Display Color Management Simulated Rec709 differs from ProRes Output

Okay. I've read the Adobe white paper on proper Color Management workflow about a dozen times now, and I'm still getting some inconsistencies in my render outputs.
DPX footage assigned a Kodak 5218/7218 Profile
Project Settings: ProPhoto RGB
Linearized Working Space
Match Legacy AE QT Gamma Adjustments
Output Profile: HDTV (Rec. 709)
I'm outputting to a ProRes 4444 file.
My problem arises from using the Simulate Output>Rec709 option in AE. I cannot get the output to look like this simulated color. Isn't that supposed to work?
I can match the output to AE when I turn off Color Management and apply a Color Profile Converter effect, but there is a shift in color when viewing Simulated Color vs. using the Color Converter Effect. Even in AE the Converter Effect looks different than Simulated Color.
I was under the impression that the point of the Simulated Output and Display Color Management options were to avoid having to do this. Should I change my workflow and just use the Converter Effect on all my comps? Or do I have a setting wrong somewhere? Has anyone else come across a discrepancy like this?

Interesting. I thought it might have something to do with ProRes, but my bit depth is at 32, and the shifts I'm seeing are more subdued than the pictures in that post. It looks darker (like a gamma shift) and slightly more saturated.
I'm more interested to know why there is a difference in the simulated output vs the color profile converter. I can see the difference within AE, before exporting anything. What is simulated output doing that my profile converter isn't?

Similar Messages

Color management settings for the best print output

Color Management while Printing has been one of the challenging areas which has been discussed a lot over user forums and has been a painful area in terms of clear understanding while taking print outputs.
Here is an easy-to-understand KB (Knowledge Base) article ‘Color management settings for the best print output’ to help you get the best from your printers using PSE and bridge that knowledge gap.
This article explains color management in Photoshop Elements, how to get better prints, and addresses some of the following issues like horizontal/vertical streaks in print output, too dark or too light print output, ICC profile problems and Color differences between prints from PSE and other applications.
Thanks,
Garry

Thanks Noel.
Yes have shared in PSE forum as well. But I usually drop such posts on PS General forum so community moderators as well as our power users who mostly use both PS or PSE or are aware about can communicate to their students, audiences etc.
The idea is to reach out the message to as many as folks via relevant forums. Most of my otehr posts have found mentioned only on PSE forum.
Thanks for the feedback Nice to hear such a great feedback within 5 mts of publishing
Regards,
Garry

[svn:fx-trunk] 12207: Fix for [Managed] metadata prevents ASDoc from generating output for setter/getters

Revision: 12207
Revision: 12207
Author:   [email protected]
Date:     2009-11-25 11:53:15 -0800 (Wed, 25 Nov 2009)
Log Message:
Fix for metadata prevents ASDoc from generating output for setter/getters
QE notes: None
Doc notes: None
Reviewed By: Paul
Bugs: SDK-23940
Tests run: checkintests, asdoc
Is noteworthy for integration: No
Ticket Links:
    http://bugs.adobe.com/jira/browse/SDK-23940
Modified Paths:
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/as3/genext/GenerativeSecondPassEv aluator.java

Colors In Exported Video Different From Preview In Premiere

I have a short video I put together in Premiere that contains some image overlays I created in Photoshop. Everything looks fine in Premiere, but when I export it, the overall video has a warmer, yellow-ish/orange-ish color cast to it. My Sequence settings are HDV 720P and I am exporting the video as Windows Media HD720P. Is there anything simple I can do to get the colors to match up properly? I'm only intending to publish the video to Youtube.

Interesting, you're right, I opened it in VLC and the colors look fine. Strange that I'm getting an odd color cast in Windows Media Player only - thanks everyone!

Change cell color if number is different from previous cell

Hello all and thank you in advance for any help that is provided.
I want to have the color of text in one cell change if the number entered into that cell is higher than the number entered in the previous cell.
Example: If cell A=18 and cell B=18 then the font color in both cells is the same.
If cell A=18 and cell B=20 then the color of the font in cell B should change to another color.
I have done my best to look through the posted questions to no avail so I apologize if this has already been answered.
AJ

Inspector > Format (42)
Select B2 > Conditional format > Greater than > A2 > Edit > Text > Red, Green whatever. Done.
As usual the format in B2 can be dragged down by the little o bottom right to B3, B4 etc.
S.

Display file name and remove error from log output

This script is working great from the GUI but when I call it from a cmd file from a job scheduler it throws out errors. I also want to display from is location the file name and it's byte count(ForEach($File in $Files)) so I can tell if any of the
files being combined where actually empty. It wants to search the current location from the sever not just-Locations parm..
Error message in LOG file:
Get-ChildItem : Cannot find path 'F:\powershell\-SearchFor' because it does not
exist.
It's trying to find file install.cmd from where script starts and all the -Locations(which is only the search parm)
Function Search-Files{
Param([String[]]$Locations, $SearchFor, $AppendTo)
Begin
If(-Not (Test-Path $AppendTo)){New-Item $AppendTo -ItemType File -Force}
Process
ForEach($Location in $Locations)
$Files = Get-ChildItem -Path $Location -Filter $SearchFor -Recurse
ForEach($File in $Files)
Get-Content -Path $FIles.FullName | Out-File $AppendTo -Append
End{}
Search-Files -Locations "\\Server1\c$\Temp", "\\Server1\c$\Test1" -SearchFor "Install.cmd" -AppendTo "C:\Temp\Search.log"
Thanks.

I search multiple shares to find a common file name then create a single output file. I will be doing this search and file creation
for 5-10 different file names. If there is a better way .. certainly open for suggestions. It's working but having issue with
the cmd file for every file and folder I check. It puts this error out for each run of the process.
Error message in LOG file:
Get-ChildItem : Cannot find path 'F:\powershell\-SearchFor' because it does not exist.
Thanks.
I tried your code with little changes and saved in Temp folder.
My CMD file has the below code
PowerShell C:\Temp\Untitled1.ps1
It worked.
Regards Chen V [MCTS SharePoint 2010]

Why SNMP output different from CLI output? SNMP incorrect?

I'm using various Cisco routers and switches. Cisco 2811, 1841 routers. Cisco 3560 switches.
I'm using net-snmp tools in UNIX.
The output below is snipped to show what's important. When I use snmpwalk I see interfaces with errors. When I use the Cisco CLI to show interfaces no interfaces have errors.
Am I doing something wrong or is the SNMP information wrong?
My only goal is to get accurate interface errors on multiple cisco devices on all interfaces as quickly as possible. I wanted to use SNMP because it snmpwalk seems faster than an expect script or any script which logs into each device over telnet and runs show interface commands.
If I could filter it to show only the interfaces with errors that would be even better but I haven't been able to find or create a script which will do that yet.
Thanks in advance.
snmpwalk -v 2c -c public -OQsT 192.168.0.1 ifInErrors
ifInErrors.1 = 0
ifInErrors.100 = 0
ifInErrors.10101 = 0
ifInErrors.10102 = 0
ifInErrors.10103 = 0
ifInErrors.10104 = 0
ifInErrors.10105 = 54
#show int | incl error
     0 input errors, 0 CRC, 0 frame, 0 overrun, 0 ignored
     0 output errors, 0 interface resets
     0 input errors, 0 CRC, 0 frame, 0 overrun, 0 ignored
     0 output errors, 0 interface resets
     0 input errors, 0 CRC, 0 frame, 0 overrun, 0 ignored
     0 output errors, 0 collisions, 0 interface resets
     0 input errors, 0 CRC, 0 frame, 0 overrun, 0 ignored
     0 output errors, 0 collisions, 0 interface resets
     0 input errors, 0 CRC, 0 frame, 0 overrun, 0 ignored
     0 output errors, 0 collisions, 0 interface resets

CLI counters are designed for human consumption where as SNMP counters are designed more for programmatic consumption. As such, CLI counters can be cleared (i.e. reset to 0). SNMP counters cannot be cleared. They will continue to increase until the device is reloaded. So, if the show interface counters have been cleared, then they can certainly be out of sync with their SNMP counterparts.

Color management - going from 3ds Max to Photoshop

I'm trying to develop a workflow for bringing renders from 3ds Max into Photoshop, and having them look the same in both programs. The issue is that Max isn't color managed, so things can shift.
There's a good article on the subject here:
http://www.artstorm.net/journal/2009/07/color-management-wide-gamut-dell-2408/
So, to repeat what Johan is describing in the article, here's a test I've been doing:
- Put my dell U2410 monitor in Standard mode (which is wide gamut)
- Set the monitor profile to Dell U2410 D6500 (the monitor isn't calibrated yet; I've just been using this profile for the tests)
- Create a scene in Max, and tweak the render so that the colors look correct to me in this non-managed setup
- Save the image
- Open the image in Photoshop (with working space of sRGBIEC1966-2.1), which of course gives the "missing profile" message
- Now, if I'm understanding Johan correctly, if I assign that Dell profile, the image should look identical in Photoshop to what I saw in Max (because I'm assigning the profile that was in effect at the time of creation). And if I assign the Working RGB (sRGB...), I should expect to see the brighter colors become desaturated, due to the smaller gamut.
So...what's the problem? Well, sometimes I get those exact results consistently...assign the Dell profile and it looks corrrect; assign the working sRGB and it's desaturated. But other times, for no apparent reason, I'll get different results: Assign the Dell profile and it's OVERsaturated; assign the working sRGB and it looks correct (i.e., exactly as it does in Max). Things have been in that weird state for the past few hours...I keep getting those same wierd results...earlier today I would consistantly get the results as predicted by the article. Yesterday it was the same thing...it shifted back and forth a few times between working and not working...nothing changed as far as I can tell.
Any ideas what's going on?

I think this is overcomplicating it, and with a quite a few stumbling blocks on the way.
To name one: using the monitor profile in the document accomplishes only one thing - turning display color management off in Photoshop, thus reducing it to the same non-color managed state as 3ds Max. Since the two profiles are the same, no change happens, and you just get what's known as a null transform. IOW you gain nothing and lose a lot.
The two will be consistent - and both wrong. That's why this is never recommended.
Now this is important, so pay attention: If you do this with the Dell in native wide gamut mode, you will be scr*wing up your files beyond recognition. Take that file into a properly color managed scenario, and it will be miles off.
I think the only workable approach in this case, since you have to use software that isn't color managed, is to put the monitor in sRGB mode. There's just no way you can work with a wide gamut display in this scenario and keep your sanity. Or, as I suggested in an earlier post, sell it and get a standard display.
For this to work, you need an sRGB-type monitor profile. That can be straight up sRGB for "close enough", or a calibrator-produced profile made with the unit in sRGB mode. That would be better for Photoshop, for 3ds Max it doesn't make any difference because it'll just ignore the profile anyway.
EDIT: I should add, just in case it's still unclear, that the reason sRGB "works" in a non-color managed setting while other profiles and color spaces don't, is simply because that's the way an average monitor displays. The Dell U2410 is not an average monitor. If we all had U2410s, and I mean everybody, then Adobe RGB would have been the consensus standard. But we don't and it's not. So you have to play by the majority rule.

NIKON D5000 NEF - Lightroom 2.6 and PSE show colors quite differently from what Nikon Software show

With my Nikon D5000 DSLR camera, I took recently photos from small blue flowers. I had set-up my Nikon D5000 to create for every photo both a NEF File and a JPEG File (and had set my camera to use Automatic While Balance).
I noticed that for NEF Files Lightroom 2.6 (and also PSE 7, that uses internally Camera RAW ) shows me the blue colors of the flowers quite differently from what I see with PSE for the jpeg file. It is my impression, that it is in the Jpeg files, that the blue color is close to the reality; and that it is with the NEF Files that Lightroom and PSE show a blue color that is quite different from the reality.
I also looked at the photo files with the NIKON "View Nx" 1.3.0 Software that came with my camera. With "View Nx" the blue colors (both with the NEF file and the Jpeg File) are very vlose that what i see with PSE 7 in the jpeg file (and quite different from what I see with LR and PSE for the .NEF File).
I mentioned this problem to Nikon Support. They suggested, that Nikon Software and Adobe software use different algorithms; and that the Nikon algorithms are better/closer adapted to the Nikon cameras than the more generalized Adobe algorithms that need to support a very large number of cameras.
But ....it is Lightroom that i wish to use to process my NEF Files and PSE that I wish to use to organize my Photos. Can a LR/Camera-RAW expert help me? I would like to find a solution to see with LR and with PSE in my D5000 NEF Photo Files blue colors that are close to the reality and close to what Nikon Software shows me on my PC. Please notice that I am very far away from being a professional and that i will probably not understand complicated explanations.
Thanks a lot in advance.
An additional note, that is perhaps not relevant: I used LR to convert my NEF File into a JPEG File format and looked at the blue in the result. It looks the same as what LR and PSE show me for the .NEF File (and looks different from the jpeg file crreated by the NIKON camera).

EJ and Jim
Thank You very much for your useful feedback.
I realize, that as a neophit I am an exot among the community of photo-experts and photo-professionals addressed by LR. Therefore the wish that I will now express is perhaps inadequate. But since it is gently, that i express this wish, I am probably allowed to do so......
My wish for a future version of LR, is that LR comes out of the box with a "reasonable" interpretation of the RAW images of most important/widespread modern cameras....without requiring that non-experts like me gets confronted from the very beginning with the need to develop their own default settings.
For this wish, I will formulate a Feature Request.
You might wonder, why a non-expert like me is interested in LR instead of using those Photo-Editing Software (e.g. PSE) that are supposed to address the need of non-experts. Well..... I am coming from the PSE world. I am reasolnably happy with the PSE Organizer....but I hate the complex, inefficient, unfriendli "user-interface" (experts will probably tell: workflow-interface?) of the PSE Editor. Its really a last-century Software. LR is so much more friendly, even for non-experts...within the Library Module, i do not need to switch back and forth between one dialogue-window for each type of change.... nearly all what i need is in that one right-hand pane of the Library module.
I honestly believe, that Adobe should take a serious look at promoting/marketing LR also to the audience of non-experts. That would be a good and attractive additional marketing opportunity for LR.

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

AE CS4 Color management with HDTV

Working with the Sony EX1 and EX3 which according to Sony engineers works in the 709 HDTV colorspace.
This space is about a dead ringer for sRGB when overlayed in Colorthink. The issue I am having is that if you actually assign the 709 or sRGB profile to a still image that is captured off a recorded clip, the blues are out of wack. I can export a single frame of the color bars from the Sony application, and the frame is tagged sRGB. Open the image in Photoshop CS4 or AE CS4 and use the embedded profile and the bars look purple. Apply no color management, and the lineup looks correct, nice and blue. Anyone know what is going on here?
I'm not exactly sure how to integrate AE sequences if assigning the 709 output profile is going to wack the colors.
Yes the monitor is calibrated, its the NEC 3090 (12 bit Hardware LUT) with Spectraview II.
TIA,
Cris Daniels

ok, I think I am onto something. My footage is 709, and my workspace is 709. It defaults to "none", but I change that to the 709HD profile. I am not checking any of the linear options because it is all 8-bit footage and if this is anything like Photoshop, 8-bit data in a linear space is a no-no.
Here is the $64,000 question, what the heck does the "Use display color managment" option in the "view" menu actually do?
At first I though that I should leave this on, but THIS option is what is wacking my footage. If I leave that setting off (unchecked), my colors look ok. Even if I leave this option on and set to "no output simulation" it changes the preview.
Right now I am a little confused as to exactly how that "use display color management" functions. It almost looks like turning it on is somehow double color managing my display and therefore the weird color shift. Is it safe to assume that AE is already using my colorsync profile like it does in Photoshop and that I do not need to check the "use display color management" at all?
For what its worth, the AE color when setup correctly (uncheck the display color management), matches the Sony HDCAM clip browsing and transfer software, and Photoshop. Originally I was comparing AE to Premiere Pro, and Premiere Pro doesn't match anything perfectly (grrrrr....) but at least I now have three apps matching up great.
Premiere Pro is weak on color management to say the least, and I've heard that it does not correctly display the Sony HD footage, so looking for a total match to AE is probably a dead end.
Anyway, if you can explain the display color management option I can get my head around that a little better.

CS4 color management not working

Running under WinXP, 4GB RAM, nVIDIA GeForce 7600 GT with latest drivers:
The image display in CS4 is acting as if it were not color-aware.
Example: I open a file in which is in the ProPhoto RGB color space (and has that profile embedded) and the colors are not displayed correctly (muted and low contrast) -- the same appearance as opening such a file in a non-ICC-aware app like a browser.
Soft-proofing to sRGB does not change the appearance: colors are still wrong.
Converting to sRGB does not change the appearance while still in the dialog box -- even with Preview toggled on.
But upon executing the conversion to sRGB, the colors then appear correct -- again, as would be expected from a non-ICC-aware app.
CS3 running on the same system does not have this problem.

to Chris Cox:
>"Tony - then you'll need to contact NVidia and ask them to fix the driver.."
I'll be happy to do so -- but to be effective in getting nVIDIA to accept responsibility for this problem, may I ask where you believe nVIDIA has done something which needs fixing?
a) Is there a relevant industry standard to which you believe nVIDIA is failing to comply?
b) Is there some specification published by nVIDIA to which you believe nVIDIA is failing to comply?
c) Is there any documentation published by Adobe (e.g., design guidelines for graphics cards manufacturers to assist them in making Photoshop-compatible products) to which you believe nVIDIA is failing to comply?
d) Are there specific generally-accepted good software engineering practices to which you believe nVIDIA is failing to comply?
>"As for your display color management: we haven't seen that. That sounds a lot like your display profile is wrong, but I'm not sure why it differs from CS3. Could you check your color settings in Photoshop and for the display again?"
These look right to me. Are there any specific settings you'd like me to report?

Exported JPEG differs from Lightroom image

Hi all....
When I export my photos from lightroom as JPG, the colors of the photo are dramatically changed. (image looks much colder)
As first, I thought I may be a problem wiht the colour space, but I have try changing them without any success...
Any idea??
Thanks in advance...

Sorry that I didn't answer sooner. I must have missed this thread and your questions.
I haven't started calibrating my monitor yet (I've left it at sRGB for right now), but what I really want is for what I see in Lightroom to be the same as what I (and others) see on Flickr.
The only way to get other people to see close to the same thing as you see in Lightroom is to calibrate and profile your own monitor and export to sRGB. If you have a good monitor yourself, with a gamut close to sRGB, you will get very close correspondence between Lightroom and unmanaged browsers. If your monitor is one of the wide gamut deals or a crappy laptop with a very small gamut, your display in the unmanaged browser will always be completely wrong, even if you use sRGB. Nothing you can do about that. On such displays you basically have to use a managed browser. The Lightroom display will ALWAYS correspond to your browser if the browser is color managed and you correctly calibrated the screen. Color managed browsers include Safari, Firefox (with some problems) and development versions of Chrome.
because my monitors are set to sRGB
You don't want to do that. It is an OK test for a corrupt monitor profile, but it guarantees incorrect color. LR and your unmanaged browser might look the same, but they are both wrong. Calibrate and profile.
If I properly calibrate my monitor, the colors coming out of Lightroom when exporting to sRGB should still be the same as what I see while working in Lightroom, right, or am I better off with sRGB color profiles so that they're always exactly the same?
As I explain above, the colors when you calibrate and export to sRGB will look almost the same in unmanaged browsers except when you have a display with a gamut very different from sRGB. The problem is that under no realistic circumstance can a unmanaged browser show you correct color.

Bad color Management in iPhoto 11! makes it useless

Hi all,
the new version makes me crazy. I cannot go back to the old version because my library has updated.
I think the color management is completely different to the old version. If i compare a picture in iPhoto against the same displayed in Photoshop the black colors are much brighter in iPhoto! Also the fullscreen mode is not the same as before. Always there are some things which are not faded out (as before). But the color management problem is a mess.
Could somebody help me? I could provide an comparison example. How could I upload this easy (without using iPhoto :-))?
Thanks for your help.
Bernhard

Do you not have a backup copy of the 09 library that you can go back to?
Do you have a MobileMe account? If so put the photo in your iDisk/Web/Sites folder and use the following code to add it to a post:
Click to view full size
The following is an example of the code in use a comparison of a color calibration image in iPhoto 11 and Photoshop CS3:
Click to view full size
My eyes are probably a generation or so older than yours but I don't see any significant color difference. The PS version is not as sharp as it's at a 33% enlargement which does not smooth out as well as the iPhoto size does. In PS enlargements in steps of 25% are very sharp while those in between retain some jaggedness.
OT

Realtime Ram Preview Fail in Color Management is on

Hi. I m work with Ari Alexa footage as shown VIDEO: After Effects and Alexa - The Expurgated Version by ChrisZwar And I enebled mercury transmit in video preview preferences. When I want to ram preview After effects does not preview in real time. In info window appearce red text fps: 0,6/25 (NOT realtime) Note: project working color space is on
What should I do in this case

BeraT, if you disable Display Color Management (View menu > Use Display Color Management) and Mercury Transmit, do you get real-time playback during RAM preview?
Display color management and video preview in After Effects both impose a processing burden. As each frame is sent for display, additional work must be done to apply a color transformation or a dimensional transformation, respectively. If you have both color management and video preview enabled, both transformations are applied, plus an additional color transformation for the Mercury Transmit monitor. None of these transformations are cached, they are done live, on-the-fly and require additional processing at playback time.
The net result is that both color management and video preview require more processing power during playback. Larger frames, higher frame rates, and higher color bit depth increase the amount of processing power required, due to the increased memory requirements of the frames.
A faster processor would help give real-time playback more often, but you can also increase playback speed by lowering the memory requirements of the RAM preview frames: reduce the resolution in the Composition panel or the playback resolution in the Preview panel, reduce the project's color bit depth setting, or reduce the Frame Rate or increase the Skip rate in the Preview panel. Disabling the Use Display Color Management option will also help, as it removes one of the processing steps.
All of that aside, if you aren't able to achieve real-time playback when both Display Color Management and Mercury Transmit are disabled, that tells you the problem is coming from somewhere else. You'll need to provide more information about what's happening in your comp.

Display Color Management Simulated Rec709 differs from ProRes Output

Similar Messages

Maybe you are looking for