Proofing colors in LR3, Color Management, look in sRGB

Hello,
I´m quite new to LR3 but am fimilar with color management. Using WIN7 I like the LR3 workflow, but have problems or don´t fully understand it´s CMM. I already did a search, but didn´t really find what I was looking for.
I found that LR3´s internal profile/gamut is ProPhotoRGB. That´s not generally bad since ProPhotoRGB displays all color a digital camera can reproduce. If you like to use that gamut for the complete workflow why not!?
What if I like to produce images for publishing on a web site for example or like to give these photos to people that don´t use a CMM system. I should use sRGB then, no question!
So the problem with LR3 is that it can export as sRGB, but the file converted to sRGB looks different from that what I see in LR3 on my even well calibrated EIZO CG241 display. That´s also easy to understand since the gamut is compressed/clipped after the conversion.
Best would be to force LR3 to use sRGB in the complete workflow so that I see the sRGB result even in the adjusting process. This would be like Photoshop set to a sRGB proof.
I find proofing to be very important for an professional software or workflow. Converting douzens of photos is of low use when colors are off. This happens when adjusting in ProPhotoRGB and converting to sRGB. The look is different, even when you reduce the saturation in the adjustment process. So no predictable results.
I don´t find a possibility to switch LR3 to use a different profile from ProPhotoRGB as internal profile. Has anyone tried to copy/rename the OS´s internal installed sRGB profile to ProPhotoRGB to make LR3 work with sRGB as standard profile? Does that work, I didn´t try yet. Is there another way to get the final sRGB look while editing. This all should be possible with a professional software!
Regards,
Ron.

No you cannot change the internal color space. And I don't think you need to.
What you need is soft proofing. But, unfortunately Lightroom does not have any sort of soft proofing yet. Let's hope LR4 finally gets there.

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LR3 color management issues

Alright, so I'm having some trouble with color spaces and am at the point I'm seeing red and just want to smash my computer. I feel like I understand the basics of color management but for some reason I can't seem to get things to behave. I know certain programs are color managed and can handle different color spaces, and some are not. I will also note that my monitor has been calibrated using a Spyder3Pro.
I like working with sRGB simply because I get the same result on most places on the internet (I know I'm losing gamut but I really don't print too much so it's not a big deal). So I know that LR operates in ProPhoto RGB, the biggest of the main RGB color spaces (sRGB, Adobe RGB, and ProPhoto RGB) and as such shows photos with far more color than can be represented by sRGB. However, whenever I export a photo from LR (be it to JPEG in any of the color spaces, or to edit in PS CS5), the colors are always far more muted than what I see in LR. I have checked the settings in CS5 and even opened the RAW file (with the .xmp editing info) directly in CS5 in ProPhotoRGB and the colors aren't even close to what I see in LR. Additionally I used LR to export the file to JPEG in sRGB, Adobe RGB, and ProPhoto RGB, and when those three files are opened in Photoshop, they look virtually identical. There are minute changes in the histogram between the three files, but they all look the same. However, they appear different when viewed in my browser (Firefox), even though I have set it to color manage. I did notice that there was no color space listed when I looked at the file properties in the Details tab, but the color profile is clearly being embedded as PS asks me if I want to view the image in the working space or the embedded color space of the image. What is going on here?
Screenshot of the same file in LR and PS, being opened in PS using the external editing feature of LR (screenshot pasted and saved in sRGB in PS):
The file in PS converted to sRGB and saved in PS:
The file saved in sRGB from LR:
The file saved in Adobe RGB from LR:
The file saved in ProPhoto RGB from LR:
Additional information that may be useful:
Lightroom 3.6
Camera RAW 6.6
Photoshop CS5.1
Firefox 16.0.1
Monitor calibrated with Spyder3Pro
Windows 7 Professional 64-bit
Thanks,
Reed
EDIT: After further investigation, it appears that Firefox is treating these images as images without a color space, yet somehow Photoshop and Windows Photo Viewer recognize the color space. So I think I have two concerns: 1) why are my photos drastically different between LR and PS, and 2) how are the images being saved from LR lacking the color space information needed by Firefox yet still retaining it for PS?

ReedJ12 wrote:
It must be embedding the profiles somewhere because when I open the JPEGs in CS5, it recognizes that they're not sRGB. I made these simply by going in LR and clicking on the standard Export button. No external plugins have been installed.
Reed
In that case, were the images in the original post, the result of a "save" operation inside CS5? If so, could they have lost their colourspace tagging at that point, due to something in your Photoshop JPG saving settings (or your "save for web and devices" settings)?
That could be quickly confirmed by uploading a (say) ProPhoto exported image, for comparison, as directly exported from LR - that is, which has never been into Photoshop.
You could also compare this youself against the version you uploaded, side by side in PS - if the one that has just come fresh from LR still has its colourspace tagging, and the other has lost its colourspace tagging, then even though the RGB numbers inside the image may be identical, PS will be interpreting the meaning of the numbers differently in each case - and will therefore display them as different, just as colourspace-aware browsers such as IE8 are doing, for other people viewing your examples online.

With color management, color picker current color does not match canvas color

What gives here with color picker in CS3?
RGB doc
using color management/profiles
View>>proof color using my Epson RGB printer profile
create box
double click fill box in palette box to view color picker
pick color from spectrum area
close color picker
want to change color of box
double click fill box to view color picker
NOW current color does not match color on canvas, subtle but vexing color shift. So how can I use current color to pick a new color on the canvas is always different.
here's an in illustration of the problem:
http://docs.google.com/Presentation?id=dfv8h494_18gwqbsjg5

Rob, here's screenshot of Acrobats Output Preview Object Inspector. You can download my PDF here - //www.fileswap.com/dl/Q1CzzOzEqt/
I'm not sure if CM was assigned to document when created or afterwards. In Color Settings preferences is stated Fogra 39 (if it matters - document was meanwhile saved and opened...). Are there other options to assign workspace to exsisting document?
Peter, this is not the case. Placed image has embeded same color profile as is working space of document in ID. I tried the same with sRGB image placed in same ID document and compared it to PS but color shift (greenish) is present - it looks exactly the same.
Guys, I can't tell you how happy I am to have you help me with this terrible and nerve-wracking problem.

I just updated to new final cut pro x 10.1.1 and i am also on mavericks so but on my editing timeline i was trying to color grade using magic bullet looks but i am having problem with it. when it comes back to tcp x it's black.

I just updated to the new final cut pro x 10.1.1 and i am also on mavericks so but on my editing timeline i was trying to color grade using magic bullet looks but i am having problem with it. When i send a sample to MBL and color grade it , it comes back to final cut pro x all black even after render. By the way on the MBL i am using the GPU rendering, I used before like 4months ago and it was fine. And i don't like to use the CPU because it very slow.

What is the frame rate of the project? At what frame rate was the media recorded? What frame size?
What are the audio settings?
What are the specs of the machine, in particular how much RAM, how is the hard drive connected, etc.?
If possible, post screenshots of the inspector for the project.
It could be related to the audio frequency?

How do I make the color of my video it looks like this

How do I make the color of my video it looks like this
http://www.youtube.com/watch?v=QJLylsa72zM
I am creating a video of extreme sports, with the effect of slow motion and I would like if I saw so

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Shape colors not displaying properly: reds look orange

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Thanks for the reply. The issue is the same regardless of whether I go through the inspector or the system color picker. I have also since found that the same problem occurs within FCP X for anything I try to make red—text, backgrounds, whatever (other colors seem to display fine). However, I also discovered that when I export, the red displays properly in the exported video. Since I know the hex value for the red I need, this is no longer an issue for me since I don't really need the color to display right until the final product. Still, it would be nice to understand what's going on here.
The computer I'm on is a work computer, a 2010 27" iMac, but all software is up to date. I have a newer iMac at home so I'll check that to see if I can replicate the problem.

Using a script to get the color of a colorized Black & White Bitmap image

I've been running into this wall for quite some time and would greatly appreciate any help that can given for it.
I have an Illustrator script that runs inside of a BridgeTalk session within an InDesign script. Yeah, it's complicated. The upshot is that the Illustrator part opens up an EPS file, looks through all objects on a certain layer in that file, and returns an array of the colors used in it. So, it looks at fill colors, stroke colors, gradient stops, etc. One of the biggest stumbling blocks (next to PlugIn Items, which I'll ask about in a separate post) is getting the color of raster images.
Most raster images, I realize, are going to be CMYK or RGB images, but our company mostly deals with either Grayscale images or Black & White Bitmaps that are embedded in the EPS file. Those two allow the ability to colorize them by simply selecting them and then choosing a color, such as a spot PANTONE color from one of their color books.
Now, I need the script to read the color that the raster image has been colorized with. This works okay for images that have a GrayScale color space, as the script just looks at Colorant[0] of that image. However, I run into a problem with Black & White Bitmap images. Here's a piece of code that I try to make work with an EPS file that has a raster image:
var document = app.activeDocument;
for (var i = 0; i < document.layers[0].pageItems.length; i++) {
          // Stepping through each item on the layer.
          var currentItem = document.layers[0].pageItems[i];
          $.writeln("Current item is " + currentItem.typename);
          $.writeln("Number of channels is " + currentItem.channels);
          $.writeln("Color Space is " + currentItem.imageColorSpace);
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          $.writeln("Number of Colorants: " + currentItem.colorants.length);
          for (var j = 0; j < currentItem.colorants.length; j++)
                    $.writeln("Colorant number " + j + " is " + currentItem.colorants[j]);
          $.writeln("Its parent is " + currentItem.parent);
          $.writeln("Parent's typename is " + currentItem.parent.typename);
This code runs successfully on an Illustrator file that has a Black & White Bitmap image on the top layer, but if you try and run it, you'll see the problem: Even if you've colorized your Bitmap image with a PANTONE spot color (and the script even returns "true" on the line "Colorized Grayscale?"), Colorant number 0 is "Gray". It should be the spot color assigned, not "Gray".
Can anyone please help me figure out how to get the script to recognize the actual colorant of a Black & White Bitmap image in Illustrator?

If you're a professional photographer with 50,000 pictures stored now and more coming all the time, you need to forget about using iPhoto and get yourself some professional-quality digital asset management software. iPhoto is not meant for people like you, and instead of providing a simple, elegant one-stop answer to all your needs, iPhoto is actually complicating your life.
You need an application that will:
- catalog ALL your images and keep track of where they are, no matter how many DVDs, folders, partitions or hard drives they're spread over;
- display thumbnails of ALL of them, even when the DVD that contains them is not present in any drive, so you can select all the ones you want for a project;
- find and copy (or export) the originals of all the files you've selected in the browser window, even if it means prompting you to insert the necessary DVDs for all of them.
I suggest Googling "digital asset management software Macintosh" and seeing what turns up. I used to use an old version of Extensis Portfolio, and even that would have been better for your purposes than iPhoto is.

Pantone Colors with CMYK Colors?

Dear all!
I am LUCK. I am wondering about Pantone Colors with CMYK Colors. It's that I got 1 Pantone Color from my customer and then I changed it to the equivalent CMYK Color. Will I get different colors when changing from Pantone to CMYK because I will print with CMYK Printing Process? Anyway, I am wondering whether the Pantone color is the fix and specific color or not. I mean when I print the Pantone Color, I will get the same result as I print before. Is it right?
Please help to explain to me whether Pantone Colors will keep their colors the same and stable or not. Or would you mind telling me what kind of colors that can produce the same color every time I print, especially for the Formal Uses?
Sorry for being unaware of my knowledge here. Thanks a lot and best wishes to all!
I am looking forward to hearing from you.
My best regards,
LUCK

Pantone is a company, not a color. Pantone produces spot color inks, process color inks, and color references.
Understand first: Five color printing ("process plus one") is not uncommon, because six-color presses are not uncommon. When a project is printed on a 6-head press, it does not dramatically affect the costs, because the job can still be printed in one pass. Brochures and other marketing collateral are often printed in 5 inks when a company specifies a spot color as its identity color. When done right, the company's identity specifications also provide a CMYK mix to use in lieu of its spot color(s) when restricted to only CMYK (as in magazine placement ads).
So I'll assume your customer specified a Pantone spot color, and does not provide a preferred CMYK substitute, and your project is restricted to four color process (CMYK) printing.
CMYK mixes do not exactly match spot color inks; they can only approximate. How closely they can approximate depends upon which spot color you are dealing with.
Pantone provides its recommended CMYK values for approximating its spot color inks. That's why Illustrator provides a Pantone solid to process Swatch Library. But such lookups are recommendations; they are not absolute equivalents. There are many many colors in nature (and in spot ink pigment) which simply cannot be matched in CMYK. And any time you try to convert between color models (spot to CMYK, RGB to CMYK, etc.) you encounter ambiguities, because there are multiple algorithms that can be used to generate four values from fewer values.
I often find Pantone's spot-to-process recommendations to be unsatisfactory, and use my own CMYK approximations instead. This is not necessarily due to any failure or shortcoming of the Pantone libraries, but just differences that exist in specific printing houses and workflows. The printing process is full of variables.
Will I get different colors when changing from Pantone to CMYK
Yes, the colors will be different. But whether the difference is noticable depends upon the specific spot ink you are trying to match. It also depends upon the specific use of the color. Fact is, human color perception is very adaptive. Colors that are "mathematically" equivilant according to some colorimetric algorithm are not necessarily perceived as equivilant by human eyes, because much depends upon environment (adjacent colors, etc.)
You can refer to a printed process color reference against which you can compare a printed spot color swatch book and judge for yourself which CMYK values best approximate the spot color. Or, you can set up simple test sheet of your own, and have it printed to determine a "best match" in a particular printing environment.
All the above is just one reason why contract proofs are still important. If your customer is very picky about his spot color, then he needs to understand that converting it to CMYK is merely an approximation, and perfect matching is simply not possible. That's one reason why spot inks exist in the first place. If he is not willing to pay for five-color printing, then he will likely have to settle for a minor compromise.
JET

Logic 8 crashing when double click on color in the color window

every time I try and create a custom color in the color window by double clicking on a color square logic crashes . Is anyone else seeing this? - sent apple crash report

Try trash the com.apple.iPhoto.plist file from the HD/Users/ Your Name / library / preferences folder.
(On 10.7: Hold the option (or alt) key while clicking on the Go menu in Finder to access the User Library)
(Remember you'll need to reset your User options afterwards. These include minor settings like the window colour and so on. Note: If you've moved your library you'll need to point iPhoto at it again.)
What's the plist file?
For new users: Every application on your Mac has an accompanying plist file. It records certain User choices. For instance, in your favourite Word Processor it remembers your choice of Default Font, on your Web Browser is remembers things like your choice of Home Page. It even recalls what windows you had open last if your app allows you to pick up from where you left off last. The iPhoto plist file remembers things like the location of the Library, your choice of background colour, whether you are running a Referenced or Managed Library, what preferences you have for autosplitting events and so on. Trashing the plist file forces the app to generate a new one on the next launch, and this restores things to the Factory Defaults. Hence, if you've changed any of these things you'll need to reset them. If you haven't, then no bother. Trashing the plist file is Mac troubleshooting 101.

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What could that be ? Backlight defect ?

I figured out while reading other discussions in this forum that I also have this yellow tinge from bottom to top of the screen phenomena - Will bring my iMac back to retailer for replacement.

Book colors with Custom Color Suite

Is there any way to programmatically create a book color? Dragging one from the book to the swatch palette creates a book color, but the Custom Color Suite seems to only have options for four color, three color, and lab color.

In an AICustomColor, there is a variable AICustomColorTag, where you can choose kCustomFourColor (CMYK) , kCustomThreeColor (RGB), or kCustomLabColor (LAB), but there doesn't seem to be any way to tag a color swatch as a Book Color. If you just drag a color from a color book within Illustrator to the swatch list, it is tagged as a book color automatically. At least it is in mine... give it a try. When I create a color swatch programmatically as a lab color or whatever, I can then double click the swatch within Illustrator and change it manually to a Book color.
Weird.
There's actually a function in the AISwatchLibrariesSuite called FindStandardBookColor, that I'm using to look up a color definition from the color books by name, but it doesn't pull the "Book Color" tag with it, just the CMYK definition.

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
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If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

Convert color to spot color (if it exists)

Hi
I have a script I've cobbled together (apologies if it looks cumbersome!), which searches for black fills/strokes and text, and converts them to a spot color. I need to adapt it so that if it doesn't find an object matching the criteria, then it carries on, rather than stopping with an error:
tell application "Adobe Illustrator"
          set mydoc to document 1
--make spot color, name it apple red
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                    make new spot in mydoc with properties {color type:spot color, color:{cyan:0, magenta:0, yellow:0, black:100}, name:"Black Plate Change"}
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end tell
tell application "Adobe Illustrator"
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                    do script "Ungroup" from "Default Actions" without dialogs
          end tell
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          set fill color of every path item of mydoc whose fill color is {cyan:0, magenta:0, yellow:0, black:100} to {class:spot color info, tint:100.0, spot:spot "Black Plate Change" of mydoc}
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          set stroke color of every path item of mydoc whose stroke color is {cyan:0, magenta:0, yellow:0, black:100} to {class:spot color info, tint:100.0, spot:spot "Black Plate Change" of mydoc}
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          set fill color of words of every text frame of mydoc whose fill color is {class:spot color info, tint:100.0, spot:spot "[Registration]" of document 1} to {class:spot color info, tint:100.0, spot:spot "Black Plate Change" of mydoc}
end tell
Appreciate any help.

Use "Adjust Color" from the "Tools" menu and move the "Saturation" slider all the way to the left.

Fade From B&W To Color With Full Color Text Animation Overlay

So, this is my first time EVER using any kind of serious video editing software. I'm doing it LEGALLY using the University Macs and the software that is installed on it. I'm a TOTAL novice at all of this. I think I'm biting off on more than I can handle, but hopefully somebody can help with this. I want a clip at the very beginning of the video to start with B&W video and fade into color at a specific point that corresponds with a point in some music that I'm using as the "soundtrack" so to speak. There will be a colored text animation that begins during the B&W portion and then that text will need to fade before the B&W video fades to color. I've been looking for as much information as I can about this. I've looked at youtube tutorials and step-by-step text tutorials (I prefer text with screenshots) on how to do this, but nothing that I find seems to accommodate everything that I'm trying to do here. If somebody would be so kind and patient enough as to humor a complete NOOB and walk me through this as though they're talking to a 12-year-old (I'm 37) who knows NOTHING about video editing, it would be greatly appreciated. Thank you so much.

(...and don't mind the german)
use the roll - tool on the edit for timing.
To get the basics down, please watch:
Learn Premiere Pro CC | Adobe TV
especially helpful in your case:
Editing to the Timeline | Learn Premiere Pro CC | Adobe TV
Refining the edit | Learn Premiere Pro CC | Adobe TV
Adding transitions | Learn Premiere Pro CC | Adobe TV
Adding and adjusting titles | Learn Premiere Pro CC | Adobe TV

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Hello All,
I am using Dreamweaver CS3 on a Mac and for some reason, when
I set the Color Coding in my preferences, it will not show in my
document.
I tried saving the document and double checked if I actually
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is there something I might be doing something wrong?
Mainly, I set the php comment code color to a color and bold
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Thanks for any help or advice,
Paul

Paul,
> Ok, forget it, I figured it out...
>
> I have set in my preferences that when a new page opens
to just open an HTML
> page.
To get new pages to default to PHP, do this:
1. Edit your Site
(Site > Manage Sites... > Edit...)
2. Make sure you have a Testing Server defined
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HTH,
Randy

Proofing colors in LR3, Color Management, look in sRGB

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