The color space Conversion issues

Similar Questions

• 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.

• Different color space conversion

  Dear Color Management Guru,

  I have a question about the conversion of digital files between color spaces. Is it okay to convert a file to a color space Adobe RGB to a smaller color space such as sRGB, or vice versa?

  Thanks in advance,

  TC

  I recently attended a webinar and the instructor advised that you should never "convert a large space like Adobe RGB in a smaller space such as sRGB.

  This isn't good advice.

  Convert the when you need to convert. sRGB for the web. CMYK for offset, etc.

  In addition, the instructor recommends that photographers fixed their cameras to capture space sRGB and then later convert into a larger space if the output device it can accommodate.

  Too bad advice.

  SRGB hamstring capture you from the start. Almost every output device (screen, inkjet, digital press, offset press) may exceed the range of colors sRGB at least one dimension. sRGB is the lowest common denominator of the color spaces.

  My training as a film photographer makes me think that you do not want to enter your files with as much data as possible.

  You are right.

  At the very least, capture in Adobe98. But you should really be in RAW capture. It gives you flexibility over when you change the image.

  My thought is that the files that are saved in Adobe RGB and sRGB converted lose date indeed. However, data that are retired are colors that do not exist in an sRGB file, can be outside of what is perceptible to the eye, is outside the ability of the device to record output, or colors naturally non-existent in the subject in the first instance.

  Well, a little...

  The changes are certainly NOT "outside what is perceptible to the eye."

  When moving to Adobe98 in sRGB, you lose a significant amount of color in the spectrum cyan/blue part. Try it. Take a picture that was captured in RAW and converted in Adobe98 (or just directly captured in Adobe98) and contains a blue sky deep or the kind of turquoise you see in a pool or the tropical ocean. Convert the sRGB image and notice what happens to the blues and turquioses. Yuck. But it is what it is. If the image is moving toward the web, what you treat.

  __________________

  A question:

  Did you pay money this webinar? You can try to get it back.

  Beware of the advice you hear on the internet.

• 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.

• 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.

• Tags of the color space can be identified in Lightroom 3?

  I'm looking for an easy way to check if a color space tag is associated with a specific (for example an imported JPEG) images in the library Module.  Anyone know?  I can't seem to find a line that in the view of metadata.

  LR does not show this information, he correctly interprets an ICC profile embedded import, but therefore the photo is in internal LR color space.

  Use a third-party utility (ExifTool, etc.) to search for the color space tag and/or the embedded ICC profile.

  Gossweiler beat

  Switzerland

• How to automatatically answer the question of "change the color space?

  After obtaining of CS4 I will often wonder if I want to change the settings of the color space of the image I want to open.

  In previous editions of SP/c, you can access the General settings and set the response to be automatically always the same (always ask/never ask/always the existing value or original...).

  Since I always want to change the color space to match the color in CS4 space I would like once again able to set as default. How can I do this in CS4?

  It is in the color settings (Edit > color settings). Change the RGB color strategy to convert RGB working. Uncheck the appropriate (or all) checkboxes in the politics of color.

• Change the color spaces of dialogue impression

  I have a CS4 INDD on Mac OS 10.5.8 which was created for us Web Coated paper. All images have us Web coated incorporated in them. We print it in leaves on a sheet not lying so I will try to test CMYK print and then choose the printer profile us leaves not lying in the color management tab. I check the option preserve CMYK numbers, knowing I don't want black text to convert an accumulation of process. In short, the images are not being converted. They always have a 300% total ink in black areas. If I convert them into PS total ink reduced to 260 which is what I'm after, as well as the compensation of gain a tad more dowry.

  If I uncheck the option preserve CMYK numbers convert images but the fact the text. I've rechecked to ensure that images have the profile Web Coated incorporated, which is supposed to trigger the conversion when INDD sees that it is different from my profile of the printer (to no bed sheets).

  If I export PDF directly from INDD they convert but the fact the text.

  If I print postscript with leave unchanged colors selected in the tab out, then set Distiller to perform the conversion, it does not work unless I uncheck the option preserve CMYK numbers. Gives me black constructed type in the process

  I tried all the options I can think and can't get the images to be converted and the type to pass through unchanged.

  I could go through and convert images in PS, but I'm really looking for a way to do when printing as this scenario comes all the time.

  Any suggestions?

  Thank you

  Clark

  Color press

  It is probably a case of use of the wrong option for how to treat files when you place them. It is important that the policy be set to PRESERVE embedded profiles, or ID guess the current workspace.

  There was a similar thread about a week ago.

• confusion of the color space

  Canon DPP and IMAC, sRGB, CS4

  I open images in DPP. the color is just great. punchy and saturated.

  I convert and save the TIFF image. I lost a large part of the punch in my color.

  I open the file in PS CS4. the color is all gone far. the file looks like washed out, cool.

  I got my workspace sRGB in the CS4. It was nothing like what I get in DPP.

  analyses, DPP files files, everything I opened in CS4 seems dull and cool.

  If I saturate the file in CS4 it looks terrible when I save it to a folder.

  is it possible I can get CS4 to give me punchy colors?

  You Desaturate monitor colors turned on in the advanced controls color settings?

• 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.

  

• RGB to the transfer of the HSI COLOR SPACE

  An organization can help me for example how to change the color space of the image RGB to HSI image and then save and display the new image

  

• 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)

  

• In what color space is LR mobile make the raw images share?

  The title says pretty much all this.  I installed LR on my iPad, import raw images captured with the Camera Connection Kit, previously made some changes and exported jpg by email to myself.  The files come into Photoshop as "mystery meat", i.e. without embedded profile, or even an exif tag.  I'm probably leaving sRGB, but it would be useful that Adobe would include at least the color space tag in the exported file.

  Richard Southworth

  '

  Hey Richard Southworth,.

  Your assumption is correct. They are sRGB.

  Let us know if this answer helped in marking it as correct or responding. Thank you.

  Melissa

• 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.

• The lucky CMYK color space

  Is it possible to change the color space to CMYK, RGB colors.  In the desire to create an image to a CMYK with an area of 24 "x 16" print.

  Thank you

  Joe

  Lightroom can export CMYK files, you will need to convert to CMYK in Photoshop.

  If the printing is done on an inkjet printer, note that most inkjet must be fed of RGB files, even if they use CMYK inks.