Re: grey balance;how we did it
Re: grey balance;how we did it
- Subject: Re: grey balance;how we did it
- From: neil snape <email@hidden>
- Date: Fri, 22 Dec 2000 15:05:31 +0100
on 22/12/2000 9:20, Andy D'Angelo at email@hidden wrote:
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for what it is worth....
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3. converted to CMYK and re did the color balancing procedure, same
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technique, same patches read. Since alot of the products had background
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colors that were almost identical< I figured out the correct CMYK values for
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this color and fine tuned these shots to these values. This was done through
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another run of proofing.
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4. Then I adjusted levels to make the black values black and keep hightight
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detail.
Unless something is really changing your blacks it's not a good idea to clip
your blacks with the black preset eye dropper. Grey has to be set to the
press grey balance just setting to an average grey will not provide
convincing separations. If your seps have to be readjusted after a
conversion to 4 colour you could do better by finding a profile that better
simulates the press or if you're really fortunate THE press profile.
..I have been using the same procedure{without CMYK
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conversion) to deliver digital images to a traditional lab for output on RA4
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paper......good results so long as the nit wits at the lab do not start
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messing with things in photoshop, and their conversion to sRGB is up to
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par{another line}.
Agreed there could be more ICC standardised labs. Once everything's in place
you can produce photographically exactly what you had in mind and you see in
the image better than guessing the press conditions. When I scan a film or
the lab the output whether it be transparency print or neg exactly
represents the colour range and density. Sharpness however through a
Lightjet 2080 can't have the details of the original.