Leave color unchanged

IDCS4(6.0.1), Mac OS 10.5.6
Placing images in InD with different embedded cmyk color profiles. Colour management correctly setup in InDesign (cmyk working space Fogra39). I am trying to create a PDF that shows the differences between a range of different cmyk colour profiles for a training session. From InD export to PDF (press quality settings modified) ensuring that the Output is set to Leave colour unchanged and include all profiles.
Checking the PDF with Enfocus Pitstop the images all show up with the working document profile and not their individual profiles. Where or why is Adobe changing the colours and how can I leave them 'unchanged'?
Any help much appreciated.
thanks
Teresa

Colour Management was not set up as Off. There seems to only be one place to set colour settings in InD or Bridge - both in terms of Edit >colour settings > and then either choose something like Europe Prepress or create custome settings (I created custom settings).
Preserve numbers from what I can see you can only set up in the 'Export' 'Output' settings. There I had used 'Leave Colour Unchanged' and 'Include all profiles'.
I do take your point about the document taking on the settings from when it is created. So i will try tomorrow to re-create it with the correct settings from the start.
What I am trying to show is the visual differences between profiles in terms of the complete picture and in terms of comparing the black plates, and the CMY plates. Showing both the effect that the black generation can have. And also how different profiles can alter the balance of the colours. I was also wanting them to be able to compare a range of profiles to see why certain ones are better than others. It is this last thing that I cannot do if the images are going through a further change.
But I am also concerned in terms of helping people create high quality print PDFs, if there is a colour conversion going on in InD CS4 in the background where there should not be one.

Similar Messages

Leave color like in AE?

Hello!
I make short films as a hobby with my friends, and there are a few YouTube channels that I make sure to stay up on because they're typically loaded with helpful tips.
I just got done watching one that involved him making his green shirt be the only object with color via using a filter in AE known as "leave color" (The only green in the entire shot was the shirt). He then did the opposite and made his shirt the only B&W object, I forget what the name of the filter he used for that one was.
Thing is...I don't have AE but I do have Motion 5, and I don't recall seeing that filter or anything else in the library. However, I'm by no means an expert. I'd probably give myself like a 4 out of 10 in reference to proficency, ability, and knowledge with it; I'm much more fluid and capable in FCPX and don't use graphic effects too often. This effect, however, is one that I would love to be able to use.
Does anyone know of a similar Motion 5 ability or work around?
Thanks in advance.

How good are you at chroma keying? I think this is also known as "The Pleasantville Effect".
Duplicate your clip. Add (1st) the Filters > Keying > Keyer.
If you're keying green - this is all automatic - skip the next section.
if you're NOT keying green:
Turn the strength down to 0%
Click the Sample Color button and click and drag out a rectangle on the color you want to preserve.
(You can add multiple Sample Color rectangles if you have trouble including enough color "source" for the sampler.
Afterwards: add a Hue Saturation filter to the same clip and dial the saturation down to 0%.
Use a garbage matte to get rid of any extraneous other items that might happen to be green if you don't want them included.
Tweak the keyer, if needed, by 1st: adjusting the Matte Tools levels and 2nd: adjusting the Spill Suppression Contrast (I find this combination the easiest to use and least likely to screw up the key). (You can get relatively extreme with the Matte Tools levels control - push the Gamma/midtones all the way if necessary - but remember to work in combo with the spill contrast.)
I chroma keyed just the yellows in this example:

Leave Color effect: Can Leave More Than One Color?

Hello everyone,
could you tell me if its possible to set more than one specific color to leave in the Leave Color effect?
Thank you!
Dimitri Vorontzov

Hi Ann,
really really really appreciated this tutorial !!
I hope you do more ! , maybe sometime we will be honored with your voice also :-)
I never knew that within Premiere Pro that you could achieve an effect like this.
Please post more tutorials when you have the time, and if you feel like sharing your know-how. I appreciate somebody
who wishes to share with others, it's very kind.
David
Ann Bens wrote:
OK here it is:
http://www.youtube.com/watch?v=cXiJPUQS2bE

Leaving color while making a photo grayscale

I am working on a project and need to make my photos black and white while leaviing certain items of the photo in it's original color. I need to know if someone can help me out and give me some direction on this. An example of what I am trying to do is take a photo of a person and make it black and white while leaving their shirt pink. Any help is appreciated.

I am pretty sure, but not absolutely certain, that it was "Photoshop Elements 2.0 Solutions" by Mikkel Aaland.
If this was the book, and you have it, please let me know if the technique is there.
I know I saw this technique somewhere, and I used it while following along. It was really wild. You are on a layer and you've made a selection. You go to fill, and as soon as you fill it with the color, everything in that color either appears or disappears immediately, based upon the selection you made and the layers.
I have followed along with any number of books, and for some reason I have a mental block when it comes to this (layers and masks, painting and erasing). I just don't understand the concepts involved. So, I can go along, step-by-step and remove color, etc., as I've done on a number of photographs, and very effectively. Yet, I can't just sit down and do it, without the cheat sheets.
That has been one of my biggest complaints with most of these help books. They walk you through methods, step-by-step, but they don't teach you in clear easy to understand lessons, the concepts behind what you are doing. So, a book says, set the radius to this number and the threshold to this, etc., and VOILA, there you have it. Great, but how do I do it on a different photo?

Can't Figure Out How to Create a Pre-Set leaving Exposure Unchanged

LR4.3, Windows 7 Home Premium 64bit
I have been trying to create a preset that updates the Process Version to 2012, changes contrast, highlights and shadows, but leaves the Exposure unchanged.
So, I change the Process Version to 2012, set the sliders for contrast, highlights and shadows where I want, and then I create the preset, leaving Exposure (and a bunch of other things) unchecked.
Then, I apply the preset to a photo that is currently Process Version 2010. The process version, contrast, highlights and shadows all change as expected, but the Exposure goes to zero. What am I doing wrong?
Thanks!

Ok, additional information
If I apply this preset to a photo that is already Process Version 2012, then the exposure remains unchanged.
If I apply this preset to a photo that is a previous Process Version, the exposure is set to zero. Why? How do I fix this?

Slip audio clip but leave keyframes unchanged?

Hi all,
Is it possible to slip an audio clip without shifting the keyframes? In other words I'd like to use a different part of a music track without having to then go and select all the volume keyframes and adjust to rematch the holes in dialogue. I can just duplicate, copy and paste the attributes but I'm pretty sure a co-worker stumbled across it the other month - we just can't find the right key combination to do it again!
Cheers,
Paul

This is only possible with track keyframes. The whole point of a clip keyframe is that it stays on that frame.

Changing color spaces in print dialogue

I have an INDD CS4 on Mac OS 10.5.8 document that was created for US Web Coated. All the images have US Web coated embedded in them. We are printing it sheetfed on an uncoated sheet so I'm trying to print Composite CMYK and then picking the US Sheetfed Uncoated printer profile in the Color Management tab. I check the Preserve CMYK Numbers option knowing that I do not want the black text to convert to a process build. In short the images are not being converted. They still have a total ink of 300% in the black areas. If I convert them in PS the total ink reduces to 260 which is what I'm after, as well as a tad more dot gain compensation.
If I uncheck the Preserve CMYK Numbers option the images convert but so does the text. I've double checked to make sure the images have the Web Coated profile embedded, which is supposed to trigger the conversion when INDD sees that it's different from my printer profile (Sheetfed Uncoated).
If I export PDF directly from INDD they convert but so does the text.
If I print postscript with Leave Colors Unchanged picked in the output tab and then set Distiller to do the conversion, it does not work unless I uncheck the Preserve CMYK Numbers option. Which gives me black type built in process
I've tried every option I can think of and cannot get the images to convert and the type to pass through unchanged.
I could go through and convert all the images in PS but I'm really looking for a way to do it at print time since this scenario comes up all the time.
Any suggestions?
Thanks
Clark
Color Press

What's interesting in all this is that once the document is built it's hardwired so even after changing the Color Settings to Preserve Embedded placing new images in that document still does not preserve the embedded profiles.
When a new document is now created after changing that setting then ID honors the embedded profile in placed images, and you can see which profile is embedded in the Link Info sheet that expands below the Links palette. There should actually be an ICC profile name there rather than Document CMYK.
Wow.
Thanks for the help.
Clark

Printer regonizes Black/white page as color page

When we print a Word document to a PDF file with the Acrobat printer, pages that contain only Black/White information but with an image that looks as if it is Black/White, the printer recognizes the page as a color page. When we print this page with Word directly to the printer, the page is recognized as a Black/White page.
Are there color setting available which control the setting for gray scale images to be printed Black/White?

Leo,
choose for default settings a joboption set which
contains for output
Settingsfile: None
Color Management: Leave Color Unchanged (!)
Results:
Source sRGB (color): PDF color 3x8 bits
OK
Source Grayscale: PDF gray 1x8 bits (Indexed)
OK
Source sRGB (gray) with R=G=B: PDF gray 1x8bits (Indexed)
Very wrong.
This is a well known bug in the Acrobat software:
http://www.adobeforums.com/webx/.59b641a5
Best regards --Gernot Hoffmann

PDF color changing when imported into InDesign 6

I am importing a customers pdf into InDesign 6. When I do the import the color is changing from the original PDF colors. The original color in the pdf is 0/95/100/29 and when imported to InDesign 6 it becomes 21/98/100/12. Is there a setting I need in InDesign 6 to keep the original PDF colors intact?

Are you using the eye dropper tool to get those numbers? It could be the way the original PDF was created. I have a feeling that the original settings ere set to "adapt" to color workflows or something similar. See if you can open the PDF in Acrobat and set the file to "Leave Color Unchanged" if you can...somewhere in the file's profile or color setting. It could also be the preview in InDesign. If somehow there is a way to find out which color settings were applied to the PDF; you could then match those in InDesign's Color Settings. If it is the preview reading, then the file should proof well. If InDesign has corrupted the PDF's original color, then the file will proof bad. I think it prudent to investigate the PDF's original Color Settings vs. InDesign's. Try posting this question in the InDesign forum and see what you get back. I'd be curious to know what they have to say over there.

Color conversion to PDF issues

Hello, I am attempting to convert my document to PDF format. My company has STRICT rules on the colour of the logo. I saw in another post about RGB to CMYK settings and I have tried everything from setting them in Framemaker as CMYK, then changing the PDF Document Properties setting to leave colors unchanged, not to conver to RGB or CMYK, Using Postscript and Distilling, to no avail, the colour always comes out incorrect. Any suggestions? Thank You!
Frame 7.1
Acrobat 8
Lisa

Lisa,
The solution suggested by VAN may work perfectly for you in regard to on-line viewing, but will most likely not work in print.
The solution suggested by Sheila is more general and will also enable proper conversion for prepress PDF's. To do it you'll need to create a custom color map, that remap the RGB-color from Heading1 to the CMYK (or SPOT) color from the logo art.
To create a custom color map in Grafikhuset Publi PDF you simply right-click the Publi PDF icon in the system tray, select the Attended Queue you want to use, and then turn on automatic creation of color maps in the Optimizer section of the pop-up menu. This will prompt you with an interface that allow you to create new spot colors -- next time you print to the queue.
Clicking the "Convert to" field for each listed Gray, RGB, CMYK or other spot color allow you to remap colors exactly as your job require. When finished you can save the color map for later use. You may actually attach it to the queue, so you don't need to enter new information each time you print (If you attach it to the queue you should switch off the automatic color map creation, since its OFF state assure that the analysis phase is skipped and conversion is run directly without prompting).
Note: due to a font-error with input fields in the color map editor you must have XP themes enabled, i.e. the classic Windows 2000 interface still works, but will display text and numbers as WingDings (fixed with a patch coming soon).
Hope this helps.
Best regards / Med venlig hilsen
Jacob Schäffer | Chief Developer
Grafikhuset
Paradis Allé 22, Ramløse
DK-3200 Helsinge, Denmark
Phone: +45 4439 4400
Email: [email protected]
Web: www.grafikhuset.net

Colors in PDF are different than in the ID file

I can't figure out why this is happening but when I export a PDF from InDesign (CS5) things are changing slightly from what I was seeing in InDesign. Mainly the colors seem to be a bit greyer and the font weight has increased a little (See picture for comparison). Is there a setting in the PDF creation that adjusts this, I'm using the 'High Quality Print' setting when I go to export. Thanks.

Check your color settings in InDesign. They should match the PDF Export settings. It looks like the trim marks in your PDF do not allow for Bleed. You should take a closer look at your PDF setup in InDesign. Try selecting "Leave Color Unchanged" in the PDF settings. At a minimum, the settings should match in both InDesign and the PDF settings.

Framemaker color definitions--New

Okay. I am bewildered. I haven't done much with Frame and color, so when my company asked me to set up a 4C template, I figured I would give it a try. Here's the problem.
I need an orange color defined as M80, Y100, as defined in InDesign. When I use these values in Frame's color definition dialog box, the color is not correct (way too bright) on the display, nor does it print to PDF correctly. When I examine the color with Acrobat's Print Production preview, I get M92, Y100.
Okay, I know Frame is really an RGB-based program, so I went into Photoshop to get the equivalent RGB definition, which is R241, G90, B34. Well, Frame doesn't allow RGB numbers greater than 100%, so there's no way to enter these values.
I am stumped. I get the same results with Frame 7.1, Frame 8, Acrobat 7, and Acrobat 9. I print to a .ps file and then use Distiller to create the PDF, leaving colors unchanged. The same color outputs correctly from Photoshop.
Years ago I did some color work in Frame and don't recall having these problems.
Any suggestions?

Sue,
You also need to make an adjustment in a maker.ini setting that
affects how FM renders colours on output.
Find the entry for GetLibraryColorRGBFromCMYK in the [Preferences]
section.
Set it to: GetLibraryColorRGBFromCMYK=None
For more detailed info about this see:
http://www.techknowledgecorp.com/help/color.html at Tim Murray's site.
This info was originally posted by Mike Hardy a couple of years ago on
this site, but it's scrolled off now. Here's the original posting
content:
+++++++++++++++++++++
This post gives all the information I know about using colors in
FrameMaker
under Windows. It does not cover the use of separations. It instead
describes display, and direct output to color devices such as printers
including creating PDFs.
Color models
=====================================
FrameMaker supports three different color models:
- CMYK (Cyan, Magenta, Yellow, Key)
- RGB (Red, Green, Blue)
- HLS (Hue, Light, Saturation).
FrameMaker uses an algorithm to convert between each of these color
models.
For example:
RGB to CMYK:
C = max(R, G, B) - R
M = max(R, G, B) - G
Y = max(R, G, B) - B
K = 100 - max(R, G, B)
CMYK to RGB:
R = min(100 - K - C, 0)
G = min(100 - K - M, 0)
B = min(100 - K - Y, 0)
Color output
=====================================
Like most Windows applications, FrameMaker uses the Windows graphics
device
interface (GDI) for its output. The GDI handles both display and
printer
output.
Unfortunately, the GDI only supports the RGB color model. Any colors
that
are defined in other color models are therefore converted to RGB for
output
(see below).
The only exception to this is Encapsulated PostScript (EPS). When you
print
to a PostScript printer, or distill a PDF, the EPS is inserted
unchanged
into the PostScript. So any CMYK colors in the EPS get printed
unchanged.
This is the only way to output a CMYK color from FrameMaker under
Windows.
(Note that if you instead print to a non-PostScript printer, any EPS
files
are output using their preview bitmap, in RGB.)
Types of color in FrameMaker
=====================================
There are two types of color in FrameMaker:
- those defined by component values that you type in
- those defined by choosing a named ink from a color library.
FrameMaker handles these differently.
If you type in the component values
FrameMaker stores the color in the document as CMYK. If the color was
not
defined as CMYK, FrameMaker uses its own conversion algorithm. So the
CMYK
values that are stored are the same values that you see in the CMYK
view of
the Color Definitions dialog.
FrameMaker outputs the color as RGB. If the color was not defined as
RGB,
FrameMaker uses its own conversion algorithm. So the RGB values that
are
output are the same values that you see in the RGB view of the Color
Definitions dialog.
If you choose the color from a library
FrameMaker also supports color libraries that contain named inks.
Almost all
libraries specify both CMYK and RGB values for each ink. The important
thing
is that the mapping between the CMYK and RGB values can be very
different to
the algorithm that FrameMaker uses.
FrameMaker stores the color in the document as the color library and
ink
name. It also stores CMYK values for the color, for backup. When
FrameMaker
opens the document, it looks for the color library and ink name, first
in a
cache, then on disk:
- if it finds the color library and ink, it reads the CMYK and RGB
values
for the ink from the color library
- if it doesn't find the color library or ink, it instead uses the
CMYK
values that are stored in the document, exactly as if you'd typed them
in
(see "If you type in the component values" above).
FrameMaker outputs the ink as RGB. It can use:
- the RGB values for the ink that are stored in the library
- the CMYK values for the ink that are stored in the library,
converted to
RGB using its own algorithm.
This depends on the output device that FrameMaker is using, and the
GetLibraryColorRGBFromCMYK setting in the maker.ini file:
- If GetLibraryColorRGBFromCMYK is set to "Screen", FrameMaker does
screen
output by converting the CMYK values for the ink to RGB. For printer
output,
it instead uses the RGB values for the ink.
- If GetLibraryColorRGBFromCMYK is set to "Printing", FrameMaker does
printer and PDF output by converting the CMYK values for the ink to
RGB. For
screen output, it instead uses the RGB values for the ink.
- If GetLibraryColorRGBFromCMYK is set to "Printing&Screen",
FrameMaker does
all output by converting the CMYK values for the ink to RGB. It never
uses
the RGB values for the ink.
- If GetLibraryColorRGBFromCMYK is set to "None", FrameMaker never
uses the
CMYK values for the ink. It does all output using the RGB values for
the ink.
For the most WYSIWYG results with the predefined libraries, I'd
suggest
setting GetLibraryColorRGBFromCMYK to "None". This means that the RGB
values
in the color library get used for the screen - and they're probably
the most
faithful colors for this. The same RGB color will be printed, giving
you the
same color mismatches that you get for most other Windows
applications. And
you will often find that the RGB to CMYK conversion of your output
device
will give more faithful results than FrameMaker's own conversion.
Defining your own libraries
=====================================
Finally, note that you can define your own libraries. From the online
"Customizing FrameMaker" manual:
"ColorLib [in maker.ini] specifies the folder that contains color
library
files. These files are read in at startup and appear in the Color
Libraries
pop-up menu in the Color Definitions dialog box. You can add any
library
file formatted in the ASCII Color Format (.acf), version 2.1 or
earlier, or
in the Binary Color Format (.bcf), version 2.0. You can't use a
FrameMaker
product to save a .bcf library file."
A web search might reveal details of these file formats, but if not,
the
ASCII one is pretty obvious. Here's a file I put together:
ACF 1.0
My Color Library
LibraryVersion: 1.0
Copyright: © 2005 Mike Hardy. All rights reserved.
AboutMessage: Colors for my company
Names: Partial
Rows: 4
Columns: 4
Entries: 2
Prefix:
Suffix:
Type: Process
Models: CMYK RGB
PreferredModel: RGB
Data:
0 0.25 0.5 0.25
65535 32768 0
Burnt Orange
0.5 0.25 0 0.25
0 32768 65535
French Blue
You can then control exactly what RGB values FrameMaker uses for
display and
printing:
- determine the RGB values that you want to use for display, and note
down
the RGB values
- determine the RGB values that you want to use for printing, perhaps
by
trial and error in another application
- set the FrameMaker Color Definitions dialog to your RGB values for
printing, then change to the CMYK color model, and note down the
"equivalent" CMYK values
- define your own color library
- in your color library, define an ink with the RGB values you noted
for
display, and the CMYK values you noted for printing
- set GetLibraryColorRGBFromCMYK to "Printing"
This doesn't get you CMYK output, but it's the best you can do under
Windows. Note, however, that setting GetLibraryColorRGBFromCMYK to
"Printing" might not give such good results with the predefined color
libraries (see above).

RIP with same color conversion as Adobe

Hi
for the color conversion of our images and pdfs we use Photoshop and Idesign (What I´m talking about here is to put an input profile, a rendering intent, and a output profile).
99,99% of the time we use relative colorimetric with black point compensation to do the conversion. So we use those 2 applications as if they were rips.
I must say that we are very happy with the results.
What we are looking for right now is trying to automate that process.
We have been using a rip called Colorgate Productionserver 7. This rip have hot folder workflow (wich is what we want) BUT the color conversion is not the same as the one that Photoshop and Indesign have (using the same input profile, rendering intents and output profile).
We have been doing much testing with rgb images and we don´t like how this rip converts the images to the output profile.
It leaves the pure blacks a little bit more washed out than what the Adobe conversion would do and also if you send the image as a tiff file the rip respects the rendering intent of that queue and converts the image accordingly but when you send that SAME image inside a pdf (whether is cmyk or rgb) the rip WILL ALWAYS use the relative colorimetric conversion (without black point compensation) to do the color conversion regardless of the rendering intent that you have in that queue. Indesign honors embedded profiles, rendering intents and output profiles perfectly.
So what we are looking for is a hot folder-queue based rip that have a color conversion really similar (or the same if possible) as the one of Photoshop or Indesign and have the black point composition option in the rendering intent menu.
I don´t know if Adobe has a similar product or if it has licensed it´s color management to anyone.
Thank you
Palodislow

Hello Palo,
Colorgate has announced, that Productionserver 8 'utilizes the latest Adobe PDF Print
Engine (APPE) by default':
http://www.colorgate.com/en/rip-software/rip-software/productionserver-8.html?aktPos=20
May be you'll get then the desired 100% compatibility...
I am using version 6. I could stabilize my processes by simplifying the workflows for PDFs.:
Just one color space for RGB images, just one color space for CMYK components,
explicit assignment of the two profiles, explicit assignment of the two rendering intents.
No use of embedded profiles and hopefully no use of InDesign's general color settings,
which may be in contradiction to the settings in Productionserver. My InDesign PDFs
are generally made for Leave Colors Unchanged.
I had discussed some issues with Colorgate: printing of Lab components and printing
of images by K-only (black and gray inks). The company is cooperative, but it's obviously
impossible to clarify the extremely complex workflows just by post and e-mail.
My experiences, which are as well based on two other RIPs (years ago), are laid down
here, a preliminary version finished just now:
http://docs-hoffmann.de/cmsflow03072013.pdf
Please contact me eventually by private e-mail (last page of doc).
Best regards --Gernot Hoffmann

When creating a PDF in Acrobat Pro it seems to change my reference numbering system???

I am trying to create a PDF file using Acrobat Pro trial version (before I buy it I need to know if it works for me). The file I am using is a condensed version of a report so it has some of the tables/figures omitted and therefore the numbering sequence isn't sequential ie. it can jump from Figure 9-2 to 9-4. For some reason - when creating the PDF - the program is CHANGING the numbering system of the original file in the body of the document - but the Table of Contents keeps it how I had it. HELP??!!! How do I make it just create the PDF exactly how it is in the Word document file without automatically making any changes like that to it?!
I have tried several ways to create the PDF - in Word - I tried doing it as a Print command, also in Word I tried doing it from there, also I tried creating it from a file right in Acrobat Pro. I also tried "protecting" the document first - but this didn't work either.
Thank you so much to anyone who can help!

You might want to specify what kind of graphics are giving you problems.
Frame drawings or imported files? If imported, what file type? RGB or
CMYK? Any spot colors?
The best graphics are EPS because FrameMaker passes them around the
Windows GDI unchanged and EPS files can retain spot colors, too. Other
types of graphics get passed through Windows GDI and converted to RGB
where the result can sometimes be astounding. In Save as PDF, what's the
setting for "Convert CMYK colors to RGB?"
Check also "GetLibraryColorRGBFromCMYK=" in maker.ini and change it from
"Printing" to
"None". That seems to get the best results for having what you see on
screen match what ends up in the PDF.
There are also color management settings in your Distiller .joboptions
file that can affect the result. Usually, you want to set Settings>Edit
Adobe PDF Settings> Color> Color Management Policies to either "Leave
Color Unchanged" or "Tag only Images for Color Management."

RGB to CMYK to commercial printer

We are using CS2 InDesign and Photoshop 7 on a PC. I am putting together two
large books. One insert section of the first book has color photos. I have
to prepare these color photos for a printer located in China. They want all
images to be CMYK .tiff.
I have an assortment of about 100 images from various sources around the
world, there are .tif, .jpg. .bmp, and .psd. All of them appear to be RGB.
There are images with: 1) no color profile, 2) sRGB IE60966-2.1, and Adobe
RGB 1998. Do all images need to have the same RGB color profile before
converting to CMYK?
I have been converting all of these to .tif (and using a single dpi/pixel
resolution for
all images).
Do I just select/save as color mode CMYK? Or are there special
settings/profiles I need to know about. Is there anything special for China?
The printer's English is not that clear . I was hoping that someone in this
group would be familiar with RGB to CMYK conversion.
Also, it appears that the final PDF pages (with embedded Tiff images) will
be very large. The first complete book for this project (there are two
books) looks like it will be about 20GB. The second book looks like it could
be 12GB. Both books together equal about 1,000 pages and have about 1,000
images. 90% of the images are grayscale. What are the current technologies
for sending large projects like this to a printer?
Thanks
ps, the Photoshop group suggested that I write to this group.

Tech....
In the conversions, are you referring to conversions of B&W or color images? I'll assume color for the moment.
Assuming your monitor is properly calibrated, and assuming you are viewing your color images on your monitor, your conversions should keep "in gamut" colors the same. You will, however, probably see some loss of dynamic range, color, and saturation as you enter CMYK. If the color and dynamic range of the original is all within the destination CMYK gamut, you should see very little, if any, shift. The sad fact is that CMYK on press has limited dynamic range and color, especially compared to a bright monitor. This is generally true, though CMYK can print some colors that lie outside the typical monitor's gamut.
If you have a brightly colored original in RGB mode, then you should experiment with both perceptual and relative colorimetric rendering to see which one looks best. This is an image by image thing. Relative colorimetric will reproduce all "in gamut colors" as accurately as possible, then will take out of gamut colors and bring them to the closest printable color. This can cause loss of detail and 'piling up of colors' as you near the boundaries of the image's color gamut in the destination CMYK space. Perceptual scales ALL colors and preserves the relationships between colors, which sacrifices color accuracy and saturation, but sometimes looks more natural, especially if there are a LOT of out of gamut colors. Pick whichever ones looks best overall.
Then, once in CMYK, make minor curves adjustments to tweak if for CMYK. Just be careful not to push it too far, especially in the deep shadows, since you may push beyond the ink limit of the press. For example, if you convert to US Web Coated SWOP v2, the ink limits are set at 300 total. If you drastically darken the shadow areas, you could end up with an ink limit of 320, 330, 350, etc. Knowing the ink limit of the press will help you stay within those limits. Final tweaking in CMYK is usually a good thing.
How did you determine that the images were dull with too much magenta? Did you print a proof on a calibrated printer, or is this just your screen display? Or is this from a printed image off the press? I have a well calibrated monitor and accurate custom profiles for my inkjet. If I am sending a job to a press that supposedly prints to US Web Coated SWOP, I can proof that file on my inkjet and get a very good match. We need more information to know exactly what you are doing and how you are assessing your images.
Normally, I do the conversion in Photoshop, using the rendering intent that looks best. Then I tweak the image in CMYK to get it looking its best. I usually have the press profile, but sometimes work with a standard profile if no custom profile is available. I leave the image tagged with my conversion profile. Then, I usually place these images into InDesign, with the profile intact (color management turned on in InDesign). I right click on the placed image to be sure that the profile and rendering intent are set to what I want. Then, I can either supply the InDesign file to the printer, or convert to PDF (leave color unchanged) and make sure that all profiles are included. InDesign should export each image to the PDF properly, along with profile and intent. I have never sent to job to press using Photoshop...only InDesign or Illustrator.
BTW, rendering intent is only used when getting an image from one color space to another, such as a conversion from RGB to CMYK. You do that, choosing the one that looks the best. Once it is in the destination CMYK space, rendering intent is no longer needed, since all the colors and tones have already been remapped into the final space. Rendering intent is just used to help us handle those out of gamut colors.
Hope this helps.
Lou

Leave color unchanged

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