Panasonic GF1 horrible color cast

It seems that Aperture has some serious issues with a magenta color cast when converting GF1 RAW files. It's not so apparent with 100-200 ISO (but still there, especially whith large white balance shifts) images but once you get to ISO 800 the images become unusable.
The color cast is mostly apparent in the dark(er) parts of the image.
Check out the following links to some quick test images that illustratie the problem perfectly. The first link is the image developed in Aperture (latest version) with the white balance set on the white wall in the background. The second link is the same image developed through the latest Camera Raw with the white balance set in the exact same spot.
http://www.benoitvermeeren.be/forumpics/GF1_1704.jpg
http://www.benoitvermeeren.be/forumpics/GF1_1704CRaw.jpg
The Camer Raw image is perfect. Is anybody else seeing this issue with the GF1 (or other Panasonic cameras with similar sensors). It makes using the GF1 with Aperture impossible.
It's quite unfortunate as Aperture performs great with my D700 images and I really don't want to switch to Lightroom because it's horrible as a library management application compared to Aperture (altough Camera Raw is giving me better results and noise reduction, lens correction and split toning are great, but I digress...).
Also check out this thread for a similar experince with the GH2 (+4 months old):
http://forums.dpreview.com/forums/readflat.asp?forum=1041&message=37849807&chang emode=1
The people in that thread have sent feedback to Apple and AFAIK this hansn't been resolved yet so I'm not getting my hopes up.

Raw files are not visible. They must be converted to an image file format in order to be seen. This is done in-camera for display on the LCD screen, and for export of JPG (or other) files. For almost all cameras, any processing which changes the appearance is done to a JPG file.
When you import raw files +you do not get the JPG processing+. That's what raw is -- it's the light information prior to being converted to an image format. (The are enormous advantages to having this data available.) That is why your raw file previews are in color.
There are a number of monochrome and grayscale conversion presents in all raw development programs. It is generally accepted that these do a better job than most of the in-camera converters. There is no question that they give a choice among many -- as well as the ability to tweak them to your heart's -- or your printer's -- content, unlike the baked-in conversions done in-camera.
In short, raw is never black & white or monochrome. Adobe has a good older white paper on raw which is worth reading: +Understanding Digital Raw Capture+.
OS X is working correctly.

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Media Encoder adding RBG color casts on BW 16mm Footage

Hey Everyone,
I am really stumped by this one. I am working with FCP6 and Apple Pro Res HQ scans of 16mm B&W footage. I am trying to encode a self-contained .mov file (direct from FCP) in Adobe Media Encoder CC (for Blu-ray) and then burn to Blu-ray with Encore CS6.
I burned the first test Blu-ray last night and when I played it back on my Blu-ray player/TV, I was stunned by the fidelity and definition of the otherwise thick/complicated 16mm grain structure, even via what was only a 6GB .m4v render (compressed from 33.5GB .mov). Everything was perfect...EXCEPT...I got these horrible "color casts" of red, blue, green, magenta, across practically every shot in the footage. Particularly in the last shot of the drain pipe (see example clips 14 seconds long):
Original: https://vimeo.com/97456916 (pass: "original")
Blu-ray: https://vimeo.com/97453674 (pass: "colorcast")
Obviously the footage does not look this in either FCP6 or .mov in QT7. I just double checked and the color casts ARE visible when playing back the ME converted .m4v in Encore. I have also taken the .mov from FCP and brought that into Encore and NO COLORCASTS. I have also taken the .mov, reimported it to FCP and but a 3-Way Color Corrector on it and put the saturation at zero, exported that, and then ME>Encore and it still adds the color....So I am 99% positive this is a Media Encoder issue. Here are the settings I used:
Considering how long is has taken me to get satisfactory web compression results from 16mm footage in the past, I feel like I just hit a grand slam in the bottom of the 9th with the playback fidelity of the first test Blu-ray. The motion and definition are phenomenal, I mean we are talking Criterion quality--without X.264 or Blu Code--(even with all the modern "overcompensation" crap turned off on my TV). I AM SO SO CLOSE TO RENDERING/BURNING A PERFECT BLU-RAY IF I CAN JUST FIGURE THIS COLOR THING OUT!
Got a deadline to get this into the hands of a couple of prominent filmmakers.
Any help or ideas that anyone can provide will be most appreciated.
Thank so much!
Alec
MAC PRO // OSX 10.7.5 // 2 x 2.66Gmz 6-Core Intel Xeon // 32 GB 1333 MHz DDR3

***SOLUTION***
Well it seems silly that I had to do this at all, but here is the workflow that finally seemed to solve the issue without adding an extra level of encoding...
Save self-contained .mov of my timeline in FCP6 > bring that back in FCP as a separate sequence and apply the "Desaturate" filter (Image Control > Desaturate) to the entire film > save as self-contained .mov again > convert in AME > master and burn to Blu-ray with Encore > Presto!!! NO COLORCASTS on B&W 16mm footage in Encore and no colorcasts from the file on the burned Blu-ray disc.
I believe I stated it above, but in case I didn't, adjusting the chroma and/or "desaturating" via FCP's color corrector plugins did not work...even with the exact same workflow otherwise. I have no idea why, but if anyone ever runs into the same problem, this worked for me. Only took two weeks to do something that I guessed would take a day, maybe two. Geesh.
Thanks again guys for all the suggestions. Really really appreciate it.
-Alec

Red Color Cast when printing with Canon Pixma Pro 9000

My printer is giving me a horrible red color cast after the latest software update. The color cast can also be seen in Preview and in the print window. No changes to drivers have been made. Printer worked fine before the update.
Has anyone else found this problem and offered a solution?

You may find it helpful.
Thanks, but if you look in the archives of the Apple ColorSync Users List, you'll find thousands of posts from his Mac dating back to the beginning of the List.
The principle is that you configure your device colour spaces to the largest gamut of which they are capable, calibrate them to a stable condition, characterise that condition in a measured test chart, and build ICC device profiles for those characterisations in your ICC profiling package of choice.
You then capture and correct colour with correct colour previews, resulting in normalised exposures in an ideal CIE colour space. With you normalised exposures, you convert into output condition 1, output condition 2, output condition n which is what repurposing is about.
But you do no apply a gamma change on top of the colour managed rendering. That is incorrect by definition. You apply your gamma change as part of the colour correction in order to get your normalised exposure.
If you imagine this in a prepress process, then you can forget the concept of determinate rendering which is the bedrock of the ICC architecture. If you as photographer do a gamma correction on top of your presentation print or proof print, then you can claim that you have a presentation print, but you cannot contractually claim that you have a proof print as your proof print is a colour correction on top of the colour management system. If Apple Aperture allows the user access to colour correction on top of colour management, then that is a bug in the application. Sorry ...
/hh

Color casts

I am getting the mesage:-
"Non-neutral gray patches. The gray patch in row 4, column 3, has a significant color cast. Please reshoot chart carefully to avoid color casts and try again." These are RAW images from my Panasonic FZ200.
I shot the first try in the garden against a concrete post surrouinding by a grey weathered fence in bright winter noon/early afternoon time sun. I then tried again with a large sheet of black paper as the backgroud with the sun approx 45 degrees to the chart. Same conditions.
If I import the RAW images into Photoshop Elements 11 "As shot" I find that the offending square reads:-
Noon time - R217,G220, B220 approx. As I move the cursor Band G remain near or the same value but R can be up to 3 or so points higher
Early afternoon - R201,G201, B191 approx. As I move the cursor R and G remain near or the same value but B can be up to 10 or so points lower
What could be causing the color casts and how can I avoid it. grass and other plants are a large feature in the surroundings.

I have reshot the chart using Daylight and Shade white balance; used auto before. The Profile editor has now made some profiles.
I have installed the *.dcpr files in:-
C:\ProgramData\Adobe\CameraRaw\CameraProfiles\Camera\Panasonic DMC-FZ200\Panasonic DMC-FZ200 Daylight.dcpr and
Panasonic DMC-FZ200 Shade.dcpr
I now wish to try these out.
When I open a RW2 image in Elements 11 and goto the camera tab the only choice I have is Adobe Standard.
Am I installing the dcpr files in the correct place?

How to easily spot color cast in aperture

Hi,
I am having difficulties to properly spot/analyze a color cast in my (scanned from color negatives) images. There is no neutral grey or white present and I'd like to get a handle on correcting this color cast without just trial and error (and making things worse)
Any hints or ideas? Pointing me to a resource on the web to find out how?
(Spotting and correcting the color cast in my scanning software (Silverfast Ai) didn'd work as well)
Thanks a bunch,
Rolf

Hi Rolf -- you're question is not really answerable. Color is almost entirely subjective -- we color our world in our brains, and then we make machines to mimic this (digicam sensors don't record color -- they record luminance as filtered through known colored gels). Your question presumes an objective standard of color correctness. That does not exist.
Nevertheless, you can at least maximize your ability to get the colors as close to "right" as you can. For that you need a color-calibrated workflow, from input (scanner) to output (whatever). There is much information on this on the Web. For Aperture, you'll want a hardware photospectrometer to calibrate your monitor(s) and whatever paper you print on (if you print). I use a Color Munki Photo, and recommend it or something similar. (X-Rite has recently announced a revamped product line.) X-Rite also makes a calibration tool called a Passport. This has several colors and shades of gray of known hues. In use, you make an exposure of these colored squares, and then use them to set the white balance. You might be able to something similar with a scanner. (I don't use one, and don't know anything about scanner calibration.)
HTH. Sorry not to know more.

How to Recover a Dark Picture with a Heavy Color Cast

I just posted this article about how to recover a dark picture with a heavy
color cast using Lab Color mode in Photoshop. I hope it will be helpful to
others.
http://www.braintrove.com/article/58
Greg Collins
Microsoft MVP
Visit Braintrove at http://www.braintrove.com

None taken. I am unfamiliar with ACR and would love to see (compare) what it
could do with the sample PNG file in the article, and how much time it took.
The results I achieved in the article took only a few minutes to
complete--though as I mention below, it took more than a few minutes to get
to the point where I could do it in a few minutes.
I happened across a web site one day discussing the techniques in Margulis'
LAB Color book, which interested me enough to purchase it. I found the book
very enlightening and have seen incredible results using the techniques he
describes as applied to my various images. I've also ready his Professional
Photoshop book which focuses more on CMYK, and found many techniques in
there just as enlightening.
Ultimately the tools and techniques used are irrelevant if you get the
results you want... but if you find one that works faster, easier or better,
then certainly you should employ it.
I have no problem working in RGB, CMYK or LAB and find benefits from each.
The particular sample image I used in the article was one that I've spent
(too much) time cleaning up in various ways and in various color spaces (or
combinations thereof). It became my "poster child" image to work on as I
continue to build my Photoshop skills. The approach I used in the article
was the one I found most to be the fasted with the most effective results.
The original was a 6MP JPG file. I reduced it to the size in the article and
then worked on that size for the remaineder of the article. The resutls are
equivelant in the fullsize file.
Greg Collins
Microsoft MVP
Visit Braintrove at http://www.braintrove.com

PP Program Monitor displays with a color cast

Hi all,
Having trouble with the display in the Program monitor. I'm working with still images at the moment. All the images have a strong blue cast when previewing. They look fine when exported, or if you click on the image to reposition, the color seems to correct, but as soon as I play the sequence the color cast comes back. Also, getting the same cast with .AVI video.
I am only having this issue on my laptop, all works fine on my desktop PC. Both machines are PC's running vista. I've also tried clearing my preferences and reinstalling PP. No luck.
I'm working in NTSC DV now, but have tried creating projects in HDV and others, and still have the problem.
Also, I've tried resizing the images, changing color spaces, etc, nothings worked. The images now are jpegs.
On another side note, opening the reference monitor causes PP to have an unexpected error and crash. Every time. Although this is not really the issue I am worried about at the moment, it might be relevant?
I've posted a sample of what the preview looks like here: www.jessicamans.com/PremierProCS4Issue/index.html
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Sounds like an overlay issue. Video card and drivers?

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I'm having problems importing clips from my new Panasonic Gf1. FCE (4.0.1) sees the device ok, and selecting and previewing the clips in the log and transfer window works fine, but once the clips are in FCE (converted to AIC) they play fast in the viewer or when placed in the sequence. Strange, because they play fine in the preview window before importing. Tried this in iMovie 08 and get the same effect.
I'm can convert them Toast to AIC and they work fine when imported to FCE but this is not my preferred workflow.

I tried using Toast Titanium 10 for conversion as suggested but there was a slight issue with synch of video and audio. So I downloaded and bought Voltaic HD as suggested elsewhere and the AVCHD files of the Panasonic GF-1 are now playing in Final Cut Express 4 without issues - I am editing with no problem. Given that I can use the Log&Transfer Window (Final Cut 4) for my Olympus EP1 and my Panasonic HD video cam, it's odd that the files of the Panasonic GF-1 don't work in Final Cut (yet), but at least I am back editing. Voltaic HD was $35, a doable expense.... it does work flawless (so far).

Pinkish Color cast in iphoto 08 ?

Hi everyone,
I recently purchased a new mac with ilife 08. I noticed in iphoto that when i double click on a picture and it enlarges it, i get a pinkish color cast over the picture. it does it with all the pictures in iphoto. the thumbnails in iphoto look fine. its just when i click to view it larger or in edit mode that i get the strange color cast. does anyone have any ideas what is causing this? I have tried searching the apple support forums , but i am not finding anything on this problem.
Any help would be appreciated.
Frank

Frank:
If you plan on ordering a book or other printed item using the monitor's color profile might not give you what you want. I have calibrated my monitor to the sRGB profile plus a change in gamma for brightness. This has given me excellent color rendition in any book, card or calendar that I've ordered.
You might try printing one also to see if it gets what you expect.
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto (iPhoto.Library for iPhoto 5 and earlier) database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
I've created an Automator workflow application (requires Tiger or later), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 6 and 7 libraries and Tiger and Leopard. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.

How to reduce purple color cast in high ISO Nikon D4 and D810 photos

In low-light photos taken with my D4 and D810 I often (but not always) get a severe purple color cast in the dark areas of the photo. I'm going to try posting a link to an example of one such photo, which I've put in my Dropbox account. I hope this works:
Dropbox - Example of magenta color cast-001.jpg
If the link works, you'll see what I mean: the dark areas are purple, not black as they should be. This was taken at the dress rehearsal for a play at ISO 3200, about the lowest ISO that I could get away with. The purple cast seems more pronounced along the edges of the photo.
I've read a bit about "amp glow"; is that what I'm seeing here? If it is, what can I do about it? Turning the camera off and on again and again to try to cool the sensor and the nearby electronics isn't much of an option.
And whether it's "amp glow" or something else, is there a good way to deal with it in Lightroom? I've had some success with reducing the purple saturation (and sometimes the purple luminance as well) in the "HSL" panel, but that becomes a problem if there are important elements in the photo which are SUPPOSED to be purple.
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dorffersmatt wrote:
Interestingly, my e-mail says there was another post about how to reduce the purple cast with proper in-camera settings, but now that post seems to have been deleted (by the poster? by somebody at Adobe?)
The poster (Drugstore) may have deleted the post after reading further because it may not have been relevant......just a guess. If you're shooting raw format the in-camera settings such as white balance are not applied to the image file, but they are for JPEGs. The suggestions I provided are applicable to both JPEG and raw image files, but you'll get the best results using raw format.
dorffersmatt wrote:
1) You said that you sometimes see the purple cast with your D4 and D810 if the white balance isn't set properly. What would you consider a proper white balance setting for a situation such as this one? It was the dress rehearsal for a play, with constantly shifting lighting. I just left the white balance on "Auto"; how would you have approached the situation?
Again, this only applies to JPEG format image files. For raw image files the WB EXIF data is read and set accordingly inside LR. For JPEGs the image data has the (incorrect?) WB applied in-camera, which compromises the dynamic range of the JPEG 8-bit/color data. Raw files are 16 bit/color.
dorffersmatt wrote:
2) You said that you also sometimes see it if "you activate the lens correction in LR while in raw mode and exposure is too low." Could you elaborate on that? Do you mean that I shouldn't use "Enable profile corrections" in the "Lens Corrections" panel?
I'm guessing this refers to what you call "amp glow" (amplifier glow). It usually appears as a higher exposure level around the edge of the image and may be confined to one area (top, bottom, sides). By turning off Lens Profile corrections ( "Enable profile corrections") Vignetting correction is not applied, which reduces the exposure level in the corners and frame edges. Some cameras automatically apply distortion and/or vignetting correction in-camera when shooting in JPEG format. Again, this is just another reason why you want to use raw format to get the best results inside LR.

2.1.2, previews with color cast

After updating, previews are generated with a heavy color cast, some green, red and yellow casts. White balance and tint are all wrong, what's amazing is that a few of them are fine which have the same shooting settings as the wrong ones, going back to 2.1.1, real weird, anyone with similar situation? any fix?

firstlaunch wrote:
You can locate it in the following directory:
System/Library/CoreServices/RawCamera.bundle
Get info on this file. If it is version 2.0.9, it's the latest dcrcu 2.2. You want to delete this file.
Once you delete, go to the following location and re-install the old one. It should be 2.0.6...I think.
http://www.apple.com/support/downloads/digitalcamerarawcompatibilityupdate21.htm l
Reboot your system.
Thanks for the info. Much appreciated.

Strong color cast in prints

I'm printing from Aperture to an Epson R800 and the prints come out with a very strong red/brown color. Its not like a subtle cast from, say a miscalibrated monitor (monitor is a Dell 2407 WFP A02 calibrated with a Huey pro).
I have the following relevant settings:
Printer profile: SPR800 prem glossy
Media Type: premium lossy photo paper
Advanced/Best photo/Gloss on.
AFAIK these are the correct settings.
I spoke to Epson who suggest I use colour controls to correct the color cast - what price colour management!

first tested Lightroom 2.1 and it works as it should so does PSE4 but not PSE6
PSE6 Mac Printing Colours darker than PSE4 - Adobe accepts fault
My work requires that when I create prints for artists I must replicate all the prints exactly everytime. It worked perfectly from PSE2, PSE3 and PSE4 but now......
I am unable to replicate quality of printing on MACOSX PSE6. it works great on PSE4. I mailed some printed images on art paper to adobe in amsterdam and a cd with the same images. After weeks of discussions phone, email and after testing using their work flow....they came back with some answers.
Finally a couple of replies from Adobe re colour problems and they have accepted that they are double managing the image and that I should use printer management to do the colour conversion.. here are their two replies and the comment that they will now drop me until???????   
Answer #1   Your Customer Service Number is: 129800224  PSE6 Mac Printing Colours darker than PSE4 - Adobe accepts fault
My work requires that when I create prints for artists I must replicate all the prints exactly everytime. It worked perfectly from PSE2, PSE3 and PSE4 but now......
I am unable to replicate quality of printing on MACOSX PSE6. it works great on PSE4. I mailed some printed images on art paper to adobe in amsterdam and a cd with the same images. After weeks of discussions phone, email and after testing using their work flow....they came back with some answers.
Finally a couple of replies from Adobe re colour problems and they have accepted that they are double managing the image and that I should use printer management to do the colour conversion.. here are their two replies and the comment that they will now drop me until???????   
Answer #1   Your Customer Service Number is: 129800224   Thank you for contacting Adobe Technical Support.   After consulting with my colleagues about the issue you raised, I can let you know the following:   The issue is both on our as well as the driver software side and the workaround we have given is the best available at this time. This issue is affecting all printers, not just Epson or Canon.   The soft proofing effect that you are seeing in the print preview is indeed an attempt at soft proofing. However since Photoshop Elements managed prints are incorrectly double colour managed it is not as useful as it was initially designed.   As to the exact details of why this occurred, we have no official information.   We believe that this will resolve the issues you are experiencing, however, should the reply not help solve the problem, please contact us again, quoting the case number given above, and we will re-open the case.
  Answer # 2  Subject: Re: Adobe TS #180107025 / Mario / PSE6 oversaturated Print (KMM3793441I51L0KM)   Dear Mr. Laugesen,   We have had word back from our engineers regarding your issue.   The Photoshop Elements team are aware of the problem and are working with Apple and the printer manufacturers to get this to work correctly. In the meantime, the only workaround is to switch off colour management in Photoshop Elements and let the printer handle the colour management.   Unfortunately we can not make an estimation as to when a fix will be provided. We will close the case for the time being as there really is nothing more we can do about this issue besides offering the suggested workaround. Closing this case does not mean that the research will stop however and the engineers are working on a solution to this.   Powerbook G4 Mac OS X (10.4.11) epson R2400

How to remove cool/Blue color cast in pictures

I had incurrect setting when taking some pictures, which turned the pictures blue. Is there a way to correct this in Elements 9?
Message title was edited by: Brett N

The 'color cast' correction I mentionned above is really the simplest, 'one click' tool in Elements, but there are other ways.
My favourite one is to open the photo (even jpegs) in ACR. Then you have the same interface than with raw file, and the temperature and tint sliders.
The advantage is that once you have corrected one picture (also a one click sampling of neutral white/gray), the settings can be used for the next picture. You can correct a batch of images rapidly.
Edit:
To open a jpeg in ACR, use 'Open As' instead of 'Open' in the editor. On the bottom line for the file format, select the 3rd option 'Camera raw...' not the first 'Photoshop raw'.

Does Touch have "remove color cast" and adjust lighting - levels like Photoshop Elements?

Does Touch have "remove color cast" and adjust lighting -> levels like Photoshop Elements?

There isn't a "remove color cast" command per se but there are Levels and Curves adjustments so you can effectively remove/diminish colors yourself.

Color cast removal

I am scanning old family photos. I prefer not to do any post-processing in the scanning software, but I really like how SilverFast AI has an "Auto Color Cast Removal" function.
Is there any way I can match this setting with a preset in Lightroom?
Here's the one that's been auto color corrected:
And here's the original

Google finds lots of answers, such as this one
How to Achieve the Correct White Balance in Lightroom | iHeartFaces.com

Panasonic GF1 horrible color cast

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