Re: Artisan calibration/soft proof workflow
Re: Artisan calibration/soft proof workflow
- Subject: Re: Artisan calibration/soft proof workflow
- From: neil snape <email@hidden>
- Date: Sun, 04 Jan 2004 19:06:14 +0100
on 04/01/2004 17:50, Will and Pam wrote :
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We're scanning primarily original photographs (black-and-white, cyanotype,
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albumen prints, etc.), and 4x5 color transparencies depicting works of art
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such as paintings, prints, drawings, etc. We are creating generic masters
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for archival purposes but are also deriving files from the masters for both
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web delivery and print output. Our two output target devices so far are
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Epson ink jet (1280) and, at a service bureau, a Durst Epsilon printer. We
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have generic profiles for both.
The Durst is a viable printer for quality repro. The little Epson should be
okay to make quick checks but is not up to an archive task. The new Epson
4000 would be a better choice.
I can only imagine that the bureau runs linearisation strips daily on the
Durst so that the canned profile is actually a target print space.
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Our editing area has no daylight, and TCI d50 overhead ambient lighting. We
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own a TCI d50 viewing booth and TCI d50 light box (unfortunately not the
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dimming kinds). We use the booth and light box to display the scanned
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originals while editing the archival masters. We also use the light box to
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display prints made from the Epson to compare against the images on the
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monitor. The Epson prints then become sort of reference prints to give to
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the service bureau. We are a Windows operation and the service bureau is a
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Mac operation, with a d50 environment.
You can use Rosco or Lee gelatin cinema filters in ND steps as necessary
wrapped around the tubes or flat on the plexi of the viewing (transparency )
box. Kodak Wrattens are even a more appropriate choice for this.
Whether or not PC or Mac the monitor white point can be D50-D65 and anywhere
between these correlated standards. If you want your paper white on the
Epson to match your screen then the white point should be adjusted to a
visual match of the paper in the light booth compared to the monitor. Yes
controlling the booth brightness will get you a closer match.
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We've not been able to get a usable scanner profile yet with our
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MonacoEZColor or Lasersoft, so for now we are bringing the files into
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Photoshop untagged and converting them to our editing space AdobeRGB(1998).
You'll need to explain more about the scanner and process to understand
where there could be problems here.
>
>
Is it possible, without the dimmable viewing booth/light box, to match the
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monitor brightness to the viewing brightness? If not, is it possible to get
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"close enough"? Could anyone estimate how close in terms of deltaE?
Probably not but it is a visual match you're after. The monitor brightness
is a relative thing, and reflection of the light booth (or transmission) is
going to be adapted by your vision. Delta E is used for comparing samples in
similar conditions which is not the case of a monitor to print.
>
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What should the monitor calibration process be? Do we use only the Artisan
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software or do we do Precal/Optical, or both? Are there manual adjustments
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to be made on the monitor gain controls?
From what I hear just use the Sony Artisan set up.
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What target color temperature (d50? d65? other?), gamma ("native", 1.8, 2.2,
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other?), white and black points should we use when calibrating the monitor?
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If the color temperature of the monitor is supposed to be different from the
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color temperature of the viewing booth (as I believe some have
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advised--monitor at d65 and booth at d50) is there an explanation for that
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other than experience? It is difficult to convince higher-ups to part with
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money to achieve color management when there are seeming
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inconsistencies/exceptions like that.
If you use native and set up the monitors to visually match the paper
appearance Then the color temperature will be somewhere around 5300-6000 K.
In any case your eyes will adapt to the monitor and if the native WP is
adjusted to the appearance of the print in the light booth then the goal of
matching can easily be met.
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How critical is it that we have custom profiles built for the two print
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spaces? Could anyone guess what the gain would be in terms of deltaE?
The bureau should provide custom profiles for the Durst. Your Epson will
need a very good RGB profile to get the most from the paper you plan on
using.
Neil Snape nsnape @ noos.fr neil_snape @ mac.com
http://mapage.noos.fr/nsnape
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