Human lips color transform

Hello everybody!
I’m trying to make photorealistic human lips color change. I do following steps:
1.       Create photo bitmap copy and transform it to grayscale.
2.       Create sprite, fill it with necessary color and set BlenMode.OVERLAY to colorize the grayscale photo.
3.       After that I draw mask of lips form and apply it to container with grayscale photo and overlay sprite.
That’s how I make lips to have other color. But! I have two problems:
1.       Transformed lips color is not similar to applied color. Light colors especially...
2.       Lips mask has sharp edges so the lips doesn’t look realistic.
I will appreciate any advises and information of how to improve the quality of my work.

After more inspection, I've figured out it's not the
colorTransform causing the problem, it's turning a drop shadow
filter on or off...
Not sure how much code I would need to attach, but that's
where the problem is.
Thanks.

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Dear DLScreative,
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After more inspection, I've figured out it's not the
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Thanks.

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Thanks for the answer Rob.
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Oh boy... this seems to be an issue with your manager wanting it done 'NOW' rather than 'CORRECTLY'.
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Show them an example of how 'easy' it is to change the colors CORRECTLY when the images are seperate (even in the same file)
The secondary will give them the 'all in one file' they requested... and also give you solid grounds for convincing them to change the graphics.
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I'm constantly confused about which color space and bit depth to choose for various things.
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Do realitze hat the original image in 12 to 14 bits is in linear gamma as that is how the sensor reacts to light. However formats for display are always gamma corrected for efficiency, because the human eye reacts non-linearly to light and because typical displays have a gamma powerlaw response of brightness/darkness. Lightroom internally uses a 16-bit linear space. This is more bits than the 12 or 14 bits simply to avoid aliasing errors and other numeric errors. Similarly the working space is chosen larger than the gamut cameras can capture in order to have some overhead that allows for flexibility and avoids blowing out in intermediary stages of the processing pipeline. You have to choose something and so prophotoRGB, one of the widest RGB spaces out there is used. This is explained quite well here.
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Actually legacy issues are rampant. Even now, color management is very spotty, even in shops oriented towards professionals. Also, arguably the largest destination for digital file output, the web, is almost not color managed. sRGB remains king unfortunately. It could be so much better if everybody used Safari or Firefox, but that clearly is not the case yet.
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Yes, if you go 16 bits, there is no point not doing prophotoRGB.
Personally, all my web photos are presented through Flash, which supports AdobeRGB even if the browser proper does not. So I don't have legacy browsers to worry about myself.
Flash only supports non-sRGB images if you have enabled it yourself. NONE of the included flash templates in Lightroom for example enable it.
that IE was the last browser to be upgraded for colorspace support (ie9)
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We print on a Durst Lambda RGB imaging device to photographic paper. All color management is done as an early bind (raster files are converted to the printer's color space and vector colors are chosen from a palette database). So basically the files must go through InDesign without any color change in raster or vector information. We have clients that require specific RGB builds for logo colors the are present in both their raster and vector files.
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3) Solid raster colors such as 0-255-0 will reproduce as 0-255-1.
4) The color differences between the raster and vector are usually 1-4 points.
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However, I can go into the InDesign (or Illustrator) color settings and turn color management off (This is our current workflow). In doing this the RGB working space uses the monitor profile and "color management policies" are set to OFF. With these settings the RGB raster and vector match. The problem with this work flow is two fold:
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2) We have had many occurrences where the custom "color management off" settings have reverted back to the default "North American General Purpose 2"without any intervention.
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I believe that setting is an old Illustrator setting that has been saved to effectively turn the color management off. The monitor profile effects the image displayedit doesn't effect the color transform.
Anyway, the color management I want to use is the "North American General Purpose 2".
To reiterate:
The procedure:
1) The file is exported as a PDF 1.4, High Quality, PDF/X_None.
2) The PDF was ripped on a Cheetah RIP (Jaws level 3) with no color management on.
The Problem:
3) Solid raster colors such as 0-255-0 will reproduce as 0-255-1It changes from the original raster color placed in InDesign.
4) The color differences between the raster and vector are usually 1-4 points.
5) The vector is consistent as was input in the programit's only the raster that changes. When you are trying to match raster and vectors logo colors it is a killer.
To summarize, the color of the raster file will change from the original that was place into the documenteven though nothing was selected in InDesign that would change the color (i.e. profile conversion to an output profile or a transparency effect used). The change is slightbut there.

Is there a way to assign Color Spaces in AME (Adobe Media Encoder) CC?

I am trying to output h.264 video for a web project and cannot seem to get sRGB color match when rendering out from AE.
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AME (and Premiere Pro) does not support color management in the way that After Effects does. Via Dynamic Link, which is how AME reads After Effects comps, the color-space-adjusted pixels are not corrected for screen display.
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Moreover, if I save a file on my Mac, and a color value is, say, #cf4640, I want someone who opens the file on a Windows box to get the same color value for that pixel. Ditto for the images I have saved for the webI want the RGB values to be consistent. This does not seem like too much to ask, does it?
Right now, I have turned all color management policies set to Off, working spaces are all set to Generics, and documents are set to "Don't Color Manage"my Windows colleagues also have these same settings. This used to work as expected in CS3we all got the same color values on the same files, and colors didn't shift when viewed in a browser.
Once again, I don't care if the colors *look* the same from platform to platform or screen to screen. I just want consistent RGB values.
Color management has never caused me anything but headachesleave my colors alone, Photoshop! I really really wish there was a "Work Like Photoshop 4" setting for color management.
Does anyone have any ideas how I might solve my problems?
Thanks very much.
Oh, and, incidentally, I was originally thinking of calling Adobe about this; how foolish of me. I looked into it, and can I just say how fantastic it is that you have to pay extra money for actual first-party tech support on a $700 piece of software?

The sounds/language analogy isn't really relevant to this problem, because it suggests transforming between two entirely different media. One medium: the medium of sound information, to another entirely different medium: the medium of thoughts and meanings. That's something that simply can't be done without an intermediate translation. That's not the case with color transforms in the RGB space, where it's just a matter of taking RGB values and pushing them through a matrix to produce other RGB values. That's the process that messes everyone up and creates all the confusing color output, and frankly it's an unnecessary process. Your assertion that the values in a source image have no meaning without an associated profile isn't entirely true. What if those source values were simply pushed directly though to the display? After all, a display simply renders 8 bits of R, 8 bits of G, and 8 bits of B for each pixel.
I think the original poster has some very valid concerns. Sometimes we just want to set some color values, and know that everybody's display, on every platform, will render those color values the same way. As he said, they may not look identical to the eye, but the values going through that DVI cable will be setting that pixel to the same 24-bit value no matter what. That's how things would be if there were no such thing as color management. That's how things used to be long ago, and in many ways the world of color was far more predictable and less confusing back then.
Here's my vision for a perfect world: color management doesn't exist in the RGB space. None. No such thing. Source RGB values in images get pushed right through to the display. The onus is on the display manufacturers to produce hardware that renders those values as consistently as possible. In the world of print, sure- color management is incredibly useful. But if only we could go back in time and keep color profiles out of our RGB, I believe we'd be much better off today.

Why did Adobe get rid of 'No Color Management' option in CS5

I use this option (in earlier CS verisons) when printing digital negatives on transparency film on my Epson 3880. There are a few work-arounds, including a printer utility from Adobe (which only works on tIff files, so it's limitied).
But why, oh why did they get rid of this option in the first place. Did someone just decide, gee, I don't think that's a feature we want anymore in our program, so, puff, it's gone? I hate it when program 'updates' make my work harder instead of easier.
Regards, David

Was DYP wrote:
Can you prove this with a supporting document?
Nope...I was told this by engineers familiar with the initiative...
Was DYP wrote:
ACPU and for that matter i1Profiler sends print image data (untagged I assume) through ColorSync and the print driver the exact same way as Lightroom and PSCS5 do when Application Manages Color is selected when printing. The only difference is that LR and PS do not allow you to send untagged image data.
ACPU does send the untagged data through Colorsync, but the image data gets converted by Colorsync or ACPU to the printer profile chosen in the print driver as set up in the Print window of ACPU...so, since the document is in the final profile space of the printer, the print driver does nothing (null transform). Then you choose don't manage color in the driver. Exactly how ACPU works with Colorsync to avoid having Colorsync to an unwanted color transform isn't clear (would have to ask the engineer that wrote it), ACPU is clearly doing SOMETHING different than Photoshop and Lightroom when sending the image data to the printer.
You can see what profile gets embedded when printing from ACPU by setting up the driver and saving a PDF and opening in Photoshop. When I printed to PDF from ACPU after setting up the driver to use Epson Glossy paper on an Epson R3000, the embedded profile in the PDF was SPR3000 Premium Glossy. Which if sent to the printer should result in a null transform. This is similar to the CS5 work around to tag an image with a color space and have that same color space set in Photoshop Manages Color and set the Printer Profile color space to be the same thus bypassing the Colorsync "generic RGB" transform. However, that work around no longer works with Photoshop CS6 (we were warned that this might happen BTW).
I haven't tried it yet, but it's possible that you could still work around this in CS6 if you take an untagged target, assign the printer profile, then use Photoshop Manages Color with the profile being the same printer profile and then in the driver set do not color manage...actually, scratch that–I just tried that and CS6 pops a warning that "No Color Managment is not supported" when trying to print without the proper color management and to get ACPU with a link to download it. I guess Photoshop got pretty serious about disallowing this sort of printing. Heck, you can't even print to PDF.
On the other hand, the simplest solution for me is to simply print out the target using i1Profiler...

Human lips color transform

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