Re: Nikon D-1 Colorsync workflow
Re: Nikon D-1 Colorsync workflow
- Subject: Re: Nikon D-1 Colorsync workflow
- From: James Steincamp <email@hidden>
- Date: Sat, 28 Oct 2000 19:35:42 -0400
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In a message dated 10/28/00 8:21:29 AM, email@hidden writes:
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>> Unless you are working in a studio with fixed lighting, and a custom profile
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>> built for those conditions, then you might as well open the file directly
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>> into your Photoshop workingspace, and adjust visually on a calibrated
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>> monitor.
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> I'm no photography expert, but are you sure?
As I understand it, the idea of using a ColorSynch workflow (with any
device) is to minimize the impact that the particular device has upon color
output.
So, the theory goes, if you discover that the Nikon D-1 consistently 'pulls'
the color in a given direction your can correct for that imperfection with a
profile. The profile corrects for the camera... Not the scene.
In that way its a lot like working in a film based workflow... You test your
film and learn that your set-up (camera, lens, meter and film) will
consistently impact your exposure. In B&W (to keep things simple), it's the
same as knowing that Tri-X is typically rated at 320 ISO and that what Kodak
tells you is standard development is up to 15% too much (at least it was in
my system).
Armed with this knowledge, you can compensate for the effect of your
system... Because you have tested the process and are essentially mapping
the tones (by changing exposure and development) around to be where you want
them to be (essentially building a manual profile). Under normal
circumstances you can approach any scene and confidently produce a good
exposure (reciprocity failure will eventually come into play for very long
exposures).
With chromes it's a bit different... Once you get your optimum exposure (I
used to find that 100 ISO is more like 80), you have basically corrected
your 'system' out of the equation. Kodachrome will pull one way, Ektachrome
another and Fujichrome a third... But it will always be consistent. The
scene will pull based upon the color temperature of the light source.
Just like with a digital camera that has been profiled. The scene will pull
whatever way it's going to pull, but the camera itself will have been
eliminated from the color equation.
In a film based workflow you will meter the lights and then, if necessary,
shoot Polaroids or even run a few frames for rush development to see if you
filtered the fluorescent lights, daylight and flash correctly. Then... If
you're that concerned you will do a clip test to see if you need to push or
pull the film at development time. You do the same in a digital studio...
Only you don't have to pay rush development charges for your film.
You could take a light meter and measure the scene (just like in a film
based studio) and map the light with filters to wherever you want it to go.
If you are that concerned with color you could even profile the lighting...
But that's a lot of work (like profiling a SWOP press) and is probably not
worth the effort... Unless it's a copy stand.
Hope that's helpful...
-james