Distiller X vs. Distiller 8/9 RGB - CMYK conversion

1) I have a simple EPS file (that I created in CorelDraw, but I get the same results with other software, too) that contains a single RGB red (r = 255, g = 0, b = 0) square.
2) I open Acrobat Distiller, set it to use the PDF/A-1b:2005 (CMYK) joboptions, and then open and convert the EPS to PDF.
3) I now open the resulting PDF in Acrobat and use Output Preview to see what the RGB -> CMYK conversion did, using the U.S. Web Coated (SWOP) v2 profile.
If I do the above with Acrobat 8.3.1 on a Windows XP system, the result is 0% C, 99% M, 100% Y, 0% K.
(I don't currently have a computer with 9.x installed, but a friend who does gets the same results.)
If I do the above with Acrobat 10.1.3 on a Windows 7 system, the result is 0% C, 96% M, 95% Y, 0% K.
Using Acrobat 10.1.3, if I open the EPS file directly (so that the conversion to PDF is performed automatically), and then use Convert Colors to convert to CMYK, I get the same results that Distiller 8.3.1 gives me.
What is going on? I cannot find anything to explain why Distiller 10 behaves differently from Distiller 9 and earlier.
-Steve

Hi
"I'm sorry, is not enough to English"
This problem for correct "primarily RGB color space add document"
I am prepared add video lesson... wait me

Similar Messages

Who should do rgb-CMYK conversion - designers or printers?

I have been having a very interesting discussion on a previous thread in response to problems with the colour conversion from rgb to CMYK using InDesign and the resulting unsatisfactory colours in the final magazine delivered by my printers.
This has raised a number of issues and led me to further research. I would like to air these for a wider debate hence this post.
Perceptive readers will note from my spelling of colour, that I am English and indeed I work out of the UK. I am a historian, writer, photographer and editor. These days it is as a full time freelance but for a long time I was part time when I helped my partner publish a specialist sports magazine.
We started it a long time ago, in the days when you sent a typesetter galleys of type and photos and agreed on a layout. Our typesetters migrated to Pagemaker and we went with them. They and we were PC based and we still are, which is a bit of an anomaly in the design world.
Creating the text in Word was easy enough but the images remained a problem before digital cameras. We had a scanner but it was a flat bed scanner and created rgb images. The printers needed they said CMYK images then only available using cylindrical professional quality scanners. So there was a period when we paid the printers to scan the images for us, from the original photos, paying per print.
One of our small amateur publishing team was a well known professional photographer, so we started out with some high quality images but even so the scanned results, as they appeared in print, were patchy. I particularly remember one feature, covering a major international event where we had been supplied with high quality transparencies by a top class sports photographer and we duly passed on to the printers to scan. The results were clearly out of focus and the photographer was enraged and said he would not work for us again.
Of course we got proofs but they were low resolution in general and when we queried the quality of any image, we were invariably told that the proof did not reflect the final quality image as it would be printed. Trouble was it often did.
We ourselves continued to strip out costs from the magazine and eventually one of our team went on a series of Pagemaker courses and got some hands on experience working next to our former typesetter who was coming up for retirement. We took over the design and found a sympathetic new printer, down the road, also familiar with Pagemaker where we could pop over to look at the proofs, and get a second scan if the first was not OK. All went happily along for quite a few years. The sports magazine got sold and then I got a contract to edit a magazine dealing with the historic environment. By now digital photography had come along but we simply supplied hard copy prints (we use a lot of historical images) or digital images to the printers, with the Pagemaker files and they did the conversion. This routine stayed in place for a few more years and then the owner of the printers sold up and retired.
We found a new printers', a short run magazine specialist who agreed to accept our Pagemaker files (by now 6.5) although they were primarily Quark and Apple based. They did have a handful of PC clients and kept one PC for proofing their work. We continued to send the new printers Pagemaker files for printing and included the source images in case they needed to be redone. It quickly became apparent that the new printers worked down to a price rather than up to a quality and a fast turn around was the main aim. Conversations with their chief designer were perfunctory but because we had a lot of Pagemaker expertise we did not need a lot of support. We were under pressure to move to InDesign and it was probably time anyway.
Around two years ago matters can to a head with a font problem. This turned out to be a known issue with Pagemaker but resolving it caused problems with the printers, who said we had to upgrade to InDesign and it would go away. We were also assured that if we did so, and supplied them with a .pdf from InDesign, we could get a guaranteed result. We were told not to send them any more source images for comparison but to provide CMYK images. How we converted them was up to us.
Our designer went on several InDesign courses but they dealt with the design process and differences from Pagemaker. Getting to a .pdf was the target, not balancing colour thereafter. That was considered the role of the printer and his workflow press press processes.
When we needed to export our first .pdf from InDesign, the chief designer called up our designer and talked him through it. The importance of compatible profiles and presets was never raised. We have never been given any written information by the printers on .pdf presets or profiles we might need to set up at our end. As explained in my earlier thread, we are now required to submit all our images already converted to CMYK and this has caused and continues to cause, problems with the colour balance, in general the final result has too much magenta in it. Matters came to a head with the latest issue.
We are in talks with the printers to resolve this but it seems the chief designer has now left and not been replaced. We have asked if they can do the colour conversion to CMYK for us and the answer has been a definitive "No". Approaches to other printers has met witha standard salesman's response that all we need to provide is a .pdf from InDesign and they will do the rest. All require CMYK images.
It seems to me in all this saga, that the printing community has been busy de-skilling and downsizing and putting responsibilities back onto the end user wwho may not be experienced enough in the area of prepress and colour, to understand the issues involved.
So the question then arises, why can't the printers do the rgb to CMYK conversion anymore? Our printers maintain they are not able to accept any work which requires them to do this. But reading around the subject it seems there are printers who are moving to handling the rgb conversions for their customers "late binding rgb workflow" I think it is called. This is a link to a very interesting article about it in Print Media Management (I assume I can put links here). http://www.printmediamag.co.uk/technical-articles/205.aspx
What does anyone else think about this as a concept?

Just after the turn of the century I was working for a large-format output service. ID had just been released, but nobody used it, and Quark 4 was state of the art. Color management was a "new" concept to everyone I knew.
One of our vendors sold us paper with the promise that they could provide profiles for every stock to match our HP plotter (not that I think we would have necessarily, at that point, understood how to use them). They never managed to do that, and we never managed to match color from the same file on glossy and matte papers. Nor were we able to reliably match color that we saw on screen or in a customer's inkjet or laser proof without making test strips and using five or six times the paper in trial and error adjustments as it took to make a single poster the customer ordered. It was ridiculous, and expensive, and it convinced me that I needed to learn at least the basics of color management. Shortly after I left that job and went freelance.
I switched to InDesign partly because it actually handled color management better than Quark in those days (and may still -- I've never looked back and stopped buying upgrades at 6.5), and I read as much as I could (Real World Color Management from Peachpit Press is an EXCELLENT and easy to understand primer). I also found a local printer for offset where the prepress manager understands CM and profiling, and was willing to talk (we're now good friends), and I also found another large format service where the staff was CM literate. I use a colorimeter to calibrate and profile my monitor, I use the output profiles they recommend and the export settings they ask for, and what I see in print from these vendors "matches my screen as close as dammit," to use the OP's words.
The owner of the offset printery said something I found flattering, but a little shocking, the last time I went for a press check -- I supply the best color in files that need the least amount of adjustment on press of anyone they print for. My attitude is if the print is off at make-ready, it means my numbers are off, and that was my fault. I usually complain the reds aren't bright enough, then let the pressman convince me that if I tweak the reds too much I'll lose the blues and to have confidence that things will fall into place when the ink dries because his measure ink density numbers are where they should be. He's always right, by the way.
Is this shop unusual? Maybe a little for my neck of the woods, but there are plenty of them out there with the same dedication to keeping up with technology at the pre-press end, and the knowledge and experience with putting ink on paper and a commitment to quality and service, so you should be able to find someone almost anywhere. And size is not necessarily an indicator -- this printer is a mom-and-pop shop with two presses, a folder, and a half-dozen employees. Dad has been in the print business for about 40 years and knows only what's rubbed off about color management, but he knows about presses and ink and paper and what will work. The oldest son is the prepress tech, and he's a complete geek, and either one of them will talk to anyone, and wish more of their clients would take the time to ask questions about the printing process and file preparation, and how they can improve the quality of both what comes in and what goes back out.

CMYK to RGB color conversion?

Hi,
I have to convert CMYK color array in the RGB color space and vice versa.
I am using the following code;-
UID colorUID = iDrawing->GetColorUID(kFalse);
UIDRef colourUIDRef(iDrawing->GetDataBase(), colorUID);
InterfacePtr<IColorData> colorData(colourUIDRef, UseDefaultIID());
char
strColor[16]={0};
if(colorData->GetColorSpace() == kPMCsCalRGB)
    ColorArray rgbColor = Utils<IUIColorUtils>()->GetRGBColorValue(m_DB, colorUID);
    sprintf(strColor,
"#%.2x%.2x%.2x", ToInt32(rgbColor[0] * 255), ToInt32(rgbColor[1] * 255), ToInt32(rgbColor[2] * 255));
else
    ErrorCode errStatus = GetRGBColorStr(colourUIDRef, strColor);
ErrorCode GetRGBColorStr(UIDRef colourUIDRef,
char* strColor){
    ErrorCode status = kFailure;
    do
          I
nterfacePtr<IColorData> colorData(colourUIDRef, UseDefaultIID());          IDataBase* m_DB = colourUIDRef.GetDataBase();
// If color sapce is other then RGB then get the colour array
    ColorArray colourArray = colorData->GetColorData();
    // If the colour space is CMYK then convert it to RGB
    if(colorData->GetColorSpace() == ICMSProfile::kSourceTypeBuiltInCMYK)    {
          IDocument* document = Utils<ILayoutUIUtils>()->GetFrontDocument();
          ColorArray rgbColor = Utils<IColorSystemUtils>()->ColorTransform( document, colourArray, ICMSProfile::kSourceTypeBuiltInCMYK,ICMSProfile::kSourceTypeBuiltInRGB);
     sprintf(strColor,
"#%.2x%.2x%.2x", ToInt32(Round(rgbColor[0] * 255)), ToInt32(Round (rgbColor[1] * 255)), ToInt32(Round(rgbColor[2] * 255)));     status = kSuccess;
}while(kFalse);
return status;
}while(kFalse);
return status;

I did some experiments with Illustrator CS6 and the MacBeth RGB test chart and verified my results with Photoshop CS6. I discovered Illustrator is (mostly) doing what it should be doing, within a 1% error (probably rounding) on the output CMYK values. Here's a summary, in case anyone else needs this info:
Assuming the source file's elements are all untagged, when a mixed RGB/CMYK PDF is opened in Illustrator and CMYK mode is
chosen, Illustrator will use the profiles and rendering intent defined in
Color Settings to make the color conversions from RGB to CMYK. Thus, we
have control over the profiles used for this conversion.
If the RGB elements in the PDF file have embedded ICC profiles,
Illustrator will use the embedded ICC profile instead of the RGB profile
defined in Color Settings. This ONLY happens, however, if the PDF file
also includes the correct CMYK output intent profile.
If the PDF doesn't contain a CMYK output intent, Illustrator will fall
back on the Color Settings RGB profile for RGB->CMYK conversion. I believe it
would be more correct for Illustrator to use the embedded RGB profile and
the CMYK profile defined in Color Settings, but that's not how it seems to work.
If the PDF contains the incorrect CMYK output intent, Illustrator will
ignore the Color Settings and respect the embedded RGB and CMYK profiles
for the conversion, as might be expected.

RGB, CMYK, rotated pages, and PDF error

This is a weird one.
I have a FM 9 file. It's a chapter within a book. It has both portrait and landscaped pages.
If I "Save as PDF" from FM 9, and do not check "Convert CMYK colors to RGB," the landscaped pages do not rotate to landscape in the PDF output. That's bad.
If I "Save as PDF" the same way, but do "Convert CMYK colors to RGB," the landscaped pages correctly rotate to landscape in the PDF output.
Problem: I do not want to convert any CMYK components to RGB.
P.S. If I "Print Book" as PDF, the output is correct, but all hyperlinks within the file become inactive, and colors are converted to RGB, which we cannot have.
Also, I have experimented with the Distiller setting for treating pages Collectively or Individually, but without any success.
Thanks for any insight.

> Problem: I do not want to convert any CMYK components to RGB.
Can you explain why?
I can think of a couple of scenarios, and in #1, the RGB conversion might not matter.
If you are sending the Ps or PDF to a print shop for matching to named library colors (such as Pantone), what's important is that the color Name be encoded in the output. The print shop software usually ignores the CMYK values, and uses it's own library definition for the named color. Unless FM is deleting the color name on RGB conversion (and I've never dug into that), I'd expect the print shop to ignore the RGB values as well.
If you are sending locally developed raw CMYK, as named-but-not-library-named colors, to the print shop, then yes, you need to stay in CMYK space, or use a post-processing tool that does RGB->CMYK recovery.
What are you doing to simulate color management?
FM has no color management, so FM output tends to be a collage of local and imported objects, in various color models, without color tag or profile information, or having embedded tag/profile information that may or may not be recognized downstream. In your PDF job options, you can specify (for example) Tag Images for Color Management, in which case the PDF job option defaults will be applied-to/override any tags or profiles that happen to be present.
Be wary of Tag Everything for Color Management.

RGB CMYK PDF EXPORT.(colour conversion) Keeping your colours vibrant and your blacks black.

Ive been tearing my hair out for the best part of 14 hours trying to figure out how to keep the closest possible conversion for working with images(rgb in photoshop) right the way through a work flow until exporting to print (having used the image in Indesign). Here is the process I have been trying to get right.
1) working with RGB photo images in photoshop and converting them to CMYK (whilst holding on to as much colour as poss)
2) Importing them to Indesign and retaining the correct colours while working with them)
3) Exporting to high quality print and having all your colours stay 100% the same as you saw them within indesign.
I believe I have the solution so I posted my settings below to see if its the best way of doing things and to help others who might be having the same problems.
The problem
The problem is that there are many different colour models/profiles (both in RGB and CMYK) and each program can effect how the next one handles and stores colour. It can become frustrating knowing where to go in order to set the settings correctly as the combination of things to consider can make it confusing.
I understand many other people have similar problems and finding RGB blacks come out as grey. CMYK spaces get converted from one type to another either from one program to the next or even as things move around one program (causing all sorts of wonderful,colour errors) Plus you have imported colour profiles, working colour profiles and export profiles. All of which can interact and effect each other) So getting it all consistent is key other wise colours change and get washed out.   Especially vibrant colours like greens and blues. they fade etc.
Through sheer trial and error and perciverance I found a combination of settings that worked well for me.
Since I am not an expert I wanted to post up my settings to:
1) see if this is the best way of doing things.
2) Other people may find them useful if they had the same problems I had,
The Solution
In photoshop
Save the photoshop image in CMYK by selecting:
Edit > Convert to prfile.
(in destination space)
select: Euroscale Coated v2   (I think this holds the colours the truest of all CMYK colour formats.)
(in conversion options)
- Engine: Adobe ACE
- Intent: Perceptual.
- Check Use black point Compensation.
(leave all else unchecked)
Save the image ready to place in indesign (place rather than copy and paste.).
In Indesign
edit > colour settings   (make sure you click on the advanced tick box to open more options)
- Working space: =
- RGB: sRGB IEC....
- CMYK Euroscale coated v2
- RGB & CMYK convert to working space.
- Engine Adobe ACE
- Perceptual
- Use black point compensation
edit > Assign profiles
- RGB profile. > Assign current workspace: sRGB IE
- CMYK > Assign current work space Euroscale Coated V2
- Solid colour intent : preceptual
- Default image intent
- After blending intent: Perceptual.
edit > convert to profile. (use similar as above).
edit > Preferences > Apprearance of black
- on screen / export : Display all blacks as enriched black
- Priniting and export : Display all blacks as enriched black
Overprint: (not checked)
------ when exporting to PDF ----------
File > Export
in GENERAL TAB
- Adobe PDF preset: High quality print.
- Standard (drop down menu): PDF/X-42008
- Compatability: Acrobat 5 PDF1:4
in OUTPUT
- COlour conversion: Convert to destination
- Destination: Working CMYK Euroscale Coated v2
in PDF/X
- Output intent profile name: Working CMYK - Euroscale Coated v2
also:
If you are having problems with fill blacks not coming out as proper black then use registration instead of black from the swatch panel.
The above may seem either obvious to most of you or possibly not the best way of doing things but since the results worked for me and I found them tough to arrive at, it may be of use to others hence my post.
I would like your feedback on this process, have I done something wrong / could do better? If so please let me know. I am keen to improve.

I would copy and paste into InDesign forum. Text should stay 100% black. Any other black (like solid boxes or thick lines), I usually use a rich black swatch I created at 40/40/40/100. Looks 10 times better than just 100% black.

Why different values in Illustrator/InDesign/PS when converting Pantone to RGB & CMYK?

I'm starting off with a pantone color in InDesign and trying to determine a close and consistent approximation of RGB, CMYK, and Hex. When I do this conversion in InDesign, I get different results than if I do it in Photoshop or Illustrator. I have all the apps working at the same color management setting (Adobe RGB (1998) and US Web Coated (SWOP) v2). I'm working old school in CS1.
Here are my results for Pantone 187C:
InDesign
Photoshop
Illustrator
RGB
171 x 0 x 34
153 x 33 x 55
167 x 37 x 53
CMYK
0 x 100 x 79 x 20
21 x 100 x 81 x 12
16 x 100 x 86 x 6
HEX
992137
A72535
I realize that any conversion from Pantone is an approximation, but why do the different applications yeild different results? I'm fairly new to color management and print (I come from the video world), so any efforts to dumb down explanations are appreciated.

Photoshop's default is to use Lab values when converting from spot colors. So you need to set InDesign and Illustrator to use the same values.
In Illustrator, from the Swatches panel menu, choose Spot Color Options. Choose Use Lab Values specified by the book manufacturer.
In InDesign, from the Swatches panel menu, choose Ink Manager. At the bottom, check Use Standard Lab Values for Spots

LR CMYK Soft Proofing: CMYK ICC to RGB ICC Conversion workaround?

Okay, here's a long shot:
So, CMYK isn't supported in LR. Got it. Annoying, but whatever.
Here's my longshot question: Is there a method to mimic the CMYK colourspace available in my CMYK ICC profile by creating a limited RGB space similar to it? For example, a method of converting a CMYK ICC profile to an RGB one? It doesn't have to be exact down to the letter but I need a general idea.
As background: I'm looking to quickly softproof the images in the limited space - I work for a daily newspaper and don't want to run through photoshop to proof them as it's not essential, though it's definately worthwhile to get a general idea for frontpages and the like to avoid major mishaps on important shots, and to ensure the images are as punchy as they can be.
Any ideas would be greatly appriciated!
Cheers,
L

Luka_k wrote:
Here's my longshot question: Is there a method to mimic the CMYK colourspace available in my CMYK ICC profile by creating a limited RGB space similar to it?
Actually yes, you'll need to fork over money for ColorThink Pro. The optional ColorCast module can "embed" the proofing effect of any ICC profile (RGB, CMYK, or more channels) INTO an existing RGB profile like sRGB which is what gets sent to Blurb. The big issue is, you don't really have an actual CMYK profile that defines Blurb's output conditions. Oh sure, they provide some generic CMYK profile they would like you to think is used for output but it's not (how can it? They have multiple papers and maybe even differing press technologies, one profile can't define all those output conditions). IF you could actually get a true output profile that is used for the printing, in theory one could build an RGB profile with ColorThink Pro that could produce the simulation. Maybe Blurb needs to contact CHROMIX and license this.
Now IF you have actual output profiles for your presses, you could do this.

RGB/CMYK to Grayscale by script or right click?

Is there a way to convert RGB/CMYK to Grayscale by script?
I need to convert 475 images to grayscale. But I can´t use Color2Gray plugin into Indesign for erros message - I don´t know why.
I know there is another method in Indesign to make it (menu Effect...) but cause troubles in out.
Maybe there is a script like right click into Windows Explorer but I don't know anyone.

Here is my first attempt :
#target indesign
var doc = app.activeDocument,
links = doc.links,
i, link, image;
UpdateAllOutdatedLinks();
for (i = links.length-1; i >= 0; i--) {
     link = links[i];
     if (link.status == LinkStatus.NORMAL) {
          image = link.parent;
          if (image.space == "RGB" || image.space == "CMYK") {
               CreateBridgeTalkMessage(link.filePath);
UpdateAllOutdatedLinks();
//===================== FUNCTIONS ===============================
function CreateBridgeTalkMessage(imagePath) {
     var bt = new BridgeTalk();
     bt.target = "photoshop";
     bt.body = ResaveInPS.toSource()+"("+imagePath.toSource()+");";
     bt.onError = function(errObj) {
          $.writeln("Error: " + errObj.body);
     bt.onResult = function(resObj) {}
     bt.send(30);
function ResaveInPS(imagePath) {
     var psDoc;
     app.displayDialogs = DialogModes.NO;
     psDoc = app.open(new File(imagePath));
     psDoc.changeMode(ChangeMode.GRAYSCALE);
     psDoc.close(SaveOptions.SAVECHANGES);
     app.displayDialogs = DialogModes.ALL;
function UpdateAllOutdatedLinks() {
     var link, c;
     for (var c = doc.links.length-1; c >= 0; c--) {
          link = doc.links[c];
          if (link.status == LinkStatus.LINK_OUT_OF_DATE) link.update();
Written in CS3, Windows.

RGB / CMYK Color Space View

This might be a really basic question, but can anyone tell me how I can toggle between the "RGB Color Space View" and "CMYK Color Space View" in the color picker menu box? Thanks.

To the best of my knowledge, there is no CMYK Color Space View in the color picker. You determine whether the swatch you create is RGB, CMYK or LAB by clicking in one of the fields of each color model.
Peter

RGB/CMYK/Lab values like Photoshop «Info» palette

Hello.
How can we do that when moving the cursor over an image in a some window/place showing the current values RGB/CMYK/Lab as «Info» palette in PhotoShop?
Thanks.

>And the RGB readouts are based on the LR working space.
That's not true. The RGB readouts are based on the tone curved histogram space. The percentages you see there are certainly not in the linear lightroom space. Just try it out and you'll see. Clearly, the readouts correspond to the position in the histogram of the same area.
>And the sRGB tone curve is NOT an exact 2.2 gamma, it's got a tweaked toe that makes it different. It's subtle but it's different.
You're absolutely right of course. There is indeed a toe in the black areas. In almost the entire range, the tone curve is just gamma 2.2 though.

Printing RGB colors - Conversion to CMYK?

Hi,
I have been working for a little while in converting my old RGB colors to CMYK printer friendly colors.
However, I carefully choosed my printing friendly CMYK colors to be as close as possible to the RGB colors but the prints are dull !
On the other hand, when I print my file withj RGB colors using the PDF Distiller tagged with Adobe1998 profile and send the file to the printer, colors look smarter !
It means that the CMYK colors I picked myself are not good enough anf the Color Managment in Adobe PDF or Illustrator are better than me ! As follows:
- In Illustrator -> Print -> Color Management tab -> Color Handling: Let Illustrator determine colors
- in Acrobat Reader -> Print -> Color Management tab of the plotter: Application managed colors
Both ouput similar quality prints, and better than my own CMYK colors !
Are the Application Color Management engines in Illustrator and in Adobe Reader similar in their conversion?
How can I find out which are the CMYK colors printed when the application (Reader or Illustrator) manages colors, from my initial RGB colors? I would like to use them directly in my document...
Thanks

Hi,
Thanks for your response. I put these color issues on hold because I had no time to search more on that recently...
However, I have still lots of questions about color conversion!
When I said "carefully choose" CMYK colors, it means CMYK colors printable and which look similar to my old RGB colors on-screen. But of course, screen is not enough!
What I noticed is that when I print my old RGB colors (not in printer color space), Adobe Reader or Illustrator were able to make good conversion to CMYK for printing.
Now, I would like to find out to which CMYK color codes Adobe Reader or Illustrator converted my RGB colors? Then, I would be able to use these CMYK color codes directly in my application...
Is there any way to find out that?
Cheers

RGB Black conversion to CMYK

Hi,
Acrobat 9 is converting black I have set at R=G=B=0 in the original document to C=M=Y=0, K=100 (i.e. pure black) when I am converting the document to PDF (with the option to convert to CMYK selected).
Is there a way to force Acrobat to convert the original black to rich black in pdf, not pure black? And if so, how can I set the CMYK levels of the rich black it would be converted to?
I tried the Advanced>Print Production>Convert Colors, Promote Gray to CMYK and it did not affect the black area mentioned. I assume because although it was pure black, it was process black in CMYK rather than greyscale space.
Is there a way to achieve this?
(surprisingly, Acrobat 8 converts the same original document to a rich black where the black has components in all 4 colours CMYK)
Thanks.

Hi
"I'm sorry, is not enough to English"
This problem for correct "primarily RGB color space add document"
I am prepared add video lesson... wait me

Pages resolution, dpi, RGB, CMYK

I've been doing some ebooks etc. with Pages, getting lovely results. I started to use it instead of Photoshop or Illustrator\InDesign to make CD and DVD covers. But with different replicators, different requirements... some are now printing in RGB, some in CMYK (a problem with Pages I'm thinking).
Has anyone tried to use Pages as a replacement for the Adobe apps? I'm trying to figure out what the actual resolution is, and if there is some way to export a PDF that will be printer friendly across the board. (I know this is probably fantasying, but if one doesn't ask...)
I've noticed that exporting as a PDF gives a good PDF if opened by any Mac app., but Adobe was opening it in CMYK and there were weird things happening, black bars appearing, odd things.
Any suggestions about how to use Pages to do graphics (mainly DVD or CD covers) that a traditional printer won't sneer at, I'm all ears ...
Ben

Ben...
Peter's right, and that Pages FAQ site looks like a terrific resource. The only help I can give you is to recommend you do a sample test with your printer...create a quick document that includes some of the pitfalls anticipated, and heed the advice about PDF/X from the other site. I too have run into quality issues with how drop shadows are rasterized.
Your success is COMPLETELY contingent on the type of printing you're anticipating doing (offset vs. digital), and even then, the PRINTING ENGINE/PRINT CONTROLLER used by your print shop to "rip" your PDF in order to print it. And working with them through a test document is the fastest way to determine how the workflow from Pages to finished deliverable will look.
So....do you test layout in Pages, export as a PDF, send it to the print shop, and they'll "rip" it, and can send you back an updated PDF...if they're local...ask for a sample hard copy. Compare the two digitally and/or hard copies before proceeding.
A secondary bit of counsel I can offer concerns the IMAGES you'll be using in your layout. If you're including any rasterized artwork (photographs, or rasterized logos and other artwork), you should convert ALL THESE IMAGES from RGB to CMYK before you proceed with your Pages layout. I think you can use AUTOMATOR to do a batch conversion.
Presuming your figure out a workflow with your print shop that doesn't cause them undo grief, and you're happy with the quality of your CMYK images and the test document, you should feel like you can move forward with confidence.
However, snags you might encounter would likely have something to do with the things Peter addressed by linking to the article at the Pages FAQ blog.

Using Distiller for .dwg to PDF conversion

Hi all,
I am bit confused about using distiller for converting .dwg to PDF conversion. I need a server application which takes a .dwg file as an input and depending on the file attributes, converts it into a suitable PDF file (A4, A3, etc. depending on the .dwg file). Is using distiller a good idea or I should be looking into other tools?? Can Livecycle PDF generator handle such a thing??Kindly help me in this regard..

Distiller converts PostScript to PDF, nothing else. Distiller Server
is technically identical.
So to do this with Distiller you would
(a) need Distiller Server and
(b) need to make your own process to convert DWG to PostScript,
perhaps by automating AutoCAD.
LiveCycle PDF Generator, however, includes a package of conversion
tools for a list of specific file types. I don't know if DWG files are
in the list - there is a LiveCycle PDF Generator forum, so I recommend
trying there.
Aandi Inston

RGB - CMYK problems

Good Day,
I have bought Adobe Creative Suite 4 and this document is generated with Adobe InDesign CS4
my document looks like that:
this is a advertisment which is for a journal
in my document i have transparency an a table with some information........
when i export this document to PDF and send this to a journal they call me every time that my document is a RGB-Document.
i dont find the menu where i can turn this to CMYK
thanks
yours sincerely marrickdaimen

You need to make sure your swatches are all CMYK and not RGB
Go to Window>Swatches
From here you can see that some swatches are CMYK some are RGB and some are Spot colours (spots print on separate plates for accurate colour reproduction where a prepared ink is used rather than a combination of CMYK)
To change the RGB swatch you will need to Edit the swatch and change it from RGB to CMYK
Then when you export the PDF you will need to make the images in the document into CMYK, but you want to preserve your swatches so they aren't converted to CMYK, becuase the last thing you want is for text to be converted to CMYK where black is made into parts of CMY too.
So when exporting your pdf you will need to go to the Output section of the Export to PDF dialog box. From here you have Color Conversion and Destionation.
Choose Convert to Destination (Preserve Numbers) <preserve numbers preserves the swatches you have made in your document>
From destination you have many choices. I use Coated Fogra 39, but there are many settings. It would be best to contact your printer to find out what profile to use.
The one's that have Web are for Web Presses (like they use for newspapers). Web presses are generally used for extremely large quantites.
The sheetfed is for normal litho printing where sheets are stacked and fed into the printer.
Euroscale is for Euroscale inks, which are rare these days, as far as I know it was replaced by ISO standard of Fogra.
The coated and uncoated after each name refers to the stock of paper. If it's bond paper it's uncoated, if it's silk it's coated. Your printers can let you know if the paper is coated or uncoated.

Distiller X vs. Distiller 8/9 RGB - CMYK conversion

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