What is color clipping

I know that most photos have some part with Out of Gamut colors not reproduceable by CMYK offset. And Photoshop says those colors will be clipped when converted from RGB to CMYK. I want to know what exactly Clipping means. What happens if I convert (using Relative color) and print the image with out of gamut colors? Will the out of gamuts look to totally different colors or do they squiz to the closest CMYK match? I am questioning whether it is necessary to painstakingly try to readjust each out of gamut colors for images that will end up on a catalog.

also try giving Bruce Fraser a read on out of gamut color and soft proofing in Photoshop (dated but still very relevant)...
http://www.creativepro.com/articles/author/127446

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What is File clip in FDQM

Hi All
1.What is File clip in FDQM?
regards
Smilee

This terminology is not something that I am farmillar with.
Can you ask this person for further information?

What are color adjustment

what are color adjustments

They are operations (both useable as destructive Adjustments and Adjustment Layers) that change the values (depending on the Color Mode of the image RGB, CMYK, Lab, grayscale) of pixels in an image based on user input both in the form of the settings of the respective Adjustment and Selections/Layer Masks/Layer settings.

What am I losing when I see individual color clipping in Camera Raw?

I hope this is the right place to leave this question as it's probably more about color than a technical question about PS. I have enough knowledge of color theory to be dangerous, as they say.
I am adjusting some landscape images taken in RAW mode with a Nikon D200.
In Camera Raw, as I draw the black slider to the right, I see clipping of blue channel before the image looks adjusted properly for contrast. With the option key down, large blocks of yellow appear before black appears, and I assume that also means the blues are being clipped. The only place I see that clipping is areas of green foliage.
Deep blue skies are not showing clipping and neither are other obvious blues in the images.
When I adjust Camera Raw's black slider to the point where I get full shadow clipping (black shows up with the Option key down), back off slightly, and then look at the image's channels in PS, I see the blue channel is all blocked up.
I understand (or think I understand) that the weak channel carries detail...yet I really can't see any difference in foliage detail whether the blue channel is clipped or not.
I am not clear about what I am doing, and I am also not clear whether this is a result of the rendering of certain greens by my camera. I know from experience that manipulations of yellows in later processing seems to affect foliage colors more than manipulation of greens. Saturation of foliage is affected far more by selecting "yellows" in the saturation adj layer dropdown box than by selecting greens.

Thanks, everyone.
Opening the image in ProPhoto colorspace completely eliminates the blue clipping. When I compare two instances of an image in PS after assigning ProPhoto in ACR for one and Adobe RGB in ACR for the other, I see much more detail in the blue channel of the image in PS.
Yes, then this is a good lesson on gamut clipping and colorspace.
I tried the workaround but it's much easier to just work in a larger colorspace.

Color clipping before highlights are clipping

I have pretty strange behaviour on concert pictures I import from my D700. Usually I import with camera profile Vivid V4. The concert pictures have strong reds due to the flood lights.
My camera histogram shows a slight clipping of the reds (even though I underexpose 1-2 stops).
After import of the RAW files using Vivid V4, the histogram in Lightroom looks strange, and also the controls behave strange:
- a strong red spike in the histogram at about 1/5th away from clipping level
     (the picture in Lr shows blown out parts in red)
- hovering over different areas of the pictures and checking the percentage indicator underneath the histogram
   shows significant areas of 100 % red, even though there are still tonal differences in those areas
- moving exposure to the right: the histogram content left to the spike is shifting as expected, but the spike is growing and staying at 1/5th, nothing is appearing to the right of the spike
     (more areas in the picture are blown out)
- no other basic control can flatten out the spike, even not the highlight slider
- only the saturation control has some influence, and also with the tone curve I can fill the histogram,
   but picture is still looking blown out
The situation improves a lot by using Camera Neutral V4, the red is more spread out in the histogram,
also beyond the 1/5th the highlight clipping level. Significant areas in the picture are still at 100 % but less blown out.
Basic controls are behaving more normal, and it is possible to fill the histogram by increasing the exposure or other controls.
The question is.. is this unintended behaviour of Lightroom, or is is as good as we can get it with the strong red colors,
and is it better not to use Vivid V4 in these cases?
Cees Wouda

This has been an ongoing question of mine too for a long time now. Some people tried to explain, but either they didn't really understand it, or I was too dense to get what they were saying.
In any case, if you click 'Soft Proof', you can usually see that there are tones present that are *not* being displayed in the Lightroom histogram, but *are* affecting the controls.
more info here:
http://feedback.photoshop.com/photoshop_family/topics/lightroom_4_the_highlight_wall
PS - I think the reason it's worse with vivid is:
* it's contrastier (brighter highlights)
* it's more saturated.
Some work-arounds:
* reduce saturation, and increase vibrance instead.
* use the RGB curves.
* change the hue and/or saturation of the red channel (or whichever channel(s) offending most) (in camera calibration section) - you may have to finesse some other coloring to compensate...
* use split toning to add anti-color to the top end, then change the white balance and/or desaturate to compensate.
* Edit photo color using DPE (beware it does not allow control of color based on luminosity - maybe v1.0?).
PS - I wish one could control color based on luminosity in Lightroom too (maybe better still to be able to define an auto-mask based at least partly on luminosity, then you could tweak other things as well...).
Rob

What are the clip colours in the timeline?

Please point me to the relevant section in the manual, if it exists. In the meantime here's what I've discovered so far:
Blue - VIDEO clips with associated audio available (but not necessarily in sequence)
Dark Green - AUDIO only
Light Green - merged clips, nested sequence
Magenta - Imported Still frames & internally generated elements (Black, transparent video etc)
Pink - AE dynamic link
Purple - VIDEO only (inc Closed captions, titles etc) - i.e. NO associated audio
Sometimes the greens change when merged clips are copied between sequences, but I haven't managed to track that down.

So, to further clarify, with correct terminology (but no ability to color in a reply it seems), the 'labels' and colors and default assignments are:
Iris - VIDEO clips with associated audio available (but not necessarily in sequence)
Green - AUDIO only
Forest - merged clips, nested sequence
Lavender - Imported Still frames & internally generated elements (Black, transparent video etc)
Rose - AE dynamic link
Cerulean - VIDEO only (inc Closed captions, titles etc) - i.e. NO associated audio
Mango - BIN
Violet - SPARE COLOUR / LABEL

Newbie Q: What do movie clips need to allow Actionscript?

Hello. Thanks for taking time out for this question.
Basically, I started an exercise in a book and it asked me to
add code to a movieclip. I created a basic circle, converted it to
a movie clip and tried to press F9 for actionscript, but Flash told
me "Current selection cannot have actions added to it".
When I looked at the example file that came with the book, I
couldn't see anything special about the movieclip that was used.
What am I missing?

However, the techniques of adding code directly to movie
clips is an old and outdated way of coding. And I would advise that
if you are serious about learning Actionscript that you don't go
down that road.
AS 2 is perfectly useful and good so learn that or learn AS3
(or both!), but here is a link to an article about the issue:
http://www.quip.net/blog/2006/flash/museum-pieces-on-and-onclipevent
David Stiller (that is his blog) posts here often and is a
great source of information. You might want to check out more of
his articles.
It could be that your book is just showing one way before
moving on to a more sensible approach, but check the examples
toward the end. If they are full of on() and onClipEvent() I woudl
recommend getting a different book.

PSE 5--what is a clipping mask and how does it work?

Can anyone explain what a clipping mask is, how it works, and most importantly if Photoshop Elements 5.0 has this capability?
Also, are there any tutorials out there that I can teach myself on this topic? I am trying to mimic a layout explained in digital scrapbooking magazine and this technique is used.
Thank you!
Heather

Heather,
You can find one explanation at Janee's tutorials: http://www.myjanee.com/tuts/elements/elemask.htm
Since PSE does not support layer masks per se, the clipping group simulates a layer mask and hence Janee's name for it, "elemask" (cute, huh?)
Here are 2 examples:
In this example I wanted to blur the background leaving the flower in focus:
http://www.pixentral.com/show.php?picture=1euavV1sDqzrEqqqierfc5dSEH9yI01
1. Duplicate the Background layer and apply a Gaussian blur to the new layer.
2. Add an adjustment layer below the blur layer (any kind of adjustment layer will do), but do not make any adjustment - just click OK.\
3. Group the blur layer with the adjustment layer. On the adjustment layer paint the subject with black
to mask out the blur, paint with white to restore the blur.
Of course you can use other tools on the adjustment layer besides the paint brush, e.g., make a selection and fill with the black or white. In some cases it might be easier to first fill the adjustment layer with black and then paint with white.
In this example (not actually a mask but still demonstrates a clipping group) I wanted to crop the picture into a leaf shape.
http://www.pixentral.com/show.php?picture=1ys9Z7FspSwF8HHKGLrxjGVhbTodmF0
1. Use the leaf from the Custom Shape tool to draw out the leaf, creating a new layer.
2. Move the leaf layer below the picture layer.
3. Group the two layers.
Note that in order to move a layer below the Background layer you have to rename the Background layer to anything else (layer 0 in my example).

What format video clips have to be to import into ipad 2

I have some video clips on my PC, but cannot synch into IPad2. What is the best format fot the clip to bring into IPad.

The supported formats, from http://www.apple.com/ipad/specs/, are :
Video formats supported: H.264 video up to 720p, 30 frames per second, Main Profile level 3.1 with AAC-LC audio up to 160 Kbps, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats; MPEG-4 video, up to 2.5 Mbps, 640 by 480 pixels, 30 frames per second, Simple Profile with AAC-LC audio up to 160 Kbps per channel, 48kHz, stereo audio in .m4v, .mp4, and .mov file formats; Motion JPEG (M-JPEG) up to 35 Mbps, 1280 by 720 pixels, 30 frames per second, audio in ulaw, PCM stereo audio in .avi file format

How do you find what bin your clips are in??

I was wondering if there is a way to tell where a clip in the timeline came from. Sometimes a project will have footage from other projects and bins. I would like to find out what bin a specific clip is in from the timeline. Thanks alot!

discoboy03 wrote:
I was wondering if there is a way to tell where a clip in the timeline came from. Sometimes a project will have footage from other projects and bins. I would like to find out what bin a specific clip is in from the timeline.
Stringray has got your answer (Reveal Master Clip aka Shift-F) but, just to save you some pain, if the clip in question is from another project, that function will fail.
One of the limitations of FCP is that it does not track that master/affiliate clip information across projects. If you drag a clip from another project - even if it's open in FCP currently - it becomes a master clip in the timeline (and project) you've dragged it to. (Normally, a clip dropped into a timeline is an affiliate clip, with the master clip residing in the Browser.)
This is also a limitation of XML interchange - it typically breaks the master/affiliate relationship.

What is color burn layer?

I was reading one of techniques for removing blue haze from pictures.
The initial two steps were as follows:
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2. Select all and copy the color burn layer only to the clipboard
I have never used "color burn layer". So I have no idea what "color burn layer" is and how to create it.
Please asvise me how to creaste color burn layer.
I have photoshop CS5 (with Windows 7).

It is not a tutorial. Somebody asked the question in a photo forum.
I now lost the original webpage but I copied the anwer as follows:
Click on your color burn layer
Select all and copy the color burn layer only to the
clipboard
Open a Hue/saturation adjustment layer but make no corrections just press OK.
Alt click on the Hue/adjustment layers mask this will make the screen go white.
Edit> paste... this will paste the color burn layer to the mask.
We must reverse the mask now so press Ctrl+I or Image>Adjustment>Inverse
Click on the adjustment part of the hue/saturation or Alt click on the mask again.
Now reduce saturation by moving the saturation slider to the left.
My question is how to careate color burn layer in CS5 photoshop.

What do colors mean for object type in Business Object Repository browser?

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I am a new guy in SAP. I have a question. The object typies in BOR browser, there are kinds of colors, blue, light blue, pink, red,.. And also, for some object type, there is check mark beside them. What do these mean?
Thank you for your help.

Hi,
The following information will be helpful for you.
[Business Object Repository |help.sap.com/saphelp_40b/helpdata/en/7e/5e128f4a1611d1894c0000e829fbbd/content.htm]
[Repository Browser |help.sap.com/saphelp_nw70/helpdata/en/60/d6ba75ceda11d1953a0000e82de14a/content.htm]
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Assign Points if helpful.
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Naveen Dasari.

What do colored stats in iTunes Connect denote?

Hi,
I’m new to iTunes Connect. I am using the mobile version on an iPad. What do the numbers colored red or green denote? I can’t seem to see a pattern or find any reference to this. Thanks in advance.

Hi anim8ed,
The green and red show you the positive (green) and negative (red) change in sales for the current period you are viewing in comparison to the previous period.
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Red color clips after export to H.264

Dear friends,
I am very new to try use Color. I sent seq. from FCP to Color, changed some clips use Color FX, and than back to FCP.
After export seq. from FCP to H.264 for web, some of the clips appeared red.
Thanks for any answer.
Libor

Do you mean red render bars or the clips are actually Red? With Color you should avoid H.264 until after any rendering. ProRes or Uncompressed are the best codecs to bounce between Color and FCP.
-Noah
Creator of Call Box training series for FCP and Color.

What is color range?

Hi. Can you please tell me what color range is?
Is that the similarity or the closest color of a color?
For example "Yellow" So the color range of a yellow is orange or red? or might be light yellow?

"Color range" is not any kind of technical term. It could mean just about anything (or nothing). You might have it confused with "color gamut," a semi-technical term popularly tossed around these days having to do with so-called "color managment" (calibration). Color gamut refers to the theoretical set or range of colors that can be produced in a particular "color space" or "color model" (CMYK, RGB), or process (device, printing method).
The main point of it is that, for example, there are many colors that an additive color model (RGB; a system that glows--generates its own light) can display that cannot be even closely simulated by a subtractive color model (CMYK; a system which merely reflects the light that falls upon it and which is completely dependent upon the pigments used). So because each device involved in graphics has its own "color gamut" a system is used to translate the color values called for in one device to the "nearest match" or "most approprite" that can be produced in another. There are, of course, various arguments and technical considerations which present multiple algorithms for doing that.
Pantone is a proprietary commercial brand name. It's a company that originally produced spot-color inks for offset printing, and a "matching system" for consistently mixing them, dating back to long before graphics computers.
CMYK is an abreviation for Cyan, Magenta, Yellow, Key (Black); the four ink colors used in "process color" printing. You probably remember from childhood the concept of "primary colors" (red, blue, yellow) being able to mix "any other" color (red and yellow for orange; yellow and blue for green; red and blue for purple). Well, just think of CMYK as the more accurate, formalized, standardized "primary colors" used in full-color commercial printing.
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JET

What is color clipping

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