Mismatch between colour spaces?

I create a text box in Indesign, place an image over this text box with a solid colour as the border in the image, then set the colour of the text box to be the same colour as the border of the image, using the eyedropper. The RGB numbers of the text box colour and the colour in the image are the same, and the colour space of the text box and image are the same, as is space and blend space of the Indesign document - all sRGB IEC61066-2.1.
The colours look the same on screen (in Mac OS). However, when I upload the folio to an iPad, the colour of the text box and the colour in the border of the image are different (slightly but noticeably).
Has anyone any idea what is going on or how to fix it? Bug ?
Many thanks

I think I have solved this: by going to edit > Assign profiles > sRGB
For some reason the document didn't seem to be using the sRGB profile despite the colour preferences being set up for it. I thought it may be that the individual text box had a different profile assigned to it from the one being used as the document profile, but on reflection I am not sure this is actually possible (in contrast to images where you can assign whatever profile you like).
Many thanks

Similar Messages

FCP vs Media 100 Colour Space

I have a client who will not digitise material into FCP because he says that the colour space in his Media 100 system is far superior.
He is editing DV material via firewire to FCP and component analogue to Media 100, (yes I know the perils of going in via analogue from DV to a DV codec... but he insists...)
DV vs analogue arguments aside, is the colour space in Media 100 superior?
Actually, what is colour space? I get the concept, (just,) in Photoshop but is there a difference for editing systems.
I was once told that the DV encoding system was better in Avids than in FCP, but I'm unsure of the quality of my source information... So now I'm wondering if there is a difference on all edit systems.
Finally, if there is / isn't a difference in the DV codec, does it make a difference for uncompressed material.
Many thanks,
LEE

Here are some things to be aware of:
Media 100 picture size is either 640 x 480 or 720 x 486. DV picture size is 720 x 480. Those numbers don't convert easily. There will be jittery motions during pans and when people move. The only way to combat this is to make FCP use the D1 picture size of 720 x 486. My experience is this never looks good.
Everything that will be recompressed will have to go through the P6000 board of the Media 100. This takes FOREVER! It takes me 5 hours to encode a 1 hour DVD on my Media 100, which has 2 1GHz processors. My 700 MHz iMac at home encodes a 1 hour DVD in less time. The P6000 hardware slows encoding to other formats way down.
There is a difference from one codec to the next. But capturing in one Codec 1 and converting to Codec 2 to try to make up for poor quality of Codec 2 will not help. Codec 2's quality problems will still be there. It's the nature of Codec 2. Graeme is right in saying that it will ruin picture quality. On top of Codec 2's problems, you're adding a generation. It's like transferring from DV to Beta, and then recording Beta to VHS because the Beta quality is better than VHS, even when your final output is intended to be VHS. It makes more sense to go DV to VHS in the first place.
Unless you intend to edit on Media 100, there is no point in digitizing to it. Save the hassle, the time, the money, and the quality by keeping everything native DV. Have your client read these posts if he still won't budge. We are experienced in this field.
By the way, before anyone says anything about me comparing DV to VHS, that is not my intention. I threw obvious formats out there to show workflow orders and to give an analogy. DV is a very good codec. I will tell you that I like M100 better, but DV is not that far behind. I use DV at home, and I am very happy with the results. In fact, I was debating between M100 and FCP at home for my side business of wedding videos, and have decided to go the FCP route due to quality and cost efficiency. DV is not VHS quality. It is far beyond VHS. DV is far beyond DVD quality. I feel DV is above even Beta SP.

Colour space incorrectly reported

When exploring the metadata panels, I noticed all my photos were marked as Adobe RGB. This is incorrect as the camera was set to sRGB, which Photoshop Elements reports too.
This happens with Canon 20D RAW and JPEG files.
Anyone else notice this?

If this is happening with JPEGS then it's an issue,
but RAW files do NOT have ICC profiles embedded - RAW
files don't even have a colour space until they are
converted, let alone ICC profiles.
That is not how the 20D seems to operate. There is a menu option for colour space that allows me to set it to sRGB or Adobe RGB. This setting is reflected in the file names. sRGB photos are prefixed with IMG_, Adobe RGB are prefixed with MG .
Also the manual reads
"For normal images sRGB is recommended. In the Basic Zone modes, sRGB will be set automatically."
So it seems that Canon are nudging me towards using sRGB anyway. (I generally don't use the basic zone modes anyway, rather the aperture and shutter speed priority modes instead).
All my RAW files are IMG_ files. Not only that, but Canon's utilities report what colour space is associated with the RAW.
You might also want to rethink your monitor
calibration - sRGB and Adobe98 are profiles strictly
for images, not for screens - assigning one of them
to the screen will mess up the displayed colours.
Why then is there a display profile for sRGB and Adobe RGB in the System preferences? I don't understand what you mean here, sorry.
In general, Adobe98 is a larger space than sRGB,
which means that it can contain pretty well all the
colours available in sRGB, but can ALSO contain more
subtle colours which can't exist in sRGB. To see this
easily, open up ColorSync Utility from the Utilities
folder, click on Profiles and then swap between
Adobe98 and sRGB - it will show a graphical
representation of the two spaces.
Ian
I don't use a hardware calibrator (yet - budget constrains). I have just used the Disply prefs to assign the sRGB profile. I tried the Adobe RGB one and like I said it looks dull and subdued for everything else.
I notice in the following thread :
http://discussions.apple.com/thread.jspa?threadID=472188
you said
2a. The vast majority of web browsers (and as far as I know ALL Windows browsers) are not colour profile/ICC aware, and will assume if anything that all images are sRGB.
2b. In general, anything for screen or web use should be in sRGB.
The vast majority of my stuff I will put on a website for friends/family to view, so I have everything set to sRGB along the way so I can get (I hope) a fair idea how it is going to look. I do print things out occassionally though - I send them to a photo lab, I don't bother with a home photo printer. For the couple of photos I sent off, I didn't have a problem. They were JPEGs saved (pre Aperture) off the RAWs taken with the camera set to sRGB.
Since the images are in an sRGB profile, doesn't it make sense to have the monitor set to use that same profile?
I am happy to admit that I am an utter novice with the digital side of photography, and the different colour profiles and what not have me confused.
Any explanations are greatly appreciated
Chris
17" PowerBook G4, 20" iMac (Intel) Mac OS X (10.4.6)

Working Colour Space and sRGB

Only partially related to CR, I'm still unclear about using different colour spaces in my workflow, as a semi-pro photographer producing images for the internet, projector, and for home printing.
I found this topic in the archive:
Klaas Visser, "ProPhoto vs sRGB" #1, 15 Nov 2006 4:36 pm
and was still left puzzled.
I read Bruce/Jeff's book a year ago, and took in the recommendation to use ProPhotoRGB as the target colour space, but am still not clear WHY, and if it is relevant to a workflow which results in a reduced sRGB jpeg, or an A3/A4-sized print on a SOHO 6-colour injet printer. Does CR work best in ProPhoto?
Recent conversations have led me to believe that there is little point starting with a ProPhoto colour space if the end medium uses a much smaller gamut, like a calibrated monitor, projector, or domestic inkjet printer. Not only that, but the colour space conversion process will actually degrade the image unnecessarily. I'm told that it's better to start with the final colour space and avoid conversions. One friend went to great lengths to explain to me that a larger gamut with the same bit depth had "bigger gaps" between colours and therefore less accurate colour resolution.
Well, the theory in both camps seems sound, so I'm left in confusion. I could spend many hours (and money) on doing test conversions and prints, and examine fine details with a large magnifying glass, but I was hoping: could somebody put me out of my misery with a logical explanation of best practices?

> Recent conversations have led me to believe that there is little point starting with a ProPhoto colour space if the end medium uses a much smaller gamut ...
You don't sound that confused -- you simply need to decide on what your target color space (CS) gamut should be. You're correct in noting that color gamut conversions are somewhat destrustive, but there nothing wrong with minimizing them, and restricting them for going from large to small gamuts only.
A large CS gamut (PpRGB) is capable of all the color from your camera (depending on your camera), but like your friend implies most probably sould be editted in highbit depth (16bits). This CS is useful for archiving your images, or for aggressive tonal adjustments. (... although your images are 'really' archived as raw data, and ACR "undestructively" modified tonal values before exporting to Photoshop).
I find little utility in exporting to small CS gamuts (eg, sRGB), unless the image is intended for a small gamut (monitors in general - eg, web browser presentations, and/or printers that can only relate to sRGB).
In between are intermediate CS gamuts (eg, AdobeRGB), which are quite capable of small tonal adjustments with 8bit depth, for which the target gamuts are usually better printer technologies.
my CA$0.02 :)

What is difference between table space and shchema

what is difference between table space and shchema ?

784633 wrote:
so each user has it own space of tables - schema ?yes, but let's clarify a bit ....
The "schema" is the collection of all objects owned by a particular user. So if user SCOTT creates two tables, EMP and DEPT, and a view EMP_RPT, and a procedure GET_MY_EMP, those objects (tables, views, procedures) collectively make up the SCOTT schema.
Those objects will be physically stored in a tablespace.
A tablespace is a named collection of data files. So tablespace USERS will be made up of one or more data files. A specific datafile can belong to one and only one tablespace. If a tablespace has more than one data file, oracle will manage those files as a collection invisible to the application - much like the OS or disk subsystem handles striping across multiple physical disks.
A specific object in the SCOTT schema can exist in only one tablespace, but not all objects of the schema have to be in the same tablespace. Likewise a tablespace can contain objects from multiple schemas.
and can one user to access tables of other users?As others have said - FRED can access tables belonging to SCOTT as long has SCOTT has granted that access to FRED.

Elements 10, Camera Raw 6.7: no colour space choices

Newbie alert!
I'm no expert on Photoshop or Camera Raw, but I read everywhere that I should be able to change the colour space of the Camera Raw output. At the moment I can only get the default which is sRGB but I want Adobe.
There's a little camera gizmo titled "Camera Calibration" underneath the histogram, but it's not there.
I've read that there should be some control in the middle beneath the preview but there's nothing there either.
Is this hobbled in Elements?
Thanks,
Keith

ElephantSandwich wrote:
Thanks for the reply: I'm aware I can set the colour space in the editor but my concern is that if it's exported from Camera Raw as sRGB then converted to AdobeRGB that there may be some information loss, my thinking being that getting it right early is better than later. Am I right in thinking that converting from sRGB to ARGB will lose information, or more likely won't have the full information set in the first place because the initial export from RAW is to sRGB?
I have to say I find the subject of colour management quite mystifying ... but I gather I'm not alone in that.
Thanks again.
Keeping in mind that a raw file has no color profile (it's not even an 'image', it's a recording of light intensity for each of the photosites laid out in a 'Bayer pattern' with Red, Green and blue filters) and that your raw file information will never be altered by any converter, you can be sure that it is always possible to re-process the raw file to aRGB without any information loss.
You are perfectly right that the resulting image (psd, tiff, jpeg...) when you save from the editor will keep its color profile and that converting sRGB to aRGB won't add any useful information; that's what I said in the other post.
When I was experimenting on that matter with other users in another forum, I was able to select previously edited raw files containing subtle tones in green/cyan and re-process them in aRGB instead of sRGB and I got better results on my 6-inks home printer.
Don't believe all images will be better in aRGB, there are not necessarily 'out of gamut' colours in all of your pictures.
Edit
I just realized that I have missed to put the link to the other thread:
http://forums.adobe.com/message/4619442#4619442

Changing Colour Space - How do I save an image in Adobe RGB 1998?

I wish to submit an image but it is required to be "Saved in Adobe RGB 1998 colour space".
Any suggestions?

Export it an open it with Preview and assign Adobe RGB using preview
LN

There is a mismatch between order type and GL accountu201D.

Hello
Can any one help me to know why I am getting this error message.
Here I am giving the steps carried out.
Step1. Using transaction code: FB60 I have posted a vendor invoice to a Machinery account GL account against a internal order.
Step2. A down payment using transaction code FBA7. using a special indicator M to a bank account.
Step3. When I am trying to clear the open item (by selecting above both documents) for the vendor using transaction F-44 system is giving an error message u201CThere is a mismatch between order type and GL accountu201D. System is prompting to correct the down payment entry, where I dint use any Cost centre, internal order.
Checked the Internal order profile, AUC settlement profile etc and no able to find an error message.
Can any one explain me why this error is coming and what need to be check in order to rectify it.
Regards
RS.

Hi It looks that the field status of the Order Type and GL Account field status is being mistmatching with each other. You can check the field status group given on GL Account and the fields status in Order Type.

PDF/X-4 Device Colour Space inconsistency issue or not

Hi all,
If a deviceRGB image is lying completely outside of trim and bleed, and the PDF/X output intent is set to CMYK, should a preflight flag this as an error according to ISO1590-7:2010 or not? I have tools that currently do this. If I read chapter 6.4.3.2 of ISO 15930-7:2010, I'm not really sure that is what these preflight app's should do:
Device colour spaces may be used for print elements only if:
⎯ they match the space specified in the PDF/X output intent; or
⎯ the PDF/X output intent specifies a CMYK print characterization, and the device colour space is DeviceGray.
All input to help me solve this puzzle is more than welcome.

Looks like I was confusing the Ghent Workgroup specs (and their use of TrimBox to define an area for print elements) with the PDF/X-4 standard which clearly (6.1.3) says that anything drawn on the page is a print element.
Sorry for the confusion.

Changing the colour space on a jpeg image for better quality when uploading to a website

When uploading my images to my website the quality and colour of the photographs aren't the same. They lose quality etc. I was told to change the colour space to sRGB or something to make it better. No idea how this works and I'm now not sure what settings to have photoshop on, I don't want to edit my images and then for them to be edited wrongly.
Really need some help, much appreciated.

File > Save for Web. Use the 4-up panel to choose the best quality image with the smallest file size to save on bandwidth. You can test with sRGB enabled. Click on screenshot.
Nancy O.

Fatal error C1900: Il mismatch between 'P1' version '20080116' and 'P2' version '20070207'

Hi all,
I have a Team Foundation Build Agent that has Visual Studio Team System 2008 Test Edition installed. One of the solutions that I compile with that Build Agent gives me the following errors:
VCBUILD : fatal error C1047: The object or library file '.\bin\Release\main.obj' was created with an older compiler than other objects; rebuild old objects and libraries
LINK : fatal error LNK1257: code generation failed
VCBUILD : fatal error C1900: Il mismatch between 'P1' version '20080116' and 'P2' version '20070207'
LINK : fatal error LNK1257: code generation failed
I've searched online and found that other people have experienced the same problem:
http://software.intel.com/en-us/forums/intel-c-compiler/topic/62516/
http://nuicode.com/issues/266
In the second posting one states "I had the same Error! After installing Service Pack1 for VS2008 it worked!". Thats great for him but I don't see any such update for the Test Edition of Visual Studio Team System 2008 - Test Edition.
What can I do to get rid of that problem?
Thanks!

Hello ACKH
I once handled a similar case in newsgroups. That case exhibit a almost same symptom. Please check out my summary below:
Problem
In that case, the customer has a DLL project that you had built on a machine where VS 2008 SP1 was installed. You then attempted to rebuild that project on a machine without SP1, and got a fatal compiler error C1900 “IL mismatch between ‘P1’ version ‘20080116’ and ‘P2’ version ‘20070207’”, and then LNK1257 “Code generation failed”. He found that rebuilding your static library alleviated the errors, but cannot accept this as a workaround because your clients will not have the ability to rebuild the libraries you distribute before they use them.
Cause
You had built the static library with the /GL (Whole Program Optimization) compiler switch, which requires Link Time Code Generation (/LTCG) when the static library is subsequently linked. These features require that all linked modules be built by the same version of the compiler. In fact, if precompiled headers are used, the same machine must build and link all the involved object code. Therefore, it is highly recommended that static libraries not be built with the /GL switch, since their intended use is quite frequently to support reuse by others.
Solution
You rebuilt the static library on your VS2008 SP1 machine without the /GL switch, and you no longer encounter this problem.
Please let me know if this info is helpful to you or not.
Regards,
Jialiang Ge
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Which colour space for camera and LR

Thanks for the answers to my last post about sharpening and workflow.
My next question is about colour spaces. I use a Nikon D200 which lets me choose from sRGB or AdobeRGB...LR obviously has these plus ProPhoto RGB. I use a MacBook Pro and an HP deskjet printer (5850)...I bought this before I bought the camera, and although it is very good, when I eventually change it I will go for a better quality printer.
I AM NOT a pro photographer or photo-editor by any means, but I do want my pics to look the best they can. Can I get some advice please on the pros and cons of the colour spaces?
Cheers,
Nige

>sRGB should be good enough, but it's also good to hear you also shoot raw ... afterall, sRGB contains all of the color in most photographic images.
Actually sRGB encodes only about 90% of colors present in nature. adobeRGB about 97%. prophotoRGB a perfect 100%. Check this page for more info than you'd ever need: http://www.brucelindbloom.com/index.html?ColorCheckerRGB.html . That said, usually, because of the color management problem, stick to sRGB for exports that are consumed by other people.
>So..Michael...you said 'better inkjet printing'...I assume you mean a professional print lab or high level 'home' inkjet, rather than an average home printer like I have (perhaps one day!).
There are two answers to this. They might surprise you. Concerning home printing. Even the cheapest inkjets nowadays produce color outside of sRGB and even adobeRGB. You should print to these printers directly from Lightroom using actual color profiles meant for the printers and the paper you are using. Usually those are supplied with the drivers. This will give by far the best results and will give the deepest most saturated colors. This answer does not change when printing to even better printers. In fact, almost every current inkjet printer can now print colors that no display can actually show.
Second concerning lab prints. Be very very careful with this. Most labs, even the pro ones, do not color manage at all and their photo printers are tuned to approximate sRGB. Simply send them sRGB and you'll be fine. Some labs offer actual profiles that you can convert your images to in advance. (see http://lagemaat.blogspot.com/2008/05/great-prints-from-labs.html for more info). This gives slightly better prints and will reproduce colors not in sRGB ( and not even in adobeRGB: http://lagemaat.blogspot.com/2007/11/relevant-example-for-pprgb-vs-adobergb.html ). Due to variability in displays, you might even be able to see those colors on screen if you calibrate correctly. Some of the better labs might accept files in other profiles than sRGB or a lab specific profile. They will then do the conversion for you or have a color managed print workflow if they use inkjets. Make sure they know what they are doing which you usually can find out after talking for a few seconds.

SSRS 2012 ERROR [IM014] [Microsoft][ODBC Driver Manager] The specified DSN contains an architecture mismatch between the Driver and Application

I have a SSRS installation, I have deployed my connections to, but they fail with title message. The drivers and ODBC on the box are setup and work fine with 32 bit ODBC conn manager.
When I run or configure my connections on the site, via the browser, I get errors connecting.
I tried to find which app pool http://server/ReportServer application used, but I am not finding that, so my first ?
How do I find in IIS what app pool SSRS application is using?
I have 2008 server, running SQL 2012 V.S. 2010 and I think I need to enable my app pool to use 32 bit, but cannot figure out which one it uses? I see default set to 32 bit = true, which I thought would be it.
Can I set my SSRS project to use x86, platform? Like I did with SSIS?
If so, how? SSRS and SQL 2012 somewhat new for me. Thanks
Developer MS Reporting Services

Hi DCady,
To manage a data source that connects to a 32-bit driver under 64-bit platform, we use C:\Windows\SysWOW64\odbcad32.exe. To manage a data source that connects to a 64-bit driver, we use C:\Windows\System32\odbcad32.exe.
Generally, if we use the 64-bit odbcad32.exe (C:\Windows\System32\odbcad32.exe) to configure or remove a DSN that connects to a 32-bit driver, for example, Driver do Microsoft Access (*.mdb), we will receive the following error message:
The specified DSN contains an architecture mismatch between the Driver and Application
To resolve this error, we need to use the 32-bit odbcad32.exe (C:\Windows\SysWOW64\odbacad32.exe) to configure or remove the DSN.
Besides, please make sure there are no DSN using the same name in both 64-bit and 32-bit ODBC Data Source Administrator.
Reference:
Managing Data Sources
Regards,
Mike Yin
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Mike Yin
TechNet Community Support

Data mismatch between TABLE and Std. Extract str. (AFPO & 2LIS_04_P_MATNR)

Hi,
I am getting data mismatch in ECC standard table and ECC standard extract structure. Please help me.
I am using 2LIS_04_P_P_MATNR data source (standard extract structure).
I have following data in ECC Table (AFPO - Order Item).
AUFNR (Order Number) --> 4000460
PGMNG (Total planned quantity) --> 0
PSMNG (ORDER QTY) --> 2000
Extract Structure is showing following data.
AUFNR (Order Number) --> 4000460
PGMNG (Total planned quantity) --> 2000 (It should be zero)
PSMNG (ORDER QTY) --> 2000
I have checked with many other order numbers. The extract structure in RSA3 is showing correct values only if PGMNG is non-zero values. If PGMNG is zero, then it is automatically assigning PSMNG value.
Is this common? I want to display correct values for PGMNG from AFPO Table. Why this mismatch between table data and extract data. I have done all required steps refreshing data (deleting setup tables, filling set up tables etc.).
pls suggest. Poinsts will be assigned to every useful answer.
Thanks in advance.

Hi Avneet,
I have a similar problem where in AFPO shows value 1000 in PSMNG field and 1200 in RSA3 for extractor 2LIS_04_P_MATNR.
I have found that the standard feature of the extractor extracts the data at the time of release of process order. If the process order is changed after the release then the extractor will not picup the chagne.
Ex: AFPO value 1000 ---BI Value 1000
Now released in ECC
AFPO value 1000 ---BI Value 1000
In ECC value changed to 1500 after the release. BI will not pickup the change.
Extractor is pulling the data from MCAFPOV table. You can check the values, there it matches with RSA3 values.
I was just going thru forums for the solution. After i found the solution. I am just updating it.
Hope it helps you.
Thaks
Srikanth

Output mismatch between BEx query output and WebI Report output

Hi All,
I have a BEx query in which there are only characteristics placed in rows.
There are combinations of the values of the characteristics giving different records in the query output.
Date is one of the characterisctics in the query output.
There is an output mismatch between the query output and the WebI report output in the following case:
When there are 'Not Assigned' or '#' or blank values, there are additional entries(rows) in the WebI report, giving repeating or wrong entries in the Date field. This is incorrect data.
Is this because of the 'Not Assigned' or '#' or blank values of the Characteristics or is there any other reason?
How do I fix this?
Please helo me with this.
Thanks and Regards,
Srilakshmi B

Hi Rajesh,
I need to verify the WebI report output for records with # and 'Not assigned' values for the cHracteristics in the report.
So I cannot check the WebI report by hiding the # or Not assigned values.
The problem is that in the Query output the records are like these shown below:
Char1                    CHar2                          CHar3                       Date field
A                             B                                 C                                Date1
#(Not assgined)      #(Not assgined)      #(Not assgined)             No value
Where as the WebI report output is as below:
Char1                    CHar2                          CHar3                       Date field
A                             B                                 C                                Date1
#(Not assgined)      #(Not assgined)      #(Not assgined)            Date1
As shown here, there are wrong/repeating entries for the Date field in the WebI report output.
Please check this and let me know what could be the issue and how do I fix it.
Thanks and Regards,
Srilakshmi B

Mismatch between colour spaces?

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