RGB to the transfer of the HSI COLOR SPACE

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.

• Photoshop does not recognize the monitor color space

  I have a screen that supports Adobe RGB color space, but when I try to open a picture saved in this color space it tells me that my workspace supports sRGB IEC... and so wonder if I want to change the color on the picture profile or keep. Can it be because its only on the calibration in the factory and the first I need to recalibrate using a calibration device? I have tryied to use google, but in fact I was not yet able to formulate it to search correctly and only found nothing that could help me.  I use the BenQ sw2700 monitor if it helps.

  suggest you to calibrate your monitor profile

  See this link for the procedure: http://www.lightroomqueen.com/articles-page/how-do-i-change-my-monitor-profile-to-check-wh ether-STI-corrupted /

• How can I convert in the NTSC color space?

  I'm at the graphic point to a Roku application that requires that colors spreads without danger in the SDTV NTSC color space. For example, I can't have true colours black white or real. They are not allowed.

  There is a space of RGB colors. When I create a new document in CS6, I choose this profile as the color space. However, I am still able to stick in the images that have a pure white in them. When I save the document for the web and devices, he always saves with pure white.

  I am sure I did this conversion in the past before, but I can't make it work in CS6. I tried going in Edition-> assign profile and Edit-> convert colors in profile, but in both cases, I'm still up to the end pure white.

  How is that possible?

  Hello

  See if filter > video > NTSC colors makes a difference.

  

• Find the Document color space & find samples that contain the content of the text block.

  Hello world

  I tried to figure this out for the last three days. I've tried everything I can think and search all over the internet (GitHub, Forums, etc.). I'm not a javascript Wizard, and certainly a Newb Extendscript.

  Try to determine the color space of the document. Last attempt was...

  alert(theDoc.properties.ColorSpace);
  

  Reminder on this:

  I have a datamerge which creates the attached fields from a CSV file. It is an internal reference to a color code. I am able to test cycle using the for loop an enter the color code. But I can't seem to find a way to seek the shades. One thought was to put in a table and sift through them. The color code provided is not swatch set name that makes things interesting. For example, name is 2297R - 19995, where 2297r is the color code for the text frame. Possible?

  main();
  // this is the function
  function main(){
  // setup some variables
  var theDoc = app.activeDocument; // active doc
  var thePage = theDoc.pages.item(0); // first page
  var theSwatches = theDoc.swatches;
  var list_of_swatches = theDoc.swatches.everyItem().getElements();
  var n = theDoc.swatches.length;
  var color;
  var rgbValues;
  var i;
  var     t;
  
  
  //Get all groups for this document:
  var theGroups = theDoc.groups;
  var theLayers = theDoc.layers;
  
  
  // Color Codes
  var primaryColor = thePage.textFrames.item("Primary Color Code"); 
  var secondayColor = thePage.textFrames.item("Secondary Color Code"); 
  var accentColor = thePage.textFrames.item("Accent Color Code"); 
  var matchGarmentColor = thePage.textFrames.item("Match to Garment Color Code"); 
  var lightTonalColor = thePage.textFrames.item("Light Tonal Color Code"); 
  var darkTonalColor = thePage.textFrames.item("Dark Tonal Color Code"); 
  var neutralColor = thePage.textFrames.item("Neutral Color Code"); 
  var greenColor = thePage.textFrames.item("Green Color Code"); 
  
  
  
  // Code Codes
  var primaryColorCode        =   primaryColor.contents;
  // var secondaryColorCode      =   secondaryColor.contents;
  // var accentColorCode         =   accentColor.contents;
  // var matchGarmentColorCode   =   matchGarmentColor.contents;
  // var lightTonalColorCode     =   lightTonalColor.contents;
  // var darkTonalColorCode      =   darkTonalColor.contents;
  // var neutralColorCode        =   neutralColor.contents;
  // var greenColorCode          =   greenColor.contents;
  

  Help or advice is greatly appreciated.

  Thank you.

  Hello

  ... There is a third source eventually:

  -content of the 'PartOfName' examination if there are spaces inside - in this case the search() method returns "-1"thus."

  (i.e. warning (PartOfName.length) ==> is it == 5?)

  Jarek

• Save the offsets of colors by activating / disabling out ProPhoto RGB in the course

  I'm working on a portrait with the following specifications

  color space: sRGB

  8-bit/channel

  300 dpi

  TIF

  When I do a backup as there is a check mark in the box that says ' ICC profile: ProPhoto RGB.  The printer wants the picture saved as sRGB, so I uncheck the ProPhoto and save without layers.  When I opened the file is saved, he has a terrible gray color to the photo cast.

  Any suggestions would be greatly appreciated.

  Thank you

  Paul

  Maybe you DON'T THINK that you work in the sRGB color space, because you can be misinterpreted the parameters.

  Use the small field of status at the bottom left of your work area to see which profile is actually using the document.

  

  To change the profile of your use of the documents to Edit - convert to profile, set - or - use the file - Save for Web & devices function with the option [] convert to sRGB .

  The Camera Raw Converter can be configured to open a document in one of the several color spaces - I think you have your expected to open in the ProPhoto RGB color space.

  

  Moreover, I still normally the following boxes checked in the Photoshop color settings to remind me when I open a document that is not in my favorite sRGB color space.

  

  -Christmas

• 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.

• The operation of the Photoshop color management

  Hey guys!

  I spent some time, research and try to understand the inner workings of the Photoshop color management and met much information unclear and contradictory, especially in what concerns the test format. I think I thought that some of them out, but (for ease of my sleep) I thought to ask direct questions, just to be sure. I guess it's more of a curiosity thing.

  I'm on a Mac OS X 10.8, Photoshop CS6, monitor calibrated from the standard range, working in sRGB for the web.

  (1) what I have gathered, to get a specific color as possible on my screen, all I have to do is the workspace sRGB or have images with embeded sRGB tag and including my calibrated monitor profile ICC loaded in OS X. In this way, all the images and colors in Photoshop will respect sRGB and my calibration profile will ensure that my monitor is in fact the correct sRGB color display (for as long as it's still capability). Fix?

  (2) I have met many 'practical advice' where people mention using the format of test > Monitor RGB as a way to monitor the colors for the web and then I saw people saying that's not true. As I understand it, the function of monitor RGB strips the tag embeded and does not take into account the workspace of the image, instead showing you the RGB values in the 'native' of the screen color space, which in my case would be sRGB-ish. Photoshop color management, but not the profile of calibration of displayaround a bit. Fix?

  (3) when the viewing a tag image sRGB, activating / disabling the test format: RGB Monitor on and outside has absolutely no effect. Am I right to assume that this is because the sRGB tag is getting 'off', but since the monitor is standard gamut, the native color space is always sRGB?

  What I find weird is when I change the display profile in OS X to my only calibrated for, for example, a generic RGB, activating / disabling the test format: Monitor RGB effect - changes in brightness of picture visibly. If my above hypothesis was correct, it shouldn't happen, right? Where my confusion.

  Thank you!

  Kris

  Many people overcomplicate it. It's actually very simple.

  1 Photoshop converts on the fly from the document on the monitor profile profile. As long as the monitor profile is an accurate description of the screen, it shows correctly regardless of the original document profile. That's the whole point of the color management, translation of one color space to another aspect/goal of maintaining.

  There is no particular reason to work in sRGB just because your monitor is (or close). However, you will not see directly the colors in the file that are outside of the monitor range.

  2. waterproofing to Monitor RGB is a quick test to see how the image appears without any color at all management. I guess it could be useful in some cases, when you need consistency to accuracy. Other than that, it is completely useless, that it shows what it looks like on your system. And anyway, there is no reason today not to use fully color managed browsers.

  3. Waterproofing is an extra turn to the conversion mentioned above. The point is to limit the range to test the profile, so that you can see this cutting will do to the image. It will documents profile > profile proof > monitor profile. If the profile of evidence has a range equal to or greater than the monitor profile, you will see no difference.

  Important point to keep in mind: If the profile source and destination are the same, no conversion happens and color management is by definition disabled or disabled.

  The first part of the string of audit, document evidence, may be a "convert" or "assignment". Convert maintains appearance, while assign run numbers, but changes its appearance. It's the checkbox 'Keep the numbers' in the proof Setup dialog box.

• The CMYK values for the PMS colors in file are spread in final PDF.

  Customer provides us with a photoshop PDF, in which CMYK for a PMS color values are spread (in the case of PMS 633). Client creates files in indesign, save to PDF and then open the PDF Id file in photoshop and re - save as a photoshop PDF.

  Somehow, the color values are getting biased; 96 6/10/29/77.64/27.3/17.41/0, obviously enough to change the appearance of the color and the client refuses the job.

  Any suggestions?

  And Yes, I have noted the measures they take are not recommended, but I have no reason as to why.

  Values of PMS in InDesign are not actually stored as LAB, CMYK values. If the creation of PDF from InDesign and forcing in the process and all tasks the process CMYK, then you get the CMYK values depend on the color space designated for PDF output. Then you have a similar question rasterize PDF file in Photoshop. The CMYK values may change depending on the involved color spaces.

  In both cases, as described in Bob, this is a strongly discouraged workflow. Frankly, you perform additional measures that I guaranteed to degrade the quality and are a source of multiple, probably unexpected CMYK color conversions => C am 'Y' K'.   Ugghh!

  And Yes, we highly recommend the PDF/X-4 without any conversion of color directly exported from InDesign.

  And finally, to use spot colors for print streams where it didn't intend to use additional pigments is just looking for trouble. You can use the definitions of Pantone colors, but at least use the Pantone Process definitions, not spot colors in color!

  -Dov

• I can't use the right colors for a web image.

  I can't use the right colors for a web image. CC of Photoshop can replace colors because my colors are 'out of space color to print"or something like that (I hope I translated it well - I work with the Dutch version PS and this forum is English only).

  I'm not interested in printing at all. I don't want an adaptation for printing! I want just the right color to the screen for a web image.

  I changed the settings to color several times, I created my image all over again, but Photoshop maintains replace my bright red to pale pink because of color printing.

  Thanks for your help.

  Use the SRGB color space. and in the color picker when you see the warning do not click the caveat that it solves the problem. Like that will change the color that you want to use.

• Caveat "mixture of transparency of the document does not match destination... color space. »

  I have a poster in InDesign I want to save in PDF format for printing - when I try to save it as a PDF I get this warning:

  "Mixture of transparency of the document does not match color space of destination specified in the settings of export to the format Adobe PDF."  To avoid the appearance of color changes in the PDF file, click Cancel and change the merger of the transparencies of the document workspace or the destination color space.  Or click OK to continue with the current settings. ..."

  Is there something I need to change?  I use color profiles: profiles of color Source and Destination of the "work CMYK U.S. Web Coated (SWOP) v2.

  Thanks in advance for any idea,

  Chemol

  Edition > merger of transparencies space > Document CMYK.

• 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)

  

• 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.

• Is there a way in LR to say what color space photo is stored in?

  I have a lot of files Tiff 16-bit in my Lightroom library.  I'm looking for a simple way to determine what color space has been assigned to them.  The only way I know to find out is to open them in Photoshop.  Lightroom has a way to tell me?  This seems like a pretty basic capacity for high level like Lightroom photo software, but I can't.  File Tiff still has numbers RGB of origin who had the RAW file, or have been changed as a result of the color space used?  If the original numbers are still there, so maybe that the assigned color space is not serious, and I can change it if I want to? I'm using Lightroom 5.5 on a windows 7 64 system.

  In Lr5 - Yes, well: sorta...

  No display on the right metadata, or in lib filters, but smart collections have rule - see 'color-> color Source profile. Unfortunately, one must know ahead what to look for, but still: it's better than nothing...

  For example:

  

  Rounds to the top of all the photos with the Adobe RGB profile.

  And you can have another with "contains the sRGB..."

  ~ R.

• Is LAB 'native color space' for ID?

  Is it correct to say that the LAB is the 'native color space' for InDesign? Only colors specified in RGB that must be translated to CMYK will by LAB along the way and vice versa?

  No, the LABORATORY isn't the color space native to InDesign. InDesign does not have a space colorimetric native .

  However, all colors between color space conversions happens by ACE, the Adobe color engine, a component of the core of Adobe technology, using techniques of ICC color management. All conversions between color spaces are made first to a colorspace connection , then the color space target. The LAB is pretty well what is this color space of connection.

  -Dov