Use color match results in color correction

I'm trying to do some color corrections on my video footage. Color Match gets me most of the way there, but I still need to tweak the color via color correction, and then even after that I think I need to use color mask. Color mask doesn't seem to work very well for me. I think what's happening is that the color mask is only operating on top of the color correction and is ignoring the color match (which is where most of the color change is from). It may be that I don't know what I am talking about, but is there a way to figure out exactly what color changes were made via color match and then apply them manually as a color correction instead?

Nope sorry. Add it to the feature requests. It would be great if all these auto corrections actually used the color panel and showed what they were doing, similar to white balancing in the 3-way.

Similar Messages

Color Match Results

I have written the following code around the Match Pattern algorithm.
For my template item I am using a modified "block" of red that I made in paint, and I put my red tshirt in front of the camera and got no matches. Even when setting the match miniuim score to 200. I also set the minuim matches to 1 due to the oversizeness of the shirt. And still got no matches. I have in cluded the code the an image of the shirt and also the red block that I am using as a template image, suggestions?
The shirt is pretty red, Lightning is throwing it off, but contrast is set low, should I get a different camera?
Attachments:
test2.png ‏1 KB
security.vi ‏86 KB
hmmm.png ‏423 KB

Hello,
first of all, did you "learn" the color template? Looking at your image "test.png" is see that there is no Vision Info present...
Second, looking at your image and the template, I doubt you will get any good results. Why do you not create the template from the real object instead of doing this in paint?
Take a look at here for example:
http://forums.ni.com/t5/Machine-Vision/match-pattern/m-p/2747988#M41308
P.S. Do you really need color matching? Is your object always (uniformly) red? You can extract the green plane from your image in this case and acquire a good contrast between the background (depends on the bacground) and the object of interest.
Best reagards,
K
https://decibel.ni.com/content/blogs/kl3m3n
"Kudos: Users may give one another Kudos on the forums for posts that they found particularly helpful or insightful."

Pantone color matching problem

Why is this happening? A Pantone chip in the solid, coated swatch book and AI CS3 pantone swatch library don't match.
811C in the chip book is flourescent orange but onscreen it's peach.
Thanks,
Ian

Its as accurate as it can be considering the differences between RGB and CMYK and Pantone. Remember, RGB is really only suitable for screen based graphics - light emitting devices. CMYK is best for 4 color printing processes. Pantone colors are 'spot' or single colors mixed to get that result.
Alot of confusion happens because the three different systems do not easily 'convert' and people get caught when the printed result bears no resembelance to the screen result.
For really best results get your self a Pantone Color Bridge book, select your Pantone color, and then use the RGB or CMYK breakdown they recommend for best color match.
Fluro colors will never print well as CMYK or RGB although they my view well on screen.

I am trying to print a color photo on my MacBook Pro from iPhoto (not using Photoshop) using Epson 2200 printer, and everything I do in the Color Matching and Print Settings results in a photo with a pink cast to it. What am I doing wrong?

I am trying to print a color photo on my MacBook Pro from iPhoto (not using Photoshop) using Epson 2200 printer, and everything I do in the Color Matching and Print Settings results in a photo with a pink cast to it. What am I doing wrong?

Have you checked the ink cartridges and made sure the nozzles are clear? Are you able to print from outside of iPhoto with the correct color?
Try the following: make temporary copy of the library and do the following:
1 - delete the iPhoto preference file, com.apple.iPhoto.plist, that resides in your
User/Home()/Library/ Preferences folder.
2 - delete iPhoto's cache file, Cache.db, that is located in your
User/Home()/Library/Caches/com.apple.iPhoto folder.
3 - launch iPhoto and try again.
NOTE: If you're moved your library from its default location in your Home/Pictures folder you will have to point iPhoto to its new location when you next open iPhoto by holding down the Option key when launching iPhoto. You'll also have to reset the iPhoto's various preferences.
OT

How can you match an existing color when you are using the Hue/Saturation adjustment layer?

Hi, I have a student who wants to match the color of a new layer to the exact color of an existing layer. He is using an adjustment layer to "eyeball" the color match, but is there a way to ensure that the match is perfect?

Depends, John.
If you're able to create a reasonable selection via Color Range, feathered masking, etc, then by matching one specific color, you'll also be correcting for that entire range of hue. It might have been needed anyway...or you use a color filter to correct the whole image, if it's needed.
As we all know, each image presents its own specific challenges and solutions.

I can not monitor the results of color correction made in Color

I can not monitor the results of color correction made in Color come out the Blackmagic HD exrteme 3. Since the Final
I have cut the output correctly. I made the settings in the setupproject and setings but I had no success.

IN the USER PREFERENCES part of the SETUP TAB, on the right, there should be a VIDEO OUT option...choose the one that matches your media.

Color Matching using Color Sampler Tool?

Let's say I want to replace a sky in a landscape with a more interesting one with clouds. Is there a way to match the luminosity and hue of the replacement sky to the original landscape by using the color sampler tool? That is, to do the color matching by the number rather than by experimenting with various adjustment layers to get the match? Thanks!!

Perhaps you could put the new sky on top with luminosity blend mode. The color of the old sky would show through. But this would invariably require brushing.
Replace Color is a better option. In the dialog, set the source color (in sky with clouds) at the top. Destination color (sky without clouds) at the bottom.
Unfortunately this adjustment is not available as an adjustment layer. You'll want to keep the original image, perhaps as an underlying layer, in case you need to go back to it.

Printing color match screen vs printer

newbie here. im using Aperature and the prints coming out on printer don't match what I see on screen. I'm using MacBook Pro. What is the best way to match these colors? I know there's software you can buy and other stuff, or is there anything incluced in Aperature? Any advise would be greatly appreciated. Thanks!

You may want to search on "color match" as there are several threads on this.
In net, you need an icc profile for your printer and paper combination. You may have been provided one with your printer.
You need to profile your display as viewed in your ambient lighting (this standard is the same standard used by the printer company when they set up their color profiles).
You need to switch off printer color corrections in the printer properties.
And finally, in Aperture, you need to switch on On-Screen Proofing, using the printer/paper icc profile. Adjusting under this profile should result in similar print results (excepting that transmissive light qualities of a display will differ from the reflective qualities of printed work).
G.

Approximate color match?

Hello all: I'm having trouble getting a color to display. I know there are built-in issues as to how color displays in a browser, but am wondering is I can fine-tune this any more than I have so far.
The issue: page in question has an illustration on it, which contains a shade of red. I'm creating jpegs of text headers in PS, and would like the text to appear in (as nearly as possible) the same red.
I've opened illo in PS, selected the color with the eyedropper, noted the hex number and the RGB settings.
Created new PS files for text heads and used this info to color text in those files. Everything looks fine in PS, color match looks correct - until I go to Save for Web, at which point in the Save for Web window, the color changes dramatically to a darker red. The resulting jpegs also show the wrong color in GL and when live.
Both files (original illo and text head) are RGB mode in PS. Both have embedded profiles for Adobe RGB. Color settings in PS set to Adobe RGB.
Illo red looks fine, both in PS and on web. When I send illo to Save for Web the red remains the same and looks fine.
Text file looks ok in PS until I go to Save for Web, at which time red displays as dark brownish ugly color.
Checking or unchecking Only Web Colors in the Color picker window makes no difference.
Again, I understand that web color is not exact, and there are limitations on what colors can display. But since the red in the illustration displays just fine - in PS, GL, and on the web - it seems like it should be usable in the head jpegs as well - but it doesn't. What am I missing? Is there a way for me to come close to matching the red in the illustration in any way?
thanks
L

Both have embedded profiles for Adobe RGB. Color settings in PS set to Adobe RGB.
That's your problem.
Either set your working space to sRGB for new graphics, or convert them to sRGB when you save for web. The convert to sRGB option can be checked either in the save for web dialogue, or in the save for web dialogue flyout menu (to the right of the preset drop down menu), depending on your PS version.
This is a color management issue, and has to do with how your browser interprets color. You can enable color management (google it) using Firefox and might find your results more predictable.

Cross Post: Approximate color match?

Hello all: I'm having trouble getting a color to display correctly. I know there are built-in issues as to how color displays in a browser, but am wondering is I can fine-tune this any more than I have so far.
The issue: creating art for a GL page. Page in question has an illustration on it, which contains a shade of red. I'm creating jpegs of text headers in PS, and would like the text to appear in (as nearly as possible) the same red.
I've opened illustration in PS, selected the color with the eyedropper, noted the hex number and the RGB settings.
Created new PS files for text heads and used this info to color text in those files. Everything looks fine in PS, color match looks correct - until I go to Save for Web, at which point in the Save for Web window, the color changes dramatically to a darker red. The resulting jpegs also show the wrong color in GL and when live.
Both files (original illo and text head) are RGB mode in PS. Both have embedded profiles for Adobe RGB. Color settings in PS set to Adobe RGB.
Illustration red looks fine, in PS, in GL, and on web. When I send illo to Save for Web the red remains the same and looks fine.
Text file looks ok in PS until I go to Save for Web, at which time red displays as dark brownish ugly color.
Checking or unchecking Only Web Colors in the Color picker window makes no difference.
Again, I understand that web color is not exact, and there are limitations on what colors can display. And this does not have to be an exact match; only an approximation. But since the red in the illustration displays just fine - in PS, GL, and on the web - it seems like it should be usable and display correctly in the head jpegs as well - but it isn't. What am I missing? Is there a way for me to come close to matching the red in the illustration in any way?
thanks in advance -
PS 8.0/CS1
GL 7.0.2/CS1

Both have embedded profiles for Adobe RGB. Color settings in PS set to Adobe RGB.
That's your problem.
Either set your working space to sRGB for new graphics, or convert them to sRGB when you save for web. The convert to sRGB option can be checked either in the save for web dialogue, or in the save for web dialogue flyout menu (to the right of the preset drop down menu), depending on your PS version.
This is a color management issue, and has to do with how your browser interprets color. You can enable color management (google it) using Firefox and might find your results more predictable.

Problems with color matching when printing...

Hi, I work for a small family business in the P.O.P. industry. We currently have myself and one other designer, we both take illustrator files that have come from the graphic design firm that we contract with and get them ready to print on our Vutek QS3200. However ever since acquiring the printer we have begun to run into problems with the colors when printing. When the files are exported off of my computer, I use either .tif or .pdf files, they print as they should, the colors seem to match the proof and everything goes smoothly. However when the other designer exports a file, he tends to do mainly pdfs, the colors tend to be extremely different from where we want them. Also we will get very strange results, such as yesterday he kept getting a faint yellow 1/2" border around his prints. After I believe 3+ hours of him trying, I was given the original CD and instructed to try. After 15-20 minutes of making the changes that we needed to make (adding a new price point) and ripping, mine printed perfectly.
We both use Macs, both have CS3 Design standard, only differences between the computers are mine is newer and a bit faster, and I'm running OS 10.5.6 and he has 10.4. He has also at some point loaded various color profiles, whereas my CS package is just whatever the default is when I loaded it. When we were being trained he grabbed the color profile off of the Colorburst RIP server and loaded onto his computer, plus I believe he has a couple for freelancing purposes on there as well. My thought is that these profiles are somehow corrupting the files that are going through that computer, but I honestly am lost with it at the moment. He believes the problem lies within the fact that he does not have the newer OS, I honestly cannot see that as having any effect on this at all. I was wondering if anyone has run into any similar problems, or if anyone might have any advice on this issue? I would really like to be able to solve this, as I was hired to do mainly structural design for the P.O.P. and I'm having to put in a lot of overtime to get my work done along with the additional work that I'm having to do.
Thanks for your time

I've got a few years experience calibrating large format printers. First, the Yellow sounds like a file problem. I used to work with two workstations, one PC ( RIP station ), and one Mac ( file prep station ). I tend to agree with you in that the OS is probably not the problem. But, any Colorburst profiles should remain in the RIP, not in the originator application. My workflow consisted of creating EPS files that were based on established color settings in their given applications ( i.e., Illustrator, Photoshop ) which were interpreted by the RIP which had it's own calibrated profile ( perhaps more than one based on how many different substrates were being used ). Your partner may be complicating things by incorporating a RIP profile prematurely. If there are deviations big enough to be noticed, there has to be something in the application color settings that is causing some type of corruption. This could lead back to the operating system, but I would think it lies somewhere in Bridge or the application color settings. Start there. You should seriously consider implementing a calibration system if you do not have one already. Another slight possibility is the driver's ability to interpret files coming out of Leopard vs. files coming out of Tiger. It may benefit you both to be in the same operating system dynamics, using the same driver versions and RIP profiles. At the very least, match everything that is currently working successfully and put them on both machines. If there is still a noticeable problem in color matching, then something is seriously wrong and you should call in a prepress profiling expert. Hope this helps.

Color matching

I have an image brought into PhotoShop...I give it the
correct color values (CF9E40) for the background...I save it...I
link it via Dreamweaver to a page where I have set the background
to be the same CF9E40 value. The colors do not match (see:
http://www.scbadasscoffee.com/bill/
the ALOHA SANTA CRUZ... image). Why and if this is the wrong
forum...sorry...which is the right one.
Thanks, --bill

Save it as a GIF, not a JPEG. You'll never match the
background color using
JPEGs.
Mad Dog
bdaul wrote:
> I have an image brought into PhotoShop...I give it the
correct color
> values (CF9E40) for the background...I save it...I link
it via
> Dreamweaver to a page where I have set the background to
be the same
> CF9E40 value. The colors do not match (see:
>
http://www.scbadasscoffee.com/bill/
the ALOHA SANTA CRUZ... image).
> Why and if this is the wrong forum...sorry...which is
the right one.
>
> Thanks, --bill

Color matching in Illustrator with CMYK

     This is a technical question about the best practice to follow when trying to match a color with Illustrator. A short description of what I'm trying to do is in order. I have a digital printer which uses an Epson 2880 print head and driver. I have not loaded the PPD drivers yet. I'm using Illustrator CS5. My task is to match Reflex Blue, namely Pantone Reflex Blue.
     First thing I noticed is Reflex Blue is an base color and not made up by a formula in my matching guide. Next issue is, this color has to be created by a formula (Mix) of CMYK. I have resisted changing any of the print driver settings and have focused solely on Illustrator. This may be the wrong approach, but I did not want to have 2 different settings adjustments going at the same time.
     My question is, provided that the printer and it's related drivers are set, what settings would be the first place to start, when attempting to"dial in" an specific color.
     I have worked with Illustrator for years in the printing industry, but I rarely have had to match an color coming out of the printer. I just used them for proofs, and always stated that the colors are not exact. Now I have a direct to print situation and I have to hit the color. Fun! Any help would be greatly appreciated. Thanks!

First thing I noticed is Reflex Blue is an base color and not made up by a formula in my matching guide.
The Pantone Solid-To-Process library is provided in CS5 through the Swathes palette flyout menu. That Library suggests 100c73m0y2k. for Reflex Blue.
…this color has to be…CMYK. I have resisted changing any of the print driver settings…I did not want to have 2 different settings adjustments going at the same time.…provided that the printer and it's related drivers are set, what settings would be the first place to start…
It is not clear from your description whether you are printing a document with only a Pantone Reflex Blue separation or if Reflex Blue is just one separation in a document that contains other spot or process separations.
I will assume the typical process-plus-one-spot situation. Suppose you are building full-color process documents (sheetfed brochure, for example). The client's identity standards specify Pantone Reflex Blue as its logo color, and the client is willing for the press job to include the cost of adding a 5th color.
You wouldn't want to alter the color calibration settings (if any) in your workflow just to make your composite draft match the spot color more accurately. Doing that would, of course, throw off the colors of everything else in the document. So a document-level or printer-level setting just to match a particular spot color is silly.
Always bear in mind: Color separation is all about inks, not colors.
By definition, a spot color is just a grayscale image that gets sent to its own separation. The RIP which prints the color separations doesn't care one whit how the spot color looks on your monitor, or how it prints on a composite color device. You can easily create a spot color Swatch and color it and name it any way you want. So long as it's a spot color Swatch, and so long as it's named "Reflex Blue," the RIP is going to print it to an individual color separation plate labeled "Reflex Blue" even if it looks orange on screen and on your composite printer.
So there's nothing constraining you to the default color values that the various provided Color Books use to display (and composite print) their swatches. Just create your own spot color swatch and name it "Reflex Blue." Define the color mix of that Swatch to achieve whatever looks most "right" to you when printed to your composite printer.
How do you determine that mix? You just spend a few minutes to set up a simple swatch test sheet. Using your Reflex Blue as the example:
1. Create a new Illustrator document using the same color settings that you will for the final press-ready file.
2. In that document, set up a horizontal Artboard sized to the maximum sheet size of your composite printer. Draw a small rectangle in the upper left corner.
3. Fill this rectangle with the color mix shown in the upper left of the screenshot below (100c50m0k). Why? Because the default mix of the Pantone Solid To Process swatch is 100c73m0y2k. 50% is well below the M component, and 0% is, well, no K.
4. AltShiftDrag a copy of that rectangle to the upper right corner of the Artboard. Fill this rectangle with the color mix shown in the upper right of the screenshot below (100c80m0k). Why? Because 80% is enough above the default 73% M.
5. AltShiftDrag a copy of both of the rectangles downward to the bottom corners of the Artboard. Change the K component of both of those to 10%. Leave the other components unchanged.
6. Select the two top rectangles. Create a Blend using Specified Steps: 29. This results in an array of rectangles which increase in M values from left to right in 1% increments.
7. Similarly Blend the bottom two rectangles.
8. Expand and Ungroup both Blends.
9. Select the top left and bottom left rectangles. Create a Blend using Specified Steps: 9. This results in a vertical array of rectangles which increase in K values from top to bottom in 1% increments.
10. Repeat step 9 for each corresponding pair of top and bottom rectangles.
11. Now you have a rectangular array of test swatches. The rectangles increase in M horizontally, and increase in K vertically. Print this to your desktop composite printer.
12. Compare the print to a Reflex Blue color chip. Note the printed rectangle that makes the best approximation.
13. In the Illustrator file, find that rectangle. Define a spot color Swatch using the process mix of that rectangle. Name the Swatch "Reflex Blue" and standardize on that swatch for any project which involves Reflex Blue and which will be printed on your composite printer.
I just used them for proofs, and always stated that the colors are not exact.
Be prepared for the hard, cold reality of process printing. The above described procedure is certainly worthwhile. But you are not going to achieve a dead-ringer match to Reflex Blue or to many other standardized spot color inks (or vinyls, or paints, or dyes…). That's the ugly truth about CMYK process. Despite common misconception, process color is a "full color" methodology, but it is not capable of reproducing every color on earth. Far from it.
So you will still end up saying to your customer, "This is just an approximation of your spot color."
JET

Color match issue in FCPX 10.1.4

I recently upgraded from FCPX 10.0.9 under OSX Snow Leopard to FCPX 10.1.4 under OSX Mavericks. In th latest version of FCPX I recognized that the results of the color match function are very different compared to version 10.0.9 of FCPX. I used it a lot with great results, in the latest version the colors don't match anymore. I re-installed FCPX version 10.0.9 under OSX Mavericks and the color match function is working perfectly. Anybody else has this issue? For now I'm back to the old version until I find a solution to my problem.

Still, the question remains - if one adjusts for it in the display calibration (uncheck the box in color)
THEN one's rods & cones just get bleached out. Snowblind. Yes?
Here are 2 solutions. In my opinion, Larry is best (do it at export in compressor)... Apple's H.264 is an issue, I do use the x264 encoder.
http://www.larryjordan.biz/compressor-x264-improve-video/
I like this guy's idea:
http://www.youtube.com/watch?v=Z36p3s3mEwA
--And here is the "Ready Made" "plug ins":
http://bananamanafilms.com/gamma-and-yuv-plugin-for-fcpx
Alex4d on his "Old Site" has both Gamma & YUV plug-ins as well. He is most generous.
I do miss having the "super white" setting from FCP 7 - however - one really always has to
"finish" the look after exporting to file - or at least I do. In fact i usually need another pair of eyes
for really subtle stuff. Prefeably youngsters that aren't part red/green color blind like me.

OSX Print dialogue's Color Matching "Automatic" option - what's it actually doing?

I'm trying to understand OSX's colour management options clearer. It seems that the Print dialogue's default option for Color Matching is set to "Automatic". Is this as good as no colour management, because a specific profile isn't selected or is it actually using a default profile?
To stop the OSX driver from colour correcting my file and leave it to the printer manufacturer's driver you should set it to the other option (eg. eg. “Vendor Matching” (10.5) and “In Printer” (10.6) - or depends on what printer you have chosen) and then save a preset. Not everyone thinks to do this so that's why I'm interested in knowing exactly what the "Automatic" option is doing.
Your help is most appreciated!
Cheers,
Cojcolds

I understood your note to say that when "Color Matching" is set to ColorSync: Automatic the images in the file will first be converted through the monitor profile (in my case I'm currently using the "canned" LCD Display profile), then through the printer's profile (I have a desktop Fuji Xerox DocuPrint C1110B), correct?
Correct. Let's say you're using the working RGB color space of Adobe RGB in Photoshop. At all times, that color is being translated to the monitor color space by ColorSync for the rendition that is actually displayed. The file itself remains Adobe RGB, but that's not your monitor's profile, so it needs to be continuously converted for display.
When you print the image, the first thing ColorSync does is convert the color space from Adobe RGB to your monitor profile (all with temporary data, not to the original). Now the image is in the color space you were viewing, which is where is needs to be since the idea is for the print to match the monitor color you are looking at. But the printer is not a monitor, so the monitor profile color space the data is currently in is not correct for printing. So it goes through a second conversion from the monitor color space to the printer profile's color space. That is what finally gets sent to the printer.
This is where any automatic color correction must be off. You've already told ColorSync to use the proper profiles to achieve a print that will match the monitor as closely as possible. This assumes of course you have accurate profiles for both your monitor, and the printer with the paper being used.
As a further test, I then ColorSync to the AdobeRGB(1998) profile and made a new ps file. The RGB values in the distilled PDF were still the same as the Word doc.
That's what throws people off. An RGB value isn't a specific color. It's a representation of where that RGB value falls in relation to *L*A*B. So a fully saturated red of 255,0,0 will look different in a short color space as opposed to a larger space. Here's an example (see image below). I have two different profiles overlapping each other. The red point circled in green is the most saturated red that can be attained in relation to *L*A*B in that smaller color space. The point circled in yellow is that larger space's most saturated red. In both cases (the confusing aspect), both will assign 255,0,0 to that point, but one would obviously be a richer red than the other. Think of it this way. 255,0,0 is the maximum color space that particular color space (profile) can handle within *L*A*B. It's not necessarily the maximum red we can see in the visible color spectrum.
So, your converted files look the same because ColorSync is generating the color based on your monitor profile for display. Since that's always the same, the color will look the same, regardless of the input RGB profile. At least as long as you don't use a really small RGB space as an assigned color space and squeeze it down to some noticeably dull color.
I'm a trainer for Fuji Xerox and am writing a course for our Mac users on Colour Management (in particular for our high-end production RIPs (Fiery/Creo/FreeFlow) with serious colour management being applied).
Fun! I've been doing prepress work as as in-home business for quite a few years now, but worked in a couple of different high end print shops for many years. Last thing I used on that end was a Scitex Brisque RIP. As I'm sure you know, Creo bought out Scitex. I'm sure RIPs have changed a lot since I last looked at one.
I only discovered the other day that the Mac OS has the "Color Matching" option and wondered if the OS was in any way bending the colour values before our RIPs have a chance to properly manage the colours. So far it looks like the setting is not having any impact.
It all depends on where your settings are on both the Mac and at the RIP. Too long of an explanation to go into here I think.
As a further note, I even tried setting ColorSync to the "Generic CMYK" profile and the distilled PDF still showed the correct RGB values. So, maybe the print to PDF option is ignoring the Color Matching settings or something else is at play but this setting is still a mystery to me...
ColorSync will only apply matching profiles on the fly. So something would already have to by CMYK before it would apply the Generic CMYK profile. Which no one in their right mind would ever use. It's the flattest, ugliest CMYK profile you will ever see.

Use color match results in color correction

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