Correct Settings in Windows 7 Color Management Module for laptop LCD

hey guys!! I use a 14 inch laptop for editing Photographs. so I want to make sure if my LCD's Color is correct or not. on Windows 7/8/8.1 there is option call "display calibration",can any one tell me which setting will be best.
Thank u

Noel:
I have custom calibrated with an Eye-One puck. I was just searching around looking for a way to verify that indeed the profile was in place, concerned that it might not be, and came across this advice in the links attached to my first message. But my ultimate goal was to verify that indeed I had my monitor profile in place.
After reading through the links, although I did tick the "Use Windows Display Calibration" I did not push the "Calibrate Display" button, recognizing that this leads to a visual calibration routine. In the links I attached, and also:
http://www.pusztaiphoto.com/articles/colormgmt/win7/default.aspx
the authors are suggesting that ticking the "Use Windows Display Calibration" is a necessary step to ensure that your custom profile is loaded and remains loaded. Although I admit that this seems illogical (hence my question) the author of the article linked above asserts that checking this box does not relate only to a visual calibration via the "Calibrate Display" button. Indeed, in referring to the Microsoft description of this module, where it says that"Windows profile loading" should only be used in conjunction with the visual calculation function his advice his is to "[i]gnore it," indicating that the people who wrote the help article misunderstood its function.
And, as noted above, after trying this I did notice a profile shift with my custom calibration in place, so it did pique my curiosity. In the last analysis however my ultimate goal is to know that my custom profile is properly loaded.
Any thoughts on what is the best way to do that?
Thanks,
Brian

Similar Messages

Correct Settings in Windows 7 Color Management Module?

In flailling around trying to assure myself that my custom monitor profile was actually loaded, I eventually ended up in the Windows 7 CM module. Since it is not the picture of clarity and is not at all discussed in any of my texts, I went searching around the web and found at least two places where the advice given was that you not only had to ensure that the custom profile was set as the default profile, but also that you had to go the additional step of going under the "Advanced" tab to "Change System Defaults" and to select the "Use Windows Display Calibration" check box. It is asserted that Win 7 will not load a profile without having this box checked. Just for the heck of it, I followed this advice and after I checked the box, there was indeed an immediate obvious shift in the monitor profile. Was it a "good" shift or a "bad" shift is the question. I haven't really been able to evaluate this yet, but I am wondering if anyone has looked into this question or otherwise has an opinion as to whether this is valid advice.
For reference see:
http://www.slagermanphoto.com/blog/2010/09/22/windows-color-management-solution/
http://answers.microsoft.com/en-us/windows/forum/windows_7-desktop/cant-apply-an-icc-profi le-to-display-cant/71b8d8e8-afa3-435a-aae4-6a8a184b6439

Noel:
I have custom calibrated with an Eye-One puck. I was just searching around looking for a way to verify that indeed the profile was in place, concerned that it might not be, and came across this advice in the links attached to my first message. But my ultimate goal was to verify that indeed I had my monitor profile in place.
After reading through the links, although I did tick the "Use Windows Display Calibration" I did not push the "Calibrate Display" button, recognizing that this leads to a visual calibration routine. In the links I attached, and also:
http://www.pusztaiphoto.com/articles/colormgmt/win7/default.aspx
the authors are suggesting that ticking the "Use Windows Display Calibration" is a necessary step to ensure that your custom profile is loaded and remains loaded. Although I admit that this seems illogical (hence my question) the author of the article linked above asserts that checking this box does not relate only to a visual calibration via the "Calibrate Display" button. Indeed, in referring to the Microsoft description of this module, where it says that"Windows profile loading" should only be used in conjunction with the visual calculation function his advice his is to "[i]gnore it," indicating that the people who wrote the help article misunderstood its function.
And, as noted above, after trying this I did notice a profile shift with my custom calibration in place, so it did pique my curiosity. In the last analysis however my ultimate goal is to know that my custom profile is properly loaded.
Any thoughts on what is the best way to do that?
Thanks,
Brian

One Config Window to Color-Manage them all

Hi there!
I'm not sure if this is the right place to post it, but since there seems to be no Adobe Bridge Forum, here it goes:
I think Adobe should give Bridge a complete and unique window to manage Color Settings for all the Softwares when synchronizing them.
Then we could decide all the aspects of your Color Management flow, for all the softwares, at once.
The way things are today, the more you are sure how your Color Management flow should be, the less you are invited to use Bridge's synchronization.
Why? Because as we know each software has some different settings on their Color Settings window.
For example, InDesign doesn't have a "Black point compensation" option, because it's a Photoshop thing. And Photoshop doesn't have a "Ignore linked profiles (Preserve numbers)" option, as it's only applicable to InDesign.
Other example: I may want to be asked when there are profile mismatches on InDesign, but I want Photoshop to always open the images with the incoming profie whithout asking.
I just think USA (United Softwares of Adobe, as I call them) should finally shake hands and work on an unique solution for a change.
Who's with me?

So, Kurt, when a file resides on the computer, and it is then attached to an outgoing email, the OS creates another file?
Technically, the email app creates the copy. Entourage, Outlook, Mozilla Thunderbird, Gmail, you name it. All email clients will create a separate file for each attachment. They never just point to the original.
That means when a spotlight or Finder search is instigated to find that file, all creations with that file name will appear. Is that a correct understanding?
Yes, since it's just looking for a matching string of text. Where it is is irrelevant. The search engine can't assume what parts of the drive you do and don't want to search, so it looks everywhere by default.
And, if that is the case, is there any way to prevent those from appearing with a search?
It wouldn't be easy since the name matches your search string. You'd have to be able to define only certain folders in your search criteria, but I don't see a way to do that. If you press Command+F from the desktop for the basic search tool, you can click the + button next to the first search criteria to add more options. Click "Kind" and then down to "Other". You'll get a long list of other ways to constrict the search, but I didn't see an option to choose a folder.

Color Management Module In Photoshop

Question: A color management module is the software that defines the mathematical manipulations by which color conversions are made?

Thanks for your quick reply.
From: ronzie99 <[email protected]>
To: IronEyesWally <[email protected]>
Sent: Thursday, December 8, 2011 1:09 PM
Subject: Color Management Module In Photoshop
Re: Color Management Module In Photoshop created by ronzie99 in Photoshop Elements - View the full discussion
There are different types of icc\icm profiles used in color management.
First is the color workspace. PSE is by default set to create files in the color space embedded in the image opened and if not then the default color space of your choosing. The type of color space describes the gamut limitations of that color space.
Next are device specific color profiles. These are the display and printer profiles but can also exist for input devices. These profiles serve as tables to fit the measured characteristicsof the device to the color space requireed. For output devices there are Rendering Intents that can be chosen to determine how the limitations of a device can be best interpolated to fit the color space of an image into the limitations of the device for best appearance.
A practical way to think of a display to output workflow think of the color space situated between the displayed image and the output device with the color space in the middle defining limitations as a standard. The devices profiles are then measured against the standard color profile to create corrections or translation table so they react appropropriately to present the image on the display for the output device target profile in an attempt to get a 'what you see is what you get' envirionment for the specific devices used.
You need to create via calibration either by you (better) or insttall from the manufacturer a profile for the display. This matches your display device to the 'standard' profile. If you go to print then you'll need to install a printer profile (which varies by ink and paper type) either OEM or from paper suppliers or created by a measuring device you can purchase if you go 'rogue' regrding non-OEM inks and papers.
PSE does not have a soft-proof mode built in like Photoshop. It does have a setup, though, where it will let you assign every time you print an output profile that you select if you want PSE to directly manage the printer for tonality and color, in which case in the printer driver itself you disable color management only leaving the driver to descrive the image quality and surface type of the paer chosen and choosing none or leaving icm unchecked in the printer driver. The profile is selected in the PSE printer driver under advanced.
Soft proof mode is where the display translation is further manipulated to approximate the printer output. This can happen because you have calibrated your monitor to a standard and a printer tothat same standard. I have an add-on for PSE 10 called Elements + that in addition to lots of filters and effects adds some soft-proofing capability and curve color level adjustments to PSE. http://www.simplephotoshop.com/elementsplus/index.htm
In practical terms that is the function of color management.
BTW: The defacto color space for the Internet web browsers is sRGB. Use this when correcting color for web distribution.
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RVS4000 IPS identifies flickr images, etc., as Microsoft Color Management Module Buffer Overflow exploit

If I enable the IPS function in my RVS4000, some images from various popular websites like Flickr and blogspot will not load. They are detected by IPS as "EXPLOIT Microsoft Color Management Module Buffer Overflow"
You can test it yourself with this image hosted at blogspot:
http://4.bp.blogspot.com/_a7jkcMVp5Vg/TF3gjYJrHBI/AAAAAAAAMqM/ScJAA8y9nZk/s400/sorry.jpg
With IPS enabled, that image will not load. With IPS disabled, it will.
I am using firmware 1.3.2.0 and IPS signature version 1.42.
I believe IPS is incorrectly identifying these images as containing the color management buffer overflow exploit.
Any chance this could be corrected in the next IPS signature release?
As an aside, I would prefer to open a case with support about this, but I really can't figure out how to do so. I purchased the RVS4000 when it was still made by linksys. I would assume I should still be able to get support on it now that it's own by Cisco, but trying to open a case on the web for this seems impossible. Am I missing something?

i've just removed the proxy in my browser, so that it connects direct.
et voila: EXPLOIT Microsoft Color Management Module Buffer Overflow
but this rises the fear that IPS works just as expected when no (external) proxy is used.
that would be a serious problem, at least because it isn't mentioned in the online help/manual and because i'd leave my real ip at many places, which i wouldn't like.
i'd be happy to read a response from cisco to the Buffer Overflow (is it a false positive) and if IPS should work when a external proxy is used (via unencrypted connections, so the [w]rvs has a chance to read the communication.

Adobe Color Management Module 64bit support

Hello,
are there any plans to release a 64bit version of the Adobe Color Management Module?
We are a licensee of the AdobeCMM and would like to release a 64bit version of our application.
Thank you very much,
best regards
Ro_Gi

if you want to give your 'vote' to having this in 64bit, go to this more in-depth thread
http://feedback.photoshop.com/photoshop_family/topics/please_give_us_a_64_bit_version_of_a dobe_cmm
the workaround is to do the color profile conversion within photoshop, and not within the canon plugin....

Can't access Color Management options for HP 6700 under Mac OS 10.8.5 (Mountain Lion)

Hello.
I've got the HP Officejet 6700 Premium e-All-in-One and I can't find any way to access Color Management options.
The printer is attached (Wi-Fi) to my iMac running Mac OS 10.8.5 (Mountain Lion).
I want to correct a magenta cast to photographs that I've printed. I've had the magenta-cast problem under Lightroom and using Preview to print the photographs, so now I want to work with color profiles in Photoshop Elements.
Photoshop Elements recommends that I "disable color management in the printer preferences dialog".
However, I'm not able to find color management preferences for the 6700 in any of the settings under Mountain Lion:
Not under (Apple) > System Preferences > Print & Scan.
Not under (HP Utility) > Open Embedded Web Server.
Not under (HP Utility) > Printer Settings.
Not under Preview's print dialog.
Nor can I find any clear direction in the online help (at HP or elsewhere) that I've read so far.
Any suggestions would be most appreciated.
Thank you!
Michael
This question was solved.
View Solution.

Please note that in the Print dialog I get "Color Matching" not "Color Management."
Still, I am (at this point) able to control color from Photoshop Elements, so that's good enough to proceed.
Thanks again.

Windows client monitoring Management packs for SCOM 2012

Hello All,
Please provide the link for windows client monitor management pack for SCOM 2012 SP1 ,if there is any available .
I have got one link for this but it is for SCOM 2007 .
Regards
Richa KM

http://www.microsoft.com/en-us/download/details.aspx?id=15700
Yes you can download from this link and you can import it in scom 2012 sp1.although it is for scom 2007

Windows 8 Color Management - colors not correct in Adobe programs

I have been having a problem for some time with color management. I thought that I would cure my problem with my new Windows 8.1 system with fresh installs of all my programs, but it persists.
Here's my control image with the color #213D86:
When viewed in any Adobe program (PS CS3, PSE 10, Adobe Reader XI), this is what the image looks like on the drawing surface:
If I look at the color with the color picker in PS or PSE, I get #213D86. When I sample with a program like Iconico's ColorPic, I get #393C7D. Strangely, if I view the image with Save for Web, it appears correctly.
Obviously, I have some sort of color management issue but I don't understand it. My display is a Dell 2208WFP. I tried setting different color profiles on it but it had no effect on the problem. I tried using Spyder calibration and that made no difference. I've tweaked Windows color management settings, all to no avail.
I thought that the problem directly related to Adobe products because in every other context, such as a different photo editor like Paint.NET, the image looks fine. However, on my new Windows 8.1 system, the Windows Photo Viewer displays the wrong color as well.
Where have I gone wrong? What am I missing?
Thanks.
Will

Auto white balance is actually the culprit of these problems as your camera will attempt to measure it itself, and is often wrong. That's just the nature of these cameras. The only way to be sure is to shoot a grey card.
> Microsoft RAW Image Viewer
Is that the Vista version? Otherwise it does not do any correction for the display. Canon's zoombrowser has a checkbox that has to be turned on in order for it do correction and I do not know whether xnView can use a display's calibration. Of the apps you list, the only ones that certainly do color manage are the adobe programs, and, if your display's calibration is correct, are the only ones that you can absolutely trust.
The reason the color looks different for a second when loading in LR is that it shows the embedded jpeg (the camera embeds a jpeg preview in the RAW file) until it calculates the actual RAW conversion. LR applies a default contrast curve BTW, you can try to see what happens when you use the zerod preset.

Windows 10 Color management

Hello,
I'm wondering if windows 10 will include a true color management ?
I use a wide gamut screen with and a monitor profiler in order to display right colors.
Currently, despite color management tab where you can choose the monitor's ICC profile, windows 7 and 8 do not take it into account and only few programs really do. It results in wrong colors display in the whole windows environnement especially for wide
gamut monitors.
Has this point been improved in windows 10 ?

How would you suggest it should work in the general case?
The operating system is not currently informed of the color space of the original image data. That's why the applications themselves must do it.
Now, that being said, it's deplorable that so few graphics applications actually DO do proper color-management, especially considering that there are free libraries that can even be built free of charge into commercial software (e.g., LittleCMS).
One thing Microsoft could do better in a heartbeat is have Internet Explorer embrace full color-management. At the moment it only does half the job... Specifically, it reads and processes color profiles in images and
transforms the colors to the sRGB color space but does NOT take into account the monitor profile
(and sadly, I just checked to see that this is still true with the experimental IE rendering engine). Nor does it color-manage web page elements (e.g., things colored by HTML). So far only FireFox does it properly, but even then you must
invoke an alternate color-management setting that's not the default.
There's some very good practical info about the problem here:
http://www.gballard.net/psd/go_live_page_profile/embeddedJPEGprofiles.html
There are some who, in frustration and with monitors that are capable, actually deconfigure the wide gamut capabilities of their monitors and just run them as (accurate) sRGB monitors, so that more color will look more accurate in more
different applications. That such settings are available in monitors is testament to how incomplete color-management is and how it's not getting any better.
In answer to my leading question, the "state of the art" (which hasn't changed in a very long time) COULD be made better by Microsoft providing the means for software to express the color space of its imagery to, say, the GPU so that basic color
management could be provided by the system at almost no cost to the application. But this doesn't suit their "touch first" concept (have you noticed that tablets eschew color-management entirely?).
I'm glad to see another person here asking for better from Microsoft. Keep it up!
-Noel
Detailed how-to in my eBooks:
Configure The Windows 7 "To Work" Options
Configure The Windows 8 "To Work" Options

Photoshop CS3 color management "Save for Web" problem

This problem is getting the best of me.......
After spending 3 full days researching this problem, I am no closer to finding an answer than when I started. I still cannot produce a usable image through the "Save for Web" feature of Photoshop CS3. I have read web page after web page of "Tips, Tricks and Recommendations" from dozens of experts, some from this forum, and still I have no solution... I am exhausted and frustrated to say the least. Here's the simple facts that I know at this point.
I have a web design project that was started in PS CS1. All artwork was created in photoshop and exported to JPG format by using "Save for Web". Every image displays correctly in these browsers (Safari, Camino, FireFox and even Internet Explorer on a PC).
I have recently upgraded to PS CS3 and now cannot get any newly JPG'd image to display correctly. My original settings in CS1 were of no concern to me at the time, because it always just worked, and so I do not know what they were. I have opened a few of my previous images in CS3 and found that sRGB-2.1 displays them more or less accurately. I am using sRGB 2.1 working space. Upon openning these previous image files, I get the "Missing Profile" message and of course I select "Leave as is. Do Not color manage". CS3 assumes sRGB-2.1 working space, opens the file, and all is well.
The problem is when I go to "Save for Web", the saturation goes up, and the colors change. The opposite of what most people are reporting. Here's another important point... new artwork created in CS3 does exactly the same thing, so it's not because of the older CS1 files.
I have tried every combination of "uncompensated color", "Convert to sRGB", "ICC Profile", etc. while saving. I have Converted to sRGB before saving, and my monitor is calibrated correctly.
I have tried setting the "Save for Web" page on 2-up and the "original" on the left is already color shifted before I even hit the "Save" button. Of course, the "Optimized" image on the right looks perfect because I am cheating by selecting the "Use Document Color Profile" item. Why do they even have this feature if doesn't work, or misleads you?
Does anyone have any ideas what could be happening here? Why is this all so screwed up?
CS1 worked fine out of the box.
Final note: I do have an image file I could send along that demonstrates how it is possible to display an image exactly the same in all 4 of the browsers I mentioned with no color differences. It is untagged RGB and somehow it just works.
I am very frustrated with all of this and any suggestions will be appreciated
Thanks,
Pete

>> First of all... I'm using an Adobe RGB image master... I open it and get the Profile Mismatch Screen... I choose Use Enbedded profile... all looks well. Next I go to Proof Setup > Monitor RGB... again all looks well, no change that I can tell.
This has further confused the issue on several points, not the least of which version PS you are doing this with?
>> AdobeRGB> Convert to Profile > Working Space sRGB-2.1... all still looks well... but now, when I go to Proof Setup > Monitor RGB... I see the insane oversaturated look that is driving me nuts.
That is your strongest clue...it sounds like you have a bad system or bad monitor profile. To rule out the monitor profile: Set sRGB as your monitor profile in System Prefs> Displays> Color.
>> Adobe RGB image master... I open it and get the Profile Mismatch Screen... I choose Use Enbedded profile... all looks well. Next I go to Proof Setup > Monitor RGB... again all looks well
That doesn't make sense, stripping an embedded AdobeRGB profile should desaturate the color in Softproof MonitorRGB, especially the reds -- you have something wacky going on there.
At this point I think you need to review the links and get a grip about how color management and profiles work...
BTW, forget about setting ColorSync in PS COlor Settings, use Adobe ACE.
MO,
I think SFW is fixed under CS3 :) By default it Converts to sRGB and strips the profile.

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

Color managed workflow for web and camera raw

I recently calibrated my monitor and was wondering what is the preferred workflow for the web? I shoot with my camera in sRGB and my working space in Photoshop is sRGB aswell. The problem that has arised now is that the color managed colors in Photoshop are way different than the non-color managed in my web browser. Is this normal? And what I don't quite get is how a photo that has an embed sRGB profile looks the same in Firefox (that understand embed profiles) and Photoshop, but in Google Chrome (that does not recognize embed color profiles) shows the colors very differently, although the browser should understand the photo is in sRGB by default and show the same colors that are in Photoshop, right? So what happens here, because the colors are not the same? What information does Photoshop assign to the embed color profile that makes the colors so different?
Anyway, I assume the problem here seems to be my newly calibrated monitor profile. The only way I can get the same colors to my photo in Photoshop and to a photo in web is to use soft proofing set to my Monitor RGB AND save without a color profile. Is this the way to go? But here comes another problem. I shoot in RAW and use camera raw to edit my photos. Camera Raw doesn't allow soft proofing, so I'm stuck with these color managed colors that are so different from non-color managed colors I get in my browser that any color correction in Camera Raw is simply useless. Unless everyone was using color managed browsers and I could start to use fully color managed workflow, but that's not the case I suppose. So, what's the solution here?

First off, you need to be working in sRGB, or converting to sRGB when you save out files that are destined for the web. You can change the color space that Camera Raw (ACR) send your raw files to by clicking the blue text in the bottom center of the ACR window. This is probably that safest workflow for you until you get a handle on color management. If the color of your images is very important, you might consider embedding a color profile in them, which will help color managed browsers render your color properly.
If your display's color gamut is different than sRGB (many are), you'll find matching colors for non-color-managed browsers to be impossible. But consider the average display and take heart. The best you can do is correct to a standard and hope for the best.
Both the convert to sRGB and embed color profile options are in the save for web dialogue box.
More about the ACR workflow options here:
http://help.adobe.com/en_US/Photoshop/11.0/WS739D7239-24A7-452b-92F9-80481C544F25.html
More about matching colors for the web:
http://help.adobe.com/en_US/Photoshop/11.0/WSB3484C68-ECD2-4fa4-B7CC-447A5FE86680.html
http://help.adobe.com/en_US/Photoshop/11.0/WSD3F5E059-4F51-4b44-8566-13B854D3DF5F.html
http://help.adobe.com/en_US/Photoshop/11.0/WS0B3CD652-4675-44be-9E10-445EB83C60BA.html

Color management workflow for beginners..

I am making a movie. I have several hundred clips, shot over a period of almost 5 months. Indoors, outdoors, morning, afternoon, mid day etc. I have gained experience with my Panasonic HMC 151 over the months, and during this time used a variety of settings. I will also use still photos, and use some computer generated graphics made in Daz3D Carrara. All in all - I have a lot of material which look very different.
When layering my clips in After Effects, I want to do it right, and not paint myself into a corner.
When compiling my scenes (compositions) I also want to do it "right".
Most important to me is to get a coherent look and feel. This is the main priority. Later I might wish to change the overall color if I find out I want my movie to look more like a movie than a "video show". For example, I have shot some scenes late in May at noon, ans some scenes in the afternoon in September, and they belong to the same dialog where people talk to each others.
The target media is DVD for home TVs.
Any links to workflows and step-by-step guides (video tutors) on basic approaches on how to avoid the big mistakes is very much appreciated!
ingvarai

ingvarai:
Color Management in indeed an important aspect, but from your description, it seems that you should be concerned with "color correction" first.
Color Management is about getting reliable and predictable color rendition. It's not really about defining the "look" of your project. If your shots are not properly exposed, for example, Color Management will only make it more reliable to assure they're not properly exposed. Color correction is all about fixing those problems, or stylizing the overall look. If two takes don't intercut well, for example, then you have to correct color balance, exposure, so one matches the other.
After Effects includes a ton of effects which can be used for color correction, including Levels, Curves, Hue/Satuarion, etc. And it also includes a streamlined color correction plug-in called Color Finesse. I think the Color Finesse documentation is a good starting point, regardless of what you end up using. If you go to the folder in which After Effects is installed, and look into the "Effects" folder, you should see a folder called Synthetic Aperture. The Color Finesse manual should be inside that folder.
Also, After Effects Help has a section on Color correction and adjustments. It includes a number of links to other resources.
Mark Christiansen's book After Effects CS4 Visual Effects and Compositing Studio Techniques is very recommended.
As for the Color Management workflow, there's a specific white paper on the Adobe web site on this very subject, but I am not sure that's a good starting point. Instead, I think the AE help page on Color Management is better to get your feet wet, and then go through the white paper. Again, there are several links to other resources in the AE Help page about Color Management.

Problem: Color Management/Save for Web on Wide Gamut Monitor

Hi,
I've got a problem with color management - I thought I understood it, but it seems as if didn't. So I'm trying to kindly ask for help.
I'm printing, and also trying to save an image for Web.
My setup:
- Win 7, CS 5
- Calibrated Wide Gamut Monitor (eizo cg223w)
- Photoshop set to ProPhoto (I don't want to start a discussion adobergb vs prophoto)
- Save for Web and Devices, Embed Color Profile, Convert to SRGB
- Viewing in Firefox 3.6 with Color Management enabled
Problem:
Image: http://dl.dropbox.com/u/311345/luchs-1024.jpg
If I compare the file in Firefox and Photoshop, the Firefox presentation is slightly more saturated - and I have no idea why.
I thought it should work with the above workflow.
Here is a screenshot where you can clearly see a difference (Note: the additional over-saturation here is caused by the wide gammut monitor when taking screenshots, in reality its not as dramatic as that): http://imgur.com/MFPbU but you can clearly see the difference.
I would be very very thankful for any pointers what I'm doing wrong in my workflow!
Thanks in advance,
Christoph

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ch_bla wrote:
- Monitor calibrated
- Edit under ProPhoto RGB, 16 bit raw files
- Save for Web and Devices, Embed Color Profile, Convert to SRGB
Is this the preferred way?
It's a reasonable and correct way to do it, assuming you want to embed a profile in the images.
Since at least in some browsers and cases the colors selected within the HTML elements must match image colors, one can sometimes make a case for not embedding any profile at all, but that's really looking backwards. Browsers are moving forward toward not only managing colors in images but also in the HTML elements themselves. If you want your images accurately portrayed in as many places as possible you're doing the right thing looking forward.
Personally I embed the sRGB profile in my web images, as you are doing. And I check things primarily with IE and Safari.
Unlike you, I prefer to edit using the sRGB color space, but that's just personal preference. I find it more convenient to use File - Save As instead of File - Save For Web & Devices, and I get caught by gotchas less often this way. Your preference ensures you don't lose any colors at the extremes of the gamut while editing and it could easily be argued that that's better, depending on what image products you produce.
As for the article you mentioned, anyone who would set their preferred working space to Monitor RGB or use Proof Colors in normal editing is asking for trouble, and may not understand color management at all.
-Noel

Correct Settings in Windows 7 Color Management Module for laptop LCD

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