Specific Colour changing Script from RGB to CMYK

I need to change the RGB values (imported from word) to specific CMYK values in Indesign (its not a straight swop) so I need a script or a similar plug-in that enables me to input the colour values for the CMYK so they automatically change.... the doc i work on is huge and im importing from a word file many times so i need to save time!!
Can anyone help me?
Thank you!

Hi Phil... Hmmm not sure if i explained myself! Or maybe I am being thick.... I tried the new code but im not sure I was clear on my problem?
This is the current code i use to change the RGN values to the CMYK is: I have entered the RGB and CMYK values as they need to be changed and it works but the swatch pallette ends up looking messy! See below.
var myIDOc = app.activeDocument;
var mySwatch = myIDOc.swatches;
for (var j=4; j<mySwatch.length; j++){
    try{
         if(mySwatch[j].space ==ColorSpace.RGB){
             if(mySwatch[j].name=="Word_R122_G75_B153"){// may be this is correct you can check the indesign swatches name
                 mySwatch[j].model=ColorModel.PROCESS;
                 mySwatch[j].space = ColorSpace.CMYK;
                 var myCV = mySwatch[j].colorValue=[48,72,0,0];
                 mySwatch[j].name = "C=" + myCV[48] + " M=" + myCV[72] +" Y=" + myCV[0] + " K=" + myCV[0];
         }catch(e){alert(e)}
var myIDOc = app.activeDocument;
var mySwatch = myIDOc.swatches;
for (var j=4; j<mySwatch.length; j++){
    try{
         if(mySwatch[j].space ==ColorSpace.RGB){
             if(mySwatch[j].name=="Word_R255_G0_B255"){// may be this is correct you can check the indesign swatches name
                 mySwatch[j].model=ColorModel.PROCESS;
                 mySwatch[j].space = ColorSpace.CMYK;
                 var myCV = mySwatch[j].colorValue=[0,100,0,0];
                 mySwatch[j].name = "C=" + myCV[0] + " M=" + myCV[100] +" Y=" + myCV[0] + " K=" + myCV[0];
         }catch(e){alert(e)}
var myIDOc = app.activeDocument;
var mySwatch = myIDOc.swatches;
for (var j=4; j<mySwatch.length; j++){
    try{
         if(mySwatch[j].space ==ColorSpace.RGB){
             if(mySwatch[j].name=="Word_R0_G0_B255"){// may be this is correct you can check the indesign swatches name
                 mySwatch[j].model=ColorModel.PROCESS;
                 mySwatch[j].space = ColorSpace.CMYK;
                 var myCV = mySwatch[j].colorValue=[100,0,0,0];
                 mySwatch[j].name = "C=" + myCV[100] + " M=" + myCV[0] +" Y=" + myCV[0] + " K=" + myCV[0];
         }catch(e){alert(e)}
var myIDOc = app.activeDocument;
var mySwatch = myIDOc.swatches;
for (var j=4; j<mySwatch.length; j++){
    try{
         if(mySwatch[j].space ==ColorSpace.RGB){
             if(mySwatch[j].name=="Word_R255_G255_B255"){// may be this is correct you can check the indesign swatches name
                 mySwatch[j].model=ColorModel.PROCESS;
                 mySwatch[j].space = ColorSpace.CMYK;
                 var myCV = mySwatch[j].colorValue=[0,0,0,0];
                 mySwatch[j].name = "C=" + myCV[0] + " M=" + myCV[0] +" Y=" + myCV[0] + " K=" + myCV[0];
         }catch(e){alert(e)}
var myIDOc = app.activeDocument;
var mySwatch = myIDOc.swatches;
for (var j=4; j<mySwatch.length; j++){
    try{
         if(mySwatch[j].space ==ColorSpace.RGB){
             if(mySwatch[j].name=="Word_R0_G0_B0"){// may be this is correct you can check the indesign swatches name
                 mySwatch[j].model=ColorModel.PROCESS;
                 mySwatch[j].space = ColorSpace.CMYK;
                 var myCV = mySwatch[j].colorValue=[0,0,0,100];
                 mySwatch[j].name = "C=" + myCV[0] + " M=" + myCV[100] +" Y=" + myCV[0] + " K=" + myCV[100];
         }catch(e){alert(e)}
var myIDOc = app.activeDocument;
var mySwatch = myIDOc.swatches;
for (var j=4; j<mySwatch.length; j++){
    try{
         if(mySwatch[j].space ==ColorSpace.RGB){
             if(mySwatch[j].name=="Word_R234_G229_B255"){// may be this is correct you can check the indesign swatches name
                 mySwatch[j].model=ColorModel.PROCESS;
                 mySwatch[j].space = ColorSpace.CMYK;
                 var myCV = mySwatch[j].colorValue=[8,10,0,0];
                 mySwatch[j].name = "C=" + myCV[8] + " M=" + myCV[10] +" Y=" + myCV[0] + " K=" + myCV[0];
         }catch(e){alert(e)}
The outcome is the swatch pallette attached:
How do I incorporate the new code to make sure all the values are hopefully to end up looking similar to this!!??
Thanks for all your time and effort helping me!
babeanz

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Hey.
I wonder if anyone has experience with converting image from RGB to CMYK and back to RGB?
I had a TIF in RGB then converted to CMYK but I figured that it might be better to keep in RGB, so I converted back. I read that it supposed to cause some loss in the data, but I can't see anything on the image, it is still very huge and the 2 RGB files has the same size as well. Is there a way to compare the resolution of 2 images somehow, or how can I see what I lost through the 2 conversions?
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I had a TIF in RGB then converted to CMYK but I figured that it might be better to keep in RGB, so I converted back.
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What are the actual Color Spaces (ICC profiles) involved?
Is there a way to compare the resolution of 2 images somehow, or how can I see what I lost through the 2 conversions?
How did resolution come into this?
To determine how large a portion of the image has been changed you could
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How can I convert Pdf from RGB to CMYK, keeping font color 100% K while working in Illustrator?

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I have tried that way, but the downside is that the fonts are set in gray not in a 100%K, also I have to deal with other fonts that are composites and meant to stay Full Color. I could select text by text and convert to gray but, its a 64 page document and I wouldn't want to make a expensive mistake.

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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
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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.
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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.
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-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.
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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

Conversion formulas from RGB to CMYK

Hi,
I've been writing a Colour swatch tool (in excel! hell yeah!) which allows me to pick a bunch of colours, generate complimentary colours from them, blend between 2 colours in a set number of steps and a whole bunch of other cool stuff, and then output this as a photoshop or illustrator swatch file.
As part of this tool I want to be able to covert the rgb values to cmyk. There is very little information on this on the web and what there is is fairly inaccurate.
For example,
RGB:50,128,128
Converts to CMYK 61,0,0,50 (%) using the formula found at easyrgb.com (this formula is the most prevalent one on the web/web forums)
Photoshop converts these RGB values as CMYK: 80,33,48,8 (%)
While these two colour values are *similar* the ones generated by the easyrgb formulas are nowhere near the photoshop values.
See? stupid useless formulas. (I am aware of the differences and overlap of the two gamuts)
Whilst I know that the conversion done in photoshop is done using ICC templates, and that often these conversions are device dependant, there must be a more realiable way of converting from one colour space to another using good old reliable cold hard maths.
Does anyone know what that might be? you guys at Adobe: I AM LOOKING AT YOU.
Hope you guys can help,
~silvery~
For reference I have included and commented the easyrgb formulas:
First: RGB -> CMY
C = 1 - ( R / 255 )
M = 1 - ( G / 255 )
Y = 1 - ( B / 255 )
Second: CMY -> CMYK
var_K = 1
Initally sets var_K as 1, although this is dependant on variables below
if ( C < var_K )   var_K = C
if ( M < var_K )   var_K = M
if ( Y < var_K )   var_K = Y
This bit finds the smallest value from the CMY range and sets this value as var_K
if ( var_K == 1 ) { //Black
    C = 0
    M = 0
    Y = 0
If var_K (the value that K is calculated from) is 1, then all the CMY values are reset to 0
else {
    C = ( C - var_K ) / ( 1 - var_K )
    M = ( M - var_K ) / ( 1 - var_K )
    Y = ( Y - var_K ) / ( 1 - var_K )
If the value of var_K is anything other than 1 then use the smallest value from the CMY range
K = var_K
The value of K as filtered out from the conditions above

Oliver,
I'm not sure what you mean by the term 'meta' color profiles, but I'll take a stab at what I "think" you are asking. There are some fairly widely accepted "standards" out there for both RGB and CMYK.
In the RGB world, for example, sRGB, Adobe RGB (and to some extent, ProPhoto RGB) have a fairly wide following. These are all ICC profiles, which nail down the boundaries of the color gamut and the definitions of any tri-stimulus combination of red, green and blue. Basically, they are matrix profiles that establish the positions of the Red, Green and Blue primaries, and these positions define the outer limits, or color gamut, of the color space. sRGB is a relatively small color space, so some viewable and printable colors get clipped (sRGB is the general internet, email standard and is widely assumed for many non-color managed appplications, printers, etc). sRGB can handle a fairly wide range of colors, but does clip some colors in brightly colored originals. It has the advantage of being the most widely adopted standard, plus the steps between colors are very close together. I use sRGB for average images, most people pictures, etc. Adobe RGB spreads the primaries further apart, so it describes a wider color gamut. Because the primaries are further apart, the steps are slightly larger from one color to the next, but marginally so. I use Adobe RGB for most of my brightly colored images that will get clipped in sRGB. Adobe RGB is also generally a good choice for images that will ultimately go to a printing press or inkjet. ProPhoto RGB pushes the primaries WAY apart, so it describes a HUGE color gamut...in fact, many of the colors that can be defined in ProPhoto fall outside human vision, and certainly monitors and printers.Due to the wide spacing of steps in ProPhoto RGB, images should be worked in in 16 bit, otherwide you may see some banding and posterization if large edits are made.
In the CMYK world, certain "standards" have been established, mainly for commercial offset printers (both web and sheetfed presses). By creating a standard, they are trying to establish the ink limit, densities, color gamut, dynamic range, gray balance, etc, of a "generic" sheet of commercial printing paper on the average well-maintained press using standard ISO inks, using good process control, mesurements, etc. By it's nature, this process has to encompass a wide cross section of presses, so it may act as a limitation on what some modern presses are capable of, but that's what standards usually do. If a good printer, with a modern press and great process control decides to sidestep the standard, they can probably extend color gamut, dynamic range, etc, but at the cost of no longer being "standardized". If commercial printers are "truly" trying to meet the standard, they will run tests, take measurements, and adjust their entire workflow so it matches the standard, within acceptable tolerances. Lots of shops "claim" to adhere to SWOP or GRACoL standards, but the majority of them don't. Standards for presses make some sense, because blending CMYK inks together (especially if they use ISO standard inks) on paper usually has a reasonably narrow range that works, though the paper makes a huge difference. (the same cannot be said for inkjets, monitors and many other processes, so they generally do not have standards). So for presses, there are standards for matte and coated papers, web presses, sheetfed presses, newsprint, etc. Each of these standards has its own ICC profile (or a family of profiles) that establishes ink limits, color gamuts, etc.
All ICC profiles have the necessary tags and data to comply with the ICC specification. One of those requirements is a "profile connection space", which is usually L*a*b* or a variant. So, an file on your computer may be tagged as an Adobe RGB file, and if you wish to prepare it for a sheetfed press using glossy stock, you could convert the file to GRACoL2006_Coated1v2.ICC (an industry standard profile for No. 1 coated stock on a sheetfed press). Since both files have the ability to "speak Lab" a translation can be made from one color space to the other. The numbers in the Adobe RGB file will be converted to L*a*b* (the universal translator), and then the L*a*b* numbers will be converted to CMYK, specifically GRACoL2006_Coated1v2.ICC. So, now you have a file in CMYK space with new numbers. It is worth noting that RGB has only three colorants to define colors, but CMYK has four. So, while in RGB there is only one way to define a specific color, in CMYK, there are many possible combinations that can generate many colors. This adds complexity to the equation. The CMY colors are called subtractive primaries, and are opposites of RGB (additive primaries). The "K" (black ink) is added for text, line art, neutrality, extra Dmax, and because the CMY inks are not pure and don't deliver a true black all by themselves. If the inks and paper were perfect, you could theoretically get away with CMY all by themselves, except for registration issues, text, line art, etc. Also, the additional "K" ink can help reduce the total ink limit, save ink, reduce costs, and improve quality.
Sorry for the book. This is not a simple subject, and we have only touched the surface.
Lou

Conversion from RGB to CMYK

Hi,
I would be so grateful if someone could help! I need to submit a PDF of a book I have written to the printers. They tell me that they are printing in CMYK. My book has many paintings inside and two use RGB mode (others are CMYK). I have tried converting these to CMYK however they loose their colour variations and brightness. It is important that the colours remain the same. Is it necessary that I convert these to CMYK (my printer said he would try printing samples of the PDF's I've sent in RGB mode and see what happens). I am worried since when I export the book to PDF I get a big exclamation mark warning me not to proceed since all is not in CMYK. Is this simply a caution or is there any reason for real concern. Help!
Thank you, Rachel

There's no way to tell what the settings are from what you've posted. This is a modification of the [High Quality Print] predefined preset, which DOES NOT convert colors to CMYK, but without going through the panels there's no way to know what was modified.
Whatever settings you end up using, you must look at the "output" panel and check what it says under color. If you are expecting the output to convert RGB to CMYK you must set that field to one of the "Convert to Destination" settings, and under destination you must choose the correct profile for your printer conditions.
Choosing "Convert to Destination" and a profile that doesn't match your document CMYK working space will result in the appearance of colors being preserved, but all of your native CMYK elements, including your black type, will be converted tot he new color space, and more than likely your type will now be a four-color rich black instead of K only, which is a printer's nightmare.
Choosing "Convert to Destination (Preserve Numbers)" will keep the CMYK values for native elements, which will preserve your solid blacks, but will result in some color shifting as the numbers are re-interpreted in the new space. This is roughly equivalent creating a document in one working space, then ASSIGNING a new working space before export.
Peter

When printing a photobook does Apple convert the images from RGB to CMYK?

I'm a little confused by Apple's Photobooks. Most printers require all images to be in the CMYK colourspace, since the inks used are always CMYK. Yet Apple requires Photobook images to be jpegs in the RGB colourspace. Does this mean Apple's printers (presumably plural, since they are all over the world) do some sort of autoconversion RGB to CMYK? Surely this would result in a major downgrading of quality? I've seen a few non-Apple photobooks printed with unconverted RGB images, and they look dreadful - overblown red and yellows, with awful colour casts. I've not seen an Apple Photobook myself, presumably the colours are realistic?
Comments anyone?

Quote from the Reference:
Linear Light
Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness.
Now consider the values that a neutral medium grey would have in the RGB and the CMYK spaces you use.

Changing script from CS2 to CS4

Hi everyone!
Having a bit of a problem (not to mention working against a deadline) with an old CS2 script created for a client. ESTK throws up an "Undefined is not an object" error.
Below is the code that seems to be the culprit. ESTK stops on the line after the .place(), assuming here that it's because the .place() doesn't return a proper object or something like that (I hate when they change scripting around too much).
Basically, what it does is placing an image into the first paragraph of a table cell. It then tries to set the dimensions to a "maximum" size and then fits the image proportionally to those dimensions.
> tmpBild = "B0000843.jpg"; //temporary for testing
newTable.rows[newTable.bodyRowCount-1].cells[4].contents = "\r";
tmpPara = newTable.rows[newTable.bodyRowCount-1].cells[4].paragraphs.item(0);
tmpPara.justification = Justification.centerAlign;
tmpImg = tmpPara.place( PICBASE + tmpBild );
tmpImg.parent.visibleBounds = ["0mm","0mm","38.236mm","38.236mm"];
tmpImg.parent.geometricBounds = ["0mm","0mm","38.236mm","38.236mm"];
tmpImg.fit( FitOptions.proportionally );
tmpImg.parent.fit( FitOptions.frameToContent );
tmpImg.parent.strokeColor = "Paper";
tmpImg.parent.strokeAlignment = StrokeAlignment.centerAlignment;
tmpImg.parent.strokeWeight = "5pt";
tmpImg.parent.strokeType = app.strokeStyles.item("Thick - Thin");
Can anybody help convert this so it works for InDesign CS4? In the meantime, I will try to take care of the rest of the script.
Btw, I have/had a scripting
b reference
in PDF format for InDesign CS2, is there anywhere that I can download that for CS4, I know it was very helpful back then.

What I ended up doing was create roughly enough pages in the document and create linked text frames on all pages, thus letting the table created in the first text frame flow as long as the document has enough pages. In the end processing, I then remove all the pages but the first one, effectively getting one page with one text frame containing all table contents.
This was the only way I could find to get around this problem. No matter what I did, placing content into a table cell that was overflowing a text frame just didn't work.
Here's the part where I create the pages (variable myMaxPages contains your estimated maximum number of pages). Please note in app.documents.add() that it is set to false to NOT open a window (speeds it up very slightly if you have a huge number of pages). You can remove the false and the myDocument.windows.add() statement if you don't want this or for debug purposes. The formatting mechanism on these forums seem broken, but the following code should be ok/readable once properly formatted.
>myDocument = app.documents.add( false );
with(myDocument) {
for( i = 0; i < myMaxPages; i++ ) {
myPage = pages.item(i);
with(myPage) {
if( i > 0 ) { myPrevFrame = myTextFrame; }
myTextFrame = textFrames.add();
with( myTextFrame ) {
if( i == 0 ) {
myTable = tables.add();
with( myTable ) {
bodyRowCount = 1;
columnCount = 5;
} else {
if( i > 0 ) { previousTextFrame = myPrevFrame; }
if( i < myMaxPages - 1 ) {
pages.add();
myDocument.windows.add();
While fiddling with it, I also updated my image placement code a bit:
> var myCell = myTable.rows[myTable.bodyRowCount-1].cells[4];
myCell.contents = "\r";
myCell.paragraphs.item(0).justification = Justification.centerAlign;
var myRect = myCell.insertionPoints[0].textFrames.add();
myRect.contentType = ContentType.unassigned;
myRect.visibleBounds = ["0mm","0mm","38.236mm","38.236mm"];
myRect.geometricBounds = ["0mm","0mm","38.236mm","38.236mm"];
var myFile = File(PICBASE + tmpBild);
if( myFile.exists ) {
var myImage = myRect.place( myFile );
myRect.fit( FitOptions.proportionally );
myRect.fit( FitOptions.frameToContent );
Maybe this helps someone, maybe it doesn't. Can't say that I'm happy with the behaviour of getting errors and being unable to place content in table cells that is overflowing out of a text frame, but I needed to solve it, and this is how I did it.
Of course, if anyone else has a better solution to placing images into table cells that may be in the overflowing part of a text frame, go ahead and share with the rest of us, please.

Color profile when changing from RGB to CMYK

I prefer to work on images in RGB then change to cmyk once I'm sure i won't need to run any more effects or filters on them. When I save an image the first time, I have the option to embed my color profile with the image. It embeds the RGB profile... the only option as long as I'm working in RGB. What I've noticed though, is that after converting to cmyk, I don't get any warnings or other indication that it needs me to embed the color profile. I need to do a save-as in order to get back to that option.
So the question is... does Photoshop automatically switch to my default CMYK color profile when I convert to CMYK? So when I save, it's now using the CMYK profile?

Save your original RGB file.
Then, RGB file > Edit > Convert to Profile (with CMYK#1) > Save As...
This creates your first CMYK file.
Then, back to original RGB file > Edit > Convert to Profile (with CMYK#2) > Save As...
This creates your second CMYK file.
Then, back to original RGB file > Edit > Convert to Profile (with CMYK#3) > Save As...
This creates your third CMYK file.
In all cases, be sure you have "Embed Color Profile" checked at the bottom of the Save As dialog. When naming a file, it's handy to include some sort of indication as to the color space.
In the end, you have four files: 1 RGB file, 3 CMYK files.

Changeing color modes from rgb to cmyk

Good Morning Everyone,
I am editing a file for a Realestate customer of mine. For some reason her previous designer didn't understand to make print material in cmyk ( I cant believe how many "designers" dont understand the difference.). I am now going back and correcting that issue so they will print accuratly. Usually I can do this in Illustrator and just go to the edit menu and then go to edit colors and choose convert to cmyk. That option is greyed out in this situation. Does anyone no why? I am attaching a screen shot. I am using illustrator cs6 on a mac running 10.7.5.

What Jacob says but check that you Color Settings are set right for the type of printing in question. Otherwise the colours may not convert satisfactorily.

Is there a trick to converting JPG from RGB to CMYK without the lossy re-compression?

So I've got around 750 images in multiple categories and folders. Each image has 6 variants - 16 bit TIFF from over-eager beaver photographer, 16 bit TIFF, extracted backgrounds (done by student workers, who do not use English as we are not in the US), then, standardized 3000x2000 (or other suitable aspect ratio) PNG with corrected edges for web and light print, an 1800x1200 JPG for web and a few smaller PNG standards also for web.
The 16 bit TIFFs with Extracted BG are the root files, and a series of actions builds the PNG's. The standardized PNG's are then pumped through actions and Image Processor to create output files.
So I just discovered that a seemingly random number of these are in CMYK. That hasn't been a problem up until now because our website and our printed materials have no problem with CMYK and RGB files.
But now we are starting to hand out these images to our customers - who are only interested in the 1800x1200 JPG and maybe 900x600 PNG files, which are most easily pulled directly from our website rather than sending them the entire 180gb graphics directory.
And some of them are telling us that the pictures are being rejected. Most notably, Ebay does not allow CMYK files.
So damage control- rebuild our entire library of images from the 16 bit TIFFs
OR
rebuild only a couple of different sizes and upload from there, replacing the pictures on the next major update (over the next year).
I am *NOT* concerned about preserving color since 99% of our products are black and shades of grey, with only a hint of color.
I am concerned about the degradation of changing mode on 60-70% compressed images, then resaving again with the lossy JPG compression.
I'm about to start ripping into things with my actions and replacing around 1500 files online, so I'd like to be sure that I'm doing things in the most sensible way.
If there's a tool that can do this conversion without another pass of compression, that would be ideal.

My understanding of the JPG is only middling. I thought I understood that it uses anchor pixels and either a translation table of some sort or difference mapping, using 8 bits per piece of information.
If that were the case, surely changing the translation from CMYK to RGB would be fairly simple.
In this case, the usage is Ebay and they only accept JPG, PNG (and maybe BMP and GIF, I didn't look that closely), but require RGB. I was actually quite surprised to find that JPG allows CMYK since, as you say, anyone dealing with CMYK is going to be dealing with commercial printing and few people who deal with commercial printing would play around with JPG.
I always stick to TIFF or PSD for workflow, but JPG is popular for a reason - when it comes to web, JPG is the only format that can deliver manageable file sizes with full-screen or "large" images for web. Our top level banner photo is 2590x692 and needs to be under 400kb for sane download speeds. PNG couldn't touch that. Even with the aforementioned 1800x1200, PNG is nearly 2mb, while I can maintain very decent quality with a 500kb file with JPG that works well for 'zoom in' type usage.
So there's no way around JPG. It's just annoying that the first person to touch a random selection of the pics was primarily an Illustrator user and saved *some* of the pics in CMYK mode.
It's like that old story about the farmer who didn't want anyone to steal his watermelons, so he cleverly posted a sign "None of these watermelons are poisoned", only to find a note the next day saying "Now, One of these watermelons is...".
Far more work to fix 'some' of the images compared to just doing it right the first time.
But then again, for workers like that, if you can't trust them with an easy job, you could hardly trust them with more complicated jobs...

Specific Colour changing Script from RGB to CMYK

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