Problem of color space?

Similar Questions

• 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.

• problem with the color-space conversion

  I am under Photoshop CS5 x 64 with the latest updates, with the latest updates win7x64 too.

  Pictorial seal use AdobeRGB color space to work. The histogram of the image is good.

  If I convert the image in sRGB color space, the Red becomes saturated.

  This very clearly shows the histogram of the Red layer.

  This problem occurs in colorimetric settings perceptual and relative, as well as Photoshop X 86

  With its engine color of Microsoft, the red channel is less saturated.

  In my understanding, in perceptual mode, color-space conversion should create any saturation in the image.

  Please can you tell me if this behaviour is expected?

  Concerning

  Nicolas

  It is simply that your shadow (if there are shadows in space) is not neutral - they have a strong, dominant blue/cyan:

  

  These deep blues are outside the gamut sRGB and clip. The red channel (the opposite or complementary color) wants to go further, but can't.

  If it is a raw capture, you can use the split toning slider for red push in the shadow (to make them neutral). Or you can use curves in the Adobe RGB file, or the channel mixer or a number of other things.

• 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.

• 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

• 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.

• Correction of the problems of color variation (CS6)

  Hey people - pro photog. Here I used CS6 for Mac to edit my images.  Problem is this: the colors look when open in CS6, but when I view on a web browser (Chrome, Firefox, etc.), more often than otherwise, they find themselves looking for dish, deaf and dumb. Sort of desaturated, to a certain extent. Wondering how to fix this?  What is a color profile settings problem?  (The inherent profile for all of my images is Adobe RGB 1998.). Any advice on how to maintain the authenticity of online color would be great.  Thank you!

  (Either way, when I view my pictures on my SmugMug site, I don't have seem to have this problem.) SmugMug seems to reproduce the same-color balance I see in Photoshop.)

  Hi jdanielshaffer,

  You have RGB, not CMYK or another color space. It's pretty easy to check, just go to Image > Mode and make sure its RGB value. My guess is that it probably is.

  The second question is a color profile. This can be set to something else. To use sRGB IEC61966 - 2.1, which is considered a standard for most PC monitors. The best way to check is to go in Edition > color settings. If it is set to the 'General purpose of the North America 2' or ' North America Web/Internet ' it should work fine.

  The last step is to configure an installation of 'evidence' that will establish a monitor preview color. Come on in "View > Proof Setup > monitor RGB". Then you can switch power the proof colors using the shortcut (depending on the operating system) for the colors to test, which is located under the toolbar.

  See also: https://viget.com/inspire/the-mysterious-save-for-web-color-shift

  Let us know if that helps.

  Kind regards

  Mohit

• 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 removed when exporting with the "copyright and Contact Details Only"

  Hello

  When looking at why my JPGs looked more saturated in IE11 I finally discovered that besides all the metadata when you export, delete the tag of color space causing the major problems of color in IE11 and probably other browsers. I think it's a serious problem in the program and must be addressed. I use LR 5.6

  Sorry everyone. I just tested again and I put a good idea 2 and 2 together to come up with the wrong answer

• Color space 32-bit making the letters disappear

  It is a delicate and random question but switch to 32-bit color space is to make letters disappear a text animation. I use an animation types letters one at a time, but when a letter appears that until it just disappears.

  Don't know why this is happening or how to fix. It seems to be the cause of the problem when it restores, it is not only in the program. For some reason any he'll create problems for all animations for do this, all the letters, but one in the most common framework just disappear. It also looks like a text that I initially just disappears without reason, it is not animated.

  In addition, without report, but by selecting 'Linearalize work space' just wrecks of all the colors on the screen and make it totally wrong, do not know what is any other.

  I tried the two comps in my MacBook Pro R 32-bit with no problems. I didn't have your fonts, if some have been replaced. Try to change the font. If that does not solve the problem I guess a graphics driver issue. Make sure of course open GL is turned off.

• D700 files shooting in Adobe RGB color space

  I can open my D700 files in Lightroom 4.4 only if it were shot in space color sRGB.  Lightroom does not recognize them if they were shot with the help of Adobe RGB color space.  Is there some update or connect to lightroom that will allow me to open these?  (I downloaded the last 4.4 Lightroom)

  The V1 version of Nikon Transfer is known to cause problems with new camera ships is it surprising that the versions V1, other Nikon software also has problems.

  Irrelevant, other than being a curiosity, is why Adobe RGB is causing a problem when it is not sRGB, but is not something Lightroom is different, this is something the former Nikon software differently for the raw files of the new camera models, change something in the data when the Adobe RGB color space is specified and making them unreadable to Adobe , but not changing is not the same when they are slaughtered in space sRGB color.  Without an analysis of low level file byte-by-byte you probably intend to be able to understand what the Nikon software, but at least you know what it takes to make things work.

  If you have still something that Lightroom has something to do with the origin of the problem, and then copy a sRGB NAVE and a NAVE of RGB Adobe directly from your camera to your computer and without touching either with the Nikon software and make sure that both are important in LR without problem.

  Software from the manufacturer of the device usually does not include another manufacturer raw files because is one of the tasks of the manufacturer of the device software to make the raw JPG in exactly in the same way as the camera and that rendering is exclusive and cannot be known by outside entities.  Software of Canon DPP does not work with Nikon ships, either.  Software of a third party, such as Adobe Lightroom, must be able to work with raw files from various manufacturers for anyone paying attention, but at the price which is specific to a manufacturer like you don't see focus for your ships in Lightroom, but I guess that you can in the NX software which is produced or at least licensed by Nikon.

• How to change the display of the color picker/color space?

  I wanted to change the view of the color picker/color space to what it looks like in other Adobe programs. I got the habit to use the selector of color from other programs and I had problems with the appearance and function of this color view.

  In InDesign, the color picker looks like this:

  

  And the Photoshop/Illustrator/etc looks like this:

  

  I tried to change the "convert to profile...". "and the fusion of transparent space, but have done anything about what I want to do.

  Is it possible to change this in InDesign?

  Note: I want to change the appearance of similar gradient box if it is not obvious.

  Rob,

  You're wrong. If you are on a Mac equipped with suitable equipment and that you use the latest version of InDesign, you have animated Zoom. See below:

  

  I wrote about it here:

  GPU and animated Zoom support arrives (for the Mac...

• Save the PNG as gray color space

  Hi all

  I searched high and low for a good answer to that, but no luck so far:

  I have a file I want to save as a mask for an application.

  The image must be:

  Format: PNG

  Space color: gray

  Alpha channel: No.

  I put the following to my file HAVE: the effects of rasterization of the Document settings: Colormode: grayscale

  I changed my Edit-> Edit colors-> convert to grayscale (but the text "Convert to grayscale" don't is not grayed out next time I look at the menu problem?)

  I then save the file to the Web, and devices such as a PNG-24 or PNG - 8 (gray scale, no dithering) but no matter how I save the information file indicates always that the 'color space' of the file is of type RGB. I can't save the file with a space color: gray.

  I'm doing something wrong, but what?

  Any help would be greatly appreciated!

  Kind regards

  Smulan

  Have you tried using Photoshop to re-register as grayscale, or maybe something like GraphicConverter?

• How to select color space in LR3

  Completely new to digital (from the wet darkroom).  Use only LR3 and so cab to develop my RAW files.  I read LR3 book Kelby and Adobe Lightroom 3 - FAQ missing but need to know how to choose color to view space and process photos in LR3.  I guess his sRBG but there should not be a way of defining color space Adobe RGB or ProPhoto if I want to?

  I just printed on an Epson Stylus Pro 3880 a calibrated monitor and the photos look darker.  I want to make that my color space on LR3 is sRBG before printing again.

  The color space in LR is Melissa RGB, which is ProPhoto RGB with the same curve of gamma than sRGB.  It cannot be changed.

  I just started to use a 3880 after years of use of an HP B9180 and I do not print dark.  There are many on this forum who use the 3880 without no problem, some since it was introduced.  I'm sure they have more experience with the printer I have - I got mine for less than a week.  They can be in a better position to help you with your dark prints.

  I calibrate my iMac with ColorEyes Display Pro and a Spyder 3 washer.  I printed using LR manages the color using the Epson profile appropriate for the paper I use.  I can't tell any difference, visually, in shades of colour between my screen and my impression when I want the impression to 90 degrees to my monitor that lets in the light of the room to fall on printing.

• 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