Matching opacity and color

I am quite new to Photoshop, running CS4. I have a map which I must match the color and opacity.
Matching the color is easy, just use the Eyedropper Tool or Color Sampler Tool
The Opacity is the hard one to match.

Morning Semaphoric,
Tried what you recommended, but I think I must be missing something, being so new to Photoshop.
I entered Quick Mask mode, selected the area, and the RGB values came up no problem, but the K% (for the opacity / transparency value) was "0".
So I tried the Colour Sampler tool, again the RGB values were bang on, but there was no opacity value indicated. I must be missing something.
I'm coming to realize that maybe I have to replace all the previous coloured areas with my own opacity value. It's unfortunate that my colour perception is not as good as I'd like, my wife says I'm colour blind.
Regards,
Alan

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Matching Raster and Vector RGB color in InDesign CS3.

We print on a Durst Lambda RGB imaging device to photographic paper. All color management is done as an early bind (raster files are converted to the printer's color space and vector colors are chosen from a palette database). So basically the files must go through InDesign without any color change in raster or vector information. We have clients that require specific RGB builds for logo colors the are present in both their raster and vector files.
Color Management is set to "North American General Purpose 2" with "RGB: Preserve Embedded Profiles" selected.
1) The file is exported as a PDF 1.4, High Quality, PDF/X_None.
2) The PDF was ripped on a Cheetah RIP (Jaws level 3) with no color management on.
3) Solid raster colors such as 0-255-0 will reproduce as 0-255-1.
4) The color differences between the raster and vector are usually 1-4 points.
5) The vector is consistent as was input in the programit's only the raster that changes. When you are trying to match raster and vectors logo colors it is a killer.
However, I can go into the InDesign (or Illustrator) color settings and turn color management off (This is our current workflow). In doing this the RGB working space uses the monitor profile and "color management policies" are set to OFF. With these settings the RGB raster and vector match. The problem with this work flow is two fold:
1) We have other devices than our RGB Durst Lambda that can use the InDesign color managementVutek flat bed 3200 and grand format 3360.
2) We have had many occurrences where the custom "color management off" settings have reverted back to the default "North American General Purpose 2"without any intervention.
I have tried this with different RIP's with the same results.
Does anyone have an idea to create a simple PDF workflow and keep the color information consistent?
Program: InDesign CS3 5.0.2
Platform: Mac OS 10.5.2
Computer: G5 tower with 4 gigs of RAM

I believe that setting is an old Illustrator setting that has been saved to effectively turn the color management off. The monitor profile effects the image displayedit doesn't effect the color transform.
Anyway, the color management I want to use is the "North American General Purpose 2".
To reiterate:
The procedure:
1) The file is exported as a PDF 1.4, High Quality, PDF/X_None.
2) The PDF was ripped on a Cheetah RIP (Jaws level 3) with no color management on.
The Problem:
3) Solid raster colors such as 0-255-0 will reproduce as 0-255-1It changes from the original raster color placed in InDesign.
4) The color differences between the raster and vector are usually 1-4 points.
5) The vector is consistent as was input in the programit's only the raster that changes. When you are trying to match raster and vectors logo colors it is a killer.
To summarize, the color of the raster file will change from the original that was place into the documenteven though nothing was selected in InDesign that would change the color (i.e. profile conversion to an output profile or a transparency effect used). The change is slightbut there.

Can I sample a layer's "true" color despite its opacity and blend mode?

I'm doing some painting with a lot of layers set to different blend modes. I find that every time I want to paint on one of these layers, I have to go to that layer, set the opacity back to 100, change the blend mode back to "normal" sample the color, then change everything back and continue painting. I realize I can save a swatch for the color, but it can get confusing when you're using subtle color differences on multiple layers. It seems like there should be a modifier key to the tool that samples the layers "true" color discarding opacity and blend mode. Does this exist? Thanks!

Perfect! This is exactly what I'm looking for chris....I don't suppose there's any way to toggle the tool's "current layer/all layers" functionality on the fly so i don't have to go to the tool and select which mode I"m in each time is there? I usually access this tool by just hitting "option" while using a brush. Would be cool if i could set "Option + shift" to use the eyedropper in "current layer" mode. Thanks for the speedy reply!

How to select matching RGB and CMYK colors

Starting from scratch for a client, how do I select matching RGB and CMYK pairs?
Say we find a nice red colour in RGB for screen use, how do I then find the correct CMYK for print? And what assumptions do I have to make when doing this, if any?
Would it be the same for the other way around (choose CMYK first for print and then find the RGB equivalent)
Is it more sensible to start with a Pantone colour and then find the RGB and CMYK equivalents for that?
Many thanks
RobbieG
(I'm working with Ai, Ps and Id CS6)

Yes. Better to start with Pantone reference books where you are viewing the color in a reflective environment. As already mentioned, color on the monitor can be deceptive. And, I think the others are basiclt saying that you should have everything calibrated and use color management policies in your apps. There is a way to find CMYK equivalents using Photoshop's color palette. Let's say you have an RGB Red as the foreground color in Photoshop. If you double click on the swatch you will get Photoshop's color palette which lists the RGB percentages, CMYK percentages, LAB percentages, and HEX web color for that Red. You can go further and select "Custom" and the Pasntone Spot color palette opens and gives you the closest Spot color value for that Red. This however, depends on your color settings. That's why I recommend you start with the Pantone swatch book and get the perecentages of CMYK from their formula guide which is set to industry standard color.

Need help understanding profiles and color management

I made the big leap from inexpensive inkjets to:
1 Epson 3800 Standard
2 Spyder3Studio
I have a Mac Pro Quad, Aperture, PS3, etc.
I have a steep learning curve ahead, here's what I've done:
1 Read a lot of books, watched tutorials, etc.
2 Calibrated the monitor
3 Calibrated the printer several times and created .icc profiles
What I've found:
1 The sample print produced by Spyder3Print, using the profile I created with color management turned off in the print dialog, looks very good.
2 When I get into Aperture, and apply the .icc profile I created in the proofing profile with onscreen proofing, the onscreen image does not change appreciably compared with the no proof setting. It gets slightly darker
3 When I select File>Print image, select the profile I created, turn off color management and look a the resulting preview image it looks much lighter and washed out than the onscreen image with onscreen proofing turned on.
4 When I print the image, it looks the same as was shown in the print preview...light and washed out, which is much different than what is shown in edit mode.
5 When I open PS3 with onscreen soft-proofing, the onscreen image is light and washed out...just like displayed in PS3 preview. If I re-edit the image to look OK onscreen, and print with the profile and color management turned off, the printed image looks OK.
So, why am I confused?
1 In the back of my simplistic and naive mind, I anticipated that in creating a custom printer profile I would only need to edit a photo once, so it looks good on the calibrated screen, and then a custom printer profile will handle the work to print a good looking photo. Different profiles do different translations for different printers/papers. However, judging by the PS work, it appears I need to re-edit a photo for each printer/paper I encounter...just doesn't seem right.
2 In Aperture, I'm confused by the onscreen proofing does not present the same image as what I see in the print preview. I'm selecting the same .icc profile in both locations.
I tried visiting with Spyder support, but am not able to explain myself well enough to help them understand what I'm doing wrong.
Any help is greatly appreciated.

Calibrated the printer several times and created .icc profiles
You have understand that maintaining the colour is done by morphing the colourants, and you have understood that matching the digital graphic display (which is emissive) to the print from the digital graphic printer (which is reflective) presupposes a studio lighting situation that simulates the conditions presupposed in the mathematical illuminant model for media independent matching. Basically, for a display-to-print match you need to calibrate and characterise the display to something like 5000-55000 kelvin. There are all sorts of arguments surrounding this, and you will find your way through them in time, but you now have the gist of the thing.
So far so good, but what of the problem posed by the digital graphic printer? If you are a professional photographer, you are dependent on your printer for contract proofing. Your prints you can pass to clients and to printers, but your display you cannot. So this is critical.
The ICC Specification was published at DRUPA Druck und Papier in Düsseldorf in May 1995 and ColorSync 2 Golden Master is on the WWDC CD for May 1995. Between 1995 and 2000 die reine Lehre said to render your colour patch chart in the raw condition of the colour device.
The problem with this is that in a separation the reflectance of the paper (which is how you get to see the colours of the colourants laid down on top of the paper) and the amount of colourant (solid and combinations of tints) gives you the gamut.
By this argument, you would want to render the colour patch chart with the most colourant, but what if the most colourant produces artifacts? A safer solution is to have primary ink limiting as part of the calibration process prior to rendering of the colour patch chart.
You can see the progression e.g. in the BEST RIP which since 2002 has been owned by EFI Electronics for Imaging. BEST started by allowing access to the raw colour device, with pooling problems and whatnot, but then introduced a primary ink limiting and linearisation.
The next thing you need to know is what colour test chart to send to the colour device, depending on whether the colour device is considered an RGB device or a CMYK device. By convention, if the device is not driven by a PostScript RIP it is considered an RGB device.
The colour patch chart is not tagged, meaning that it is deviceColor and neither CIEBased colour or ICCBased colour. You need to keep your colour patch chart deviceColor or you will have a colour characterisation of a colour managed conversion. Which is not what you want.
If the operating system is colour managed through and through, how do you render a colour test chart without automatically assigning a source ICC profile for the colourant model (Generic RGB Profile for three component, Generic CMYK Profile for four component)?
The convention is that no colour conversion occurs if the source ICC device profile and the destination ICC device profile are identical. So if you are targetting your inkjet in RGB mode, you open an RGB colourant patch chart, set the source ICC profile for the working space to the same as the destination ICC profile for the device, and render as deviceColor.
You then leave the rendered colourant test chart to dry for one hour. If you measure a colourant test chart every ten minutes through the first hour, you may find that the soluble inkjet inks in drying change colour. If you wait, you avoid this cause of error in your characterisation.
As you will mainly want to work with loose photographs, and not with photographs placed in pages, when you produce a contract proof using Absolute Colorimetric rendering from the ICC profile for the printing condition to the ICC profile for your studio printer, here's a tip.
Your eyes, the eyes of your client, and the eyes of the prepress production manager will see the white white of the surrounding unprinted margins of the paper, and will judge the printed area of the paper relative to that.
If, therefore, your untrimmed contract proof and the contract proof from Adobe InDesign or QuarkPress, or a EFI or other proofing RIP, are placed side by side in the viewing box your untrimmed contract proof will work as the visual reference for the media white.
The measured reference for the media white is in the ICC profile for the printing condition, to be precise in the WTPT White Point tag that you can see by doubleclicking the ICC profile in the Apple ColorSync Utility. This is the lightness and tint laid down on proof prints.
You, your client and your chosen printer will get on well if you remember to set up your studio lighting, and trim the blank borders of your proof prints. (Another tip: set your Finder to neutral gray and avoid a clutter of white windows, icons and so forth in the Finder when viewing.)
So far, so good. This leaves the nittygritty of specific ICC profiling packages and specific ICC-enabled applications. As for Aperture, do not apply a gamma correction to your colourant patch chart, or to colour managed printing.
As for Adobe applications, which you say you will be comparing with, you should probably be aware that Adobe InDesign CS3 has problems. When targetting an RGB printing device, the prints are not correctly colour managed, but basically bypass colour management.
There's been a discussion on the Apple ColorSync Users List and on Adobe's fora, see the two threads below.
Hope this helps,
Henrik Holmegaard
technical writer
References:
http://www.adobeforums.com/webx?14@@.59b52c9b/0
http://lists.apple.com/archives/colorsync-users/2007/Nov/msg00143.html

Separate luminance and color white balance

I know this is a quite peculiar idea, but i roundtrip to Photoshop a lot just for this..
we all know white balance affects how contrast and luminance of different image areas are interpreted by the software, and at times, especially in low or mixed light, I find that the 'color wise correct' white balance is often different to the 'luminance wise best' one..
i hope this doesn't sound too tortuous, and i really don't know if it would be hard to implement, but it would definitely help a lot with image quality..

ok..
I usually do this for low light portraits or mixed light situation, but it really works for everything, and is quite similar to the "tone" part of topaz detail plugin, for example..
we always choose WB to have a pleasant or correct color rendition, right?
but if we are in black and white, different WB settings affect different areas of the image, lightwise..
and i find out that there is always a sweet spot, depending on the lighting, where noise is better and shadows are better distributed, and and that usually doesn't match to the color WB sweet spot..
this is the original auto wb image
and its bw equivalent
here wb is tweaked to better balance shadows and contrast
but you can see colors are way off..
to give a better idea..
original:
two wbs, obtained with layers color blend mode of original onto bw tweaked
i realize at this size the difference may look small, but it really changes the balance of light, especially with low light or underexposed or mixed light shots..
hope now it's more clear..
cheers
Tommaso

[solved] zsh, compinit and colors

Hi all,
I've just updated my zsh package to version 4.3.11-1 and now I can't run two of its built-in functions, namely compinit and colors.
My .zshrc contains the following code:
# rest of ~/.zshrc ...
zstyle :compinstall filename '/home/andre/.local/.zshrc'
autoload -U compinit
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zstyle ':completion:*:match:*' original only
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zstyle ':completion:*' squeeze-slashes true
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zstyle ':completion:*:cd:*' ignore-parents parent pwd
# colors array (e.g. $fg[blue])
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# rest of ~/.zshrc ...
But when I open up a terminal (or type any of these two functions) I get the messages:
/home/ars/.zshrc:57: compinit: function definition file not found
/home/ars/.zshrc:69: colors: function definition file not found
I guess this isn't something very complex, but I couldn't find anything about it.
TIA.
Last edited by andre.ramaciotti (2010-12-22 00:15:09)

So what do lines 57 and 69 of your .zshrc file say specificially?
It's hard to tell what the line numbers are from what you posted, so.....
Also are those functions actually in your /usr/share/zsh/<version number>/functions directory?
colors appears to be in Misc and compinit appears to be in Completion in mine (version 4.3.10).

AE CS6 - 3D Compositing and Color Correction workflow

AE CS6 - 3D Compositing and Color Correction workflow
Hello everybody,
I have some questions about work flow in AE concerning compositing and Color Correction. I saw many tuts about (f.e. Lynda.com Premiere Pro Color Correction and Enhancement... and tuts by Andrew Davis here in creative.cow).
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Adjusting Tonality (Brightness and Contrast)
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I try to present a work flow for this (very common) situation:
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a keyed clip (pre-multiplied) with a Character watching sky
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When I have done compositing, how make I a right CC of all footage if I have two clip (3d object and green screen keyed shot) still pre-multiplied?
I think, but I'm not sure, that should be a good idea to send to Pre Pro a composited Comp with separate layers (by dynamic links) to have all single separate layers (Background, 3d object and green screen keyed shot.. but also the Color Warping...!). Than, in Pre Pro you should make a CC (Grading) just for a BG and than try to Match (Matching) this color corrected BG with 3d obj and keyed shoot. But we have a problem at this point cause our 3d object and green screen keyed shot are still pre-multiplied, and before make matching we have to re- multiplied theme, but how? And if we re pre-multiplied them, compositing will be also right?
Or maybe, before exporting comp from AE to Pre Pro, he have to create both layers for 3d object and green screen keyed shot, one pre-multiplied and one "Stright"? But, again, how to combine them to have a right compositing and a a right CC?
Anybody can help me to understand or maybe suggest any tuts to dale this common issue in AE- Pre Pro?
Many, many thanks!

Dave is correct. (And so is Mylenium. No need to be rude, when he was jsut trying to explain that you were introducing unnecessary complexity.)
The color matting is removed to interpret the alpha channel when you import the footage. After that, any color correction that you do to a layer based ont hat footage item doesn't have anything to do with whether the channels were straight or premultiplied for the source item.
You color-correct your individual items to amke them match as part of the compositing process in After Effects. Then, if you want to do a color grade of the shot in Premiere Pro along with other shots, you'd be working on the single rendered/flattened composite, so the details of the original elements that went into the composite are irrelevant.

How do I match a pantone color in Photoshop

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Adobe Photoshop contains support for the PANTONE COLOR BRIDGE libraries. PANTONE COLOR BRIDGE is the physical guide which displays a side-by-side match between PANTONE solid colors, and explicit CMYK simulations, including the CMYK values used to print the Guide. These explicit CMYK values are provided within the PANTONE COLOR BRIDGE libraries.
Adobe CS6 contains native support for the updated PANTONE PLUS SERIES versions of PANTONE COLOR BRIDGE, with the exception of the 336 newest PANTONE colors launched in April 2012. To access the 336 newest colors for Adobe CS6, or for older versions of the Adobe suite, the libraries can be exported from PANTONE Color Manager software, which is provided free of charge with purchase and registration of any PANTONE PLUS SERIES product. Details of how to obtain and use PANTONE Color Manager software can be found at http://www.pantone.com/pages/pantone/pantone.aspx?pg=21054&ca=12. You can also e-mail Pantone support directly at [email protected]
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"In this article I report the accuracy reached with the above scripts in my calibration effort, some validations in different lightning condition and the impact on new color balance caused by the adjust sliders and the tonal curve movement."
If someone has an interest.
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Ciao
Marco

Chris,
>>>
The ICC uses LAB D50, as does Photoshop.
Marco,
>>>
(prof. Boscarol) on his forum:
>>>
1.Lab is not absolute and there are infinite Lab.
>>>
2.The illuminant E is a theoretic reference illuminant
I must disagree with the implied conclusions in both statements, but with a friendly, not confrontational tone. And, Adobe and other software may be assuming Lab is D50. I cannot and would not dispute that.
What I said is that if you follow CIE math, the color values in Lab mode will be at Illuminant E. I stand by that conclusion. But there is little in the way of enforcement when it comes to standards.
Lets start with the CIE color values from measurement to numbers. This is the illuminant times the subject (measured) times the standard observer. It requires matrix arithmetic because the operations have to span the visible spectrum. So it is a little more involved that simple multiplication, but that is not conceptually important at this point.
The light source may be defined by a standard such as D50 or D65 or it can be provided in a custom set of tables (from measurements). The subject (raw image) values are adjusted for the measurement instrument to represent illuminant E (equal energy). This would be the spectral response of the color filters and such in an image sensor. The standard observer values are provided by the CIE, again at illuminant E. The resulting XYZ values are at the white point of the illuminant used for the source light.
Before moving on, the image sensor spectral response tables are too often not available. Thus assumptions are made that make calibration so bloody difficult. Enough said.
These XYZ values are then transformed to Lab values. The math in this step effectively removes the original light source from the XYZ values, resulting in illuminant E. This is how it is described in the literature, Berns, Hunt, and Wyszecki. If one adheres to the rules, Lab will always be illuminant E. XYZ values without a white point definition are as meaningless as RGB values without a profile definition.
But there is no enforcement body. I have seen lots of code that does not adjust for the XYZ white point at all. In that case, there would be an infinite set of possible Lab white points.
If you assume Lab is always D50, D65, or whatever floats your boat the transforms from RGB to Lab to RGB again would not be compromised. The ICC does define a white point in each ICC RGB profile. So if the input colors are correct, the output colors will be correct. It isnt too important what white point is used for the intermediate step.
But if you take a file in Lab mode from some other source, the white point would be very important. If I give a Lab file to Fred in E and Fred assumes it is D65, color conversions will be wrong. If Fred creates one at D65 and hands it to Adobe, chaos reigns. The ICC does not have a profile for Lab mode that I am aware of. So I dont know that the ICC attempts to trump the CIE as suggested. If someone knows of a verifiable reference for this, I would love to hear of it. The TIFF metadata does have a tag for white point. But I have never seen it used in a Lab mode file, including Adobes.
Illuminant E is no more or less theoretical than any other Standard Light Source. But it is at the core of all color matching algorithms and the basis of the standard observer target values. It is most often simply referred to as the equal energy light source so it might not ring a bell like D50 or D65.
The conversions between Lab and LCh and the algorithms for Delta E 2000 color differences are all implicitly dependent on Lab values at illuminant E.
I rest my case.
Cheers, Rags :-)

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Depends, John.
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Is there any way of integrating that "seamless tones and colors" into the new move tool? Or, barring that, have some way of selecting "move to new layer" when using the Content Aware Move Tool, so that after the move, one could merge the layers using the Auto Blend function?
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My current process is to manually color correct each image so they match in terms of brightness and color. This gets very tedious of course. Could someone suggest a faster, preferably completely automated way to even out the brightness and colors of a set of images like these in lightroom so they all look pretty similar to each other?
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Yup, that's one reason I think I need a color correction after the fact method to handle this situation, obviously taking a shot that's mostly in shadow will look different than one where the character is almost all in complete sunlight.
I guess I'm really having three issues here, first is the blue tint that gets introduced when I zoom in, and then second is the natural lightening and darkening that occurs as I take photos of the subject from different angles, and third is the fact since its sunlight the light does change somewhat over the 20minute period.
Hopefully the first issue can be solved by turning off automatic white balance, and I'm still hoping there may be some automated method for evening out the value difference introduced by the 2nd and third issue. Although even if I can just solve the first issue that would save me a ton of time.
Thanks for the info so far.
- Neil

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http://www.mycableshop.com/sku/ADCHD1506.htm
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