I noticed that the Workflow Options window in ACR has changed slightly so that it looks more like Export in Lightroom. When did this happen? Is there a way to toggle between the old and new windows for Workflow Options. I noticed that this change is not on all computers with the newest version of CS6. Some have the old window and some the new one.
View 1 RepliesAfter a recent update while working in Camera Raw off of the bridge I noticed that the workflow has changed. I can no longer change the size as easily.
View 1 Replies View RelatedOpen image in Photoshop as a Smart Object from Lightroom. Double-click to change the RAW characteristics.
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When I return to Photoshop, my image has been changed... Color space is changed, bit depth is changed, size is changed. I believe I know WHAT is doing it - the Workflow Options in ACR are set. HOW DO I TURN THEM OFF?
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I can't find a reset, and I can't get it to stop messing with the image. I've SPECIFICALLY UNCLICKED the "Resize to Fit", but it STILL takes my 2600x3300 pixel image and returns it as 1824x2321 pixels.
I loaded Photoshop 7 on my Vista Premium machine and now I do not have all of the print size options that were listed on XP. I need these options to print photos, cards, etc. for my business.
View 1 Replies View RelatedWhen you right click on a divider bar on the menu you used to have a option to import or export the work space,now it looks like the screen shot on the right. ( I didn't have a screen shot of X6, but it looked a lot like the X4.)Why does things that work well in CorelDRaw keep getting changed?
View 6 Replies View RelatedI am designing slides in Photoshop using the DV video preset. Except I want to use these same files for print output as well. So here is my workflow: 1) Created video preset template but resized to 300 dpi2) Create slides3) Output slides to 72 dpi jpg4) Put into Premiere Elements5) Burn to DVD (except my app won't recognize my DVD burner now so I have to use Windows DVD maker but that is a different topic.) Then, I am using the same slides in a printed album:1) Switch the resolution on the 300 dpi to "square" pixels2) Save as jpg for my album template3) Put into a page frame I made out of an 8.5 x 11 doc (plus required bleed) So, my question is, do I need to switch to square pixels? I am not sure which way the picture was originally scanned, but I think switching to square pixels should be accurate...it is just that they are looking wide and I may just have gotten used to the other way. The rectangle pixel document actually fits onto the 8.5 x 11 album page better...but I want to do it the "right" way for print.
View 9 Replies View RelatedThe options window will not display when typing "options" in the command line or selecting from the drop down. The options menu has to be hidden somewhere because AutoCad will not allow any other commands after typing options until I hit escape. I have tried restarting CAD and rebooting my computer with not luck.
View 9 Replies View RelatedI shoot Nikon and use Capture NX2 as my RAW converter. I then save my conversion as a TIFF and move into Photoshop CS6 for all of my editing and processing.
Here is my question: I have an Epson 3880 printer and i really like it. Ive started making my own prints and ive found that the ability to tweak the images is really an advantage vs. having a lab print them for me. Ive read quite a bit and seem to get conflicting positions.
Its seems as if sRGB is best for internet whereas Adobe RGB (1998) is best for prints. However, im a bit confused by all of the articles ive read. If i want the best of both worlds would the following be a good workflow?
1. Shoot in RAW
2. Convert RAW image to a TIFF in Capture NX2 with the Adobe RGB (1998) color space (I use Capture NX2 as my RAW converter)
3. Move the file to Photoshop CS6 and fully edit
4. Print the image
5. Convert the image to the sRGB color space and save as a JPEG
6. Post to web (i.e. Flickr)
Does that sound like a good plan or would you recommend starting and ending in the sRGB color space. Ive heard that changing the color space in an image slightly denigrates it ?
I've got gigs and gigs of image data on my HD, and I'm a bit nervous. I was keeping things in esoteric folders, buring CDs occasionally, and sometimes actually backing up. In recent months, I've decided to take my 'shopping seriously (in a business sense) and started to investigate workflow methods. Right now, I'm concentrating on capture and archiving. Some of the Bridge's new features are quite appealing, but still not all that I want.
What I want from my friends here is a discussion on particular approaches, and why they do/don't work for you.
Here's what I am putting together now... Until today, I would dump my camera files directly into a TEMP folder with a date-based name, something like 2005-17-05, that reflects the dump date, not the actual shoot date. I would then let these sit for quite a while before doing anything with them. Really, the problem was that I got too caught up in details when trying to devise a folder structure, so I didn't follow through and kept inventing new things to confuse me. I'm very good at that.
I've decided on a handful of broad categories that represent my usual work, and have 3 main folders: Stock, Working, Final. Stock is essentially the images straight from the camera, working is a copy of the file saved as .PSD and where I actually do the image work, and Final is a flat, full-res .PSD of the completed image, as well as output-specific formats like web or print.
Within those folders I have subfolders for various things. The philosophy is this; Stock is broken into general categories that reflect the image's intent (Nature/Trees, or Places/Buildings for example). I also have a Projects folder for directed or consigned collections. Working also has folders, but they are based on the intent of a collection of images that may have different subjects, but fall into a project scheme (New Mexico Hikes, Horses, etc) - more on this in a bit. And the Final folder is a duplicate structure of Working.
I'm OK with 'Stock' as-is, but I'm still waffling on the Working/Final folders. An alternate approach is to keep the same structure from Stock in Working and Final, then have a separate Projects folder for collections. The advantage here is that I can work piecemeal and decide on a collection from a gallery of finals. I can also go back and find the layered PSD used in a Final simply by looking in the same-named Working folder. The disadvantage is in the fact that if I decide early on (before the working file) to create a collection, I'd have to make another collections folder in Working folder, which now spreads out my images. Put another way, I'd have thematically similar works potentially in several locations which makes finding them later a real challenge.
I guess I could just make a list of the images I wanted to use and track them through that way...
In any case, I do not rename any files, except in the case of versions, until I get to the final collection (which will have a text file relating the names to the originals).
Now let's throw in DNG! Not all of my shots are in RAW format, and I've not read enough about the Adobe DNG converter to know if it will 'force' the format on JPGs (I would guess not). So, part of the new workflow would be to automate RAW conversion. The question here is whether to save the original RAW file elsewhere, or in the DNG file itself. That's up for debate, but I will probably keep the RAW data directly in the DNG file.
Finally, we come to Adobe Bridge, which can help sort all this out. Mostly...
I spent most of today devising and implementing a handful of keywords/sets, as well as descriptions and applying copyright via the interface. Good stuff. Since I've got a mixed bag of formats in Stock, I've ended up with a LOT of XMP files, and decided to keep the Cache distributed (read up on Bridge if you aren't familiar with this). Doing this helped me sort and shuffle my collections into the scheme I've laid out above. There is some collateral damage since I've not been consistent in my naming or storage locations, but it's a real head start.
Now I'm on to Archiving, and I see a little snag. I can potentially save all my stock files to a fistful of DVDs, then do the same with the working files and finals. Since I'm using single-use DVDs, I can't add files later to fill up. And since I'll be adding stuff randomly to Stock, I've got to decide on an archiving scheme that doesn't just totally waste time creating a new DVD every time I add a handful of images. There is too much info to squeeze it all onto one disc, so I have to break it up somehow (and yes, I've been considering removable HDs).
The other problem here is that Bridge doesn't appear to support cataloging removable media. I may be mistaken, but I've not found it. That means I'll have to maintain some log that tells me what images are on what disc. Sure, I can use another application, but this would be a killer feature for Bridge 2.0 (are you listening Mr. Brown?).
I love Photoshop CS6, and my absolute favorite new feature is the Color Lookup adjustment layer. So far, I've been extremely happy with the effects I've been able to pull off by combining that with other adjustment layers, channel work, etc.
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However, I've gotten to the point where I realize that my next step -- much like a user who graduates up from using actions he/she downloads off of Deviant Art -- is to make my own color look up tables. The only tool at my disposal for this is Speed Grade. (I have a CS6 cloud membership -- off topic, but way to go, Adobe, that made it feasible for me to "graduate" from only having Photoshop CS5.1 to having the full suite at a very reasonable price!)
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I've used Speed Grade on video clips I've shot with my Canon 5D MkII to great effect. Nothing I'd post publicly yet (I'm still learning how to shoot motion), but I considered the results to be very positive. I've managed to save several test .look files, as well, both on video footage and still images (JPGs, to be specific).
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I always shoot RAW, and my usual workflow is to start in Aperture (I'm a Mac user), do some basic RAW adjustments, then export a 16-bit PSD and get down to the real work in Photoshop. SpeedGrade doesn't yet seem to support PSDs natively, so in order to create a .look which is appropriate for my image, it currently looks like I need to export a JPG (down to 8-bit sRGB, ugh) from Photoshop, then open THAT in SpeedGrade, do my work, save my .look, go BACK into Photoshop, and use the .look file there.
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I could live with that if -- IF -- the .look file actually gave me my expected results. However, the only time the .look behaves exactly the same in Photoshop as it does in SpeedGrade seems to be if I open the image as a JPG -- thus losing all my layers, adjustments, smart objects, etc. When I apply any of my .look files to a PSD, they come entirely too dark, every time. Many of them have simply turned an image into a large 22 megapixel black rectangle.
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So my question is this: How do I make a SpeedGrade .look file behave predictably in Photoshop, in a 16-bit-per-channel PSD file? I'm OK with changing the color space if I have to (even if it's to sRGB, the bane of my existence) -- but I need to see the same thing in SG that I do in PS. Is this possible today, or am I waiting on the next SG release? Or, and I assume this to be the case -- as I'm a software engineer by trade, and know that this is almost always the case! -- is this a case of user error? And if so, what can I do to correct my user error?
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Or, sacrilegious as it may seem since I have all of Adobe's tools, are there other Mac-based products I can use to create color look up files compatible with Photoshop?
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In case it matters, here's my platform:
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Canon 5D MkII, latest firmware, always shoot RAWApple Aperture 3.2.3. Mac OS 10.7 (late 2011 MacBook Pro 17", 16 GB RAM)Adobe Creative Suite 6 Cloud Subscription (photo, illustration, video tools installed; no Flash nor web tools)
I'm working on a hobby project for a game in Unity3d. When it comes to texturing my Maya models and bringing everything into Unity, I often find myself lost in a very tedious workflow. How to organize the texturing process between different applications.Here is what I'm doing right now:Â
1. export UV snapshot from Maya and open it in Photoshop
2. use premade textures, photo reference and hand painted images in PS to build a diffuse texture
3. export as an image file and check it on the model in Maya
4. go back to PS, adjust and start building a specularity/gloss map, as well as use premade normal map textures or hand painted bump maps to create all those different maps
5. export layer groups from PS into individual texture file (diffuse, specular, normal, emission etc...)
6. assign everything in Maya and check if it looks ok (I prefer doing this in Maya, so I could change the model or UVs if needed)
7. export another set of texture maps from PS to meet the requirements of Unity (diffuse with gloss in Alpha channel ect)
8. assign and test everything in unity and make prefabs for my developer
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As you can see I spend a lot of time on exporting up to 6 versions of one texture for different purposes for Maya and for Unity. Everytime I want to change something, I have to manually go in and re-export and refresh those textures. I'm trying to use actions in Photoshop and a Mel script in Maya to make that easier, but still it's a lot of tedious work spent on just updating images.Â
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I actually started off using PSD networks in Maya. I would create my material, let Maya create a PSD file with different layer sets assigned to my shader and let it all refresh at once without having to export. That sounds like a reasonable workflow, but I stopped using it, because networks with layer sets only support flattened Photoshop data, so no layer effects and non-destructive editing from within PS. And every once in a while my PSD network would break and corrupt my PSD files, making it impossible to save them or open again.
I'm developing a workflow and I would like to see how the images of professional photographers look like in PS at the end of the process ... ready for printing.
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Here is my workflow in PS for B&W photo (Hue/Saturation adjustment layer is not needed for a B&W photo as known):
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After making all tone and color adjustments in LR, I open the image as a smart object in PS ... and rest is on the above image, showing my layers panel in PS at the end of the developing process.
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At the end of the work, if I print with PS, I select all the layers and convert them to a smart object together and I apply output sharpening ... but if I print with LR, I save and close the file without output sharpening and I use the sharpening options on the print module in LR.
I would like to do a decent calibration of my Epson V750 Pro scanner to achieve a color-managed workflow. I have the latest version X-Rite i1 Photo Pro 2 calibration kit, and although this enables me to calibrate my monitor and printer, it does not support scanner calibration.Â
I do have Silver fast Ai Studio which includes a scanner calibration facility - is that the best available to me or are there any other options, possibly using the i1 spectrophotometer as I know that it used to be possible to carry out calibration with the older versions of that equipment? Other than that, I'm using an Epson 3880 printer, running Vista x64 and using Photoshop CS5.
Is there a way to send this individual lower resolution images so he can work on them and then have him send me the metadata from his edits, so I can apply them to the images I have on my system? The reason for this question is because I'd like to minimize the size of the images I'm sending to the editor, but still be able to produce high resolution stills.
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I understand there is a way to work with RAW images and save the metadata, but that doesn't fix the file size issue, and you can only save certain aspects like white balance, levels, etc... I really need a way to capture his history and save that to a file, that way if he were to use a certain filter, or brush on the image, the same results would be applied to my images.
Is it best to apply the shake reduction filter last, when applying other sharpening, or at the beginning, so I'm working with the "unblurred" image?
View 6 Replies View RelatedQuestion for you. I'm really trying hard to develop a great color work flow. I realized after my new discovery I didn't to proof my photoshop files under Blurb's cmyk profile any longer. I went under Proofing and selected the calibration I have done with my X-rite colormunki. I realize under custom is the whole array of choices from the default Apple RGB to selecting the calibration colormunkit profile I do every two weeks with my X-Rite Colormunki. I just realized there are other settings I can select as well. One being the legacy Macintosh RGB Gamma 1.8. then Internet Standard RGB (SRGB), and finally Monitor RGB. the second of first choice
This question has gotten more intense for me. Since I'm working in Photoshop on files for my website should I set the monitor to Internet Standard RGB (sRGB) when I'm color correcting and adjusting my files for the web. Also should I go under custom and select the X-Rite Colormunki profile? Also since I'm going to only use SRGB files for Blurb books and not use Blurb's Icc profile any longer. Should I also select the Internet Standard RGB (sRGB) as for my monitor while adjusting my files for Blurb books or leave it as one of the other two legacy Macintosh RGB Gamma 1.8 etc?
Now again I'm wondering when I'm printing files for my Epson printers should I select legacy Macintosh RGB Gamma 1.8 or monitor RGB. Also should I choice the X-rite calibrated profile. I know when I'm in the Epson driver I go and select the printer profile for the printing paper I will be using.
I've shot a bunch of NEF images on a Nikon D80 for a client who wants a calendar produced from 13 images. I'm on XP / PSCS3.
I have only been using digital for less than a year. Have been using my trusty F3 and FM2 for years. I finally got with the program and want to stack together a good efficient workflow.
It's been a bit of a guess or an experiment to me and now is the time to extract the best out of these images,
I have Camera Raw 4.6. Is this the best conversion program to use.
The images are going to be 20cm x 8, so when sharpening NEF's, how much sharpening do I do. I know that sounds a cop out but how do I tell how well it will sharpen up when it is printed. Apparent sharpening on a CTR monitor is not the same as the output sharpening to print right?
I also have available NIK Sharpener Pro 2 - is that better to sharpen with than Camera Raw 4.6?
With regard to sharpening, I really only want to sharpen a certain area, not the whole frame. Do you have a cool method of doing that. I know Quickmask, any other insights?
And what about extracting the best out of the colour. I like rich saturation but not necessarily in all channels.Is it best to do it channel by channel or not. I have PSCS3 tools and NIK Color Efex Pro 3.0 for that.
My NEF files ( Nikon 800) is between 50-70 mb. In ACR the workflow option states file size of 36,2 Mb ( default) Is there someting wrong in my set-up
View 1 Replies View RelatedI am not able to find the proper folder in Windows Vista for installing additional actions.
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My folders are as follows:
C:ProgramFilesAdobePhotoshop Elements10.0Localesen_US - (at this point there are 4 folders below but not one that says Workflow Panels)
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notice the differences from what the other forum entries state:
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C:ProgramDataAdobePhotoshop Elements10.0Localeen_USWorkflow Panelsactions
I want to understand the theory behind the workflow between 3dsmax and mudbox.I know that exist 2 workflows:
1- send your low poly obj model from 3dsmax to mudbox, then subdiv the mesh in mudbox and generate the textures and normal map. Finally return to 3dsmax but ONLY use the maps to recreate a high detail model. This is useful when you make video games character or when you animate the model
2- send your low poly obj model from 3dsmax to mudbox, subdiv the mesh, sculpt paint, generate maps and return the HIGH resolution MESH to 3dsmax(return with textures). It works only if you generate still images, not animation.
what will be better than GIMP (Linux) for this type of workflow:fast processing of the tens of files, jpg to jpg: open, levels, sometimes color rorrection, scale, unsharp, export as jpg with web setting, not camera settings.
For now, GIMP is my main program because of familiar look and easyness of use, but it was designed for an opposite use, and is counter-productive for this kind of workflow.
Here is link to what use it was intended for vs similar to mine workflow: [URL] And similar to mine problem experienced by another user: [URL]
So far I went through:
ImageMagick
DigiCam
DarkRoom
Shotwell
GwenView
... still GIMP provides better results much faster.I was under impression that with wide use of the Web there bound to be some Linux software for a fast mass editing.
Am I along the correct workflow path here? I want to insert a drawing as a block into my current drawing. Before I start writing code I want to make sure I understand the steps.
Open Transaction
Wblock Drawing to Temp Database
Now have my New BlockTableRecord ObjectÂ
Copy BlockTableRecord to ActiveDwg.Database
Create New BlockReference
Add attributesÂ
Set Scale Properties
Set Insertion Point
Set RotationÂ
Append BlockReference to Database
Commit Transaction
Am I missing any of the steps?Â
Is this how I would imidate the old VBA modelspace.insertblock(myPoint, "C:pathpathpathlock.dwg",1,1,1,0)
I've been looking for a site / tutorial that outlines a detailed workflow for exporting a model from Revit and into 3ds Max for rendering and animation.
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I'm particularly interested in how best to set a model up in revit to make this process less painful - particularly around material assignments, mapping etc. so that I can switch from the multi-material (using material IDs) setup that comes into Max over to the Architectural & Design materials.
I'm working on a feature film and I have a question about relinking AAF to mp4 material.First let me explain the steps I took:
-source material mp4 files from camera
-transcoded to .mov files so we could use it in Avid
-export AAF from Avid.
Smoke:
-imported all the source clips (mp4 files) with the gateway into Smoke
-imported the AAF file
-put the AAF file in same reel as mp4 files.
-choose Tools/Unlink/Relink and enabled 'Use Clip Name' and Use Timecode.
The problem now is that all the clips are getting linked by timecode only.I discovered that it's because the clips used in avid are .mov files that I want to relink to the mp4 files.
Is there a workflow to substitute the .mov for mp4 in Smoke somehow?I hope there is because now I have to do a lot of manual work (and there is not enough time for)
What is the correct and best workflow for creating icons and asset for a website?
View 2 Replies View RelatedWhen I do a Edit in Photoshop, LR creates a TIF file. I process this in Photoshop and close it saving it back to LR. It saves in the same folder as the original on the hard disk. Is there any way I can get these files to save in a new folder under the originals automatically? (all the files for processing should go in this folder)
View 12 Replies View RelatedIn CS6, I am working a Premiere project, but I want to make a title in After Effects. So I have a title in AE dynamically linked to Premiere. Now, I want to bring the Premiere sequence into AE to work out some timing issues, but encountered an error (5027 ::12). What specifically does that error mean? Are we not able to round trip between AE and Premiere?
View 15 Replies View Relatedwhy InDesign treats working with four spot colors differently than working with CMYK? They are just four colors or channels, right? What is the difference between Cyan or PANTONE Reflex Blue?
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It is true that 99% of the time CMYK is used. It is also true that you can work in CMYK and tell the printer to put a different ink instead of the a Cyan, Megenta, Yellow or Black ink. The project I work on now involves four Pantone spot colors and a few illustrators how need/want to see what they are doing, so...
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InDesign is so slow working with spot colors. It feels slower than Quark Xpress 4.11 on a Mac OS 9 G4 machine.
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[-> InDesign CC, MacBook Pro 7i 2011, SSD, 16 G RAM, 1 G GPU]
I'm slowly trying to make the transition from AutoCAD to AutoCAD architecture.
The main thing that is confusing me is how to organise the project so that plan, section and elevation sheets will all update from the original construct whenever it is changed.
I'm confused about plans and sections...should I draw my section lines from the annotate panel directly onto the 'construct drawing' and then use that as my plan or should I create a plan view of the construct (...how?) and then draw the section lines over that plan?
I made a simple rule that triggers before save to ask user to make a selection, which then updates an iProperty.I created A multi value fxParameter and used the InputListbox function.
Ultimately I want to know the best way ok making this rule available to all parts, old and new.I am thinking, it will be easy enough to update my templates and embed this code into the part, as well as content center files by updating each file / template .
But for existing parts, is there a way to add these rules without the user having to do much steps.because there is an fxParameter I am thinking the user will have to know how add this to their part.I can change it to just an input box where they can type in the correct value, if that would be easier.
What is the best workflow to create vehicle animation path for Civil View extension, when these path segments are not exported from Civil 3D, for example in intersections like in the picture of a simple case I attached. Do you create arcs in AutoCAD and then import them in scene, project them to road region surface and connect them to split corridor base lines, or you draw them directly in 3ds Max 2013?
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