Multiprocessing color space render issue

After installing the newest update of After Effects CC 2014 I am having troubles with my renders while using multiprocessing.
The color space I'm working in is a linearized 32bpc sRGB IEC61966-2.1 When I render without multiprocessing turned on, the render turns out fine, but with it turned on the resulting render is way too bright, as though the gamma has been lifted way too high. I would really like to be able to use multi-processing, since it cuts my render times down to a fifth of what they would be otherwise. Any advice would be much appreciated.
Also, just for fun I took my file back into After Effects CC (12.2) and tried rendering it with multiprocessing without changing any settings and the render turned out just fine, making me think that this is specifically a CC 2014 problem.

This is a bug that was introduced in After Effects CC 2014.1 (13.1). My apologies about this.
First things first: to work around this bug you will need to disable multiprocessing in order to get a color-accurate render, via either RAM preview or via the Render Queue. Alternately, you can use multiprocessing but to get expected colors you must disable color management (set the project's working space to None), or if using Rec. 709 or sRGB you can leave the working space enabled and disable only the Linearize Working Space option.
If you choose to leave multiprocessing enabled and disable color management, you can create the same color transform by applying the Color Profile Converter effect. For example, before rendering via the render queue, pre-compose your final comp and apply the effect to the pre-comp.
We will evaluate a fix for this bug for a future update to After Effects CC 2014. An update is scheduled to release soon (this week or next), but a fix for this bug won't be included; this will have to wait for the next update.
Under the hood, here's what happened to cause this bug:
In After Effects CC 2014.1 (13.1), a color transform to Rec. 709 is automatically added to frames delivered via Dynamic Link when color management is enabled in the project. This is a new behavior in this version, which solved a problem with gamma and/or color shifts when sending frames to Premiere Pro or Adobe Media Encoder, which assume that all incoming Dynamic Link frames are Rec. 709.
When multiprocessing is enabled in After Effects, it uses Dynamic Link to communicate with the subprocesses. In this case, After Effects knows what color profile is being used; no additional color correction is necessary.
Combining these two behaviors we get this bug: an unnecessary color transform to Rec. 709 is being applied to frames rendered when multiprocessing is enabled. We failed to take the multiprocessing case into account when we added the new behavior.
If your project's working space is already Rec. 709 or sRGB (which are functionally the same), you wouldn't notice a difference, since the additional color transform results in no change. Using any other profile would cause a color shift. Enabling the Linearize Working Space option with any profile will introduce a gamma shift.
Again, my apologies about this bug.

Similar Messages

Color space export issues...

Well. This has been going on for a while. Sometimes it doesnt happen but most of the time when I export my images in srgb the view once uploaded is much depreciated. I proof in srgb 2.1 and embed upon export. The same thing happens with using the boarderfx export plugin. In addition, it seems to happen more after exporting to PS for edit and then exporting the tiffs to jpg later. But happens with normal jpg/raws as well. Thanks a lot for all the help and hopefully I can get this solved
Aaron

I don't mean "Quick Look" in Leopard. I mean Quick Preview in Aperture (a little button in the lower right corner that turns yellow when selected). I believe that, although not as seductive as the native screen display, Quick Preview is more accurate.
Here is what I mean by accurate:
• Quick Preview changes the display significantly and matches closely prints made from Aperture when printed on the paper for which I have selected the proof profile (in Aperture under View / Proofing Profile).
• Quick Preview displays an image that is nearly identical to that printed from Photoshop, InDesign, and Acrobat when the same paper and profile are used.
• Prints made from Aperture are nearly identical to those made from PS, ID, and Acrobat using the same parameters.
• Quick Preview displays an image that is nearly identical to that displayed in Photoshop, InDesign, and Acrobat when the same print profile is selected for soft proofing in these applications.
There is a wild card though: these days I print mostly using perceptual rendering intent. Aperture does not appear to provide any direct control over rendering intent or black point comp for softproofing. Native display in Aperture (with the correct profile selected for on screen proofing) is much closer to a PS soft proof of the same image using RelCol rendering intent in PS. In this case the difference seems to be perhaps in the implementation of black point comp.
It would sure be nice if we had full documentation of this stuff and didn't have to make suppositions about its functionality based on empirical data.
If you know of a way to soft proof in Aperture (that permits my workflow instead of imposing one) that allows for simultaneous editing I would be much obliged.
OK, I just did a little more poking around. Quick Preview appears to preview the image in the working color space, and what I was calling "native display mode" is using the selected soft proof profile. But on my system it is not accurate with my printer profiles. Not even close. Like I said this might be due to lack of control over rendering intent and black point compensation. (I also just noted that the soft proof display does not incorporate BPC. You can see this by creating a preview through the print dialog and comparing the result to the screen display.)
Though soft proofing seems to be broken, at least for me, I have answered my own question: My working space is close enough to (and obviously includes the full gamut of) my print profiles that I can select my working space profile for soft proofing (which it does use accurately since Aperture is also using the same profile to convert the RAW file to for export) which will allow me to edit while soft proofing in a valid color space with consistent rendering intent and application of BPC.
Flame off, over and out.

Color Space Issue: One Black On Screen But Two Blacks When Printed

I work at a print shop (using Windows 7 and Adobe Acrobat X) and often receive PDFs from customers that were created from PowerPoint. These PowerPoint PDFs often present a printing issue when there are black objects in the file.
On screen, there will be only one consistent shade of black but when the document is printed, it becomes evident that there are actually two different blacks in the file, one darker than the other.
I have done a lot of online research (including these forums) in an attempt to find a complete solution that will always work for these problem-files but have yet to find one.
I know that the issue stems from the fact that PowerPoint uses RGB colors and not CMYK like printers but trying to manually convert color spaces in Adobe Acrobat Pro to be uniform did not help. Whether I convert the entire document's color space to CMYK or just individual objects, I always get the two shades of black when printing. Can anyone explain why this isn't working for me?
I have used the Output Preview tool to determine that the two blacks in the documents are almost always C0-M0-Y0-K100 and C75-M68-Y67-K90. I have read that a custom Preflight fix can be created to seek out all instances of one black and convert it to the other but I did not have success when trying this method. I must be doing something wrong. After running my fix, I always get a message about how no issues are found. If someone can post a step-by-step guide on how to create a Preflight fix that will resolve this issue, I would really appreciate it.
I have uploaded three sample PDFs that I'm currently working with. Please feel free to review and troubleshoot them. My goal is to uncover a solution that I can apply to all three files to get them to print with one consistent black.
https://workspaces.acrobat.com/?w=j3nHuvLCo9XWHliKEpNX-A
Thank you all so much in advance for any insight you can offer.

So sorry about that. I have Published all three files now so they should be accessible to the public.
ColorSpace1.pdf
https://workspaces.acrobat.com/?d=W9QuI9UZSYRmGYnvoaS44w
ColorSpace2.pdf
https://workspaces.acrobat.com/?d=-AQHyT*HMSawAW-swQ9SVA
ColorSpace3.pdf
https://workspaces.acrobat.com/?d=DWuc0Dp-M8SKqnX6mTNnfw
Thank you for the reply!

Round Trip and Render issues - Color back to FCP

Graded, rendered, send to FCP. Looks good on the timeline, minor issues with some variable speed clips and sound (for some unknown reason) but i had duplicated timelines and was able to gather everything onto one timeline and each clip plays back fine, but i can't really get a good read thru, the timeline after about 5-7 secs will start to hold up. I think maybe its having a problem playing back the rendered files off the internal harddrive and the firewire 800 drives I use for capture scratchs. So I export a self-contained movie file and it won't play without stopping in either quicktime or FCP. I can't figure out what the problem may be or how to fix it. My next call is apple support but i figured maybe one of you esteemed gentleman may be able to see the tree in my forest. Thanks, Steve

Michael Trauffer wrote:
but i figured maybe one of you esteemed gentleman may be able to see the tree in my forest.
I see a lot of trees here, so I'll grab my chainsaw and start swinging away
I appreciate that, as here in south louisiana we keep our chainsaws oiled and ready to roll
Graded, rendered, send to FCP.
I follow you up to this point. I'm assuming you're using XDCAM EX footage?
Yes
Looks good on the timeline, minor issues with some variable speed clips and sound (for some unknown reason)
I should point out here that it's been documented on numerous occasions in this forum that Color doesn't necessarily play well with variable speed clips. The Color User Manual has a section on page 75 that shares some steps that should be performed before sending a sequence to Color. One of those steps is baking a variable speed clip into a quicktime movie.
Gotcha, I actually did that to solve that issue.
but i had duplicated timelines and was able to gather everything onto one timeline and each clip plays back fine,
Sorry, I can see how this can be confusing. What I meant to say that is when i had the weird audio issue (it sounded as if the stereo pair were out of sync with eachother, giving it a wierd audio reverb even though i could not visually identify from any information available on the timeline) I then overwrote those audio files and that fixed it. But all this was on the initial sequence timeline that i had loaded from color after the grading.
but i can't really get a good read thru, the timeline after about 5-7 secs will start to hold up.
Define "read thru". If the sequence is dropping frames, it sounds like a bandwidth issue with your scratch disks, or a hardware setup problem.
Yes dropping frames is exactly what it was doing...I am running a quad-core xeon with 2.8ghz, with 4 daisy-chained firewire 800 drives.
I think maybe its having a problem playing back the rendered files off the internal harddrive and the firewire 800 drives I use for capture scratchs.
How many drives do you have designated as capture scratches?
I have one folder on one of the 800 drives designated for this project. In color I chose a different 'render Directory' on the internal hardrive (i believe it was a default)
What specific drives are you using?
Lacie 500gb drives
If by "internal harddrive" you mean your system drive, this is a big no-no. I can only assume here, but I think you're working with ProRes material at this point. Depending on your specific Mac, the internal drive may not be up to the task. If you consider that that drive is running your entire OS, plus any open application, plus Final Cut Pro, plus accessing the render files, plus any other source material that you may have stored on that drive, you're asking that one drive to do a whole lot of work.
I get that. But should i change Color's render directory to somewhere in the project folder on the Lacie Drive?
So I export a self-contained movie file and it won't play without stopping in either quicktime or FCP.
A self-contained movie file of what?
The sequence.
How are you exporting?
FCP export > quicktime Movie > What are your sequence settings?
Xdcam 720p30 project settings based on xdcam clips, 1280 x 720
Open the file in Quicktime Player, and press Command I to open the Info Window. Make a note of the format information and post that information here.
I wish i could and I will when i get back to the office after dinner.
Chainsaws can get pretty heavy after a while. I'll take a break here and see if I hit anything of value.
I think you did...but confirm for me. Color's render directory, whats a better place for it? And thanks for the quick response it is duly appreciated.

Color Space Issue?

This is probably a very simple issue which I'm hoping someone can easily figure out. I process my images to taste in LR4 and then export them as jpgs in the sRGB color space. When I open them in programs like "Windows Picture Viewer" they look just like they do in LR but when I upload it to my website or view it in a program like IrfanView the images look terribly over-saturated. I should also mention that it seems like I need to add quite a bit more saturation than normal to get them looking right in LR. I'm guessing that there is some setting that I have wrong. Can any one help me figure out what it might be?
Thanks! I really appreciate this great forum and all the helpful people on here!
Erik Stensland

Dorin Nicolaescu-Musteață wrote:
4) Chrome IS NOT color-managed. Use the "--enable-monitor-profile" command-line switch.
I believe that even with that switch, it ignores image profiles, assuming all images to be sRGB. In other words, it can be persuaded to respect monitor profiles but not image profiles. At best it does half the job!
It used to be that way, but I've not tested it recently.

Color Space Issue with Wide-Gamut monitor

Since getting my new (and carefully calibrated) LaCie 324 monitor, I have noticed that RAW (and maybe other) images exported from Lightroom as
sRGB jpegs look washed out and slightly green when viewed outside of Lightroom (IE8, Firefox, ACDSee, windows 7 viewer). It seems not to matter whether the external application horors embedded color space profiles or not, since the unmanaged ones assume sRGB.
When I bring one of these jpegs into PhotoShop it still looks bad, and not what I see in Lightroom. However, if I Assign the Adobe RGB profile to the image, it immediately looks like the Lightroom version. And if I then Convert that image to sRGB and save it, it looks fine everywhere, even on an uncalibrated standard Dell TN LCD display.
Any ideas what I might be seeing here. A friend with the same monitor has the same problem, which is what is leading me to suspect the monitor.
The first image here is converted from Lightroom with sRGB color space. The second was first assigned the Adobe RGB color profile and then converted and saved out again as a jpeg.
Converted Only

I downloaded and ran the program. My version number appears to be 2.1 if I read the numbers right.
I am still at a loss as to why my sRGB jpegs only look right if I assign the wrong profile to them.
Here are the settings in Windows 7 for color management. The highlighted profile is the one just created for my monitor. Display 2 is my main display. Note the "viewing conditions" setting on the advanced tab. Do you think the rendering intent might be at fault here? In Lightroom, should I use Perceptual over Relative or vice versa?

Color space, Windows Media 9

Hi,
I´m using AE CS3 and try to render a Windows Media 9 file. But I don´t get the colors right. The blacks are too light and the whites too dark (I´ve checked the file in both VLC and Media Player). I guess it could be a color space issue. In AE I use HDTV (Rec. 709) color space. But not sure if this is the right choice. Have also tried not to use any color space, but that doesn´t help either. Thankful for any advice.
Thanks

Rec 709 as a project setting should not affect output in any way, as it covers the full 0-255 8bit RGB value ranges. They should only get limited when using other profiles and working in other bit-depths.. The only other thing that in my experience might cause color shifts is odd combinations of older Windows Media components with the latest AE. In these cases, the ranges may be misinterpreted. As a last thing, also check hardware acceleration options in your players. Sometimes simply a color otpion introduced by your graphics card can make things go crazy. In any case, I would, as a minor, update Windows Media player to the latest and see, if it helps.
Mylenium

Color space AE CS5 Versus AE CS4 = !#%%$

Hello,
I'm trying to export HD uncompressed 10-bit with color space HDTV (rec.709) clips of VFXs footage that were done on AE CS5.
My main project file to which I want to integrate them in on AE CS4 which I am using (the AE CS5 render are made by someone else that has it).
My project file settings is in HDTV (rec.709) 16bit with mostly cineform clips, but with a few other VFXs shot that were renderer in HD uncompressed without problems (using CS4). I plan to them export my main project into HD uncompressed
We tried to batch of export:
First one was done in CS5 with HDTV (rec.709) in export settings but the project settings wasn't set to HDTV (rec.709) by the VFXs guy.
When I imported those clips in my CS4 main project there was difference in color (more golden) and blacks (more crushed).
You can it with the blacks's difference on the girl's hair and the side planel of the plane and the golden is less ovious on the picture quality but you see it a bit on the woman's face.
I then proceeded to check color space, and it was imported by default by AE in sRGB IEC611966-2.1.
I then changed it to HDTV rec.709 using interpret footage; it was a closer match, but not quite.
I then noticed that all my project's clips, including the HD uncompressed one that I rendered (under CS4) from work done by another VFX artist, were all in HDTV rec.709 YCrCb, but the the imported clips I was trying to match were in HDTV rec.709 only with no YCrCb mention afte them.
I talked with film's colorist and VFXs artist that worked with those projct file from which all the problematic shots comes (because problem is isolated to project file this person worked on), because we both over our head in color space territory.
We came up the the possible solution that the project setting might have been altered for quicker workflow and not set rigth again.
We checked and color space wasn't set in setting; colorsit suggested that if it's not set in settings no mather if you set it in your export settings, AE won't allow it and that's why it might have forced RGB, hence the sRGB IEC611966-2.1. It was in 32bit float instead of 16 bit, so that's ok, we initialy suggestedthat it might have been reduced to 8bit for quicker workflow.
After this, we proceded to re-render in CS5, bu we found a weird thing that we both don't realy grasp.
After he did the 2nd render (in CS5 still), he tried importing clips with old ones, to compare them to my unafected originals clips, in my CS4 project that he converted in CS5. It was worst. He then switched off the "blend color using 1.0 gamma"; which my project file didn't have on in CS4. The files are in 32bit float and color space was HDTV (rec.709), but since it's not embed in HD uncompressed files he set them manualy after importing them.
The OLD render batch was matching, but not the NEW ones.
Then he tried importing both render batch in the original project file he exported them from, and it was the NEW batch that now matched.
He's now doing test in my main project file in CS4 which is were I'd ultimately like it to work in,
but if anyone could gives us pointer as to why this is happening and how to make it match with no hassly tat would be great help.
Thank you for your time and interest.
Frédéric

You've lost me, honestly, but obviously you seem to be close to the solution. Your colorist is mistaken, though, about how AE handles color profiles. It doesn't discard or enforce profiles, it really seems you just forgot to carry them somewhere. Also, since these are different machines, maybe a specific profile was not available. eitehr it was never installed or it is blocked due to permission issues...
Mylenium

Working in Linear color space confusion

When comping in Nuke we usually use Rec. 709 footage and comp in Linear color space. We can then preview in sRGB or Rec. 709 or whatever othe color space to check what it will look like.
In after effects how do we achieve the same?
You would think that:
1/ Interpret footage as Rec 709. No problem here.
2/ Set Project to Linear colorspace. But this is were the weird stuff happens. Since you have to select a color space other than linear and THEN tick linear compositing. That is the same as saying that you want composite in two different colorspaces at the same time? Thats is confusing so what is the right way of working here to composite in Linear cool space to get after effect to act the way Nuke does?
3/ Then Simulate Output -> Rec 709
Thank you in advance.

Actually, it seems AE doesn't really do it correctly without specifying color space and clicking "linearize working space" as you can see here (These two images is just a 3D render where I've added the diffuse, reflection, refraction and indirect passes together.): http://i1052.photobucket.com/albums/s443/lostparanoia/AE_LWF_error.jpg
Also, the somewhat correct image is not 100% correct either because of (I assume) the color space adjustments that after effects applies.
Another issue when working in sRGB 2.1 (linear) space is that I can no longer get the correct colors for my solids.
Lets say I need to color pick some company's brand color to use as a background in my comp. When I color pick it, it will be in the completely wrong gamma, but I can't figure out any way to correct it so that it becomes the correct colour. I've tried applying a Color profile converter, and I've tried a inverse 2.2 gamma (0.455). Nothing seems to work. It's just a completely different colour.
So my question is, is there still no way of using a proper linear compositing workflow in AE? And how do you work with solids and the colour picker in sRGB (linear)?

RED Color Space

Hi,
I'm having issues determing the correct Color Space for my RED footage. I set the project color space to HDTV Rec 709. I bring the footage into the project, I interpret the frame rate from 23.98 to 29.97, then I Add to Render Queue. I set the Render Color Space setting to HDTV Rec 709 as well. And when its done, the final quicktime is close but slightly different colors than the original.
I've tried doing the same with color management turned off. The codec I'm trying to export to is DNxHD.
If I take the same original RED file and bring it into Avid Media Composer at DNxHD resolution, the colors stay the same. But I need to use After Effects for the frame rate conversion. How can I get After Effects to keep the colors the same when converting to DNxHD please?
-Matt

1. Make sure your AE project is set to 32 bit.
2. See this thread on exporting to DNxHD in MOV container out of Adobe Suite.
3. Keep in mind that DNxHD is literally for 1080 and 720 only.

Image in PDF error - Expected end of color space

Hi friends,
I am displaying a PDF file in an webdynpro application. The contents are coming from the output of a RFC. The pdf file contains an image. While I am running the Webdynpro application the image is not coming. An error popup <b>"Expected end of color space"</b> is generated. But the texts of pdf file is coming properly.
Please help.
With regards,
Sekhar

Hi Sekar
We are facing the same issue. Have you managed to resolve this issue ?
Please advise
Regards
Vivek

Asking the Bridge Team: Bridge "working color space" setting when one does not have the Suite?

Common sense tells me there is really no such thing as a
"working color space" in Bridge, because
Bridge is not an image editor, just a browser
Therefore, this may turn out to be a purely academic question; but that doesn't keep my curiosity from forcing me to ask it anyway. ;)
Is there a way to set the Bridge
"color settings" when one does not have the suite?
The only Adobe program I keep up to date is Photoshop, so I've never had the suite. My version of Photoshop is 11 (CS4) and I run updated
(not upgraded) versions of Adobe Acrobat 7.x, Illustrator 10.x and InDesign 2.x. Consequently, the Synchronize color settings command is not available to me.
It seems to me that Bridge is behaving like a proper color-managed browser (e.g. Firefox with color management enabled), in that it displays tagged image files correctly and assumes sRGB for untagged image files. This normally works fine.
But what if I wanted Bridge to assume my
Photoshop color working space for untagged images
so that it behaves the same as Photoshop? I'm just curious, as I deal with a minuscule, practically negligible amount of untagged files.
My reason for bringing it up now is that I don't recall this being explicitly mentioned in forum replies when users inquire about color settings in Bridge. A recent post regarding Version Cue in the Photoshop Macintosh forum got me thinking about this. Just wanting to make sure that I'm right in my assumption that
there is really no such thing as a
"working color space" in Bridge, because Bridge is not an image editor, just a browser.
Thanks in advance.

Hi Ramón,
Thanks for sharing the outcome of your tests. However, I may have found a bug/exception to Bridge's colour management policy!
It appears that CMYK EPS photoshop files are not colour managed in Adobe Bridge, even if they contain an embedded ICC profile.
I've tried every combination in the EPS 'Save As' dialogue box, so it doesn't seem to be an issue with file encoding. Also, Bridge doesn't rely on the low-res preview that is held within the EPS itself.
My guess is that Bridge is previewing the CMYK EPS with a Bridge-generated RGB image, but it's being displayed as monitor RGB (assigned) rather than colour managed (converted to monitor RGB). For most users the difference will be barely perceptible, but the problem became very noticeable when using Bridge to preview Newsprint CMYK images on a wide-gamut monitor (images that should have appeared muted really leapt off the screen!).
How do I report this to the Colour Police at Adobe?!?

Lightroom's 4 color "spaces"

I’m working on designing an advanced photography course. This course makes use of Lightroom and Photoshop in the photographic workflow.
I’m learning and researching myself as I go along, and I feel I have reached a ceiling on what I can work out from the sources at my disposal thus far.
So I am turning here for help.
I am trying to clarify how tones and colours are affected from the actual scene through to the printed page. This might seem like overkill to some. However, there is a lot of misunderstanding and confusion, not to mention heated discussions amongst photographers about these issues. I’m experimenting with metering and colour / tone targets and my calculations are only meaningful if I understand how tones and colours are affected at every stage of the workflow.
Here’s how I understand it:
There are 4 (sort of) Colour “spaces” in Develop where a real-time dynamic preview of an image is rendered
1.       The “viewing space” (ProPhotoRGB Chromaticity co-ordinates, sRGB gamma)
2.       The “computational space” (ProPhotoRGB chromaticity co-ordinates, linear gamma – “MelissaRGB”)
(Martin Evening’s Lightroom 3 book published by Adobe press - Appendix B, section on color space page 628-632)
Below that, things get a little fuzzy. According to Jeff Schewe (Real World Camera RAW for CS5, page 32) there is a sort of
3.            “Native Camera Space” and of course there is the
4.            RAW data in the file on disk.
So to generate the dynamically rendered preview, the image goes through the four “layers” as follows (from bottom to top). This is almost certainly flawed, but one has to start somewhere when trying to work things out :-)
1. The RAW file is read from disk. Colorimetric interpretation is performed using a camera profile (e.g. Adobe Standard for whatever camera it is you are using). This process puts the image data into “Native camera space” (“Plotted” onto CIE XYZ with D50 white point)
2. In “Native camera space, the scene white balance (as selected by user, guessed by Lightroom or reported by camera) as well as additional camera calibration panel matrix tweaks “informs” the colorimetric conversion into Lightroom’s “computational space” e.g. Melissa RGB. The colorimetric definition of camera RGB primaries and white is re-DEFINED. The demosaicing as well as chromatic aberration corrections are performed in “native camera space”
3. Almost all image processing calculations occur computationally in the “MelissaRGB Lightroom computational space”
4. What is displayed on the screen, however, has an sRGB tone curve applied. This represents the “viewing” space. The histogram is generated from this and the RGB colour percentage readouts are generated from this as well. In addition, some slider controls from user input are weighted back through the tone curve into the computational space below.
Could someone from Adobe kindly help me to clarify the steps? Eric are you reading this? :-)
Thanks in advance

Sandy - Thanks for the link. The spreadsheets you posted on your site is quite helpful.
Jao – I think what you said goes to the heart of what I am trying to achieve here: “Photograph a grey target at the exact same exposure with the exact same lighting but with different cameras and you'll end up with different values in the raw files” Which is why I encourage photographers to experiment with their cameras in order to understand exactly how the camera will respond in the heat of a real shoot. Set up a scene; take a picture, open in Lightroom. What is clipped and why? Use a reflective spot meter. Repeat. Use a hand held incident meter. Repeat. How much can you reliably recover? Are you happy with what your meter considers the mid-point (and what you set your exposure for on the camera) or do you need to compensate? Just how much latitude do you have between what your camera histogram shows as a blown out highlight and what Lightroom shows as a blown out highlight. This relates to tone. I could go on with more examples, but by now, I am (hopefully) making more sense.
I’m merely trying to clarify that which is already public in order to form a coherent mental picture. And by mental picture I do not mean an accurate representation of the minutiae and maths involved. Think of a subway map. It represents a bird’s eye view of a transportation system in a logical fashion, yet it bears almost no resemblance to the cartographical reality of the physical topography. I really don’t care where the tunnels go, how they were dug, how they are maintained or where they twist and turn. What I AM looking for is a logical (not physical) map. This map tells me where the different lines begin and end, and where I can change from one line to the other. The most important quality of the map as a whole is that it provides context. You can tell, at a glance, how different lines interact with each other and even how it links to other entities such as bus stations or public landmarks.
As many have rightfully pointed out, I should not have to care about the maths/secret sauce/internal calculations. And I don’t. In addition, I am a very happy Lightroom user and I am very comfortable using it. I know what a user needs to know to get his picture from A to B. There is no shortage of information on how to accomplish that.
It might help if I illustrate what I am trying to do below:
Please excuse the low resolution, the maximum height allowed for upload is 600 pixels. The picture below goes on the bottom left of the "layer" picture above.
Even though there are certainly many mistakes in my diagram, this is a helpful visualisation. I derived this diagram from publicly available information. As the subway map, this is a logical (not physical) representation that provides context in a visual form. With a little help from people like Eric I am sure I can correct and expand it. The net result is an enhanced understanding of Lightroom and ACR and where it fits into the photographic process, both in terms of tone and colour.
I am not posting the entire chart here since I am not even certain that a 4 “layered” representation is an appropriate logical representation. I posted the spine of the chart with the 4 “layers” and one part that elaborates on the colorimetric interpretation between the two bottom layers. Comments and corrections are welcomed. And I am convinced that this can be accomplished without divulging anything confidential.

Rendering Chroma 4:2:2 with color space 0-255

Hello Everyone.
Just as a warning I'm fairly new to video editing, so I will probably not say this right. I have a screen recording that I used FRAPS to collect, and then I packaged it into an .AVI container w/ a lararith codec , and a 24bit RGB color scheme in video dub. I have then opened and edited that video in Premiere Pro and want to export it. The problem that I'm having is screen recording has a LOT of color between 0-16 and 235-255, so any broadcast color space I use makes the video look awful. I was wondering if anyone knows how I can render out with a 0-255 color space and a decent chroma subsampling (my guess is 4:2:2).
Thank you everyone for your help.

No, you are asking the right question, and I understand your problem. I just can't recreate it.
I just took a really wild Quicktime video I downloaded from Videoblocks.com that isn't anywhere close to being broadcast safe, and I exported it to a Windows Media file.
The first picture is a screenshot from the video. (it is a set of lower thirds in one video - I am just supposed to use one at a time of course.
The second picture is the Reference monitor from frame 12;24
I exported the sequence to a Windows Media file and then imported it, putting it right on top of the other video on the sequence so I could make sure to be on the exact same frame. The third picture is the reference monitor from the WMV file on the sequence. As you can see, there is not much difference. Some, but you have to look closely.
So, my question to you, since I do not use FRAPS, is what are your sequence setting? Did you just drop a clip on the New button to create a new sequence with the exact right settings? And, are you making the mistake of using the renders to help you export?
The problem is that I don't understand your source material. I guess I could download FRAPS from somewhere and give it a try? I am just a bit busy with other things today.

Cannot view a PDF in IE on Windows XP - "Invalid Color Space"

I am trying to provide a link to a PDF for online viewing:
http://glencoe.com/sites/common_assets/mathematics/007891647x/LP/FL5MINC3_7_2c_892770_se.p df
Some users can see the PDF with no issue, other users with Acrobat reader 9 on Windows XP receive this error: "Invalid Color Space."
Does anyone know why I'm getting this error, or more importantly, how to fix it?
Thanks,
Rob Underwood

What's the word on this? I am still having the same issue. This is very problematic for many pdfs on many websites! Can someone from Adobe please answer this???

Multiprocessing color space render issue

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