FW CS5 - Severe Color Sample Issue
Howdy,
I know there is another thread on color variations when using the color sampler but I am having a severe issue with sampling colors. No matter what I color sample the color it gives back is way off. An example would be purple comes back as a light gray. To better illustrate, I have created a quick video that shows how bad/frustrating it is.
Here are my specs and what I have done so far...
Specs
MacBook Pro Retina (15")
Mac OSX Mountain Lion - 10.8.2
Adobe Fireworks CS5 - 11.0.1.7 (11.2)
What I have tried.
Snap to web safe is NOT checked.
Delete preferences (http://helpx.adobe.com/fireworks/kb/restore-preferences-fireworks-cs5.html)
Re-install
Still no luck. This doe not seem to be a common issue but I am wondering if this is an issue with CS5 and MacBook Pro Retina. Any thoughts on resolving?
Any help greatly appreciated. : )
Will they release an update to CS5 to address these issues? I'm not qualified to answer that, but the odds seem low. Nevertheless, you can report the issue(s) using Adobe's official bug report and feature request form:
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
I like to include URLs to relevant forum posts in my bug reports, to provide additional information (like the video you've included) and reinforce that other users are also being affected, if applicable.
You could also pipe up about it on the Adobe Fireworks Facebook page, but you won't likely receive a response.
I wonder if there are any adjustments or accommodations that can be made at the computer- or OS-level that might help. (Something to do with the Retina aspect.) It's a long shot, but you might also try saving your Fireworks preferences and configuration files and then reinstalling Fireworks.
Similar Messages
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Color sample reading funniness?
I am using CS4 and have been using PS since version 1.0. There is one thing about the way CS4 handles color samples that is different than previous version. If I have 3 different adjustment layers and check my color samples, the numbers will change depending which adjustment layer I am on. This doesn't make any sense and makes it harder to adjust color and tone. I am intersted in the final color with all of my adjustment layers combined. If I am trying to match color between files and I have a saturation adjustment layer and a curve adjustment layer above that, and I am keeping an eye on my color samples, if I adjust the saturation layer there is no easy way of seeing exactly what the numbers. While I am on the saturation layer the numbers night be 206,250,77, but then when I click on the curves layer the numbers are 219,251,96. So to really know what the numbers are you need to be on the top most layer. It was never like this before. I know this is normal opporation for CS4, but how are others dealin with this?
Another strange thing I found, and this is just with a particular file, but when I hover the color sample tool about an are I get different numbers under the eye dropper info and I do under my color sample point info. The shot is of a pair of jeans, and it's a pretty large file, around 26"x21"@300dpi. I have my eye dropper sample point set to 101. When I first hover the eye dropper abover the area I want to sample the reading in the upper left of the info pallete is 102,120,153 then as soon as I click the color sample point reading is 150,169,204. This was done on just the background layer, no other layer have yet been added. I even tried blurring the area to get rid of any texture, but still the same issue.
Well I just figure out what the issue is but I thought I would post this anyway. I found out if I zoomed into 100% first, then placed the sample point it worked like it is suppose to. I know that viewing both color and sharpness can vary slightly when your not at 100%, but I didn't think that it would effect the actual numbers?I agree an altarable "Funny Factor" woud be a useful addition for CS5. Maybe a dial of some sort, turn it up and its funny, down and its not so funny.
Look at your eyedropper options there are checkboxes for Sample all layers and "sample size" -
Brush is constrained to 90º and appears as Color Sampler Tool
I'm having a suprise difficulty with my brush tool in that its cursor appears as the color sampler icon and it is constrained to 90 or 180 degree painting (sometimes just 90). Everything was working normally with my last use a day or so ago.
Other facts:
I've downloaded the latest update
Caps lock is not on.
I'm unable to right click in the options bar and reset all tools
I'd appreciate any help available. Thanks!Apple released the 10.6.7 update for OS X today. This update corrects an issue introduced in the 10.6.5 update that affected modifier keys while using Photoshop.
More details, including how to install the update, are available in this Knowledge Base document:Alert "Delete the Adobe Photoshop Settings file?" | Tools, functions behave strangely | Photoshop CS5 | Mac OS 10.6.5, 10.6.6 -
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 -
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 -
Epson R1800-color match issues solved
I had reported issues with the printer no longer matching the monitor colors
many of you said to get a hardware device and calibrate monitor
instead I downloaded a newer driver for the printer
still had issues
SO:
I changed from printer manages colors to PS managed workflow and decided to use color profiles from ILFORD (smooth glossy)
document space sRGB-IEC61966-2.1
printer profile- ISGP9.....etc
relative colormetric (recommended by Epson document)
black point compensation ticked
then in Epson interface:
turn off printer mgmt (check ICM box>> then check off)
if you use preview before print, the image will look hideous in the interface, but prints fine
looks pretty good
prints match monitor colors
so I am thinking it is the Espon color profiles that are whack
KatThis is all good info, but for me at least, the real issue is not whether you can get the driver/printer to function (most people seem to be able to get it working) but when you get it functioning under Snow Leopard are there color issues.
Although the printer may work fine for basic documents etc, it is for color-critical photo work that I need my 2200. Many other posts are reporting that although the driver is functioning, there are fairly severe color issues when trying to create high-quality photographic prints using the standard color-managed workflow. This would be rather crippling for photographers and other artists who rely on their 2200.
Maybe those posting here could comment on whether they have been using their 2200 for photographic purposes and whether or not they have seen color issues. I wonder if some people just aren't noticing a problem because they aren't doing color-managed photographic work.
I haven't installed Snow Leopard yet and I'm trying to determine if this is affecting a very small percentage of people or if everyone is having trouble getting proper color from their 2200 since Snow Leopard. So far I haven't seen a single post specifically stating that they they are using the 2200 for high quality photo printing and have had no color issues under Snow Leopard.
Message was edited by: Bazzography -
In Katie's Cafe tutorial, how did she create her color sample?
In the Adobe Muse tutorial for Katie's Cafe. How was the color sample created. She just had us drag it onto our Muse document, but how was the color palette created initially so that it can be used in your Muse document?
Thanks!I think I figured out the solution to the problem people are having. It has to do with the order that you do things when you try to bring in colors from somewhere else. If you try to just take colors from somewhere else (ie copy and past them) muse will not recognize them as swatches and even if you take the colors and put them in rectangles in muse and save them to a library muse will still not recognize them as swatches. What you have to do to create a color set like she did in the tutorial is as follows....
Copy/Paste your colors into muse
Make rectangle objects in muse that contain the colors
Open up the swatches window and click add swatch
Select one of the colors you added - click ok
Repeat this process for all the color rectangles you have made
Now you can use the selection tool to select all the colors you made and create a library with them that will work.
The issue people seem to be having (and that I myself had) is that when you just copy/paste colors into muse it does not automatically make a swatch for the new color. When she uses the swatch library in the demo it does add the swatches automatically. This happens because she went through the process of creating the swatches in muse first (which you are never shown) and not just copy/pasting the colors from some other program. -
Am I nuts here, or is this something with my particular machine? I'm running Photoshop CS4 (11.0.1) and I'm seeing the following:
Create a new image.
Add a folder.
Add a mask to that folder (I've done this with a raster mask, not a vector)
Create an adjustment layer inside that folder (I've tried this with curves, hue/sat, and/or channel mixer).
Duplicate the folder, and invert the mask on the copy.
Highlight an adjustment layer (either one).
Put out a color sampler inside the area masked by the current folder/adjustment layer. This becomes sampler #1. This shows the current values (correctly).
Put out a color sampler OUTSIDE the area masked by the current folder/adjustment layer. This becomes sampler #2. This shows no values (correctly).
Highlight the adjustment layer in the second masked folder.
Both samplers now show no value (incorrect).
Delete sampler #1. The new #1 now shows the current values (correct).
Recreate the other sampler (now at #2). Sampler #2 does not show color values (correct).
Highlight the first adjustment layer again.
Both samplers now show no value (incorrect).
It appears that *all* color samplers are either using the masked area of sampler #1, or combining the masked area of all lower numbered samplers, to determine if they should calculate values. The workaround is to remove all samplers every time you switch masked folders (which can get a bit insane if you have a lot of masked folders). This is not the way it worked in CS3.
Can anyone else duplicate this issue? Or is this unique to my machine? I'm running a fresh install (less than a week old) on Mac OS X 10.5.8, and I've updated to PS 11.0.1.
Message was edited by: achbed
Added version informationSimply put: Color Samplers will report no information with a Color Adjustment layer selected if it is contained in a masked Group and if the #1 Color Sampler is in the masked region.
The cursor sampler WILL work however. Unfortunately, I often need the mouse elsewhere while making adjustments.
This makes working in masked groups quite bothersome so any help would be appreciated. -
Color replacement issue with converted RGB mode picture
I am new to Photoshop. Opened a bmp file using PS CS5.5, and changed its color mode from Indexed to RGB, 8bits/channel. Tried to use the color replacement tool to replace a darker shade of red (127, 0, 0) to a slightly lighter one (186, 0, 0), but it would not replace it -- not that it popped out any errors, but it just didn't do anything.
The tool settings are:
spacing: 1%,
hardness: 100%,
Mode: color,
Sampling: background swatch,
Limits: discontinguous,
Tolerance: 1%,
Antialias: off
foreground: 186,0,0
background:127,0,0
so I tested by choosing pure white:
foreground: 255, 255, 255
background: 127,0,0
it did make a difference, however, instead of pure white, it was some kind of dark gray: 38, 38, 38.
so I am just wondering if this is a bug, or if I did something wrong. Thanks!Use the Filter Factory plug-in, Enter the following code in the red box. Leave the green and blue boxes alone
r==127 &&g==0 &&b==0 ? 187:r -
I see the color sample in the Library but it doesn't respond when I try to click and drag
Hi
Can you replicate the behavior with all pages or is it with some specific page ?
What are the page contents that you are using on page ? Please post some screenshots which would be help for understanding the issue.
Try to re-import the library and then test out.
Thanks,
Sanjit -
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 Sampler not working outside my window! Urgent, please help!
I just installed Photoshop on my Surface Pro 3. I am doing a presentation in a few hours where I will need to be able to demonstrate the use of the Color Sampler outside the window. It doesn't work. It goes up to the edge of the workspace but does not sample beyond that. I've tried using the pen, the trackpad and the mouse. None of them work. If I try to do it on my Windows 8.1 desktop, it works fine. Help!
Just looked into this and have found a resolution. Always learning new tricks!! So forgive me I was wrong in the first post.
You CAN do it by clicking within the workspace and then dragging outside so continually holding down then letting go outside the workspace.
Colour sampling outside Photoshop | Shape Shed
Hope this helps! -
Unable to save the Sample Issues Doc for item category TAN
Hi,
Created one sales doc type for Sample Issues.In this sales order when i enter the material and give customer discount 100% then value will zero.Now when i try to save this sales order then the system is showing the incompletion log and asking to maintain Net Value for the sales order.
In OVA2 Net Value is maintained for the item category TAN.So i do not want to make any changes in OVA2 as it will affect other transaction material.
If i manually changes TAN to TANN then i can save it.
So what could be the other possible ways to solve this problem.
regards
DebasishDear Debashis,
T. Code: VOV7 --> Item Category: TAN --> Go to Details Page
Here, under -
Tab: Business Data --> Field: Pricing
Maintain entry as "B Pricing for free goods (100% discount)" OR keep it Empty.
Now, try.
Best Regards,
Amit
Note: Also, check the Incompletion Procedure, attached with Both the Item Categories, i.e. TAN and TANN
I think, with -
TAN, Incompletion Procedure would be 20, whereas
TAN, Incompletion Procedure would be 24
Now, go to T. Code: OVA2
Check for Both the Incompletion Procedures, i.e. 20 - Standard Item and 24 - Free of Charge Item (for Group: Sales - Item)
You will find settings:
VBAP NETWR Net value PKON 03 0
with 20 - Standard Item and not with 24 - Free of Charge Item
Hope, this would help you.
Best Regards,
Amit -
Photoshop CS3 color sampler info question
I'm adjusting RGB images in CMYK preview mode using custom ICC profiles. In taking a color sample measurement using Color Sampler tool and Info Window, I can have the sample data display in RGB, CMYK or whatever.
Is there a way to get each sample to display both RGB and CMYK numbers side by side?? This would be very helpful when 'correcting by the numbers'.that's what a figured but thought I should ask anyway. Perhaps it should be added to the feature request list.
Thanks for the confirmation. -
Using color sampler values with curves adjustment layer
Hi, I have just started trying to teach myself javascript. Based on preliminary research, it's become apparent that there are many functions in Photoshop that are either extremely cumbersome or impossible to code by hand without using the Script Listener.
My goal is as follows: first, I will manually load two photos as layers in a single document. Then I will manually place two or more color sampler points on the document. At this point I would like the script to create a curves adjustment layer (ideally clipped to layer 2) and place as individual channel anchor points the RGB data from the color sampler points on Layer 2, and then adjust the output of the points on each channel to the color sampler RGB values of layer 1.
As my first script, I realize this is probably going to be a lot of work.
I did find some code that returns the average value of manually placed color sampler points. Conceptually then, I would need to add code which creates a new curves adjustment layer and adds those RGB values (from a specific layer) as anchor points on the individual channels, and then hides one layer and looks at the RGB values of the color sampler points, and uses them as the output values for each anchor point.
Sounds simple enough from a conceptual standpoint.
I'm looking for some guidance on how to get started.
Which parts will I definitely need Scriptlistener for and will that be adequate to do the job?
How would you recommend I get started on this?
Thanks very much for any input.The function I had provided was an example into which you would need to feed the values you got with Mike’s code.
The code below would create a Curves Layer as shown in the screenshot, but I’m not sure it would work reasonably for all cases.
// with code by mike hale;
// 2012, use it at your own risk;
// call the function to run the script
#target photoshop
createCurveAdjustmetFromColorSamplers();
// create a function fo hold most of the code
function createCurveAdjustmetFromColorSamplers(){
// first add some condition checks
// needs an open document in a color mode that supports layers
if(app.documents.length == 0 || ( app.activeDocument.mode == DocumentMode.BITMAP || app.activeDocument.mode == DocumentMode.INDEXEDCOLOR ) ){
alert('This script requires a document in Greyscale, RGB, CMYK, or Lab mode.');
return;
// check for at least two colorSamplers
if(app.activeDocument.colorSamplers.length < 2 ){
alert('This script requires at least two colorSamplers.');
return;
// last check for at least two layers - assume they will be on same level( not in layerSet )
if(app.activeDocument.layers.length < 2 ){
alert('This script requires at least two layers.');
return;
// create varaibles to hold the colorSampler's color property for each layer
// for the bottom layer
var outputArray = new Array();
// for top layer - array could also be created this way
var inputArray = [];
// store the number of samples because it will be needed in more than one place
var numberOfSamples = app.activeDocument.colorSamplers.length;
// hide the top layer
app.activeDocument.layers[0].visible = false;
// collect the samples from the bottom layer
for(var sampleIndex = 0; sampleIndex < numberOfSamples; sampleIndex++ ){
outputArray.push(app.activeDocument.colorSamplers[sampleIndex].color);
// turn the top layer back on
app.activeDocument.layers[0].visible = true;
// collect those samples
for(var sampleIndex = 0; sampleIndex < numberOfSamples; sampleIndex++ ){
inputArray.push(app.activeDocument.colorSamplers[sampleIndex].color);
// make sure the top layer is the activeLayer
app.activeDocument.activeLayer = app.activeDocument.layers[0];
// create arrays of the color values:
var theArray = [[0, 0, 0, 0, 0, 0]];
for (var m = 0; m < inputArray.length; m++) {
theArray.push([inputArray[m].rgb.red, outputArray[m].rgb.red, inputArray[m].rgb.green, outputArray[m].rgb.green, inputArray[m].rgb.blue, outputArray[m].rgb.blue]);
theArray.push([255, 255, 255, 255, 255, 255]);
// sort;
theArray.sort(sortArrayByIndexedItem);
// makeCurveAdjustmentLayer();
rgbCurvesLayer (theArray)
////// make rgb curves layer //////
function rgbCurvesLayer (theArray) {
// =======================================================
var idMk = charIDToTypeID( "Mk " );
var desc5 = new ActionDescriptor();
var idnull = charIDToTypeID( "null" );
var ref2 = new ActionReference();
var idAdjL = charIDToTypeID( "AdjL" );
ref2.putClass( idAdjL );
desc5.putReference( idnull, ref2 );
var idUsng = charIDToTypeID( "Usng" );
var desc6 = new ActionDescriptor();
var idType = charIDToTypeID( "Type" );
var desc7 = new ActionDescriptor();
var idpresetKind = stringIDToTypeID( "presetKind" );
var idpresetKindType = stringIDToTypeID( "presetKindType" );
var idpresetKindDefault = stringIDToTypeID( "presetKindDefault" );
desc7.putEnumerated( idpresetKind, idpresetKindType, idpresetKindDefault );
var idCrvs = charIDToTypeID( "Crvs" );
desc6.putObject( idType, idCrvs, desc7 );
var idAdjL = charIDToTypeID( "AdjL" );
desc5.putObject( idUsng, idAdjL, desc6 );
executeAction( idMk, desc5, DialogModes.NO );
// =======================================================
var idsetd = charIDToTypeID( "setd" );
var desc8 = new ActionDescriptor();
var idnull = charIDToTypeID( "null" );
var ref3 = new ActionReference();
var idAdjL = charIDToTypeID( "AdjL" );
var idOrdn = charIDToTypeID( "Ordn" );
var idTrgt = charIDToTypeID( "Trgt" );
ref3.putEnumerated( idAdjL, idOrdn, idTrgt );
desc8.putReference( idnull, ref3 );
var idT = charIDToTypeID( "T " );
var desc9 = new ActionDescriptor();
var idpresetKind = stringIDToTypeID( "presetKind" );
var idpresetKindType = stringIDToTypeID( "presetKindType" );
var idpresetKindCustom = stringIDToTypeID( "presetKindCustom" );
desc9.putEnumerated( idpresetKind, idpresetKindType, idpresetKindCustom );
var idAdjs = charIDToTypeID( "Adjs" );
var list1 = new ActionList();
var desc10 = new ActionDescriptor();
var idChnl = charIDToTypeID( "Chnl" );
var ref4 = new ActionReference();
var idChnl = charIDToTypeID( "Chnl" );
var idChnl = charIDToTypeID( "Chnl" );
var idRd = charIDToTypeID( "Rd " );
ref4.putEnumerated( idChnl, idChnl, idRd );
desc10.putReference( idChnl, ref4 );
var idCrv = charIDToTypeID( "Crv " );
var list2 = new ActionList();
// add r points;
for (var m = 0; m < theArray.length; m++) {
addCurvePoint (list2, theArray[m], 0)
desc10.putList( idCrv, list2 );
var idCrvA = charIDToTypeID( "CrvA" );
list1.putObject( idCrvA, desc10 );
var desc15 = new ActionDescriptor();
var idChnl = charIDToTypeID( "Chnl" );
var ref5 = new ActionReference();
var idChnl = charIDToTypeID( "Chnl" );
var idChnl = charIDToTypeID( "Chnl" );
var idGrn = charIDToTypeID( "Grn " );
ref5.putEnumerated( idChnl, idChnl, idGrn );
desc15.putReference( idChnl, ref5 );
var idCrv = charIDToTypeID( "Crv " );
var list3 = new ActionList();
// add g points;
for (var m = 0; m < theArray.length; m++) {
addCurvePoint (list3, theArray[m], 2)
desc15.putList( idCrv, list3 );
var idCrvA = charIDToTypeID( "CrvA" );
list1.putObject( idCrvA, desc15 );
var desc20 = new ActionDescriptor();
var idChnl = charIDToTypeID( "Chnl" );
var ref6 = new ActionReference();
var idChnl = charIDToTypeID( "Chnl" );
var idChnl = charIDToTypeID( "Chnl" );
var idBl = charIDToTypeID( "Bl " );
ref6.putEnumerated( idChnl, idChnl, idBl );
desc20.putReference( idChnl, ref6 );
var idCrv = charIDToTypeID( "Crv " );
var list4 = new ActionList();
// add b points;
for (var m = 0; m < theArray.length; m++) {
addCurvePoint (list4, theArray[m], 4)
desc20.putList( idCrv, list4 );
var idCrvA = charIDToTypeID( "CrvA" );
list1.putObject( idCrvA, desc20 );
desc9.putList( idAdjs, list1 );
var idCrvs = charIDToTypeID( "Crvs" );
desc8.putObject( idT, idCrvs, desc9 );
executeAction( idsetd, desc8, DialogModes.NO );
return app.activeDocument.activeLayer;
////// add curve point //////
function addCurvePoint (theList, valueHor, theNumber) {
var desc11 = new ActionDescriptor();
var idHrzn = charIDToTypeID( "Hrzn" );
desc11.putDouble( idHrzn, valueHor[theNumber] );
var idVrtc = charIDToTypeID( "Vrtc" );
desc11.putDouble( idVrtc, valueHor[theNumber+1] );
var idPnt = charIDToTypeID( "Pnt " );
theList.putObject( idPnt, desc11 );
////// sort a double array, thanks to sam, http://www.rhinocerus.net/forum/lang-javascript/ //////
function sortArrayByIndexedItem(a,b) {
var theIndex = 0;
if (a[theIndex]<b[theIndex]) return -1;
if (a[theIndex]>b[theIndex]) return 1;
return 0;
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