Re: Analyzing Workflow
Re: Analyzing Workflow
- Subject: Re: Analyzing Workflow
- From: Henrik Holmegaard <email@hidden>
- Date: Sat, 19 May 2001 14:32:09 +0200
Ulf Grossmann <email@hidden> wrote:
...that he should use the
PrinterProfile of his RGB Printer and not the Monitor Profile as Workspace.
I know, that the Adobe RGB is much better as Workingspace as the Monitor RGB
if you want separate to CMYK via ICC, but why should I do this if I have an
original RGB Space for printing.
If somthing is wrong in my thinking please let me know, because RGB is not
so common in the proofing area.
This is a muddle, I'm afraid. The working space is the space the
pixels are actually in, and not the space they are represented in, be
it a monitor space or a printer space.
What we want is to preserve the full volume of the film gamut. So as
we choose output gamuts, we can fill them to the rim with all of what
we originally had, instead of spilling some of our gamut, and not
having it to fill the printer gamuts we want to carry our colors in
later on. Sort of like pouring from a pitcher into a smaller jug and
a yet smaller jug and an even smaller jug. You wind up with less and
less. It's better to fill all the jugs from the same pitcher. Or
maybe passing a block of cheese or chocolate through multiple
openings of diminishing size and ever changing shape, carving off
chunks at each passing would be a better analogy -:).
Printer gamuts have hugely different shapes and sizes. If we convert
into an RGB printer working space, we crop the film space. If we
convert into the next RGB printer space with another shape and size,
we crop more of what's left. And more and more as we convert and
reconvert and reconvert again.
The right way to do this is not to convert into an RGB printer
working space, but to map the film space into Lab losslessly, and use
that as the digital original. Or map the film space via Lab into an
RGB working space which holds the full film space, like Joseph's
EktaSpace.
If the original film space mapped into Lab is hard converted into an
RGB printer space, the full size and shape of the film space is
cropped, and the cropped colors are not available when converting
into other RGB printer spaces, even if their shape and size would
allow the now cropped colors to be reproduced.
You get one cropping for RGB printer (a), a second for RGB printer
(b) and a third for RGB printer (c). Therefore, you have cut away a
section of the source film gamut at each step.
Keep the film space in Lab or high volume RGB, and don't hard convert
into an RGB printer space to be used as RGB working space. That
doesn't make sense, at least not to me.
--
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Henrik Holmegaard, TechWrite
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