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PrEviouS vErSion of ThiS doCumEnT
This white paper describing color manage-
ment workflows in Adobe After Effects CS4 is
an update to the original "Color Management
Workflows in Adobe After Effects CS3" white
paper published with the release of Adobe
After Effects CS3.
Use the link below to access the original white
paper covering color management workflows
in Adobe After Effects CS3.
http://www.adobe.com/designcenter/afteref-
fects/articles/aftereffectscs3_color_mgmt.pdf
Color management workflow
in Adobe After Effects CS4
Getting started
This guide is intended for professionals in the motion graphics, video, and film produc-
tion industries who need a reliable approach to achieving accurate and consistent color
in their workflows. Before we get started, let's first talk briefly about why accurate and
consistent color is difficult to achieve, and how color management technology in Adobe
After Effects CS4 can help.
What is color management?
Color management technology enables you to achieve more accurate and consistent
color reproduction. To achieve this goal, color management technology performs two
essential tasks:
•
Identifying a specific color appearance for red, green, and blue (RGB) num-
bers in a digital file
•
Attempting to maintain that color appearance by changing, if necessary,
the color numbers needed by an output device to produce the specified
color appearance
To perform these two tasks, the color management features in After Effects rely on ICC
(International Color Consortium) color profiles and a color management system (CMS).
Though you can read more about ICC profiles in After Effects Help, for now you simply
need to know that profiles give the CMS the data needed to maintain color appearance
when color values are sent to a device. For example, if the color represented by the num-
bers R235, G56, and B70 captured by a digital camera is tomato red but appears closer
to brick red on a monitor, the CMS can translate the RGB numbers to those needed
by the monitor to preserve the tomato red appearance. In this way, color management
helps you produce consistent color-independent of the unique color characteristics of a
particular device.
Technical paper
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Related Manuals for Adobe 65008009 - After Effects CS4
Summary of Contents for Adobe 65008009 - After Effects CS4
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Page 1: Table Of Contents
Before we get started, let’s first talk briefly about why accurate and 19 Appendix A: Color spaces and color manage- consistent color is difficult to achieve, and how color management technology in Adobe ment After Effects CS4 can help. - Page 2 View color consistently in other applications. If you are using Adobe Photoshop® or other Adobe Creative Suite® components in your workflow, you will be able to view color consistently across these applications. Both Photoshop and Adobe Illustrator® will use ICC profiles embedded in your files. Currently, Adobe Premiere®...
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Page 3: High-Definition Video Workflow
This chapter provides detailed, step-by-step instructions for using Adobe After Effects CS4 and Adobe Photoshop CS4 to achieve more accurate color in a high-definition (HD) video workflow. Use this workflow to produce content for high-definition television or video/DVD distribution. - Page 4 (e.g., third-party codecs), you can choose the color space in the Interpret Footage dialog box. For this case, if you know that a particular QuickTime DV file was created using standard-definition camera equipment, choose Color management workflow in Adobe After Effects CS4...
- Page 5 “Compensate For Scene-referred Profiles” option is checked in the Color Settings dialog box in Photoshop. See the Image state adjustment in Adobe After Effects CS4 color workflows white paper from Adobe for more information on the relationship between the HDTV (Rec.
- Page 6 SD TV systems. If luma levels need to be adjusted, but are not adjusted by your codec or other software or hardware in your workflow, you may want to choose the SDTV NTSC 16-235 profile or the SDTV PAL 16-235 profile to compress luma levels. Color management workflow in Adobe After Effects CS4...
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Page 7: Digital Cinema Workflow
Digital cinema workflow This chapter provides detailed, step-by-step instructions for using Adobe After Effects CS4 and Photoshop CS4 to achieve accurate and consistent color in a digital cinema workflow. This workflow is commonly used during production of content for motion picture distribution and presentation. - Page 8 Effects project. If the file does not have an embedded profile, choose a profile that is appropriate for the image. A common choice for 8-bit images without embedded profiles is sRGB IEC61966-2.1. (For more information on color spaces, see Appendix A: “Color spaces and color management”.) Color management workflow in Adobe After Effects CS4...
- Page 9 ProfilES SuPPliEd by AdobE Adobe Photoshop CS4 and Adobe After Effects CS4 Figure 3 - Interpret Footage — Cineon files scanned from camera negative film stock install ICC profiles for several commonly used camera negative film stocks and theater print stocks from Kodak and Fuji.
- Page 10 Photoshop (Edit > Color Settings). This allows you to use the Universal Camera Film Printing Density profile without the time-consuming step of assigning the profile to each file in your image sequence. Figure 7- Photoshop Assign Profile dialog box Color management workflow in Adobe After Effects CS4...
- Page 11 1 Make edits to the 8-bpc or 16-bpc raster image. 2 Save changes to the image. Make sure that the Embed Color Profile option is selected in the Save dialog box. Color management workflow in Adobe After Effects CS4 Figure 9- Photoshop Save dialog box...
- Page 12 For DCDM (Digital Cinema Distribution Master) format output: Choose the DCDM X'Y'Z' (Gamma 2.6) 5900K (by Adobe) ICC profile in the Output Profile menu in the Color Management tab of the Output Module Settings dialog box. This format and color space have been specified by the DCI (Digital Cinema Initiative) for the distribution of digital content for digital projection.
- Page 13 Rendering Intent: Absolute Colorimetric 2) Apply another instance of the Color Profile Converter effect to the new adjustment layer and use these settings: Input Profile: Kodak 2383 Theater Preview 2 (by Adobe) Output Profile: Project Working Space Rendering Intent: Relative Colorimetric The first instance of the Color Profile Converter effect translates the linear project working space to printing density values.
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Page 14: Animation/Flash Export Workflow
SWF files and FLV files. This workflow is commonly used when creating animated content for viewing within an HTML web page using Adobe Flash® Player. Compositions are also output as SWF or FLV files for distribu- tion on DVD. - Page 15 After Effects converts footage and image colors to or working space. the project working space for compositing. Figure 3 - Interpret Footage dialog box — embedded profile Color management workflow in Adobe After Effects CS4...
- Page 16 Figure 5 - Output simulation presets 1 Choose View > Simulate Output, and select an Output Simulation preset that is appropriate for your workflow. Color management workflow in Adobe After Effects CS4...
- Page 17 2 In the Render Queue panel, click the text next to Output Module, click the Color Management tab in the Output Module Settings dialog box, and choose the appropriate ICC color profile from the Output Profile menu. Figure 6 - Color management output settings for FLV Color management workflow in Adobe After Effects CS4...
- Page 18 Output Profile menu (Working Space - sRGB IEC61966-2.1). Since the output profile is the same as the profile used as the working space, no color conversion will take place when compositions are rendered and output. Color management workflow in Adobe After Effects CS4...
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Page 19: Appendix A: Color Spaces And Color Management
After Effects CS4 in chapters 2-4. device dependence When you select RGB values in an Adobe application, like After Effects or Photoshop, you’re specifying relative amounts of primary colors you want to use in the image or project. However, defining an amount of primary color does not provide enough information to describe what this value is supposed to look like to the viewer of that color. - Page 20 This color conversion framework can be used to adjust colors for many different devices in your workflows. CIE XYZ Figure 3 — The CIE XYZ color space provides a device-independent color encoding that allows for the proper translation of device-dependent colors. Color management workflow in Adobe After Effects CS4...
- Page 21 Colors can also be converted to other device- independent color spaces, like CIE xyY. Adobe provides color profiles for commonly used devices in video and digital cinema work- flows. (See Appendix B - “Adobe-supplied ICC profiles” for more information.) However, it is highly recommended that you create a custom color profile for your computer monitor.
- Page 22 (HDTV (Rec. 709), SDTV NTSC, SDTV PAL) as well as commonly used profiles like sRGB IEC619-66-2.1, Adobe RGB (1998), and ProPhoto RGB). Examples of profiles that are not neutral- balanced are the Adobe-supplied profiles for digital cinema cameras and projectors, and profiles for negative and print film stocks.
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Page 23: Appendix B: Adobe-Supplied Icc Profiles
10-bpc DpX 3200 printing Density negative film printing (by adobe) density FilmsceneFr500DpD.icc Fujifilm reaLa 500D FuJiCOLOr Negative Film reaLa 500D camera scene 10-bpc DpX 5500 printing Density negative film printing (by adobe) density Color management workflow in Adobe After Effects CS4... - Page 24 DCi reference projector with p3 rGB primaries and gamma 2.6, digital cinema presentation 12-bpc 5900 2.6) 5900K (by for data projected with creative neutrals at 5900K. Full white (Lab projector environment gamma 2.6 adobe) 100,0,0) is mapped to 52.37 cd/m2. Color management workflow in Adobe After Effects CS4...
- Page 25 * The Adobe-supplied ICC profiles can be divided into two general categories: scene (scene-referred) profiles and presentation-environment (output- referred) profiles. Users should consider using these types of profiles in different parts of their workflows. See the section entitled “Scene & presenta- tion environment profiles”...
- Page 26 “sees” or renders is incorporated into the ICC profiles built for those devices. As an example, the video camera profiles provided by Adobe are based on the range of colors and tones available in those scenes when those scenes are captured by the camera. The range of luminance in those scenes is much greater then that rendered by movie projectors or television monitors.
- Page 27 For more information on this feature, see the white paper discussing this issue on the Adobe web site at www.adobe.com/go/learn_ae_sceneoutputreferredpaper. The list of Adobe-supplied profiles at the beginning of this appendix provides information defin- ing profiles as either “scene” or “presentation environment” type profiles.
- Page 28 16-235 range. Y=255 RGB=255 overbrights Y=235 Y=16 super black RGB=0 YCbCr (After Effects project) Figure 3 — Luma compression for video output Color management workflow in Adobe After Effects CS4...
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Page 29: Appendix C: Glossary
Glossary Adobe rgb: An RGB working space that provides a relatively large gamut of colors and is well- suited for documents that will be converted to CMYK. black: The absence of light. The color that is produced when an object absorbs all light. - Page 30 For example, the RGB color model contains a number of color spaces, including Apple RGB, Adobe RGB (1998), and sRGB. Though each of these define color by the same three axes (R, G, and B), they differ in gamut as well as other specific characteristics.
- Page 31 Default ICC profile used by the application to define appearance of color values. In After Effects, the project working space is the color space used for all compositing functions. XyZ color model: see CIE XYZ Color management workflow in Adobe After Effects CS4...
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Page 32: Appendix D: Additional Resources
Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA www.adobe.com Adobe, the Adobe logo, Adobe Premiere, After Effects, Creative Suite, Flash, Illustrator, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Inc., registered in the United States and...