DeviceN color spaces

Similar Questions

• How to use ICC based color space

  Hello

  The question is how to define a color in the color space ICC based?

  I tried with gState.strokeColorSpec.value.color table and it works very well when my based CIE color space is CMYK, but how when color space can be CMYKOG or RGB...?

  Kind regards

  William

  My code worked, I tested it using only the ICC based and the DeviceN.

  I don't know why, but the accident was on SetPDEContent.

  I found another solution to my problem, I put the ICCBased colorspace as default CMYK color space and it works fine.

  Thanks for your help

  Kind regards

  William

• Can I add a 'color space' on Finder?

  Hey guys,.

  

  I have google but cannot find any method,

  Is it possible to add 'color space '?

  Thank you.

  What do you mean by "add a color space?

• Apple TV and YCbCr color space

  Sorry for my bad English.

  I want to know if we can expect from Apple TV to support as their previous versions YCbCr color space.

  Thank you

  Ivan

  Yes the current version 4 allows you to select:

  Auto, high and low of RGB RGB, YCbCr

• RGB to the transfer of the HSI COLOR SPACE

  An organization can help me for example how to change the color space of the image RGB to HSI image and then save and display the new image

  

• PIXMA Pro 100 color space issues

  Hello

  I have a few questions related to printing from lightroom, I'm new on this bare with me.

  (1) I have a canon 7 d I shoot in Raw 12-14 bit? and most of my treatment is done in lightroom, so no need to export to photoshop, however if I would be this export as 16-bit tiff or Jpeg? So, if I had to after post-processing in photoshop then back in lightroom, this would allow only me to print in tiff or jpeg format is correct as a psd/jpeg file?

  (2) given that I only edit in lightroom I can print directly in Raw CR2 format 12-14 bit using canon plugin pro printing studio? or is it exported to the translator as a 16-bit file? and then use the ICC profile that is (canon paper) for best results paper mill, I lose a quality of colour printing by printing from Raw 12-14 bits instead of 16-bit tiff/jpeg.

  (3) using the profiles of ICC paper mill, the original raw will deposit 12-14 bit sRGB 7Dcamera be translated to the printer default Lightroom or is the color space is not necessary because I have not converted to 16-bit in post processing?

  (3) I did not have my calibrated monitor yet but intend to do so in the future, but until then I'm not messing around with pro, photoRGB Pro or Adobe RGB or sRGB mode.

  (4) if I use lightrooms canon pro printing studio Player is the color space translated automatically the settings of my camera or do I have to activate it in lightroom first?.

  (5) I use a Mac running yosemite 10.10 and to learn more about ICC profiles where the factory ICC profiles download how and where to store can you recommend a joint Web site to learn how to do this on a mac?

  (6) as you can see I want to just print the best images from the camera to the printer without much science involved but I'm willing to learn, but get confused with the post-production of workspace different menu software for best results, that I'd do it prosume until I get my proffesionally calibrated monitor would print from Raw with the factory ICC profiles?

  7) color space and calibration of the parameters are all about what you have on the print screen or it is mainly for the depth of extra color to print?

  I can calibrate my monitor on adobe RGB and have my camera shoot on adobe RGB-calibration with the software, but said I need correct color surveillance devices? If I were to do this and still just used paper ICC profiles the footprints would be better?

  My first impressions were excellent, very similar to what I see on the screen in all cases but I checked the lightrooms settings and these are on Pro photo RGB for external editing and it of color space for printing pluggin also studio, or is it just native Raw sRGB if I change the settings it says I'll lose the color space maxium potential.

  Sorry for the influx of questions :-)

  Thomas

  Hahnemühle has an excellent explanation on downloading and adding profiles for PC and Mac

  http://www.Hahnemuehle.com/en/digital-FineArt/ICC-profiles/installing-profiles.html

  Print Studio Pro is rather obscure on the use of profiles than those installed, but it's pretty simple.

  In the area of setting printer settings choosing fine arts I or II (I used one and it seems to work)

  Then in the color management box, use the pull down to find the right profile added.

  (I posted this before, but the post was deleted for some unknown reason)

  

• Can not unlock the profile sRGB color space drop, Help!

  I need to unlock the next file to install adobe cs4 on my windows vista system:

  C:\windows\system32\spool\drivers\color\sRGB Color Space Profile.icm

  I downloaded the program "unlocker 1.8.8" but when I try to run the file, I get a message "no locking handle found. I tried to "install profile" as well, but nothing happens when I press this option. Also, when I go in the file properties > security, it only allows me to add 'total control' to the 'system' or the 'administrators' account I am at a loss. Help, please!

  Thank you for your answer! I was able to install adobe cs4 without opening the file after all. I followed solution 6 on the adobe forums page you suggested above (adobe customer service offers I do solution 1 and 6 and since I could not with solution 1, I did solution 6) then quit all programs and restart the computer. I then leave all the start up programs and tried to install again and it worked (the program has been completely uninstalled before that I did). Thank you :-)

• Hi can someone help me... I try to open my photos of microscope and all of them are just empty black screen while the merged file shows the image. I can't change grayscale in RGB color space (like my single images the info on them is

  Hi can someone help me... I try to open my microscope fluorescnece images and they are all just empty black screen while the merged file shows the image. I can't change grayscale in RGB color space (like my single images the info on them is gray and the merged image color space is RGB)

  Try to update your video card driver to exclude

  Then reset your preferences - with Photoshop CC you can do it in the preferences. Earlier versions require that you press the modifier keys that you launch Photoshop. Ctrl alt shift on Windows or cmd opt shift on Mac.

• Projection of images and the question of the color space

  We are having a discussion in our photo club. We use a projector to project the images of the competition. For years, we used Faststone Viewer to project images. We have the usual problems of people not calibrate their monitors and sometimes the colors match does not, but it worked pretty well.  Now that the people who handle the projection are competent in LR, they use LR on a Windows laptop, to organize and display the images via the projector. The projector is a projector of sRGB VGA.  Some argue that LR will cause problems because it uses the Adobe RGB color space as the space of display colors. (We know that the native color space is ProPhoto). Others think it will display images in space sRGB color to the projector as you can when you export an image. I can't find anything in Adobe help pages on this subject.

  Here is a contribution to the debate to give you an idea of what some people are talking about:

  I understand that LR will send bits of images (in the Adobe RGB color space) to the Windows API and in turn the bits are returned on the LCD screen and exit VGA via LCD/VGA color profiles associated. That is my understanding of the viewer FastStone sends the image bits being without modification in the color space. LR sends the bits altered the Adobe RGB color space. Assuming that both programs require the same Windows API, the images must return the same, but they do not. My conclusion is that the former is in sRGB and the latter in Adobe RGB. I guess they call the same APIs because you can open a jpeg file in Windows Picture Viewer (applet in Win7) and see a different rendering of FastStone, it does not use the color managed API.

  Anyone who can shed some light on this delicate subject?

  You actually want an app like Lightroom or Bridge to view images on your projector and not the unmanaged faststone Viewer or something like. Lightroom translated correctly the image on the destination for the projector profile regardless of the original color of images space. It is best to calibrate them and profile projector in addition to your monitor. Some of the highest fine adjustment washers support projectors too. It is rare that these projectors really are sRGB. They are usually somewhat narrower. Some of the more recent are wider gamut when using LEDs or lasers instead of bulbs.

• Color space options

  It's on the menu "Export As.... ».  I can either, both or neither of the two boxes and it seems a bit contradictory.  For example, convert without coating seems to be useless.  What do the various combinations?

  

  Conversion will change your image color space sRGB. It's better to display pictures on the Web in browsers managed UN-color, than no conversion at all.

  Incorporation of the profile - means that a color managed application (for example, photoshop and some but not all browsers) doesn't have to guess that the image is sRGB - it is told and can therefore display correctly.
  For the web - I check them both.

  Dave

• In what color space is LR mobile make the raw images share?

  The title says pretty much all this.  I installed LR on my iPad, import raw images captured with the Camera Connection Kit, previously made some changes and exported jpg by email to myself.  The files come into Photoshop as "mystery meat", i.e. without embedded profile, or even an exif tag.  I'm probably leaving sRGB, but it would be useful that Adobe would include at least the color space tag in the exported file.

  Richard Southworth

  '

  Hey Richard Southworth,.

  Your assumption is correct. They are sRGB.

  Let us know if this answer helped in marking it as correct or responding. Thank you.

  Melissa

• How to solve "unsupported color space" to pack a psd

  I have a big PSD with dozens of dynamic linked or embedded objects, when I try to package I get

  "Couldn't package the document" (aw) .psd "because a color has been specified using a color space not supported."

  Because Photoshop gives me no clue as to what and had this "unsupported color space" is, how to solve this?

  (PS CC 2015.5.1 MacOS 10.11)

  An easier option would be to sort your smart objects related, then rasterize them for the "packed" version (do not save on the linked original PSD). Which should convert them to your current working color space.

• After Effects crash when you change the color space to render the output

  Hi all

  My legacy crashes each time, if I want to change the color space in my rendering output. It doesn't matter what color space or what file. In this case since I have updated my version 13.8 sequelae.

  This is the error message:

  < 140735248756736 > < BEE_WorkQueue > < 5 > BEE_Project:TimestampGetNextZANZIBAR - 3: can not generate timestamp, frozen = 0, open = 0

  I tried to revert to the prior version of my support, but as soon as I open this version, he says, that I have to uninstall and then install this version again as error 1 appeared.

  Does anyone have some tips I can do? Either get it solved the problems of color space or how to install an older version of my support? I really need a color space in my rendered files.

  Thanks a lot for your help.

  This problem is fixed in update fixes after effects CC 2015.3 (13.8.1). This update, available now, can be installed by using the creative Office Cloud app, or by choosing Help > updates within any Adobe application.

• Colors [can't get my correct color spaces. Everything changes when I save].

  Since the last update I can't get my correct color spaces. Everything changes when I record. (ive tried to save as and export)

  My workspace is set in adobe RGB 1998

  When I save an image and re - open is no color space assigned. so that I get permission from msg as it is, or assign color space. I always click on assign adobe RGB. then I save the file. BUT when I re - open, I get the same msg there is no assigned color space. When I bring any photo in cc2015 I got the msg that there is no assigned color space. period

  Help!

  All my photos have this beautiful green tint to them, yucko!

  Windows 10

  Ok. Something wrong here.

  Try to reset the Photoshop preferences. A corrupted file may do strange things.

  

  Save your custom actions, brushes and so on first!

• Why I can't see color space: "Camera RGB" in first?

  Hello!

  I'm putting the hand on Davinci + first cc 2015 workflow. First of all, I'm trying to get my physical look less roughly the same on both - to start!

  Here's what I think looks good on Davinci Resolve:

  https://DL.dropboxusercontent.com/u/...2012.10.36.PNG

  Color space is: "Camera RGB.

  Support people to Davinci just told me that this same color space SHOULD be available on the first too! I just do not see it in my choice on first! The closest I can get is by using RedColor2:

  https://DL.dropboxusercontent.com/u/...2019.02.22.PNG

  But the idea of using davinci resolve + first cc 2015 is to synchronize together if I don't want that kind of speculation here. What is the problem, why don't I see it first? Is - this cos I didn't shoot my hardware with the best setting in my mx - a Redcode28 red but not the 36?

  Yours,

  Pekka Varis

  Finland

  First of all. nice camera... would like to have this puppy!

  Next... How you plan to run your workflow? Change with the original media to 'lock' in PrPro then PrPro a final result to use at will... or use a proxy change the PrPro process, then make a XML and conform to the original in the desire to export media?

  There are reasons to do both ways... the first makes it much easier to move from PrPro to solve, BUT... When you work with RAW images (as you seem to be?), you leave a few possibilities of classification behind it. Those minor, but for a perfectionist, which is 'minor', right? Also, the gradation of transitions is a pain when they are flattened.

  The second process... Support proxy in PrPro, then an XML outside PrPro, in the determination and consistent support for the rank of origin, is the one used for more critical work. For this workflow you would use the Red programs or Adobe Media Encoder to transcode to a codec that you use only for your edit within PrPro, all clips named exactly the same except for the extensions as the original media. You then import that into PrPro to your editing process, Editor, and once completed, create the XML file to resolve.

  Resolve, import the XML file, use its process for media conclusion / in line, do your rankings.

  In the second process, it makes no difference if PrPro sees things a little different, since it will have no effect on Resolve work with support of origin on the ranking.

  Checked with a colourist on this in the past, he prefers. His answer, one 7, 5 on the other (playing off the coast of the expression "six of one, half one dozen of the other")... because it depends on. Some of his works is ads, with 20 pieces (which many with short transitions) in a 30-second commercial. With the customer sitting on the couch, I look by degrees he get ALL those returning some transitions quite perfectly "mixed" is a total PITA bread... at this time, it is easier to have his assistant sign & are conform to the project and work a chronology that is not flat, then it can classify each element separately and transitions are not affected by the process of dimming.

  On some of the documentaries he worked with shots longer, most of the cuts are simple "cuts" and there are relatively few transitions, it may be easier and less work total to take just the flattened file exported out of PrPro and beginning of work. If someone made a good record of 10 - bit in PrPro to use at will, he can do pretty much whatever he wants and is not concerned with no longer have the "raw" data to work with.

  In both cases, your original question is moot. If you transcode to change in PrPro, re-compliant of classification with the support of origin in the will, it is not a problem PrPro doing with space color compared to what the determination. If you edit in PrPro and use the right settings preserve your data during both the edit & export, then Resolve can still do what you want, you will always be able to see.

  Neil