Of absolute black point proofing
Of absolute black point proofing
- Subject: Of absolute black point proofing
- From: Henrik Holmegaard <email@hidden>
- Date: Mon, 2 Jul 2001 15:40:25 +0200
Josef Fallnhauser <email@hidden> wrote:
If I do so, the preview looks terrible - all over a white cast. I can't
believe that this is your opinion of how a preview should look like.
OK, let's do this again, from a slightly different angle.
ISO COMMSP3 has a black point of L15.
My Apple CRT has a real black point of L4. Let's say I pick a paper
that gives the HP5KPS a black point of L4, too (there are several
that do).
If the black point in the relative colorimetric proofing transform is
absolute, the monitor and proof printer show the black of the
printing process. This is what you get out of Linocolor, for instance.
If the black point in the relative colorimetric proofing transform is
relative to the monitor and relative to the inkjet, neither the soft
proof nor the proof print show the black of the printing process.
If the black point in the relative colorimetric proofing transform is
relative to the monitor, as you prefer, and absolute to the inkjet,
then the soft proof and proof print don't match, but the proof print
and press print match.
Yes ... ? -:)
BTW an idea to try later today ... source high resolution TIFF CMYK
with embedded separation profile, make hot folder queue in iQueue
from source with inverse perceptual to destination RGB monitor size
working space e.g. sRGB or ColorMatch RGB, and apply TIFF to JPEG
conversion. Instant JPEG for web production.