Relationship of Bit depth and color profile

Similar Questions

• Softproof and color profiles

  Not all of my correct installed color profiles are available in the menu "Profile" softproof in the develop module. Why not? And how can I change this?

  Thank you.

  Those who are not?  Profiles CMYK will not be displayed, for example.

• Soft proofing and color profile

  Dear all,

  problems shall comply with archival ink jet print places I tried. I am now looking at "soft proofing" which I think is not without her pearls. The problems I've experienced before where the images were no converted the profile is that sometimes they would print at great expense properly and sometimes they would not, again at great cost. If the image is converted to the correct profile, in this case Hahnemule, will the embedded profile that the image will print consistently and 2 different days?

  Images must be in Adobe RGB (1998) or sRGB, in both cases with

  embedded profiles, but only one type for each poster.

  The printer must apply 'Use integrated source profile' mode and a

  Destination profile which is valid for the paper and the printing process itself.

  Hahnemühle says almost nothing.

  A few parameters: weight in g/m², resolution in dpi, dithering mode

  (pixelation), CMYK or CMYK + LightC, + LightM, or other combinations with

  several grays, or to Orange and green. Given the fact that inkjet

  In addition, often use a profile of linearization, there is a good chance of

  Errors of the operator.

  This should be fixed in advance. Then the appropriate profile can be used

  for ever.

  IMHO, a wedge of FOGRA control is used for the printing of the evidence,

  which means "simulate the appearance of offset printing with inkjet.

  At least I use the corner of control in this situation. It requires a

  spectrophotometer, incidentally.

  In all cases of doubt I would print a typical image with well known appearance

  in the same process.

  For example, p.4 / p.5 here:

  http://www.FHO-Emden.de/~Hoffmann/a3gencolorhigh.PDF

  Cordially - Gernot Hoffmann

  Regarding the last post #3: If the print operators are not familiar with

  color profiles, then the situation is desperate.

  Post edited by: Gernot Hoffmann

• Maximum Bit depth and maximum quality, unnecessary with CUDA?

  Hey people,

  I don't understand. I know that both of these Options are in normal use.

  BUT I don't know if there is a difference in my result in my special workflow.

  I turned on RED 5 K, Davinci, exported in the form of Prores4444, having at first in 4 K timeline to export a 4 K Prores4444 for DCP Mastering classified.

  When I'm starting to, I would say that rendering maximum quality because I am staggering 03:55 and maximum depth also due to some graphics that I add on my calendar. BUT I red this article from Adobe:

  CUDA, OpenCL, the Adobe Premiere Pro and Mercury playback engine | Creative blog Cloud by Adobe

  Here I understand well that while exportiing with CUDA on a GPU (I have installed GTX980), scaling operations ALWAYS operate on a maximum quality and export on gpu work always in 32bpc color. Is this correct?

  If this isn't the case, I don't understand bit prores depth settings in my case. Prores4444 is a little 12 Codec - so when I export and let off all will be encoded with 12bpc, right? Under the maximum depth, I have 4 options: 24, 36, 48 and 64-bit. I think that 24 bits is 8bpc, 36 is 12 PCBs, 48 is 12bpc with alpha and 64 is 16bpc.

  Why should I use 24 with PRORES as an export option? It takes 64 all the time or is it unnecessary because it's a little 12 Codec anyway?

  You're right on works of PP.

  I have no info on the issue of ProRes that I simply never use it.  There is a little 12 option Cineform which might work for you, however.

• In a STC, dark scenes have reduced bit depth or color band heavy

  Hello. I master a short film that I have edited.

  At all stages, it is REC 709, including the graduate master,

  I have imported it into AE for resizing (anamorphic lenses were used) and above all, to slow up to 24 images per second for STC.

  This has worked well and the STC, I created with AE and SOUL played perfectly in a test film.

  .. .with the exception of a very dark scene in a red tent lit from outside, where the stage become a mess of essentially four strips of red color.

  I saw in the grade and the output file (dnxHD185x) more than enough information color/luma to do all the details in this scene, but I am confused as to why he disappeared the number of bits of the RSD.

  My AE project is 16 bit and I won't present any color space management, the rest of the film looks perfect.

  I guess what I'm looking for is for AE or SOUL to "procrastinate" better gradients, without necessarily slapping artificial grain on the stage to force better dither.

  Any thoughts? Thanks for your time.

  What version of SOUL are you running? Specifically, what is the version if you go to help > about?  I ask this question because we published 8.0.1 DCP to solve the problem with dark scenes of update.

• I want that all my color settings set to sRGB so that when I print from my professional lab colors will match my screen (I'm calibrated). When I hit save under and see that there is a check box to embed the Adobe 1998 color profile in the menu, but I want

  When I hit Save as menu drop-down is checked to integrate adobe 1998 color profile and I want it to be srgb. Where can I change so that it is srgb and the rest in this way? My impressions of my professional lab and come back cast, flat and dark green or blue for them. My monitor is calibrated according to me its because somewhere I have adobe 1998 selected and color profiles are the translation not properly so I need everything to be srgb. I am also shooting srgb. Help, please!

  If you think that your calibration profile is disabled, follow these steps:

  

• Playback bit depth

  Hello

  We are on the latest version of PP and have a pipeline full 10-bit to our instructors.  We have DNX 185 X media on the timeline, and there is no indicator yellow rendering.

  During the break out is full quality - no problems.  When rub us or hit play the quality decreases what I expect, it's 8-bit output.

  I double checked and the playback quality IS set to complete in the menu Viewer key quality. Also the Maximum bit depth and the Maximum render quality are also both verified in the installation sequence too!

  To make things worse if you change this clip on HDCamSR band nature of the bands/8 bit disappears during the snap!

  I need to know how reading in full 10-bit so I am editing and scouring etc.

  I found a thread similar, but no response on the cow:

  https://forums.CreativeCOW.NET/thread/3/968552

  Thank you very much

  Paul

  New in the 2015.2 update, there is a 'High quality of reading' parameter which should allow for this in the menu key to watch

• For dissemination of TVC video bit depth? (and the request for audio levels)

  Bit depth - does anyone know if the export to the maximum depth is a problem to stream TV?

  

  I am about to download a TV spot 30 second to Adstream and want to get some feedback on the technical specifications before making, because they charge my client by upload, so no matter what mistake I make costs them.

  I have now a few new options PPCS5.5 and TEA that I didn't have before.

  Also, anyone know the audio level required for broadcasting... When I use Final Cut Pro suites for broadcast, I learned by direct feedack of Adstream it should be less than or equal to-9 dB on the counters.

  

  So currently I export the Audition sequence then finalize the audio with the "hard limit" effect to a constant level to-9 dB.

  By the way, if anyone wants to chuck in a few tips general progress be my guest, I'd be interested to hear the thoughts of people experience.

  For animations TVC my workflow consists currently of-

  Clapper is a nested sequence

  TVC is a dynamic linked AE project

  Audio is sweetened in hearing

  shooternz wrote:

  I am in New Zealand and know the Adstream specifications.  You will find that they are very focused on the Mac.

  Don't worry "bit depth".

  Just to confirm, Adstream has accepted the material that has been treated to a 'higher bit depth"without any hitch.

  It's kind of feeling...

  Summarizing my understanding...

  Checking the box next to "make maximum depth" will make the file using all data available for the file color, but will always be 'resigned' (as you say Jim) 8-bit according to the format... (this is exactly what happens if you choose to export to Quicktime h.264 as I do for broadcast). The size of the file to finish a little more grand, that tells me that there is more data (and quality) kept in the final video (as you would expect if you check the box.)

  Here's a snipit of the media info that confirms the final bit depth = 8bits

  Format                                   : AVC

  Format/Info: Advanced Video Codec

  Format profile: [email protected]

  Identifier of the codec/Info: Advanced Video Coding

  Bit rate mode: Variable

  Bitrate: 8 614 Kbps

  Frame rate mode: Constant

  Frame rate: 25.000 fps

  Standard: PAL

  Color space: YUV

  The chroma subsampling: 4:2:0

  Color depth: 8 bit

  Scan type: Progressive

  Thanks for the help!

• Equium M50: green screen fuzzy and all the white bits are pink color

  Hello

  wonder if someone might be able to help as I have no idea. I have an m50 laptop computer witch has a fuzzy green screen and all the white bits are pink color.
  Hope some body can help me because I'll be very grateful.

  Hello

  I agree with Richard. Please contact your dealer or an authorized partner Toshiba. The addresses that you will find under http://www.csd.toshiba.com/cgi-bin/tais/su/su_gaspLocator.jsp?pf=true

• Screen resolution and colors - how to set 16 bit

  original title: screen resolution and colors

  I have Windows Vista Home Basic package, but when I change my screen resolution, color change, it says 8 bit - low, but size of the screen (640 x 480 pixels) resolution is big for me, I need 1024 x 678 pixels and 256 colors not, I need 16-bit. Help please, because I really want to keep Windows Vista Home Basic Edition

  Normally, it's because you need to install the correct drivers for your graphics (Vista). Go to the site of the manufacturer of your PC in the first place, or if the manufacturer of the graphics card to download and then install them.

• U2413 - factory Color Calibration and ICC profiles

  Hi, I just bought a U2413. I need for photography. There is nothing on profiles ICC U2413 DELL that was installed with the software in the documentation. And please note that I have not (yet!) a calibrator. I need to configure the best without calibrator... using the factory calibration.

  I hope you can make it clear, to me, how it works.

  The monitor has different MODES BUILT-IN, such as:
  -Color space sRGB
  -Color space ARGB
  -Standard
  -Game, etc.

  Which mode is the one that has been calibrated at the factory?
  What mode should I use in order to have the results of color?
  I see that there is no DELL U2413 color profile, D6500, which is associated with the monitor (I can see it in the control panel). I think it is good to have this setting. Can you please confirm?

  Do I set up the U2313 DELL ICC profile also to programs like Canon Digital Photo Professional, or as long as it is in Windows, it is not necessary? [Item 3 of this screenshot]. I see that if I put profile DELL in Canon DPP the colors of the photos appear much colder.

  Thank you

  If you do not have access to an i1DisplayPro/Color munki display a yo do not have the possibility to calibrate (not even in GPU with the munki:)

  factory calibrated
  -sRGB: 50 50 brightness contrast. You can use standard sRGB.icm, once lower you it up to 120cd/m (20-25% brightness) you will lose the white point calibration.

  -AdobeRGB: contrast 50 50 brightness. You can use standard AdobeRGB1998.icm (complatible or ones like Clay1998.icm), once lower you it up to 120cd/m (20-25% brightness) you will lose the white point calibration but less than sRGB. For color management programs and without perhaps a colorimeter its your safest choice, do not forget to assign and activate an Adobe1998.icm/Clay1998.icm in Control Panel of Windows to your monitor while you're in this preset OSDdevice.

  The other preset OSD are not calibrated at the factory.

  -standard is delivered with the native range (as described in U2413.icm of pilots) and native white (whie 6700-7000K with a strong green tint)

  -Custom is delivered with the native range (as described in U2413.icm of pilots) and native white (whie 6700-7000K with a strong green tint), but you have access to the parameters of "custom colors". 20-25% brightness, contrast 50%, and R = 100, G = 91 = 97 peut give you near D65 white and 2.26 "grow" gamma (cose to 2.2 or sRGB but I guess it comes with a ramp to a same gray except calibrated). Try these setings and activate U2413.icm in this preset custom of the OSD.

  And get an i1DisplayPro, you really need.

  Canon DPP regarding:

  2 refers to the "default" image profile
  3 to view the profile (so the DPP can distort the RGB values in the image to represent this color in what that is the range to your screen). Once you set a dile icm as 'default' in the control panel-> color management-> your device it shoud check the option "use operating system settings" (I think, I don't have any owm a canon camera)
  5 a your printer profile, a profile for each combination of inkjet paper
  6. keep this, perceptual is generally more 'alive' than the actual image
  7 I think takes forever with Canon programs (but I am not a canon camera, so I have not tried their meaning), keep the same as 6

• Between cc and cs6 indesign color profile

  Hi all

  I use indesign cc and cs6 in Windows 7 os based on the customer's requirement. When I change a color profile in indesign cs6 reflecting in indesign cc and vice versa. Is it possible to keep them unique?

  The only solution is to have several documents, each embodying the color settings you want, but otherwise identical.

  -Dov

• I have some 24 and 32-bit PNG. On the bridge Panel, I don't see the value of bit depth.

  I see the value of bit depth (8-16-32) for the PSD but when I generate a .png32 that this value does not appear on the Bridge Panel file properties; I check on Panel detail of Windows image viewer and it says 32 bit. Thanks for your help!

  Hi iolnation,

  No, Bridge does not show the depth of bits for PNG files. You may apply for a feature on the link below, telling them why it is important for you to see the depth of bit for PNG in Bridge. I'm all for anything that will affect better PNG.

  Community customer Photoshop family

• color for web and print profiles

  Hello

  I'm editing photos from my digital SLR. They were shot as jpg in Adobe RGB. I'm editing photos for both web and print right now and I was wondering if there is a way to do so that I would be able to change for both at the same time in the process of Photoshop.

  Here are the details for what I usually do:

  For printing, I would work in AdobeRGB photos while the check option has the working CMYK value (usually SWOP, depending on which printer I use). Then I would flatten the work, resize and sharpen and change the color to CMYK mode, save as TIFF.

  For the web, I used to edit while RGB color settings are defined in sRGB IEC61966 - 2.1 and verification is set to RGB monitor. I flattened, resize and sharpen and save for Web.

  Is it possible that I can edit a single photo (shot in Adobe RGB) so that they can be used for BOTH print and web? I know CMYK or RGB would mean they would end in search of different end, but is be possible that I can have a single Photoshop file for the photo and go through the steps needed to make it ready for printing and for the web... or because of the color profiles and linguistic verification options , there is nothing I can do but to edit each photo twice?

  Thanks in advance to anyone who might be able to help.

  First of all I suggest you just started shooting RAW not Jpeg.

  then personally I work in AdobeRGB. I place my PSD AdobeRGB in ID and the CMYK conversion is done when I do my PDF. for web work I convert to sRGB when I use save for Web. Do not use your monitor profile color proof for the web like that you have the correct monitor profile.

• on 23fi HP pavilion monitor bit depth

  Just bought a HP pavilion 23fi monitor and photos show an effect of Posterization, mainly in the sky.  I was wondering what bit depth this particular monitor is what I think may be the cause

  I'm sorry for the delay in answering your question.

  Here is the response I received from HP:

  According to the person who knows these things, the depth is 6 bits with Frame rate control (FRC).

  FRC is a temporal form of dithering that cycles between shades of different color with each new image to simulate an intermediate shade. This can create a potentially sensitive spark of 30 Hz. FRC tends to be more visible in the darker tones, while dithering appears to make visible the individual pixels of the LCD screen. (from Wikipedia)

  Please click on the Thumbs up button '+' if I helped you and click on "Accept as Solution" If your problem is resolved.