HVX200 footage color shift

I have a finished project in FCP 5.0.4.
It was originally mxf masters from P2 cards from an HVX200
It looks awesome. It's running at 23.98 in a native sequence of 980x720.
Now that I am done editing, I want to post the finished quickime on the web.
Everytime I encode in compressor, or FCP, the great colors all die and the thing looks like crap. The contrast dies too.
I'l tried pre processing some gamma shifts the opposite way, to try and over compensate.
Nothing has worked and I love how the original footage looks, but as soon as I make the thing into a broadband high web movie, it looks really bad.
please help!!!!

I have had so much luck in the past using the 'broadband-high' default settings from FCP. I have been working a lot with 720x486 10 bit uncompressed files that I then compress and down-res using the default 'broadband-high.' And with this setup, the colors stay exactly the same and I can barely see any compression artifacts. Now that I am in HD, first of all I have to use a custom pixel dimension, I am trying half at 640x360, but keeping all the other settings from 'broadband-high' the same. I am making an .mov file.
I color corrected the whole project to be slightly washed out, I took the black levels in FCP and made them blue, I was trying to simulate an old polaroid feel. But in the .mov file conversion process, things get even more washed out and the chroma and contrast go off even more than I wanted.
I read somewhere about the HD color space versus SD color space, is something happening there? I did output a movie that was a native(same compression as the footage) 720p24 file at 1280x720 and not 960x720. And it looks perfect, but I can't really post that on the web.
You can see the mov at
http://jonathankrisel.com/firstpass.mov

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PLEASE HELP - COLOR SHIFTING PROBLEM on output NTSC monitors

http://www.smmlv.com/testproject/
Above is a link to a layered photoshop file that has a USA map and over a dozen network overlays used in a section of our video. I animate each layer on sepeartely in the video and have noticed a major problem recently, the color of the art does not hold true to placement. I created the art originally in Illustrator and then converted the file to Photoshop at 640x480, 72dpi. This has always worked perfectly in the past to display and animated artwork in FCP.
Right now, in FCP I am using the NTSC DV 3:2 frame size, and the compressor of DV/DVCPRO - NTSC. I have a JVC Profressional DV deck that hooks up through firewire and sends S-Video to my monitors. This setup has always given me a great picture even though it is not completely upcompressed. Using these settings and this art, the color lines on this map in red, light blue, yellow and purple all have a "color shift" to the left about 5 pixels. It makes it appear that the line is where it is in the file, but the color overlaying the line is offset to the left 5 pixels and transperant to about 50%. This occurs only when viewed on some TV's and NTSC monitors and projectors. The strange thing is, some monitors display the color aligned almost perfectly on these maps and other monitors and projectors show this "digital halo" of color shifting really bad. If I take the layered network overlays in these colors and color tint them to black or grey, white, light green, or even light orange, they no longer have the color shifting and the detail is perfect.
Is there any way to fix this problem? I have tried duplicating the sequence and setting the compressor to 8bit Uncompressed, and while my captured footage is not this compression, in theory the art should render at this higher resolution setting. This did nothing to solve the problem.
I also have tried using different Broadcast safe and Y/C corrector filters with different results. The Y/C filter allowed me to reposition the color problem and thus removing most of the problem, but also removing most of the color. Nothing else has allowed me to seemingly move the color into the proper possition.
What is causing this color shift on the displayed NTSC image?
In FCP 4.5 I can see my rendered video in the program viewer screen and besides the pixel compression appearing on the lines, overall the video looks great paused or even better when playing. Then you view it through my deck onto my Pro Sony NTSC 19" color monitor and it also appears great, with a slight color halo to the left of these colors, but the color in the lines are there. If you are a few feet from the screen and know what you are looking for you might see it, but doubtful. Then you view it using the same signal on a 17" Samsung TV and the color shifting makes the map and other art, like the clients blue logo, look horrible, with each color line appearing twice and offset left from each other as if you had double vision. Normally I would think it is the TV causing this, but then we tested this same movie on 2 differnt projectors. The $700 Epson projector displayed everything beautifully, again with only the slightest color halo to the left, but then the Panasonic $4000 projector made everthing in these colors look double vision again. What is going on???
One more thing to keep in mind, my color bars also show this problem with these colors as well as shot footage of these facilities. There are tall red poles in the shots and everything displays fine except for the red pole color looks like it's glowing off the pole to the left.
PLEASE tell me there is a solution to this.

I have tried Degaussing, using filters, changing cables, and testing other monitors and systems on these monitors, everthing I can think of to solve the issue. Is it FCPo or is it the monitors?... or is it a signal strength thing. Can monitors and projectors shift color when the signal is read from a DVD or Mini DV Deck? Is there a fequency difference (Ie: 75mgz or 80 mgz) that might be causing the shift in some monitors and not so badly in others. But if this was true, how would some DVD's (like Baby Einstein DVDs that use really bright colors) display red and blue perfect using these same player and monitor, while my projects is shifting color? Doesn't that rule out the signal from the DVD player if other DVD's do not have this issue?
I have uploaded the original art used, an exported .jpg file from the FCP timeline and sample photos of 2 different monitors to show to show this problem as best I can. http://www.smmlv.com/testproject/
Someone out there must have had this problem before. There's no way a color shift problem like this with Mini DV has gone on this long without someone seeing it.
One last thing about what I have tried... I do understand that with editing in Mini DV instead of uncompressed or HD video I lose a bit of resolution (4:2:2) and I see this compression occuring in some of the areas in the video where these problems persist. But, I did remake the art and rerender this project in an 8bit uncompressed settings and then displayed that up on the screen and I get the same color shift. I keep going in circles trying to find the culprit that is causing the delema.
PLEASE HELP! There are large tours going through our facilities daily and the large screen projector is displaying this problem as well. Let's just hope they don't notice and that their TV's at home or office does not display it on our final DVD's made.

Premiere Pro CS6 and Media Encoder CS6 Color shift on export

Hello,
I am working on an early 2008 Mac Pro with 2 X 3.2 GHz Quad Core Intel Xeon Processors 32 GB of RAM a NVIDIA GeForce 8800 GT 512 MB Graphics Card and I am running OS X 10.8.2.
I have the updated Version of Adobe Premiere Pro CS6 and Media Encoder CS6 through the awesome Subscription program that Adobe has started.
My footage is shot with the Canon 1D Mark IV shot 1920X1080 at 24 FPS
I am importing the camera files and then exporting them after I cut them up in to Quicktime Pro Res 422 HQ files
With the technical explination out of the way here is my problem. I have color right from the camera files that I like. and with out doing any thing to change the color I export the footage and get a dramatic color shift. The exported file looks desaturated and slightly green.
I have tried using Media Encoder CS6 to export my footage and that has the same result.
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I have attached three screen shots that show the color shift exactly. Now what I need is a solution. What I am not seeing is color settings for Premiere. I am totally open to any suggestions on what I might be doing incorrectly.
Ben

Benjamin Peterson wrote:
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I've been doing this for a few years now, and have come to some conclusions. Basically, the difference between still photography and video is like the difference between playing the trumpet and the sax. What you bring to the sax from playing trumpet is your ability to read music, what you know about composition, blending while playint with others, ect. But playing trumpet tells you nothing about how to physically play a sax. So it is with still photography and video.
For starters, your carefully calibrated computer monitor is just that, a computer monitor. It doesn't display the correct working space for video. What you need for WYSIWYG in video is a monitor that can show you the Rec.709 working space. Rec.709 has a different gamut, a different gamma, probably a different white point (D65), different phosphor colors, etc., etc., etc. Enought differences that it's difficult to make a computer monitor that can successfully display Rec.709. Yet there are a couple of computer monitors that can do this (a few Eizos, one HP). The vast majority of people doing serious color correction work in video use a production monitor for just this reason.
But a production monitor isn't enough. You also have to make sure that the signals you're sending the production monitor are correct. There's a sub-industry making signal converters for signals from NLE video cards (usually RGB based) -> signals for production monitors (usually YUV based).
That said, it is certainly possible to get a very good match between your NLE suite and a DVD / BD as displayed on an HDTV. But it's not as simple or easy as a calibrtated computer monitor for still photography use.
This is probably part of your problem. But Quicktime is probably the root of it. Quicktime is, well, I guess the polite way of saying it is that Quicktime is problematic. It gives all kinds of problems. Most people have abandoned it. You should too.

What would cause a color shift?

Hi,
I've noticed that sometimes in my videos in a frame or two the color shifts completely. Please see attached images. As you can see in the second image, the color has shifted and the image has a greenish tint to it.
I do not see this shift in the original footage.
I have applied Auto Colors, Auto Levels and Brightness & Contrast to the entire footage. Do you think that has something to do with it? If so, how do I correct that one frame?
Normal color
Color shifted frame:

Is it left out of PrE9 so that people would get Pr Pro?
Well, I would put it another way. PrPro is about 6x the price of PrE, and is intended for a different demographic. I would say that it's a case of offering more for the $ spent. In PrPro, I do not use any Auto Effects, but use their manual counterparts, but that is a lot more work. To me, it pays off. To most of the users of PrE, I doubt that they'd ever even go there. Most want a simple, easily applied Effect, that does a pretty good job. In the PrPro community, many are editing material for commercial broadcast uses, so even a different audience.
Now, PrE 9 is new. I have not read all that much on it, yet. I do not know what might have been added there, but Steve, Neale, ATR and others, will be able to tell you if there are manual alternatives for the Effects that you are using. In PrPro, for Color Correction, there are about 12 different Effects, that start off easy, and then work up rather quickly. By the time that one gets to 3-Way Color Corrector, the editor had better know how to use the scopes in PrPro, or they will be lost completely.
Wish that I could be more helpful with your issue, and it does appear to be an issue. Usually, when the Auto Effects cause issues, the lighting, etc. has changed enough to fool the algorithms that control the Effect. That does not seem to be the case in your examples. That is what puzzles me.
Good luck,
Hunt

QuickTime color shift in KN 08 vs 09

I am working with two different content contributors, Frank and Frannie, to create an iMovie based on some animated Keynote slides that share the same design template. I created the template in Keynote 08, and shared a copy with Frank, who also uses KN 08, and Frannie, who uses 09. Both are running G5 machines with 10.4.11.
I'm putting Frank and Frannie's QuickTime clips, which were both exported using the exact same export settings (H.264, best quality), into my copy of iMovie (v. 6). But talk about strange: The background color and Frank and Frannie's exported QT clips, though created from the exact same original template, are different! The nice aqua blue exported from Frank's older copy of keynote is much truer to the original template than Frannie's, which was exported from KN 09. Her QT footage is a different shade of blue--not as attractive.
Unfortunately, Frank can't get a copy of Frannie's Keynote presentation and export it for her--Her file format is too new. Plus, we don't want to have to face this workflow issue in the future. Is there any way to prevent Keynote 08 and 09 from exporting these colors differently?

Is Fannie on Snow Leopard and is Frank using Tiger? More specifically, does Fannie have Quicktime X and does Frank have Quicktime 7 or earlier?
I've found a huge color discrepancy when exporting Keynote 09' presentations to quicktime in Snow Leopard especially when using the H.264 codec. Using the Animation codec yields the best results but the file sizes are massive. Haven't had this problem in machines running KN-09' in Tiger though. There's a slight color shift between the presentation and the exported movie but not like in snow leopard.
I've done some snooping around and Quicktime X may be a culprit, but haven't had time to test yet. will keep you posted.

Significant color shift between FCP and COLOR?

Hi there,
I get a significant color shift when sending footage - either adjusted or unadjusted/unmodified - from FCP to COLOR.
Before anyone asks, the color shift is visible both internally or on an external broadcast preview monitor.
From within COLOR, I 'send' back to FCP this sequence - which is still without any form of adjustment (apart from being sent to COLOR), the apparent color shift is now visible/added to the imported sequence (from Color).
I've tried this on three separate Macs:
1. The Mac above (6.0.6). (Leopard)
2. A Mac with the same version of FCP as above. (Snow Leopard)
3. FCP and on a third Mac with an earlier version of FCP. (Leopard)
Does everyone have the same problem?
If not, does anyone have a solution?
Cheers,
Dan
PS: I've tried:
FCP > Color ProRes contrast shift
http://discussions.apple.com/thread.jspa?threadID=2150962&tstart=75

I had the same problem except that I am using version 1 of color and Final Cut Pro 6. I isolated just the video and double checked that I had no filters or if I did I turned them off. I had a smooth cam filter on one shot, but that didn't effect it. I was then able to send it to color without issue, once I had no sound or filters or transitions messing up the pass between final cut and color. Try doing the same, just duplicate or copy your timeline to a new timeline. I would have rendered your footage out to ProRes however as using the DVC Pro codec is probably not ideal. Color also only works with actual full raster files, not so good going from HDV or DVC Pro as they have an anamorphic frame size. This may be causing issues also.

Color Shifts when rendering to H.264 Blu-ray

Since upgrading to After Effects CS5 I am seeing the following:
Whenever I render out a video file using the "H.264 Blu-ray" Output Module option, the resulting m4v video has a different color appearance than the After Effects composition from which it was rendered. The rendered file appears to have a yellow cast to it, especially evident in red highlights. This appearance is seen within After Effects (after importing the file and dropping it in a composition) as well as in VLC media player. In addition, a blu-ray disc created using the m4v file also has the yellow appearance when viewed on an HDTV. In other words, the color shift is consistant in various players as well as within After Effects itself.
Here is the bug report I submitted:
******BUG******
Concise problem statement:
Steps to reproduce bug:
1. Create a project with HDTV (Rec. 709) color space, 8 bit.
2. Import a 1920x1080 video file (any kind).
3. Render out to H.264 Blu-ray (using project color space).
4. Import the resulting m4v file and compare it to the original video.
Results: The color has been shifted; has a yellow cast to it.
Expected results: the color should appear the same for the rendered file as the original.

Chris,
Thanks for your input.
"I can assure you this isn't a widespread problem as I've rendered a fair amount of h.264 directly out of AE and haven't noticed it. Nor have I heard anything from our testing department."
Try this simple test:
Make a 1920x1080 comp in AE with your choice of footage, using any AE settings/color management etc. you want to.
Render to format "H.264 Blu-ray" (or plain "H.264") with any settings you care to choose, with the goal being best color fidelity possible.
After rendering, import the output file into After Effects.
Drop it in the original comp.
A / B the two and compare the color.
Do they match?
If so, then you have achieved what I cannot, and what no one so far has demonstrated to me that they can do, and at that point I would greatly appreciate your sharing with me the secret of your success.
If not, then join the club, because I can assure you that I am not the only one.

Color shift (gamma?) between XDCAM Ex and PROres

Hi,
We have edited a show in Apple XDCAM EX in 23,98 HD. We did a QT movie of that sequence into the native codec that we edit with (Apple XDCAM EX).
Into quicktime, or even in compressor, we re-export ta video into Apple Pro Res and we are experiencing a big color shift between both codec.
Somedoby have an idea on that?
Thank you!
Nicolas

There's a know shift in the gamut between the two recording methods because of the compression scheme.
If you search the posts here and on the Cow, you'll find other references to it.
You might want to consider working in ProRes all the way through. It's a good way to even out all the differences between source footage and act as a neutral Digital Intermediary. The nice thing is that it's tuned to run on the machines and runs very efficiently. It's been a big help here when I've had mixed footage, or have to go out to all the different formats and uses that I do. I get no shifting at all, even between proxy and HQ. So I can do all my editing and effects in lightweight proxy and then conform to the more space demanding 422 or HQ.

Color shift in external monitor during playback

Hello,
I've been having an issue recently with HD playback to my external monitor. This is happening both in 720 and 1080 timelines. When playback is stopped, the image color looks correct both on the Mac and on the external monitor. But when I play the timeline, there is a slight color shift in the external monitor towards green. This color shift does not happen on the mac monitor during playback. This happens with rendered media, as well as media direct from the clip that does not need rendering. Exported videos do not have this issue. Any idea what may be happening?
I have a Mac Pro, 2.66 Quad with 8GB Memory. With Kona3 card connected to a Panasonic BT-LH2600W HD monitor. Kona3 is connected to monitor via HD-SDI. With Final Cut Pro 6.06 and Mac OS 10.5.8.

Type of footage you are using? What sort of hard drives it is stored on? Those would be good details to have too.
Shane

Color shift in save for web

Help!! Yelp! I have followed the directions in previous posts for fixing color shift when saving for web. I switched my monitor to gamma 2.2. I chose sRGB in assign color profile.
The colors still look washed out!
I am using CS4 on the Mac.
What am I doing wrong?

siri3 wrote:
What am I doing wrong?
You are using "assign" instead of CONVERT to sRGB. In addition, accurately calibrate your monitor often and regularly. Even the cheapest hardware calibrator will give superior results to eyeball calibrators.
See the FAQs in the Photoshop forum for your platform, Macintosh or Win.

How do I prevent the Darker Shade Box (color shift) around Vector Objects when Printing

Sorry in advance for the novelette. I am absolutely mystified and frustrated and would love some help! I've been working on this problem for about 30 hours over the last 4 days to figure out what the heck is happening and cannot find an answer through various forms of research.
Basically, when I print a JPEG, I am getting this area (a box) of darker shaded coloring around my heart and love text. I've tested it a million different ways and am at a loss as to what the problem is ... is it an application problem, a color profile problem between my applications and printer, an improper way that I saved my file, etc.
Here is a photo I took of the image printed out (so it is slightly skewed from camera distortion):
The details:
(1) I create graphic art and sell it online. I save all of my printable art as JPEG files because of my customer base (diy hobbyists that print on their home printers without much knowledge base nor graphic design software).
(2) I use both Adobe Illustrator (AI) and Photoshop Elements 11 (PSE11) to design and save my artwork.
(3) I insert JPEG images into Microsoft Word 2003 documents to "test print" since most of my customers use home printers to print. Since most people have this basic software, it is a good gauge of the kind of print out they might get using the same or similar software.
(4) My PSE11 color profile setting is the default sRGB. I have test printed many times and I get the truest colors with this color profile.
(5) My AI color settings are normally also an sRGB color mode, but on occasion, I use a CMYK color mode if I am creating a larger document that I know the customer will need to take to a professional printer to print out.
(6) I do my home printing (for proofs) on an Epson Stylus Photo 1400 (which has the 6 color ink cartridges).
(7) Until this printing problem occurred on this test print out, I always used the "photo enhance" option when I designate settings for my printer via the Microsoft Word documents.
IMPORTANT: This is when I have the color shift?? or color rendering issues?? and it is the only time. If I use the regular ICM/ICC color profile of sRGB, the printing issue doesn't occur. Instead, I have a solid color background instead of this one with the strips of lighter color on the top and bottom. However, I can't control how the customer prints, so I need to feel confident that whatever color profile setting they use, they will not run into this problem. I even test printed the documents over at FedEx and the darker box/color shift did not occur.
(8) The document in question only has 3 sets of objects: the heart, the solid colored rectangle colored background and the text. All 3 objects are vectors, they are at 100% opacity and there are no "special effects" applied.
(9) The image was entirely created in AI this time and exported as a maximum quality JPEG file, although you will see below that I tried many ways to create and save the file so that I didn't have the color band borders on top/bottom.
(10) I regularly use AI for part of my art, then I drag it to my PSE11 open document and it becomes a Vector Object (it cannot by copying/pasting into a PSE11 document). I also regularly export AI images as PNG files, then insert them into an open PSE11 document. This printing issue has not occurred until recently. Here is an example of a very complex AI image I created, then inserted into PSE11 just to add the background (the Teddy Bear and books are AI vector objects) that were exported as PNG files then inserted into PSE11 to integrate with the background image - I test printed with Photo Enhance and had no printing issues:
So, from the research I have done, it looks like it is a color rendering or color space issue with conflicting color profiles in the same document. I checked my color profile settings and both sRGB and CMYK were set to embed ICC color profiles.
I tried changing AI settings to Preserve Numbers (ignore linked profiles) for CMYK, but that didn't work.
I also checked and made sure that not only the document setup showed the sRGB color profile, but that all the objects within the document also were converted to sRGB as well for consistency. That didn't work.
I tried converting the document to CMYK along with the vector objects. That didn't work.
I tried saving the heart image as a PNG file alone, the "love" text as a PNG file alone, both the heart and text together as a PNG files alone. Once saved as PNG files, I inserted them into an open empty PSE11 document - as I normally do. I then added the background color I wanted. That didn't work - the print still showed the color changes.
I tried dragging each vector object separately and even as a group and got the same color change issue when printing.
I tried "expanding" and "outlining" the text before exporting as JPEG, before exporting as a PNG and before dragging as a vector object into PSE11. Expanding the text did not help the situation.
I tried exporting as Adobe PDF, then opening in PSE11, then resaving as JPEG. That didn't work.
I tried flattening transparency (even though there is no transparency in the AI file). That didn't work.
I tried rasterizing the image. That didn't work.
Thinking that the file might be corrupt, I started from scratch and redesigned the same heart and love text. Unfortunately, I had the same problem as before. At this point, my AI started becoming buggy and would not open new files. It happened repeatedly and I decided it was best to uninstall and reinstall AI (and maybe that would fix the problem).
I created just the heart in AI, then inserted it into an open PSE11 document (both after exporting as PNG and also by dragging as Vector Object from AI). It seemed to work. I could both drag the vector into PSE11 from AI and export from AI as a PNG, then insert into open PSE11 document with a background color - and it printed a solid background.
So, I thought that reinstalling and setting back to defaults worked. But, then I added the love text around the heart and tried exporting as JPEG files and the same problem continued to recur. Whether I dragged as a Vector object into PSE11 (the heart object and love text separately and also another time with the vector objects dragged as a group) or saved them as PNG files and inserted into PSE11 - I got the different shades of color on what should be a solid background. I even tried saving the PSE11 as a PSD file first, then resaving as JPEG and I tried saving as PNG and printing and this didn't help solve the problem.
I really think it is some color conflict issue but I can't figure it out. I am definitely not very knowledgeable about color profiles and how to sync all my devices, however, as I mentioned, this was not an issue until recently (and I think??? I recall changing the CMYK setting from Preserve Numbers to embed color profile a month or so ago - however, it should have been solved when AI went back to its defaults upon reinstall).
The reason I believe it is a color rendering/color space issue is because I could see the color output when I saved the JPEG with CMYK color profile versus sRGB color profile and the sRGB colors were much richer, not surprisingly. The top and bottom colors matched the sRGB printout and the middle darker box section matched the CMYK printout.
I am sure it is something fundamental or simple and I am completely overlooking it. I wish it were just a transparency issue, because people know how to fix or do workarounds for it. But, there are no vector objects with any transparency ...
If I missed some detail, I apologize. Any help would be a dream come true at this point! lol
Thank you!

Okay, I got motivated to try again. From doing a bit more research on troubleshooting AI printing problems, the Adobe article talks about print drivers. It was advised to uninstall and reinstall the print driver if the printing issue persists. So, I did. Unfortunately, I still had the same result after reinstalling and trying a test print! Ugh.
So, as Jacob said upfront, I seem to have an overactive print driver that is trying too hard (and it is a non-postscript printer which I realize is part of the problem).
There are so many variables in my situation as to how I create art and save/export art. I sometimes work solely in AI, sometimes solely in PSE and sometimes I use both programs to create. Consequently, I will:
(1) export directly from AI as JPEG if I am not adding PSE11 artwork.
(2) export directly from AI as PNG if I plan on inserting that image into PSE11 to add to artwork I have created in PSE11.
(3) drag vector objects as a Smart Objects directly from AI to PSE11 to add to artwork I am creating in PSE11 if I know I will playing with the vector object and resizing in PSE11.
So, I did a test print using scenario 2, where I inserted the heart and love text PNG (AI created vector object) into an old PSE11 document. This old document already had a vector object from AI with a solid background and I knew it printed correctly. So, after inserting this new PNG from AI into this old document, it printed correctly using the photo enhance mode.
However, I haven't had a chance to actually create new art in the older AI files (that I know print properly), resave as something else and try another test print (either by exporting as JPEG and printing in Word or by exporting as PNG file and inserting into PSE11 document, then saving as JPEG and printing in Word).
After testing the different possibilities of ICM settings within my printer, I found that the JPEG images printed out with the truest colors and best quality if I simply selected "no color management" from the printer. Shocker, huh? lol
MY SOLUTION: So, what I think I will simply do is add an instruction sheet with the printables I sell, explaining that the color profile setting should never be handled by the printer so make sure to turn off color management by printer (and if they feel they must use the printer for color management, make sure the setting is sRGB since I embed that color profile in my JPEG's).
Edited to add: Since my issue was never about how I could print a successful image (I knew I could simply change the color profile settings), but rather about how to make sure that customers would get consistent and high quality print outputs of my digital images, this seems like the best approach.
I don't think I will every really know exactly why I am now getting color shifts in the "photo enhance" mode when I did not have this problem a couple months ago - applying the same methods of creating artwork. I was concerned that I was saving/exporting using incorrect or mismatched color settings or something of that nature. However, since I went through the process of making my color spaces the same for everything, and I still have issue, clearly that is not the culprit. The only thing I can do to solve the problem and it is a straightforward solution anyway -> is to educate the buyer on how to print successfully (don't use photo enhance! ha ha).
Thanks again to everyone who chimed in and offered advice!

OS 10.4.6 is causing color shift in prints

Since I updated to 10.4.6 My prints have a severe red cast to them. All perameters used in printing are the same as previous and my Epson 2200 is working properly. I have color managment turned off in the driver and am using the correct prifiles fo the paper. I saw another post where others were having display problems but my images display fine but print badly.
Anyone else have this problem or a suggestion.
Thanks
Craig

Grrr!
I'm having the same issues as people above and as on some similar threads.
First, I've color managed for awhile. Beginning with calibrated monitors, Photoshop's "View" menu settings, my color space ...
I know not to double color manage, and I choose to manage through Photoshop. I've reinstalled everything and read these boards and other threads on the web.
Here are my problems.
I am getting severe color shift and cannot get an accurate print. I've spoken with Epson ($$) and Adobe. All fingers point to Apple. Going through the printing process, everything is fine until soft proofing before hitting the final print button. That preview ALWAYS shows a shift in color if any color management has been applied. (I just tested an image without any color management and there still is a shift.)
Today I trying to print blue hydrangeas for a town project; they are shifting toward magenta. Last week I worked on a town-wide Relay for Life (ACS fundraiser); night-time images with candles ... shifted green. (Again, my with calibrated monitors.)
Ironically, when I was on 10.3.7 I didn't have any trouble. After that it's been roulette. I have an Apple Care contract and called Apple. Understanding that not every rep knows the ins and outs of color management, I asked him to forward an email to someone who can help me.
Grrr. I was told that since Photoshop and Epson are not Apple products they can't help me. Surely, web searches show that this is known problem. (Some suggest trashing Apple's Generic RGB profile ...)
Can ANYONE at Apple help? Please? Isn't that what an Apple Care contract should do?
I have 20 (different) prints due to a family by tomorrow. I have an additional 150 prints due by Thursday. Am I expected to borrow someone's Windows PC and use it to send the image to my printer?
(Also, I've installed several icc profiles in the past, but can't install any currently. I'm trying to install Museo and Arches profiles.
What is happening? Newer profiles don't show up in the print driver's "Print Settings," "Media Type" pull down menu, no matter where I try to load the newer icc profiles.)
G4 - 1.5 GHz Power PC Laptop Mac OS X (10.4.7) OS 10.4.7; Epson 2200; Photoshop CS2; plus other peripherals not relevant to this issue.

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?

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

QuickTime 7.1.6 Gamma/Color Shift Is Demonstrable

You can easily see the undesirable behavior of gamma/color shifting when playing H.264 codec movies in Apple's QuickTime Player.
Download any Apple HD (1920x?) QuickTime Trailer. Open and switch view to Double Size. The movie will immediately become darker with a pronounced gamma and color shift.
Reopening the movie switches back to the correct gamma and color.
I reported this bug, and since it's so easy to demonstrate, Apple should be able to fix it once and for all.
PowerBook G4 17 Mac OS X (10.4.9) QuickTime 7.1.6
PowerBook G4 17

I think you may find some will argue with you. DV and H264 at normal size look too bright and washed out for a lot of people, and are not the correct amount of darkness they should be. Fortuately when they're compressed to MPEG-2, if that's where you headed, they get the contrast back again.
Playing the move doubled up is one of many work arounds to the problem. But the problem isn't the one you think it is. You're right about the fact that it should be fixed once and for all.

HVX200 footage color shift

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