Quick develop and color space ...

Ok, I know that library module previews are in Adobe RGB.
So, we view files which are in Adobe RGB.
But what about editing?
What color space we use when adjusting in quick develop in library module?

Armut12 wrote:
Thank you for such a clear summary.
Do you know why does Adobe not use Melissa RGB in library mode previews?
As far as I can see, assigning an Adobe RGB profile to a JPG file and assigning a ProPhoto RGB profile to a JPG file does not create any difference in file sizes.
Is there a disadvantage of using Melissa RGB in library views?
Melissa RGB isn't really a supported RGB working space. That is, it's not something you'll find anywhere outside of LR unlike say sRGB, Adobe RGB (1998), ProPhoto etc. It isn't installed or used by any other Adobe app. It's kind of a strange beast too: ProPhoto RGB with the sRGB gamma TRC. We'd have to ping the original LR architect (Mark Hamburg) to find out why he decided to use this odd space solely for RGB values and Histogram but I suspect the main reason is that viewing a linear encoded Histogram would confuse most users (it would look 'odd'). I can't say why he didn't just use the ProPhoto 1.8 TRC instead but that's water under the bridge. This space is not ProPhoto RGB due to the gamma encoding and it isn't used for processing! Only the RGB values and Histogram.
The actual color space used for processing has no name. It IS ProPhoto RGB primaries with a 1.0 TRC.
I suspect that using Melissa RGB or a similar huge gamut is unnecessary in any preview mode because:
1. Being so big, you'd want high bit (16-bit) data to reduce banding and that's overkill.
2. There isn't and never will be a display capable of previewing ProPhoto gamut.
3. There are a few displays that get close to Adobe RGB gamut, we may see that grow in the future. So might as well use that large gamut color space for previews. IOW, ProPhoto is way, way too big, sRGB is too small considering we have wide gamut displays.
IF you have Photoshop, you can build Melissa RGB and save that out as a profile. Only useful if you want to play around but has no practical use. In Photoshop's color settings, select ProPhoto RGB as your working space. In the same menu, now select "Custom RGB". The dialog shows you the "DNA" of ProPhoto RGB (white point, chromaticity values, gamma). Change the gamma to 2.2, save as an ICC profile. You now have Melissa RGB. You don't get the true sRGB TRC but a simplified one, but close enough.

Similar Messages

  • White balance selections, Quick Develop and Develop...let's talk

    One thing that isn't well-known is that the adjustments in Quick Develop and the adjustments in Develop are *fundamentally different* from each other.
    Develop is basically designed to provide *absolute* adjustments to RAW images. It can be used for JPEGs too, but in that case, the white balance setting is not absolute as it's already been corrected in-camera. So the WB settings are meaningless since you don't know where to begin and the temperatures are removed for the same reason. You just start where you are and get warmer or cooler.
    Quick Develop is designed to provide *relative* adjustments to all images. What this means is, if you have many images selected and hit the right exposure arrow ">" you'll increase the effective exposure of all of those images from wherever they are now to that plus 1/3 stop. If you hit the ">>" you'll get 1 stop increments.
    Since QD is always making *relative* adjustments, it may be reasonable to assume that you have a known, corrected starting point from which to make relative adjustments. That may be why the daylight and other options are available in QD. I personally think this is a bad assumption as you don't know what corrections have been applied in-camera. Thus, I think those options shouldn't appear in QD just like they don't in Develop.
    Comments?

    The relative vs. absolute of the QD vs. Dev modules is something I'm not familiar with LR enough to dispute. However isn't the point of LR's non-destructive nature, that all actions on an image are relative to the initial baseline, whether it is a RAW or JPG (or Other).
    Granted applying a preset WB set of values against a JPG does not make a lot of sense in the development of a repeatable workflow, but if a set of WB values improves a JPG image, who cares. Its all non-destructive and I can reset at any time.
    I tend to not like operating in applications that are too stringent in keeping me walled into the "right" way of doing things. Particularly based on the super intelligent decision of the software developer because they know how it is supposed to work. (I have license to berate this group because it is my vocation) Changing the user interface from one module to another (if they both do the same thing) or from one file type to another is not a good thing. Consistency is paramount to user freindliness. If indeed the QD and the Dev modules work differently then it is expected that the controls be labeled differently to express this difference. If a selection is detrimental to the image or will cause application issues it is better to leave the selection visible (for consistency) and disable it (gray out) to keep it from being selected.
    The abreviation of White Balance: to WB: in the application is also bad form. It is jargony and does not assist new users to understanding. Screen real estate is scarce and I understand the inclination to do this, but there is a cost.
    - Morey

  • Image Format and Color Space

    When I import photo stills into imovie to make a slideshow, does it benefit me if I export the raw photos from Lightroom as 16 bit Pro Photo RGB tiffs and then import those into iPhoto? If I plan to show these on a television, what would be the best color space and format for my images?
    Thanks for the help.

    Java can read JPEG and GIF images. Startig with JDK 1.3, it can also read PNG images. Java 2D (available in JDK 1.2 or later versions) has the capability to write JPEG images. The JPEG codec is in the com.sun.image.codec.jpeg package.
    The Image IO API is available only in JDK 1.4 (currently in beta).
    The Image IO framework allows third party vendors to write coder/decoders for any image format. For this purpose, the Image IO API provides the SPI (Service Provider Interface). This framwork allows you to use codecs of your choice. I think JDK 1.4 comes with the JPEG codec, but not GIF.
    Java Advanced Imaging (JAI), which is an extension to Java, has coder/decoders for several image formats, including JPEG, GIF, BMP, and TIFF. To use JAI, you need to download it from the Sun's Java site.
    According to Sun, because the Image IO API has been developed to replace Java 2D and JAI codecs,they won't be supported in future releases.

  • Lightroom,Nik plugins and color spaces

    I'm having an issue and not sure who is holding the smoking gun.  I have the Nik ultimate collection installed which covers Lightroom and Photoshop CS5 extended. I work primarily in Lightroom and apply most corrections globally but occasionally i need to do localized adjustments so the photo gets shipped off to Photoshop.  Here's a typical scenario:
    1) From Lightroom edit in Dfine 2.0 for noise - as copy with Lightroom adjustments which gets copied as a tiff.
    2) From Lightroom edit in Viveza 2 - as original since we're now working with a tiff and I don't want a copy for every single thing I'm doing.
    3) Edit in Photoshop
    Now there's two issues at this point:
    1) The edits do not show up in the Lightroom history - it's like nothing happened.
    2) Photoshop will complain that the assigned profile is sRGB.  Really?
    #1 is a PITA because if I want to rewind I have to start all over since there's no history - what exactly is responbsible to set an edit as history?  Lightroom or the plugin?
    #2 is by far the most serious as it degrades the work in a seriously bad manner.  I mean, WTH - I'm moving along in ProPhoto Ferrarri space and all of a sudden - *boom* - I'm running in sRGB moped mode.
    I looked at edit->Preferences->External Editing -> Additional External Editor and indeed when I select the Nik plugins from the combo box  preferences the default for the plugins is sRGB.  I can change to ProPhoto and quit.  I repeated this for each plugin assuming that somewhere the setting was remembered.  Nope  LR acts dumb as a rock and shows sRGB as the defaults for all except the currently selected plugin.
    So my questions are:
    - who's gonna own up to the problem - LR or Nik?
    - how can I work around it?
    - how can I make LR remember the settings?  Not a registry key nor INI file in sight to set them - so where/how are the plugins tracked?
    Thanks for any help!
    Jon

    Jon,
    The User Interface for changing how external editors are invoked is about as smart as your average chunk of granite.
    After you change the Color Space to the one you want, you have to click on the Preset box and choose "Save current settings as new preset...". Not exactly intuitive, but there you are.
    Hal

  • DVI-HDMI-SDI Conversions and Color Space-what is happening?

    Can someone explain signal processing when connecting computer monitors and LCD TVs via different connections and conversions?
    - DVI to HDMI
    - SDI (BM) to DVI
    - SDI (BM) to DVI to HDMI
    - SDI to DVI to HDMI
    Are there differences in how each conversion processes color space? I am looking to keep it consistent when monitoring out of PPro and AE...latest CC versions...both PC and Mac workstations.
    We never create media for typical broadcast or other conventional distribution. All media is custom animation for Special Events...large venue projection. But we do run multiple monitors and LCD for content creation and programming...many times running video thru a DVI Matrix or SDI Matrix for signal distribution. So I want to understand how each configuration effects video.
    Does PPro always work in RGB? 0-255...AE as well? Or are there settings that must be set for this?
    Thanks if anyone can help educate me!
    _phil

    That is allot of info there and I will list some to get you started
    DVI - RGB
    HDMI - RGB, YCBCR, or YUV
    SDI - YCBCR
    Premiere - No color management ie colorspace control. I believe it just uses the media and current display output color space. You would have to ask someone at Adobe there.
    AE - Color management ie colorspace control. You can set what space your coming from and going to.
    Do you have any colorimeters to calibrate your display devices? If not I suggest you look at X-Rite since it is cross platform OSX and Windows.
    Eric
    ADK

  • Web Gallery and Color Space

    Hi,
    Is there any way to change the color space of the Web Galleries made by Aperture from Adobe-RGB to sRGB without exporting the photos separate first.
    I'm also missing an adjustment option to set the image quality in the Web Gallery.
    Regards,
    JO
    http://www.motivio.de

    I am slightly confused by what you said...
    without exporting the photos separate first.
    Do you mean change to sRGB while still in Aperture? The answer would be no. The images get changed to sRGB on export. However, you do not have to export the images separately from the gallery. When you create the gallery, the images and html get created all together. So, what you do is change the export presets you are using for the web to have sRGB in the color space profile.

  • Export failed to meet required bit rate and color space specs - ProRes 422 to MPEG2

    Using Premiere Pro CC v7 I exported a ProRes 422(HQ) file to MPEG2 and selected the HD 1080p 23.976 preset.  I needed the finished file to have a minimum bit rate of 50Mbps and the color space to be YUV422.  I was way under the minimum bit rate and the color space was incorrect. Can someone please instruct me on how to achieve my desired results. Thanks!

    The source frame rate is 23.976, so I guess I would go with 24p. My intention is to upload the file to a streaming video website. They have their specs laid out for me, I just happen to be new to all of this so I am having a tough time meeting them.
    My question right now is, if i have selected the MXF OP1a XDCAM option with XDCAM 50 NTSC (4:2:2) video codec, will the export be in mpeg2 and what will my bit rate be? I have no way of viewing the bit rate with this configuration.
    Here is a screen grab of their required specs:

  • Canon Pictures Style and Color Space

    Hello!
    I need some clarifications.
    If I well understand Aperture do not consider the Canon setting for Picture Style when shooting in RAW.
    Is it correct?
    The same is valid for the color space.
    Thank you!!!
    Max

    Yes...You understood! Thank you very much
    What about the color space when shooting in RAW? I noticed that even if my camera settings were sRGB, Aperture shown Adobe.
    Thank you!
    Max

  • Photoshop PDF resolution and color space difference: Acrobat vs. Photoshop?

    I have received several Photoshop PDFs from different sources. In Acrobat, the document properties indicate the PDF producer as Adobe Photoshop for macintosh -- Image Conversion Plug-in. When checking the image either with PitStop or through Photoshop via Acrobat's Touch up object tool, the image shows as a 100 dpi RGB image. If the PDF is opened directly in Photoshop, Photoshop indicates it is 300 dpi and CMYK.
    Does anyone know why there is this difference? Also what is the Image Conversion Plug-in and how does it work?

    Ah, sorry; in that case possibly the Preserve Photoshop Editing Capabilities-button was hit (thus including the original psd-file) but a low-res-pdf-setting selected.
    In which case the original data would appear to be CMYK and of a higher resolution that the pdf-images.

  • IPhoto Book linescreen, resolution, and color space

    to maximize the quality of the iPhoto book I plan to preparemy image files, but I need to know some things about the printing process. Does anybody know the following for the production of the Large iPhoto books:
    linescreen
    print resolution
    colorspace
    ANY accepted file types (16 bit layered Tiffs, JPG, or other)
    and possibly dot gain (?)
    Anybody using Pixel Genius' PhotoKit Sharpener to prepare their files? If so which output sharpeneing settings did you use?
    Thanks

    Joe:
    Welcome to the Apple Discussions. I'll try to answer those that I can.
    Linescreen - not familiar with that term but read a while ago that 150 lpi printers were used. Don't know if that's related or not. Also there seems to be a difference (for large book at least) between those printed at the West coast site and those from the East coast site. The west coast books were reported better.
    Print resolution - large books are printed at 150 dpi. However, you can change the dpi resolution of the pdf file that gets created for uploading and printing as follows:
    Method to increase the print resolution for books:
    1 - download and run Pref Setter.
    2 - open the iPhoto preference file from within Pref Setter.
    3 - locate the Keys titled BookTargetMediumImageDPI, BookTargetSmallImageDPI and BookTargetImageDPI.
    4 - change their current values to 300.
    5 - save and quit Pref Setter.
    Colorspace - I've used sRGB but don't know if that's the optimal one. My results have been OK in my mind.
    Files accepted - all those you've listed are acceptable. Tiff file shouldn't have alpha layers as iPhoto doesn't play well with them.
    Dot gain - don't know what that is.
    For sharpening of those I've sharpened I used Photoshop's Unsharp Mask filter.

  • What size, resolution, color space and bit do I use for a book?

    What size, resolution, and color space do I use for a iPhoto book?

    At least 150 DPI - actually pixel requirements depend on the print image size (pring image size * 150 will give you the minimum pixel size you need) - size is determined by the book size and theme and page layout you select - color space should be sRGB - minimal editing and using iPhoto for editing produces the best results - for more information see this article
    If a photo is the wrong ratio and you can not crop to work in most themes you can right click on the photo and fit to frame
    LN

  • Possible to get the color space and resolution from the .eps file

    Hi all,
    We have using the InDesign CS3 5.0.4, windows, javascript.  We need to get the color space and resolution of the graphics (.eps) file using scripting.
    The properties of the image like (actualPpi and effectivePpi will return the value only for the .tiff. and .jpg etc) but it will not return the .eps file resolution values.
    Kindly give me the suggesting for the decrepancies.
    Regards,
    Nagaraj

    ... open them programmatically in PhotoShop, read out resolution and color space ...
    On opening them in Photoshop, it asks you "what resolution shall I use, and what color space shall I apply?"
    A single EPS may contain any number of embedded bitmaps, with any horizontal and vertical resolution, and in any color space. You can use only a few of these with Illustrator -- and even only one at a time with Photoshop --, but other programs allow just about every possible combination.
    Not to mention procedurally generated bitmaps, also possible with PostScript.

  • Color Space Management & Final Color Output-not WYSIWYG?

    I have constantly had problems with getting final output color to match what i am seeing on my monitors when color correcting. This has been a continual problem mainly with R3d footage and going to Prores...but for the sake of this discussion here is my prime example:
    Start a new project in PrPro and clor from PrPro adding effects, 3 way color, 3rd party effects like Finesse and Colorista...then output the project to Tiff for master then convert from Tiff sequence to Prorest; H264 or anything else....But, when i output a prores file, and then open the prores file on its own--not brining it back into Premier...i notice a shift in colors....completely desaturated etc...this happens whehter i choose for gamma as "auto" or "none" when choosing codec settings for prores. I've had this continual problem for many years and the ONLY way i have found it to work is by using Apple's Color and then going to Prores....seems apple hardware and software work well together...but this cannot be an isolated incident with me only...AND coloring a project on your desktop and putting all that work into it and seeing it DIFFERENT at the end of the day is more than a let down...
    ...so maybe a discussion on properly setting a project for color work is in order...I came across another forum members website reToolednet and he had some great info on setting up the sequence timeline and video preview area that is great info...but even when i do that i cannot get a perfect match at the end of the output....Exapmples below all done in PrPro and then output to Prores 4444.
      I've found info on Adobe site that does not seem current about setting project settings and color space, but no place in PrPro do i find that setting...is this only AE?  OR...can we even do a proper color job within PrPr?  or should that be done elsewhere?
      Id like to go through the proper steps of setting workspace and color schemes for say a Prores output since that is likely 75% to 90% of everyone's deliverables in the tv realm....
    Snapsot of Tiff sequence WITHIN PrPro (colored)
    Final Output from PrPro to Prores--snap from actual QT prores file--(Desaturated)
    When i began this project i had my sequence settings to R3d 1080p @ 29.97 and video previews to Iframe....
    **NOW, i think i would have been better off to change video preview to my final output of Prores 4444...BUT, i tried that and still see a color shift.
    **Note, i oriingally colored this on 5.5 with Matrox out to my color corrected monitors....and results on those monitors DO and WILL be diffrent than what you see on your computer screen....my monitors were set to rec709 and RGB at end of the line for viewing....but i see nothing within PrPro on how to set this....however at end of the day i do not get what i see on my preview monitors....

    Thanks Jim....yes, i'm covered on all cc monitors and quite used ot viewing output on color calibrated...as well viewing both on the same platform/monitor....The BIG question is PrPr being able to do color work---and my question is why would it have all the color effects if it did not?  But i agree with you....first place to start is can you do proper color work on PrPr AT ALL?  no problem to do a quick web video...but can you properly color a for television product---I seem to think NO....i could not get colors in end to match....i can view out on PrPr view my I/O box (Matrox MXO2) and see great colors that i colored the project on to my FSI color corrected monitor....but then when i view the ProRes file back (not on PrPro)...but on it's own with its own codec engine...this is where things go awry and stray from colors i originally put on the images...
    But this is a PARAMOUNT subject as Pr is offering coloring....i hate to bring this in, but in FCP i can get accurate colors on my Matrox and same when rendered out to Prores file....Again, i think Apple plays well with apple.....but as you say, there are a great number of varialbes involved in the preferences etc...within PrPr...seems to me AE may be better just by reading about it...but why not both?

  • What are the steps to using camera & color space matching on footage with multiple cameras?

    Hi there,
    I am new to speedgrade, and need to use the Camera and Color Space Matching technique to automatically color correct my sequence which contains footage from multiple cameras. I have watched all the videos on speedgrade on AdobeTV and lynda.com that I can find, but haven't been able to find one that actually shows me how to do so. Can anyone point me to a video/tutorial where I could learn the steps for the process or outline them for me if that is easier?
    Thanks!

    I'm in the same boat.  There is a new 'camera matching' function that premiered at NAB 2013, but when will it be actually available...?   As to your original question, look up getting a proper White and Black balances with each camera first. Learn how to work with HSL and RGB values etc, and I think Karl Seoule has some videos that cover this under 'Color Finesse' vids at Adobe TV.  Also check out the '3-Way Color Corrector' tuts and "Secondary Color Correction' tuts as well.  And finally either on Adobe TV or Creative Cow there is on video that actually talks about matching either 2 shots or 2 cameras as well.
    All this is to say here is no easy/simple way.  I'm hoping when Adobe introduces the Color Matching in Speed Grade we can just use stills as reference in Speed Grade, develop 'looks' that match the cameras and then apply the looks in Premiere without having to use the huge .dpx files that we have to use in Speed Grade now, but that may just be part of the process.

  • 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

Maybe you are looking for