"Working color space" - InDesign

Similar Questions

• Photoshop and working color spaces

  How many color spaces Photoshop can work properly?

  Can only work with gamma 1.8 and 2.2 those or even with linear or L * space color gamma?

  Isn't it enough that the spaces of work RGB = 0 0 0 mapped to L * = 0 and RGB 255 255 255 mapped to L * = 100?

  Thank you

  Marco

  An infinite number.

  If you have a valid profile for your document, Photoshop can use.

  If you have a valid profile for your display, Photoshop allows to correct for it.

• How to solve "unsupported color space" to pack a psd

  I have a big PSD with dozens of dynamic linked or embedded objects, when I try to package I get

  "Couldn't package the document" (aw) .psd "because a color has been specified using a color space not supported."

  Because Photoshop gives me no clue as to what and had this "unsupported color space" is, how to solve this?

  (PS CC 2015.5.1 MacOS 10.11)

  An easier option would be to sort your smart objects related, then rasterize them for the "packed" version (do not save on the linked original PSD). Which should convert them to your current working color space.

• 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.

• InDesign color space

  Hi all

  I want to import into InDesign some pictures saved in the color space ProPhoto tiff. In order to maintain ProPhoto I think should work in RGB mode in InDesign.

  But when I open a new document in InDesign, it seems not created by default to CMYK, not in RGB mode... How can I switch to RGB?

  Thank you!

  Yes, you can convert your document into some CMYK ICC profile (images ProPhoto will be converted as well), but if you have very colourful images, you propably end up having a clipping of color is produced. Any CMYK ICC normal range is much narrower than the range of ProPhoto. All the colors of your ProPhoto image that are outside of the CMYK range, will be cut.

  That s why the workflow recommended is usually convert images in AdobeRGB in Photoshop. And if you want to be extra carefull (and you have calibrated and profiled monitor) you can softproof your AdobeRGB image in Photoshop, then you will see how it s will look after it has been converted into a CMYK image. Then you can adjust your image if you face some clipping of wrong color...

• 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)

  

• Can not unlock the profile sRGB color space drop, Help!

  I need to unlock the next file to install adobe cs4 on my windows vista system:

  C:\windows\system32\spool\drivers\color\sRGB Color Space Profile.icm

  I downloaded the program "unlocker 1.8.8" but when I try to run the file, I get a message "no locking handle found. I tried to "install profile" as well, but nothing happens when I press this option. Also, when I go in the file properties > security, it only allows me to add 'total control' to the 'system' or the 'administrators' account I am at a loss. Help, please!

  Thank you for your answer! I was able to install adobe cs4 without opening the file after all. I followed solution 6 on the adobe forums page you suggested above (adobe customer service offers I do solution 1 and 6 and since I could not with solution 1, I did solution 6) then quit all programs and restart the computer. I then leave all the start up programs and tried to install again and it worked (the program has been completely uninstalled before that I did). Thank you :-)

• 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

• Color space in After Effects by default

  Hello world

  Fast and quick question for you:

  Is there a way to set a default color space in the aftermath?

  Whenever I launch AE I change from 8 to 36bpc and set the 'None' to sRGB and linear color space. I tried to synchronize my account settings, but it does not change a thing, I do whenever I start a new project.

  Do you know if there is a way to change this and why do the color space, the none default value?

  I am grateful for!

  It's just how AE works. Traditionally, AE had no color management and always assumed a standard sRGB color space, where any advanced options must be set manually. I don't know we talk their ears off the coast backstage at new default values on the beta today still just as they did a decade ago, but alas, things are just as they are. Until the AE unifies these parameters to be included for example in the parameters of the model, I don't think that this will change anytime soon...

  Mylenium

• 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.

• Lighroom color space

  What print to file or export in LR, can someone clarify if LR transforms the space of color for the profile selected, or is it simply to embed the specified profile?  To make things more confusing, knowing that the native LR color space is MelissaRGB, if the selected profile is built-in, what color space is images LR conversion for export or print in the file?  I know that there is the preference of surface-mounted to convert sRGB, ProPhoto, AdobeRGB when sending to Photoshop.  However, there is no preference for printing or export.

  Thank you all!

  "Embedded" is what is contained in the file. If it doesn't have a embedded profile, viewing programs must provide a default profile.

  Your editor has a default profile that it is configured to use. For LR ProPhotoRGB, PS is often AdobeRGB. When you load an image into the editor, where the profile in the file (embedded) does not match the profile of 'work' to the editor, you get a prompt for how to resolve the incompatibility:

  -use the content profile (incorporated) in the file, or

  -convert the profile from the profile of 'work' to the editor file.

• Import a flat .psd or laminates gives different colors in InDesign

  I have a file .psd RGB, with sRGB profile. When it is placed in InDesign, the appearance of the colors as expected.

  When in Photoshop the background layer is double clicked (to make a layer), and the file is saved without any change.

  the colors in InDesign seem dull (as if there is some sort of current CMYK simulation).

  This happens with all the other images on the page where it is placed.

  On other pages, the flat file still looks raw and RGB - ish, but as soon as a layered file is added, the colors change.

  As soon as I delete the image in layers, colors go back to high heat. Sometimes in Print, Web, and Digital Publishing mode.

  I don't want any of this! (I use InDesign to make a presentation to the screen, and I like the look of the RGB image, but who are Cinema 4 d returns, I need a few institutions overlay)

  Any ideas on that?

  Thank you!

  

  Edition > merger of transparencies space > Document RGB

• In the toolbar, I click on the face of color and see the view from the RGB color space. How can I put them in CMYK?

  In the toolbar on the left, click on the face of color and see the view from the RGB color space. How can I put them in CMYK?

  German:

  In der Werkzeugleiste klicke auf Farbflache und den RGB-Farbraumansicht sehe ich. Stelle wie ich sharp in CMYK um?

  Color picker, if that's what you mean (it opens if you double-click the color proxy) is still in RGB in InDesign, but if you place the cursor in one of the fields of CMYK value, add swatch button will change to add CMYK Swatch.

  Personally, I like the color picker and use the color Panel instead.