Is it possible to assign color spaces in SOUL (Adobe Media Encoder) CC?

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• Size of the smallest Possible video in Adobe Media Encoder

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  Thank you!

  For categories, you can set the color of a small bar at the entrance of the event in the calendar.

  Tools | Options of| Calendar | Categories

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

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  I have google but cannot find any method,

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  What do you mean by "add a color space?

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

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

  Windows 10

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

  

  Save your custom actions, brushes and so on first!

• Is there a way in LR to say what color space photo is stored in?

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  In Lr5 - Yes, well: sorta...

  No display on the right metadata, or in lib filters, but smart collections have rule - see 'color-> color Source profile. Unfortunately, one must know ahead what to look for, but still: it's better than nothing...

  For example:

  

  Rounds to the top of all the photos with the Adobe RGB profile.

  And you can have another with "contains the sRGB..."

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• Color spaces do not stick...?

  What is confusing: I have a layered file, assigned color space is sRGB. I save a png file via save for Web, check the option to convert the export in sRGB. Everything looks good in the save to preview 2 - up web. But when I opened the new png file, it's the color profile is defined in Adobe RGB and color space appears off - is not as he did in the SFW preview.

  Details: My default color space is Adobe RGB. Synchronized on all CS5 applications. I have the option checked to warn me on the inadequacy of the profile when opening a file. So far so good.

  So it seems that my working space (Adobe RGB) color is the substitution of parameters SFW and my document color space settings

  Same thing happens when registering as a jpg.

  Any thoughts?

  Economy on a PNG in save for Web will delete the profile. The box converts the numbers in sRGB, but the profile itself is stripped. So when you reopen this file untagged, the workspace is assigned.

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  It's just how the current implementation of PNG in Photoshop. It makes no sense, but that's it. What you see is actually the standard "normal" behavior.

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• 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

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  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:

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  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

• For the printing of P.O.D.: how to set the Adobe RGB color space

  Hello and thank you in advance,

  (I use InDesign CS 5.5 on a Mac).

  I need set the appropriate PDF export settings

  To print a book on demand, with color drawings inside on the text pages.

  The instructions in Mandarin that I could find, say this:

  'Submit your graphics in color space Adobe RGB, integrated withprofile.'

  The big Question: how should I do that?

  I know enough to start with

  File-> Adobe PDF Presets-> print quality

  Then I click on the Menu 'output '.

  and this is where I start to get lost.

  for

  Color conversion...

  I think I should choose "convert to the Destination.

  for

  Destination

  I think it should be "Adobe RGB (1998).

  Now to incorporate this profile.

  What should I choose in virtue:

  Profile Inclusion policy?

  And is there anything else I should do to get these inside good printing color images?

  Thanks again,

  IthacaAuthor (aka ZorbaTheGeek, but the forum wouldn't let me connect with my old screen name)

  Virtually all digital printing is done via PostScript or PDF. In the first case, the PDF file is converted to use viat PostScript to Acrobat and in the latter case, the PDF file is sent directly to the digital printer.

  In both cases, CMYK is actually the real destination color space. There is no true RGB printer! What is true is that non-PostScript / non PDF (laser printers generally low range and inkjet printers as well as specialized sublimation photo printers inkjet and dye) take RGB via drivers and that convert to CMYK, but I don't think that's what you deal with.

  Our recommendation to Adobe for best printing results, whether for offset or digital, is to export PDF into PDF/X-4 with no color conversion using the default color CMYK (CMYK SWOP) space or if the contrary view of your print service provider, among other CMYK color spaces provided by Adobe or the print service provider themselves. FWIW, more peripheral to digital print on demand, have settings to fully emulate the SWOP CMYK printing requirements. The use of PDF/X-4 in this way allows the existing color in your document InDesign is properly tag in the output PDF file and converted to CMYK RIP the device level digital printing.

  (It may also help us if you can provide a pointer to the explicit instructions provided by your print service provider.)

  -Dov

• What color spaces / profiles are used?

  I can't find all the information on the spaces/profiles/tags used for conversions of colors color Kuler... can someone please help?
  
  Thank you
  

  the conversion of colors from one color space to another of kuler are coherent with the default color space conversions in Adobe Illustrator CS/CS2/CS3. As an info, kuler is a subset of the Illustrator CS3 Live Color feature. The formulas for the color themes are from this source. You can learn more about the color dynamics and Illustrator of the following URL. http://www.Adobe.com/products/Illustrator/features/

• After Effects on a different machine than Media Encoder, is this possible?

  Hello!

  Is it possible to have Media Encoder works on a different machine than After Effects? My team needs a machine just to make out/export projects AE. We don't have only one machine to run both, but we want to run them separately. Is this possible?

  Thanks in advance

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  Hi EbatalhaSPTV,

  Yes, Media Encoder is a separate application listed in the list of creative cloud apps, you can download it separately.

  Use the following link to download and install Media Encoder: https://creative.adobe.com/products/download/media-encoder?promoid=KSPDR

  See also, system requirements | Adobe Media Encoder

  Let us know if that helps.

• Media Encoder, adding RGB color casts on BW 16 mm Footage

  Hey everybody,
  
  I'm really puzzled by this one. I work with scans FCP6 and Apple Pro Res HQ 16 mm B & W footage. I am trying to encode a .mov independent (direct to FCP) file in Adobe Media Encoder CC (for Blu - ray) and then burn to Blu - ray with Encore CS6.
  
  I burned the first test Blu - ray last night and when I played it on my reader Blu-ray/TV, I was amazed by the loyalty and the definition of the structure of the grain or thick/complicated 16mm, even through what was only a 6 GB render .m4v (compressed 33.5 GB .mov). , Everything was perfect... EXCEPT... I had these horrible "color casts" of red, blue, green, magenta, in virtually all shots in images. Particularly in the last shot the discharge pipe (see example clips long of 14 seconds):
  
  Original: https://vimeo.com/97456916 (pass: 'original')
  Blu - ray: https://vimeo.com/97453674 (pass: "colorcast")
  
  ***
  
  Obviously the images don't look it into FCP6 or .mov in QT7. I just double checked and color casts ARE visible during playback the .m4v ME converted into yet. I also took the FCP .mov and which brought still and no. COLORCASTS. I also took the .mov, it imported back to FCP and but a color corrector 3 tracks on it and set the saturation to zero, exported to it and then ME > again and it still adds the color... So, I'm 99% positive that it is a problem of Media Encoder. Here are the settings I used:
  
  
  
  If you consider how long is took me to web compression results satisfying film 16mm in the past, I feel like I just hit a grand slam in the bottom of the 9th to the fidelity of the reading of the first Blu - ray test. The movement and the definition are phenomenal, I mean we are talking quality, test - without X.264 or Code Blu--(même avec toutes les conneries de moderne "surcompensation" désactivé sur ma TV). I'M SO CLOSE TO RENDERING/BURNING A BLU - RAY PERFECT IF I CAN JUST UNDERSTAND THAT THING OF COLOR!
  
  Got a deadline for this is put in the hands of a couple of prominent filmmakers.
  
  Any help or ideas that anyone can provide would be most appreciated.
  
  Thank you very much!
  
  Alec
  
  ***
  MAC PRO / / OSX 10.7.5 / / 2 x 2.66Gmz 6-Core Intel Xeon / / 32 GB at 1333 MHz DDR3

  SOLUTION *.

  Well, it seems silly that I had to do this at all, but here is the workflow that finally seemed to fix the problem without adding an extra level of encoding...

  Save autonomous my calendar in FCP6 .mov > take this back to FCP as a separate sequence and apply the filter "Desaturate" (Image control > Desaturate) for the entire film > resave as autonomous .mov > convert into SOUL > master and burn on Blu - ray with still > Presto! NO COLORCASTS on sequence B & W 16mm still and no colorcasts of the file on the Blu - ray disc.

  ***

  I believe that I said above, but in case I didn't, the saturation adjustment or 'Desaturate' via the plugins FCP color corrector work... even with the same exact workflow otherwise. I have no idea why, but if someone always faces the same problem, it worked for me. Only took two weeks to do something that I guessed that would take a day, maybe two. GISH.

  ***

  Thanks again for all the suggestions guys. Really really appreciate it.

  -Alec

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  Blue II Baron wrote:

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