Convert to Profile (Applescript)

Hi All,
I'm looking for an applescript command to perform "Convert to Profile" on my current document in Photoshop CS3. I've seen a Javascript solution in this Forum, but nothing for applescript. Any help would be appreciated.
I would also love to know how to set PS preferences so that all new docs created in a given image mode use a pre-set profile.
Thanks,
Jamie

Jamie, you can set Photoshop's colour settings by name string before opening/creating your files. You can decide how to treat profiles there. This should give you some help.
tell application "Adobe Photoshop CS2"
-- Record current settings
set User_CS to color settings
-- Apply your settings
set color settings to "Marks Test"
end tell
tell application "Adobe Photoshop CS2"
activate
tell document 1
-- Apply a colour profile
if color profile name ≠ "Europe ISO Coated FOGRA27" then
set color profile name to "Europe ISO Coated FOGRA27"
end if
-- Convert to colour profile
if color profile name ≠ "U.S. Sheetfed Coated v2" then
convert to profile "U.S. Sheetfed Coated v2" intent absolute colorimetric with dithering without blackpoint compensation
end if
end tell
end tell
tell application "Adobe Photoshop CS2"
-- Put back settings
set color settings to User_CS
end tell

Similar Messages

How do I get my .csf file setting to show up in the Convert to Profile or Proof as menu choices?

I received specific menu choices for Color Settings from a commercial printer I use. I went to Edit<Color Settings and saved them as a .csf file in User/Library/Applications Support/Adobe/Color/Settings. I named the .csf file after the printer. When I go back into Edit<Color Settings and open the Settings menu I am able to choose the settings I saved from the list of settings. Now I open an image in PhotoShop and go to Edit<Convert to Profile. In the dialog box I open the Profile menu, but the settings I saved in Edit<Color Setting are not one of the Profile choices. Am I confusing Setting and Profiles? How do I Convert an image file to the setting given me by the printer? I also wanted to proof as per the printer's settings. When I go to View<Proof setup<Custom I can choose Working CMYK Web Coated SWOP 2006 Grade 3 Paper, which is generally the profile this printer is using. But I can't choice my specific color settings saved under the printer's that I previously saved in Edit<Color Settings. In the Proof Setup dialog box when I press the load button I can navigate to the Settings folder where my .csf file is saved, but it is greyed-out so I can't choose it. Anyone know what I'm doing wrong? Please advise/help. Thank you.

"Am I confusing Setting and Profiles?"
Yes. A Color Settings File (CSF) will contain values for all the controls in the Color Settings dialog. One of these controls specifies the profile to be used for the CMYK Working Space. That profile will be used by default when you create a new CMYK document or convert an RGB (or some other colour space) document to CMYK.
The profile, not the CSF, will be at the top of the list of CMYK options in the Convert to Profile dialog, as "Working CMYK - <name of your CMYK profile>". However, you may want to skip that dialog and instead do Image > Mode > CMYK, which will simply raise a prompt asking you whether to proceed with the conversion to your CMYK Working Space profile.
In View > Proof Setup menu, item "Working CMYK" also will use the profile that's specified in Color Settings, then "Custom..." in the same menu will give access to options to simulate paper and black ink.

Convert Colors profile to threshold to black? [A9]

Is there a reasonable way to create a color profile that can be used with Convert Colors to apply a threshold (180/255) function to convert an RGB PDF into a black-and-white PDF? Acrobat 9 (CS5), OSX 10.6.7.
I have some multipage PDF files I want to "sharpen" (make clearer) before printing, and found that opening a page in Photoshop and applying Image > Adjustment > Threshold to 180 (out of 255) does a nice job. This is a pain for multipage PDFs because I have to extract the pages from Acrobat, apply a batch action in Photoshop, and then (potentially) re-integrate them into a PDF file.
Acrobat can apply ICC profiles to convert an image via Advanced > Print Production > Convert Colors. But how can I generate an ICC profile that does something analagous to the threshold function?
One crummy way is in Photoshop. Edit > Color Settings, which allows you to define a custom CMYK profile. Under Dot gain, you can set transfer function curves for C,M,Y, and K. I tried doing that, with curves at zero up until 70%, at which point I ran them straight up to 100% with a very steep (almost vertical slope).Tried a bunch of GCR/UCR/Black conversion settings. I saved the profile so Acrobat could see it. This gave me weird results:
In Photoshop, it came close to doing what I wanted, but not totally, when I converted the image to that profile. But it wasn't drastically wrong. But when I applied the same profile in acrobat (with Convert Colors), it looked much much worse, with large blocky pixel groups and the document, which was mostly a raster image of text, almost unreadable.
(Sorry for the lack of screenshots/images -- they're at the office, I'll post them tomorrow...)
Any tips? Is there a better way to do what I want and apply a simple transform to a PDF file?
A better tool to create ICC profiles for Acrobat's Convert Colors?
Am I just using the wrong settings in Photoshop?
Thanks!

OK, some more info. So, my PDF contains letter-size pages with 300dpi 8bpp images that are DeviceRGB DCT-encoded (JPEG). Here's how Acrobat displays one of the characters:
(All those obvious JPEG artifacts which explain why it prints badly and would benefit from processing). It looks pretty much the same in Photoshop (via Edit Image from Acrobat, or opening the PDF file directly). Thresholding it to 180 in Photoshop does a great job:
For simplicity, I tried to build a Gray profile that did what I wanted. But it looks like Photoshop's gray profiles only let you adjust dot gain and gamma, and neither of those are sufficient to achieve this kind of effect. RGB doesn't let you use curves. So I converted the image to CMYK, and then Edit > Convert to Profile, then choose CMYK and Custom CMYK and define a profile like this:
with these Curves:
And it seems to do the right thing when the image is converted to it in Photoshop; not perfect but much better than the source:
So, back to Acrobat, and apply the profile with Convert Colors:
basically a disaster. and some very faint jpeg artifacts turn into a big blue rectangle.
So what to do? Is there a better way to construct these profiles? Or should I give up and use batch operations?

PS CC Converting to profile and embedding a profile

Hi,
I just started using PS CC 2014. I have a number of variables that have changed, such as a new iMac, secondary monitor etc. I am working in aRGB when processing and I go to print via the Canon plug-in for Photoshop. I convert to profile using the ICC profile I want to use for the media and ink set that I am using. I had custom profiles made for these papers. When I save the file after printing it, it embeds the ICC profile, example Epson Premium Luster etc. instead of keeping it in the aRGB working space. I do not recall ever seeing this done automatically in prior versions and years that I have used PS. I would like to save the changes etc. but I do not want the paper profile embedded because I may want to use another paper with that file next time. When I open the file the next time and I want to print it I get the message that there is a mis-match between working profile and embedded profile, or something similar to that ( I do not have the message in front of me ). That means I have to convert the file to the working space at that point and it is an extra step that I did not have to do before.
Is there a box I need to check or uncheck somewhere to keep the file in the aRGB space or am I just loosing my mind here?
Thank you,
Jim

I'm not a Color Management expert, but converting and then saving from Adobe RGB to a Printer Profile tags and saves that file with that profile.
Your file space, Adobe RGB, no longer matches Photoshop's Adobe RGB working space and that's why you get the warning.
If you are printing from Photoshop, you do not convert to that profile and save, otherwise it is embedded.
That would only make sense if the printer was somewhere else, and you would then make a copy of that file with that specific printer profile embedded.
What you do is use the Print dialog and check "let Photoshop manage colors" and you pick your profile from the list.
Your file stays tagged as Adobe RGB.
You can turn off mismatch warnings in CC 2014 But be sure you are not "hiding a problem".
Edit menu > Color Settings
Uncheck these boxes:
Gene

Color setting and convert to profile

i found that when i use the "convert to profile" to convert my image, the "intent" setting in Color Settings will affect the image conversion.
That means the "conversion options" in color setting will overwrite/affect the same "conversion options" in convert to profile, is it a bug or is true?
i am using PS CS6 v13.0.5.

hi Pfaffenbichler,
thanks for your reply,
i am not sure is it a bug, maybe that is normal, but i have a question is:
When i convert an image from LAB to CMYK color mode using "Convert to Profile" function
If convert to profile > conversion options > intent: Relative Colorimetric, but color setting > conversion options > intent: Absolute Colorimetric
the result is different with LAB value
If convert to profile > conversion options > intent: Relative Colorimetric, but color setting > conversion options > intent: Relative Colorimetric
As far as i know, the result of LAB should be same. It is because i think color setting will not affect the conversion.
i made a pdf for your reference, hope you know what i want to explain.
Many thanks.
Regards,
Ming-yiu CHEUNG
Deputy Manager

How to set F2 Key to Convert to Profile OSX 10.7

Can someone clue me how to set my F2 key to Edit> Convert to Profile (instead of my display brightness)?
I used to be able to do this quite easily prior to 10.7, but now I can't figure it out.
Photoshop: Edit Keyboard Shortcuts> Convert to Profile won't accept my F2 key (it lights up my brightness)
System Prefs> Keyboard> Shortcuts is probably the key, but unchecking F2 doesn't solve the problem
PS13.0.1

conroy wrote:
In this case, I don't see anything to complain about.
Seems pretty clear gator soup didn't expect that function to be taken over, and it's lucky that someone thought to include an option that could be changed to cause the function key to work the right way. When do you think they might drop that option to reduce support cost even further?
Does Apple think there are just too many keys on the keyboard for the average user? Maybe they've been taking too many service calls from ignorant users who can't figure out how to press two keys at once to change their screen brightness and instead of trying to educate people on how to actually use a computer they just choose to cater to their stupidity.
I guess one must not need the F2 key to play most of the games in the App Store.
I think I'll drop off the forum now. I'm clearly in a foul mood today. Something about testing Windows 8 stuff sent me down this path.
-Noel

Layer got merged after using convert to profile form RGB to CMYK

Hi all,
I am converting a print design in photoshop cs5 from RGB to CMYK. My Layer got merged after using convert to profile form RGB to CMYK.
after this i have save file and close it and i didn't have backup of this file.
Now Please suggest How do i recover my all layers
i need only my layers back..... Please help me

Sorry bud...but if you converted to CMYK and did NOT hceck Preserve Layers and then saved over your original layered RGB file, your layered RGB image is toast–as in gone, as in you are screwed...sorry, but Convert to Profile can flatten all the layers (depending on the options) and once flattened and saved, you have no option to recover the layered RGB file (unless you have is saved somewhere).

Illustrator 10, Convert to Profile: mental block or sudden blindness?

I've either hit a mental block or have become temporarily blind, but I cannot find "Convert to Profile" in Illustrator 10.0.3 Mac, running Tiger 10.4.11.
Any hint or slap on the head that might jog my memory will be appreciated. The Help files have not been helpful yet. As the fortune cookie said, old age always comes at a most inopportune time.
Thanks in advance.
Wo Tai Lao Le
我太老了

steve fairbairn wrote:
Or do you mean Assign Current Working Space (colour profile) when opening a file?
No! When you Assign a profile, you preserve the numbers but you change (wreck the hell out of) the colors. When you Convert to a Profile, you change the numbers but you preserve the colors.
It seems that old AI 10 did not have such a menu Command in the Edit menu, as Photoshop has, so the workaround would be to close the file and pen it again, at which time you do get presented with the choice of CONVERTING to a profile.
steve fairbairn wrote:
Edit:
Edit > Color Settings (Cmd+Shift+K)
No, Changing your Color settings is a global dialog box that affects your working space, not your open document.
Thank you for your time anyway.

Photoshop "convert to profile" box---how to ignore?

Hello,
I have an batch & action that "converts to profile" as well as other image resizings--and then saves.
On 2 workstations--the batch,action works fine.
On the 3rd workstation, I get the "convert to profile" window asking to "confirm"?
Where do I go to fix this?
its not the batch because when I run the action (only) on the machines---it stops on the 3rd yet the first 2 machines--the action works without a hitch.
Any tips would be appreciated.
thanks,
Tom

Hi,
Do you have both Suppress File Open Options Dialogs and Suppress Color Profile Warnings checked in the Batch dialog?

Converting to profile

Hi,
I found this script that assigns profile to a new document: http://forums.adobe.com/message/1114320#1114320. Works perfectly fine, but I would like to convert to profile, not assign. As I am a newbie to scripting, I tried different strings, without any success.
Any help appreciated.

Now we are getting somewhere:
"3) Then I placed it to InDesign (in Color Settings: Color Management Policy/CMYK: Preserve Embedded Profiles , I think this has to be set before creating document)"
My printer told me specifically the color management policy had to be set to Preserve numbers (or whatever the official English equivalent is of my Dutch 'Nummers behouden (gekoppelde profielen negeren'), otherwise it converting during pdf'ing would not work... I'm confused.
I changed the setting to Preserve Embedded Profiles, did the exact test you did AND also did it with my SC-paper profile and it seems to work now...! When I choose Convert to Destination (preserve numbers) when I want to export as a pdf, the text stays black and the pictures get the right imk limit!!!
Great! Although I don't understand it at all... How come that when I preserve the embedded profiles and the convert with preserving numbers, the picture is changed...? I thought these two settings would realy change the picture...!
Well, I am going to to some heavy testing here to see if it all REALLY works. But I would like to understand why it works too...

Why are there changes in the histogram with a convert to profile?

When you convert an image to a different profile the color numbers change, in order for the colors to represented the same (as closely as possible given the gamut differences) in the new color space. The histogram also changes, quite noticeably. Why? Is it representing the raw numbers and not their interpretation in the new space? And if so -- why is that? Is it of some use?
Thanks!

I understand that for an export operation, but still puzzled why the histograms are almost identical in LR for images that had been brought into PS from the same RAW file and converted to different spaces (with slight differences undoubtedly due to the different gamuts). In that case, LR must be "honoring" the different color spaces, with the same appearance and histograms... But when I soft-proof the same RAW file I get very different histograms -- the sRGB more stretched out than the ProPhoto one. Those soft-proof histograms are "the same" (realizing they are all quick calculations) as when I do the corresponding convert to profile in PS.
Maybe I'm not getting my head around "the histogram of the proof target." That would be the more "dramatic" (changed) histogram I'm seeing in LR's soft proof and PS's convert to profile. But is there a reason to show it that way? Doesn't a histogram need to be interpreted in a color space to be meaningful?
If I go ahead with something like a Save for Web or Export from LR in that target color space, I'll then see the histogram return to more or less what it was before (given that rendering intent has done its thing).
Is it that the more dramatic histogram is simply representing the image in the wrong color space?? I can see that as a pragmatic decision.

PS CS6 - Convert to profile - wrong color preview with AdobeRGB - AdobeRGB conversion.

Hello,
I've discovered what looks as a little bug to me in CS6 (as compared to PS CS3 and CS4).
I would be inteterested if others could confirm it (or explain it to me)
When using Convert to profile, AdobeRGB->AdobeRGB "conversion" bugs in the preview. Since there's no actual conversion, the preview should remain the same but instead shows a strong contrast shift.
Here's my workflow:
- Working color space : sRGB (I use Europe General Purpose 3 preset)
- Open a document in AdobeRGB (original profile preserved, no prior conversion to sRGB), no soft-proofing activated
- I run "Convert to profile", Source profile is Adobe RGB. Now if I go for Destination profile: AdobeRGB (which is of course "pointless"), I see a color shift in the image preview. If I run the conversion, the image reverts to normal, hence this just affects the preview. Note that converting to other profiles like sRGB doesn't give a wrong preview.
"Convert to profile" settings are Engine: Adobe (ACE), Intent: Relative Colorimetric, Use black point compensation and Dither. Altering these settings doesn't correct the bug I'm mentionning.
This visual preview bug only affects AdobeRGB -> AdobeRGB conversion (again, yes, I know, it's pointless)
I've tested the issue on two separated machines (Windows 7, PS CS6 x64)
Do you experience the same issues?
Thank you!
JS

This has been reported before and can be easily reproduced. I've never heard that it's any kind of special feature - I'm with you: Bug.
I suspect because it's a preview-only problem and doesn't affect the image quality, and it's kind of nonsensical operation anyway, Adobe has assigned it a priority level below that of pretty much everything else.
But if it were my software I'd certainly be embarrassed that it does that.
-Noel

Re-Seperating Color Vs Convert to Profile

I am working on several projects that are switching from overseas printers to domestic (US) printers. I have a custom profile I use, that is a variation of SWOP.
If I choose "convert to profile" there is no color shift. However, this is because nothing changes except the profile. Dmax is the same. No shifting of color value at all. (so what happens?) If I want to fit the specs I have set for this profile I need to switch modes to RGB and then re-seperate to CMYK. I know this is not good for image quality. It generates gaps in the histogram and causes a pretty serious change in colors for something that was already CMYK.
Is there a direct way to switch profiles that actually changes the color to meet the specs of the destination profile?
I have been going through and manually tweeking each image but with close to 1,000 in line I want to automate as much as possible.
Thanks,
Hartley
Using Ps Cs5
Mac OSX 10.6.8
2.7 GHZ i5 iMac

If I choose "convert to profile" there is no color shift. However, this is because nothing changes except the profile. Dmax is the same. No shifting of color value at all. (so what happens?)
If the two profiles are identical in every way no change may happen.
But if they are different in any way – and Total Area Coverage is just one of the properties – then a change may be imperceptible but still likely to have occured.
Just overlay the one with the other (without reseparating on dropping or pasting) and set the top one to Blend Mode Difference.

Convert to Profile colour shift

Can anyone help me deal with a problem that affects some AdobeRGB files when I convert them to SRGB? In a very small number of cases when I convert to profile (srgb IEC61966-2.1) there's a noticeable shift in certain vivid reds and greens; they become much duller and in some cases the colour actually changes. When this occurs it's usually apparent in colourful clothes such as Indian saris. I'm not referring to limitations in the srgb colour space. After I've worked on the Adobe files in Photoshop (CS6) in a wide gamut environment I view them with my monitor (Dell U2713H) set to emulate the srgb colour space, then make any Hue/Saturation adjustment before converting to profile and saving as JPG files with embedded profiles for uploading to the web. In most cases the converted file looks the same as the pre-converted file, but sometimes there's this marked colour change somewhere in the picture. For example, in one case a turquoise shawl became a dull blue; in another, a vivid green stripe on a dress became a pale greenish-yellow. In the former case when I checked the colour data I found that all red had been stripped from the shawl, making it impossible to do any further tweaking with channel mixer or colour balance tools to get the original colour back. The change is visible in Photoshop, so it's got nothing to do with my image viewer. As soon as I click on 'convert to profile' the colour goes.
Is there any way of dealing with this problem?

I agree with your comments about saturation and B/W. When I think of great photos by acknowledged master I tend to think of B/W photos. In a photography book I have the best photos are either B/W or colour photos where the colours are very muted with subtle gradations. I am constantly having to resist a tendency to overdo saturation layers in PS. Thanks very much for taking the trouble to put together those gamut graphs. Much appreciated.
D Fosse, I like your picture very much. The green looks just right. Out of interest I opened it in Photoshop in 3 different versions, firstly as it is, secondly converted to AdobeRGB and thirdly with the embedded profile discarded. In the last case the green appeared over-saturated and unrealistic.
I've attached the image I referred to earlier with the green-striped dress, again with an Adobe embedded profile and with an srgb profile. Neither has had any colour enhancement in PS, though I bumped up vibrance slightly in the RAW processing.. Viewed in an srgb environment the green is the only colour that shows a change; any change in the magenta is imperceptible.
There are still aspects of colour management and gamut that I haven't quite got my head around but I'm on a learning curve, and you've all been exceptionally helpful.
Adobe RGB
srgb

Convert to profile

CS3 - When exporting InDesign documents to pdf files a safe workflow
requires to use "Convert to profile - preserve numbers". If we only use
"Convert to profile" black text may separate. I am wondering what you do
use this "Convert to profile" for at all?
Regards Nina Storm

and another scenerio falling on the same problem:
i recieved corporate logo in AI format with strict corporate color specifications like this:
MEGAN Ltd. Yellow: 5,15,100,15
MEGAN Ltd. Blue: 100,25,5,20
AI Embedded profile: Euroscale
that means, that whoever was creativelly choosing the colors for the logo, he was choosing and viewing them under Euroscale profile...
now, when i open this AI document in my Illustrator, i get a profile mismatch warning, because we use ISO Coated v2 as default CMYK working space for all Adobe apps in our workflow.
now lets go through the options Illustrator gives me:
1) i "USE THE EMBEDDED PROFILE INSTEAD OF MY WORKING SPACE" which is recommended by Adobe because it saves the CMYK raw numbers and most importantlly it uses the original embedded profile to paint the color numbers on my screen, so i see the exact colors as they were seen by the author of the document, because we both look on the same raw numbers using the same profile Euroscale. IDEAL
2) when i would use "CONVERT DOCUMENTS COLORS TO WORKING SPACE" I would also get the same LOOK of the colors, because Illustrator would take raw numbers under Euroscale and recalculate them into my ISOCoated v2 to ensure the colors on the monitor LOOK same in my "ISO Coated workflow" as they looked in the "Euroscale workflow" used originally by the author of the logo.
BUT HERE COMES A LITTLE FLAW IN SO FAR ALMOST IDEAL WORKFLOW - instead of the specified corporate colors given by the author using Euroscale:
MEGAN Ltd. Yellow: 5,15,100,15
MEGAN Ltd. Blue: 100,25,5,20
my illustrator converts these nice and easy to follow corporate numbers into complete mess:
MEGAN Ltd. Yellow: 3.52 , 14.45 , 100 , 15.63
MEGAN Ltd. Blue: 100 , 19.53 , 4.69 , 22.66
now imagine i would be working for giants like FORD, COCACOLA or MARLBORO i cannot change the raw color numbers just like that everytime I or somebody else down the road happens to use different working profile than the original embedded profile. in some companies the corporate CMYK numbers are "holy" and nobody can change them along the process...
so that sends me pretty much into ONLY possible direction in Illustrator and that is to preserve raw numbers AND also preserve embedded profile to ensure i see the same colors on my monitor as the author did... therefore in this case i choose "USE THE EMBEDDED PROFILE INSTEAD OF MY WORKING SPACE" to preserve numbers and profile (thus look of the colors)
BUT HOW ABOUT INDESIGN ??!!
Because I use the widelly recommended policy by Adobe for CMYK "Preserve Numbers (Ignore Linked Profiles)" I import the AI document with the logo into InDesign and here iam again...
InDesign reads the raw numbers from AI logo ("Preserve Numbers...") but he discards or ignores the embedded profile ("...(Ignore Linked Profiles)")
so if i understand this weird policy correctlly InDesign is ignoring the original embedded Euroscale profile used by the author of the logo while he was choosing and viewing the colors and instead uses current Document's CMYK profile (the one selected in Assign Profiles dialogbox in InDesign, in my case that is ISOCOated v2)
SO AT THIS MOMENT the author of the logo and I have the same raw numbers in InDesign but if we would go to Soft-proof we would both see different colors (color variations) because the author is looking on the numbers using Euroscale profile and my InDesign now uses Document's CMYK profile which is ISO Coated v2
WRONG!

Convert to Profile (Applescript)

Similar Messages

Maybe you are looking for