RGB separation

Similar Questions

• Photos for printing RGB separation

  Hello

  I have a picture in RGB, where I turned off the red channel. I want to silkscreen printing the Green and blue channels. How can I separate a rgb photo?

  Thank you!

  Markus

  You can just create the RGB color separations, you will need to convert it into custom channels.

  1. Go to your channels Panel and select the blue channel.
  2. Use the Panel menu to duplicate the blue layer "copy".
  3. Repeat for the green channel 'Green Copy'.
  4. Go to Mode > and convert to CMYK (you don't have to flatten).
  5. Go to file > print and color management > color handling choose "Separations."
  6. From there you can choose markers, crop, emulsion down or negative marks, etc.

• How do I place what the images are RGB using the separations preview?

  2 questions: 1. how to spot what the images are RGB using the separations preview? 2. is there an easy way to convert those to CMYK without opening each to the PS? I've done it before all the time but I'm rusty and don't remember how I did it. I'm on CS6.

  One of the many methods to discover, you can:

  (1) you can use the links Panel.  Open the links Panel. Go to the menu of the Control Panel, and then choose Panel Options. In the dialog box Options Panel, under Show column check 'color space '. Now, when you view your links Panel it will show the color space of all related images.

  (2) you can use the preflight and set a preflight profile. In the profile, go to the section color > color spaces and unauthorized Modes and check RGB. Then all RGB images have reported.

  (3) If you need to know before you place the images, use Adobe Bridge. Open the folder where the image. Use the metadata Panel and view the color space of images.

• for separating RGB color filters?

  I would like to separate color in an image to create false color - start with a single photo UV, combined with a picture of RGB, then separate the B & G of the RGB so I can map the UV to B, B to G and G to R as insects see things. The film images are not digital bullies.

  First of all, I need color for Elements 9 filters and apparently not have installed everything. All the sources that others have used without problem?

  I suppose this conversion each frame separated in B & W, and then to the desired color, then overlay in 3 layers work, but is there a better way?

  You can do without photo filters when you start with a picture (if analogue or digital) color. To get the equivalent of a photo taken with a red filter, use the dialog levels (Ctrl-L) and the less than 0 for the other two channels, G and B output cursor. You get a red monochrome image which you can Desaturate. (If you want to get the color, add a red solid color fill layer). Ditto for other chained up in their own layers. Once you have your three channels desaturated in their diapers, you can add a color to the back and mix the layers mode multiply. If you want to assign a different color to one of these layers, just use a solid color fill adjustment layer bundled with desaturated channel layer.

• 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

• 3 color separation - viewable problem with high-pass filter help

  Hello and thanks in advance for your time and help!

  I fix a color image created with color separation negatives, 3 images black and whites (captured on photographs) combined in the RGB layers to create a color image. The original negatives have been very badly damaged, so the alignment and the correction was quite complicated.

  I'm finally get closer, but there is still a lot of blotches that I have a problem fixed, where each of the channels have been under/over exposed, creating stained yellow or green, etc.

  I tried to use the high-pass filter and discovered, he shows me exactly my problems - of the high-pass filter usually makes all grayscale, however I see blue exactly where I need to make a correction - see screenshot.

  How can I selectively change this field! Other ideas for filters or way of singling out this broken capillaries to make adjustments? Editing is really not help color balance, I tried also to hue/saturation, but I am not able to isolate problem areas.

  

  < < second Image deleted by Mod, in accordance with the guidelines of forums > > >

  If a channel in the filtered image is useful and then load it and use it as a layer mask (and change with the curves and the additional filters needed).

• Record in PDF format using the RGB parameter

  Hello

  I use Framemaker 13.0.2.433 under Windows 7.

  I defined in paragraphs for notes, warnings, and cautions that use an AutoNumber initially while I have Note: and warning: and attention: in front of my paragraphs. And the content of the paragraph that I wanted to not be stressed (so the rest of the paragraph does not underscore parameter), so I defined as in the screenshot below:

  

  In framemaker, it looks good, but if I save it to PDF using the setting RGB , it prints a small dash of underscore in front of my paragraphs, see below:

  

  But if the print using the CMYK setting it does not print this line:

  

  But I really need to print my files using the RGB setting, so please can you me why if I use the RGB setting it print this little underscore?

  Tried the digital underscore, it does not work.

  Tried to put a thin space after the colon, but it does not work also. I tried also to other spaces or symbols of separation (non-breaking space, en dash, em, digital space space space, end of stream symbol, end of paragraph). Nothing works, as long as I set a tab stop, it will try to point out the "stop invisible tab symbol.

  The only solution I see in this case is not to set the tab stop and enter the space manually.

• Need good resources to learn the separation of colors in Photoshop

  Can someone recommend a good resource to learn in detail the separation of colors in Photoshop.

  Specifically RGB to CMYK file conversion best practices.

  ojodegato wrote:

  Specifically RGB to CMYK file conversion best practices.

  With modern color management, it's much simpler than it used to be (and is usually much better, just check the colors of the 80s and 90s reproductions).

  It is not done by numbers more. You get the good CMYK profile for the actual process, test to verify the clipping and then convert them to the end. All the necessary settings are integrated into the profile and things like total ink limit and so on are more a matter of concern.

  The profile must be provided by the printer. Offset presses are usually standardized in Europe mainly in the ISO 12647-2 standard, elsewhere in the world, other standards apply. This means that you can often use standard CMYK profiles. But you should know that one.

• 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.

• Color separation when you export a PDF file

  She was driving me crazy, ADOBE seems to have forgotten to separate colors when using export to PDF method.  Even quark has this option.

  In any case, I expect to know if there is a way that I don't know.

  See you soon

  On behalf of Adobe...

  Adobe applications, including InDesign, Illustrator and Photoshop intentionally omitted the ability to initiate a previously separated PDF workflow. Even if we could hack together previously separated PDF format by producing PDF via PostScript distillation (another stream of work that strongly discourage us at Adobe), the concept behind modern PDF of publication workflows must leave content in its final form at the highest level of abstraction until it must be made, if this rendering is on the screen (a device intrinsically RGB) 4 dye Printing CMYK, or high-fidelity print using traditional CMYK dyes and other coloring such as bright green and orange or light cyan and light magenta as well.

  Once you separate the PDF, you can't really see the PDF for normal playback, you can not easily search or edit, and you cannot change the target printing condition. You can also not dynamic transparency in a previously separate PDF file! And modern native PDF RIPs do not work with these workflow! No ISO PDF / X standard supports these workflows either!

  You want or need to preview separations? Use the preview feature separation of Acrobat (or even the creation of applications).

  If you work with a Luddite printing service provider that requires this PDF files or creates internally, you really need to consider very seriously the other print service providers.

  -Dov

• Print/objects in Illustrator CMYK, background in Photoshop RGB

  It's something that I did some time now without any problems yet, but I would like to know if it is a 'proper' or 'good' technique.

  Essentially putting something together for printing, I work in Illustrator, the text and some objects like vectors. Then configure my backgroung in Photoshop.

  Illustrator document is configured as CMYK, but the background is in RGB, it allows me to use things like filter overlay etc.

  I then place the background in Illustrator and just assume that the colors that don't print will be adjusted automatically by the Illustrator to export.

  Am I right to assume that good?

  Theoretically, you should be able to use RGB images in CMYK files and features (color calibration) are the so-called 'color management' will produce the best conversions CMYK 'possible' appropriately for the target output device.

  However, requires that you work in and understand, a workflow configured properly "managed color' with the correct settings of your monitor on the final print device. (And frankly, if you understand this, you wouldn't ask that question.)

  Realistically, people place RGB images in page layout (design) programs and for decades without problems. They often don't admit it, but it is true. Really, it boils down to two considerations:

  • How color-critical are raster images?
  • How the 'picky' are you?

  Especially if you are one of these creators of prima donna "sensitive artist" who are convinced that they have some color Super humanly increased discernment (gag me) and are simply too learned to never be bothered by something so funny that technical considerations, then you have a lot to learn and you will never be satisfied well-formed output CMYK , and still less the reality hard and cold physically inevitable RGB to CMYK conversion of the compromise.

  But if the project at hand allows you to focus on the practice regarding color accuracy - to-the original and have realistic expectations, most of the workflow auto conversions may be fine for your needs.

  For example, suppose that the raster image is a cartoon, or just a kind of model no objective. In many cases, minor color changes are not really a problem, because nobody in the 'true' color of the original.

  Conversely, suppose that the raster image is a recognizable subject. You wouldn't a greenish blue sky to go or someone tired to go pale.

  It's something that I did some time now without any problems yet, but I would like to know if it is a 'proper' or 'good' technique.

  Of course, it is not 'correct' or 'good '. Best practices, is to only use CMYK color corrected in documents CMYK images. It's just that sometimes, on certain types of projects, it is not really important for all purposes useful.

  For example, I frequently produce technical documents which are delivered via the two composite characters on request and small and efficient interactive PDF format. I'm developing separate versions of RGB and CMYK documents; that would be ridiculous. Photos and vector graphics involved are not critical of color and RGB works very well.

  If you are a serious Designer, you should work with CMYK (in most cases) images and learn more about color calibration of standard practices, but also (and probably more importantly still) learn more about the correction of the color and how to exploit the benefits of RGB and CMYK and Lab to improve of the images for CMYK printing.

  I also frequently produce ads for placement in magazines. I have full CMYK, usual pre-press and practical standards, build them and sweat blood over the realization of optimal color.

  Illustrator document is configured as CMYK, but the background is in RGB, it allows me to use things like filter overlay etc.

  In other words, there are some things you can do in RGB that you can't do in CMYK mode. Guess what: it's nothing new. For example, correction of same color color-critical movements are quite often made in Photoshop in RGB. I'll sometimes use a copy of a RGB channel to change the CMYK channels. But when the image is completed, it is converted to CMYK for the final placement on the page.

  The same can be done in Illustrator. You can work in an RGB document and use the effects of RGB if you want, then flatten transparency and convert all to CMYK. Consider: you can use RGB effects throughout the day, but if you want to be printed using the standard CMYK, all your stuff of RGB color separation will be converted to CMYK before the ink hits the paper somewhere . It's just a matter where that will happen. You can control yourself or entrust it to some automagic along the railroad stage (i.e.; abandoned).

  But if you do use RGB images in projects for the CMYK separation, you must be realistic and understand that the garish neon colors you see on your monitor just won't be mapped in CMYK mode. For example, bright blues will go significantly desaturated, Cyan being the weakest ink in CMYK. If you can consider this rules of thumb and just take what you get. But don't whine (as one of the aforementioned tenors) your print results are "flat" or 'not vibrant' or 'disorder' or 'bad '.

  JET

• I can't watch the spot on the tab Preview color separations

  Hello

  I have opened a few designs with spot colors. I do not select the color separations preview to check/uncheck the colors to be displayed on-screen. And lately, some colors spots appears. I'm sure THAT the colours used on the document are spot colors.

  I said that illustrator CS4 has a bug on this issue.

  What can I do? I need to be fixed as soon as possible.

  I have Illustrator CS4 and Mac 10.6.7

  Thank you

  If the document is in RGB mode, that could happen.

  Try to do a clean document as a test to see if this happens for all your documents, or just the one you are working on.

• separation of Apple Watch

  I'm waiting for my 5th replacement for Apple Watch Stainless, who suffers from the separation of the disc back sensor from the body of the watch about every three months. Any suggestions for a cure. Not very useful Apple technicians in the search for a permanent solution for this.

  What do you do to cause this? All out of ordinary things, perhaps something that involves a large number of jerks?

• Separator for set two sets of headphones to the port single external microphone on iMac

  We want two people appear on the screen even when talking to anyone else on Skype. Is there a splitter available that would allow me to set the two sets of headphones to the port single external mic so that we can use the headset mic and get good sound quality?

  All divisor inexpensive listener should be able to do, for example that I found on Amazon:

  https://www.Amazon.com/Belkin-speaker-and-headphone-splitter/DP/B000067RC4/ref=s r_1_2? ie = UTF8 & qid = 1473882646 & sr = 8-2 & keywords = earpiece + separator

• I can't get my iPhone 5 to recognize an external mic using the separator Conwork mic

  I can't get my iPhone 5 to recognize a micro Conwork separator. Also my iPad won't recognize the port splitter. My iPhone and iPad instantly recognize the Apple headphones with microphone. Conwork announces that their product works with iPhones. I am trying to use a dynamic microphone for filming with my iPhone and iPad.

  There is no STD for headphone mini-jack 3.5 mm with apple to mic input handle one other way makes handle it otherwise, if the separator conwork mic doesn't have the Apple way manipulate this will never work if they declare compatibility apple I would contact them the possibility of the converter in default