Re: Artisan calibration/soft proof workflow
Re: Artisan calibration/soft proof workflow
- Subject: Re: Artisan calibration/soft proof workflow
- From: Andrew Rodney <email@hidden>
- Date: Sun, 04 Jan 2004 10:41:23 -0700
on 1/4/04 9:50 AM, Will and Pam wrote:
>
We've not been able to get a usable scanner profile yet with our
>
MonacoEZColor or Lasersoft, so for now we are bringing the files into
>
Photoshop untagged and converting them to our editing space AdobeRGB(1998).
Converting from what? You still need some profile of the scanner to convert
into Adobe RGB.
>
Is it possible, without the dimmable viewing booth/light box, to match the
>
monitor brightness to the viewing brightness? If not, is it possible to get
>
"close enough"? Could anyone estimate how close in terms of deltaE?
If you're talking about a smaller box near the display in which you look at
one, then the other, a dimmer is really pretty important. The box is just
too bright. I prefer a digital dimmer like that on the GTI boxes so that
multiple boxes can be set the same (assuming they are all being used nearby
a display in the same environment). Of course you can train yourself to try
and adjust the differences mentally (to some degree even with a dimmer this
is going to be necessary since you're comparing an emissive output to a
reflective output).
>
What should the monitor calibration process be? Do we use only the Artisan
>
software or do we do Precal/Optical, or both? Are there manual adjustments
>
to be made on the monitor gain controls?
Toss precal/optical! No reason to have then anywhere near an Artisan! It's
going to do all the calibration and profiling in a much more robust way
(electronically). I'd probably calibrate to a "Fine Art" (500:1) contrast
ratio for the Epson and something like 400:1 for the Durst. This is a
physical adjustment to the black setting of the display. You can switch on
the fly in the Artisan software when you want to view images to the two
different output devices.
>
What target color temperature (d50? d65? other?), gamma ("native", 1.8, 2.2,
>
other?), white and black points should we use when calibrating the monitor?
I'd try a 2.2 at 6500K. Beauty of the Artisan software is you can try all of
the above and switch within the software, go into Photoshop and view the
results. I suspect however that 2.2/6500/Fine Art will get you the best soft
proof (and good output profiles and proper setup of the Photoshop soft proof
is key as well!).
>
If the color temperature of the monitor is supposed to be different from the
>
color temperature of the viewing booth (as I believe some have
>
advised--monitor at d65 and booth at d50) is there an explanation for that
>
other than experience?
This has been discussed on this list many times (search the archives). The
short answer is the setting that provides the best screen to print matching
is the correct setting <g>. In a perfect world, you'd have a match. In
reality, most people fine a 6500K setting of the display works out better. I
did have an interesting conversation with the man behind the Artisan who
suggested with *some* output (like Matchprint/contract proofs), due to the
papers used, 5000K will produce a better match. But with the Epson, I'd
start with 6500K. Again, you can always make as many aim points in the
Artisan software you like and switch.
>
How critical is it that we have custom profiles built for the two print
>
spaces? Could anyone guess what the gain would be in terms of deltaE?
Pretty critical I'd say. The accuracy of the soft proof is now going to be
based on those profiles. The Artisan is going to nail the calibration of the
display and resulting display profile. So the weak link is going to be the
accuracy of the output profiles (both the preview portion and output
portion). After that, environmental conditions and viewing conditions will
be the next area to examine IF you're not getting good screen to print
matching.
Andrew Rodney
http://www.imagingrevue.com/
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