Comparison of two rendering intents
Comparison of two rendering intents
- Subject: Comparison of two rendering intents
- From: Darrin Southern <email@hidden>
- Date: Fri, 15 Mar 2002 21:53:28 +1100
We all know that Absolute Colorimetric 'prints' or 'simulates' the paper
white when we are using it when for doing inkjet proofing, and Relative
Colorimetric does not.
First, we have (for simple argument sake) a 10% value of say 'black' and
then we use Abs Col conversion in the conversion of the rip, we would then
get (again for argument sake) the same 10% value of 'visual black' and also
a 2% value of say 'yellow' to simulate the paper white of the target.
But what happens when we have the same theoretical 10% value of 'black' and
then we do a Rel Col conversion, would we still get (again for argument
sake) 10% value of 'black' and also a 2% value of same 'yellow' ?
This would mean that the only difference between Abs Col and Rel Col is
where the paper white is has absolutely no ink or color values, and all
other values should 'look' the same (this is how I have always understood it
- that the white point is still referenced in Rel Col, but not 'printed')
Or do we only get the 10% black value, and the difference between Abs Col
and Rel Col is visible in the low end, or until the point at which the
opacity of the ink would 'hide' the paper white compensation ?
Darrin.
Reference reading from Bruce's vocabulary at creative pro :
Absolute Colorimetric Rendering:
One of the four ICC-specified rendering intents used for handling
out-of-gamut colors in color matching. Absolute Colorimetric rendering
matches those colors in the source space that are inside the gamut of the
target space exactly, and clips out-of-gamut colors to the nearest
reproducible hue, sacrificing lightness and saturation.
Relative Colorimetric Rendering:
One of the four ICC-specified rendering intents used for handling
out-of-gamut colors in color matching. Relative Colorimetric rendering first
scales the white of the source space to the white of the target space,
adjusting all other colors relative to that white. Then it matches the
adjusted colors in the source space that are inside the gamut of the target
space exactly, and clips out-of-gamut colors to the nearest reproducible
hue, sacrificing lightness and saturation.
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