Quicktime Color Profile wrong

I'm trying my best to understand what is happening with the gamma shifts in Quicktime, and any help is appreciated.
So far I've found: Exporting Quicktime content automatically assigns it the "HD" Color profile and does not use the gamma tag. The "HD" profile seems to be HD 709-A and appears to have a gamma of 1.96. Please allow us to tag the files with the colorspaces/gamma that were used to create the content. I'm working in a color space calibrated to 2.2. Macs these days also seem to come set to 2.2. Unfortunately this seems to cause a brightening after exporting content.
Furthermore, there seems to be inconsistencies between how QT and FCPX handle the "gama" flag. QT seems to follow it which is great when editing with a third party utility, where FCPX ignores it which is all the more frustrating.
I think it's wonderful that we are getting closer to fully color managed workflows for video, but it's incredibly confusing to be forced into assigning a color profile that has nothing to do with how it was created. Please help. If at the very least FCPX would honour the "gama" flag, that would be amazing.

To Apple Discussions!
I'm sort of confused by what you mean by:
"I get wrong color in Quicktime"
Are your movies & videos coming out in the wrong colors?
Which version of QT are you using?
See if repairing permission using your Tiger DVD helps.

Similar Messages

DNG files rendered with wrong color profile?

Does someone else also have a problem with DNG (digital negative) files showing incorrect colors when opened in Apple software (Preview, iPhoto, Aperture..)?
I have a Nikon D750 and currently consider using DNG as archive format for my RAW files.
But the converted DNG files are shown with a wrong color profile when opened via Apple's own camera raw framework...
It works in Adobe software - such as Lightroom - but any software using the OS X internal camera raw framework seems to use the wrong color profile when opening the DNG. Note that the original D750 NEF files are opened and rendered correctly.
I am using OS X Yosemite 10.10.2 with the latest Camera Raw Compatibility Update 6.02 installed.
On the Adobe side, it is Lightroom 5.7 and DNG Converter 8.7.1.
I tried all kinds of different conversion settings. It does not seem to make a difference whether I embed preview images in the DNG or not, whether I shoot in 12 or 14bit RAW, and whether I include the original RAW file into the DNG or not. I also tried to explicitly select the 'Camera Standard' color profile in Lightroom first and then export the DNG, but still on the OS X side the resulting image looks wrong as compared to the original NEF.
Any other Nikon user here who could verify my problems?

A few simple tests on your end may help you better understand:
1. Capture the same image (same camera settings in RAW and JPEG)
2. Open these images in Canon DPP - they will be a close match, this is because Canon DPP and the Canon camera itself use similar RAW processing algorithms
3. Open convert the CR2 to DNG, and open the CR2, DNG, and JPEG in Adobe Camera RAW - the CR2 and DNG should be a very close (if not identical) match if you use the same processing settings for each, since they are both being processed by ACR's algorithms; the JPEG will probably not match as it was processed with Canon's algorithms
What you are seeing is at the HEART of raw processing, and has nothing to do with color spaces or with DNG being at fault. The very nature of RAW processing means every processor (DPP, ACR, CaptureOne, etc) will produce different results by default - that's not to say that with some adjustments you can't match one processor's results to another, but it won't be the case by default.
The choice of RAW processor has FAR more an impact on your results than color space - in fact color space should have virtually no visual impact, though depending on the scene photographed you might have better gradations in some color spaces, better handling of highly saturated colors in some, but the overall look should remain close regardless of color space choice.
Further, as has been pointed out by others, raw files (which includes CR2 and DNG) do not have a color space - raw files are by definition raw image data which has yet to be processed into a color space. When you see color space assignments in RAW processors, that is relevant to the files you create FROM the raw files, not relevant to the raws themselves.
Before bringing inflammatory language and false assumptions to a forum with a high level of expert membership you might want to research the issue, and devise some simple tests (like above) to help you understand the issue first.

AE, ICC color profiles, QuickTime player and wide gamut displays

Hey there!
I was inspired by @AdobeAE 's recent tweet about color management to look further into the subject. We've historically not bothered with it, but are keen to enter the color managed world!
I started in Photoshop, doing tests with working spaces and destination spaces to get my head around how the whole thing works. One thing I quickly gathered was that our Monitors (Eizo S2243W) are wide gamut, which can create problems. For example, if you make an image in the sRGB space in PS, then save it out as a jpeg without embedding the profile, the colours become over-saturated, as any viewing application won't know how to translate the colors. Images created in the Adobe 1998 did not display the same shift when saved 'untagged' - I assume because the gamut of the monitor is closer to Adobe 1998, so even if no transformation occurs the colours are perceptually similar.
For still images all this is fine though, as you can always embed the profile so the viewing app knows how to translate the colours for your particular display.
The problem comes with video. It seems as though it is not possible to embed a color profile with, say, a ProRes QuickTime. If you create a comp in AE using the sRGB colour space, then export the movie you'll potentially have the same over saturated colour problem when viewing the resulting file on a wide gamut display.
So how is one supposed to overcome this, except for turning colour management off?
Any help greatly apprecaited!
Cheers, sCam
Simon Cam
Creative Technical Director
Superglue
http://www.wearesuperglue.com

Not too many people will be watching your movie on a wide-gamut screen. You'd be better off working in an SRGB mode, if your monitor allows. Colour magement is a poisened chalice, wether you are working with still images or movies. The internet is not colour-managed and everything wide gamut will look oversaturated and garish.

Quicktime 7.1.5 Update Fixes Color Profile Bug

You'll be glad to know that the latest Quicktime update, 7.1.5, that was released yesterday fixes the bug that prevented iPhoto 6.0.5 from importing or using/editing image files that did not have a color profile embedded in them.
However, users using Photoshop or Photoshop Elements should still set those applications to manage and embed an RGB profile in files so that when printing prints or ordering books/prints/calendars/cards ordered thru Apple they will have an accurate color rendition of what you see on the screen.
Do you Twango?
G5 Dual Core 2GHz, 2G RAM, 250G HD; G4 Dual 1Ghz, 1.5G RAM, 80G HD, QT 7.1.3, Mac OS X (10.4.8) 22 LCD, 250G/200G/160G FW HDs, Canon: SD700IS/i850/LIDE 50, Epson R200, 30G iPod

Yes it is. I ran several files thru PS, removing the profile, and they imported into iPhoto OK. I just ran another test (no profile in the files, edited in PS and saved w/o profile, iPhoto set to not embed a profile) and it worked as advertised. The files were editable by iPhoto and viewable in the full screen mode.
Interesting in that the resulting modified file ended up with a profile embedded even though iPhoto was set not to. Haven't figured that one out yet.
The bottom line is that it works as advertised.

IMac/Snow Leopard choosing wrong color profile?

Hey guys,
I am a wedding photographer and I calibrated my iMac twice a month with a Spyder 3 calibrator. I have noticed a few times, that even though I have chosen the color profile I have created with the Spyder 3, sometimes my iMac does NOT have that color profile selected. It seems like it reverts back to the standard iMac color profile at times - with no explanation. Is this a bug, or am I the user doing something to cause this to happen: log out, shutdowns, etc.
I am really unsure, so if anyone has a solution or explanation for this that would be great! Once I retouched a whole session using the wrong color profile (I didn't know it had changed) and it was a disaster.

The file that holds which monitor profile is being used may be corrupt. You can remove this file from the Preferences folder of your user account:
com.apple.systempreferences.plist
Place it in the trash, or just to the desktop and restart. Or log out and log back in. The OS will create a new preference file.
This file holds various settings, so you may notice other items in the System Preferences back at their defaults.
As to your calibration habits, every other week is overkill for LCD monitors. This was the case with CRTs where every other week, or at minimum once a month was normal. CRTs drift from their settings much faster than LCDs. Every other month with an LCD is more than sufficient.

Quicktime/iTunes Full Screen Color Profile Issues?

I'm running Yosemite now, but this has been an issue long before I upgraded from Mavericks as well. The default color calibration in OSX is overly bright and blown out on my monitor, so I have a custom calibration set up and in use on my Mac Mini. The profile I created looks great for general viewing, movies or anything else I want to do.
However...there seems to be an issue with Quicktime in either the app itself or when playing a movie from my iTunes library. If I play a movie in a window there are no issues, but the problem comes when I play a video in full screen mode. The color calibration looks just fine UNTIL the play controls automatically disappear from the screen. That's when it seems to go back to the default color profile that's blown out and muddy looking. Move the mouse so the controls come back up, color profile goes right back to the one I have set....until they go off the screen again, when the default profile is back.
Anyone else experiencing this and maybe found a workaround or way to fix it? I've found a couple mentions of it on the web in forums, but no answers or even replies were ever given.

Me too and it's very annoying. Exactly the same symptoms of the colour changing when the fullscreen controls disappear.
I've used a colormunki to create a custom profile for my monitor for photoshop use. Has everyone else done something similar?
I created the profile before Mavericks & Yosemite updates so I might try deleting it and creating a new one to see if that helps.

Wrong color profile after export - what am I doing wrong?

I'm a beginner in color management and color profiles and I have a problem with my exported files from AE CS6 (german version):
In my project settings I've set the working space to "adobe RGB (1998)" which is the same like my footage (JPEG Image-Sequence).
In my Output Module Settings I've set it also to the working space "adobe RGB (1998)".
I' ve tried to export it as h.246 and AVI.
And now the Problem: the exported clips are too bright and washed out. First I thought it is a problem with the Windows Media Player, but I imported the clips again to after effects and the showed Profile is now "HDTV (Rec. 709) Y'CbCr". This is the case with the h.246-clips. The AVI-Clips showed the profile "sRGB IEC61..." So the settings from the Output Module didn't seem to work.
The washed-out-effect disappeared after I set everything to HDTV, but I don't think this is the right way to go..
Thank you for any help

Simple, really: You are using a) a wrong color space b) your system is not calibrated, but you have color management enabled and c) use formats that don't support color management. This is simply wrong from stem to stern, especially with regards to b) and c). Why would you even use Adobe RGB when video works on Rec 709 or even more generic sRGB? I think you do not even understand the point of CM on a fundamental level. you don't dictate the color space by your source files, you simply import them into your working color space - regardless of whatever it is set to. The color metrics engine will apply any corrections necessary based on the associated/ embedded profiles, which ultimately is the whole point. Conversely, enabling CM for output will require a format that actually uses those corrections, which comes down to only a handful. so to cut a long story short: Unless you are willing and technically able to establish a proper CM workflow simply leave it off and just use the default sRGB that AE ever has used.
Mylenium

IPad2 color profile is dead-on-WRONG

OK, so im a professional photographer and im working a lot on my iPad. But is it true I need to discourage the iPad2 to all creatives because of the incorrect color scheming? In my profession it is VERY important that my photographs, when edited on iPad, are exported with satisfying color results. Sadly, all my edited photo's turn out very different then I made them on the iPad. Blue turns purple in the most worrying way! And sadly, it ****** me off. Because the color shifts are only noticeable on monitors, not just my monitor but EVERY monitor.
My Iphone4s suffers from the exact same color shifts. And that ****** me off even more. So now I have to suffer battery drains AND incorrect color results. This NEEDS to be fixed or else it will fail among photographers, designers, painters...
I added an image of a camera color picker. I picked the color on my iPad2 with my iPhone4S. You can see on my iPad it says the color blue is assigned to the RGB HEX '631BDD'. But in reality that HEX is purple (try it out on any rgb color picker)
WHY does the iPad2 AND the iPhone4s have totally messed up color profiles??? and WHY cant we add color profiles??
This so ****** me off, since I can discard all my artwork that I rendered on my iPad2...
PISSS

no lol, i love my ipad but it so very frustrates me that my artwork is being nailed over since i put so much time in editing and working on my ipad.
but seriously, there must be a fix to this??? This is a major issue!

Selected color profile for new images from "clipboard" is wrong in CS6

I have given up trying to find the answer to this myself.
Steps to reproduce:
1. Take a screenshot of something in your web browser (macintosh CMD+SHIFT+4) to the clipboard.
2. Select File > New from the menu. Clipboard should be the selected Preset.
3. Notice how in CS6 the color profile under "Advanced" is "Display" and NOT "sRGB" — in CS5 it is sRGB.
4. Paste from the clipboard into your new document and get the color profile mis-match warning if you are in CS6.
It is either not picking the color space of the clipboard properly like it will in CS5, or I am missing something somewhere.
Nothing I do in an attempt to fix this is working. I have sRGB set as my default profile in color settings, and nothing I do changes this setting for the "Clipboard" preset.
I am getting sick of forgetting to manually select "sRGB" every time, opening up a new document sized to my clipboard and then getting the color profle mismatch warning when I paste in the clipboard contents!
I take so many screenshots as I develop websites this is a CONSTANT problem as I am constantly creating new documents from the clipboard to check alignments, zoom in to get color samples, and many other reasons.
Message was edited by: DrunkCyclist

That helps a little. It explains why "Display" is selected when I create a new from the clipboard in PS.
The ColorSync profile from a screenshot opened in the Preview App shows up as "Color LCD" in the inspector.
So, I assume what is happening in PS is that the new document is being created in the working color space and my clipboard contents don't match that and therefore causes the warning?
I could see getting a warning if I create a new document from the clipboard in PS and it embeds the "Display" profile within it, and then I try and paste something which has an sRGB (or other) embedded profile, but I was assuming the new document from the clipboard contents would have the same color profile as the clipboard contents.
I just don't get why I get a warning when I create the new document and the very first thing I try and do is paste the clipboard contents into said document.
However, when I select "sRGB" from the dropdown list instead of "Display" in the PS dialogue box it does not give me the mismatch warning.
Although the warning does say my source and destination document are both using the "Display" profile but my working space is sRGB.
The more I think about it, I may have just checked the "Don't show again" box in CS5 if I ever had the same issues and therefore never dealt with that again!
I am going to go read as much as I can about the color profiles in PS. I used to deal with this a lot as a print designer but not so much anymore working in UI design. I only really look into these issues when I get weird color shifts on saved files and things of that nature.
Thanks for taking the time to explain some things!

Possibility to assign a color profile in the color management tab for more video formats

Presently, in After Effects CS5, in the color management tab of the "Interpret Footage" dialog box the possibility to assign a color profile to footage is grayed out for many video formats.
Formats that allow to assign a color profile include Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation as well as various image sequences, like tiff-sequences. (Motion JPEG A,B and Quicktime/MPEG-4 are not very helpful in this context because they have a small color shift when reimported to After Effects.)
Formats that do not allow to assign a color profile include Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V. (Here, H264 main concept has anyway the disadvantage that it has a color shift when reimported into After Effects.)
In After Effects CS4 it was possible to assign a color profile to Quicktime/H264, Quicktime/PhotoJPEG, DVCPRO HD 1080p30, but in CS5 this is no longer possible.
Those video formats that do not allow to assign a color profile automatically are interpreted as having the color profile HDTV (Rec. 709) Y'CbCr in case that the videos have 1920x1080 format; similar applies to PAL formats which get SDTV (Rec. 709) Y'CbCr color profile.
(I did not find anything of this automatic assignment to HDTV or SDTV color profile in the "interpretation rules.txt" file, therefore it must be written into the programme itself.)
With growing popularity of wide gamut monitors it becomes necessary to produce footage and other videos that have a color profile different from HDTV or sRGB. When such footage is reimported to After Effects it has the wrong color and the only workarounds are either to use (in After Effects) the effect "Color profile converter" which necessitates extra render time or to use somewhat unpopular formats, like JPEG2000 that has very large filesize.
Presently many footage is produced in Quicktime/PhotoJPEG and therefore it would be very desirable to allow to assign a color profile to such footage in the color management tab of the "Interpret Footage" dialog box.
Does anyone know why in AE CS5 the video formats Quicktime/PhotoJPEG and Quicktime/H264 do not allow to have an arbitrary color profile assigned (although it was possible in CS4), is it a bug, or does it have a deeper reason.
In this context I have a related question, often I read that Quicktime videos have a gamma tag. Does this mean that part of the color profile (the gamma value) is actually embedded/remembered, like you have it for images where the gamma is part the embedded color profile.
I use AE CS5 on Mac Pro 2009 with OS 10.6.7.
Thanks,
Volker

Thank you Rick for this interesting explanations and the links to articles.
In the past few days I performed a few tests in After Effects and it is interesting that you mention that cameras, like the Sony EX3, allow videos to have embedded color profiles. I am not working myself with cameras but either get footage from the internet or sometimes videos from our video department which produces videos with professional SONY cameras, usually I get them in a matrox mxf format.
As far as my test with After Effects show it is not possible to embed color profiles in the videos rendered with After Effects. Independent of the color profile in the working space and independent from the color profile in the output module I always get the same reaction if I reimport videos rendered by After Effects back to After Effects:
In AE CS5 videos made in the formats Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V are always interpreted as color profile SDTV/HDTV (Rec. 709) Y'CbCr (even if I made them in other color profiles, such as Adobe RGB, Photo RGB, sRGB); and there is no possibility to change this interpretation rule.
In contrast videos made in the formats Quicktime/JPEG2000, Quicktime/Motion JPEG A, Quicktime/Motion JPEG B, Quicktime/MPEG-4, Quicktime/Animation are always interpreted as sRGB (even if if I made them in other color profiles, such as Adobe RGB, Photo RGB, HDTV); only this time I can change the interpretation rule. Therefore if I know for example that if I had selected Photo RGB in the Output module I can change after the reimport the interpretation rule from sRGB to Photo RGB and only then I get again the original colors.
The only exceptions are picture sequences, such as tiff-sequences, where the original color profile is automatically selected in the interpretation of the footage.
Therefore, unfortunately for videos produced by After Effects your advice "If it says something like sRGB and you can change it, in most cases you shouldn't change it because the guess is probably right. If there is no color profile assigned then you should assume that is correct." is not so easy to be applied. You have to know how you did it originally in the Output module and hope that you can change it to the proper color profile, in case that the original color profile in the Output module was different from sRGB and HDTV/SDTV. But it is interesting to hear from you that with cameras there seem to be more possibilities.
For this reason it would be nice if in future versions of After Effects one could change the color profile in the the color management tab of the "Interpret Footage" dialog box also for formats such as Quicktime/PhotoJPEG, Quicktime/H264, H264 main concept, DVCPRO HD 1080p30, F4V.
Of course one can always circumvent shortcomings by using tiff-sequences, QT/jpeg2000, or QT/Animation as formats for storing, which is anyway better for lossless or nearly lossless storing, but the files are then too large and also cannot be played easily with a player.
Volker

Picture color profile in Lightroom vs Photoshop CS2 editing

Hi all, I hope someone can solve this for me.
When I'm viewing picture in Light room, all my pictures are a bit warmer ( have a yellowish tint to them ) compared to when I view them in Photoshop CS2. The same is true if I view them in other programs. This is true for all my picture file type (jpg, tif or raw). I get the feeling that it's Light room that in the wrong in how it displays the picture and not the other programs. Using the warms tool to make the picture a bit colder, only adds a bluish tint to the image which isn't even close to what it looks like (unedited) in Photoshop.
I get the feeling that Lightroom does something to the picture, or uses some sort of color profile, driver that other programs don't use.
Is there a way of changing this?

>When I purchase these ADOBE products I expect them to JUST WORK!!!!!
Unfortunately, when Microsoft, Dell and others enter the fray it's no longer up to just the Adobe folks. Differences between Photoshop and Lightroom are almost always due to a corrupt monitor profile. Adobe has nothing to do with that.
>I dont wanna have to be worried about corrupt profiles yada yada yada!!!
I just want to be able to do my color correction and exposure corrections in Lightroom export as a High Res Jpeg and then do the remainder of my work in Photoshop and have them both look the same.
If your screen is correctly calibrated that will be the case. Unfortunately if you want to do color sensitive work on a computer with a typical monitor, you have to have a rudimentary understanding of profiles and color management. There is unfortunately no way around it. This is no different from traditional color photography where you have to understand what different film, different filters and different development do to your colors. The terminology is just different.
>How do I fix this and please go through it STEP BY STEP BY STEP!!!!
I am not one for the computer lingo....
OK. I'll assume first that you have no hardware calibrator and that you are on windows:
1. Make sure your Photoshop color settings are set up to respect embedded profiles. See the
first screenshot in this post(ignore everything else as it is no longer relevant in LR 2).
2. Open your monitor's properties panel, click on advanced and go to the color management tab. Delete any profile you see there. This is the culprit. Probably a bad profile got installed in some driver update for your graphics card or your monitor.
3. Restart Lightroom and Photoshop and that's it! You'll have corresponding colors. You are however, cheating yourself as your monitor is completely uncalibrated. This is how 99% of computer users run their monitors.
So here is what you should be doing if you care about your color and matching to print and making sure that others see the same colors. Even though hardly anybody calibrates, the only way to get a good average correspondence is to calibrate your monitor and use color managed apps. This sequence is valid for both macs and PCs
1. Do as above step one and make sure Photoshop is set up correctly and then go out and buy a hardware calibrator (or order online). They can be had for <$100 for pretty good ones. Look for example for Spyder2 and Huey Pro.
2. Calibrate your screen following the instructions from the software
3. Restart Lightroom and Photoshop. Now you'll have identical but correct color.
If you have a mac, you can cheat slightly and use http://www.computer-darkroom.com/colorsync-display/colorsync_1.htm instead of hardware calibration. You cannot expect very good correspondence between monitor and prints though with that method.

Exported Raw Conversion Image Resolution and Assigning a Color Profile, etc

In Aperture 1.1, although I set the exported Raw conversion image resolution to 300 dpi in the preferences, it continues to come out at 72 dpi which is something of an inconvenience. Also, is it possible to assign a color profile to the "exported version" so that it is congruent to my PS CS2 color workspace (if that is what its called). Is this program capable of carrying out a conversion as a background operation? Finally, can the layout windows be configured so that they remember how they have been used in the past? Thanks.

Iatrogenic huh! Cool!
Anyway, I'm not real clear on what it is you are trying to accomplish. Despite your obvious vocabulary skills, there seems to be some disconnect relative to what you are trying to accomplish. You are right that "exporting a version" in Aperture is roughly equivalent to what happens in ACR when you "Open" a RAW image into Photoshop. In both cases you have, hopefully, already done the adjusting of parameters you want prior to "exporting", or "opening". When you "open" or "export" you wind up with an "image" composed of pixels, whereas in the RAW adjustment phase you are just working with a temporary thumbnail and a set of mathematical instructions. Big difference, I suppose is that when you "open" and image from ACR into CS2, the resulting image is truly just pixels and has not had a "file type" applied to the file yet, until you "save" it, while in Aperture, if you "export" a file to CS2, or to the desktop, you end up with the file type already applied. Presuming you "export" a 16 bit TIFF or PSD, there is no operational difference.
I could be wrong, but with the new Bayer Demosaicing algorithms in Aperture 1.1, and the Camera RAW adjustments, you should be able to come up with an adjusted image that is VERY close if not identical to one done in ACR, with the possible exception of lens abberation adjustment. I was very critical of the RAW adjustments in 1.0.1, but I am very happy with the capabilites in 1.1. That said, I think there is still some room for improvement in user friendliness of some of the adjustments such as Levels.

Change Default Color Profile in New Image Document ?

I've looked and looked, and even Googled. Anyone know how to change the default color profile when you start a New image file? In CS5 mine defaults to sRGB (Under the Advanced drop down) but my CS6 is ProPhoto RGB which means I have to change it manually nearly every time I paste an image copied via right click in a web browser.

I think it the same on windows. If I copy things to the clipboard with Photoshop that the document profile seem to be used there when I do a paste there are no color issues. However if I use Prtscn or Alt+PrtScn to capture screen content. I'll see that the colors are wrong when I paste the clipboard into a new document if my default color space is not sRGB. Then I need to assign sRGB to the document to correct the colors.
If I paste a screen capture into the current document the color can be very off and I will not get a prompt on the color mismatch. Therefore I don't think a screen capture has any profile associated with it. And of course the screen has a much lower resolution then the images I edit. So there is also a big size difference. Here is one scaled to 100% zoom after the paste. You can see both the color and resolution difference. This capture was assigned to sRGB so you will see what the screen looks like after the paste and zoom to 100%.
Message was edited by: JJMack

Can't get white color to stay white between color profiles

Hello,
I installed Photoshop CS4 and am using a Samsung flat panel monitor. I do web design and print design. Here is the problem:
Web design:
Color profile is set to Monitor Color
Proof color is set to Monito RGB
Proof Colors is checked
When I save image through Save For Web, it looks fine in the preview box but in some browsers it has blue tint (even the white color now looks blue)
I tried embedding the monitor coor profile into the exported JPEG and tried converting to sRGB and it always is a problem
Print design:
When I make a new CMYK document 300dpi the white now has a yellow tint.
I tried to paint the entire image white (and the foreground color is clearly white) then go with the eyedropper it says its fff6db (yellowish)
Proof Color: working CMYK
CMYK Color: US Web Coated (SWOP) v2
Color Managment Policies are all off
What I want is an explanation of how I can make sure that the colors are correct on my screen such that what I see on the monitor is exactly what everyone will see on their browsers. And that there are no color shifts. I had version 6 at work and its fine, when I converted from RGB to CMYK the colors just got a little washed out but the whites remained white.
-Max

Web design - you're ignoring the display profile, twice. What you see on your system is exactly what you'll see in the browsers. But nobody else will ever see it exactly the same way because you refer everything to your specific display.
Print design - you're actually using the display profile, and that profile is wrong. You're seeing a yellow tint because your monitor profile claims that the white is bluer than it really is, and Photoshop is correcting for that. To get rid of the tint, you need a display profile that correctly describes your display.

Convert Colors profile to threshold to black? [A9]

Is there a reasonable way to create a color profile that can be used with Convert Colors to apply a threshold (180/255) function to convert an RGB PDF into a black-and-white PDF? Acrobat 9 (CS5), OSX 10.6.7.
I have some multipage PDF files I want to "sharpen" (make clearer) before printing, and found that opening a page in Photoshop and applying Image > Adjustment > Threshold to 180 (out of 255) does a nice job. This is a pain for multipage PDFs because I have to extract the pages from Acrobat, apply a batch action in Photoshop, and then (potentially) re-integrate them into a PDF file.
Acrobat can apply ICC profiles to convert an image via Advanced > Print Production > Convert Colors. But how can I generate an ICC profile that does something analagous to the threshold function?
One crummy way is in Photoshop. Edit > Color Settings, which allows you to define a custom CMYK profile. Under Dot gain, you can set transfer function curves for C,M,Y, and K. I tried doing that, with curves at zero up until 70%, at which point I ran them straight up to 100% with a very steep (almost vertical slope).Tried a bunch of GCR/UCR/Black conversion settings. I saved the profile so Acrobat could see it. This gave me weird results:
In Photoshop, it came close to doing what I wanted, but not totally, when I converted the image to that profile. But it wasn't drastically wrong. But when I applied the same profile in acrobat (with Convert Colors), it looked much much worse, with large blocky pixel groups and the document, which was mostly a raster image of text, almost unreadable.
(Sorry for the lack of screenshots/images -- they're at the office, I'll post them tomorrow...)
Any tips? Is there a better way to do what I want and apply a simple transform to a PDF file?
A better tool to create ICC profiles for Acrobat's Convert Colors?
Am I just using the wrong settings in Photoshop?
Thanks!

OK, some more info. So, my PDF contains letter-size pages with 300dpi 8bpp images that are DeviceRGB DCT-encoded (JPEG). Here's how Acrobat displays one of the characters:
(All those obvious JPEG artifacts which explain why it prints badly and would benefit from processing). It looks pretty much the same in Photoshop (via Edit Image from Acrobat, or opening the PDF file directly). Thresholding it to 180 in Photoshop does a great job:
For simplicity, I tried to build a Gray profile that did what I wanted. But it looks like Photoshop's gray profiles only let you adjust dot gain and gamma, and neither of those are sufficient to achieve this kind of effect. RGB doesn't let you use curves. So I converted the image to CMYK, and then Edit > Convert to Profile, then choose CMYK and Custom CMYK and define a profile like this:
with these Curves:
And it seems to do the right thing when the image is converted to it in Photoshop; not perfect but much better than the source:
So, back to Acrobat, and apply the profile with Convert Colors:
basically a disaster. and some very faint jpeg artifacts turn into a big blue rectangle.
So what to do? Is there a better way to construct these profiles? Or should I give up and use batch operations?

Quicktime Color Profile wrong

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