Finally Found Answer To My Color Mismatch Issues

For those that might come across this I thought I'd post my findings.
It turns out that I had my colorspace set to Prophoto RGB since I standardized on that for my images in Photoshop and had it set that way in Bridge's color settings. I didn't think an RGB setting would affect color panels (e.g. Color Guide) if I was using North American SWOP v2 profile for my CMYK documents but it does. When I changed the RGB profile setting to sRGB, the panel colors looked fine again in my CMYK document. If I create an RGB document, then Prophoto RGB works again as expected.
My best guess for this would be that since we use RGB monitors, Illustrator accesses the RGB profile for display and if it's wider than the document profile, Illustrator loses it's color cookies.

I don't understand the logic of the RGB space affecting the display though. Logic would say that no matter what RGB colorspace is set, in a CMYK document, Adobe would adjust the space to match CMYK automatically so the panels display correctly. Interestingly enough, Colormatch RGB which is supposed to be very close in gamut to CMYK, also dulls the color display to a small degree. I now have a CMYK setting using sRGB and an RGB setting using Prophoto to avoid the issue
Hoping that this post helps others out with something that is an undocumented gotcha.

Similar Messages

  • Finally found answer

    I have been playing with my Apple TV for a week and finally got it to work. I reconfigured my WiFi network from a WEP Password to a WPA Personal password and a week of endless frustrastion was over. In the end it was simple and I had seen that in a few comments but changing passwords involves a lot of people reconfiguring their devices (about 10 devices in our case) so it's not surprising many people don't try it. If you don't have an Airport (I have a Netgear), you have to find the IP address to go in from your browser and change the settings. The Netgear website actually explains it well. I hope this help someone out there and let's them enjoy their Xmas music through their Apple TV.

    I don't understand the logic of the RGB space affecting the display though. Logic would say that no matter what RGB colorspace is set, in a CMYK document, Adobe would adjust the space to match CMYK automatically so the panels display correctly. Interestingly enough, Colormatch RGB which is supposed to be very close in gamut to CMYK, also dulls the color display to a small degree. I now have a CMYK setting using sRGB and an RGB setting using Prophoto to avoid the issue
    Hoping that this post helps others out with something that is an undocumented gotcha.

  • Looking for a better solution to the "Save for web" color shift issue

    Ok, everyone who has fussed much with photoshop and "Save For Web" knows about the color shift issue. If you want your colors to look right after you "save for web", you have to work in the sRGB colorspace, and have Proof Colors checked (soft proofing on) and the proof color setup set to Monitor RGB, otherwise what you get looks terrible when displayed in a browser.
    But of course if you are editing for print, this is exactly what you DON'T want to do. Well, I work in both. In fact, often the same images, and I want them to appear as close as reasonably possible in both print and web formats, and without a lot of fussing on my part. And I'm pickiest about the print mode, since I have the most control there, so that's the way I want to edit by default.
    Nothing new here.
    Now comes the interesting part (in my mind, anyway). Obviously there is a known remapping -- because PhotoShop DOES it when you select Proof Colors. So the inverse mapping must also be known (with some gamut issues, but I'm not concerned with those, because, after all, I'm VIEWING it on a monitor anyway!). What I want is a plug-in that automatically applies that inverse mapping so that, when I do a Save For Web, I end up with the colors I've been viewing all the time when setting the shot up in print mode. Then, too, I don't have to worry about what mode I'm in when I'm editing -- it just fixes it when doing a save-for-web.
    Again, I want to edit in my normal print mode (typically ProPhoto colorspace, and with soft-proofing off or set to the printer/medium combination I expect to use), then do a single operation (might be a multi-step action) to "screw up" my colors so that when I then do a "Save-For-Web", the resulting image, when viewed on the average color-stupid browser, looks like the image I've been seeing in Photoshop.
    Anyone know of such a beast?   I would gladly pay for a plug-in that really works and fixes the problem.
    And if you have other solutions, I'm interested, but the absolute requirement is that it I do one single edit pass for my colors for both print and web use, and I get what I see on the screen in PS on both the prints and on the web display (i.e., working in sRGB/Monitor RGB mode all the time won't cut it). And PREFERABLY, let me do all my editing work in the ProPhoto (or at least AdobeRGB) colorspace so I have a gamut closer to what the printer can do.
    Anyone got a decent solution for this?

    Chris
    I spent all day Googling and doing side by side comparisons of my old and new systems.
    My display is a Dell U2410. It has several presets, including sRGB and Adobe RGB. I've been using sRGB.
    On my OLD system, (Win XP, PsCS2, DwCS4) there seems to be no distinction between color managed and non color managed apps, even on this wide gamut display. I could capture (digital camera) in Adobe RGB, open and edit in PsCS2, save as .psd, convert to CMYK for print, or convert to sRGB for SFW. All images looked identical and they printed and displayed perfectly. I thought this was normal, and seemed logical. This also seems to be the source of my incorrect assumptions. I was trying to get my new machine to behave like my old one.
    So I get this new machine (Windows 7, PsCS5, DwCS5) and now (still in sRGB display mode) all color managed apps appear de-saturated. Non color managed apps are OK. If I switch the display to Adobe RGB, color managed apps are OK, but non color managed apps are way too saturated. From my investigation, I believe this is normal behavior on a wide gamut display. I've tried changing the Control Panel > Display > Screen Resolution > Advanced settings > Color Management options, but to no avail. Either I'm missing something, or Windows 7 is doing color management differently.
    It seems my only option now is to use Adobe RGB display setting for Ps, etc. and switch to sRGB for Dw and non color managed apps. Or, have 2 separate files for print and web. I've Googled 'til my eyes are numb and still not sure I'm getting this. Any enlightenment would be greatly appreciated.
    Finally, I don't see an edit function here, so I can't remove my previous incorrect reply. Moderator, please feel free to do so.
    Thanks

  • Final Cut Pro Flickering White Colors

    I have video that was captured using a green screen with TriCaster. Because of poor lighting, the whites in the video are flickering and "noisy" while I'm editing in Final Cut Pro. Is there anyway to remove or cut down that flickering in Final Cut?

    After upgrading from FCS2 to the current studio, All video placed in Final Cut Pro or Motion shows up as either black or white, sometimes with a few small color artifacts- as if the contrast had been turned up to maximum. This issue affects even the bars and tone generator in Final Cut Pro. Audio is unaffected.
    I removed all installed files and receipts and reinstalled, issue is still occurring. I've also updated to 10.5.8 and run Final Cut under another user.
    This issue is occurring on an iMac Intel Core 2 Duo. I have a fresh install on my Macbook Pro which is running without any issues.

  • Color shift (color management) issues in Mavericks

    Noticed color management lacking for Safari and Dock icons just after Maverick update, but was unable to check it with recalibration. Today X-Rite issued an update for i1 Display PRO and i was able to recalibrate my display, but the problem unsurprisingly wasn't in the display profile.
    Bellow are two screenshots of Safari vs. Chrome and FF vs. Chrome respectively.
    Color difference is seen with the naked eye, but gray and blue fields' values are also annotated (Safari is on the left, Chrome is on the right).
    These are FF (on the left) and Chrome (on the right) with no color difference, both browsers are color-managed.

    Issues here too: 2013 Mac Pro, latest Mavericks/browser versions (OS X 10.9.4), and Dell UP2414Q display (known for good color—not to mention the only retina display money can buy).
    Safari seems fine: web sites with no color profiles in the images look very much as I am used to from OS X Lion and Windows on other machines (some variation from screen to screen is just life). CSS colors match image colors when they should.
    Firefox is ultra-saturated: web sites the look fine in Firefox--and identical to Safari--under OS X Lion (on a different Mac/display anyway) but on the new Mavericks system, colors are eye-burningly saturated! That's CSS and images alike (without color profiles). CSS and image colors still match—but both are WAY oversaturated.
    Note: images dragged from Safari and Firefox to my desktop both look fine when opened in Quick Look or Preview. Both (again, images without profiles) look super-saturated like Firefox when opened in Photoshop CC—despite Photoshop having the same settings I'm used to using (color management Off for RGB, working space set to Monitor) on my old Mac with PS CS6 under Lion. Yet the color values in PS CC do register as correct despite looking so bad (same goes when opening my own RGB source PSDs that generated the web sites to begin with).
    Shouldn't Safari and Firefox out of the box look alike, since they do in earlier OS versions? (Even if some workaround is found, "out of the box" a new Mac with default Firefox installation now looks terrible.)
    Separate but complicating issues, in case it helps to diagnose this:
    a) The Dell display's default calibration looks quite good to me; but if I run Apple's visual calibration steps which I would normally do on a new Mac, everything gets very dark. (So I went back to the default calibration, which is supplied by Apple and called "Dell UP2414Q"; Apple clearly supports this display specifically, since I never installed any Dell software.)
    b) When I take an OS X screenshot of Safari, despite it looking "right" everywhere (Preview and Photoshop CC alike), values are way off. (Regardless of whether I strip the color profile or not when importing the screenshot into Photoshop CC.) When I take a screenshot off Firefox, the screenshot looks "right" (no longer oversaturated!) in Preview and Quicklook. When imported into Photoshop CC, Firefox screenshots behave just like drag-saved images from Firefox: they appear super-saturated just like in the browser, BUT the color values at least register correctly.
    c) No setting I can find for Photoshop CC will make exported images look right (and match CSS colors) in ANY browser unless I accept them being super-saturated while I work on them (which of course is untenable). I'll deal with that separately: I've abandoned the new Mac Pro for Photoshop work and gone back to my old Mac (and PS CS6)--but this I assume to be Adobe's fault. I mention it only in case it's some kind of clue.
    For what it's worth, here's my interpretation: Firefox and Photoshop are using the full gamut of the display, while Safari is not—and Safari looks GOOD not using the full gamut. (And at least with this Dell display, it looks "correct" that way.) Pure primary red #FF0000 (images and CSS alike) which appears normal to me in Safari and Preview and Quicklook turns to eye-burning neon red in Firefox and Photoshop (with management Off and working space set to Monitor). It's kind of amazing that the display can show a red even more brilliant than I have ever seen on a computer before, BUT it doesn't help me design web sites for the rest of the world who has a more ordinary gamut.
    Maybe this is just a long-standing Firefox bug, revealed to me now that I have a large-gamut display? (But that wouldn't explain why other people have seen colors MORE saturated in Safari then Firefox.)

  • Color calibration issues with Mavericks

    Hello All,
    I found my MBA's color calibration has changed dramatically after installing OS X Mavericks. The shared links, icons at doc etc. are highly saturated. Are you experiencing the same problem? How to solve this?

    Did anyone find a fix yet? I'm experiencing the same issues... In my case it possibly affects icons but also photos, and more remarkably so: colors appear too contrasted and saturated, especially reds. Crushed blacks, loss of detail in dark areas, and overall darker images. Both in Safari and when I browse and preview pics in Finder. For whatever reason, the color change is especially noticeable in thumbnails... This is unacceptable for me. I don't want any filters whatsoever. Anyone got a clue on how to reverse this behavior? Please Apple, fix this.

  • A different take on the "Save For Web" color shift issue...

    Ok, everyone who has fussed much with photoshop and "Save For Web" knows about the color shift issue. If you want your colors to look right after you "save for web", you have to work in the sRGB colorspace, and have Proof Colors checked (soft proofing on) and the proof color setup set to Monitor RGB, otherwise what you get looks terrible when displayed in a browser.
    But of course if you are editing for print, this is exactly what you DON'T want to do. Well, I work in both. In fact, often the same images, and I want them to appear as close as reasonably possible in both print and web formats, and without a lot of fussing on my part. And I'm pickiest about the print mode, since I have the most control there, so that's the way I want to edit by default.
    Nothing new here.
    Now comes the interesting part (in my mind, anyway). Obviously there is a known remapping -- because PhotoShop DOES it when you select Proof Colors. So the inverse mapping must also be known (with some gamut issues, but I'm not concerned with those, because, after all, I'm VIEWING it on a monitor anyway!). What I want is a plug-in that automatically applies that inverse mapping so that, when I do a Save For Web, I end up with the colors I've been viewing all the time when setting the shot up in print mode. Then, too, I don't have to worry about what mode I'm in when I'm editing -- it just fixes it when doing a save-for-web.
    Again, I want to edit in my normal print mode (typically ProPhoto colorspace, and with soft-proofing off or set to the printer/medium combination I expect to use), then do a single operation (might be a multi-step action) to "screw up" my colors so that when I then do a "Save-For-Web", the resulting image, when viewed on the average color-stupid browser, looks like the image I've been seeing in Photoshop.
    Anyone know of such a beast?   I would gladly pay for a plug-in that really works and fixes the problem.
    And if you have other solutions, I'm interested, but the absolute requirement is that it I do one single edit pass for my colors for both print and web use, and I get what I see on the screen in PS on both the prints and on the web display (i.e., working in sRGB/Monitor RGB mode all the time won't cut it). And PREFERABLY, let me do all my editing work in the ProPhoto (or at least AdobeRGB) colorspace so I have a gamut closer to what the printer can do.
    Anyone got a decent solution for this?

    Sorry, I think I'm being unclear.  This has nothing to do with individual monitor profiles.  In Proof Setup, "Monitor RGB" amounts to turning off ALL color management, and simply letting the monitor do what it will.  It is what the vast majority of web browsers do (even if the operating system provides color management, the browsers don't take advantage of it), so that is what you need to consider for images that will be viewed on a web browser.  If you convert your image to sRGB,  select Monitor RGB in Proof Set up, and turn on Proof Colors, you will see the image as it would appear on a web browser (after you save it as a jpg or use "Save For Web/Devices" to save it as a jpg).   Since almost everyone is running different uncalibrated monitors, there will be lots of variation in how it will look to them, so precise control of the color is unimportant.
    That said, I would expect the color on a calibrated monitor (such as the one I use when editing) to be reasonably close to the colors I am seeing while editing in PS.  To the extent a monitor deviates from "calibrated", those colors will vary, but a good monitor should show good colors.   Unfortunately, this is NOT the case, as my previous post shows.  The colors produced by the steps above are oversaturated and significantly shifted in hue.  There is, to my mind, anyway, no reason for this.  Adobe clearly knows what the mapping is between the colors as it displays them in PS and the un-controlled "Monitor RGB" -- that is, it is the color map they are using during normal editing display.  If they were to reverse-apply that map prior to saving it as a jpg, then the image would appear on a browser on that same (presumably calibrated) monitor very similar to what you set up when editing.  Anyone else viewing the image on a web browser with a calibrated monitor would also see good colors.  To the extent other viewers' monitors are out of calibration, their colors will suck, but there's nothing you can do about that.
    I guess in some sense I AM "asking for a Color-Mamangement-solution for a "non-Color-Management-situation", but specifically I'm asking for PS Color Management to do the best it can for non-Color-Managed situations that we all face every day.
    Does that make more sense?

  • Color Management issues with Illustrator

    Can someone help me figure out the color management issues I'm getting when printing on an Epson 3880 from Illustrator?
    The image comes out severely red as evident on the face. I'm not getting the same problem when printing from Photoshop, even though I set same paper profile in printing dialog box.
    I attached two printed picture (one from Photoshop CC, and one from Illustrator CC) that I took with my iphone so that you can see the printed result.  Even when I try to simulate same thing using illustrator soft proofing process, the soft proof does not show me anything close to how it gets printed out. And I tried all device simulations to see if any would match it. Im using  CMYK SWOP v2 for Color space in both programs.

    Dougfly,
    Only an hour wasted? Lucky you. Color is an incredibly complex subject. First, forget matching anything to the small LCD on the back of your camera. That's there as a basic guide and is affected by the internal jpg algorithm of your camera.
    2nd, you're not really takeing a color photo with your digital camera, but three separate B&W images in a mosaic pattern, exposed thru separate red, green and blue filters. Actual color doesn't happen until that matrix is demosaiced in either your raw converter, or the in-camera processor (which relies heavily on camera settings, saturation, contrast, mode, etc.)
    Having said the above, you can still get very good, predictable results in your workflow. I have a few color management articles on my website that you might find very helpful. Check out the Introduction to Color Management and Monitor and Printer Profiling. In my opinion, a monitor calibration device is the minimum entry fee if you want decent color.
    http://www.dinagraphics.com/color_management.php
    Lou

  • Color Management Issues Solved in LR 1.1?

    Long tempted to switch from Elements 5.0 to LR (or to integrate the two), I have held off because I've read on this forum dozens, probably hundreds, of complaints about LR 1.0 and color management. Some of these questions were clearly from ignorance, I know (such as not understanding the difference between the color space used by monitors and that used by printers). But many other were from sophisticated users all of whom began their comments or questions with "Works perfectly in Photoshop, but in LR ..." See, for example, http://adobeforums.com/cgi-bin/webx/.3bc41850/39 , which describes difficulty in getting LR to produce acceptable prints. To my mind, LR 1.0 had color management problems even if the highest end users managed to work around them. I don't want to buy into problems, not being a sophisticated user yet myself. So here is my queston: Does LR 1.1 solve these problems? That is, does LR 1.1 work as easily, or almost as easily, as Photoshop (say with the HP b9180, which has a PS plugin)? Thanks in advance.

    The problem is that lightroom is somehow throwing the default profile that is set in colorsync into the mix. Which is something that Photoshop is not doing. So any printer profiles built by printing a target with PS is not going to be accurate when printed through Lightroom unless the default profile for you printer is Generic RGB Profile or something close.
    Here is what I have posted elsewhere about my discovery of this issue.
    I discovered something today that just might be the answer to the color printing problems from Lightroom.
    First of all, all prints from PS and Lightroom was done with the same color management workflow with the profiles set in the application and color management turned off in the printer driver. This was to a Canon iPF9000.
    Started when I tried to print from a new MacPro with Lightroom. Colors were not right.
    Went to the G5 and printed from lightroom same file same settings same profile, color was correct.
    Printed same file same setting same profile from PS on the MacPro. Color was correct.
    So started printing and saving as PDF from the print dialog. Open the PDF files in Acrobat and checking embedded profile with Pitstop.
    Here are the results.
    Lightroom on Macpro: iPF9000 Paper profile. This was much darker with way to much yellow.
    Photoshop of Macpro: Generic RGB
    Lightroom on G5: sRGB v1.20 (Canon)
    I had uninstall the sRGB v1.20 (Canon) profile from the colorsync folder on the MacPro. Added sRGB v1.20 (Canon) back in and guess what. sRGB v1.20 (Canon) in the PDF now generated from Lightroom. Print to the printer from Lightroom on the MacPro and it now printed correct.
    Now got to thinking were does Lightroom get this (sRGB v1.20 (Canon) profile from. So checked in the Colorsync utility to see what the default profile for the iPF9000 is and sure enough it was sRGB v1.20 (Canon). Ok so what happens if I change the default profile in the Colorsync utility to Adobe RGB. Now guess what the Lightroom generated PDF now shows Adobe RGB as the embedded profile.
    PS printed to PDF showed Generic RGB profile no matter what I set as the default profile in the Colorsync Utility.
    Clearly Lightroom behaves differently when printing when a different default profile is selected for a printer. On Windows this could be the same as one can set in the printer properties (at least for the iPF9000) the default profile to automatic or set a different default profile manually.
    This raises an interesting question as to what is really going on with print files set to a printer. Especially printers with much larger gamuts than sRGB.
    Could this be the source of the strange Lightroom printing problems?
    I do know when I have tried to make a profile from a printed target in LR I could not get accurate color. But the profile generated for a target printed in PS works fine in LR.

  • Camera Raw Color Temperature Issue

    Help me verify color temperature issue please.
    I shoot with Canon EOS 5D.
    I sat white balance mode to K - Manual Kelvin temperature - and set value to 6000K.
    So my raw files should have this setting - color temperature 6000K.
    Canon ZoomBrowser EX shows me the value - 6000K
    Nevertheless I see different reading in Adobe Camera RAW converter (as shot)?
    Photoshop CS2 Camera Raw CT=5600K Tint=+3 (! as Shot !)
    Why?

    Ramon seemed to have the answer in hand, then G Sch above chimed in with some random comment about coordinate systems. Weirdly, Ramon then agreed with G Sch's nonsense and thanked him for it. Suddenly the thread has suffered an ineluctable defenestration.
    Is:
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    - Adobe's control for XXXX Kelvin wrong?
    - the use of the designator "K" in these contexts wrong, as it implies physics reference for the measure while the camera and ACR just do their own thing?
    By the logic used in this thread, 1/250sec shutter doesn't have anything to do with a time standard, nor does F4 mean an aperture, it's just a coordinate in a locally defined system, la la la. So why bother to even code it in EXIF? What's the point of providing a control in terms of K if K isn't normalized?
    The question was answered at Ramon's first post: ACR doesn't read the 5D white bal metadata. The camera K setting is used for in-camera processing and by Canon utilities. But note that the raw data are white bal agnostic but white bal results are subject to a camera profile which may differ between OEM and ACR, and at which point there is room for discrepancy for interpretation of color. Which one is right? I can't say. It's important to realize the results for a given K setting may differ between OEM and ACR because of this. Contrary to what G Sch writes above, the same K setting ought to give the same results if a "Kelvin" setting is to have real meaning, but the seems to be impracticable if the developers don't agree on the characterization of the gear.

  • Thought I'd finally found a good media phone with ...

    Have been looking for a phone / media device for quite a while now that ...
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    not impressed with Windows Mobile at all - just not finger frendly.
    Anyway I'm digressing. What I wanted to ask is... is there a Nokia phone out there that will ...
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    should have been lifted. 512 or 1024 chars would be acceptable.
    3. will display the full text of my diary entry (and in the order I have entered them - not
    alphabetisied as P.Outlook does) N95 did this - well mostly - it displays 4 lines at least
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    5. has a decent amout of storage for music / video (8Gb was good Also loved the ext. speakers
    on the N95).
    6. is 3G capable for web browsing
    7. has GPS
    Thanks for any help here.

    Hi StewM
    I've managed to sort it now took about 5 try's very confusing web site, but eventually got there. Thanks

  • Color mismatch between CS4 and Canon PIXMA PRO6500

    Hi there! I am trying to research if anyone else is having a problem with color mismatch between CS4 and their printer. Last night I printed a .tiff image out of CS4 to my Canon PRO6500 printer and the sky came out purple / pink! It was supposed to be a stormy grey color. I have the color management turned off on the printer settings. I have CS4 manages color turned on and the correct ICC profile selected for the paper I am using. When I do a soft proof in CS4 the image looks fine, but when I print I get something completely different, mostly with the sky (purple / pink) color! Just for the heck of it I did a Print Preview under my Page Setup and guess what, the sky actually shows purple / pink! So I have no idea what's going on. I checked all my setting, ink cartridges, tried different paper with the appropriate ICC profile and no dice. Still have a goofy looking sky! I thought PROOFING the image is supposed to show you how the printed image is going to look? apparently it doesn't because it's not. The Print Preview has an accurate representation of the print but I have no idea where the pink / purple sky is coming from. They are supposed to be stormy clouds as I said. I appreciate any help anyone can provide .
    Sabciu

    I have the color management turned off on the printer settings.
    But do you have a measured color profile based on a sample print? Most likely not, so this is not doing anything in your favor. The current profile may present the defaults for a given printer, but not the actual density based on your other printer settings. So by all means, unless you can be sure to obey a full calibration throughout, turn on the printer CM. Also, since it is a Pro model, you may actualyl have to use the dedicated RIP software that was bundled with it to get correct results, not the default windows print engine.
    Mylenium

  • Type mismatch issue

    1) create package spec with two record type. Note : 1 attribute common in both the types
    CREATE OR REPLACE PACKAGE gfstm_parm_test AS
    TYPE g_rec_1 IS RECORD
    (ship_type_flag varchar2(1),
    reason_code_flag varchar2(1)
    TYPE g_rec_2 IS RECORD
    (ship_type_flag varchar2(1),
    cost_by_supplier_flag varchar2(1)
    end gfstm_parm_test ;
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    create or replace procedure test_rec_type_pr(i_rec_var IN gfstm_parm_test.g_rec_1) is
    begin
    dbms_output.put_line(i_rec_var.ship_type_flag);
    end;
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    ans: works
    Requirement: The same procedure WITHOUT ANY MODIFICATION to be used for the other type g_rec_2 as input parameter and should print 'a'. But getting type mismatch issues.
    How to make it to work ?
    declare
    l_rec_1 gfstm_parm_test.g_rec_1;
    l_rec_2 gfstm_parm_test.g_rec_2;
    begin
    l_rec_2.ship_type_flag := 'a';
    test_rec_type_pr(l_rec_2);
    end;
    Thanks,
    Vinodh

    Seems you'll have to uncomment something (as Solomon says, types are not defined to be intermixed at will)
    declare
    l_rec_1 gfstm_parm_test.g_rec_1;
    l_rec_2 gfstm_parm_test.g_rec_2;
    begin
      l_rec_2.ship_type_flag := 'a';
      l_rec_1.ship_type_flag := l_rec_2.ship_type_flag;
      l_rec_1.reason_code_flag := ''  -- or whatever ...
      test_rec_type_pr(l_rec_1);
    end;Regards
    Etbin

  • Color mismatch EpsonR800 and Elements 6

    Before upgrading to 6 from version 3, the R800 printed perfectly color matched photos. Now, they seem dark(er), and even when I switch from Elements managing color to Printer managed color and using correct profiles, the colors are still to dark. I also have an Epson 1270, HP8250, HP990 on which all colors are perfect. Right now as default, The R800 is using a color management called E_FIC8JA, there are others for different types of paper, but I usually pick an ICC profile for paper myself using driver or Elements. I guess I'm just generally confused about the color management I should be using on the printer and then what ICC profiles to use. For those who have read about this, apparently there was an issue at one time with darker prints mentioned on Epsons website, but now I can't find anything referring to that issue. Anybody, please help. I spend a lot money on paper and ink trying to get the prints right on my R800. Thank you.

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