!
8) If one changes the embedded profile via PS CS4 to sRGB or ProPhoto, Aperture 3 works (but the
image then has radically different colors - so no solution!)
9) The conclusion is that something affecting the processing of (some?) embedded color profiles has radically changed from Aperture 2 to Aperture 3.
I put a few jpegs with embedded color profiles and screenshots of how Aperture 3 behaves on the Picasa web:
http://picasaweb.google.com/114939413495021552399/TestapertureBilder#
you are invited to download the jpeg- images and retry in your ownAperture 3 Library.
Maybe together we can find out what causes this bug which is very annoying for any
serious photographer.

I have put the test material on another server - you can download a
zipped folder (Aperture3profilebug.zip) of all test images AND the color profile from
https://depot.uni-konstanz.de/get/txau69
with any browser. (The problem was that the Picasa Software seems to strip the color profiles from
the test images, so I had to put them on another server. It will remain there until July 1).
Regards and thanks for helping

PS CC 2014 stopped to respect the setting to preserve embedded color profile, why?

My normal workspace is Prophoto RGB. I, however, has a large number of tiff files (dias'es scanned with a Nikon scanner) with the color space sRGB. Up till recently I had no problems - all the files kept their embedded color profile when opened in PS. I Even have the checkbox that tell PS to ask if there is a mismatch checked on. PS does not ask used to do so). This has happened after my last update of PS from PS CC to PS CC 2014. I have deinstalled Ligthroom to see if synchronization migth cause this. That did not help.
Please help.
Birgitte

Sorry, I do not hope that I have got something fundamentally wrong. I hope not! Otherwise please correct me!
All my own files start out as Nefs and are from Bridge brougth through ACR and on in PS as Prophoto RGB 16 bit files.
Since I also work with files that are not my own Raw files as the scanned Tiffs (scans of my 50 years old slides - scanned by somebody else on a Nikon Super Coolscan 9000 ED), Tiffs from other people or even JPEGs, I have set PS to preserve embedded color spaces and to alert me if there isn't a match between my workspace (the Prophoto RGB) and an allready embedded color space. This because I did not think it advisable to change to Prophoto RGB from Adobe RGB orsRGB as the extra colors in Prophoto RGB never were present in the Adobe RGB or sRGB files and therefore could not be "conjured" up. I, however, got the impression that 16 bit would still be an advantage when editing.
I like to start any one-layered file in ACR before entering it into PS and do not want to change that. Up till now PS nicely warned me of color space mismatches but not with these scanned files. So my present worry is if the color space of the files from the Nikon scan may be changed from a smaller to a larger space (which would not be a good idea, or?) when going into PS. I speak only of files that enter PS from ACR with ACR workflow settings of Prophoto RGB 16 bit and with the color settings of PS as described above.
As I wrote earlier today, I am beginning to think that these files do not have a color space assigned until they get into my software but I do not know enough of the Nikon Scanner to be sure. If so everything is OK and PS functions perfectly.
As written above Bridge shows the scanned Tiffs to have the Nikon sRGB 4.0.0.3001 as color profile but below in Camera Data (Exif) it says "Exif color Space: Uncalibrated".
Does anybody know if these files in realty does have an embedded color Space before entering the software outside of the scanner?
I hope my English is understandable! Please forgive the 73 year old grandmother if she has got it all wrong!
Git

Which color profile to work with

hi,
since recent i'm working with linux open source software for my DTP, which has been posing some problems, especially concerning my colors. This has nothing to do with Linux but with the fact that i don't know a lot about color management (though do find it interesting)
I have a hard time understanding (visualizing) the actual workflow of color management.
What i understand so far: When i import an image in my DTP software (Scribus), that image may have an embedded color profile (RGB) or may not. When it doesn't, the software assigns a profile to it, through the color engine (Litlle CMS). I assume it does this automatically? Otherwise I am able to assign my own profile to it, directly in Scribus. But what color profile do i assign when i export to PDF, to send off for printing? What is important to take into account regarding the commercial printer?
I've calibrated my screen using the Spyder 2 Express software, and the software has created an .icm profile for that screen. This .icm profile is automatically installed in the directory and thus also in Scribus. But when i assign this profile to my file and i export to PDF, does my commercial printer on the other side of town recognize this profile? Shouldn't i be exporting in a standard ICC profile, like Adobe RGB(1998)?
This is the part where it's hard for me to understand what to do with the profile my Spyder has created.
My sole objective however is to see on my screen as exactly possible as what comes out of the printer on the other side of town.
Thank you for your help.
Bart

borisbastoss wrote:
But what color profile do i assign when i export to PDF, to send off for printing? What is important to take into account regarding the commercial printer?
Just to be clear, in a properly color managed workflow, you do not assign at the PDF export stage. You would either preserve all profiles, or convert to a destination profile. The term assign would lead some to believe there is false profiling going on but I realize that is not what you meant.
You must contact the commercial printer to find out whether to convert to his destination color, or instead perform no color conversion and preserve your current source color spaces.
Hopefully he can provide you with a destination ICC profile which fully describes the print condition. In that case, you can convert to this color space when you export. After PDF creation you can view the destination color with an ICC compliant PDF reader to soft proof the print result.
I am not familiar with the applications you have mentioned. Adobe apps have a way of previewing destination color while still in the source space. It is called Proof Setup. You may or may not posses a tool like this. If you do you may be able to soft proof before PDF creation.
Also I am not sure if you are using Adobe Acrobat to view your PDF output. Whatever you use, it needs to honor ICC profiles to render accurate soft proofs.
As already mentioned, your monitor profile is for your soft proofing purposes only. It is not a source color space or a destination color space, and should have no involvement in PDF output.
borisbastoss wrote:
My sole objective however is to see on my screen as exactly possible as what comes out of the printer on the other side of town.
It can be difficult to get an extremely accurate soft proof. You need the destination ICC profile, and the proper tools for your display to translate this color space for you to see. If your printer is using the SWOP (Specifications for Web Offset Printing) standard or GRACoL, then there are ICC profiles you can download from the IdeAlliance website:
http://www.idealliance.org/industry_resources/branding_media_and_color/g7
Bear in mind, if the printer specifically tells you not to convert and to include all source profiles, this is called a late binding workflow (relatively rare). Late binding is progressive, but the problem is that you can't soft proof in the print color space. Even though the idea behind any color conversion is to preserve appearance, there are many source RGB colors that cannot be reproduced in print (referred to as out of gamut colors). Examples are vibrant blues, greens, oranges, and violets. You probably won't encounter a late binding printer, but without a destination ICC you just have to trust him to do the best possible conversion to move the job to his output device, whatever it may be.

Photo Downloader modifying embedded color profiles

When downloading files from a camera, Photo Downloader apparently modifies embedded color profiles. Even those pictures that had been shot using AdobeRGB have their profile replaced by some profile called "Camera RGB"... whatever that is.
Does Photo Downloader actually
b convert
to this profile or does it just
b assign
it?
Anyway, is there a way to prevent Photo Downloader from modifying embedded profiles?
Thanks!

This excerpt is from a long-gone post by the late, lamented author Bruce Fraser:
Bruce Fraser - 4:17pm Jun 14, 04 PST (#5 of 21)
Opening files directly from the camera is a bad idea for a variety of reasons*, and it most certainly isn't faster than using a FireWire or USB2 card reader.
         Drains the camera battery
         Runs the risk of the software you're using to open the images writing to the card and destroying the format
         Runs a small but significant risk of USB power frying the camera
         Slowest method known to mankind of getting images off a CF or SD card

Embedded Color Profile is Lost When Content is Published to Web or Dragging Image Window on Desktop

Hello, Everyone. I have a question that I have struggled to crack on my own to no avail. I hope someone here can help.
I am trying to publish some images to the web using color corrected monitors, RAW format, and a color checker passport to create a perfeect color profile. Here are the technical details and my workflow.
Camera: Canon Rebel EOS Xsi
Format: RAW + L
Color Space: sRGB
Color Checker: X-Rite ColorChecker Passport
Monitor Calibrator: Spyder4 Pro, fully updated software
Computer: Lenovo T420 ThinkPad
Second monitor: Samsung LED SyncMaster SA350 (NVIDIA)
Photoshop: v12.1 x64 (CS5.5)
Photoshop Color Settings: Custom North America Web/Internet
RGB: sRGB IEC61966-2.1
CMYK: U.S. Web Coated (SWOP) v2
Gray: Gray GAmma 2.2
Spot: Dot Grain 20%
Policies
RGB: Preserve Embedded Profiles
CMYK: Preserve Embedded Profiles
Gray: Preserve Embedded Profiles
After importing the image into Photoshop, I make sure the RAW space is set to sRGB IEC6 1966-2.1
Use the eyedropper to select a neutral color one step away from pure white on the RAW image of the color checker, create and set the custom white balance.
set the white balance
Export the image as a DNG
Load the DNG into the X-Rite ColorChecker Passport software to create a color profile
Back to Photoshop
Open the RAW file
Set the white balance to the custom profile created above
Set the color profile created with X-Rite
Open the color-corrected image in Photoshop (see color setting above)
Save as JPEG
Publish
First, everything seems to go great throughout this entire process, until I see the image on the Web: LINK. Once published, the image has a very noticible golden-yellow tint to it. The color-corrected image looks great on both color-calibrated monitors, in RAW and JPEG. Absolutely perfect. After noticing the ugly yellow tint in the image I posted to the Web, however, I became aware of a couple more weird things.
1) When the JPEG was open in Photoshop and I moved the window that contained the image around on my second monitor, the image immediately took on that golden-yellow tint: you can see a screen shot of the color corrected image on my Samsung (bottom) and the yellow version of the same image created when I drag the window around on the Samsung (top) HERE.
2) When opening the X-Rite software, I got a warning saying that the laptop monitor had been calibrated, but that the Samsung had not. I got this error even if I calibrated the Samsung monitor right before using X-Rite. Also, the monitor is definitely calibrated, because the images look great, and the colors match what I see on the laptop.
3) Recently, I noticed that when waking my computer from sleep, the Samsung monitor no longer holds its Datacolor (Spyder4) calibration.
I thought the problem I was having might be due to the monitor, for the reasons stated above. However, I later noticed that when I open the color-corrected JPEG with the default Windows image viewer, it retains the color correction settings. The image looks fantastic, and doesn't lose it's color profile when I drag the window around. Also, there seems to be less color loss in the Word documents and PDFs I included this image in: LINK.
I checked this with several more images, and the results are the exact same. I scoured the Web as best I could, but my problem seems to be pretty unique. Does anyone have an idea what might be causing this?
Thank you!

Thank you, twenty_one, for taking the time to read my post and put up a reply. I am going to rebuild my question and post it again here. But first, to answer some of your points:
1. A raw file has no color space, until it's opened into one in the raw converter. So this is controlled in ACR, not the camera.
I just wanted to be as thorough as possible. One of the steps I took was to set the Color Space setting in my camera to sRGB:
2. White balance has no bearing whatsoever on camera profiles. A profile is not for white balancing, it's to account for the spectral distribution of the light, which is something else. You make the profile and assign it in ACR, then you white balance for processing.
I know. I wasn't talking about white balance in my camera. I set the white balance here:
I grabbed the color for setting the WB here:
3. If you get a message about monitor calibration upon opening the camera calibration software, something is seriously confused. The two have nothing to do with each other. No relation whatsoever.
Camera calibration software?
4. A corrupted monitor profile will only show up in Photoshop and other color managed software. Other applications that are not color managed will not use the profile and are not affected. So find out which apps are and which aren't before drawing any conclusions.
Agreed. That's partly what I am trying to get help with.
5. Your links don't work, and in any case clicking on links is something most people including myself dislike. It's much better to insert screenshots in the post, by using the camera icon in the reply box.
I'm new to this forum, so this is helpful to know. This image shows the color-corrected image (bottom) on my Samsung. It looks exactly the same in the same window on my laptop monitor. When I move that window around on my Samsung screen, it turns gold (top). The image, when posted to the web, looks *similar* to that gold color.
So let's say I only use Photoshop on my laptop, which is not displaying any colors. Do you think the golden hue problem will go away?

Ordering Prints Online with Embedded Color Profiles

Problem: I have imported about 100 photos into iPhoto (7.1.1) that have embedded ProPhoto RGB profiles. When Ordering Prints (from Apple/Kodak) online, the prints delivered were horribly desaturated. After research, discovered that the ProPhoto RGB (which is really high-end professional color space, even bigger than Adobe RGB) is not compatible with sRGB printing services. Essentially, sRGB is a much smaller color space and color is lost in process. What's the best way to resolve this?

Ruzicka:
There's an AppleScript to embed the color profile of your choice in selected files. I've modified it to embed the sRGB profile it's available at Toad's Cellar. It's the Applescript version, not the automator version. The automator version adds some jpeg compression in it's process. The script method does not.
Or, you could use Photoshop and create an action to batch convert the files to the sRGB profile. I've used PS but not the batch process. GraphicConverter may be be able to convert them but I've not used it.
Do you Twango?
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.

Lightroom export color profiles not working as expected...

I'm trying to produce an image for a commercial printing service using the colour profile they provide. I get the image looking the way I want in Lightroom and export it to a jpg with the printing service's printer profile. As far as I understand it, this should give me a jpg that they can print to give me something that matches what I see on my monitor.
To test what I'm doing, I brought the jpg up in photoshop, and used the view/proof setup/custom to proof the jpg with the service's colour profile. I thought that doing this would show me the same image in photoshop that I had in Lightroom. That doesn't seem to be the case. The colour balance is about right, but the saturation and densities are out -- the photoshop version show less contrast.
So, is there something wrong, or am I misunderstanding the way color profiles work?
Thanks for any info.
Doug

To use the profile for softproof, that is viewing it on a calibrated monitor in the profile. You can either try the new softproofing plug in, or open the file from LR into PS in whatever you usual working colour space is (I would suggest ProPhoto) do not at this stage attach the profile.. In photoshop go to View, Proof setup, custom. In the Device to Simulate, select the profile, then choose either Perceptual or Saturation in rendering intent. Check black point compensation and bioth Simulate Paper color and Black ink, if these are available (this depends on the profile). You will now be viewing the image as it will be when printed as long as your screen is accurately calibrated. You can also select gamut warning under view and see which colours lay outside the gamut of the profile.
Whe you have finished just save the file. Export from the print module from LR with the profile attached and send to your printer.

Color profile stops working

Every so often -- as often as every few days, but it appears random -- the color profile (ICC profile) associated with my screen stops working. There is only one profile, and it's the default. But sometimes the screen suddenly becomes bluish (as is usually the case with uncalibrated displays, if you have any experience with calibration you know what I'm talking about).
It's easy to fix. I just open system preference, and then the Displays preference pane, and without me doing anything further the system fixes itself, and the screen goes back to normal. But it keeps happening.
I wonder if this affects/has affected anyone else, and is there a solution?
My display is simply the built-in LCD display of my MacBook Pro.

It could also just be a corrupt preference file that won't hold your setting. Go to the Preferences folder in your user account and move the following file to the desktop:
com.apple.systempreferences.plist
This file holds a variety of settings besides your monitor. So you may need to search through various settings and reset them. If the problem persists, then it may be hardware related. In which case you could put the file on the desktop back into the Preferences folder. Though if you've already reset all of your Preferences back the way you like them by that point, then just delete it.

Uploading pictures to website, embedded color profile?

I'm a photographer and I use deviantart.com. I was trying to upload some pictures i had edited in aperture to my website(sarabil1.deviant.com) and it uploaded it the original and didn't have any of the edits i made on it in aperture. i looked in the deviantart faq is this is what i found:
"One of the main reasons colors change when a piece is submitted because the piece was saved with a color profile embedded. Since browsers cannot read this color profile it will not be displayed along with your image. Re-saving your image without a color profile embedded should rectify this issue. "
so my question is-how do i save it without a color profile embedded and if i do will my edits show up when i save it or no? thanks!!

There is a whole lot of this story that is missing both on your workflow as well as deviantart.com's explanation.
1) Make sure that you are using Export Version not Export Master.
2) When using export version make sure that you are exporting with/to an sRGB color profile.
RB
3) Take a look at my little rant about stuff like this here:
http://www.rwboyer.com/RBDesign/Blog/Entries/2008/4/16_Color_Management_and_Other_Stupid_InternetTricks.html

ICC Color Profile Not working bootcamp

Hi,
I have a photobooth and am trying to get my sub-dye printer up and running on windows 8 bootcamp but when i load the icc color profile for it it doesn't seem to make a difference. Just wondering if its something to do with drivers thats stopping this from working or if anyone has come across this before. I have re-added it, removed and re-added printer etc but it just doesn't make a difference.
Thanks

Ah-the driver is name is: mcpd-mac-pro9000ii-10_68_1-ea11.dmg
First thing I tried to do is delete and re-download new driver, but no luck.

Fujifilm Frontier ICC color profiles wont work on Mac

Downloaded the Fujifilm crystal archive ICC color profile for the Fuji Frontier minilab. This is for having my photo's printed through an online service that uses the Fuji Frontier and the crystal archive paper. I place the color profile that I downloaded in the System/Library/ Profile map as instructed. I also have my other color profiles in there. Then when I go to System Preferences/Color and want to select the profile I have just added it is not there. All my other color profiles are there but not the Fuji color profile. Anybody know why?
Help appreciated.
Thanks
Fred

What a dumbo I am.I did not realize that this is not a profile for monitors but for paper.

Color profiles not working in snow leopard 10.6.2

I have got a new imac 27inch running snow leopard 10.6.2. It replaces my old Powermac G5 with 10.4 Since 10.1 (bought in 2002)I have had a photoshop/epson 9600 workflow doing all color management in photoshop and selecting no color management in the print driver. In 10.6.2 the colors on screen are fine but the printed output is very wrong it looks like the paper profile is being stripped out and replaced by srgb or something. What has apple done with color management in snow leopard and how can I get my print color back as the prints I now produce are unsaleable and I printing is my livelihood.

I am having the same problem. With ColorSync color management on, the prints come out muddy. If I select Canon for the color matching the prints turn out much better, but they're still a bit red. I'll be interested to see if they get this fixed.

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

Disappearing color profile when saved for the Web

Hello.
I have a problem with the “Save for the Web” results using Photoshop CS6 running on Win 7 x64.
My photos are already in 8 bits and in sRGB and when I save for the Web I check the option “embed color profile”, uncheck “convert to sRGB”, metadata to “copyright and contact info”.
When I open the resulting photos in Photoshop, everything is fine as it recognizes the embedded color profile. Same thing when I open these files in Firefox, Safari or Chrome: the colors are correct.
Now, when I right-click on a file in the Win Explorer and look its properties, the line about the color profile is blank, as if there wasn't any. This doesn't bother me but the problem appears on my Website created with Joomla and using for the display a module, Responsive Image Gallery, which creates resized copies of the photos. At this point the copies have completely lost their color profile. I entered in contact with the module's support and they assured me that it preserves the embedded profile, so I come here to gather some information about how this “Save for the Web” embeds the color profile because may be I just didn't understand how it does and if it's different from the “Save as” way.
The fact I can't see the profile through the Win Explorer makes me think Joomla's module doesn't either.

Incredible how much gballard's site is famous! Lol. I use it for a while now and checked again right now with the three Web browsers and everything is all right.
As indicated in my first post, when saving for the Web I checked the “embed color profile” option. I already resized the file and converted it in sRGB first in Photoshop.
Yes it's pretty confusing to see some software not able to see the color profile when the file is saved with that option.
To illustrate, here are three screenshots from Windows' file browser => right-ckick on the file => properties => details:
Opening that “saved for the Web” file in PS, it's ok, the CP is recognized.
Opening it directly (from the file browser => “open with”) in Web browsers: ok in Firefox, Safari and Chrome (CP recognized in all).
Copying that file in my working site on localhost (no modification), integer it in Joomla's module gallery (which is CP aware) and then opening my site on localhost with Web browsers: ok in Firefox (because it considers a non-tagged file by default as beeing sRGB), NOT OK in Safari neither in Chrome.
Now, if I do the same with the “Save as” version of the file with embedded sRGB CP:
PS: ok
Opened directly in Web browsers: ok in the three cases
Opened in Web browsers through my Joomla site on localhost: OK IN ALL THREE BROWSERS
Good point gator_soup: I'll post a bug report. I'm new here on the forum and thought Adobe's staff would post here.

Confused by embedded color profile vs. working space

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