Understanding Color Space And Color Profiles: A Comprehensive Guide
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- Опубліковано 9 лип 2024
- This video explains what a color spaces and color profiles are in the color management workflow of your photography, video production, filmmaking and graphic design projects. Topics covered include: How digital colors are represented, what color spaces are, the RGB color space, the CMYK color space, how to visualize a color space, how to compare color spaces, what color profiles are, the sRGB color profile, the DCI-P3 color profile, Adobe RGB, ProPhoto RGB and more.
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Photography, Video Production & Filmmaking Tips by Jim Costa Films:
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00:00 Opening
01:55 How We Represent Digital Colors
02:06 RGB color model (color space)
03:14 CMYK color space
03:40 Color space defined
04:58 How to visualize a color space
06:09 Comparing color spaces
06:42 What can you infer from a 2D color space comparison?
08:19 What Color Profiles are
10:07 What are the different color profiles available?
10:18 sRGB color profile
10:50 DCI-P3 color profile
11:26 Adobe RGB color profile
11:51 ProPhoto RGB
14:09 Learn More
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RESOURCES & LINKS MENTIONED IN THIS VIDEO:
Jim Costa Films:
www.jamesvcosta.com
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Photography, Video Production & Filmmaking Tips by Jim Costa Films:
• Blue Hour Photography,...
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Love Editing? Want to get started using Adobe Premiere Pro CC but not certain how? I'm here to help. I've been a professional video producer and editor for over 3 decades & I've created a F-R-E-E shortcut guide for Premiere Pro listing hundreds of Keyboard, Panel & Application shortcuts. Click below to get your free copy!
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Disclaimer: Some of the links above may be affiliate links from which I earn a small commission when you purchase from them.
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Dang why does this only have like 500 views? This helped me out a lot and is a really well presented tutorial!
Thanks for tuning in.
I’m loving all of your videos. I’m a photographer with video experience and academic training. The depth of the information and your clean and clear delivery is great and it’s the way I like to learn. I’m off to the next video 🙏 Thank you
This comment just made my day. it makes all the hard work that goes into creating them worth while. Thanks for tuning in. if you have a questions on a particular topic, ask it in the comments and I'll be happy to answer it for you.
I've got it! nice moustache! And loved the badass angled position you're sitting to look at the camera.
Thanks for the compliments and for tuning in!
Underrated youtube channel ❤
Thanks for this comment. It made my day!
@@jimcostafilms my pleasant 🤗
Great video!!
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Hi. The video was very helpful. Thank you for sharing your expertise. BTW the link to the free cheat sheet doesn't work. Do you have another way or link by which we can acquire this resource? Thanks.
Thanks for a great video. Is there a color profile /gamut for oil paint? I’m a painter that has prints of my originals but there always seem to be a mismatch
I have to say, this is a really unique and original question and one I didn’t know the answer to. I’m a professional photographer and video producer, not an artist, so I had to research this. I couldn’t draw a straight line (or a perfect circle for that matter) to save my life.
As far as I could find, there is no one-to-one comparison for printed colors vs. oil paints. I suspect that this is because the color profiles discussed in the video are for digital media formats and printer inks. Since your images are to be printed on a canvas, the profile/gamut to use is CMYK.
To me, CMYK photos, when printed, look duller than RGB, but this is just my opinion. I tend to adjust contrast and saturation to offset this, but again, that’s just me. Your opinion of your work may differ.
RGB colors can often be “out of range” / oversaturated compared to real pigments for PRINTER INKS as the CMYK color gamut is adopted to a real printing ink colors. In CMYK mode all available colors you have on your computer screen can be printed using offset or ink jet printers.
RGB mode doesn’t have ink color limitations. The only limit is display color range ON SCREEN. However, this doesn’t always directly translate to what you see printed when compared to what you see on screen. This is probably similar to the issue you are having.
If you don’t want distortions in color when you print, you always send a CMYK file to the printer. You get more real control of what the actual print will look like, that said, you need a calibrated monitor and Photoshop/Lightroom to set up the file that you end up printing.
The first rule in printing is that you can never fully proof on a monitor, no matter how calibrated it is. Ask for/make yourself a match proof that is printed on a printer that is calibrated to the color profile of the printer used for the final clients print. Make any needed adjustments and then make the final client print.
As to my video, the diagrams included are chromaticity diagrams, which are more directly useful for showing the colors of light (seen on screen or printed) than for the colors of objects (seen in your paintings).
You can use a chromaticity diagram to plot colorimetric readings of the light reflected by different paints, ignoring luminance (amount of light), if you want to simplify the comparison to a two-dimensional plot.
An example comparing modern and older pigments comes from S.R. Jones “The History of the Artists’ Palette in Terms of Chromaticity”, from “Application of Science in Examination of Works of Art” (Museum of Fine Arts, Boston, 1965).
There are also examples in some classic textbooks on color like Ralph Evans’ An Introduction to Color (1948) and George Agoston’s Color Theory and Its Application in Art and Design (1987).
I also found useful info in my research to find you an answer here:
www.kindofdoon.com/2020/02/paint-palette-to-color-gamut.html
theartsquirrel.com/46/colour-gamut-mapping-for-painting/
ua-cam.com/video/OGfkNq8MyGk/v-deo.html
gurneyjourney.blogspot.com/2011/09/part-2-gamut-masking-method.html
mchesleyjohnson.blogspot.com/2019/08/master-class-color-palettes-and-color.html
I suspect that your best bet is to use the Gamut Masking Method mentioned in a couple articles and in the video to solve your problem.
Thank you Sir!
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Such a wonderful information thank you so much
I very much appreciate you tuning in!
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Display P3 is a color profile or color space?
@@rithinrobert3563 Display P3 is a combination of the DCI-P3 color gamut with the D65 white point together with the sRGB gamma curve. It originated from the DCI-P3 color gamut’s implementation in digital cinema projectors, as this standard offers more vibrant greens and reds than the traditional sRGB color gamut. The white point of the original DCI-P3 is tinted green, and the gamma curve is 2.6. These parameters made it suitable for theater viewing, but not for closer viewing, such as on monitors. Hence, Apple proposed changing the white point to D65 and the gamma curve to the sRGB curve, and named the new set of attributes “Display P3.” Since its color gamut is larger than that offered with sRGB, Display P3 is considered a wide color space.
Why should this matter to designers? For one, it is important for them to consider how their work is published and viewed in real life. Twenty years ago, creative works were mainly distributed through hardcopy prints. Today, illustrations and photographs are mainly delivered electronically. So it makes sense to craft artworks on a display that reflect the conditions where end-users will actually be viewing them. If a work will be printed, designers should view their works on an AdobeRGB monitor to best simulate CMYK printing. However, if artworks are mostly being viewed on Display P3 compatible devices, then they should be previewed on a Display P3 monitor.
Why is a traditional sRGB monitor not up to the job? An sRGB monitor may not deliver the vibrant colors a Display P3 device can produce. An example can be seen in Fig. 1. On the left are colors a Display P3 monitor can reproduce, on the right are those an sRGB monitor can reproduce. It can be readily seen that the colors on the Display P3 monitor are more vibrant, in particular the greens and reds. Looking at Fig. 2, a similar observation can be made concerning the u’v’ chromaticity diagram where the Display P3 and sRGB color gamuts are plotted together. The Display P3 color gamut captures more of the red and green areas, and extends further. This means that Display P3 is capable of displaying more variations of red and green shades, and of exhibiting stronger reds and greens.
Therefore, if images are edited on an sRGB monitor and look right to a designer, then they will appear oversaturated on mobile devices. Skin tones, for example, could be disastrously misleading if overly saturated in a picture.
There is another important incentive for designers to utilize Display P3 monitors in their workflow. In CSS 4, a wide color gamut such as Display P3 is supported and is being implemented by browser vendors right now. This means that web browsers will finally support a color gamut larger than sRGB! This is very encouraging news, and a major step in color communication over the Internet. We will no longer be restricted to the sRGB color gamut when posting photographs or designing websites, as Display P3 can be used to showcase more brilliant, true-to-life colors. So there is ample reason for designers to begin utilizing Display P3 monitors in their work. It is simply not possible to view the saturation and colors of hues the Display P3 color gamut is capable of on an sRGB monitor. For these reasons, it is time to step up the color gamut on your monitor!
Display P3 is a wide color gamut used extensively in mobile devices, such as mobile phones, tablets, notebooks, and certain late-model desktops, such as iMacs and Surface Studio desktop computers. Compared to sRGB, Display P3 features more richly saturated red and green colors. More and more devices are incorporating Display P3 panels in their devices, so it is reasonable for designers to use Display P3 monitors when creating their art. An sRGB monitor cannot reproduce the vibrant colors Display P3 intends. Therefore, now is the time to swap your old sRGB monitor for a Display P3 monitor!
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@@rithinrobert3563 I'm happy to help and to answer questions any time.
If I'm designing for print-on-demand t-shirt for example, should I use the CMYK thing only for previewing, and save normally in RGB? Sorry I'm a little confused.
As a graphic designer, doing anything in color requires you to be at least somewhat familiar with the two most common color models: RGB (red, green, blue) and CMYK (cyan, magenta, yellow, black). Fundamentally, RGB is best for websites and digital communications, while CMYK is better for print materials. Most design fields recognize RGB as the primary colors, while CMYK is a subtractive model of color.
Understanding the RGB and CMYK difference is an essential part of successful graphic design. Here’s what you need to know.
Why the RGB and CMYK Difference Is Important in Graphic Design
Failing to understand the fundamental difference between RGB and CMYK can lead to print marketing materials that do not have the same colors as your digital mockup. They are two very different color models with limitations on how to use each. Trying to print a file in RGB will most likely result in a printed poster, brochure, or pamphlet with the wrong colors. This can be a costly and time-consuming problem to fix. Understanding the difference and knowing how to prevent color problems is key to successful graphic design and printing.
RGB Model vs. CMYK Model
RGB is an additive color model, while CMYK is subtractive. RGB uses white as a combination of all primary colors and black as the absence of light. CMYK, on the other hand, uses white as the natural color of the print background and black as a combination of colored inks. Graphic designers and print providers use the RGB color model for any type of media that transmits light, such as computer screens. RGB is ideal for digital media designs because these mediums emit color as red, green, or blue light.
With the RGB color model, pixels on a digital monitor are - if viewed with a magnifying glass - all one of three colors: red, green, or blue. The white light emitted through the screen blends the three colors on the eye’s retina to create a wide range of other perceived colors. With RGB, the more color beams the device emits, the closer the color gets to white. Not emitting any beams, however, leads to the color black. This is the opposite of how CYMK works.
CYMK is best for print materials because print mediums use colored inks for messaging. CMYK subtracts colors from natural white light and turns them into pigments or dyes. Printers then put these pigments onto paper in tiny cyan, magenta, yellow, and black dots spread out or close together to create the desired colors. With CYMK, the more colored ink placed on a page, the closer the color gets too black. Subtracting cyan, magenta, yellow, and black inks create white - or the original color of the paper or background. RGB color values range from 0 to 255, while CMYK ranges from 0-100%.
How to Convert an RGB File to CMYK
RGB has a wider range, or gamut, of colors compared to CMYK. CMYK prints cannot reproduce all RGB model colors. It is not possible to reproduce all the colors you see on a screen in printed ink, since ink does not emit light. If you design an RGB graphic for the web, it may not look the same if you try to print it. To print a design you create digitally (whether it uses RGB or any other color model) and avoid color problems, you must first convert the file to CMYK. This process will depend on your software program.
• Adobe Photoshop CS6. Select Objects > Image from the menu bar. Choose “Mode,” then select “CMYK Color.”
• Adobe Illustrator CS6. Select Objects > Edit from the menu bar. Find and click “Edit Colors,” then select “Convert to CMYK.”
• Microsoft Publisher. Select Tools from the menu bar. Then “Commercial Printing Tools.” Click Color Printing > Process Colors (CMYK) > OK.
Failing to convert your file will mean that the printer will do so automatically. This does not give you the opportunity to see what your print will look like before the printer completes the job. Automatic color model correction can lead to an unpleasant surprise when you see the finished product. It may not have the right colors to match your brand. Avoid this potentially costly issue by either converting your color model or designing in CMYK from the start (if your software permits).
About Color Spaces
If you want to dive deeper into the RGB and CMYK difference, explore color spaces. A color space is a specific way of using a color model. Both RGB and CMYK have many different color spaces, each with a different gamut. The two most common color spaces are Adobe RGB and sRGB. Standard RGB, or sRGB, is what almost every screen uses. This color space is ideal for images your company will display on the web, since most screens your audience will use can translate this color space.
Adobe RGB, on the other hand, offers a wider color spectrum - but not all monitors will be able to display them. Thus, it is only appropriate to design in Adobe RGB if you know the materials are for print. For-print images can use Adobe RGB instead of CMYK as long as the printer used has been adapted for this color space. Whether your printer requests an RGB or CMYK file depends on the provider and type of printer. Find out before sending over your files.
The Conclusion
Graphic designers need both RGB and CMYK to create logos and images for the web and print. Neither will work perfectly across both mediums. In addition, neither color model is “perfect,” since neither can reproduce all available colors in the spectrum. However, both models work well enough to trick the human eye into seeing the colors as realistic.
As a graphic designer, you do not necessarily need to know the technical side of how either model works to be an effective visual communicator. You do, however, at least need to know which one to use for each type of media. This is basic information that will ensure the quality and accuracy of your visual marketing materials.
If you plan on designing something that will only exist through digital mediums, such as mobile devices, computers, and television, designing in RGB is enough. If, however, you need to print any marketing materials, you must convert your designs into CMYK before sending them to the printer. Otherwise, your printed colors won’t look quite right.
Let me know if you need any further help.
what is log profile and different between raw and other colour space like arri's profile?
A log profile, or logarithmic profile, is a shooting profile, or gamma curve, found on some digital video cameras that gives a wide dynamic and tonal range, allowing more latitude to apply color and style choices. The resulting image appears washed out, requiring color grading in post-production, but retains shadow and highlight detail that would otherwise be lost if a regular linear profile had been used that clipped shadow and highlight detail. The feature is mostly used in filmmaking and videography.
ARRI cameras record and output images in Log C wide gamut color space. Log C images can transport all color information and high dynamic range captured by ARRI’s camera sensors.
Logarithmic encoding - "Cineon" style Log C (C is for Cineon; The original Cineon log encoding is based on the density of color film negative) encoded images can be identified by their flat and desaturated nature. Whites and blacks are not extended to their maximum values.
Log C is a so-called scene-based encoding. The signal level increases by a fixed amount with each increase of exposure measured in stops. This encoding, which uses an ARRI-specific wide gamut color space, is similar to files from a film scan and ideal to carry image information. To correctly display Log C material on an HD or UHD monitor (Rec 709/Rec 2020) or in a digital projection (P3), it needs to be tone-mapped and transformed into the target color space. This image conversion can be performed using a 3D Look Up Table (3D LUT).
Nevertheless, Log C is and will be under continuous development to keep up with the demands of current cinema technology.
Video encoding Rec 709/2020 is a display-based encoding using RGB primaries specified in ITU Recommendation BT.709/2020 and can be directly output to standard HDTV/UHDTV displays without any conversion.
The material can be processed by most HD/UHD video production gear in realtime, which enables short production times. Rec 709/2020, however, provides somewhat reduced choices in color grading and, due to a more contrasty characteristic, cannot hold as much highlight information as the much flatter Log C curve.
To enable productions to shoot in Rec 709 color space without the sacrifice of too much highlight information, ARRI provides a special Low Contrast Characteristic (LCC) Look File that can be applied to change the standard Rec 709 output.
Mind blown
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Hi Jim, it seems to me that you use the terms color space, color model and color profile interchangeably. Am I right that these are three terms that all mean the same thing? Thanks!
1 of 2: Well, technically, “no,” but in practice, “sort of, yes.” I’ll define all three terms below, but, in reality, people generally use the terms interchangeably even though they aren’t interchangeable.
Color space (or colorspace) and color profile are often used interchangeably. They're technically different things. One refers to a color model and how it's implemented, while the other refers to a numerical translation. If you're embedding or downloading, it's usually referred to as a color profile.
What's a color model?
At its core, digital photography works by turning colors into numbers. There are a number of different ways of doing so. Some use the physics of light waves, some rely on the way the eye perceives color, and some are built around the way ink creates colors. Each of these color models is useful in different ways. In order to understand how to preserve color as you change from one model to another, it's helpful to have a basic understanding of what a color model is: a way to turn colors into numbers with a mathematical formula.
RGB is a color model that uses the three primary (red, green, blue) additive colors, which can be mixed to make all other colors. RGB builds its model on different colors of light added together, where the mixture of all three colors produces white light, as shown in Figure 1. Digital cameras produce RGB images, and monitors display RGB images.
CMYK is a color model based on subtracting light - the cyan, magenta, yellow and black inks used in most commercial color printing (books, magazines, etc.) Inks absorb colored light, which is why the model is called a subtractive one. CMYK is commonly referred to as process color, and there are many individual color spaces that use the CMYK color model.
CIELAB and CIE XYZ are similar color models designed to approximate human vision. Because these color models include so many colors, they are both used when translating from one color model, such as RGB, to another, such as CMYK. These are referred to as profile connection spaces (PCS). For instance, Photoshop uses CIELAB as a reference color space when it converts from one RGB profile to another RGB color space. Photoshop uses CIE XYZ when it converts from the RGB color mode to the CMYK color mode. It's possible to use the CIELAB color space for image editing in Photoshop, although few choose it for that purpose since it is not as easy to understand as the other color models.
What's a color space?
A color space is a specific implementation of a color model. There are many RGB and CMYK color spaces. The video below shows a three-dimensional representation of several color spaces and how they relate to each other.
You can see that some color spaces, like Prophoto RGB, contain all of the colors that are in Adobe RGB (1998), and you can see that Adobe RGB contains nearly everything that is in sRGB. When you convert from one color space to another, any colors that are outside the destination space are "out of Gamut” colors since they can't be represented accurately by the new space. You can check to see which colors will be either clipped off or re-mapped into the smaller color space. Whether colors are clipped or remapped will depend on the rendering intent-which is a term for the mathematical algorithm used to convert from one color space to another.
The terms color space and color profile can often be used interchangeably, since a profile is a description of a specific color space. There is further discussion of the nature of color spaces in the next section.
What's a color profile?
A color profile is a numerical model of a color space. Operating systems and programs need to have access to a profile that describes the meaning of the color values in order to interpret the color correctly. Proper color management requires all image files to have an embedded profile.
The two types of color profiles
There are two types of profiles: matrix-based and table-based.
• Matrix-based profiles use mathematical formulas to describe the three-dimensional color space. They can be relatively small. They are most appropriate for working spaces and for use as embedded profiles.
• Table-based profiles, as the name implies, use a large table of sample points - called a Look Up Table or LUT - to define the three-dimensional color space. These profiles are more customizable, and are therefore more useful when translating color information from one space to another, or in describing the color characteristics of a particular device. Because they rely on many data points, they are much larger.
•
Device-dependent and device-independent color spaces
Some color profiles are purely theoretical and describe a way to turn color into numbers. These are device independent. Some profiles are made to compensate for the color signature of a device like a printer or monitor. These are known as device-dependent color spaces.
Commonly used color spaces
Most photographers will have to deal with a handful of different color spaces in their work. In general, these can be divided into three groups: Working, Device and Output spaces. Let's take a look at each group and list some of the options you'll see in each.
Working spaces
Working color spaces are color models that are well suited to image editing tasks such as color and tone adjustments. Ideally, these are large color spaces, offering the photographer the ability to choose between a wide gamut of colors. There's no single ideal color space but there are a few very good choices.
• Adobe RGB (1998) - As the name implies, this color space was created by Adobe in the late 90s, when Photoshop implemented full color management. Although Adobe never intended this color space to be the universal standard, it is widely supported. Most DSLR cameras offer this as a color space choice for JPEG creation. While Adobe RGB does not contain as many colors as ProPhotoRGB, it's easier to use and a very good choice for both 8-bit and 16-bit image editing.
• ProPhoto RGB - This color space was designed as a universal standard for high-bit image editing, and includes all the colors that the human eye can see. ProPhoto RGB is a very popular color space for experienced Photoshop users. Because the space is so wide, it's not appropriate for 8-bit images. ProPhoto RGB is not always the best choice for a working space. Because 15% of the color space is beyond the range of human vision, color mapping is happening in ways that are impossible to see. Some images will suffer when they are converted from ProPhoto RGB to a CMYK space because these out-of-gamut colors map to the destination space in unwanted ways.
• CIELAB - This color space is used internally by Photoshop during color space conversions. Some people have found interesting ways to use CIELAB space to manipulate images, since the luminance is totally separate from the color information. However, CIELAB is not an easy space to use since it's not intuitive for most people. Images that are in CIELAB space also don't have full support in Photoshop for adjustment layers and other non-destructive imaging tools.
Device-dependent spaces
Photographers will most commonly run into device-dependent color spaces when profiling monitors, desktop printers or sending images out for CMYK printing.
• Monitor RGB - Modern monitors include a factory-created profile that is loaded into the monitor's firmware and is communicated to your computer via the monitor connection cable. If you want your monitor to do the best possible job reproducing your images, you should create a custom profile for it.
• Desktop printer profile - Your printer comes with profiles in the driver software. You can create a custom profile for your printer if you want to maximize its color fidelity.
Delivery spaces
When images are sent from one person to another, it can be appropriate to consider converting the working space. The choice of a delivery space is often dependent on what the photographer knows about the recipient of the image. In some cases, much is known about the recipient, or the exact delivery space is precisely specified. Other times, images get sent out with little indication of how they will be treated on the other end.
• sRGB - This color space is a small color space - it's often thought of as a lowest common denominator. sRGB is very similar to older monitor spaces and, in fact, it's common for unmanaged computers to assume that an image is in the monitor color space. This makes sRGB a good choice to send to unknown users. At the moment, sRGB is the only appropriate choice for images uploaded to the web since most web browsers don't support any color management. Additionally, sRGB is a very good choice for images sent to minilabs, especially if there is no custom profile available. Because sRGB is not a wide color space, it's not appropriate as a working space.
• Adobe RGB - This is probably the most often-requested color space for delivery, if a color space is specified. It offers a good gamut and very wide support. Note that Adobe RGB images that are uploaded to websites without conversion to sRGB will generally appear dark and muted.
CMYK profile - When you send an image off for CMYK printing, you can either use a generic CMYK profile, or, if the printer can supply one, you can convert the image to a custom color space.
Setting up Photoshop color settings
In order to get Photoshop to color manage optimally, you'll want to check a few options that are part of the Color Settings dialog (available in the Edit menu.)
2 of 2: Open raw files into a working space
Camera raw images don't have a conventional profile attached to them, but they will get one as soon as you open them and create a rendered file such as a TIFF, JPEG or PSD. You'll want to choose the working space as the destination if you're going to do further manipulation of the image. If you are creating derivative files directly for output, you'll want to choose the proper delivery space. The video below shows you how to set this up in Adobe Camera Raw.
Converting between color profiles
There are a number of times when you will want to convert a file from one color space to another. Usually this is a conversion from a working space to some kind of output space. If that output space is smaller than the working space (and it usually is) then you will be changing the colors. The settings you use to make these changes can help you preserve the color in your images.
Rendering intents used when converting between color profiles
Rendering intent refers to the algorithm or mathematical model used to handle conversions from one color space or profile to another. The four methods (Perceptual, Saturation, Relative Colorimetric, and Absolute Colorimetric) are defined in the ICC profile specification. Perceptual and Saturation use gamut compression to remap source colors to fit the destination. Relative and Absolute Colorimetric utilize gamut clipping to remap to the closest reproducible hue. The easiest way to think about this is that gamut clipping eliminates out- of-gamut colors but leaves the in-gamut colors alone. Gamut compression, however, pushes all the colors around to make them fit into the smaller color space. With gamut compression, the most out-of-gamut colors are changed the most, but even in-gamut colors may be changed slightly.
The best way to learn which method to use for which images is to check the conversion with "soft proofing” in Photoshop. You can see the effect of each different method before making the actual change. Again, there's no universal best practice here other than to preserve the intention of the photographer. As a starting point, here's a quick guide to the use of each rendering intent:
• Perceptual is for preserving some relationship between out-of-gamut colors, although it may change the color accuracy of in-gamut colors. Perceptual rendering sometimes makes certain images look better when printed or converted to the CMYK color space.
• Relative Colorimetric maintains the color accuracy of in-gamut colors, although it clips out-of-gamut colors. Most color conversions and prints use this rendering intent.
• Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity when converting into a larger color space. It is not usually recommended for digital photo images since it doesn’t attempt to maintain color realism.
• Absolute Colorimetric is used most often for proofing - that is mimicking the color rendition of a specific device and/or paper combination. It does this by moving the white point to reflect the relative whiteness of the target device or substrate being printed on.
The video in Figure 8 shows you how the color is affected when converting a colorful image from a wide gamut space to a smaller gamut space.
Assigning profiles to unprofiled image
If your image does not have an embedded profile, you will need to assign one on the way in to Photoshop. You’ll need to experiment with various profiles until you find one that makes the image look its best. As a general rule of thumb, most RGB images that don't have an embedded profile look best when assigned an sRGB profile. Many digital point-and-shoot cameras capture images in sRGB color space but don't automatically embed the profile in the image file. Once you have assigned a profile and saved the image file with the profile embedded, the image file can be color managed.
Thanks for vid! What do you say about the default my camera raw seems to use- Display P3. I'm not sure if this if I should change it to Adobe rgb? thanks!
With color playing such a huge part in film and video, it is crucial for videographers to work on tools - from video cameras to monitors - that have the widest color space possible. And that’s where DCI-P3 comes in.
However, we cannot talk about DCI-P3 without touching on the subject of CIE 1931 - which involves a tedious explanation of mathematical calculations and theories. Without going into too many details, you just need to know that CIE 1931 is an international color matching system that quantifies a measured color, and then reproduces it accurately. The CIE 1931 color spaces describe all visible colors that can be perceived by the human eye.
Most color spaces such as DCI-P3, sRGB, and Adobe RGB are lined against the CIE 1931 spectrum. If you refer to the illustration above, you can see how the different color spaces provide distinctively different color coverages. But what exactly do all of them have to do with video editing and film?
What is DCI-P3?
DCI-P3, formally known as Digital Cinema Initiatives Protocol 3, is a color space commonly used in digital cinema and is the color standard for the film industry. It covers 45.5% color space of CIE 1931 - this means it has 26% more color space than sRGB and only 4% less than NTSC. It is mostly used in color grading projects meant for theater broadcast.
DCI-P3 vs Adobe RGB
Developed by Adobe Systems, Adobe RGB and DCI-P3 have a lot more colors in common and are larger than sRGB. They are both usually found on professional monitors and are considered a wide color gamut, which is a new TV technology that offers an increase in color. Think redder reds, greener greens, and bluer blues. However, Adobe RGB leans toward more blues and greens, whereas DCI-P3 goes into yellows and reds.
The former is technically good enough for video editing, but if you are working on a film of a movie theater standard, then DCI-P3 would be more suitable. Instead, Adobe RGB is mainly aimed at photo editing and print workflows. As it does not carry the same multimedia capabilities as DCI-P3, Adobe RGB is less widely used on gaming or movie-focused monitors.
DCI-P3 vs sRGB
Also known as Standard Red Green Blue, sRGB is the most commonly used color space you can see on most consumer applications from printers to web browsers. It was defined by HP and Microsoft for displaying images online. Despite its wide implementation across most digital monitors, it doesn’t have a large enough color coverage for professional environments.
As mentioned in the article above, DCI-P3 has 26% more color space than sRGB. This means DCI-P3 offers a greater range of colors at a more saturated and vibrant level. It can use up to 10-bit color as compared to sRGB’s 8-bit, allowing users to enjoy HDR content in even more colors. Unless your videos are only meant for viewing on websites, DCI-P3 should be your go-to for video editing.
DCI-P3 vs Rec. 709
Although DCI-P3 is mostly used by professional colorists for video editing, it is designed for broadcast in cinemas. As many displays still do not support this color space, it is common for Rec. 709 to be used for distribution on TVs and monitors. Rec. 709 is a color standard developed by the International Telecommunications Union Radioc-ommunication Sector (ITU-R) meant for high-definition television.
As compared to Rec. 709 which has a similar gamut to sRGB, DCI-P3 can display a much wider range of colors and more shades of green, red, and yellow. It is also defined in 8-bit color depth, making it ideal for online streams or TV broadcasts. ITU-R has recently released the Rec. 2020 standards meant for ultra-high-definition television with a wide color gamut - but we will not go into this for now. In all, just remember that DCI-P3 should be a color gamut to use for cinema-grade production.
Why a DCI-P3 Monitor is Ideal for Video Editing?
DCI-P3 is currently not a consumer standard for many monitors since it’s usually used for digital theatrical projection. But with the rise of streaming services and the popularity of highly produced series such as Game of Thrones, The Crown, and The Mandalorian, devices from laptops to mobile phones are adopting DCI-P3 into their displays for a better visual experience. In essence, the line between movies and TV has blurred and DCI-P3 ensures color consistency no matter the channel. To review footage in its most accurate light and color, most professional monitors dedicated to video and film editing are already calibrated with DCI-P3. Whether you are an aspiring colorist or a seasoned video editor, you would want to invest in a monitor with at least 95% DCI-P3 color space for more color coverage and an accuracy tolerance of Delta E
@@jimcostafilms thanks, I am doing mostly photos - with my art being more green/blue, maybe i should switch to adobe rgb then. Thanks!
@@stuffstuffstuffyay I'd do a split test shoot of the same images in both settings to see which you refer. Thanks for tuning in!
@@jimcostafilms good idea, thanks for all your teaching!
@@stuffstuffstuffyay I also thought about this a bit more and another consideration for you would be keep in mind what output format you're shooting for. Is you work for person use, print, online, television, etc. Probably the first considerations you should have in mind is where the images are heading int he end and what format your client wants as this will determine the best format to shoot in. For example, if your work is to end up in print, most commercial print labs will ask for your files in sRGB and this is often the safest option to choose. However, higher-end print labs are able to print Adobe RGB. This is something you need to check with your print lab as ideally, you want to print in a larger color space. Let me know how it goes for you.
Thank you, that was helpful.
I want to know how can we convert RGB to CMYK and adjust the colors to look as close as possible. if you can help me with that , I do appreciate it.
Thank you anyways.
You didn’t tell me what program you are using so it makes narrowing down a solution more difficult.
However, in Photoshop:
If you're wanting to convert an image from RGB to CMYK, then simply open the image in Photoshop. Then, navigate to Image > Mode > CMYK.
Using GIMP:
If you are looking for a way to convert RGB to CMYK without photoshop, you can use the GIMP open-source editing tool. Like the online converter, GIMP is a free tool that can change the color space of your file without license purchases.
Illustrator:
To convert your RGB document to CMYK using Adobe Illustrator, simply navigate to File -> Document Color Mode and select CMYK Color. This will change the color format of your document and restrict it to shades that are exclusively within the CMYK gamut.
Indesign:
How To Convert Your Project From RGB To CMYK
1. Start by selecting Edit > Convert To Profile.
2. Under Destination Space, leave the RGB Profile as is but set the CMYK Profile to Japan Color 2001 Coated, this is the CMYK color setting that is used by most high-quality overseas offset printers.
@@jimcostafilms Thank you Sir, I use gimp , Photoshop and Krita , you gave me the way to follow in many softwares , I do really appreciate that .
I was struggling to get the colors in CMYK the way they look in RGB , but I realized that the range of colors in CMYK is much more limited than RGB.
Thank you for your time, you are a great and generous teacher too .
@@maenzeidan9154 I happy to help.
I gave you the Photoshop and GIMP steps already so in Krita:
Go to Image > Color Space > Model: CMYK/Alpha.
Then you choose you whatever Depth & Profile works best for you in that Window that opens up (under Model:).
In that same window under Rendering Intent choose: Perceptual or Relative Colorimetric as these are usually, but not always, best.You can eyeball the best look if using a good quality monitor.
Click OK when done.
It’ll take a few seconds to render the changes depending on your processing speed.
You’ll know you are in CMYK/Alpha down at the bottom of the window. It says it right there.
What is the difference between CMYK and RGB?
Simply put, CMYK is the color mode intended for printing with ink, such as on paper products. RGB is the color mode intended for screen displays, hence the difference.
The more color added in CMYK mode, the darker the result. The more color added to RGB, the lighter the result.
CMYK has a numerical range of 4x100; RGB has a numerical range of 3x256. Therefore, the energetic colors that RGB can produce are difficult to reproduce in CMYK.
When designing, the biggest mistake you could make is forgetting to convert to the appropriate color mode for your project. If you forget to do this, colors could appear washed out or too vibrant.
What if device have different luminance than profile from Windows?
Your question is a bit vague, but see if this helps.
With HDR in Windows 11, you get the most of out your high dynamic range (HDR) TV or PC display. When you connect your HDR10-capable TV or display to a Windows PC that supports HDR and wide color gamut (WCG), you’ll get a brighter, more vibrant, and more detailed picture compared to a standard dynamic range (SDR) display.
The Microsoft Store contains a growing number of HDR apps and games. To find HDR games, visit the Microsoft Store online. To watch HDR movies and videos from online providers, you might need to change a few settings to get set up. To play HDR games and use HDR apps, your PC and display must meet certain hardware requirements. For detailed info:
support.microsoft.com/en-us/windows/display-requirements-for-hdr-video-in-windows-192f362e-1245-e14d-3d3f-4b3fc606b80f#ID0EBD=Windows_11
If your PC and display support HDR, turn it on to get started.
1 Select the Start button, then enter settings. Select Settings > System > Display.
2 If you have multiple displays connected to your PC, choose the HDR-capable display at the top.
3 Turn on Use HDR.
Power options for HDR-capable displays
Playing HDR content while running your laptop on battery can reduce battery life. Therefore, your PC manufacturer might have turned HDR off by default for when you're running on battery. You can change the default power setting if you want.
If HDR is turned on when your laptop is plugged in and then you unplug your laptop, HDR will be turned off to help save battery power. If you plug in your laptop again, HDR will be turned on again automatically.
To play HDR content when running on battery
1 Select the Start button, then enter settings. Select Settings > System > Display .
2 Select an HDR-capable display at the top of the screen.
3 Select Use HDR.
4 Select Battery options, then select the Allow HDR games, videos, and apps on battery check box or the Allow streaming HDR video on battery check box. If HDR was already turned on when your laptop is plugged in, HDR will now stay on if you unplug it and run on battery power.
Fixing common problems
Many HDR displays today are designed primarily for watching movies and videos in HDR mode. As a result, you might need to do some things to get the best results when using your HDR display in Windows. If you’re buying a new HDR display, we recommend looking for displays that are certified for HDR. These displays are designed and tested for a wide range of things you might do with HDR on a PC-including playing HDR games and using HDR apps. For detailed info:
support.microsoft.com/en-us/windows/display-requirements-for-hdr-video-in-windows-192f362e-1245-e14d-3d3f-4b3fc606b80f#ID0EBD=Windows_11
Display or TV isn’t showing HDR:
▪ Make sure your display or TV has HDR turned on. The way you get to the on-screen menu on your HDR TV or display varies by make and model. Check out the documentation for your display or TV by visiting the manufacturer’s website.
▪ Go to Settings > System > Display and make sure Use HDR is turned on.
▪ Make sure your Windows PC has the required hardware to display HDR and find out if your display supports HDR10. Here’s how to do that:
a Press the Windows logo key + R, type dxdiag, and then select OK.
b Select Yes at the prompt.
c In the DirectX Diagnostic Tool, on the System tab, look in the System Information area.
d To save the information to a file, select Save All Information, and then name and save the text file.
e Open the text file and look at the value for Advanced Color. This provides info about your display's HDR configuration and the status of it. Look for these values:
▪ AdvancedColorSupported. This indicates that your installed display driver and display support HDR10.
▪ AdvancedColorEnabled. This indicates that HDR is currently turned on for your display.
f Look at the value for Monitor Capabilities. This provides more detailed info about the display's capabilities.
▪ If the value is HDR Supported, that indicates that your display supports HDR10. You might see additional values in parentheses.
▪ BT2020RGB or BT2020YCC. One of these color spaces must appear for the display to be considered as an HDR10-capable display.
▪ Eotf2084Supported. This value must appear for the display to be considered as an HDR-capable display.
▪ If the value is HDR Not Supported, that indicates that the display is missing one or more requirements for HDR10.
On the HDR settings screen, Display capabilities says Supported next to Use HDR, but the Use HDR toggle can’t be turned on or off.
On HDR-capable laptops, the default power settings will turn off HDR when running on battery power. To have HDR turn on, do one of the following:
▪ Plug in your laptop (recommended).
▪ Select the Start button, then enter settings. Select Settings > System > Display > Use HDR. Select Battery options, then select Allow HDR games, videos, and apps on battery check box or the Allow streaming HDR video on battery check box. Note that allowing HDR when running on battery power will reduce battery life.
I connected an HDR-capable monitor or TV to my laptop. However, under Display capabilities on the HDR settings screen, it says Not supported next to Use HDR and the Use HDR toggle doesn’t appear.
When you first connect an external display to a laptop, Windows will duplicate your desktop on both displays by default. However, HDR isn’t supported in this configuration. To view HDR content on the external HDR monitor or TV, extend your desktop across both displays:
1 Select the Start button, then enter settings. Select Settings > System > Display.
2 Near the top of the screen, select Extend these displays.
All standard dynamic range (SDR) content and apps appear too bright or too dark on an HDR-capable display.
You might need to adjust the relative brightness of SDR and HDR content for your HDR-capable display. This is because a display interprets an HDR and SDR signal differently, and the results will vary by make and model.
1 Select the Start button, then enter settings. Select Settings > System > Display.
2 If you have multiple displays connected to your PC, select the HDR-capable display near the top of the screen, and then move the Settings app window to the HDR display that you’re adjusting
3 On the Display settings screen, select Use HDR.
4 Under SDR content brightness or HDR content brightness, drag the slider to get the right balance for brightness between HDR and SDR content.
Notes
▪ When you change the SDR content brightness setting for an external HDR display or HDR content brightness setting for a built-in HDR display, the effect it has on SDR content depends on whether it’s an external or built-in HDR-capable display:
▪ On an external HDR display, this setting will change the brightness of SDR content relative to HDR content.
▪ On a built-in HDR display, the brightness of SDR content is controlled by a separate brightness setting, or it might be controlled automatically.
▪ Since the brightness of SDR content is already set, the HDR content brightness setting will change the brightness of HDR content relative to the brightness of SDR content.
▪ For built-in HDR displays, such as on HDR-capable laptops, both the brightness setting and HDR content brightness setting will affect the appearance of HDR content.
▪ Brightness setting. When viewing HDR content in a bright area, you might need to increase the brightness setting to see the display. However, this will reduce both the effective dynamic range for HDR content in apps and the overall contrast because the darker pixels will appear brighter. To improve the appearance of HDR content, view HDR content in a darker area and use a fairly low brightness setting. If the brightness is set to a very low level, that will increase the overall contrast between the brightest and darkest parts of the content. However, there will be less details in the darker parts of the content. For example, if you have a scene in a movie that shows a dimly lit room at night, you might see less details in that scene.
▪ SDR content brightness or HDR content brightness setting. For most times, using the default SDR or HDR content brightness setting or one close to it should work well. You could set the SDR or HDR content brightness setting higher to help improve the overall contrast between the brightest and darkest parts of the content. However, this would reduce the details in the darker parts of the content, such as a scene in a dark room at night.
Some desktop apps appear too dark on an HDR display.
Some SDR apps appear darker on an HDR display compared to other SDR apps shown on the same display. This can happen with apps that don’t work with the SDR content brightness or HDR content brightness setting. Here are some things to try to fix this:
▪ If you have multiple displays set up with both SDR and HDR displays, move the app to the SDR display.
▪ If you’re using an external HDR display, move the SDR content brightness slider to a lower setting. This will make the brighter SDR content appear darker, so all the SDR content appears at a similar brightness level. Afterwards, use the on-screen menu on your HDR TV or display to increase the brightness to the level you want. Note: If you adjust the SDR or HDR content brightness setting but the brightness of SDR content in some apps doesn’t change, try restarting the app.
▪ If you’re using a laptop with an HDR-capable built-in display, move the HDR content brightness slider to a lower setting. This will make the app that appears too dark brighter, so all SDR apps have a similar brightness level. Note: If you change the SDR content brightness or HDR content brightness setting but the brightness of some apps doesn’t change, or if the SDR content appears too bright and desaturated, try restarting the app.
Color isn’t displaying correctly (for example, color fringes around vertical strokes when black text appears on a white background).
▪ Make sure you have the latest graphics drivers (WDDM) installed. To get the latest drivers, go to Windows Update in Settings, or check your PC manufacturer's website.
▪ If you’re using an HDMI connection and your display supports HDR over a DisplayPort connection, use DisplayPort instead to connect your PC and display.
▪ If HDMI is your only option, use that, and then do one of the following:
Reduce the refresh rate
a In Settings, select System > Display > Advanced display.
b In Advanced display settings, for Choose a refresh rate, select 30 Hz (if it’s available).
- OR -
Reduce the resolution
a In Settings, Select System > Display > Advanced display, and then select Display adapter properties.
b On the Adapter tab, select List All Modes.
c In List All Modes, select the setting that includes 1920 by 1080, 60 Hertz, then select OK.
On a laptop with an HDR-capable built-in display, colors don’t appear correctly. For example, colors might be under saturated or over saturated.
On HDR-capable laptops, the default power settings will turn off HDR when running on battery power. This can cause undersaturated colors after restarting your PC. To avoid this, plug in your laptop before restarting it, or change the power settings to keep HDR on when running on battery.
To keep HDR on when running on battery power
1 Select the Start button, then enter settings. Select Settings > System > Display > Use HDR.
2 Select Battery options, then select the Allow HDR games, videos, and apps on battery check box.
On HDR-capable devices, colors appear over saturated when night light is turned on.
When night light is turned on, the coloring on your display might have a red tint and content might not be readable on it. This depends on the strength that’s set for night light. Here is how you can work around this problem.
Workaround:
1 Go to Settings > System > Display > Night light.
2 In Night light settings, do one of the following:
▪ If night light is on, drag the Strength slider to the left to reduce the red-tinted coloring on your display.
▪ Select Turn off now to turn off night light.
Colors do not display correctly on an external HDR-capable display.
Many HDR-capable displays support a wider color gamut than sRGB. When Use HDR is turned on, the HDR display should correctly reproduce the sRGB colors used in desktop apps. However, some HDR-capable displays don’t do this correctly. When shopping for an HDR-capable display, look for displays that are certified for HDR and read reviews that discuss color accuracy.
My camera colour profile sRGB sir canon EOS DSLR basic entry-level camera
Any camera is great so long as you put it to good use and start creating with it!
I got it!
I appreciate you tuning in!
Interesting, This is Great !! From Herman Drost's Group Sharon
I appreciate you finding me on another platform and tuning in here!
@@jimcostafilms yes i find the group helpful for our you tube channels and glad i found yours :)
@@strongmindsjewelrylovers7518 Aww, thanks. The focus of my channel is in photography, video production and filmmaking. Not is UA-cam specifically as Herman's is, but you might find useful tutorials on improving the videos for your channel in this playlist of tutorials: ua-cam.com/video/yRXAeqzGA7E/v-deo.html Scroll through, there's a lot of topics.
Interesting video. Btw, Link to cheat sheet doesn't work though.
Thanks for tuning in. I'll check on the link. Thanks for letting me know.
I still don't know how ICCs work under Windows 11. I have monitor supporting aRGB and wider color spaces (DELL UP3221Q), calibrated for this color space with LUT in use to store calibration result. Now, in Photoshop (Adobe RGB color space mode), 3 rectangles were created: filled with R, G and B (16-bit mode). Under Window's Color Manager I switching between standard sRGB IEC61966-2.1 profile and downloaded from Adobe's website: Adobe RGB (1988). I would expect changes in colors visibility, but there was not any change. These ICCs are generic ("flat"?), they don't come from any hardware calibrator.
Test #2: now I drew gradient from black to white in Photoshop. Switching between both ICCs makes noticeable difference. Gradient becomes linear in darks - more shades is visible when Adobe RGB ICC is set as default for monitor. In this case, we can see that something happens beside the scene.
I'm really confused. Hard to interpret observation. Most likely ICCs can't limit color range displayed by monitor / device. They can modify linearity of colors only. Is it true?
Moreover: when we open color manager in Windows, we can see much more options in "advanced" tab - WCS etc. Hard to find the answer what are that options for and how they works. Could you fully explain how ICC works and how to configure colors?
Your understanding is completely wrong and you are confusing yourself.
You should read the book: Real World Color Management
@@solverz4078 Thank you. I have just bought it 👍
Hello is your new friend.
Thanks for tuning in!
The amount of work and information that went into this video... darn good work, sir
Thank you. Your comment recognizing all the effort I put into my tutorials is much appreciated.