Re: RGB Color Space Info Request
Re: RGB Color Space Info Request
- Subject: Re: RGB Color Space Info Request
- From: Don Pushies <email@hidden>
- Date: Mon, 25 Nov 2002 16:56:43 -0500
>
on 11/25/02 10:07 AM, bruce fraser at email@hidden wrote:
>
>
> I'd rather formulate the message as, don't worry about the small
>
> nuances of different working spaces until you've got everything else
>
> nailed down...
>
>
Yes and if someone sends you a file in sRGB, you don't have to necessarily
>
cut your throat and bleed all over the keyboard. At least they gave you a
>
tagged file! Now getting untagged files... Pull out a knife (use it on the
>
person who sent the file).
>
>
The ICC should really sanction a "color geek" symbol that would flag any
>
message that contains geek speak so everyone else can move on with the
>
bigger picture.... Now back to how many licks on that toosie roll.
>
>
Andrew
Wow, man (chuckle). I'm an audio geek by trade then, I'm guessing. I have
been very interested in the ongoing discussion of working geek space as I
am training my eyes for the day my ears give out. I learned a long time ago
that even if people were just going to put something on a shi**y lp or
casssete(mp3's nowadays), that there was a very valid reason to work in a
controlled, widest gamut possible environment. I kind of liken it to this:
In live sound work I color correct for the space I'm in as it is the only
space in which the product will be viewed. I white balance the highs for
hard or soft temp walls, and I take special care with shadow detail so that
the Bass guitar can be distingushed from the low keyboard lines.
Saturation control is very critical in the low tonal colors. We then tear
up the only image produced before we leave.(People usually have an inflated
view of their own memory gamut. This works to our benefit)
In recording, its my job to have my colors translate as well as possible
into other people's work space. The colors should look good on their
stereo at home, and also look strikingly familiar if not exactly the same
in their car, on the radio, ect. You know, the strad violin should at
least still look like an orchestral violin, not a Charlie Daniels
fiddle.(sorry Charlie)
The more precisely I can understand what colors are present the more
precisely I can control them. I can't control what I don't posess. This
means I capture to a digital format that retains colors only a dog would
love, and work in a space only a geek would truly appreciate. I set my
control room work space to a very balanced, wide gamut working pallette.
Even if someone sends me a srbg cassette and asks me to make them a Fine
Art Giclee CD, I will know exactly how shi**y it looks and whether or not
I'm making even the smallest improvement. I might even pull out a couple
of tricks and widen the color range myself when no one is looking. Since
I'm in working geek space, I know whether or not its closer to the
original, or just different.
When someone sends you an untagged file, you might use that knife to pin a
rather large invoice to their door so that they more easily remember who it
was that took their mess and made a pretty little pile out of it.
just my two bits a few delta e off center,
Don Pushies
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