Hard light transparency in CMYK

Hi,
I was playing with a RGB document, and I noticed that with 100% hard light transparency, a 20%K path will be a highlight, a 50% transparent and an 80% path would be darker. Neat! But how can I get the same behaviour in CMYK color mode?

You can't get this behavior in CMYK mode. But if you flatten
your art before you convert to CMYK it will retain the "Look" of
the hard light effect.

Similar Messages

  • Transparency in CMYK color mode

    Windows XP Pro, Photoshop CS3
    It seems  that one can only retain background transparency if image file is saved in PNG or GIF file format. It also seems that one cannot save to these file formats if graphic is in CMYK color mode - one must be in RBG mode to do so. How can I retain image with transparency in CMYK color?

    I am starting with a TIF image in RBG color mode, a tree with grass in the background and foreground for example. I would like to eliminate the grass, make that background and foreground transparent with the background eraser tool so that only the tree remains and that when the tree is superimposed on a second image the background and foreground surrounding the tree will be that second image. In order to make the background and foreground of the tree transparent I have to save the file in GIF or PNG format since transparency doesn't seem work with TIF files however I cannot convert the GIF or PNG files from RBG to CMYK. CMYK doesn't seem work with those file types.
    From: J Maloney [email protected]
    Sent: Sunday, September 27, 2009 4:00 PM
    To: Todd Beckerman
    Subject: Transparency in CMYK color mode
    PSD, PDF or TIF. Retain transparency for what?

  • Where is the hard light blending option in CS6?

    there are all the normal opacity blending options but a few missing, can hard light be found anywhere else?

    Hi Kurt.
    I think it was an app issue because it is now working in CS5
    I had CS5 running when I started CS6 and CS6 bombed out loading some files. Workspace was trashed, menu items missing. So I closed it, switched to CS5 did the thing with the two overlapping rectangles, no hard light change.
    I then trashed prefs for CS6, started it and the hard light worked.
    Just now starting CS5 to take the screen shots it worked fine. So it is a mystery.
    Take care, Mike

  • Soft light and hard light

    There are different types of light heads... and most can be categorized as soft lights or hard lights.
    Some pars ( hard light ) can accept different lenses to focus the beams
    lights with fresnel lenses are hard lights.
    A zip light is a soft light.
    no matter how close or far away a light is from the object being photographed , that light remains a soft light or a hard light.
    What changes when moving a light further away , or closer, is the INTENSITY of the light.. not the quality of the light source.
    So if I move a soft light closer to my subject, the intensity increases, the shadow changes due to a couple factors ( maybe someday we can yap about that but not now ).
    If I move the soft light further away from the subject, the intensity decreases.
    The intensity is generally measured in foot candles.. and light meters use sensors to measure the intensity of the light ... and that reading is generally zone 5 , the mid tone of scale.
    Now, If I take a hard light and put diffusion between the light and the subject, that light head is a hard light but the light source hitting the subject is now changed into a soft light.
    This is done by the way the diffusion material spreads the light within its fibers and how it transmits the light through the material...
    people who make color gels and diffusion materials have spec sheets and that information in their swatches which can be ordered free from rosco and lee ...
    So once again... moving a light futher away or closer does not change the quality of that light except for the intensity....
    People who need to communicate with each other about lighting have to know these things. If you don't work with anyone like that then you don't need to know this stuff.
    For example, if I use my walkie talkie and speak to my crew member on the 2nd floor balcony... and say, " Put an inkie on that plant near the guard rail " the person I am speaking to will know it is a hard light I want on the plant.... I may or may NOT ask for some diffusion ... on the doors of the inkie or in a frame further from the light ... maybe some opal or 250 or whatever....
    But because I am working with other people we all need to know what a hard light is and what a soft light is... and what intensity of light means.... ( add a double scrim do knock off a couple stops or single scrim to knock off one stop, or move light further away ?? )
    I seriously hope this clears up the confusion

    thanks for your input guys... yeah, there's tons of stuff to finesse lights and more than one way to skin a cat.. sometimes what you HAVE to work with is a reality.. due to budget or number of heads available on a job.. lots of variables.. also there are guys who have preferences ... like once you know what the director is looking for ( mood etc ) and see the location ( wndows and practicals ( sources )... or see the set and all that ... the lighting has a lot of hoops to jump through.  Plus for every angle ( master and med and tight shots , coverage on axis, is re - light ....embellishments, etc... work is a busy activity ( strike, re light all day long )....
    The main thing is to get the basic vocabulary right to begin with.  Once that's done and understood mutually ( everyone knows the basics ) then it's really a ton easier to start finesse and tweak things... but the basic vocabulary is a must....and that included the types of heads that exist ... in this case this thread starts with the most simple of that vocabulary .. what a hard light is and what a soft light is... ( heads )... and what intensity is ( F Stop )... thats the basics.
    If I take a hard light like a 2k fresnel mole richardson tungsten lamp.. and go from spot to flood... that light gets less intense, more spread out , and indeed a little softer.... If I flood it and pinch the doors really tight.... I get the light quality without letting the " spread " go all over the place...
    Once the basics are understood for the purpose of yappin about what to DO to light something... substitutions and alternate methods ( same result desired but using what is available ) is way easier to communicate, often with walkie talkies ... electricians on channel 2, grips on channel 5, production on channel 1... you know, the usual thing...
    Anyway, thanks for adding to this thread....
    The shot of girl was strobe heads ( my first test of using strobes with mamiya rb67.. never had strobes before ...only tungsten ).  I didn't have enough power in the house to get an F stop with the tunsten lights... ( 10 amps per 1000 watts with safety added.. prabably closer to 8 amps in reality ) .. so I bought some inexpensive strobes. Only had one power pack and 4 heads
    I rented grip stuff from a friend's equipment house... ( flags, nets, grip stands, etc ).  I made home made snoots for the strobe heads out of showcard and some of those snoots had 216 on them.. but the main reason for the snoots was to keep the light from going all over creation...
    key was snoot with 216 through a 4x4 silk or grid cloth , with 4x4 solids ( sides and top ) and a duvateen skirt to kil bounce off floor... basically a soft light box sorta thing.
    key was camera right about 4 feet from center and probably head height ( center of silk )
    Some flagging to keep key off back seamless. The wrinkles on seamless gray killed me.. had to use a head to blow that out ....bummer.
    4x4 bead board camera left and slightly behind girl for fill on that side.
    hair light ( back light ) with snoot and diffusion up high and camera right behind girl.. pretty much useless depending on pose ( where she ended up moving etc ). Was alone so couldn't adjust stuff cause I was shooting ... which is why I lit it before she got there...
    eye light snoot with diffusion WAY behind camera just above camera so I wasn't blocking it..and I think I hit the switch on that strobe that knocks off a stop no that head.
    mighta had some other stuff too but thats the basics.. pretty simple...

  • Save transparency in CMYK format

    I just create two  new documents in CMYK color space for print press.
    It`s like a bio sheets with letters and a photo of mine.I want to print that in a special texture paper that i have so i want to preserve document`s transparency.
    So far i see that the only format that preserve transparency is TIFF with "preserve t/p" check
    Is there any other or better suggestion?
    thanks in advanced!!

    psd supports transparency.
    But if there is type involved any pixel based file format seems like a bad choice.
    Why do you need transparency anyway when you print on some particular paper?

  • Problems converting layered rgb files with transparency to cmyk files retaining the layers.

    10.7.4/Mac Pro/PhotoshopCS6 13.0 - When cmyk converting a multilayered rgb file layers containing transparency doesn't convert to same profile as layers not including transparency, e.g. a product with a shadow - each on separate layers. the product layer is converted to working Color settings but the transparent layer isn't and is converted completely different, both grayscale and UCR/GCR.
    Any suggestions?
    Tom

    Sorry c.pfaffenbichler, but I'm not giving in - and as you have not really produced any facts to explain this I will see this as a Photoshop bug.
    If you make a simple two-point gradient in CMYK the gradient will (according to your settings) create a transition between the two colors.
    If one of the colors is 87/78/64/92 and the other 0/0/0/0 then the resulting intermediate steps will depend on those two colors – the CMYK space’s GCR settings have no influence here.
    Edit: To clarify: The CMYK space’s GCR settings determine how the default »black« is formed, but a gradient in CMYK is not dependent on those GCR settings. Otherwise all gradients would have to be dragged through the PCS and that would not make sense if somebody decides to make a gradient with certain CMYK colors.
    And as I have tried to explain: A black to transparent gradient layer is basically a black layer with a transparency, so again: the CMYK GCR settings do not play into this.
    Just convert a RGB black to transparent Layer to CMYK, rasterize it and then apply Layer > Layer Mask > From Transparency, then turn off the Layer Mask.
    Whether you »give in« or not does not change the way these things are.
    knowing there's a flaw in Photoshop, not letting us see what transparents really look like when converted...?
    The flaw seems to be in your understanding, not in Photoshop.
    Working in RGB and CMYK has relevant differences.
    In RGB there is true black, in CMYK true black would have to be 100/100/100/100 which would violate the requirements for many or most processes.
    And a CMYK space’s GCR settings are applied in conversion, when you yourself work in CMYK and commit a blunder (meaning things like exceeding the TAC, arbitrarily mixing grays, …) the problems are of your own making.
    Edit: To restate: »expecting a layered image to appear identically in RGB and CMYK is simply not sensible depending on the image content and structure.«
    The two color models are inherently different, the one additive, the other subtractive.

  • RGB Logo uses Overlay transparency... need in CMYK for print but color changes in overlay

    I am working with a logo someone else created in RGB using the Overlay transparency. When I convert it to CMYK just one area seems to "change color".
    I tried inserting both versions here - but it isn't working too well. Basically, in the image below the outline of the "scales" appears darker in the CMYK version for printing. Any ideas on how I can adjust it to print in the same vibrant color the RGB is showing?

    fill in info RGB is light (like on your screen) and adds more light when mixed, CMYK are pigments and adds more color or multiplies, when mixed

  • Problem with cmyk transparency blending in Indesign cs6

    Hello everyone! Please give me someone an information about this issue...
    All i have in indesign is cmyk color space in all contents, i have set up the transparency blending option to CMYK (edit > transparency blending > cmyk) but when i set the gradient feather on image 1 i have very bad result the transparency is greyscaled not transparent.
    I try everything but nothin works for me, please help me somebody.
    example 1 show the bad result in cmyk blending transparency
    example 2 show the better result with rgb blending transparency with cmyk contents !!!
    why i can not set the cmyk transparency blending option? because i have bad result and i do not uderstand that

    please explain me the difference in this proces because i do not understand that...
    The effect of transparency changes depending on the color mode, that's why you get this warning when you try to change color modes in Photoshop when there is transparency:
    I can replicate your problem in Photoshop by layering transparent black on an RGB and CMYK version of the same image (Here are the 2 example files—http://www.zenodesign.com/forum/TransExample.zip) :
    InDesign makes things even more complex because you can have different transparent color modes on the same page and you can choose different blending spaces. If color is important I take the extra time to create transparency in a Photoshop RGB file where there's more color contol and I can see the affect of a CMYK conversion and flattening.

  • Converting CMYK design to K+1PMS

    Hello,
    My design was originally created as a CMYK. Now, it needs to be converted to a Black + one PMS. Using channels, then copying and pasting portions into a new PMS channel, I thought I had it. However, two portions of the design are not looking right, and they were grayscale from the get-go!:
    1) The grayscale photo I placed in the design is very washed out and I don't know why. It almost appears like it has hard light on it.
    2) The grayscale illy design that I placed in this Photoshop design is also washed out.
    Any ideas? It's almost as if the mid-range color (albeit grayscale) has been lost.
    Thanks in advance for any advice. I'm placing the design into an InDesign piece, and have half a mind to just delete the photo and graphic from Photoshop, and then bring them in straight into ID.....but I'd love to know where I've gone wrong in the Photoshop conversion.
    Thanks again,
    Cynthia

    Duotone? Set to black and your PMS color.

  • Blending Modes ("vivid light") in After Effects?

    I discovered that in After Effects CS6 (Win7) some blending modes seem to not work as expected.
    I have a bitmap with transparencies above another bitmap and want to blend it with "vivid light" - but the result is the same as if i had no blending mode selected at all. The same is for "hard light", "linear light" or "hard mix".
    Other blending modes like "multiply", "soft light" and "overlay" work just fine.
    Does anyone have an idea what is wrong with my After Effects?

    I'm sorry for not being as specific as requested in the faq. I thought it might be more helpful to reduce the problem description to the most relevant facts first, and see if it can be solved in a simple way.
    My former experiences with providing all existing information in the first post is usually met with no answers at all, because people think: WOAH! Too much information. ;-)
    Okay, I designed my video design in Photoshop CS6 first. This is how the design was supposed to look like - as it was composed in Photoshop.
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    The render quality is set to final quality.
    The same happens with blending modes "hard light", "linear light" or "hard mix" (i guess, you don't need screenshots, because they all look the same)
    But other blending modes like "multiply", "soft light" and "overlay" work fine (in this case I used "overlay"):
    So, the problem is: Why do some blending modes not work, while others work?
    BTW: I also tried to import the PSD directly into After Effects with all layers retained, in case something was wrong with the pngs, that I exported - but the imported PSD produced exactly the same error. So, no difference there.
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    If you are getting error message(s), what is the full text of the error message(s)?
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    What were you doing when the problem occurred?
    see above
    Has this ever worked before? If this worked before by doesn't work now, what has changed on your computer in the intervening time?
    it's the first time I tried
    What other software are you running?
    mainly software like Google Chrome or Microsoft Office - I'm not sure they have anything to do with the problem
    Do you have any third-party effects or codecs installed?
    I have Magic bullet looks installed, but since I don't use it in this project, I don't think it's got anything to do with the problem
    Tell us about your computer hardware. Include CPU type and number of processor cores, amount of RAM installed, GPU, number of disk drives, and how any external drives are connected.
    Intel something, 6 cores, 12GB RAM, and NVIDIA GTX 590 graphics card, (driver 306.97)
    Do you have any third-party I/O hardware (e.g., AJA, Matrox, Blackmagic, MOTU)?
    no
    Are you using OpenGL features in After Effects?
    I don't know.. I thought OpenGL in CS6 is all automatically and can not be turned off or on?
    but i switched quality to "final render".
    Does the problem only happen with your final output, RAM preview, or both?
    everywhere
    Are you using Render Multiple Frames Simultaneously multiprocessing?
    yes. but if I turn it off, nothings changes
    What is the exact sequence of steps that you are taking?
    see above
    hope this helps

  • How can I copy light from one window to another in a photo?

    I am looking at printing an image I shot last winter as our Christmas card this year. There are three windows in a mediaeval building, each composed of multiple leaded panes and the one on the extreme left is lit. My partner would like to have the middle one lit as well. Is this feasible without commiting huge amounts of time to the project or do I need to rebook the snow and arrange a reshoot?

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  • Many brush and artistic filters don't handle transparent pixels

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    Hello,
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