EXR and RPF rules for alpha and color management?

How can I change the interpretation rules so that EXRs always import with straight alphas? They always import with Premulti now.
Also, I want to always turn off color management (Preserve RGB) for RPFs. (I use RPFs for my motion vector passes and color management always throws off the blur with ReelSmart)

How can I change the interpretation rules so that EXRs always import with straight alphas? They always import with Premulti now.
AE is just obeying the original EXR spec, which suggests all colors are premultiplied. If the Alpha channel is not specifically tagged as unpremultiplied, that's what AE will use.
Also, I want to always turn off color management (Preserve RGB) for RPFs. (I use RPFs for my motion vector passes and color management always throws off the blur with ReelSmart)
Similar to the previous, I'd say. The fault is probably with the program not creating a linear motion vector pass in the first place and thus the pass having a Gamma bias or else you wouldn't see those shifts. And I wouldn't use RPF... If you render your RGB to EXR, you can do so for the motion pass as well. EXRs per spec store colors linearly, which might also help to avoid your issues.
Anyway, I'm not aware of globally changing any of that from the AE end. As I was trying to explain, the program is more or less behaving correctly based on assuming the files you feed it comply with certain standards....
Mylenium

Similar Messages

Vista 64 bit and CS4 and color management

This is a question about Vista 64 bit and CS4 and color management. I scan 4x5 film and sometimes end up with up to or even bigger than 1 GB files. Obviously that needs as much memory as possible. Windows XP is limited in this regard and I am in the market for a new speedy computer which won't force me to stay at a snail's pace. In this month's Shutterbug, David Brooks in his Q&A column says to avoid Vista for color management reasons, but offers no explanation or support for his opinion. He implies one should wait for Windows 7 for some unstated reason. With a calibrated monitor and printer and Photoshop controlling color files sent to the printer, why would Vista be any different or worse than XP? Is he on to something or just pontificating? Does anyone know any reliable info about Windows 7 that would make it worth waiting for?
Thanks.

Zeno Bokor wrote:
Photoshop has direct access to max 3.2gb
On Mac OS X, PS CS4 can use up to 8 GB of RAM, but only directly accesses up to 3.5 GB. (Figures quoted from kb404440.) In using PS CS4 on Mac OS, though, direct Memory Usage maxes out at 3 GB even. If you set usage to 100% (3 GB), then plug-ins (including Camera Raw and filters), as well as actions and scripts, can access RAM above that 3 GB to between about 512 MB and about 768 MB total (seems to vary depending on which filters et al that you are using), leaving the rest up to 4 GB for the Mac OS. If you have more than 4 GB, then the amount of RAM above 4 GB is used by PS as a scratch disk. This increases performance significantly for most things because writing to and reading from the hard drive is much slower than doing so with RAM.
I haven't done the testing for actual RAM usage and such for PS CS4 on Vista 64, and Adobe's documentation is very much lacking in detail, but, based on the statement "If you use files large enough to need more than 4 GB of RAM, and you have enough RAM, all the processing you perform on your large images can be done in RAM, instead of swapping out to the hard disk." from kb404439, it seems that PS would be using RAM in very much the same way as I described above for Mac OS, except that the scratch disk usage in RAM wouldn't be limited to 8 GB (instead to how much you have installed). Has anyone done any performance/load testing to know for sure? I didn't see any such studies published, but I am curious if one has been done.
I will agree that there is a definite performance advantage when using PS CS4 (64-bit) on Vista 64, which I've experienced, especially when working very large compositions.
My initial recommendation to the OP to use Mac was based upon reading those articles about bad color management. As I stated before, I have never experienced that problem, and clearly the views of all that have posted here so far indicate that the problem may not be a real issue. (Perhaps this David Brooks fellow and Steve Upton both like to mess with their computers and broke something in Windows?)

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

Printing with HP B9180 and Photoshop Elements 8 and Color Management

I've got a bit of confusion about certain settings in the printing process and I've posted a rather long discussion of my 'issues' and confusion. I hope someone can give me some guidance here. I've seen a lot of these issues addressed in many places but I can't seem to find an integrated response. Thanks to anyone who takes the time to read and respond.
Color Management Questions
My problems started when I was getting pictures that were too dark from my HP 9180 printer after having gotten very nice prints for a long time. I had obviously started to do something differently inadvertently. The only thing I think that is different is that I got a new 23 inch monitor, which does produce much brighter on-screen images. So, I started to do some research and know just enough about color management to be slightly confused and have some questions that I hope someone can give me some help with.
Equipment Background
I use both a Canon 20D and a Canon PowerShot SD600 camera. Both have the default color space as sRGB, although the 20D can be also set as RGB.
I also use Photoshop Elements 8, where there are a variety of settings possible for printing.
My monitor is an HP S2331, whose color space is sRGB and cannot be reset to RGB (I think) except for temperature; the default is 6500K.
My printer is an HP Photosmart Pro B9180 Printer, where there are also a variety of settings possible.
I’m running XP-Pro.
Here’s Where I Get Confused
Everything I have read about color management (various web sites, forums, books, etc) says to have the image, monitor, and printer all in the same color space.
Everything I read about PSE 8 (same sources) says to set PSE 8 to ‘Always Optimize for Printing’ under Edit>Color Settings in order to get the best prints. This displays photos based on the Adobe RGB color space.
I am taking pictures in sRGB, and telling PSE 8 to process them in RGB by selecting ‘Always Optimize for Printing’. Is this something I should be concerned about? Should I reset my camera for RGB?
Further, by selecting ‘Always Optimize for Printing’, I am setting PSE 8 for RGB while my monitor displays sRGB. Is this an important issue or is it also much ado about technicalities that an amateur should not worry about? It does violate the ‘keep them in the same color space’ rule.
Next, when I go to File>Print and get the Print window and then do the Page Setup and Select Printer, I then go to More Options in the lower left of the window. Under the More Options window, I select Color management and select Photoshop Elements Manages Colors. Next, there is Image Space, which is fixed and not subject to selection from a drop down menu.
I understand that this is the image space of the image I took with my camera and that information is embedded in the image. Correct?
Next, there is Printer Profile. But, from what I have read, this is where the IEC profile of the paper being printed on is supposed to be selected, isn’t it?
Shouldn’t this more appropriately be called Paper Profile, or Printing Media Profile? Further, this drop down menu appears to be somewhat erratic, sometimes showing all of the paper profiles I believe are loaded, sometimes not. It also shows listings such as Working RGB-Adobe RGB (1988), Adobe RGB 1988, Dot Gain 10%, 15%.... along with a lot of paper profiles. Aren’t those profiles unnecessary here?
I’ve used both Relative Colorimetric and Perceptual Rendering and am happy with either one.
Next, when I go to Printer Preferences, in order to “…disable color management in the printer preferences dialog”, under the Color Tab, I select Application Managed Colors from the Color management drop down menu, and also have the option of selecting ColorSmart/sRGB and Adobe RGB (1988).
Is there any time when I should use either ColorSmart/sRGB or Adobe RGB (1988)? If I were staying with my camera’s sRGB setting, given the fact that the monitor is sRGB, would the appropriate selections be ‘Printer Manages Colors’ and ‘ColorSmart/sRGB’?
Finally, under the Features Tab, I go to look for the same paper I selected under Printer Profile (Question 4 above). If it is one of the pre-loaded (by HP) profiles, it is there, but if it is a profile I downloaded, say for an Ilford paper, it isn’t listed, and I need to guess at an equivalent type of paper to select.
Is there any way to get that listing to appear under the Paper Type drop down menu?
I know that this is a long post, but it helped me to clarify my ‘issues’. Thank you for any and all suggestions, answers, guidance and help.

RIK,
Some printers have long names, esp. HP printers, and PSE gets ":confused." In control panel>devices and printers, right click on the default printer, go to printer properties, and rename the default printer to something short, e.g. "Our Printer." That may fix it..

Keynote and Color Management

Does anyone know whether Keynote uses color management? I am using the program to project images of famous artwork for educational purposes and want to make sure that the images look the same as they did when edited in Photoshop. If there are color settings to choose from, where would they be found?
thanks in advance for any wisdom

According to my own testing on Keynote '08, the answer is yes. Images in Keynote are the same as in Safari, which is color managed. Images are different in QuickTime, which is not color managed. I also would like to see definitive answer, though.

Color and Color Management boxes in Print Settings greyed out. Using PS CS5.1 with Mac OSX 10.9.5.

For some reason, the above boxes are now greyed out when I go to Print Settings and I am getting prints that are badly distorted. Was working perfectly a few days ago and can't understand why this has suddenly happened ? Am now confused as to what settings I should have in the Color Management dialogue box in order to get back to the correct operation.

I've also been having this problem. My computer now consistently shuts down between 10 seconds and 2 minutes of startup. This only happens if my computer is not plugged in. (my battery has been between 70-90% the entire time.) If I keep it plugged in...no problems.
13-inch, Mid 2013 MacBook Air
1.3 Ghz Intel Core i5, 8 GB 1600 Mhz DDr3).

Printing borderless and color management

I have some printing woes within Aperture, but forgive me because I am a former Qimage user who is used to perfection in every aspect of the printing process. (Maybe parallels is in my future.)
1. Borderless
I have my printer settings set to 4x6 (sheet feeder - borderless) and "best fit" as the orientation. I have scale set to "fill entire page." My 4x6 prints come out with a white border on the left and bottom. The preview gives no indication of this problem. Can someone give me some help getting a true borderless print?
2. Color management
I have my monitor calibrated using a Gretag MacBeth Eye One Display 2. I use a paper printer profile. I have turned off color management in the printer driver.
My prints are dark. If I increase the gamma setting in the dialog box, they get better.
What might be my problem? Why coming out dark?
Thanks in advance for any help!

I have my printer settings set to 4x6 (sheet feeder -
borderless) and "best fit" as the orientation. I
have scale set to "fill entire page." My 4x6 prints
come out with a white border on the left and bottom.
The preview gives no indication of this problem.
Is there a "borderless printing" setting within your printer's print dialog?
My prints are dark. If I increase the gamma setting
in the dialog box, they get better.
I'm just trying to learn about this myself, but one quesion might be whether your calibration system is tuning your monitor to a gamma of 1.8 or 2.2. Everybody seems to agree that it should be 2.2 these days. This makes the screen look lighter (at least on my system). So I guess this would be going the wrong direction (if it turned out you were calibrating to 1.8).
How sure are you that you have the right ICC profile for your printer and paper? Even as I ask that, though, I'm finding that I dislike the results my "correct" profile gives. This stuff is hard.

Action Script 3 and Color Management on PowerPC macs - Bug

Dear Adobe,
Recently I re-skinned my website and incorporated Actionscript 3 & Flash 10 so that I could incorporate Color Management for my images. I used sRGB as the image colorspace. On Intel CPU PC's (Mac and Windows) the website and images look good - as expected - on any browser (safari, firefox, ie). But, on PowerPC based Macs the website looks AWFUL. There is a blue/green tint across the whole webpage and the images look super saturated and whacky, regardless of browser (firefox / safari). Both powerPC macs I tested with are running OSX 10.5.7 and have Flash Player 10 installed.
Can you explain why this is happening? See for yourself - http://www.stoqq.com
Regards
Nik.

Dear Adobe,
Recently I re-skinned my website and incorporated Actionscript 3 & Flash 10 so that I could incorporate Color Management for my images. I used sRGB as the image colorspace. On Intel CPU PC's (Mac and Windows) the website and images look good - as expected - on any browser (safari, firefox, ie). But, on PowerPC based Macs the website looks AWFUL. There is a blue/green tint across the whole webpage and the images look super saturated and whacky, regardless of browser (firefox / safari). Both powerPC macs I tested with are running OSX 10.5.7 and have Flash Player 10 installed.
Can you explain why this is happening? See for yourself - http://www.stoqq.com
Regards
Nik.

Photo Printing and color management

Using a Epson Stylus Photo 2200 printer on 10.5.1. Looking how to turn
of color management. Getting a pink hue on my prints. Past experience is color management is getting in the way in the driver. Looking through the epson online docs, what I see on screen does not match with the window menu picks for the epson utility. Checked printers in system preferences/drivers nothing to turn off there. Any thoughts on turning this off?
Thanks,
The new guy with his first MAC.

Having turned off the Epson colour management, you need to ensure you have selected the correct colour profile in CS3. It helps to calibrate your monitor correctly and use a profile designed for your printer / paper / ink combination to ensure what you see on the screen is what feeds out the printer. Paper brand can make a startling difference. There are companies that offer a profiling service. You print out a pecific photo / pattern from their provided file and send them the print on the ink / paper you use and they email a profile.. Google will find these companies for you.

JPEG and color management

Hi. Is it impossible to get 100% identical colors (if we leave aside the jpeg compression artefacts) when saving a .jpeg file with Photoshop using the highest quality setting (12) ?

Thanks for helping in this test despite hating JPEGs
Your screenshots proves that there are differences not only along hard edges (i.e. the borders between color patches), but that also whole color patches are affected.
This would mean, that color management isn't working properly with jpeg files. I hope someone with sound color management knowledge can confirm this or otherwise explain the problem.
> When using the Magic Wand (which I confess I don't understand what that is supposed to prove)
I try to explain once again:
1) Download the original source file (png) from the link above
2) open it in Photoshop and assign sRGB profile
3) save it as jpeg with highest quality settings possible (12)
4) open the jpeg file
5) add it as new layer over the png file
6) select "difference" as blending mode in the layers palette
7) now the whole image should appear almost black
7) select the magic wand tool (with abovementioned settings!)
8] click somewhere into the formerly gray area
explanation: you just selected all completely black pixels (0,0,0) i.e. all pixels that are identical in both layers
9) you should see "marching ants" forming rectangular patterns
10) invert the selection (Shift+i)
explanation: the selection now covers all the other pixels, i.e. all pixels which are different between both layers
11) create a new empty layer and select it in the layers palette
11) set the foreground color to white
12) fill the selection with white (alt+backspace on Windows, accordingly on Mac)
13) set the blending modes of all layers back to normal
explanation: you now have the image I posted above, i.e. you see all identical pixels in their respective color and all different pixels in white
The expected results would be white pixels along the borders between color patches, resulting from jpeg compression, but if color management works correctly there must not be entire color patches with the wrong color (i.e. white here)

Regarding color picking and color management - can someone, please test this?

Please take a few seconds to test this and let me know the result.
This is with CS5 but probably the same with older versions:
Create a new document and zoom out so that the canvas is smaller than the window.
Change the Standard Screen Mode color to Custom and choose some color, for example gray that is 60 for each R,G, and B.
You can do that in the Interface page of the Preferences or by right clicking on the empty area of the window that is beyond the image's canvas.
Using the eyedropper tool pick the color of that empty area
Press Alt + Delete to fill the canvas with that color.
Do you see a difference between the canvas and that area.
I see a slight difference when the color management preview is on and no difference when it is off (soft proofing using Monitor RGB)
I have some ideas but it will be great of someone can make a clear conclusion and explanation for this behavior.

Thanks for that confirmation, Chris.
Same thing with my apps, though with effort I suppose the colors for the controls and background COULD be put through the color management system at startup time... Lots more complexity though, and that would kind of diverge with the concept of theme selection, not to mention potentially uncovering bugs in the control implementations... And, if the user has gone out of his way to set everything to a pretty shade of blue, and along comes a color-managed dialog that's gone greenish because that's what those color values REALLY mean, that would likely be reported as a bug just because it's different...
-Noel

Exporting h.264 and color managment

I'm wondering what everyone that owns the production suite does with color management.
If you open Adobe Bridge....what are you color management settings? The reason I'm asking is that I've got two 2408WFP monitors and I'm using CS3. Everything looks great in Premiere CS3, but when export to h.264 I get horrible contrast results. It really looks over exposed. I've checked my Adobe Media Encoder settings and I'm exporting at 100% with 20,000kbps and it still looks like garbage.
When I play the same footage on a iMac....it looks under exposed to the point I can barely see it.
If this is a monitor calibration issue, how do you recommend I calibrate? What do you use and what are your settings? Also, does anyone else here use a 2408WFP monitor?
Much thanks!

It has to do with default Gamma settings. Mac are 1.8,(until Snow Leopard, which is now 2.2) PC is 2.2
PC's look a little brighter, more washed out compared to MAC. You should get a monitor calibration image from the net, and adjust your monitor.
Here is a link that might help...
http://www.gballard.net/photoshop/osx_22_gamma.html

Flash Player and color management

Anyone can explain how a Flash Player (ver. 9) handles color
managed JPEGs (tagged with sRGB) in a slideshow. I am getting
pretty significant shifts in color and cannot explain it why. When
the images are viewed in a color managed browser, all is fine and
correct. The moment I let them run in an swf object, all is messed
up.
Generally, I've read that FP is not color managed (I've heard
that 10 is, but the slideshow component currently wouldn't take
advantage of it probably anyways), but I am interested to learn how
does Flash treats images with sRGB (does it strip the profile,
disregards it altogether) and what supercedes what. Flash inability
to color manage ot browser's ability to manage anything running in
its window?
You can view the example here:
Incorrect colors
[L]http://www.mafani.com/gallery/mafgallery.html#id=album-15&num=10[/L]
Correct colors
[L]http://www.mafani.com/images/test/Picture%203.png[/L]

What I read in the spec is that FP10 only honors the color
profile if you turn the api ON in your SWF's. It's off by default.
At least that's how I read it. But I read through it pretty quick,
so I may have missed something.
Reading through the above link and
http://help.adobe.com/en_US/AS3LCR/Flash_10.0/flash/display/Stage.html#colorCorrection
I'm not sure that's so clear.
I don't have the bandwidth(or the color-corrected monitors)
to dig into this one myself right now. What I'd suggest you do is
do some testing with the API in a sample FLA/SWF. IF you then think
the colorcorrection isn't doing what it's supposed to then open a
support case against Flash CS4 at
http://www.adobe.com/support/contact.
We'll get it investigated and see what we can find out. If you do
that please post the case number back here so I can follow up on
it..

Kuler and Color Management

Wy is the complementary color in Kuler a shade of green? if I take in HSV the color 0º H,100 S,100V, I get a complementary of 137º H ,100 S,100 V. I thought I should get a shade of Cyan in HSV terms i think it should be 180º H, 100 S, 199 V. What am I doing wrong?

According to my own testing on Keynote '08, the answer is yes. Images in Keynote are the same as in Safari, which is color managed. Images are different in QuickTime, which is not color managed. I also would like to see definitive answer, though.

Attempts to wrap my head around printing and color management.

So, I've been meaning to get (more) serious about printing my shots. It's the summer and I now have some time.
I know I've got the first piece of the puzzle in place. I have an i1 Display 2 that I use to calibrate my monitor - my MB + one of 2 Dells using either or TN or P-MVA panel. I try to use the latter more.
I've viewed the image with different monitors and lowered the brightness when 'soft proofing' with Canon's profile. It's the best I can do being that I don't own a spectrometer.
Anyway the result on my screen was so incredibly different. The black was grey. I lost shadow detail. And it just looked flat. I tweaked it a bit but it didn't help.
I decided to test print using the Canon Photo Plus Glossy paper I had. I set the ColorSync Profile box to the profile I soft proofed with. The result was horrible!!!! Incredibly dark and ugly. It however wasn't grey or very flat - though it was so dark.
I tried again with the colorsync profile set to system managed. This produced a result darker than the screen, but not grey like the profile. Sort of an average between the screen and profile. Much better but still not great.
Then I ran out of paper and couldn't try anything else.
So here's the technical info if it matters:
I'm using a canon ip5200 with 3 fresh inks. The other 2 are fairly recent and not used too much.
The paper was Canon Photo paper plus glossy
The photo was a sports shot with a heavy dark vignette I think a more even shot would be easier to work with. However, the dark vignette with blonde flying hair looked great. (Who says sports can't be artistic?- I love the vignette to for some shots!)
So what exactly is the ColorSync Profile menu in the print window for?
What am I doing wrong?
PS: Sorry if this is a repeat, but the search function is down.

Sorry to be the bearer of bad news but there are some seriously weird stuff going on with printing with Aperture and 10.5 I would not have believed it had a number of my clients and friends not experienced the same kind of issues that I personally walked through and witnessed.
I can give some general advise in terms of helping to resolve your issues. By all means update to 10.5.4 do a repair permissions on your drive, make sure that you reinstall the latest greatest printer drivers for Leopard downloaded from Canon, and wave some chicken bones over your system.
You may also want to trash your Aperture prefs and Printer presets and start from scratch. (if you do not know how to do this hit me back)
Then give it another try - make sure that you turn off color mgt in the printer prefs dialog, select the appropriate paper and then select the corresponding profile in the aperture print dialog. (Have heard reports that if you do not turn the color mgt off in the driver the option becomes unavailable after you select the paper profile in Aperture but does not turn it off - cannot confirm)
Hope this helps.
RB

EXR and RPF rules for alpha and color management?

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