Imac monitor color has color shifts

I have 40 new imac duel core machines. all monitors have been calibrated using the apple system........not great but a start. some of the machines show a color bias when the grey in an image reaches 70 to 80 %. this bias occurs in Illustrator and vector images and in photoshop raster images. one of the machines gives an olive drab grey at 80% another gives a rose (pink) gray at 80%. changing profiles does change the display but does not fix the color shifts. any help would be greatly appreciated for sure

A lot of folks use pro calibration for fixing this sort of thing. You can calibrate one and then use all the settings for the others.
http://www.integrated-color.com/cedisplay/monitorprofiling.html
Here is one posters thoughts. JonL
http://discussions.apple.com/thread.jspa?messageID=2828184&#2828184
Andi Baumgartner

Similar Messages

MacBook Pro, dual Monitor color shift with Photoshop CS4, OS 10.5.5

I'm observing a strange behavior: With PS CS3 i could just drag an image from
the laptop monitor to the external Eizo and the color would adjust instantly, with
consistent color (All monitors calibrated, no settings have changed). The same applies to Lightroom
2.0 too. Now when i do the same move with the same image opened in PS CS4 the color does not
adjust to match but stays the same and the result is a oversaturated image on the external monitor.
Any thoughts? Thanks, Mark

It should adjust to the display the same as CS3.
Have you tried turning off OpenGL image display?
(it could be a bug, or a driver issue)

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.

Ps CC: Color Shift On Second Monitor When Using FullScreen Mode

I have been suffering from a new issue since re-calibrating my external NEC Multisync monitor with an i1 Pro calibrator.
Though colors across the system as a whole are improved over similar calibrations with a SpyderPro4, whenever I use the full-screen mode in Photoshop CC (using the F key), the color shifts radically red.
I have tested the other solutions of disabling graphics processing and OpenGL/OpenCL to no avail.
Some testing has revealed that in full-screen mode the colors most-closely resemble the profile for the connected Macbook Pro Retina.
Is Pshop loading the wrong ICC profile just when switching to Fullscreen? I can usually get the correct profile back if I command-tab to another program and back again, but this is an unnecessary workaround.
Any advice would be much appreciated.
Alex

this kind of thing just cannot happen with a high-end Eizo or NEC PA - with these units, there is no video card calibration LUT at all, because it's handled internally in the monitor.
Dag, that's what we expect. But why are the LUTs on the graphics card slightly modified?
The programs Display Profile, Calibration Tester (and Calibration Loader) belong to the GMB ProfileMaker package.
Best regards --Gernot Hoffmann
P.S.:
Perhaps it works like this:
In advance to an actual calibration by ColorNavigator, the program writes these modified values with
equal "deviations" for R,G,B into the graphics card LUTs. Either as a marker or as numerical preparation
for the hi-res correction in the monitor itself.

Big Color Shift between exported H264 mp4 and Program Monitor

I get a big Color Shift between exported H264 mp4 on Vimeo/Youtube and Quicktime X and Program Monitor.
There are quite a few posts on Quicktime gamma issues, but there seem to be no solutions and the other editors I know don't seem to have this problem.
I know there will be a bit of a shift but this is MASSIVE. At the moment I add a whole extra adjustment layer to all my clips to get it approximately right, but ofcourse this does not solve the issue nor does it give proper results.
Please do not reply with the "You need a real reference monitor via SDI etc etc ..."
By my logic on the same screen the program monitor should resemble what is going to be the final result in a relevant player like Quicktime X which all normal apple consumers use to watch their films. I know VLC and Mpeg streamclip gives different results, but mostly when playing Quicktime/h264 files Quicktime will play it thus average users ( the people I'd like to downwload/buy my films )will watch it in Quicktime.
Furthermore, Quicktime X's gamma/color looks very similar to the image I get on Youtube or Vimeo - which is where all my current work is going. I'm not outputting to boradcast or DVD etc.
Strangely enough the MPEG 2 stuff I've done for DVD matches the Youtube output with the Program monitor.
What am I doing wrong?
I have a Dell 2711 wide Gamut Display which is calibrated with an SPyder 3 Elite using its full colour gamut ( close to 90% of Adobe RGB - thus bigger than sRGB or Rec709) Could Premiere be ignoring the calibration in the Program monitor and making the image values 16-235 and then Quicktime uses all values 0-255? If so, how can I fix this?
Any help will be much appreciated!

I know this has been a while so hopefully you found some help by now, but maybe this will help anyone stumbling across this.
What people seem to be missing in what you are asking is... this is the same file, on the same monitor, but with a different appearance in different software. It is not a question of whether the overall monitoring is GOOD, and it is not a matter of hardware settings (as that would most likely propogate across all software) it is that it is not CONSISTENT side by side on the very same monitor.
I had very similar issues that really seemed to get worse when we got new monitors, which is what lead me to chime in here. The monitors were also wide gamut displays.
The problem is likely this...
1. The difference being shown are the difference between software that properly color manages (i.e. Premier or After Effects) and software that does not (i.e. Quicktime or some web browsers)
2. The reason it is so severe is that the wide gamut monitors are able to show many more colors and thus the difference between the managed and unmanaged software is much more exagerrated than on regular gamut monitors.
I found this great link that helped calm my nerves and helped me get handle on much of what is going on.
http://www.artstorm.net/journal/2009/07/color-management-wide-gamut-dell-2408/
Now that is not to say that the 0-255/16-235 issue is not also involved here. It is definitely possible that a specific codec or compressor is part of the problem, but it sounds like it starts with the color management issue first.
I hope this helps.
Andy

LR 2.5 to CS3, fine; to CS4 has color shift..?

hi everybody-
MBpro, 2 monitors all calibrated. my workflow with CS3 was just fine, but after a recent upgrade to CS4 my images have a distinct color shift that looks like a profile mismatch. i'll have my CS4 image floating over the LR window and there's an obvious shift. if i output and open the same image the same way in CS3 it matches perfectly. perhaps i'll cross post this to photoshop forums, but there seems to be an issue with how i've set up CS4 color spaces as opposed to CS3, even though they seem to have identical settings. any ideas?

okay, i figured it out, thought i'd post my solution here if anyone else has this issue. in CS4 there's a new option in preferences>performance. for my rig (MBpro17, 2.4ghz, samsung syncmaster 215) i had to turn OFF "enable openGL drawing". now the colors from LR to CS4 match just fine, as they should. what the #@&%!!
now, what was i doing again?

Is the latest iMac monitor (21.5" and 27") using 8-bit color depth or 6-bit dithering?

So far, there isn't been an official answer. Support millions of colors could be either one.

My question is more toward the hardware on that iMac monitor rather than the software setting (32-bit).
I notice a similar discussion few years back:
https://discussions.apple.com/message/10643776#10643776
So seem that Apple is not using 8-bit colors yet on iMac?

****yellowish color shift in LIGHTROOM: disabling monitor color profile in LR?

Hi all,
I would love to know if there is a way to ***disable the monitor (color) profile**** in LR.
WHY?
Cause all my pictures seems yellowish in LR, and not anywhere else (firefox, i.e, photoshop, xnview, etc...)
I solved the same problem in PHOTOSHOP, this way :
when loading images in photoshop, during starting up, I got this very message :
        " The monitor profile 'LG L245WP' appears to be defective. Please rerun your monitor calibration software. "
with two possible options :
        "Ignore profile" or "use anyway"
Then if I use "Ignore profile" everything is fine!
If I select "use anyway" --> Wrong, all my pictures are yellowish.
That's why I WOULD LOVE TO KNOW, pleaaaaaase if I can do the same in LR.
I personnally didn't find, or what else I should do ?! Knowing that I do not have a ...too expensive!... calibration tool , and my monitor is a LG, L245WP.
----> Thanx sooo much for your help.
       I would love to use LR, but this way I can't...
>kiwiii
form PARIS france ( excuse my english level).
NB : I read 2 threads here , but didn't find my solution : http://forums.adobe.com/thread/414524
                                                                          and : http://forums.adobe.com/thread/415180
NB : in one of these I downloaded this RGB picture :
       http://forums.adobe.com/servlet/JiveServlet/download/2161301-16291/Farbprofil-Kontrolle_re dgreenblue.jpg
       where mostly the white in LR appears to be yellow.
       Looks fine anywhere else, and in photoshop, if "Ignore profile" is selected

DdeGannes, Sean : thanx.
I went to my vista profil , added a profile in relation with my screen... but then which on should I select , between the several sRGB options :
- WCS profile : sRGB     a file named wsRBG.cdmp
or
- ICC profile : sRGB IEC 61966-2.1 ?
                                   ( of course I have many more... but....none of the others are sRGB profiles )
Then have you both a calibrator, and you both did all the color "chain" from CAMERA to PRINTER ?
I am asking.... cause all these adjustments + buying a calibrator seems tough to me to manage/achieve.
You know : I'm not a professional ...
To me, non - pro, it looks even more dangerous to do so than leaving evreything in default mode & presets...
Should I do something wrong...
NO?
Moreover I mean : this is odd that my computer , or/AND (?) screen ,
doesn't have a "default setting" which would be suitable in LR , at least which no colour shift !
( I just change my LG screen mode to 5600K etc... and still I have the same yellowish gap in LR )
Why would my color management just be wrong in LR or Photoshop ?
Doesn't this light something I miss to you both, maybe professionals?
If I read you fine, + the other website... everything is kind of automatic now in every softwares... even xnview, firefox, (not i.e.) etc...
so why just LR + photoshop, would be mistaken on my computer,
and Firefox, Xnview, CANON softwares, Painter, ... all show the right profile & colors ???? This is sooooooo weird....to me.
I mean I got the the point that my whole color management is unshure...
but it nevertheless it should BE THE SAME through all my softwares... NO ?
Isn't there a general ADOBE setting somewhere, that might be bugged instead?
I still think , according to that, that we are missing something.
Sorry to bother you with my thoughts....
kiwiii ( paris - france )
ps/ Does really Photoshop detect the changes I would do directly on my screen ?
     Because when I switch from sRGB, to 6500 K , 9300K or user... on my screen,
     I STILL HAVE the PHOTOSHOP ERROR message :
     " The monitor profile 'LG L245WP' appears to be defective. Please rerun your monitor calibration software. "
      I mean PHOTSHOP doesn't seem to notice (give a damn) on any change I make !?
      As for the rest of my computer I never changed any COLOR PROFILE anywhere... So how do people do without a calibrator to use LR ?
      Is it possible at least?
      Is my screen (i thought so good) totally bugged, if none of my color profile is "ok" for photoshop & LR ?
THANX AGAIN FOR READING and helping me...

Color difference between LCD monitor and iMac monitor?

So I recently purchased a 27" iMac (purchased it last week) and have hooked up my previous monitor, a 24" Apple LCD cinema display (aluminum enclosure) to have a dual-monitor setup.
Both are using Apple's stock color profiles, but the LCD cinema display is much more yellow than the iMac's display.
I tried setting the LCD display to use the iMac's color profile without any luck (it didn't get rid of the yellow tint).
I assumed Apple would have them using the same color settings, but alas it seems that isn't the case.
So, what should I do to get them to have matching color profiles?

i have the same problem too...with the same imac 27" i7 like josh..hello josh?
the only different is my imac hooked up to 20" LCD cinema display (aluminum enclosure)
yap true josh, its more yellow in the secondary monitor..even with the same color profile.
i mainly use my imac for motion graphic n post production stuffs...its really annoy me for cannot find the match color for this two screens... ;(
hope somebody can show us the solution for this problem...

Color shift from one monitor to the next (CS5)

I'm having a strong color shift in Photoshop going from one monitor to another. It's not a calibration issue because the color shift persists when I drag the window from one to another until I do something with the window, then it will shift (i.e. not exactly when I move the window). I'm essentially experiencing the problem described here, only I'm on Photoshop CS5 and his solution doesn't apply because that option is not available.
Windows 7 64bit
Photoshop CS 5 (12.1 x64)
Note the color change, one part of that image is on one monitor, and the other part on the other. (The left is the correct color fwiw.)
I'm guessing there's just some setting somewhere I can toggle?

Thanks for the input Mike, however it doesn't help me. I'm actively working with both monitors and I need the colors to be accurate on both in order to do my job. I'm hoping there's a setting much like there was in CS4 (see my link in original post) so that I can get both monitors to behave the same.
I should also mention that this problem is unique to Photoshop, I do not have this color shifting problem in any other program (including, for example, Acrobat Reader).

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

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

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.

Imac monitor color has color shifts

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