Is LAB 'native color space' for ID?

Similar Questions

• What is the best color space for workflow photo where the goal is marketing and selling prints?

  What is the best color space for workflow photo where the goal is marketing and selling prints?

  The really important thing here is not work in the color space. The important thing is that you set up your calibration targets so they correspond to the document that you are printing on. This means that the white monitor should be a Visual match white paper and black monitor a match to the density of the ink max for the paper.

  But to answer the question - assuming that you print on an inkjet printer, Adobe RGB should cover most of what the printer can reproduce on a glossy paper of good quality. If you have or get a range wide screen you will also be able to see the range of the file to the screen and you can then test your profile to print with confidence that "what you see is what you get".

  Some will say that good inkjet reproduce some colors that are in fact outside the Adobe RGB, and so you have to work in ProPhoto. While technically true, this superior to Adobe RGB color range is very small and very limited and IMO a fairly minor concern.

• Change how ACR interprets color space for raw images

  When you browse the raw (CR2) photos with the OS X finder, I love the way color is represented, it corresponds very closely to the camera in preview. However, Bridge/ACR/Lr all interpret the color space of files differently good raw, and I wonder if there is a way to put these programs according how OS X finder restores raw images.

  Color space isn't the issue.  I think what you see with OS X finder is the embedded jpg file has been generated by the camera and saved in the RAW file for viewing, and it should look identical to the jpg of the camera.  The adobes in Camera RAW and Lightroom RAW converter uses the Adobe Standard profile of the camera as the default profile to the camera to generate an RGB from the RAW data image and you can save the image as a jpg, tif, etc. with any colorspace you select (sRGB, ProPhoto RGB, etc.).

  Adobe has generated camera profiles for Canon, Nikon and a few other cameras that are a good match for the profiles used by the camera to generate an RGB image.  You will find them on the camera Calibration tab (as suggested in the post above) and they have names like camera XXXXX, XXXXX is the same name as that used in the camera.  Select one with the same name XXXXX that you selected in the camera and you should get a much better game.  You can also change the default profile to the camera at one of them, as suggested in the post above, and then the RAW image will open the first time using this profile instead of the Adobe Standard profile.  If you always use the same profile in the camera, this will solve your problem.  If you use different profiles of the camera in the camera photo then you will need to manually change in Camera RAW and Lightroom to one corresponding used in the camera because the RAW converter does not read what profile you selected in the camera.

• Color space for exported mattes

  I work as a stereo composer and find that I am often creation and composition of elements in several programs according to my needs. This can become a bit confused trying to maintain the appropriate color space and to ensure that items are formed with the mast it was meant to do.
  
  My questions are:
  What color space is a mast that is exported by the Alpha as a .png? .png files are sRGB, should I assume that a mast exported from the alpha channel is so? even if the mast has been created in a project with .dpx files or .exrs logarithmic?
  
  If a cache is created in the RGB layers (a black and white mast without real alpha channel), the exported file match the color space of the type of file that is rendered (sRGB if it's a .png)?, would be the color space determined by that of the original source that the mast has been created from (newspaper if it were .cin)? Or would the color space in this case be dictated by the settings of the project?
  
  Please let me know if anything that I have not has said. Any information on the management of color space relative to the creation and export of the mattes would be useful.
  
  Thanks a bunch!

  I guess I really explicit does not respond to your question:

  Yes, if you import a movie (and the film is be a cache), while the film will be interpreted using a profile of color like any other movie. Just because a movie to grayscale DPX format happens to be intended to be used as cache, it doesn't prevent it somehow be interpreted differently from the other films in the same format.

  You can change the parameters of interpretation to assign an input color profile, and you can choose to keep the RGB values (that is, not color - manage them).

• LR - PS for color space

  Hello

  I used PS4 and bridge for years. Now I've finally moved PS and LR CC. So again to know how everything works. I met a few questions on the color space.  I capture in raw and I have existing files in PS4 in the color space sRGB IEC61966 - 2.1 8-bit (I realized just now that's worse for printing color space) I understand that Adobe Prophoto is a such color space big monitors will not be able to show all the information which means that there is a gap between the screen and printed. Given that I'm large format prints problably it is better to use Adobe RGB 16 bit depth.

  
  

  I learned that RAW files will not have a color space so I don't need to choose or worry about them and also that LR works in a color space called Meilssa/Prophoto RGB.

  Now, I received the following question:

  What will happen with the color space for my existing jpg and psd, tiff girls I have in PS4 in sRGB IEC61966 - 2.1 once I then added in LR? Will be it be converted to Prophoto RGB since it's the working color space of LR? If this isn't the case, it will remain in the original color space. I would like to have these files to stay in space orginal color and depth. Because I don't want to run the risk of losing information by conversion of color spaces.

  
  

  Hope someone can help me with this. And correct me if some of my results are not correct.

  
  

  Thanks a lot ,

  Hazel

  
  

  Your sRGB files will be fine - they will not visually change and will not somehow by LR ProPhoto, workspace.

  LR assigns a profile when you export and then choose sRGB on export of these files.

• 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)

  

• 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.

• Choose a color space in LR CC

  There was once an option to choose/set color in Lightroom with the choice of ProRGB, Adobe RGB, sRGB space as there are PS/Bridge. As I have used Adobe RGB as baseline - camera photo/computer and lab - it's a serious problem, given the develop module in LR using Pro RGB, which does not translate to Photoshop at all without color changes.

  And given that there is no parameter to define a color space "for the moment" by the remarks on the LR FAQ, is there a time for when this critical element will be available?

  Common questions asked about color in Lightroom CC

  pjoye wrote:

  I have white balance adjustments in the LR library and fine tuned develop them. I refined with a cool filter in PS, but when I saw their new in LR, they do not have the same appearance.

  That could happen if you have a preset in the import or the auto tone in Lightroom.

  Other than that, any difference between Lightroom and Photoshop indicates a broken monitor profile.

  ProPhotoRGB has nothing to do with it. You are looking in the wrong place.

• What color space are color presets search for?

  I noticed that if I convert the same image to multiple color spaces and apply a LUT 3D with the new adjustment to color search, the result is significantly different.  Experimentation, it seems that lookup tables work on any RGB value is given to them in any color space.  Is there a certain color space, so they have been optimized?  For example, a certain color space would give me a glance 2-strip more authentic than another due to space, in that they were sampled?  And if I create my own 3D LUTs, should I create a separate for each color space in order to get a consistent look in all areas?

  3DLUTs don't know about image encodings or spaces of colors - they operate on values.

  Devicelink profiles are similar.

  But abstract profiles are completely color management.

  Yes, you will need to create 3DLUTs for each color space and image coding to get accurate results.

• 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

• Lighroom color space

  What print to file or export in LR, can someone clarify if LR transforms the space of color for the profile selected, or is it simply to embed the specified profile?  To make things more confusing, knowing that the native LR color space is MelissaRGB, if the selected profile is built-in, what color space is images LR conversion for export or print in the file?  I know that there is the preference of surface-mounted to convert sRGB, ProPhoto, AdobeRGB when sending to Photoshop.  However, there is no preference for printing or export.

  Thank you all!

  "Embedded" is what is contained in the file. If it doesn't have a embedded profile, viewing programs must provide a default profile.

  Your editor has a default profile that it is configured to use. For LR ProPhotoRGB, PS is often AdobeRGB. When you load an image into the editor, where the profile in the file (embedded) does not match the profile of 'work' to the editor, you get a prompt for how to resolve the incompatibility:

  -use the content profile (incorporated) in the file, or

  -convert the profile from the profile of 'work' to the editor file.

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

  I am trying to output video h.264 for a web project, and can't seem to get the sRGB color matching when rendering on EI.

  I see in the native AE render engine, but not in the SOUL.

  Thank you.

  SOUL (and Premiere Pro) do not support color management in After Effects how does. Links, through dynamic, which is how SOUL bed After Effects comps, the pixels of color-space-set are not corrected for the display.

  To get the results you want, add an adjustment layer to the top of the layer stack in the model and apply the color profile Converter effect. Set the output profile to Rec.709 (sRGB is virtually identical and will also work, but Dynamic Link using Rec.709 in-house is therefore a better match). This force After Effects to transform the pixels adjusted in a non-linear color space that seems correct.

  Note that, although the effect of the CPC is active and view > display color management is enabled (it is enabled by default), this extra layer of transformations of color will make the model appear erroneous in After Effects, at the same time, the model will now correct in the SOUL or Premiere Pro. Disable display color management to make the appearance of the comp in After Effects match what you see in the SOUL or Premiere Pro. While working on the computer, however, you probably want to work with color display on and off the adjustment layer management.

  Under the hood, when color management is enabled in After Effects, to write to the cache pixels are transformations of the appropriate color for the settings you have chosen. When the model is displayed in the Composition Panel in After Effects, further transformation is added to the screen buffer (not the pixels in the cache) pixels to make it look correct on your computer screen, or not if you have disabled the display color management. When the pixels are interpreted through dynamic links, no screen color management doesn't happen, nor SOUL or Premiere Pro applies, so that you get the same look with the display off in After Effects color management.

  Make sense?

• What is Pro P YUV (YCbCr) and RGB color spaces?

  If I understand correctly, Premiere Pro handles colors and luminance in a variety of ways depending on what you do with the video.

  For example, with cuts only edition, P Pro upsamples YUV (Y Cb Cr) video of its sampling frequency native native (4:2:2, 4:1:1, 4:2:0) in 4:4:4. Then converts this on-the-fly to RGB for display on computer monitors but retains the oversampled YUV for the current edition.

  That said, when the application not YUV tag video effects or transitions, the YUV video is converted to RGB, the effects or transitions are applied and then it is converted into YUV lose some quality along the way. Fix? When working with YUV tagged effects, there is no intermediate conversion into RGB, which is a good thing.

  But beyond that, all the video work in YCbCr color space? What happens when transcoding? Is there an optimal workflow?

  Also, what the scope of the YCbCr Parade? The YC waveform, RGB Parade, and the Vectorscope are first intuitive largely because P Pro display and effects are WHAT RGB oriented (despite the many effects with YUV tags). So, what is the best use and approach when working with YCbCr Parade field?

  Thank you

  Jeff Sengstack

  (1) the same treatment of color usually occurs during playback as an export. Where possible, we process and store the data YUV all the way up the screen where we will convert on the fly.

  (2) only the elements of track containing non - YUV effects will be converted to RGB and only for non - RGB effects.

  (3) information may be lost in two ways. First of all some YUV values will map to negative values greater than 255 RGB or RGB and they catch to these limits. Secondly a given value of YUV pixel may map to a fractional pixel RGB value how to round to the nearest. 32 bit floating point RGB is not either of these problems.

  (4) many effects are directly working YUV. If you are looking for an example of chroma appears in the interface user of the effect, video limiter would be an example. How to make controls at an effect is not always directly correlated to how it is made. Use scopes to monitor the YUV values has several objectives. Most of the output formats are still YUV so you will monitor what will be your exit. Also depending on your target, ensuring the values of legal dissemination may be important. Of more if you try to adjust something like the brightness of a scene the luminance channel can be the most important to measure value.

• 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