Re: ICC in PDF / iQueue
Re: ICC in PDF / iQueue
- Subject: Re: ICC in PDF / iQueue
- From: Henrik Holmegaard <email@hidden>
- Date: Sun, 12 Aug 2001 11:43:12 +0200
Joel wrote:
And we all know how Quark currently handles that. But to do so
wouldn't that require a marriage Quark doesn't want and, perhaps,
Adobe does?
I don't know, maybe. But Quark can't just walk away from PostScript
and PDF support. Ebrahimi doesn't present it that way, either. He is
saying that the publishing industry is de facto PostScript-based, and
doesn't want the web because it is an extra production cycle but with
no way to bring in extra income. So the way he sees it, Quark helps
publishers retool for server-based database operations, and
publishers develop into retailers. If David reviews a stage
performance and Joel prints it, then Andrew, Neil, John and Steve
order tickets from Joel. If Steve has 10 boxes for a spot sale, he
offers them on Joel's DMS warehouse / e-zine site. The DMS
architecture is geared for this, and according to Ebrahimi the Quark
hiring scheme has focussed on server engineers which the Adobe hiring
scheme has not. I'm just repeating here ...
This may all be fine, but if Quark fails to deliver on PostScript
support, and on support for PDF which is increasingly used as the
format for digital ads, you will see big publishers vote with their
feet for InDesign. And then Quark folds.
ID uses the default intent of the assigned profile when making PDF:
Is this not >so? And, in the case of Relative Colormetric, is
Simulate Separation Printer >just another name for BPC?
You may want to distinguish between ICCBased and CIEBased in PDF 1.3.
If you tell InDesign to 'Include ICC Profiles', then it uses
object-specific embedding, meaning with ICCBased the whole profile
gets embedded and not subset. You can test what happens with
InProduction, though it's cumbersome. With CIEBased the profile gets
subset into CSAs.
InDesign does not support Black Point Compensation, meaning the old
Photoshop relative colorimetric with relative white and relative
black separations. If you choose Relative Colorimetric for your
separations in InDesign, you get relative white and absolute black.
In a world which is moving from small monitor RGB to big working
space RGB as source color space for digital originals, you should
tell ordinary users to choose Perceptual to get the same result
across applications.