P2214H RGB and BGR?

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• Why the relative values of RGB and CMYK will not change when switching between Photoshop and InDesign?

  I'm trying to put together a Guide to color for my company's brand guidelines.

  Initially, I worked for InDesign and copied all H, RGB and CMYK values that I had when I went in an eye my original color palette.

  However when I put the same values of RGB in Photoshop I gives me a (somewhat) a different set of CMYK numbers than I had initially documented in InDesign.

  Why is this?

  JamieCurtis5 wrote:

  It makes me feel a bit nervous leaving aside CMYK all together...

  CMYK is essential for a company's brand guide. The printer ask again, it's a simple and direct question. If they cannot answer this fundamental question, that speaks well of their professional standards. It is a common practice and highly standard procedure. I do it all the time (and get answers directly in the world).

  That said, if this guide in general and not necessarily related to this particular printer, it might be preferable, specify a profile which is commonly used as a general practitioner in your area. It depends on where you are. Here in Europe, it would be either Coated FOGRA39, ISO Coated v2 300% (eci).

  In the United States, I guess us Web Coated (SWOP) v2 would be on a list, not because it's necessarily just for the purpose, but simply done to be the default Photoshop. Printers must get loads of the present. Same here in Europe, where this profile is never used any where, a lot of people use it just because it is the default value of the PS and it never gets turned into something more appropriate.

• Mask with a transparent visor Photoshop CS6 giving rise to problems saved as Tiff RGB and placed in Indesign CS5

  Is anyone aware of a black halo around objects of transparent feathers. The halo occurs when the area full of pic feathers to transparency.

  NOTE: The Image looks fine in Photoshop (CS6), but when it is placed as a TIFF RGB in Indesign (CS5) a black halo appears on the page. See Visual explanation below.

  

  This only happens when the image is a RGB Tiff and the layer mask is used to create transparency. If the image is saved as .psd, then it's fine. Also when tiff RGB is converted to CMYK, then it is ok.

  Is

  I look forward to suggestions from anyone.

  Ideally I might just start using the psd format, but I have to manage a lot of images that are already in tiff RGB and it's tedious to have to open and re-save all these.

  Adobe Photoshop CS5 RGB TIFF still work correctly.

  Thank you.

  Colourjam.

  (Production operator pre-press Digital Image)

  Tried your image. Same results. Halo in CS5, CS5.5 or CS6 none.

• I should have a RGB AND CMYK profile in my document?

  It is clear - I'm a Dum-Dum Indesign. I have problems with a booklet that I print.  The same color of blue is printing very differently.  Two blue objects on the same page so differently that one of the objects looks purple print, and is considered the blue, I was expecting.  I did a bit of reading forum, and I wonder if the problem is that I cut and pasted some graphs in Illustrator, who may use a different color profile than InDesign.

  Enter my dialog box "Assign profile" selected buttons indicate that I use both CMYK and RGB color profiles.  Maybe that's the problem?  If you use the profile only one color in a document which requires the same color consistency?

  Update:

  I just checked the color profile of one of the graphics that I imported from Illustrator, and it is a CMYK document.  As far as I know, my ID document has been also implemented CMYK.  What I've done so far is: entered in attribute profiles and disabled the RBG profile, leaving only the active CMYK profile.  But is it possible that I use two different CMYK profiles, and that's where the problem lies?  If so, how to convert at the same profile so that the blue color is consistent throughout this brochure?

  Thank you very much!

  Can you give me any advice will be much appreciated!

  Thank you

  Bryan

  These fine technical answers are probably tell you more you need to know...  Basically, if you create a document and you want to 100% match, you will work in the space of a single color, only and with a working profile.  Assigning will change the appearance of colors, but depending on the circumstances, may lose the link fatally to original color values.

  Keep a profile when you create the objects.

  If you use an object that was created in a different work profile and this profile is tied/embedded, you can convert but not assign, affect the will perhaps break the color management and alter the appearance.  The only time where you must assign is if the object has already assigned profile and that you assign is the good that should have the object.

  As mentioned, appying effects such as feathers etc. can cause changes of colour of the original intent also.

  Opportunities to combine native RGB and CMYK objects and get a full match are small, as the colors are often converted by accessing the largest laboratory as an intermediate translation (among others) color space and the result is not symmetric (if you go there and back, you do not get the same result) and it is rounded values that causes small displacements.  These changes aren't bad for web stuff but results are often unusable in the press.

  Depending on your settings in InDesign, you can properly managed color in various objects that looks bad on the screen but to properly convert PDF for printing too... but that's another story!

  Keep things simple, to work in a space!

• RGB and RGB secure Web

  Hello

  I would like to know what it takes as UTI, RGB or web safe RGB Interest the creation of ' web the elements.»

  And what is the reason for these two references.

  Thank you

  RGB for the Web are outdated and comes from the days where monitors cannot display more than 256 colors.

  Now that the production supports millions of colors, there is no reason to use the colors of web security.

  Make sure that your RGB colorsettings are set to sRGB, since that is the norm on the web.

• PSC6 black artifacts Conversion RGB and sRGB on Dell

  Hi guys, I recently changed pc and monitor causing a bloody problem with these color spaces!

  My monitor is a Dell u2412m and by default it is set to:

  

  Now when I open a RAW with ACR file and choose sRGB as the color space, the result is the following:

  

  As you can see, the majority of the photo shows black shadows. If I save the file and open it with the windows image, it is perfect. Indeed, if I choose ProPhoto for monitor and for photo viewing is very good:

  

  I need to change the same RGB or sRGB color space before saving the final image so I really want a real Preview in photoshop to itself instead of saving first. If the problem occurs when I'm recording in RGB (less artifacts) and sRGB (lots of artifacts!). I don't understand this because I use the same default color for my monitor space. Any guess?

  The pc configuration is:
  Intel i7 3770

  Beta driver Ati ATI HD7870 12.11

  16 GB of RAM

  It is probably this problem:

  http://forums.Adobe.com/thread/1093163

  -Christmas

• Breakdowns of RGB and CMYK

  Hello
  
  I'd really like to see in Kuler using the CMYK and RGB breakdowns with the combinations somehow. For those of us who do not have apliications CS2 and cannot use the swatch exchanmge file, it would be really useful! Then we can just the number punhc in our applications to get accurate colors
  
  James

  If you click the "Make changes to this theme", it will give you all the ventilation you want.

• Change of colors in RGB and CMYK format objects

  I recently updated day at CS6 and 10.8 OS...  Im working in several Illustrator docs using a 100-87-32-32 color. When I change the objects of this color by typing inside the color palette, it changes. If I click on, go away and come back to change the 100-82-36-29 or something similar.

  Retain certain objects and others lag. What gives?

  I think I copied vector elements in Illustrator from other programs and it has retained some of the metadata of color conversion. After copy, or outlining, I seem to be able to change and ask to hold the new color. There must be a bug, but on several elements that was going on.

• Why would I not mix RGB and text colors using Gamma 1.00?

  Forms and text are slicked visibly better with the parameters of fusion in the section controls advanced settings color defined as follows:

  

  For example, consider the appearance of the edges of this text and the circular shape layer in a clear with these settings vs sRGB document:

  Defined as above:

  

  Authorized:

  

  The difference is subtle, but important in my opinion, marking the difference between good quality and good quality.  You can see the difference in the partial shading pixels at the edges curved in this enlargement of a part of the foregoing:

  

  So my question is this:

  Is there a reason that I would not only set the values above and use them all the time?

  I fully understand the concepts of gamma and post-pixel (and I think it's awesome that Photoshop has this feature), but I ask this question here because there may be of the subtleties of how Photoshop uses these settings, I'm not aware of and in particular that they are NOT defined in this way by default with Photoshop CS6.

  -Christmas

  Mix with gamma 1.0 will be slower and may lose precision (quantification).

  Mix with gamma 1.0 will make existing documents, or documents from other users look different.

  Most users should not change the settings.

  Some users who work with third party software which only works in gamma 1.0 may need change settings, and some researchers may need to change the settings for their work.

  Mixture of text using gamma 1.0 will not look correct.

  Text anti-aliasing is still more an art than a science. (and this is why there is always a setting for her)

  The gamma setting for text in CS6 mixture will result in glyphs appearing on weight even when light on dark and dark on light and different positions compared to the pixel grid.  Gamma 2.2 made dark light too fat and light on dark too thin. Gamma 1.0 makes dark on clear too thin and light on the darkness too fat.  The two extremes are glyphs seems to change shape when it is positioned in different phases compared to the pixel grid.

• Photos of RGB and CMYK PDF

  Hello

  The press asked me to create a file PDF of CMYK to print. Do I need to change all the photos I have of RGB to CMYK, or is it enough for just the print to PDF with CMYK properties?

  Export to PDF using the press setting will automatically convert RGB to CMYK.

  Bob

• I want to change a piece of Brown fabric in an image to a mole (with specific RGB color numbers) and would it be this color specific Mole without interference from the brunette... Is this possible?

  I want to change the color of a border of cotton on a carpet sample image that is initially Brown. I need to be able to maintain the texture of cotton while being able to compose "specific" RGB color numbers Curious to know if this is possible? I can eyeball of the color and change it using "hue/saturation" but want to be able to use certain RGB numbers.

  Hi Madison,

  Exactly why do you want this fine control of color? The edges of the carpet are not the same as a logo or a piece of the judgment, its will always be carried out by the way light interacts with fibers and cause color variation. What you ask is, however, possible, but not with the RGB color space. If you want precise control of color, you must work with Lab and adjust one, b channels with curves after entering specific pantone values for the edge of the carpet. Even while Photoshop is on the single application around to support the Lab color space, you'll need at some point return to RGB and use Adobe RGB or sRGB to output and as soon as you do that your likely to get a change of color as these spaces are smaller than Lab leading to clipping. Out of curiosity, I played a bit with an image of a carpet and had no trouble get the shades I wanted. You need a mask that is easy and a layer of hue saturation adjustment with redefine enabled. By varying the hue, saturation, luminance and layer opacity virtually any color is possible. I suspect you want absolute solution, but perhaps this chart will give you an idea of what can be done if you like carpet resembling the flower beds

  Terri

• Determine the entry and exit of Gamut values for RGB profiles

  Hi all

  I'm looking how to check if a swatch value is within my range of .icc profile.

  If I have a color value e.g. L = 74 = 12 b = - 37 and I want to see if it is in my .icc profile I select Edition > convert to profile and choose my profile

  I can then select the shade and see if there wasn't a warning range.

  With the color chart above if my color profile is 'Photoshop 5 CMYK default' I get the warning, if I change the profile of "US Newsprint SNAP (2007)"I don't get it. "

  

  

  

  This works very well for the CMYK profile.

  My question is how to check if the color is located inside a RGB profile?

  I tried to change the intent of the paper Web and Digital Publishing and changing the RGB but only the CMYK profile profile affect the output of the warning range.

  We know of a solution to this? The same question would seem to be in photoshop.

  Thanks in advance.

  Trevor

  Hi Rob

  Thanks for your reply.  I need a solution that I can reproduce by script.

  I have been in contact with Phil Green of the ICC and he said that if I convert my color Lab to RGB and vice versa if a difference between the original and the new laboratory values, then the color is outside the gamut of the RGB profile.

  I have tried this before his suggestion and wasn't getting anything out of the values of the range.  I made the conversions using the user interface.

  After his suggestion that I did the conversion by changing shades space using scripts and, to my surprise showed differences.

  This provides the solution I was looking for.

  Concerning

  Trevor

• Why CC color Adobe and Indesign CC not convert CMYK to RGB the same?

  Recently, I used Adobe Color CC to create a color theme that will be used for print and the web.  I created the theme with the CMYK values approved in order to save the. ASE file will be imported other CC apps.  The corresponding RGB, Hex, Lab and TSL values are created automatically.  Of course, we use RGB and CMYK to print to the web

  A colleague had separately created the same exact theme of CMYK in InDesign CC and exact by the same CMYK values RGB values I used in Adobe Color.

  InDesign RGB values are quite different from the Adobe color values.

  Anyone know why the values are not the same, and more importantly, what CMYK for conversion RGB values may be invoked for accuracy?

  EDIT: I guess the real question should be, what are the parameters of management integrated into Adobe Color CC colors, and can they be duplicated in desktop applications Adobe CC?

  Thank you very much

  Chris,

  Color Adobe does not support color (Web app, or iOS app) management.  InDesign, however, supports color management.  Thus, the difference you see is due to fact that the Id is the color management and the web application is not.

• Choose the RGB color in Illustrator (swatches and sliders are in CMYK mode)

  I do a simple model of cutting laser. Cutting laser acts as a printer and you choose the power, speed, etc. for each color in the document. I want to just cut, so I only lines red RGB 0.001 pt thickness. Or at least that was the plan. One of the forms in my model has come out a different red (the shades were CMYK despite the document color in RGB mode). I would like to now select all the paths in the document and make them all red RGB. However, when I open the color Panel from the dock the sliders are CMYK, once it comes despite the document color in RGB mode:

  

  How can I change all paths be red RGB?

  How can I stop Illustrator offering me color chart and options of CMYK and RGB offering instead?

  Post edited by: Dumble_dad adding the missing words

  Dumble-dad,

  I changed the RGB Panel, but now it is only to offer me the K cursor!

  If you have checked RGB and grayscale obtained, there must be something wrong, most likely in your preferences.

  Here is a list of things to try when strikes of strangeness (you may have tried / some of them already) and see if that helps you (the following is a general list of things, you can try when the question is not in a file specific; 3) and 4) specifically may be corrupted preferences):

  (1) close Illy and open again.

  (2) restart the computer (you can do that up to 3 times);

  (3) close Illy and press Ctrl + Alt + Shift / Cmd + Option + shift during startup (easy, but irreversible);

  4) to move the folder with closed Illy (more tedious but also more thorough and reversible);

  ((5) browse and try the relevant among the other options (point 7) is a list of the usual suspects among other applications which can disturb and confuse Illy);

  Even worse, you can:

  (6) uninstall, run the cleanup tool if you have CS3, CS4, CS5, CS6 and reinstall.

  http://www.Adobe.com/support/contact/cscleanertool.html

• 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.