FCP 6 & SL Gamma issues

I seem to have a problem with gamma in FCP6 on snow leopard. Rushes in QT are fine, but appear very dark in FCP. I have read on Creative Cow forums that the fix is to upgrade to FCP 7 (!!) but I was rather hoping I could avoid this extra expense just now.
Any other suggestions? I don;t understand why FCP6 would not display colours correctly.
Is there a user setting I need to adjust in FCP? I can see a difference between setting the play back gamma to "accurate" and "approximate". Does this mean that QT is not displaying gamma correctly? Would be nice to get both to match.
Thanks

ajophoto wrote:
Any other suggestions? I don;t understand why FCP6 would not display colours correctly.
The COW thread you linked to explains that FCP adjusts the gamma to approximate what it would look like on a broadcast monitor which causes problems with Snow Leopard as it changes the default gamma profile of the OS. I cannot confirm whether or not this is fixed in FCP 7.
I seem to have a problem with gamma in FCP6 on snow leopard. Rushes in QT are fine, but appear very dark in FCP. I have read on Creative Cow forums that the fix is to upgrade to FCP 7 (!!) but I was rather hoping I could avoid this extra expense just now.
Why does it matter if you are offlining? Even if you had FCP 7 and it fixed the gamma issue, I would still not recommend relying on it for accurate image reproduction.
Is there a user setting I need to adjust in FCP? I can see a difference between setting the play back gamma to "accurate" and "approximate". Does this mean that QT is not displaying gamma correctly? Would be nice to get both to match.
There is no setting in FCP, only "Final Cut Studio color compatibility" in QuickTime 7. But there is still some discrepancy between the two, even on Leopard. I never rely on this.

Similar Messages

H264 Gamma Issues on PC

As a relative newbie on a very steep learning curve, I have just come across the Gamma issues when creating H264 videos on the Mac and then having them viewed on PC.
I've spent all day reading the thousands of comments on various websites regarding this issue and think I now have a basic understanding of the cause. However I am still quite confused as to the solution.
In Ken Stone's brilliant tutorial 'Compressor H.264 movies from FCP for the web' he states that H264 handles Gamma correction by burying 'Colour Sync' profiles into the QT movies so that at playback, the H264 QT movie will check the platform of the viewer and adjust Gamma correctly. So I thought all of the stuff I was reading must have been prior to Ken's comments.
After compressor had made an amazing job of my video, I sent it over to the PC ready for a first test and yes, it looked bad and clearly the Gamma was wrong.
I then found a workaround that literally hundreds of people had used: where by the finished QT file was adjusted as follows:-
"After rendering into a QuickTime/h.264 file, open it up in QuickTime and select “Show Movie Properties.” Highlight the video track then click on the “Visual Settings” tab. Towards the bottom left you should see “Transparency” with a drop-down box next to it. Select “Blend” from the menu then move the “Transparency Level” slider to 100%. Choose “Straight Alpha” from the same drop-down and close the properties window and finally “Save.”" More details of that here - http://www.videocopilot.net/blog/2008/06/fix-quicktime-gamma-shift/
I have now made different versions of the video, with and without the changes outlined above. When they are viewed either 'standalone' on my PCs and laptops or downloaded from my website, compared to how they looked on the Mac, just look completely dull and flat.
I’m trying to work my way through this problem but in the meantime if anybody can help, I would be eternally grateful..?
Thanks

As a relative newbie on a very steep learning curve, I have just come across the Gamma issues when creating H264 videos on the Mac and then having them viewed on PC.
I've spent all day reading the thousands of comments on various websites regarding this issue and think I now have a basic understanding of the cause. However I am still quite confused as to the solution.
In Ken Stone's brilliant tutorial 'Compressor H.264 movies from FCP for the web' he states that H264 handles Gamma correction by burying 'Colour Sync' profiles into the QT movies so that at playback, the H264 QT movie will check the platform of the viewer and adjust Gamma correctly. So I thought all of the stuff I was reading must have been prior to Ken's comments.
After compressor had made an amazing job of my video, I sent it over to the PC ready for a first test and yes, it looked bad and clearly the Gamma was wrong.
I then found a workaround that literally hundreds of people had used: where by the finished QT file was adjusted as follows:-
"After rendering into a QuickTime/h.264 file, open it up in QuickTime and select “Show Movie Properties.” Highlight the video track then click on the “Visual Settings” tab. Towards the bottom left you should see “Transparency” with a drop-down box next to it. Select “Blend” from the menu then move the “Transparency Level” slider to 100%. Choose “Straight Alpha” from the same drop-down and close the properties window and finally “Save.”" More details of that here - http://www.videocopilot.net/blog/2008/06/fix-quicktime-gamma-shift/
I have now made different versions of the video, with and without the changes outlined above. When they are viewed either 'standalone' on my PCs and laptops or downloaded from my website, compared to how they looked on the Mac, just look completely dull and flat.
I’m trying to work my way through this problem but in the meantime if anybody can help, I would be eternally grateful..?
Thanks

QT Motion Jpeg gamma issue

I jumped from using CS3 to CS5 so this may have popped up in CS4 and everyone else figured it out already.
I used to deliver files in QT Motion JPEG codec. However in CS5 when I output in that format everything looks washed out as though there is a gamma issue when playing back in QuickTime, or other editing software. If I open that QT file back up in After Effects it looks fine.
I'm not using color management, just an out-of-the-box installation at the moment.
I switched to delivering in QT Animation codec which solved the problem but the filesize was overkill for this particular project.
Any help is appreciated!

This did fix the problem asuming I want to bring the footage back into after effects. When I do that everything matches.
But...
If I open the original source footage up with QuickTime, or in a 3rd party editing application and compare it to the AE render made with "Match Legacy After Effects QuickTime Gamma Adjustments" and also compare to a render made without that setting turned on I get very different results
The original source looks good, but both renders look equally incorrect (washed out like a gamma problem)
Is After Effects adding a pripriatary tag to the output file that only AE is resepecting when it's loaded back in?
Thanks!

More Gamma Issues

Today, I wanted to focus on the current state of RAM Preview.
Last week, I went through exhaustive testing of color accuracy through an After Effects workflow, with source material generated out of Final Cut Studio 2 & 3, all 1920x1080 29.97i. I performed tests through After Effects CS3, CS4, and CS5. In all cases, we used both Tektronix 601A and The results were eye-popping.
After going through your notes about the recent gamma issues, I made your recommended changes to the Interpretation Rules, as well as the MediacoreQTGammaRulesCSx, along with the proper color management settings (Rec 709).
Setup:
MacPro 3GHz 8-core (MacPro2,1)
16GB of RAM
AJA Kona 3 v.7.5.1 or v.8 drivers
OS 10.5.8
QT 7.6.4
In the case of CS3, gamma accuracy simply can not be had either via RAM Preview nor via rendered files. In CS4, one can clearly see that Adobe did a very good clean up job on gamma accuracy but those fixes are limited to rendered files. RAM Preview using the QuickTime Output Component through an AJA Kona xx card aren’t even close when looking at Gamma. As a result, black levels are several IRE too low. If we use the AJA Adobe Plug-ins for 7.5.1, I can get accurate Gamma BUT I can’t get real-time frame rates if I use a Project bit depth > 8bit.
So I have a choice, inaccurate Gamma or bit limited RAM Preview. So why is running a project in 8-bit mode bad? Banding and color skew. Most camcorder acquisition formats are 8bit YUV. Doing conversions from 8bit YUV to 8bit RGB are simply bad. You are converting from a scaled color space in which your usable levels are 16-235 (YUV) over to 0-255 (RGB). As a results, you are going to have plenty of errors. By converting to a 16-bit RGB space, those errors are virtually eliminated.
Now we both know that RAM Preview desperately needs a “do-over” and has for years. But, it is what we have today and our clients desperately need a solution that offers both gamma accuracy and real-time frame rates in 16 & 32bit modes.
Thank you for listening

I tried the three solutions noted on the page, but none of them actually "address" what my problem is. I could not find the directory in the registry, nor could I create one. Is there any last-ditch attempt or solution? I was told I could turn the "time" back on my computer, though I don't want to lose my information or run the risk of nothing happening. For now, thanks for your help.
ADVICE WELCOME!

The gamma issue

I know the 1.8 vs 2.2 gamma issue has been talked to death, but I don't know the answer to this specific question, hence this post.
Does the 1.8 vs 2.2 gamma issue occur when simply watching DVDs? I've made many DVDs which I can watch on my PC or TV or Mac and it looks good on all three. I also don't have any problems watching professionally made DVDs on my PC, Mac, or TV. But the latest DVD I made, while it looks great on a PC and a TV, it looks horrible on a Mac. And everyone I've talked to has said it is due to the gamma issue.
The only difference I can think of between this DVD and the other DVDs I've made is this the images in this one are darker. Also, its the first time I've ever crushed the blacks in color correction, which made the images even darker than they were to begin with.
But I've watched many professional DVDs with very dark images on my Mac and they look fine, so I don't know why my DVD does not.
Some information that might be useful:
Footage: DV anamorphic
Raw footage codec: DV/DVCPRO - NTSC, Integer (Little Endian)
Color corrected footage codec: DV/DVCPRO - NTSC
DVD image format: MPEG-2
Please note that this issue only involves watching the finished product. The footage has already been color corrected on a properly calibrated TV. I just would like to watch my DVD on my Mac!

its the first time I've ever crushed the blacks in color correction, which made the images even darker than they were to begin with.
whats the reason for doing that, why are you not setting the black level at black point?
properly calibrated TV
not really the best piece of equipment to be trusted for colour correcting, even going to the expence of getting the TV calibrated (presumably by an engineer) the TV cant be compared to a professional programme monitor, the only real way to colour correct.

Gamma issues !

Hi there Adobe folks
This is just a follow up post to see if any movement has been made on the gamma issue front.
Basically importing footage into AE and then exporting results in unpredictable shifts in brightness, appearing either darker or lighten than they appear in the composition window or even when played in the Quicktime player - as well as suffering a colour cast change.
So at the moment I am on a iMac i7 with CS4 AE and OS X 10.6.4 - and AE is almost unusual for me as I may spend hours carefully colour correcting a pieces of footage only to have my output look completely different, I have used AE professionally for over 10 years now and have never had these issues, when I used to render my final piece (usually as uncompressed or as Animation set at 100% Q) the resultant file is identical to what you see in the composition window - everytime, without failure.
Now trying to get the output look anything like the composition window seems next to impossible, I am not the only one suffering this problem, I was working in London last week at a fairly well known studio and their compositors have all but given up on AE for this very problem, we even - at one stage - ended up working in Photoshop (!!) to get around this problem.
So, any news on possible solutions out there yet ?
Cheers for any input.

Musings on a disaster . . .
Worked my way through all the literature - some of it comes reasonably close to addressing the gamma / colour shift problems (after a lot of reading and testing and failing and frustration), nothing seems to correct it absolutely . . . . which ultimately renders After Effects unusable as a professional tool (up to CS4 at least - I have not upgraded to AE5 as the upgrade appears to be prohibitively expensive).
I understand that the real villain in all this is Apple/Quicktime, but it shocks me that Adobe (with AE) have not taken a much more robust approach to resolving this problem.
Most of the tools I used to depend on and trust on for my day to day work are very simply useless now, what point is there in sitting with a client for 6 hours grading a piece of footage only to find yourself unable to deliver what the day's work achieved, why bother using Colour Finesse when leaving the 'full interface' mode to view your work in the composition window you see a differing version - and so on.
What is more frustrating is that this problem simply did not exist a version or two ago, I happily spent well over a decade (professionally) being able to concentrate on making things appear as I wanted them to and then being able to deliver just that - this has seemingly gone.
Literally put, After Effects is broken.
I really appreciate all the help I have got from this forum in trying to resolve this, but nothing has come close enough that it could be considered a solution, it's simply no good telling a client: "It's a bit washed out and the colour is a little bit more red than we wanted, but it's pretty close".
So . . . . solutions (more correctly compromised work arounds) - I hope these might be of some help to others stranded on Adobe/Apple island.
Basically I suspect my requirements at output are much the same as others who do this for a job, firstly a master output for delivery/broadcast/tape - and a compressed output for client proofing.
For the compressed non-master - I used the latest x264 codec - simply download it (Google is your friend) - install it and ignore all those other codecs that you have used over the years - this actually works pretty well, your AE render looks identical to your AE composition (100% identical) when played back in QT7 - and only a little washed out when played back in QT10 (much less washed out than other codecs).
For the master output - forget the days of being able to render to 'uncompressed' and know all is well - those days are seemingly gone. But you can still come fairly close to rendering something to a lossless format that looks reasonably close to your composition if you stick to 'Animation' or 'ProRes' - the reason I am not more specific here is that your success would seem to depend on the particular project - sometimes ProRes get's 90% of the way, other times it looks overly saturated and Animation get's you closer - so experiment, but these two high-quaility codecs can often get fairly close.
(*ProRes is not, of course, 'lossless' - but in the circumstances if it renders closer to the look of your composition than Animation it is not a terrible compromise).
On a final note: I used to work at a post/facilities house in London (UK) who have used AE since at least 1998 (when I first worked for them) - I was freelancing there last week and they seem resigned to After Effect's death as a professional tool and are now looking at other compositing environments.
Additionally I managed a small coup recently in being able to steal a small piece of work (a single scene from an upcoming Christmas TV ad for UK TV**) from another major - perhaps the biggest, most respected - London post house - they floundered in being able to convincingly replace an actors face with a (much happier) replacement (using Inferno) - the Director handed me the scene - I got it to work really well, he much preferred my result, I was pretty happy with taking on a major facilities house and beating them - but the process of delivery was simply embarrassing, they used my (After Effect's) erratic output to - I suspect - win back some face at not being able to do the scene as well - after much battling with After Effects the decision was to use my render as a guide only for the Inferno operator - such was the inability of several professionals to output an identical file.
After 15 years in this game that was f*&king disappointing and not a little bit embarrassing as I am sure you might imagine.

Snow Leopard, FCP, AFX & Gamma

Hi all. First of all I'd like to say that I've already googled about this for hours and that I wouldn't post a question on the subject if wasn't on a tight deadline and had already pulled out whatever hair I had left.
We are finishing a project using FCP 7.0.1 running on Leopard on a 2 x 2.66 Dual Xeon.
At the last minute we decided to rent a second Mac Pro to help us with some After Effects rendering. The new Mac is a 2.66 Quad Xeon, newer model (no FW 400 connector). And of course it runs Snow Leopard.
After Effects CS3 has been causing us problems with gamma shifts when rendering on the same (Dual Xeon) machine that runs FCP, but we've sorted them out (activating the "Legacy" option in Project Settings dialog of AFX, a tip from Creative Cow). However, on the new machine the nightmare has begun again, only this time I can't find any solution to the gamma shift.
Footage exported from Leopard FCP (both from the timeline and from the original .mov file using Quicktime Player), after the round trip to the After Effects installation on Snow Leopard (without any effects added), is always darker, whether using ProRes or DVCPRO HD 1080i50 (which is our timeline's codec).
I know Adobe doesn't offer support for CS3 on SL. I also know that the switch from 1.8 to 2.2 might be involved, but I can't figure out how (Apple says the ColorSync utility should make this an invisible, but I've also tried changing to 1.8. in the Display Settings - however this is for display only and obviously doesn't affect the pixel processing in After Effects).
I would like to know if there is ANY solution available or whether we should return the SL machine, install Leopard on it, or buy CS4 (which seems to have its own issues in this area). Needless to say, all the above options except the first one would be a major pain (we're editing nights here...)
Thanks for any help.

I don't know if this is the solution, but it is a solution and I'm jotting this down in case someone bumps into this post while searching.
Do a search for "Adjusting Gamma" in the FCP 7 documentation. Read the whole page.
The workflow using the Animation codec works for me :
1. Export your footage (either from FCP or directly from QT) as DVCPRPO HD 1080i50 (or whatever your native footage is).
2. In Snow Leopard, process the clip in After Effects and make sure you use the Animation codec in the Output Settings (and Upper Field first in the Render Settings). Don't use a color corrected workflow (use "Preserve RGB" everywhere).
3. Still in Snow Leopard, add the clip to a FCP project, right-click on it and export a DVCPRO HD 1080i50 sequence (not using quicktime conversion). You don't need to create a sequence to do this and you don't even have to modify the Gamma value in the clip's properties (although you now can do it, since Animation is an RGB codec).
4. Import the clip back in FCP on Leopard.
You can easily setup a batch process for all this.
Disadvantage: on your SL AFX machine you can't have a precise idea of how the result would look, color-wise, in FCP. I can live with that because I'm only using it for calculations.
But I would be interested in any alternative solution.

FCP Display Gamma Problem (Everything Dark)

I recently let system update do it's thing and went from 10.6.4 to 10.6.6 including updating pro-apps (FCS 3).
Suddenly FCP, DVDSP, & Motion show all of my video files extremely dark (STP & Color are show them fine).
It's as if the gamma those programs are using to display the image has changed. (Quicktime & other non-Apple apps show it fine).
I've messed with FCS Maintenance Pack, and also used FCS Remover to remove and re-install, but that hasn't fixed the issue.
I'm sure there is a setting, or corrupted file somewhere that's causing video to be displayed wrong, but I'm not sure where to look, what to change at this point.
Any help, thoughts, ideas? Thanks in advance.

Not familiar with FCE. Did you try the other advice offered in this thread and go to the Apple Menu > System Preferences and click on the Displays Icon.
When that opens click on the Color Tab.
Verify that your setting is correct for your display.
Also, what are the properties of your source video?
MtD
Message was edited by: Meg The Dog to fix typo

DVCPRO capture issues - FCP or tape issue ?

Can anyone help me rule out whether this is a tape issue or a problem with my system ?
Trying to capture from DVC PRO tapes - problem is I don't know if they are DVC PRO 25 , DVC PRO 50, or HD
(we inherited these tapes from another company, who shot them but is not being forthcoming about how they shot...)
I have a Panasonic AJ-SD93 deck hooked up to Final Cut 5.1.4 via 6pin firewire (G5)
I start playing tape with regular DV NTSC settings in Log & Capture, timecode seems to be rolling continuously, the deck display says i is DVC PRO 50 - then I hit Capture Now and I get a freeze frame, and an error message :
Capture encountered a problem reading the data on your source tape. This could be due to a problem with the tape. Capture has been aborted.
So is it the tape ?
The weird thing is I was able to capture up to about 10 min of the first tape.
Even when playing back, something changes on the tape at about 10 min - but what ? Timecode is continuous - what coudl change and make it uncapturable ?.

Did you choose the proper Easy Setup? You need to choose the Easy Setup that matches the footage, so FCP knows what sort of signal to expect. If you try capturing DVCPRO 50 as DV/NTSC, then you would get this error.
Shane

FCP Display Gamma and brightness shiftsng a broadcast

I am well aware of the standard recommendations for using a video monitor for critical evaluation of color and density.
Having said that, however, I have been working on using a well calibrated Sony Trinitron computer monitor, and I have found a way, both with FCP and Color, to get visually fine results output to DVD via Compressor. My solution is to use the Trinitron calibrated with a Spyder 2 to a normal 6500K color temperature, and a gamma of 1.45. This yields very good matches using instrumentation, and visually between a calibrated HD Sony SXBR, Photoshop on the computer monitor, and FCP with monitor gamma of 1.45.
My question is why the monitor gamma needs to be tweaked this much to get good results with FCP. This seems to be the cause of what folks refer to as a "dark" shift when images are displayed by FCP.
I am hoping that some of those folks that have delved into the innards of FCP can enlighten me. I have detailed data as well, if anyone cares.

Not familiar with FCE. Did you try the other advice offered in this thread and go to the Apple Menu > System Preferences and click on the Displays Icon.
When that opens click on the Color Tab.
Verify that your setting is correct for your display.
Also, what are the properties of your source video?
MtD
Message was edited by: Meg The Dog to fix typo

Gamma issue... beating a dead horse

so so confused, about this gamma shift from After Effects to Final Cut. I rendered the same clip out 4 different times and each time it has different gamma. Here are my render settings:
1. v210 Codec
2. Quicktime Animation
3. Apple FCP Uncompressed 8bit
4. ProRez 422 HQ
The first 3 I thought were uncompressed or "slightly" compressed. The v210 codec looked like crap. The best was Animation & FCP Uncompressed... but again they look different. This is complete madness. And it did not matter if I selected use Legacy. Out of all our gear only Final Cut is gamma crazy... Can someone explain to me why such a difference in these clips. I know I'm beating a dead horse here. Thanks for any helpful tips or pointers

Mine is fluctuating. Mine worked without having the Match Legacy Gamma Adjustment on and then off then on. I did something which seemed to overwrite a setting and reset something. Not sure.
Try this.
In project settings, Turn on the Blend Colors Using 1.0 Gamma.
Render something in the render que. My video suddenly got darker and the results were darker than normal.
I went back, checked it off, re-rendered it, and it worked out perfectly.

FCP Capturing Aliasing Issues

I am having issues capturing footage of my PV-GS500. I recently moved from Adobe Premiere Pro to FCS, and I did not have this problem whatsoever capturing clean footage from this same camera.
I am on a Macbook Pro 2gb DDR2, 2.33ghz Core2Duo. My capture scratch is a 120gb external drive running on firewire 9pin.
Sequence settings: 720x480 ntsc dv 3:2
square pixel aspect anamorphic
no field dominance
29.97 editing time base
dv/dvcpro ntsc compressor
Capture Preset: 720x480 ntsc dv 3:2 anamorphic 16x9
compressor dv/dvcpro ntsc 29.97
device control on firewire NTSC default
Please help, if you could help trouble shoot this if you havent seen this problem or need more details just ask

firstly, we are looking at a screen shot from a computer monitor. are you watching your video on a calibrated tv? if not you need to to know what your video will truly look like. i checked out the camcorder and it looks like its straight miniDV and not HDV. you need to make sure you are using the correct easy setup for FCP. search easy setup in the manula for clear directions on this. mainly, this could be a sequence settings proble. captured in a bad compression or it's not matching the the compression in the timeline.

Slow Motion Issues FCP (not PAL issue)

Hi,
I have researched this, and it seems it is a common problem, with many contradictory answers. I have FCP NTSC, and am uploading HDV. When I slow it down, it becomes jittery and choppy. I hear this was an issue in the PAL version, but it seems to be an issue with my editing as well. We shot it in 60i by the way. Unfortunately I don't have any other associated programs, just FCP 5 (so no ProRes, though I would like to get my hands on it). Anyhoo, some good input is greatly appreciated. Thanks!

Bare in mind that you are trying to make less frames persist over a longer duration. When you do a slow motion adjustment, you have to duplicate frames, which makes your footage look steppy. I have found that anything more than about 75% of the original speed looks quite choppy. Frame blending will cover a little bit, but when you look at overcranked footage and compare the two, you can really see the difference. If you use Shake or Motion for the slow-mo, you can utilize the optical reflow machine which will create interpolated frames to help with the missing information.

Interface/Gamma issue - Display profiling

If you profile/calibrate your display (with professional software) to Gamma L* - darkish, grey boxes appear in some application-windows. Never happend in Tiger so I figure it's a Leopard issue.*
If you use Gamma 1.8, the Apple default, Photoshops windows (in my case) look perfekt. With Gamma 2.2 they're barely noticable (pretty much only if you know the boxes are there).
All the other settings you can choose while profiling - like temperature, luminance, chromatic adaption, profile-type etc. don't influence windows in this way - but as soon as you change the gamma those boxes appear.
I would very much like to know how you guys deal with it - do you profile your display to 1.8/2.2 (like a CRT) OR do you use L* and live with the boxes OR have you profiled your display properly/with L* but you don't have this nuisance? (!?)
Any help/info would be greatly appreciated.

*So here's what I think happens (+ my idea to solve the grey-boxes issue):*
Some applications use the monitor-profile to draw their interface. Like Photoshop and Graphic Converter. (The only 2 I've installed, I'm sure some video-editing-applications, even players are concerned that's maybe the reason some people think it's 'random'). I think these apps do so to immediately can reflect a change in the profile, without restart.
Now Mac OS X Leopard seems to not allow these applications to do so in certain parts of the interface. (Must be new, that's why there were no issues with Tiger) The window itself is drawn by the OS. That's the reason only elements like the text and buttons are affected.
And the problem is that the OS uses its 'Generic RGB Profile.icc' which contains Gamma 1.8. So if you calibrate your display with Gamma L* (which you really should do and most profiling-software does by default) those grey boxes appear in said applications.
The solution is easy. Replace the system-rgb-profile with one that supports L* - like the eciRGB profiles.
To do so you have to rename the .icc file in finder but also edit the information inside (which can be done with the ColorSync Utility). Then copy it to the System/Library/ColorSync/Profiles folder.
*After that the grey boxes dissapear and everything is back to normal.* There's some difference in the tabular data like the CMM and a chroma-entry, so you might want to re-write your display-profile just to make sure everything's alright.
I haven't seen anything yet but could imagine that the rendering of webpages in safari might be affected. Or rather some webbrowsers' without colour management. (Just a theory, hopefully not...)
*Problem 1:*
Some Adobe apps can see that the current system-profile is identical to your working-space-rgb and reset your rgb-choice to the Generic RGB profile after a restart. (Without changing the 'Colormanagement SYNC'd icon/setting.) This probably could cause trouble if you export or open files.
Solution:
Use a different profile for your system than your Adobe-RGB setting. I used the 'L-Star RGB v2' for the system and the 'eciRGB v2' for Adobe. They're technically identical but for some reason Photoshop and esp. Illustrator now respect my choices and don't reset anything. Works fine for me.
*Problem 2:*
Besides the aforementioned chroma-entry in the Apple default profile (which loss shouldn't cause any issues) there's also the localisation information. Because the profile is named differently in different languages of OS X. I haven't found anything causing trouble (probably because if the profile isn't found it resets back to the english version by default).
Solution:
This would be easy if someone knows about a .icc file editor. If we could add those localised names from the Apple profile no application would ever know. I've only found hexadecimal editors but won't put something like that on my machine, especially since everything works fine.
*I hope Apple comes up with a real solution soon, this seems like too much of a hack - considering the delicate nature of colour management.*
*If you read this and know what I'm talking about and disagree or know any reasons why one would not want to do this - please speak up! I'm sure I'm not the only one who would like to know.*
This is pretty much mirrored on the Adobe forums btw.

Leopard - CS3 - Interface/Gamma issue

Hello there, switched to 10.5(.4) on a MacPro today and now check this out, it's only in Photoshop. Illy and Indesign and Bridge are fine. No other applications are affected.
If you profile/calibrate your display (with professional software) to Gamma L* - darkish, grey boxes appear in the Photoshop dialogue windows.
http://img297.imageshack.us/my.php?image=leopardphotoshop11zg0.png
If you use Gamma 1.8, the Apple default, Photoshop looks perfekt. With Gamma 2.2 they're barely noticable (pretty much only if you know they're there).
All the other settings you can choose like temperature, luminance, chromatic adaption, profile-type etc. don't influence Photoshop-windows in this way - but as soon as you change the gamma those boxes appear.
I would very much like to know how you guys deal with it - do you profile your display to 1.8/2.2 OR do you use L* and live with the boxes OR have you profiled your display properly but you don't have this nuisance? (!?)
Any help/info would be greatly appreciated.

b So here's what I think happens (+ my idea to solve the grey-boxes issue):
Some applications use the monitor-profile to draw their interface. Like Photoshop and Graphic Converter. (The only 2 I've installed, I'm sure some video-editing-applications, even players are concerned that's maybe the reason some people think it's 'random'). I think these apps do so to immediately can reflect a change in the profile, without restart.
Now Mac OS X Leopard seems to not allow these applications to do so in certain parts of the interface. (Must be a new feature!) The window itself is drawn by the OS. That's the reason only elements like the text and buttons are affected.
And the problem is that the OS uses its 'Generic RGB Profile.icc' which contains Gamma 1.8. So if you calibrate your display with Gamma L* (which you really should do and most profiling-software does by default) those grey boxes appear in said applications.
The solution is easy. Replace the system-rgb-profile with one that supports L* - like the eciRGB profiles.
To do so you have to rename the .icc file in finder but also edit the information inside (which can be done with the ColorSync Utility). Then copy it to the System/Library/ColorSync/Profiles folder.
After that the grey boxes dissapear and everything is back to normal. There's some difference in the tabular data like the CMM and a chroma-entry, so you might want to re-write your display-profile just to make sure everything's alright.
I haven't seen anything yet but could imagine that the rendering of webpages in safari might be affected. Or rather some webbrowsers' without colour management. (I'm just guessing.)
b Problem 1:
Some Adobe apps can see that the current system-profile is identical to your working-space-rgb and reset your rgb-choice to the Generic RGB profile after a restart. (Without changing the 'Colormanagement SYNC'd icon/setting.) This probably could cause trouble if you export or open files.
b Solution:
Use a different profile for your system than your Adobe-RGB setting. I used the 'L-Star RGB v2' for the system and the 'eciRGB v2' for Adobe. They're technically identical but for some reason Photoshop and esp. Illustrator now respect my choices and don't reset anything. Works fine for me. (!)
b Problem 2:
Besides the aforementioned chroma-entry in the Apple default profile (which loss shouldn't cause any issues) there's also the localisation information. Because the profile is named differently in different languages of OS X. I haven't found anything causing trouble (probably because if the profile isn't found it resets back to the english version by default).
b Solution:
This would be easy if someone knows about a .icc file editor. If we could add those localised names from the Apple profile no application would ever know. I've only found hexadecimal editors but won't put something like that on my machine, especially since everything works fine.
I hope Apple comes up with a real solution soon, this seems like too much of a hack - considered the delicate nature of colour management.
If you read this and know what I'm talking about and disagree or know any reasons why one would not want to do this - please speak up! I'm sure I'm not the only one who would like to know.

FCP 6 & SL Gamma issues

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