This should be pretty fast and easy to do upstream early in the workflow, before any retouching or other work is done in Photoshop. One can then compare the two files to see if anything critical is going to be lost in the ECI RGB conversion. These 'conversions' may simply happen on the fly as a softproof. One can then render to ECI and then perceptually map to CMYK. With a raw camera data workflow, one can simply setup their preferred rendering instructions in ACR, then render out to ProPhoto - then perceptually map to CMYK. This would be done using layers, layer masks etc.Īlso, one could simply blend in the ProPhoto to CMYK data directly into a final ECI to CMYK conversion, as the blending would be very simple and one should not need special effects blending modes. This could be done by converting the CMYK data to ECI RGB - or one could use Apply Image to directly move single channel data from the CMYK file into the RGB file. If ProPhoto to CMYK detail was preserved without going to ECI RGB, one could blend the data into the ECI RGB image.

That being said, my suggestion of going from raw camera data, to ProPhoto RGB and then perceptually to CMYK was to preserve any possible important visual details that may possibly be clipped if the discussed workflow of using ECI RGB before the final CMYK conversion. For simple stuff, staying in CMYK is not a problem.

Lukas, what you say makes a lot of sense, and yes, Lab mode and RGB mode are often better retouching/compositing modes than CMYK, even more so when one has to do a lot of 'heavy lifting'.

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