Rgb to cmyk turns white brown

Hi Guys
In previous versions - changing from RGB to CMYK or vice versa would change the colours slightly but ever since CC when I change one to the other my white
goes brown and there is a yellow tone to the image.
Has anyone else experienced this - it's not slight either see image. I haven't adjusted anything - the original CMYK is on the left and
when I make it RGB - it goes brown.
Has anyone else had this issue?

I'd try a new display profile first. Recalibrate, or if you don't have a calibrator use sRGB (or Adobe RGB if your display is wide gamut).
Everything in Photoshop passes through the display profile. If there's a problem with the profile it can happen that one conversion goes bad but not another.
On Windows a common cause for this is bogus manufacturer profiles pushed through Windows Update. Mac isn't as susceptible to this, but there you have an added complication called ColorSync (which is where the actual profile conversions are done). So if a new profile doesn't fix it, you probably need someone with Mac OS X expertise.

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OS X Mavericks: display randomly turning white/brown/grey [no resolution issues]

Hey folks,
I discovered a very strange problem the last few days while using the internal and an external VGA Monitor on my Macbook Pro (mid 2010, 8GB).
I'm running on OS X Mavericks with the latest updates and the system runs pretty smooth.
What I discovered is as follows:
Using any VGA monitor that I own, sometimes both (internal and external) display turn white (or grey or brown, just displaying a solid colored screen). This occurs with literally every display I used externally and doesn't occur while just using the Macbook Pro without an external display. This didn't happen before on Mountain Lion, neither did it happen the first weeks on Mavericks (I've been using it since it's released). After this happening, I have to do a forced reboot. This issue does occur randomly within the daily usage.
Furthermore, I don't have any resolution issues as many user claimed about this already while running OS X Mavericks.
From looking at the system I can tell that the RAM is not damaged (also because this doesn't happen while using the MB without external display). I also tried other RAM, issue remains reproducible.
I haven't found any solution on the internet, so I decided to post my problem here.
Hope there is anybody out there who might be able to help me out.
Yours sincerely

Same problem here https://discussions.apple.com/thread/5613306 FIX IT APPLE!

RGB to CMYK gives me a white glaze? how to get rid of it

In photoshop cs5 when i convert an image i am working on from RGB to CMYK i get a white glaze over the image? as if i have added a photo filter or something? do you know how to prevent this on a mac computer?

Apple Custard Studios wrote:
…yes i can see that it is broke, but if you look in your last post the before image is in there for some reason, and the after picture is at the top in the earlier discussions.
Sorry, I don't understand what you're trying to say here. How can the "before" image be in any post of mine if I have never been able to see it?
The image I posted in my post, was your "after" image CORRECTED by me as explained in that post:
"Converting it to sRGB and setting the black and white points via a quick Auto Levels adjustment, brings about an improvement."
In other words, I downloaded your "after" image, opened in Photoshop, went to the Edit menu and used Convert To Profile to convert it to the sRGB color space, then I ran and Auto Levels adjustment. That's how I fixed your mess.
Apple Custard Studios wrote:
Hi station_two
…When i convert from rgb to cmyk, i SIMPLY GO: Image > mode> then click cmyk?…
Geebus Chrysler! No, that is indeed not just "primitive" but totally wrong. Go to the CONVERT TO PROFILE menu item in the Edit menu in Photoshop, and from that menu select the specific CMYK profile you want (or your printer requests). Be careful to select CONVERT TO PROFILE, do not under any circumstances choose "Assign Profile"! Converting to the appropriate CMYK profile will also automatically change the image mode to CMYK mode.
Apple Custard Studios wrote:
…which i am unsure it it may mean i have wrong profiles set, but if so what would i need to change it to?…
Apple Custard, it's obvious that you have no clue as to what Color Management is, and teaching you Color Management step by step here exceeds the scope of what can be accomplished in a forum. A good place to start reading up on it is here:
http://www.gballard.net/psd/cmstheory.html
In a nutshell: Your Monitor profile should be the file resulting from your calibrating and profiling your monitor with a hardware calibrator puck. Calibrate and profile your monitor regularly and often. Your monitor profile thus will be device-dependent, specific to your monitor.
Your working space, on the other hand, should be a device-independent profile, such as Adobe RGB or sRGB. It should NEVER, ever be your monitor profile.
Your target profile when printing should be device-dependent and specific to the combination of ink, paper and printer model you'll be using. For the web, create a copy of your image file and convert it to sRGB, then save it as a JPEG as needed.
Good luck!

My RGB colors are turning to cmyk while bringing image from illustrator or photoshop. Why? Removing the image from that page bright RGB colors are back.. hmm

My RGB colors are turning to cmyk while bringing image from illustrator or photoshop. Why?
Removing the image from that page bright RGB colors are back.. hmm

Edit > Transparency Blend Space > Document RGB

Need Info on RGB to CMYK

Hi,
I am new to Illustrator (CS5) and not fully comfortable with RGB vs CMYK. For instance, I created a logo for use on the web using Document Color Mode: RGB where my background color in RGB is 0, 0, 130. When I create a Print document using Document Color Mode: CMYK and copy the logo into the print document, it converts that background color to CMYK (C:100, M:98, Y:16 K:18) where the RGB is now (44, 45, 111).
Is there a way to get a closer match to the original RGB color 0, 0, 130? When the specifications for the print advertisement says images must be in CMYK, I hope I am accomplishing this by using the Print Document Color Mode of CMYK vs RGB? I feel somewhat ignorant on utilizing the RGB vs CMYK color modes and if anyone can give me a tip on what techniques they use to get a closer match of colors for RGB to CMYK or vice versa, I would love to hear it.
Thank you,
Keith

Keith,
First, be aware that you have posted to the Photoshop forum, not the Illustrator forum. The general concepts of color and color management are the same across the spectrum of digital imaging. However, its implementation is slightly different from application to application, so you may also want to post your question to the Illlustrator forum.
[EDIT: Brain fart on my part... This is the color management forum, NOT the Photoshop forum, so you are in the right place! (I spend most of my time in the Photoshop forum; I lost track of where I was...)]
That said, you're running up against a general concept: color gamut.
The color you've spec'd in your RGB file (0/0/130 - and we'll assume for now that it's in the sRGB color space) is outside the gamut of every CMYK color space. That means that the RGB color you see can not be reproduced using a mix of the four CMYK process colors (cyan, magenta, yellow, black). When converting to CMYK, the software picks the closest color that is within the gamut of the CMYK space, hence the color shift.
When you're designing for CMYK, it's best to work in soft-proof mode which allows you to see a pretty close approximation of what your colors will look like in the final color output space - in your case, CMYK.
In Photoshop, to turn on soft-proof, go to View > Proof Setup> Custom... and choose the CMYK output space that matches the press conditions you are designing for.
There are books written about this, but hopefully this short answer points you in the right direction.
Message was edited by: Rick McCleary

Final Cut Pro - Two Video Cards - Display Turns White

MacPro Xeon 2.0GHz
3 Gig Ram
Two nVidia 7300 Video Cards
Two CRT Monitors and One HDTV
I have two CRT monitors attached to my original nVidia card. I recently installed a second video card and attached a third monitor to my DVI output (on the second video card)
I tell Final Cut Pro to display video on third monitor as full screen output. I can see my 720p (or 480p) display. When I press play, the entire screen turns White. (I've tried a CRT monitor, and my LCD HDTV via HDMI to DVI).
If I remove my Right CRT monitor from my graphics card and attach my HDTV (giving me one monitor and one HDTV) I can get full screen 720p play back. But I don't want to edit with one monitor! I am wanting to have my two monitor editing setup with the third monitor as my full screen display (720p).
Why does three monitors result in a white frame for playback? Do I need to configure something?
Help!

#15 White or Black Canvas
Shane's Stock Answer #15:
Make sure the canvas or viewer are selected then go to VIEW>CHANNELS and set it to RGB. It might be set to ALPHA.
Shane

RGB to CMYK (channels) with PixelConduit plugin

As I'm unable to submit a user tip yet, I thought I'd share my solution here for anyone looking to simulate CMYK channels in Motion/FCPX.
PROBLEM
For some reason you want to convert your RGB source clip to extract individual CMYK (Cyan, Mangenta, Yellow, blacK) channels. For example you'd want to simulate the printing process of a book on a printing press.
SOLUTION
Use a free FCPX/Motion 5 plugin caled PixelConduit, a node-based visual effects design system. Install the plugin before launching Motion.
To extract CMYK channels, I used a (linear) RGB to CMYK formula:
Black   = Math.min( 1 - Red, 1 - Green, 1 - Blue )
Cyan    = ( ( 1 - Red )   - Black ) / ( 1 - Black )
Magenta = ( ( 1 - Green ) - Black ) / ( 1 - Black )
Yellow = ( ( 1 - Blue ) - Black ) / ( 1 - Black )
and translated it to PixelConduit's nodes.
Clone your source clip four times. Call the clones 'Cyan', 'Magenta', 'Yellow' and 'Black'. Navigate to Library > Filters > Conduit Effect System, choose Conduit and apply it to each clone layer. In Inspector, click 'Show Conduit Editor' and assemble the following node tree for each layer:
K (black) layer:
C (cyan), M (magenta) and Y (yellow) layers are identical except the first channel selection:
So, for M and Y layers change the 'Separate RGBA' node to output the green and blue channel respectively. You can copy/paste the whole node tree between intances of the filter so you don't have to create everything again from scratch.
You should now have four layers outputting a simulation of C, M, Y and K channel in greyscale. If you'd like to present these channels in colour you'd need to add Colorize filter to each clone layer:
And finally, if you use Multiply Blend Mode for each clone layer group you'll get a pretty close colour composition to the original source clip! By fine-tuning colour values in Colorize filters and/or tone curves in Conduit you could probably get a perfect conversion.
Colour values used in Colorize filter:
Remap White To:
1, 1, 1 (all)
Remap Black To:
0, 0.61, 0.89 (cyan)
1, 0, 0.5 (magenta)
1, 0.95, 0 (yellow)
0, 0, 0 (black)
That's it! Hope it can help anyone :^)

As I'm unable to submit a user tip yet, I thought I'd share my solution here for anyone looking to simulate CMYK channels in Motion/FCPX.
PROBLEM
For some reason you want to convert your RGB source clip to extract individual CMYK (Cyan, Mangenta, Yellow, blacK) channels. For example you'd want to simulate the printing process of a book on a printing press.
SOLUTION
Use a free FCPX/Motion 5 plugin caled PixelConduit, a node-based visual effects design system. Install the plugin before launching Motion.
To extract CMYK channels, I used a (linear) RGB to CMYK formula:
Black   = Math.min( 1 - Red, 1 - Green, 1 - Blue )
Cyan    = ( ( 1 - Red )   - Black ) / ( 1 - Black )
Magenta = ( ( 1 - Green ) - Black ) / ( 1 - Black )
Yellow = ( ( 1 - Blue ) - Black ) / ( 1 - Black )
and translated it to PixelConduit's nodes.
Clone your source clip four times. Call the clones 'Cyan', 'Magenta', 'Yellow' and 'Black'. Navigate to Library > Filters > Conduit Effect System, choose Conduit and apply it to each clone layer. In Inspector, click 'Show Conduit Editor' and assemble the following node tree for each layer:
K (black) layer:
C (cyan), M (magenta) and Y (yellow) layers are identical except the first channel selection:
So, for M and Y layers change the 'Separate RGBA' node to output the green and blue channel respectively. You can copy/paste the whole node tree between intances of the filter so you don't have to create everything again from scratch.
You should now have four layers outputting a simulation of C, M, Y and K channel in greyscale. If you'd like to present these channels in colour you'd need to add Colorize filter to each clone layer:
And finally, if you use Multiply Blend Mode for each clone layer group you'll get a pretty close colour composition to the original source clip! By fine-tuning colour values in Colorize filters and/or tone curves in Conduit you could probably get a perfect conversion.
Colour values used in Colorize filter:
Remap White To:
1, 1, 1 (all)
Remap Black To:
0, 0.61, 0.89 (cyan)
1, 0, 0.5 (magenta)
1, 0.95, 0 (yellow)
0, 0, 0 (black)
That's it! Hope it can help anyone :^)

RGB to CMYK to commercial printer

We are using CS2 InDesign and Photoshop 7 on a PC. I am putting together two
large books. One insert section of the first book has color photos. I have
to prepare these color photos for a printer located in China. They want all
images to be CMYK .tiff.
I have an assortment of about 100 images from various sources around the
world, there are .tif, .jpg. .bmp, and .psd. All of them appear to be RGB.
There are images with: 1) no color profile, 2) sRGB IE60966-2.1, and Adobe
RGB 1998. Do all images need to have the same RGB color profile before
converting to CMYK?
I have been converting all of these to .tif (and using a single dpi/pixel
resolution for
all images).
Do I just select/save as color mode CMYK? Or are there special
settings/profiles I need to know about. Is there anything special for China?
The printer's English is not that clear . I was hoping that someone in this
group would be familiar with RGB to CMYK conversion.
Also, it appears that the final PDF pages (with embedded Tiff images) will
be very large. The first complete book for this project (there are two
books) looks like it will be about 20GB. The second book looks like it could
be 12GB. Both books together equal about 1,000 pages and have about 1,000
images. 90% of the images are grayscale. What are the current technologies
for sending large projects like this to a printer?
Thanks
ps, the Photoshop group suggested that I write to this group.

Tech....
In the conversions, are you referring to conversions of B&W or color images? I'll assume color for the moment.
Assuming your monitor is properly calibrated, and assuming you are viewing your color images on your monitor, your conversions should keep "in gamut" colors the same. You will, however, probably see some loss of dynamic range, color, and saturation as you enter CMYK. If the color and dynamic range of the original is all within the destination CMYK gamut, you should see very little, if any, shift. The sad fact is that CMYK on press has limited dynamic range and color, especially compared to a bright monitor. This is generally true, though CMYK can print some colors that lie outside the typical monitor's gamut.
If you have a brightly colored original in RGB mode, then you should experiment with both perceptual and relative colorimetric rendering to see which one looks best. This is an image by image thing. Relative colorimetric will reproduce all "in gamut colors" as accurately as possible, then will take out of gamut colors and bring them to the closest printable color. This can cause loss of detail and 'piling up of colors' as you near the boundaries of the image's color gamut in the destination CMYK space. Perceptual scales ALL colors and preserves the relationships between colors, which sacrifices color accuracy and saturation, but sometimes looks more natural, especially if there are a LOT of out of gamut colors. Pick whichever ones looks best overall.
Then, once in CMYK, make minor curves adjustments to tweak if for CMYK. Just be careful not to push it too far, especially in the deep shadows, since you may push beyond the ink limit of the press. For example, if you convert to US Web Coated SWOP v2, the ink limits are set at 300 total. If you drastically darken the shadow areas, you could end up with an ink limit of 320, 330, 350, etc. Knowing the ink limit of the press will help you stay within those limits. Final tweaking in CMYK is usually a good thing.
How did you determine that the images were dull with too much magenta? Did you print a proof on a calibrated printer, or is this just your screen display? Or is this from a printed image off the press? I have a well calibrated monitor and accurate custom profiles for my inkjet. If I am sending a job to a press that supposedly prints to US Web Coated SWOP, I can proof that file on my inkjet and get a very good match. We need more information to know exactly what you are doing and how you are assessing your images.
Normally, I do the conversion in Photoshop, using the rendering intent that looks best. Then I tweak the image in CMYK to get it looking its best. I usually have the press profile, but sometimes work with a standard profile if no custom profile is available. I leave the image tagged with my conversion profile. Then, I usually place these images into InDesign, with the profile intact (color management turned on in InDesign). I right click on the placed image to be sure that the profile and rendering intent are set to what I want. Then, I can either supply the InDesign file to the printer, or convert to PDF (leave color unchanged) and make sure that all profiles are included. InDesign should export each image to the PDF properly, along with profile and intent. I have never sent to job to press using Photoshop...only InDesign or Illustrator.
BTW, rendering intent is only used when getting an image from one color space to another, such as a conversion from RGB to CMYK. You do that, choosing the one that looks the best. Once it is in the destination CMYK space, rendering intent is no longer needed, since all the colors and tones have already been remapped into the final space. Rendering intent is just used to help us handle those out of gamut colors.
Hope this helps.
Lou

Problem when converting RGB to CMYK in illustrator CC

Today I realized I had my document in RBG mode rather than CMYK. I am drawing die lines over a CMYK TIFF file placed in the document. When I try to convert my illustrator document color mode from RGB to CMYK everything in the document goes white - including the CMYK TIFF file that I have placed in it.
I can highlight the paths and see them only when they are highlighted but Illustrator will not allow me to select a new color for them.
In older versions of Illustrator I have had it would seamlessly convert to CMYK without changing everything to white.
I tried creating a new document with CMYK color mode and pasting the items in and it still goes all white.
In illustrator CS3 it converts just fine from RGB to CMYK with no image loss and no color loss on my dieline paths. but because my version of CS3 is acting crazy it won't allow me to save files from it
any help appreciated!!
thank you so much

hi monika!
no they are just plain old paths in black. and the TIFF file is just a regular TIFF file that is being placed on the bottom layer.
thanks for any help!!

Rich black when converting RGB to CMYK

I'm working in an older version of PhotoShop (7) but any help on the topic would definitely help.
My problem is that I am converting RGB native images to CMYK and my Key (Black) comes out rich, contains equal levels of CMY and K, instead of true black, only k.
Currently my way around this is to do the standard convert to profile CMYK and with my path selected to the section I would like to be true black simply turn off all CM and Y channels and re-save the image but this is a little labor intensive.
Is there a way that I can go straight from RGB to CMYK and achieve true black without alteration?

Yes, there is. You can use a CMYK setup or ICC CMYK profile that uses Maximum black generation. Unfortunately, that will almost always hose anything photographic in your image.
Is it typographical elements that are becoming four color? If so, then they should be done in a page layout program where they can be rasterized separately from the photographic image. If it is type you're worried about, is it large type or small? If you have to set large type in Ps, then it's probably fine to let it run four color.
If it were me and I had to do everything in Ps, I would probably make two conversions of the file to CMYK - one with a standard black generation and one with Max K. I would then select the black you want from the max K version and paste into the K channel of the "normal" document, and then use that as a selection to delete from the other three channels.
A third way is to do type in Ps and leave the type as a vector type layer, then save the file out as a Photoshop PDF, which is then placed in a layout app. or just sent to the printer through his RIP. That should work too, but there are too many places for things to wrong for my taste.

Converting from RGB to CMYK makes the image dull. How do I fix?

I have an image that has a really bright vibrant blue in it. When I convert it from RGB to CMYK, it gets pretty dull. Is there a "trick" or something to do to a file after converting to CMYK to bring back some of it's vibrancy?

Sharingene wrote:
Question on workflow... so do I convert my sRGB to CMYK, work to fix different color issues using some of the methods above, then what? Where does the printer's profile come into play during all of this? UPrint told me for offset printing they use US Web-coated SWOP v.2. Just not sure what to do with this information
Whenever you convert, you're always converting from the source color space to the destination color space.
In this case, your source color space is sRGB, because that's the color space your file is in.
Your printer told you that the CMYK profile they use is USWebCoatedSWOPv2, so that's the destination color space you want to convert to. You can consider that the printer's profile.
So, how to convert?
There are two ways.
First, you could go to Image > Mode > CMYK. Easy, but maybe not right.
That method will convert to whatever defaults are set in Photoshop's Color Settings (Edit > Color Settings). Check out your Color Settings. If they are set to any of the North America presets, you're in good shape, because the CMYK default is USWebCoatedSWOPv2. However, let's say that the printer told you to use Web Coated SWOP 2006 Grade 3. Then you need to take a different approach...
Second way: go to Edit > Convert to Profile...
In the dialog that appears, click on the Destination pop-up and scroll to find the appropriate profile.
Click OK. Conversion done.
This is a more deliberate method that also gives you control over Rendering Intent. (That's another discussion. For now, use Relative.)
-I guess it's used in soft proofing but sure how all this works. If I soft proof and it's still not looking right, am I able to edit with their profile turned on some how?
A soft proof is an on-screen simulation of what your color will look like once you do the conversion. In your case, you would turn on soft-proof (command-Y) while still in sRGB to simulate the look of the CMYK color space.
To select the color space to simulate, go to View > Proof Setup.
Click on Custom...
Click on the Device to Simulate popup.
Scroll to find the destination color space.
Then when you hit command-Y, you'll see a soft proof of that color space.
Best practices suggest that you do the bulk of your color correction while still in RGB, but with soft proof on.
Also, should I get a profile for the paper I'm using as well?
That's what the printer's profile is.
Although I've read somewhere it's hard to have your monitor replicate paper because monitors are so bright....
Not exactly. The challenge in getting a visual match between monitor and proof/print is based on the fact that a monitor is emissive (i.e., it's a light source) and a print is reflective (i.e., it only reflects light that's hitting it.) However, in a proper, well controlled editing environment, it's possible to get a shockingly close match between monitor and proof/print. All the variables are controllable.
The bottom line with all of this is to be able to get accurate, predictable color on press (or out of your inkjet) based on what you see on screen. It can be done; I do it every day. It just takes some study and rigorous process control.
I humbly suggest that you check out my book.
Good luck!
HTH,
Rick
Rick McCleary
author, CMYK 2.0: A Cooperative Workflow for Photographers, Designers, and Printers
Peachpit Press

RGB to CMYK conversion issue- Pulling my hair out@

Hi there-
I have downloaded a VECTOR image from Shutterstock, and it was built as an RGB file. When I try to convert it to CMYK (File-->Document Mode-->Concert to CMYK), it totally whacks out the image. I have tried everything I know how to do, and can't figure this out. I've tried changing the colors in the palette to CMYK, but it doesn't convert them permanently.
I'm attaching two files (as JPEGS so you can see the problem), one shows the sunshine image nice and smooth. The other is after the conversion to CMYK.
If you have any ideas, or want to see the actual file, please email me at [email protected] and I will send you the actual .eps file.
THANK YOU!
Brent

Original file above.
Select all
Object> Flatten transparency (check preserve alpha transparency with slider to 100 vector)
Change color settings (edit> color settings) to emulate Illustrator 6.
Convert to cmyk mode
Results
There were two main issues converting to cmyk.
Use of screen blending mode and the gradients themselves.
Screen blending mode was described in previous posts.
The gradients look also changed when converting from rgb to cmyk. If the screen blending mode was switched to normal, when converting to cmyk, the gradients would not look the same.
Flattening transparency is not an elegant solution, but it is a quick and dirty one.
Mario described this method in a previous post.
Depending on your color settings, it may yield unwanted artifact colors. Turning off CM, setting to Illustrator 6 emulation, will not yield the artifacts.

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