Pink "shadows" and "color noise" or "apparent interference"

I have a screen now that has pinkiness shadowing the words and frames on my screen.. it's the same if I'm in appleworks or anywhere else. This is the best I can do to describe it It's getting worse as I speak.
I have calibrated the colors and check in universal access but to no avail.
3 months ago something similar happened but worse. I didn't use the computer for 4 days (switched off and on battery power only). when I started up it was fine and has been ok until today.
Please don't tell me my beloved Mac screen is terminally ill.
Can anyone give me some good news about this?
Many thanks
Gordon

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Auto Noise Compenstation and color noise

Hi,
I just took a closer look at my Canon 1D Mark III Raw files in Aperture regarding noise at low and high iso.
If I go into RAW Fine Tuning and turn off the "Auto Noise Compensation" I can see much less color noise in dark areas of the photos.
This is also somehow visible at iso 1600, but also at iso 200 if you look especially at the dark areas.
Is this a bug?
I can compensate the color noise a little bit by bosting up the Moire and Radius to maximum in the Raw Fine Tuning.
Thanks
JO

Just having a quick look at this and i no longer see the option. If i find out why i will let you know. I'm sure i have seen it there in the past.
Allan

Drop Shadows and Color Copiers

If you have a color copier or color laser printer try this test:
1. Create a page in InDesign with a pale CMYK background (I'm using 40% C, 30% M)
2. Create a small white box on top of the background and rotate it 10 to 60°
3. Add a drop shadow with default settings (multiply 100% K at 75% opacity)
4. Export a PDF using ANY export settings you like
5. Print the PDF to your color copier out of Acrobat, again using any setting you like
What I get is a bounding box around my white square that is a slightly different color than the background tone. It is obviously the area that includes transparency because of the drop shadow, which is being rasterized either when the file is made into a PDF or when it is printed. This same PDF looks fine on screen in Acrobat and looks fine when rasterized into Photoshop: absolutely no difference in the color of the background visually or with the eye-dropper. This PDF also prints totally fine when I send it directly to my cheapo inkjet and when I drop it into my color managed RIP that runs our higher-end inkjets. I should add that there is no RIP in front of the 2 different color copiers I am testing. The same thing happens on a client's color copier.
What appears to be happening is that the color copier renders raster data differently than vector data, which results in this bounding box being visible. I've tried printing directly out of InDesign and indeed if I select "Print as Bitmap" in the advanced tab, the problem goes away. However, I need to be able to send out PDFs that will print correctly on any kind of office printer. Obviously I could rasterize the whole thing in Photoshop, but I've got hundreds of flyers to prepare, and they need to be small enough to e-mail and look good when printed.
There is no "Print as Bitmap" option when creating PDFs, and they would probably be too big anyway. How can I get the drop shadow effect to work correctly in this situation?
Thanks in advance!
-Todd Shirley

Thanks for the link Bob!
It ALMOST works. In the link a procedure is described for rasterizing the whole page by creating a custom Transparency Flattener Preset, which I would THINK would solve my problem. Unfortunately the only way to access Transparency Flattener Presets in the PDF export is to set Compatibility to Acrobat 4 (PDF 1.3), which creates a PDF that my color copier won't print at all! It just hangs in whatever that thing has for a RIP. I left one for about a half hour and it finally came out all crazy messed up.
The goal here is to create a relatively small PDF that can be distributed to hundreds of offices and printed correctly on whatever kind of office machine they have. My Canon color copier is brand new and if it chokes on PDF 1.3 I can only imagine what older copiers will do.
So the quest continues! Is there any way to fix the problem without rasterizing the whole page? Or is there a way to rasterize the whole page but make a PDF 1.4 or higher? Keep the suggestions coming!
-Todd

Im from argentina and i got a problem with my earphone of the iphone 4s when i make a call i earphone or speaker make and strange noise or like an interference during the call and when i finish the call still doing the same noise and i dont know why?

my eraphone of my iphone 4s white unlocked make strange noises during the call and still doing the noise like an interference or saturing the spekaer

This is a common problem with iPhone 4s (and IOS 5) There isn't ' anything you can do about it, so you're best bet is to go down to the store and get an exchange. If you have an older iPhone (3gs/4) roll back your update from IOS 5 to IOS 4.

Why do I get a colored shadow behind shadow and feather transparency areas when printing?

Hello,
I've been pulling my hair out over this and finally went to my printer to ask if they had insight as to why this is happening. I'll include his reply here but would like to hear your expert opinions too!
When laying out a file in InDesign, I do a lot of overlapping, feather and some drop shadow and always get a colored shadow behind the transparency area when printing out from a pdf. These files are being designed for print, which is what I thought InDesign was created for - as an updated alternative to Quark and Pagemaker? Here is what the printer says:
"Ive taken a look at the file in question and the issues this lady is experiencing can not be resolved in InDesign. What she needs to do is build the background image with color overlays all in Photoshop as a Layered PSD. Then flatten it and pull it in to InDesign as a Tiff. Then she can place her text over the top of it. She needs to use image masks on the color overlays - for the areas she does not what the color to violate.
What it comes down to is these fancy design effects out of InDesign and Illustrator should never be used for printing. They can be used for web design. Reason is, they cause RIP problems. Things fall off the file and transparent areas go away just to name a few. This happens all the time."
I would appreciate any other viewpoints here. Can I really NOT use the shadow and feather functions in InDesign for print? Are there any other ways to approach this problem other than what is being advised here. It is SO much easier to produce the entire file in InDesign.
Here is a link to the pdf. If someone would like to see the original indd file, I can post it somewhere.
http://displaysunlimitedinc.com/test/panel_3_text.pdf
There is a 1 inch blur drop shadow on the black and white temple image; a 1 inch feather on the black and white screened back image behind the main text box; and no drop shadow or feather on the map at top right, yet I get a colored shadow behind all 3 of these areas when I export the indd file to pdf and print that out. The fact that I get a shadow behind the map puzzles me.
Thank you very much in advance.

Horgycat,
The CMYK/RGB question is actually pretty complex, and depends to a great extent on how the final output is going to be produced.
If the files are destined for a printing press, all RGB elements must be converted to CMYK prior to printing. You have the option of doing that before placing in ID, or during export to PDF, and there are pros and cons to both methods, but if you don't know until the last minute what the print conditions will be, the convert on export path is more flexible.
Spot colors are a different matter. As far as I'm concerned, you should NEVER specify a spot color unless you are actually using spot ink on a press. A lot of inkjet and laser devices claim to be Pantone certified, but the reality is that even with expanded gamuts available using more than four inks, I'd estimate that better than half the Pantone solids are not reproducible as simulations that would satisfy me or my clients. The convert spot to process route should only be used, in my opinion, when you've designed a job properly to be printed using spot colors, and suddenly you have an output change or an added image that forces you to move to a process output. The last time I tried it, by the way, I had issues at the printer (the regular prepress guy was out of town, so I'm not sure what went wrong) and I ended up re-building the file with real process colors to get the transparency to work.
But you mentioned that you are doing exhibition panels, which implies to me that they are probably NOT going on a press -- you need to do hundreds, or sometimes even thousands, of copies to make a press cost-effective compared to digital printing. I used to work in a large-format output bureau doing just this kind of work, and we used large inkjet plotters. In this case, mixed RGB and CMYK files are less of an issue since most plotters will handle either, and depending on if they have an internal or external RIP or none at all, you may actually get better color fidelity using RGB as CMYK colors may get converted in the RIP to the RGB values that the plotter understands, and then get converted back a second time to CMYK (CMYKOG or whatever ink combination is used) internally before the ink is sprayed. Only the print provider would be in a position to tell you the correct color space for the equipment.
Which of course puts you at a bit of a disadvantage working with a client out of state who isn't supplying you with such necessary information as the correct output profiles for the job. It will be a miracle if the color is close.
A final word about looking funky on screen. Just as many spot colors can't be well simulated in CMYK, many also cannot be displayed adequately on a monitor. The ONLY way to choose spot colors is with a swatch book, and that's what the press operator will be using to verify his work. Clients need to be educated about the differences in technology and the limitations of soft proofs.

How can i fix this accessory is not optimized for this iphone you may experience noise caused bycellular interference and a decrease in cellular single strenght error in my new iphone4

how can i fix this accessory is not optimized for this iphone you may experience noise caused bycellular interference and a decrease in cellular single strenght error in my new iphone4

Hello abyjohn,
I would be concerned too if the speaker on my iPhone was not working, and if I was getting a message about the accessory not being optimized. I found an article with some steps to take when you are experiencing issues like this.
iPhone: Can't hear through the receiver or speaker
http://support.apple.com/kb/TS1630
Thank you for using Apple Support Communities.
Best,
Sheila M.

Very different color noise between develop module and library

There is a marked difference in the appearance of an image when viewed in the library versus the develop module. The color noise in the library module is very bad, while in the develop module, the noise reduction is doing a pretty good job. This is strictly a view problem, because if I export from the library, the proper color noise reduction is applied and it appears as it does in the develop module. This is not the first time that I have found this problem between the two modules. Any idea why this is happening? And, is there a fix in the works? It makes it hard to view images in the library.
If I boost the color noise reduction up to 100, the library image starts to look ok, but that doesn't account for the huge difference at lower settings.
There is also a dramatic slow down in the develop module when trying to make any of these changes in noise reduction and more, and also in side-by-side when trying to scroll around in the image to compare areas. Things really crawl. There is a definite two or three second delay before things respond. I have 8gigs in this mac pro, which worked beautifully with LR 3.6

And, is there a fix in the works?
Try rendering 1:1 previews for noisy images.

Random display freeze, with strange colors and screeching noises

True story. My (totally new) MacBook freezes 3-4 times a day, with lots weird colors and screeching noises. I've added photos of this phenomena on Flickr, here:
http://www.flickr.com/photos/photomaton/3433889119/
http://www.flickr.com/photos/photomaton/3434685366/
Couple of stuff about this machine:
- Sometimes the noises are muted; but the images speak for themselves.
- I installed 4GB memory. It was done by a pro.
- This mostly happens when I connect an external display and/or use VMWare. But it also happens from time to time, with no external display, and no VMWare running.
Help.
Please: Help.

so the problem lies with the graphics card or the RAM? because i had a ram upgrade to 4gb ram as well.
my mac went for 3 days w/o error until today and i opened up the console and this the error i saw.
4/15/09 10:06:41 PM quicklookd[102] EXCEPTION CPZEndOfCentralDirectoryError: Could not find the end of central directory record
4/15/09 10:06:41 PM quicklookd[102] EXCEPTION CPZEndOfCentralDirectoryError: Could not find the end of central directory record
4/15/09 10:06:41 PM quicklookd[102] EXCEPTION CPZEndOfCentralDirectoryError: Could not find the end of central directory record
4/15/09 10:06:41 PM quicklookd[102] * +[NSCalendarDate iso8601DateWithString:]: unrecognized selector sent to class 0xa0686ce0
4/15/09 10:06:41 PM quicklookd[102] EXCEPTION NSInvalidArgumentException: * +[NSCalendarDate iso8601DateWithString:]: unrecognized selector sent to class 0xa0686ce0
anyone got any idea wad it means? and yeah my mac screeches like a banshee

Separate luminance and color white balance

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

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

Still getting blocked shadows and posterization from Canon 1Ds raw

I was so excited and hopeful that the RAW adjustments Apple made would solve the problem I'm seeing in many of my RAW files of shadows lacking detail and posterizing into transition areas, but I have seen no improvement (yes, I did use thenew RAW HUD and set it to 1.1 RAW). I don't have this problem with other raw processors (Camera Raw, DPP, C1 Pro, etc) so I'm sure it is fixable. I was really hoping that they would give us some means to control the shadows more, but it doesn't appear to be the case

Using a Canon 20D and I used to have the same problem.
Here's how I processed .... really still testing and noodling.
Set the RAW filter to 1.1, as you seem to have done.
Then start playing with the sliders. As soon as you touch any one, the profile will change from "Apple" to "Custom." I haven't bothered saving and reusing my "Custom" settings as yet .... playtime!!!
Dep. on the photo(s), setting Intensity higher, Edge to zero or near zero and Chroma Blur towards a higher setting gave me improvements. I tried Auto Noise on and off, but didn't see much impact (though I haven't played around with the slider settings on different photos).
I was concerned about losing sharpness, but I noticed negligible reduction in sharpness. I suspect luminance is holding that together for me.
Overall, I achieved a much better result than 1.0/1.0.1 could deliver from the parquet floor effect. There is still some artifacting, but I balanced that against too much blur, less color saturation and more noise. I haven't compared a 1.1 RAW output to ACR as yet, but I'm happy with the results at 200%. I suspect I'll see differences to ACR, but I'm clearly in the realm of stylistic taste vs. acrymony.
Unsure if this helps, as I've found different ISO settings and lighting conditions require me to change the settings ..... but that's not really any different to ACR.
WAY, WAY better Aperture team! Still some more scope for tweaking of the algorithms passed to Core Image I suspect (or Core Image itself), but this is now solid for me. Speed is acceptable on my G4 PB as well, and my Quad hammers through 235Mb scans. (I'll neve say no to more speed imrpovements though )

Weird Color Noise in CC

What is causing the colored noise in the above image? This appears before I do any editing. When I import the image from Lightroom 5.
I turn on the Gamut Warning, and it disappears. D'uh, I know. But then, obviously, the gray from the Gamut Warning occupies parts of the image.
I open the image as a 16 bit PSD.
Any suggestions? Thank you.

While I tend to agree with Jeff that an extreme adjustment or something like that has left you with enhancement of color differences between adjacent small areas of the image, there's no way anyone can really comment meaningfully on what you're seeing without access to your original raw data. Do you have an image file you can share online?
Retrace your steps, and start with looking carefully the preview when you're developing the image... Do you see the problem there?
Did you enhance the shadow areas of the image extremely? There's only so much you can dig out of the shadows, even with the most modern cameras.
-Noel

Significant color shift between FCP and COLOR?

Hi there,
I get a significant color shift when sending footage - either adjusted or unadjusted/unmodified - from FCP to COLOR.
Before anyone asks, the color shift is visible both internally or on an external broadcast preview monitor.
From within COLOR, I 'send' back to FCP this sequence - which is still without any form of adjustment (apart from being sent to COLOR), the apparent color shift is now visible/added to the imported sequence (from Color).
I've tried this on three separate Macs:
1. The Mac above (6.0.6). (Leopard)
2. A Mac with the same version of FCP as above. (Snow Leopard)
3. FCP and on a third Mac with an earlier version of FCP. (Leopard)
Does everyone have the same problem?
If not, does anyone have a solution?
Cheers,
Dan
PS: I've tried:
FCP > Color ProRes contrast shift
http://discussions.apple.com/thread.jspa?threadID=2150962&tstart=75

I had the same problem except that I am using version 1 of color and Final Cut Pro 6. I isolated just the video and double checked that I had no filters or if I did I turned them off. I had a smooth cam filter on one shot, but that didn't effect it. I was then able to send it to color without issue, once I had no sound or filters or transitions messing up the pass between final cut and color. Try doing the same, just duplicate or copy your timeline to a new timeline. I would have rendered your footage out to ProRes however as using the DVC Pro codec is probably not ideal. Color also only works with actual full raster files, not so good going from HDV or DVC Pro as they have an anamorphic frame size. This may be causing issues also.

Brightness Filter effecting quality and color.

Hi, Guys.
I could really do with your help.
I shot a scene in low light conditions so the image is fairly grainy anyway (I shot the scene on an Sony PMW EX3).
Some of the shots are a little bright though. I want to darken the image slightly but when I do this, using the brightness filter, it makes the whole image ridiculously grainy (blocky) and it also changes the colors to like a greeny color.
Does anyone know what I mean and does anyone know how I could adjust the brightness without increasing the size of the grain (without losing quality and color).
Cheers guys.
H

Yes Tom, the reverse ... but steady as she goes going in the opposite direction. You might want to explore some possible denoise options too if the grain is really too distracting.
Take a look at Mattias Sandström's Smart Noise Reduction filter which is part of his completely free and completely awesome Too Much Too Soon filter set: http://www.mattias.nu/plugins/
On the commercial side there is the highly recommended Neat Video plugin: http://www.neatvideo.com
Or ReVision Fx's aptly named DE Noise plugin: http://www.revisionfx.com/products/denoise/

Psd with shadow and transparent background

I have a psd image with transparent background and a shadow efect (color 0,0,0,100 and multiply). When I import it in InDesign, the shadow don't overprint. What can i do?
This is an example with a pentagon with shadow made in indesign and another made in photshop:

This has been requested for quite some time, and what I've heard from folks who ought to know is that there are some rather large technical impediments to implementing this in InDesign. I too hope that they will eventually deal with it, but it doesn't seem like it will be any time soon.
In the mean time, here is a link to a script on our website which will help with the "place the image twice" workaround:
http://www.premediasystems.com/scripts.html
Towards the bottom of the page, you'll find a link to download the script (which is called "Shadow-matic").
Using it is pretty simple. You place the image, and select it prior to running the script. When you run it, a dialog box will appear listing all of the layers and paths in the image. You can select any combination to be used for the "shadow" image and the "main" image. The script then duplicates the image, sets one copy ("shadow") to "multiply" (in InDesign), and sets the layer visibility and/or clipping path as you specified. It then sets the other copy ("main") to "normal" blend mode (again, in InDesign), sets the layer visibility and/or clipping path, and groups the two images together. The download includes a brief set of instructions...
It doesn't currently support choosing layer comps as Bob suggests, but that would be a good feature request .

Shadows and Highlights, 101

I've just started working with illustrator and I'm trying to find the best tools for building shadows and highlights in 2d drawings.
So far, it looks like the best way to approach this is with a series of Opacity masks. Using multiple pieces as overlays to highlight and shade the primary object.
I also like the effects of smooth color blending, but I can't see how to blend multiple highlights and shadows into a single object with precision.
As far as the gradient mesh tool goes, it seems to be the wrong effect for 2d designs.
Can someone give me a leg up?
Which tools should I focus on mastering to build shadows and highlights quickly and precisely?
Thanks for your time!
Ken

Not to beat up on you, Ken, but why do people come to an online user-to-user forum and expect to accomplish in a few posts what amounts to a textbook on drawing technique?
You should narrow down the scope of your question a bit by describing what kinds of objects/surfaces (or better, start with a specific example) you want to render.
You said you are new to Illustrator. Are you also new to vector drawing altogether? That is, it is unclear as to whether you just don't know where to find the specific tools or commands for a drawing principle in AI, or if you don't know the principles to begin with.
Very generally speaking, quite realistic rendering has been done in all the mainstream vector programs for decades, using little more than path blends and grad fills. Those are still the most practical/expedient mainstay techniques.
The new vector stuff like gradient meshes are mostly just elaborations on that basic functionality.
Raster effects can now be used as an alternative where blends have been traditional. But there's really nothing new about combining raster elements in otherwise vector drawings. Raster effects make that more convenient in that they are just rasterization performed on-the-fly. Nor is there anything really new about that. (Canvas was doing it long before AI.)
3D features can also be exploited for quick shading, but the geometry is fairly limited to, well, geometric primitives. AI has an advantage there in that its 3D feature at least supports basic surface mapping. But the vector result is often impractically complex for elaborate renderings, and it becomes best to either rasterize it, or use it as a temporary guide for tracing using--you guessed it--blends and grads.
JET

Pink "shadows" and "color noise" or "apparent interference"

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