XDCAM import color shift

I am importing XDCAM footage into FCP 6.0.5 using the XDCAM transfer software. The footage imports but the color is off. It's monochromatic and almost sepia. The sequence settings are correct that I can tell. All other imported footage looks fine just the XDCAM is off. The XDCAM footage on a Win machine looks fine. Anyone having this problem or have a solution?

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Color shift between play and pause

Hello,
On CC 7.0 and 7.1, I noticed there is an important color shift between pausing and playing my timeline when using "CineForm Visually Perfect" encoded source material.
This is especially noticeable on reds.
Using other codecs, there is no such shift.
My video card is a Geforce 650M. At first, I thaught it might be related to the video overlay settings of the card, but there are no such settings in the control panel.
Besides, using Quicktime to play the source produces no shift as well.
As I am often doing color correction using Premiere, and as I have dropped Avid exactly because I always had this same problem (when using a profiled calibrated screen), I would like to know precisely what is going on. As I'm regularly producing shows for broadcast, it is a real problem not to be sure whether what you see matches the final exported output in all circumstances.
NB : For the need of searching the cause of this problem I disabled any custom profiling of my screen.
Thanks ! for any answers.
Fred

Sure and thanks. But nevertheless, if you color correct using a calibrated screen, and produce for the web ; or if you do a first pass of color correction before the ultimate pass happens with a "properly calibrated TV", wouldn't you like that your paused frame would look like your playing frame ?

Importing Photos - Unwanted Color Shift

I'm a fairly competent self taught user of CS6. when I run into a problem I canusually source it in a text, or on Lynda.com.
Something has started happening recently which I can't explain or remedy.
When I import a photo, it color shifts. The red component becomes highly saturated, and the saturation of all colors increases greatly.
I can usually make adjustments using the "hue and saturation" adjustment tool to closely approximate the original photo, but they're only close approximations. the two adjsutemtns most commonly made are decreasing the saturation and shifting the red component towards blue.
This happens regardless of source. It can be a photo imported into CS6 from the web, or from a camera; or even a photo stored on my hard drive.
I'm open to suggestions, even if it is a matter of restoring factory default setting.. This is really getting annoying

Take a look at the color profile. If the image was say from a raw image that the profile was set to prorgb and you saved it as a jpg and viewed it in a browser that does not support profiles, the color will shift. Anything thats on the web should assumed to be SRGB. Getting an image from someone else, could be using a different profile. Normally when the file loads, it will ask you what to do when they don't match your current settings. But in the preferences, I believe it is possible to disable that warning.

Color shift on re-import from PS (13.0.1) to LR (4.2), Windows.

Hi!
I've got strange subtle color shift from reds to yellows when I'm doing the following:
1) import my raw files as DNG into LR
2) edit them in LR
3) ctrl-E them to edit in PS
4) edit them in PS (just drawing a dot with the brush tool somewhere, so the file could be saved and re-imported to LR)
5) save (not "save as") them in PS which bring them back as tifs to LR
This final tif from PS has some color shift in comparison to the original DNG file. Nothing is edited in PS.
Furthermore:
- if I'll open to edit the resulted tif with the color shift in PS once again with the option to use LR adjustments, I'm getting color shift in PS
- if I'll open to edit the resulted tif with the color shift in PS once again with the option to open the original tif without LR adjustments, I'm getting correct color in PS, as in my original DNG
LR - ProPhotoRGB
PS - ProPhotoRGB
Thanks for any help and suggestions!

I can't explain why your results are slightly different than mine, but I think I know what is happening. The DNG you posted is very heavily clipped with RawDigger showing about 4Mpixels at 100% RGB. You can download RawDigger to see for yourself:
http://www.rawdigger.com/
I noticed you didn't apply any Basic panel settings, which is probably why there is such a large difference between the DNG and rendered TIFF images. LR4 PV2012 uses "image adaptive controls with fairly complex algorithms that interact from top-down:
Exposure>Contrast>Highlights>Shadows>Whites>Blacks
In other words the Exposure setting affects how all of the other controls beneath it will function. I agree that it shouldn't matter and that the rendered TIFF should match the raw file, but it looks like the PV2012 rendering engine fails with very heavily clipped images (i.e. large areas of 100% RGB in the raw file) and ‘0’ Exposure setting.
You can correct this by trying not to overexpose the image during the shoot. For the lighting in this DNG image a -.5EV to -1.0EV exposure bracket would get you closer to a full dynamic range image. You can always clip the highlights inside LR, so there's no need to heavily clip the original shot (especially with studio lighting).
For the model images you have now I would set LR's Exposure to -.5EV to -1.0EV (i.e. to adjust midtone exposure) and then adjust the other Basic panel setting in a top-down manner. Usually setting -Highlights = +Shadows works best for most images. Next adjust Whites to set your white clipping point (hold down Alt key) and Blacks for the black clipping point. Next tweak Exposure if the midtones are too dark or light and then lastly adjust contrast, which I use sparingly (i.e. ±25).
Here are the Basic Panel settings I used:
Exposure -0.50, Contrast 0, Highlights -50, Shadows +50, Whites 25, Blacks -45
I also adjusted Clarity to -25 to retain the high-key look.
With the above settings the DNG and Edit in PS TIFF histograms look identical on my system. The key is to adjust Exposure to set the midtones, which helps the PV2012 rendering algorithms to work properly. Please let me know if this works the same on your system.

SRGB jpeg color shift upon import to Lightroom

Hi all,
I've tried to do enough reading to ask and intelligent question, so here goes:
I have sRGB jpegs I shot on a Nikon D80. When I import them to Lightroom, there is a color shift (as compared to the camera LCD). If I open the jpegs in Photoshop (using the embedded profile, ie. sRGB), open the jpegs in Photoshop and assign ProPhoto as the color space, or open the jpegs in Firefox, there is no color shift.
Question #1 - Why is there a shift in LR?
Question #2 - The LR (Melissa) color space is often described as "ProPhoto with a sRGB tone curve". I've not seen the mention of a tone curve in reference to sRGB or aRGB color spaces. What is it?
Question #3 - When an image with an embedded profile is imported into LR, is is always assigned to the ProPhoto space, or would it be displayed in its native color space, and only assiged to ProPhoto upon editing?
Thanks,
Michael.

Reading your question, there are a few things that really worry me. First off, Lightroom assumes images with no profile to be in sRGB, second when the image has a profile or a profile tag (such as your D80 writes) it will honor the tag. You should completely forget about the internal working space in Lightroom. It is irrelevant. The way color management in Lightroom works is the following, you take an image in its source profile which defines the colors in absolute terms, render it into the working space (linear prophotoRGB) using the source profile, which does NOT change the color, and then convert to the monitor profile for display. This is how every color managed program does it. Some skip the working space step. This means that the working space, as long as it is wide enough, does not matter for the display.
>open the jpegs in Photoshop and assign ProPhoto as the color space
And this is extremely worrisome. You should NOT assign prophotoRGB to your image. You should leave it in its embedded space, or
convert to the working space. In general leave it in its embedded space. Your photoshop settings should be as the first image in this old post: http://lagemaat.blogspot.com/2007/12/mildly-lightroom-workflow-for-printing.html . If you need to assign prophotoRGB to your image to make it appear right, implies that your monitor profile is messed up majorly.
>open the jpegs in Firefox, there is no color shift
Firefox normally does not color manage, so it always lies to you. Only when you enable tyhe secret setting will it not lie to you (provided the monitor profile is good). See here on how to enable color management in Firefox: http://lagemaat.blogspot.com/2008/06/firefox-30-released.html
>Question #1 - Why is there a shift in LR?
On a good calibrated monitor the shift should be minor. There is a shift because of color management. The displays on Nikons are good, but you cannot trust them in absolute colorimetric sense. Your shift sounds much larger than normal, which is why we think the monitor profile is probably bad.
>Question #2 - The LR (Melissa) color space is often described as "ProPhoto with a sRGB tone curve". I've not seen the mention of a tone curve in reference to sRGB or aRGB color spaces. What is it?
Again, don't worry about the color space. It is not important but for knowing that it is wide enough to handle anything you throw at it. Lightroom internally uses a color space that is 16 bits and linear and has the primaries of prophotoRGB. It does NOT use a tone curve. For its histogram display and the percentage displays, it applies a sRGB tone curve to the data, so that not everything clusters on one side of the histogram. This is only done for those two displays! Lightroom works in a linear space for everything else. A good document on this was written up by Andrew Rodney a while ago: http://www.ppmag.com/reviews/200701_rodneycm.pdf . I discuss the tone curve here: http://lagemaat.blogspot.com/2008/06/srgb-tone-curve-and-lightroom-color.html
>Question #3 - When an image with an embedded profile is imported into LR, is is always assigned to the ProPhoto space, or would it be displayed in its native color space, and only assiged to ProPhoto upon editing?
Explained above. When you're working in Develop, the image is
converted to the internal color space using the embedded profile, any edits are applied, and then it is converted to the monitor profile before display. The step in between is immaterial. It even happens in 16-bit precision to avoid obvious bit steps. In the Library module the situation is slightly different because previews that are generated from your file are used, but the result is exactly the same. There is NEVER any color space assigned to your images, except when the original files have no profile. In that case sRGB is assigned.

Color shift (gamma?) between XDCAM Ex and PROres

Hi,
We have edited a show in Apple XDCAM EX in 23,98 HD. We did a QT movie of that sequence into the native codec that we edit with (Apple XDCAM EX).
Into quicktime, or even in compressor, we re-export ta video into Apple Pro Res and we are experiencing a big color shift between both codec.
Somedoby have an idea on that?
Thank you!
Nicolas

There's a know shift in the gamut between the two recording methods because of the compression scheme.
If you search the posts here and on the Cow, you'll find other references to it.
You might want to consider working in ProRes all the way through. It's a good way to even out all the differences between source footage and act as a neutral Digital Intermediary. The nice thing is that it's tuned to run on the machines and runs very efficiently. It's been a big help here when I've had mixed footage, or have to go out to all the different formats and uses that I do. I get no shifting at all, even between proxy and HQ. So I can do all my editing and effects in lightweight proxy and then conform to the more space demanding 422 or HQ.

How do I prevent the Darker Shade Box (color shift) around Vector Objects when Printing

Sorry in advance for the novelette. I am absolutely mystified and frustrated and would love some help! I've been working on this problem for about 30 hours over the last 4 days to figure out what the heck is happening and cannot find an answer through various forms of research.
Basically, when I print a JPEG, I am getting this area (a box) of darker shaded coloring around my heart and love text. I've tested it a million different ways and am at a loss as to what the problem is ... is it an application problem, a color profile problem between my applications and printer, an improper way that I saved my file, etc.
Here is a photo I took of the image printed out (so it is slightly skewed from camera distortion):
The details:
(1) I create graphic art and sell it online. I save all of my printable art as JPEG files because of my customer base (diy hobbyists that print on their home printers without much knowledge base nor graphic design software).
(2) I use both Adobe Illustrator (AI) and Photoshop Elements 11 (PSE11) to design and save my artwork.
(3) I insert JPEG images into Microsoft Word 2003 documents to "test print" since most of my customers use home printers to print. Since most people have this basic software, it is a good gauge of the kind of print out they might get using the same or similar software.
(4) My PSE11 color profile setting is the default sRGB. I have test printed many times and I get the truest colors with this color profile.
(5) My AI color settings are normally also an sRGB color mode, but on occasion, I use a CMYK color mode if I am creating a larger document that I know the customer will need to take to a professional printer to print out.
(6) I do my home printing (for proofs) on an Epson Stylus Photo 1400 (which has the 6 color ink cartridges).
(7) Until this printing problem occurred on this test print out, I always used the "photo enhance" option when I designate settings for my printer via the Microsoft Word documents.
IMPORTANT: This is when I have the color shift?? or color rendering issues?? and it is the only time. If I use the regular ICM/ICC color profile of sRGB, the printing issue doesn't occur. Instead, I have a solid color background instead of this one with the strips of lighter color on the top and bottom. However, I can't control how the customer prints, so I need to feel confident that whatever color profile setting they use, they will not run into this problem. I even test printed the documents over at FedEx and the darker box/color shift did not occur.
(8) The document in question only has 3 sets of objects: the heart, the solid colored rectangle colored background and the text. All 3 objects are vectors, they are at 100% opacity and there are no "special effects" applied.
(9) The image was entirely created in AI this time and exported as a maximum quality JPEG file, although you will see below that I tried many ways to create and save the file so that I didn't have the color band borders on top/bottom.
(10) I regularly use AI for part of my art, then I drag it to my PSE11 open document and it becomes a Vector Object (it cannot by copying/pasting into a PSE11 document). I also regularly export AI images as PNG files, then insert them into an open PSE11 document. This printing issue has not occurred until recently. Here is an example of a very complex AI image I created, then inserted into PSE11 just to add the background (the Teddy Bear and books are AI vector objects) that were exported as PNG files then inserted into PSE11 to integrate with the background image - I test printed with Photo Enhance and had no printing issues:
So, from the research I have done, it looks like it is a color rendering or color space issue with conflicting color profiles in the same document. I checked my color profile settings and both sRGB and CMYK were set to embed ICC color profiles.
I tried changing AI settings to Preserve Numbers (ignore linked profiles) for CMYK, but that didn't work.
I also checked and made sure that not only the document setup showed the sRGB color profile, but that all the objects within the document also were converted to sRGB as well for consistency. That didn't work.
I tried converting the document to CMYK along with the vector objects. That didn't work.
I tried saving the heart image as a PNG file alone, the "love" text as a PNG file alone, both the heart and text together as a PNG files alone. Once saved as PNG files, I inserted them into an open empty PSE11 document - as I normally do. I then added the background color I wanted. That didn't work - the print still showed the color changes.
I tried dragging each vector object separately and even as a group and got the same color change issue when printing.
I tried "expanding" and "outlining" the text before exporting as JPEG, before exporting as a PNG and before dragging as a vector object into PSE11. Expanding the text did not help the situation.
I tried exporting as Adobe PDF, then opening in PSE11, then resaving as JPEG. That didn't work.
I tried flattening transparency (even though there is no transparency in the AI file). That didn't work.
I tried rasterizing the image. That didn't work.
Thinking that the file might be corrupt, I started from scratch and redesigned the same heart and love text. Unfortunately, I had the same problem as before. At this point, my AI started becoming buggy and would not open new files. It happened repeatedly and I decided it was best to uninstall and reinstall AI (and maybe that would fix the problem).
I created just the heart in AI, then inserted it into an open PSE11 document (both after exporting as PNG and also by dragging as Vector Object from AI). It seemed to work. I could both drag the vector into PSE11 from AI and export from AI as a PNG, then insert into open PSE11 document with a background color - and it printed a solid background.
So, I thought that reinstalling and setting back to defaults worked. But, then I added the love text around the heart and tried exporting as JPEG files and the same problem continued to recur. Whether I dragged as a Vector object into PSE11 (the heart object and love text separately and also another time with the vector objects dragged as a group) or saved them as PNG files and inserted into PSE11 - I got the different shades of color on what should be a solid background. I even tried saving the PSE11 as a PSD file first, then resaving as JPEG and I tried saving as PNG and printing and this didn't help solve the problem.
I really think it is some color conflict issue but I can't figure it out. I am definitely not very knowledgeable about color profiles and how to sync all my devices, however, as I mentioned, this was not an issue until recently (and I think??? I recall changing the CMYK setting from Preserve Numbers to embed color profile a month or so ago - however, it should have been solved when AI went back to its defaults upon reinstall).
The reason I believe it is a color rendering/color space issue is because I could see the color output when I saved the JPEG with CMYK color profile versus sRGB color profile and the sRGB colors were much richer, not surprisingly. The top and bottom colors matched the sRGB printout and the middle darker box section matched the CMYK printout.
I am sure it is something fundamental or simple and I am completely overlooking it. I wish it were just a transparency issue, because people know how to fix or do workarounds for it. But, there are no vector objects with any transparency ...
If I missed some detail, I apologize. Any help would be a dream come true at this point! lol
Thank you!

Okay, I got motivated to try again. From doing a bit more research on troubleshooting AI printing problems, the Adobe article talks about print drivers. It was advised to uninstall and reinstall the print driver if the printing issue persists. So, I did. Unfortunately, I still had the same result after reinstalling and trying a test print! Ugh.
So, as Jacob said upfront, I seem to have an overactive print driver that is trying too hard (and it is a non-postscript printer which I realize is part of the problem).
There are so many variables in my situation as to how I create art and save/export art. I sometimes work solely in AI, sometimes solely in PSE and sometimes I use both programs to create. Consequently, I will:
(1) export directly from AI as JPEG if I am not adding PSE11 artwork.
(2) export directly from AI as PNG if I plan on inserting that image into PSE11 to add to artwork I have created in PSE11.
(3) drag vector objects as a Smart Objects directly from AI to PSE11 to add to artwork I am creating in PSE11 if I know I will playing with the vector object and resizing in PSE11.
So, I did a test print using scenario 2, where I inserted the heart and love text PNG (AI created vector object) into an old PSE11 document. This old document already had a vector object from AI with a solid background and I knew it printed correctly. So, after inserting this new PNG from AI into this old document, it printed correctly using the photo enhance mode.
However, I haven't had a chance to actually create new art in the older AI files (that I know print properly), resave as something else and try another test print (either by exporting as JPEG and printing in Word or by exporting as PNG file and inserting into PSE11 document, then saving as JPEG and printing in Word).
After testing the different possibilities of ICM settings within my printer, I found that the JPEG images printed out with the truest colors and best quality if I simply selected "no color management" from the printer. Shocker, huh? lol
MY SOLUTION: So, what I think I will simply do is add an instruction sheet with the printables I sell, explaining that the color profile setting should never be handled by the printer so make sure to turn off color management by printer (and if they feel they must use the printer for color management, make sure the setting is sRGB since I embed that color profile in my JPEG's).
Edited to add: Since my issue was never about how I could print a successful image (I knew I could simply change the color profile settings), but rather about how to make sure that customers would get consistent and high quality print outputs of my digital images, this seems like the best approach.
I don't think I will every really know exactly why I am now getting color shifts in the "photo enhance" mode when I did not have this problem a couple months ago - applying the same methods of creating artwork. I was concerned that I was saving/exporting using incorrect or mismatched color settings or something of that nature. However, since I went through the process of making my color spaces the same for everything, and I still have issue, clearly that is not the culprit. The only thing I can do to solve the problem and it is a straightforward solution anyway -> is to educate the buyer on how to print successfully (don't use photo enhance! ha ha).
Thanks again to everyone who chimed in and offered advice!

Premiere Pro CS6 and Media Encoder CS6 Color shift on export

Hello,
I am working on an early 2008 Mac Pro with 2 X 3.2 GHz Quad Core Intel Xeon Processors 32 GB of RAM a NVIDIA GeForce 8800 GT 512 MB Graphics Card and I am running OS X 10.8.2.
I have the updated Version of Adobe Premiere Pro CS6 and Media Encoder CS6 through the awesome Subscription program that Adobe has started.
My footage is shot with the Canon 1D Mark IV shot 1920X1080 at 24 FPS
I am importing the camera files and then exporting them after I cut them up in to Quicktime Pro Res 422 HQ files
With the technical explination out of the way here is my problem. I have color right from the camera files that I like. and with out doing any thing to change the color I export the footage and get a dramatic color shift. The exported file looks desaturated and slightly green.
I have tried using Media Encoder CS6 to export my footage and that has the same result.
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I have attached three screen shots that show the color shift exactly. Now what I need is a solution. What I am not seeing is color settings for Premiere. I am totally open to any suggestions on what I might be doing incorrectly.
Ben

Benjamin Peterson wrote:
I started my career as a photographic retoucher and use photoshop and light room constantly so I am pretty confident that i know color. I also calibrate my Lacie 526 and Lacie 324i montiors monthly as well as have a sensor that will slightly shift the profile depending on the time of day.
I've been doing this for a few years now, and have come to some conclusions. Basically, the difference between still photography and video is like the difference between playing the trumpet and the sax. What you bring to the sax from playing trumpet is your ability to read music, what you know about composition, blending while playint with others, ect. But playing trumpet tells you nothing about how to physically play a sax. So it is with still photography and video.
For starters, your carefully calibrated computer monitor is just that, a computer monitor. It doesn't display the correct working space for video. What you need for WYSIWYG in video is a monitor that can show you the Rec.709 working space. Rec.709 has a different gamut, a different gamma, probably a different white point (D65), different phosphor colors, etc., etc., etc. Enought differences that it's difficult to make a computer monitor that can successfully display Rec.709. Yet there are a couple of computer monitors that can do this (a few Eizos, one HP). The vast majority of people doing serious color correction work in video use a production monitor for just this reason.
But a production monitor isn't enough. You also have to make sure that the signals you're sending the production monitor are correct. There's a sub-industry making signal converters for signals from NLE video cards (usually RGB based) -> signals for production monitors (usually YUV based).
That said, it is certainly possible to get a very good match between your NLE suite and a DVD / BD as displayed on an HDTV. But it's not as simple or easy as a calibrtated computer monitor for still photography use.
This is probably part of your problem. But Quicktime is probably the root of it. Quicktime is, well, I guess the polite way of saying it is that Quicktime is problematic. It gives all kinds of problems. Most people have abandoned it. You should too.

Solution to Gamma/Color Shift Problems with Apple Codecs - Adobe BUG

Hi....
In AfterEffects when choosing an output module and that module be ProRes or 10 Bit Uncompressed,
when trying to color manage the file, there is a fine line called
'This Codec Does Not Support Output Profile'
You can find it int he Color Management Pane of the output module....
Funny thing is - That Profile Embedding IS support by:#
Apple's Compressor and THE CODEC 4444 AND UnCompressed
Episodes Encoder
See following Screen Shots:
First one from Apple's Compressor...
Look at that little beautiful Color Option... Adobe did you MISS that one, perhaps...
You must have - because your APPS are NOT including that when encoding or should I say
butchering movie files....
Here adobes famous but wrong dialog!!!!
And in this next screen shot you can easily see that adobe just strips the color profile out of the file...
AND THAT IS WHY THERE IS A COLOR SHIFT...........
left image = Apple's Compressor Encoding (Colors match of course) - Right Adobe's BRUTAL encoding (Colors WONT match...)
Now, in after effects you wont notice the shift. But ALL mac and PC users using quicktime to watch YOUR movies
are going to be looking at a movie with a different look than you thought it WOULD be... Courtesy of adobe ;-)
Jokes aside, Adobe.... It seems as if this one is on you to fix... Apple's Compressor has NO problems. And other encoders are also preserving those values.
Now... Let us assume that I encode in compressor... Looks are matching 100% that of the original source. All it takes to mess that up is ONE
roundtrip to after effects, premiere pro or Media Encoder. That is if I wanna maintain my initial choice of transcodec - in my case 4444 or 10bit Uncomp.
I could of course export to animation and then use compressor AGAIN to transcode to my format of choice... But in the long run I think that will become tedious.
Perhaps you could assign a few engineers on this one and in the future spend MORE time on living up to the name PRO(The most misused word in the software business) instead of wasting time generating new Application icons for your apps....
Thanks for reading and for a PROMPT and near-future BUG FIX

Mylenium wrote:
It's not really "embedding" anything, it merely sets the QT color space flags which have been there forever, but are mostly unused. Specific to ProRes it also toggles different internal optimizations in the encoding. That's also documented somewhere on the QT developer pages. I'm not sure I share your views otherwise. The point really is, that Apple developed ProRes just as much as a closed workflow within their products as Avid did with their CoDecs. Therefore the widespread use of the CoDecs is merely a byproduct of the use of the products, but not per se an intended workflow outside of those and, which is the more important part, also not explicable as a causal circumstance of the quality. If I may be so bold: What you are saying sounds like everyone would be using the Animation CoDec because it is so good, when the simple fact is that there are no decent free cross-platform alternatives and people are willing to accept limitations because of that. Don't get me wrong, ProRes is well designed and pretty robust, but the world doesn't come to an end without it and outside the Mac world it is difficult to deal with. Hell, it's even difficult to deal with between different versions of FCP occasionally...
Mylenium
I have been testing codecs for a long long looooooong time. My criterion(s) are:
1) Image Quality and that through multiple encoding generations and color grading
THEEEN
a looooong way down the road
2) Performance
BTW - I find that working with files less compressed and thus HUGE is much better. Hard drives are so cheap that one can build himself an 8 Disk RAID0 and that takes care of everything. In PPRO I can cut real time in FulRes with an uncompressed codec with the processors maxing at 3% while the H264 editing sequence will stutter like a drunken wasp and maxing the CPUs at 63%.... Go figure...
ProRes 4444's impeccable imageQuality:performance ratio, is unbeaten.
Especially on H264 material like that of the Canon5D. You might say if the source is 4:2:0 why bother upping it to 4444... Well in theory perhaps
it is overkill. But rather than reading in theoretical white papers I conduct my own tests. And the end results are (REALITY) and way different from what theory states. TO anyone reading this. DONT believe ANYTHING you read about codec nor what I am saying.... DO YOUR OWN TESTING and judge for yourself. Problem is that you have to do 100's and 100's of transcodings with ONE source to various destinations with lost of grading and transcoding generation. THEN you have to keep track of your tests and THEN compare them. It takes WEEKs. But it is well worth while it. In my case... I start with a Canon5DMKII H264 movies. Transcode it to PRORES4444 then I do LOTS of compositing and re-encoding then lots of color grading etc etc etc. Then I export back to H264 - and the end result is STUNNING has NO artifacts and is adorable to look at. Not so with at least 6 other codecs claiming to be top-notch....
Sure Mylenium, the world would NOT end with PR4444 not in it... BUT the WORLD has ALREADY decided that it WANTED ProRes4444 in it. It is growing and that every day..........
Had the codec not been so darn excellent - it would NOT have been used. Period.

Significant color shift between FCP and COLOR?

Hi there,
I get a significant color shift when sending footage - either adjusted or unadjusted/unmodified - from FCP to COLOR.
Before anyone asks, the color shift is visible both internally or on an external broadcast preview monitor.
From within COLOR, I 'send' back to FCP this sequence - which is still without any form of adjustment (apart from being sent to COLOR), the apparent color shift is now visible/added to the imported sequence (from Color).
I've tried this on three separate Macs:
1. The Mac above (6.0.6). (Leopard)
2. A Mac with the same version of FCP as above. (Snow Leopard)
3. FCP and on a third Mac with an earlier version of FCP. (Leopard)
Does everyone have the same problem?
If not, does anyone have a solution?
Cheers,
Dan
PS: I've tried:
FCP > Color ProRes contrast shift
http://discussions.apple.com/thread.jspa?threadID=2150962&tstart=75

I had the same problem except that I am using version 1 of color and Final Cut Pro 6. I isolated just the video and double checked that I had no filters or if I did I turned them off. I had a smooth cam filter on one shot, but that didn't effect it. I was then able to send it to color without issue, once I had no sound or filters or transitions messing up the pass between final cut and color. Try doing the same, just duplicate or copy your timeline to a new timeline. I would have rendered your footage out to ProRes however as using the DVC Pro codec is probably not ideal. Color also only works with actual full raster files, not so good going from HDV or DVC Pro as they have an anamorphic frame size. This may be causing issues also.

Pentax K-x RAW color shift problem with Aperture 3

I have seen a few posts similar to what my problem is but not exactly.I have two Pentax K-200D's and a new Pentax K-x. I shoot RAW with all of them and the K-200D's work great. The RAW files however from the K-x are doing something strange. Sometimes (more and more though) the files are being imported into Aperture and there is a radical color shift after they finish loading. ALL of the preview thumbnails look fine in the camera and the Aperture import window. However, after importing them and processing is complete, some of the shots have a magenta color shift, but most that have this problem shift radically to a green tint. Everybody looks like they are in "The Matrix."
I do not have any brightness correction on the camera turned on as other posts imply might be the problem. I have also remove the Aperture RAW 3.2 and tried 3.0 and 3.1 with no solution. 3.0 doesn't recognize the files at all and 3.1 does the same thing as 3.2. Here are two examples of UNEDITED RAW files:
Frame that looks fine in RAW
http://gallery.me.com/mattcline#100470/IMGP5982&bgcolor=black
The next frame taken with the same settings on the camera:
http://gallery.me.com/mattcline#100470/IMGP5983&bgcolor=black
I do have one possible pattern. I had the camera set on rapid fire capture. It appears to me that the first frame I take when the shutter button is depressed looks and translates fine. All the subsequent frames take in rapid fire under the same shutter release have the green shift when taking shots in relative shade. Things taken in bright sunlight have the magenta shift.
Any ideas on what is going on or how to fix this?
Thanks.

kb8wfh wrote:
I just downloaded Apple's RAW 3.3 and it still made no difference.
Going back over the files, I found that going back and forth between the two, see no difference in the RAW processing headings. I did see however that in the meta data that the two pictures I have in the example of those listed above have one difference. There is a setting on the Exposure Bias for the one that was fine was -0.3 ev and the one that has the green contrast blast has an Exposure Bias of 0.3 ev. So the one that looks right is slightly negative. Doesn't seem like that should be a big difference, but apparently it is.
I did take some pictures with the RAW+JPG setting and I had the same problem with the RAW files. Some were ok, some were green, others were magenta shifted. However, all the JPG files looked just fine.
Switching from Aperture isn;t really an option for me. I have been using it for a long time and it generally works very well...perfectly with my K-200D's. It's just some bug with the RAW decoder for the K-x.
It's a known bug and I have been in touch with Apple staff over it, including engineers. It's not just the K-x. Other brands (Canon) and models suffer from the RAW processor gone wrong.
Right now there is no fix. At the pace Apple works at, there may not be one for quite some time. Use JPEG, use iPhoto, or move to Lightroom.
Another suggestion is to phone customer service and complain that their "Pro" program is not working as expected. I spent hours with an engineer going over the issue including a screen share session, only to be told to use JPEG.
This was 4 months ago.

Edit With - Photoshop color shift

When using Edit With -> Photoshop with my 12 and 14-bit NEF files, the resulting file (after editing in PS) has a color shift. Same happens when I export a Version as 16-bit TIFF or PSD and then re-import it into Aperture.
I have tried it with 8-bit JPGs from camera, and the shift does not occur. Has anyone come across this problem and have a remedy? Your help would be greatly appreciated guys, thanks!

Ah, thanks for the tip. I've changed my Photoshop color settings to warn me when opening files with embedded color profiles. I simply choose to work in the embedded profile and upon saving and returning to Aperture, no longer notice any color shift. Thanks again!

Save to Web Color Shift with sRGB Working Space

I'm having a problem a lot of other people have, which is the color shift when saving to web or viewing my work in a web browser.
The solutions I've found in the past have been to simply make sure my working color space in Photoshop is sRGB and that my files are being built with that profile as well. I'm under the impression that sRGB is essentially the same color space as is used in a web browser, and therefore my work should look identical in both Photoshop and a web browser.
So why am I still getting a color shift? Everything in a browser appears darker and with more contrast, as though the colors have been pumped up a bit.
My monitor color has been calibrated with a Spyder 3 Pro and I'm using the profile it created for me as my OS X color profile. Thinking the shift may be related to my monitor profile, I tried switching to other profiles, but I still get a color shift in every single one.
Any ideas? Thanks!

sRGB based on capabilities and trends of development (circa late 1990s) for commodities CRT computers displays. sRGB per se has nothing to do with web browsers. The reason it has become associated with the web is the assumption that most web users are looking at content using a commodities CRT monitor using Microsoft Windows.
It should be obvious that the use of a standard of some kind for display is better than none if there is to be any trend towards predictability of image display. Today, in commodities computing, that standard is sRGB: neutral color where R=B=G, and a gray ramp and primaries typical of the electron gun and phosphors used in CRT displays perfected for use in color television. It just so happens that this coding is rather will suited to get good value out of a minimum numbers of bits for color representation (e.g, 8 bits per channel 24 bit color)
Web browsers in and of themselves don't have a color space. A few, such as Mac Safari, use the ICC color management capabilities of the system, and these display compensated color just like Photoshop does: if the image is tagged with an ICC profile, compensation will be applied in the browser window. But for the vast majority of computers and users, browser color is monitor color, and it's easier and most reliable for designers to just assume sRGB because it's the space that's the best approximation of the internet at large.
You work usually will not look identical in Photoshop and a web browser (assuming that the browser does not or cannot do color management) because Photoshop is always soft proofing the working space onto the display. It is this quality that leads you to see parity between photoshop and the web browser when you choose you monitor profile as the working space: the soft proof produces no compensation.
But while this fixes up your local experience it is -not- the solution because this projects your monitor characteristics into the image when you share it. For example, if your monitor has a lumpy non-linear tonal response and you correct image shadows or saturation for a certain look the image data will code your monitor response as well as your intentions for the image appearance. Others will see the combination of your correction for your monitor response mapped over their monitor response, in fact they will see an inversion of your monitor's response coded in the image, and to whatever extent your monitor deviates from the norm is the extent which at the very least others displays of the images you correct will deviate from your intentioned look.
The answer to your problem--and this may surprise you--is to tolerate and appreciate the difference in display between photoshop's rendition of color and your browsers. Photoshop is showing your image more truly--within certain significant local limits--in terms of your working space than your web browser. By choosing an appropriate working space, and for the web it should be sRGB, and by profiling your monitor as you have, you are ensuring your images are normalized to current standards for web presentation. Others may still see crap, but it's most likely their problem and if they don't want to do anything about it that's their problem, not yours.
There are a wide variety of reasons why a properly calibrated monitor will not match a working space which the soft proof cannot overcome. A monitor gamut larger than sRGB is not one of them. Photoshop will properly display sRGB data if the display profile properly characterizes the larger gamut display. This leads to questions about the effects of monitor quality on workflow. Maybe the most important of these is "How do I know my Spyder has properly calibrated my display!!!" But this is a topic for a whole 'nother thread.
Where I run into trouble is when trying to make visual color comparisons during web design between my photoshop website mockup and a published site. I get confused and try to make color picker style matches by eye rather than by the numbers because I forget my web browser is not color managed. Sometimes I forget how all the parts play together and get confused and disoriented, then I make compounding mistakes. Then I start blaming my tools. Pity me.

Lightroom Export Color Shift

Exported JPEGs from Lightroom have a significant color shift from how they appear inside LR and PS3, which is a distinct magenta shift and oversaturation.
I have read a number of related posts here and elsewhere that explain the importance of setting up color management correctly in Windows, LR and PS3. I have done my best to follow all this advice and still cannot export usable JPEGs from Lightroom. I am using a Spyder 3 and have carefully profiled my Dell 2408WFP monitor. I am processing RAW images from a Canon 30D into sRGB JPEGs for web viewing, and have set up LR to export sRGB while PS3 is set to the sRGB working space.
I have also read that Internet Explorer and other color-unmanaged applications will display images differently. I understand this, but then it seems to me that every image I view inside Windows Picture Viewer or Internet Explorer on this computer would have the same oversaturation and magenta shift that my Lightroom exports do, but this is not the case. Also, my Lightroom-exported JPEGs have an equivalent magenta-tinted and oversaturated appearance on other computers I use, not just my image-editing computer.
I have set up a web page with example images, screen grabs and system technical information, located here: http://www.dougvetter.com/lightroom
Any advice would be greatly appreciated.

>What can I do to get predictable color output that looks good outside a color managed environment? All the web content I look at on this exact same system looks just fine in my browser.
The only thing you can do is to calibrate your screen and export to sRGB jpegs.
On average the images will look the same, however very few will look identical simply because there is a lot of variation among screens. The sRGB standard gives you the biggest probability of getting it right. Unfortunately with the current upsurge in people buying laptops, which have in general a far smaller gamut than sRGB (the purple blue problem is caused by bad laptop screens), sRGB is starting to deviate from the average because the average is shifting. At the same time desktop LCDs are giving greater and greater gamut as your DELL display shows. sRGB was designed to represent an average CRT screen. So the crappy quality of laptop LCDs and the refusal of MS to finally live up to their promise of color management in IE is really hurting our chances of getting the right color in front of people.
What we really need is omnipresent color management and some awareness of computers of their monitor's profiles without having to calibrate, similar to printing profiles being delivered by printer manufacturers. They might not be perfect, but they will be good enough. Lacking that, we can really only try to calibrate our screens and use sRGB for web images.

Fix for "color shift" bug

I have discovered the fix for the iPhoto color shift bug (at least with OS X 10.3.9). For those who tried the solution of renaming the Generic RGB Profile, this idea was heading down the right track, but ultimately is not the answer (nor did it even work for me).
When you import photos into iPhoto 5, it does not assign a color profile to the pictures. Then when you edit one using the internal editor and go to save it, iPhoto sees there is no embedded color profile and thus it automatically embeds the Generic RGB Profile, and if that is not the color profile you are using for your screen (and it most likely is not), you will then notice that the colors of your original image have been altered.
Before I tell you the simple solution to this, I HIGHLY RECOMMEND that you create a custom color profile for your Mac. You can use the included OS X one under System Preferences | Displays | Color | Calibrate, but I personally find this one difficult to use and it doesnt offer very good end results for me. The color profile creation program that works the best for me is SuperCal. This program is a little gem and after you use it, it will seem like someone gave you a brand new display. The program is free to download, but after seeing how well it works, I hope some of you will pay the $19 registration fee. On a side note, when creating your color profile, I suggest you use a gamma setting of 2.2 (not the default Mac setting of 1.8). This will make your screen match most scanners, digital cameras, printers, web images, photo labs, etc. (which are all based on sRGB which has a gamma setting of 2.2).
SuperCal can be downloaded here
http://www.bergdesign.com/supercal/
Okay, now youve created your calibrated color profile (lets call it SuperCal) so pictures will now be accurate on your screen. So now heres the fix for the color shift bug its really so simple. Go into Applications | Utilities | ColorSync Utility. Under the Preferences icon, change the RGB Default from Generic RGB Profile to your new SuperCal one. Voila! Thats all there is to it. Now when iPhoto saves an edited picture, it will embed your custom color profile. So what was once a hated annoyance now actually becomes a feature so that all of your saved pictures will perfectly match your screen.
Since the Mac is supposed to be the easiest to use computer around, Apple should fix this so that when you change the color profile for your display, OS X also changes it for file embedding, but as it stands it 10.3.9, you must change this in both places manually.

I appreciate the tip to use gamma 2.2. I'd been wondering about that.
However, as others have mentioned, tagging your photos with a monitor profile is not the way to go.
The othe thing is that under Tiger, ColorSync Utility does not have a preferences section. It only has a devices section.
It is as if iPhoto doesn't know about any profile attached to any picture, whether it's from a camera, scanner, or PhotoShop, and there seems to be no way to tell it which profile to use.
And even after replacing the Generic RGB profile with the same one the images are tagged (by renaming the other profile Generic RGB), iPhoto still displays the images with more saturation and somewhat darker.
This is on an Apple Studio 17" CRT very carefully calibrated with SuperCal.
So I have to come to the conclusion that others have in other threads -- if you're concerned about good color accuracy, don't edit the color balance of your images in iPhoto. Leave that to PhotoShop.

XDCAM import color shift

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