Re: ECI guidelines on late binding
Re: ECI guidelines on late binding
- Subject: Re: ECI guidelines on late binding
- From: Darrin Southern <email@hidden>
- Date: Wed, 18 Apr 2001 13:45:41 +1000
>
Try downloading the ECI guidelines from http://www.eci.org.
http://www.eci.org does not resolve for me ?
>
The guidelines speak of the 'idealized proof' meaning the studio
>
presentatin print, and the 'contract proof'.
>
>
In a scan once output many, late binding workflow you don't know
>
which of many possible output processes your digital original will
>
run under.
>
>
Therefore, your goal is to max the gamut of the studio monitor and
>
the studio presentation printer. Of these two, the studio
>
presentation print travels and the studio display fades when you
>
switch off the monitor after work.
That's great if most customers understood that the file has been created
with this process in mind.
Without 'dumbing down the technology and the workflow', most customers want
the monitor to be set up so the colors they see on their screen are as close
as possible to the analog proof they used to get (let's say as close as the
digital proof is to their printing press) and that color changes they make
while soft proofing in Photoshop are what they get on their digital proof.
Looks like PhotoShop 6 has opened up the definition of 'working spaces'
>
As the studio presentation print is the largest 'portable, shareable
>
gamut' you've got, that gamut is also the basis of agreements on
>
color correction. This is what is meant by an 'idealized proof',
>
meaning the closest representation you've got of the full range of
>
colors in the digital original.
This would be what some have called the archival version of the file.
>
By definition your studio presentation printer must be set up with
>
the highest gamut available. This gamut must also by definition be
>
larger than the largest mass production gamut your studio
>
presentation printer is required to simulate 1:1 colorimetrically in
>
the contract proof.
What then happens when the file is sent to the film / plate house that does
not run a workflow that allows for the 'correct' color and gamut
conversions.
The real question being, who owns responsibility for color correctness ?
>
IOW the best poster print is actually what you sell your client in a
>
late binding workflow. Then it's up to your client how to repurpose
>
the digital original.
My definition of a 'poster print' is the best visual output that any file
and printer combination can print or 'reproduce'
My definition of a 'digital proof' is the 'closest possible' color correct
match to any given printing method (the accuracy and stability is of course
in the hands of the printer's tradesmen.
Finally, 'closest possible' output is measured by the ability of the
salesmen (or woman) to sell it to customers as a 'match' ie 'sellable color'
Thanks again Henrik,
for informing me and confusing me, all at the same time . . .
Darrin.