Watermark, color space, and transparency problem

I'm having a problem with inserting a watermark image into my pdfs.
I created the watermark image in Photoshop. It is 8-bit gray with a transparent background. I saved it as a pdf (pdf 1.4 to allow transparency).
The main pdfs (to be watermarked) are created through a seperate process (they are scans of old book pages). The pdfs are produced from 8-bit gray tiff images, but I cannot determine what color space the these pdfs are.
To the problem: in Acrobat 9, when I insert the watermark above, all of the blacks on the page shift to grey, as if the opacity was shifted lower. The opacity is set to 100%, so this should not be a problem! The watermark does have a transparent background, though.
Since this seems to be a color space conflict, if I save the watermark PDF in CYMK or RGB, it does not cause the tonal shift (blacks remain true), but the watermark now has an opaque background. I need it to be transparent, as the background of the files to be watermarked are not tonally consistent (old discolored paper).
I guess these are my questions:
(1) Is there any way to determine the color space of a PDF? File->Properties does not list color space.
(2) Why does the watermark PDF, saved in CYMK or RGB, not allow a transparent background? Is this an Acrobat issue or color space?
(3) Does anyone have an idea on how to solve this? :)
Thanks a bunch.

First, I have 2 questions: 1) How do the color and watermark background look when you have Advanced > Print Production > Output Preview open? 2) What version of Acrobat are you working in?
The most common reason that people see an almost "washed out" appearance (or looking as though additional opacity is applied) is due to a bug in Acrobat 8. This was fixed in the 8.1 dot release. One way to determine if this is what you are running into is to view the file with the Output Preview dialog open. If it views correctly then, make sure you have the update installed.
I don't work with watermarks, but understanding the general concept of watermarks it seems like a reasonable guess that they would use overprinting. I'm wonder if this is what is affecting the display of them (non-transparent background) since Acrobat needs Overprint Preview ON to accurately display objects with overprint flags . As with above, turning on Output Preview will help you deduce if that's what is happening since Output Preview automatically enables Overprint Preview (which is off by default).
BTW, Preflight will let you know what color spaces are in PDF file. Run any Profile. In the results panel, drop down the "Overview" section. There you will find a color spaces section listing the color spaces of the document.

Similar Messages

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

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

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

  • Color Space and Bit Depth - What Makes Sense?

    I'm constantly confused about which color space and bit depth to choose for various things.
    Examples:
    - Does it make any sense to choose sRGB and 16-bits? (I thought sRGB was 8-bit by nature, no?)
    - Likewise for AdobeRGB - are the upper 8-bits empty if you use 16-bits?
    - What is the relationship between Nikon AdobeWide RGB, and AdobeRGB? - if a software supports one, will it support the other?
    - ProPhoto/8-bits - is there ever a reason?...
    I could go on, but I think you get the idea...
    Any help?
    Rob

    So, it does not really make sense to use ProPhoto/8 for output (or for anything else I guess(?)), even if its supported, since it is optimized for an extended gamut, and if your output device does not encompass the gamut, then you've lost something since your bits will be spread thinner in the "most important" colors.
    Correct, you do not want to do prophotoRGB 8bit anything. It is very easy to get posterization with it. Coincidentally, if you print from Lightroom and let the driver manage and do not check 16-bit output, Lightroom outputs prophotoRGB 8bits to the driver. This is rather annoying as it is very easy to get posterizaed prints this way.
    It seems that AdobeRGB has been optimized more for "important" colors and so if you have to scrunch down into an 8-bit jpeg, then its the best choice if supported - same would hold true for an 8-bit tif I would think (?)
    Correct on both counts. If there is color management and you go 8 bits adobeRGB is a good choice. This is only really true for print targets though as adobeRGB encompasses more of a typical CMYK gamut than sRGB. For display targets such as the web you will be better off always using sRGB as 99% of displays are closer to that and so you don't gain anything. Also, 80% of web browsers is still not color managed.
    On a theoretical note: I still don't understand why if image data is 12 or 14 bits and the image format uses 16 bits, why there has to be a boundary drawn around the gamut representation. But for practical purposes, maybe it doesn't really matter.
    Do realitze hat the original image in 12 to 14 bits is in linear gamma as that is how the sensor reacts to light. However formats for display are always gamma corrected for efficiency, because the human eye reacts non-linearly to light and because typical displays have a gamma powerlaw response of brightness/darkness. Lightroom internally uses a 16-bit linear space. This is more bits than the 12 or 14 bits simply to avoid aliasing errors and other numeric errors. Similarly the working space is chosen larger than the gamut cameras can capture in order to have some overhead that allows for flexibility and avoids blowing out in intermediary stages of the processing pipeline. You have to choose something and so prophotoRGB, one of the widest RGB spaces out there is used. This is explained quite well here.
    - Is there any reason not to standardize 8-bit tif or jpg files on AdobeRGB and leave sRGB for the rare cases when legacy support is more important than color integrity?
    Actually legacy issues are rampant. Even now, color management is very spotty, even in shops oriented towards professionals. Also, arguably the largest destination for digital file output, the web, is almost not color managed. sRGB remains king unfortunately. It could be so much better if everybody used Safari or Firefox, but that clearly is not the case yet.
    - And standardize 16 bit formats on the widest gamut supported by whatever you're doing with it? - ProPhoto for editing, and maybe whatever gamut is recommended by other software or hardware vendors for special purposes...
    Yes, if you go 16 bits, there is no point not doing prophotoRGB.
    Personally, all my web photos are presented through Flash, which supports AdobeRGB even if the browser proper does not. So I don't have legacy browsers to worry about myself.
    Flash only supports non-sRGB images if you have enabled it yourself. NONE of the included flash templates in Lightroom for example enable it.
    that IE was the last browser to be upgraded for colorspace support (ie9)
    AFAIK (I don't do windows, so I have not tested IE9 myself), IE 9 still is not color managed. The only thing it does is when it encounters a jpeg with a ICC profile different than sRGB is translate it to sRGB and send that to the monitor without using the monitor profile. That is not color management at all. It is rather useless and completely contrary to what Microsoft themselves said many years ago well behaved browsers should do. It is also contrary to all of Windows 7 included utilities for image display. Really weird! Wide gamut displays are becoming more and more prevalent and this is backwards. Even if IE9 does this halfassed color transform, you can still not standardize on adobeRGB as it will take years for IE versions to really switch over. Many people still use IE6 and only recently has my website's access switched over to mostly IE8. Don't hold your breath for this.
    Amazingly, in 2010, the only correctly color managed browser on windows is still Safari as Firefox doesn't support v4 icc monitor profiles and IE9 doesn't color manage at all except for translating between spaces to sRGB which is not very useful. Chrome can be made to color manage on windows apparently with a command line switch. On Macs the situation is better since Safari, Chrome (only correctly on 10.6) and Firefox (only with v2 ICC monitor profiles) all color manage. However, on mobile platforms, not a single browser color manages!

  • Color Spaces And Virtual Copies

    If you make a virtual copy and then change the color space in the original, does the virtual copy retain the color space that was set at time of it's creation or is it changed to match the new color space of the original?
    Jim

    The original is a PSD file. My concern is that the virtual copy would not be updated to reflect the change in the PSD file color space when it comes time to print from the virtual copy so the image will be cropped correctly.
    What brought this about is I have some grayscale images which were saved as PSD files in the ProPhoto color space and I made virtual copies with crop settings for some of them. I recently read that the Epson Advanced Black and White mode expects to see the data in the sRGB color space for best results. So I went back to the grayscale files and changed the color space to sRGB. Now I wonder if when I select one of those virtual copies, is it going to be sent to the printer tagged with sRGB or ProPhoto?
    Sorry I wasn't clearer before.
    Jim

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

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

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

  • Color space and profiles clarifications

    Does FCPX consider the embedded color profile of my clips ?
    What is the default color space of FCPX projects ? (if any)
    Can I select a specific color profile for my projects ?
    My clips (according to after effect_cs6>interpret footage>color management) have this color profile embedded: HDTV (Rec. 709) Y'CbCr, but if I check out the same clip once transcoded to prores422 by FCPX there is no color profile anymore. What's goin on ?
    I come from the photography world and we consider color profiles very important, what should I know about them when working with video ?
    Thanks a lot

    Thanks TOm, what do you mean internally ? In AE I can select a color space from a long list for my projects while FCPX discard the color profiles from the imported clips... how can it even manage them ?
    Thanks

  • CS5 Color Calibration and Printing Problems vs. CS3

    We are migrating from CS3 to CS5, and i'm working on getting the printing right.
    We are on MacPro towers, 10.6.6, with LaCie LCD Monitors and an Epson 2200.  Calibration on monitors and printer done by EyeOne Pro and Profilemaker Pro.
    Printing:  In CS3, creating the profile was done by printing the appropriate Eye One testchart.  It gets opened with 'no color management', and is printed out with 'no color management'.  This way, the testfile is being printed as the printer prints, with no tweaks.  The color adjustment controls (brightness, saturation, cyan, magenta, etc) within the Epson driver are set to Zero.  Then, this print is scanned in, using the Eye One, and you get the profile of the printer.
    Now, when printing actual files, 'Photoshop Manages Colors' is utilized, and the created Profile from Eye One is selected.
    We have had great luck with this, matching screen to print.  If a slight tweak is needed, then we could use the Epson color adjustment controls to modify slightly.
    Again, we've had great prints consistently for years using this method.
    Now comes CS5...
    Printing.  Trying to use our existing profile...
    When 'Photoshop Manages Colors' and the Profile are selected, now the Epson color adjustment controls are greyed out.  So, we lose out on the 'tweaking' possibilities.  I'm a fan of profiles, but now i have absolutely no control after the fact.
    Trying to create a new profile....
    'No Color Management' is not longer available as an option in 'Color Handling'.  So, now i can't even print out the baseline testchart without adding some sort of profile to it?  If i would choose 'Printer Manages Color' for this testpage, I would normally set the Epson Color Adjustments to Zero to get this baseline print for profiling.  But now, If I would do that, it's only going to be greyed out when i go back in and let Photoshop manage the colors.  Sheesh...
    To make matters worse...
    I pull up the same testchart in CS3 AND CS5.  We are on a calibrated monitor, using North American Prepress presets on both programs.  Same monitor, same color settings, same file.  AND the testchart looks different in each program.  Similar, but definite differences in shades.  Eyedropper readings are the same for both programs.
    So, CS5 is even rendering color differently on screen, and i have little or no way to create my custom profile or control my printer?  Sheesh....
    Any help or direction is appreciated.
    Rich

    thanks for the input.
    I will look at the links you recommended.  When 'Compensate for Scene-Referred Profiles' is unchecked in CS5, the monitors match.  I'll need to do some research to see that that 'compensation' is, and what's happening.
    As for the 'not considered a good color managed workflow'...
    That's fine.  But I would consider a good managed workflow using a calibrated monitor, and using a profile that matches the printer and substrate being used, right?  When i plug in the canned printer profile in CS5, i get unsatisfactory results.  With that 'correct' workflow, there is no way to modify what is ending up on the printed page.  You get what you get.
    Even if i back up to CS3, create a custom profile with the Eye One, run Colorsync/Profile all the way through, and eliminate the Epson Color Adjustments, I'm still obeying a 'correct' workflow, but what if my prints are slightly too Cyan?  Or slightly too open/light?  (granted, Profilemaker Pro does have a profile 'editor', but it's convoluted and extremely difficult to use.  I've never gotten good results with it.)
    If you have no way to do small adjustments at the back end on the printer, and it's been 'profiled' correctly, and the prints don't match calibrated screen with proper color spaces.... 
    uh....then what do you do?  which one is right?  The screen or the printer? 
    I've had hundreds of images over the years go from screen to client (or press if we were controlling the print phase of the job), which then got printed, and have had basically 'zero' client issues with color.  We have great color here on screen, from capture into post production.
    But when my client wants a proof, in house, they want to see what they've been seeing all day in the studio and in post.  How am I supposed to adjust my prints if a 'proper color managed workflow' isn't giving me matching proofs?
    I sincerely appreciate the input here.  I'm just frustrated, because even if my 'workflow' isn't technically correct, it's not without merits and I've had excellent consistent results that just 'worked'.  Now, i've got to find a new method within CS5.

  • Spaces and Safari: problem opening new browser windows

    I have just installed 10.5 and have turned on spaces. I have put safari into its own space. When I control click on a hyperlink and select 'open in new window' from the submenu the new window does not open. I can open a new tab but new windows do not appear. The windows don't appear in any other space either.
    Is this a spaces/safari conflict or a safari problem?

    Hi John,
    I agree with Adam on the <cflocation> tag. I suspect it is a browser setting.
    Like in FireFox
    Tools/Options/Tabs
    [X] Open new windows in a new tab
    Like in IE,ver7
    Tools/Internet Options/General Tab/Tab Section/Settings button
    then bottom section "Open links from other programs in"
    [X] A new tab in the current window
    Try unchecking these boxes and then try your process again. Not
    saying this will correct your issue, but does seem like a browser
    issue to me as well and not <cflocation>
    Leonard

  • Spaces and background problems

    I always have 30 spaces even if I delete them. I've also changed the background and when I restart de iMac it turns to the old one. Why? How can I sove it?

    Problems such as yours are sometimes caused by files that should belong to you but are locked or have wrong permissions. This procedure will check for such files. It makes no changes and therefore is not, in itself, a solution.
    First, empty the Trash, if possible.
    Triple-click anywhere in the line below on this page to select it, then copy the selected text to the Clipboard by pressing the key combination command-C:
    find ~ $TMPDIR.. \( -flags +sappnd,schg,uappnd,uchg -o ! -user $UID -o ! -perm -600 \) 2>&- | wc -l | pbcopy
    Launch the built-in Terminal application in any of the following ways:
    ☞ Enter the first few letters of its name into a Spotlight search. Select it in the results (it should be at the top.)
    ☞ In the Finder, select Go ▹ Utilities from the menu bar, or press the key combination shift-command-U. The application is in the folder that opens.
    ☞ Open LaunchPad and start typing the name.
    Paste into the Terminal window by pressing command-V. The command may take a noticeable amount of time to run.
    Wait for a new line ending in a dollar sign ($) to appear.
    The output of the command will be a number. It's automatically copied to the Clipboard. Please paste it into a reply.
    The Terminal window doesn't show the output. Please don't copy anything from there.

  • Billboard planes and transparency problem

    Hi
    I have a project for which I need to use textured planes
    (transparency included) to optimize memory usage. I need something
    similar with “Look at camera” controller or billboard
    command so my planes will rotate around Z (vertical) axis to follow
    the camera movement so I won`t see them from the edge. I`ve tried
    billboard behavior included in the free version of ChromeLib (soon
    I`ll get the full version because is an extraordinary asset) but it
    doesn`t work even with ”Oriented to current camera”
    checked.
    I`ve tried even another way, from my 3D editor. I`ve linked a
    dummy object to my camera, limited movement inheritance only to
    horizontal axis (x,y) and I`ve put a “Look at”
    controller to my planes to follow the dummy. In editor works fine
    but isn`t exported in W3D, even that I don`t have any warnings
    regarding this.
    Another problem is regarding transparency. Objects with alpha
    channels sometimes behave strange. From some positions you can see
    through some parts of them. I`ve tried the various types of texture
    render formats but no luck. Do you have any idea how can I fix this
    because is annoying.
    Best regards.
    Mihai

    You can have them face the camera absolutley, rather than
    rotating round a fixed vertical axis very simply, like this:
    cModel.transform.rotation = cam.transform.rotation
    (this assumes your model and camera are both children of the
    world root - if not you'll need to do a 'getWorldTransform()' on
    the camera and use it appropriately)
    If you want to limit the axis, just reset the other rotation
    values each frame, like this:
    cModel.transform.rotation = cam.transform.rotation
    cModel.transform.rotation.x = 90
    cModel.transform.rotation.y = 0
    (the above settings work for me with the default orientation
    of planes created in max. If your planes have a different pivot
    orientation, you'll have to adjust the '90' and '0' values until
    you can see your billboard objects.
    hope this helps!
    - Ben

  • Color space and compression question.

    i have a client that i am doing an animation for, i am using their supplied rgb breakdown of their brand colors.
    the client is concerned that their brand colours do not look the same when i send them quicktimes.
    i have tried sending h264, x264 and prores, all look different.
    is it actually possible to export a h264 and have the colours look identical to how they look in after effects?
    is the a quicktime gamma shift thing?
    are my project settings wrong?
    id be interested to hear as to what your project settings are and what you export for "master"  etc..
    my after effects project settings are set up at srgbiec61966+2.1 at 16bit.
    "match legacy after effects quicktime gamma adjustment" is ticked on.
    "compensate for scene referred profiles" is ticked on.

    so how do I go about getting the colours in my animation export to look identical to the brand colours?
    colour spaces are not just for exotic footage. they are there to aid in eg. importing srgb photoshop files into srgb after effects to eliminate colour shifts.

  • How to solve the error message Podcast cover art must be at least 1400 X 1400 pixel JPG or PNG, in RGB color space, and hosted on a server that allows HTTP head requests."

    please help!! I've been trying to solve this error message for hours
    the feed url is http://feeds.feedburner.com/goodstewards
    the artwork url is http://www.goodstewards.com/wp-content/uploads/2014/11/logo.jpg
    this is a wordpress domain that i am using with feedburner

    "Your Blogger feed has no 'itunes' tags and is lacking the 'iTunes declaration' in the second line, so you have no image as far as the Store is concerned. You need to set Blogger to provide an itunes-compliant feed."
    So, how do I set Blogger to do that? I was Googling for the answer, but nothing. I have "Allow Blog Feed" set to full and Title Links and Enclosure Links enabled.
    "Your Feedburner feed link goes to a text page containing the code of a feed - this feed does have the 'itunes:...' tags. However in both feeds you are using Google Drive as a server for the image and media files and the URLs are prefaced with https (encrypted connection) - this may work in the Store but it is inadvisable and your URLs should begin with http."
    Yeah, I couldn't think of another way to get you straight to the actual XML file. I guess what you are saying is that Google Drive does not have an appropriate server, which is why it gives https instead of http as a head.

  • BitmapData and transparency problem

    I'm using the draw Method to "clone" a Movieclip content into
    a bitmap image with:
    mybitmap .draw(movieClipToCopy);
    This works well, however, the transparent areas of the
    movieclip turn into white pixels in the resulting bitmap image.
    ¿Is there anyway that allow me to keep transparent areas
    in the clip as transparent pixels in the new bitmap? (as PNG24,PNG8
    or GIF formats do)?
    Thanks a lot

    When you create the BitmapData, set the third parameter to
    true, for transparency.

  • Color space and preview mode for mobile devices?

    I want to create artwork that will be exported directly for mobile devices such as Androids and also that will be imported into Flash to create interactive content.
    1. Is sRGB the best workspace for mobile devices?
    2. I can use view > pixel preview to see what artwork will look like in a browser, though what about for a mobile device such as an Android?
    Thanks.

    anyone on this one?
    Thanks.

  • The availability of color space in RAW, TIFF and JPEG files

    This is useful if your new to DSLR photography.
    This is Nikon response on my question in the discussion: View photo metadata
    I'm assuming that you know that Adobe RGB shows about 50% and sRGB 35% of CIELAB color space.
    In a DSLR camera like the Nikon D800 you can select a color space (Adobe RGB or sRGB) in the shooting menu.
    In Adobe Lightroom 4.3 the RAW metadata shows no color space info. Therefore I asked why not?
    In the (Dutch) Nikon D800 manual on page 84 (about RAW) and 274 (about color space) and Nikon FAQ website there is no descripton about the color space availability/behavior in RAW, JPEG and TIFF files.
    In the book "Mastering the Nikon D800 by Darrel Young" on page 125 - 126 is written: "If you shoot in RAW format a lot, you may want to consider using Adobe RGB....."
    All experts on this forum answered: color space does not apply/affect the RAW data file or RAW files have no color space.
    The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are always physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available. So the forum experts gave the correct answer!
    Of course you can convert afterwards a JPEG or TIFF file with sRGB color space to Adobe RGB but you don't get more colors.
    When you install the Microsoft Camera Codec Pack or FastPictureViewer Codec Pack they only show color space metadata for JPEG and TIFF files and nothing for RAW because color space "doesn't exist". I thought the codec packs removed the color space metadata for my RAW files.
    Adobe Lightroom also can not show color space for RAW files because that "doesn't exist".

    Van-Paul wrote:
    The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available.
    I still think this is an evasive answer that doesn't really pinpoint the exact chain of events that take place. They are:
    1. The raw file contains the naked data captured by the sensor. This is just a very dark grayscale image.
    2. In the raw converter it is encoded into a working color space to process the information. In Lightroom this is known as "Melissa RGB", or linear gamma Prophoto. It is also demosaiced to bring back the color information.
    3. From Lightroom it can be exported to one of the familiar color spaces like sRGB or Adobe RGB. This is, in principle at least, a normal profile conversion.
    These three steps are what the camera does to produce a jpeg. So the basic steps are the same, the camera is just doing it automatically (and usually butchering the image in the process...).
    This Darrell Young is, I'm sure, an excellent photographer, but in this he is seriously confused and just propagating a common myth. Anyway, thanks for bringing up this discussion, hope you didn't object too much to the tone of the answers... Our only concern here was to get this right and with no room for misunderstanding.

Maybe you are looking for

  • How to implement multiple Value Helps within the same Application ??

    Dear Experts, I want to implement multiple value helps in the same view.For that I have declared exporting parameters of type 'wdy_key_value_table.' within the component controller for each of the value helps.While I do activate and test the applicat

  • Question about java 5.0 & j2me & wireless toolkit

    Hi, I maybe have a dumb question, but to me it's not totally clear. I am currently developing an application (for J2ME and J2SE) which uses RSA encryption. So I found out that before Java 5.0 RSA encryption wasn't supported, but starting from Java 5.

  • About the Error after applying product key for bing search rest service

    For the Project Siena I ve created the product key for Bing search rest service and i applied that product key which is valid even though i got the error when i click TRY button .can anyone please help me to find the solution There was an error in re

  • Application Not Loading

    Hi, I have a J2EE Application developed using JDeveloper and the deployment file (.ear) build using Java J2SDKEE Deploytool. I was able to deploy the application succesfully in 9iAS under OC4J_Home. The problem is that the Application status remains

  • Yes, I got the stupid 1418 code. Help please

    I got a 60GB Ipod photo I accidently unplugged my iPod while it had the "Do not disconnect" screen on. Now that I plug it into my computer it says something about having a bad disk and gives me the options of "Initiate, Ignore, Eject" If I click Init