Re: Artisan calibration/soft proof workflow
Re: Artisan calibration/soft proof workflow
- Subject: Re: Artisan calibration/soft proof workflow
- From: Chris Murphy <email@hidden>
- Date: Sun, 4 Jan 2004 12:09:20 -0700
On Jan 4, 2004, at 9:50 AM, Will and Pam wrote:
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?
Not really. What is close enough is rather subjective, and deltaE
wouldn't really apply in this case nor would be it be particularly
useful. I'd focus on getting things as consistent as possible. If you
can't get a light box that will dim, then you'll just have to learn to
take into account the higher contrast and saturation with originals
viewed under the light box.
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?
Only use the Artisan software with the Artisan monitors. All
adjustments are made automatically by the software including gain and
bias controls.
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?
"CRS FineArtD65 2.2" should work well for you in an environment where
there are outdoor windows letting in daylight, or ambient lighting is
bright. "CRS FineArtD50 2.2" should work well for you in an environment
where lighting is subdued.
The gamma is not a major factor, you do not need to worry about using a
gamma 2.2 and the Mac based prepress using gamma 1.8.
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? It is difficult to convince higher-ups to part
with
money to achieve color management when there are seeming
inconsistencies/exceptions like that.
The inconsistency/exceptions come from inconsistent and exceptional
difference in the viewing environment. If everyone had a controlled
environment per ISO 3664 then most everyone could calibrate monitors to
the same whitepoint. But since viewing environments are different even
in the same office space, that accounts for why some people will use
D50 and prefer it over D65 in certain situations and D65 over D50 in
other situations. Plus the media can make a difference as well -
publication grade stock is pretty yellow and a D50 white can be helpful
in better simulating such a stock.
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?
How critical is the color for the job? If the color is critical, then
having good profiles is critical. If the generic profiles describe the
actual behavior of the output device, then they will work fine. But in
general, generic profiles will give you generic results. If that's OK,
then you don't need to worry about it. As far as the difference in
deltaE, it would be a pretty useless guess: it depends on the colors in
question and how good or bad the generic profile describes the actual
behavior of the device being used. It's not really something anyone who
isn't actually using the device is in a position to guess on. It could
be minor, or it could be a huge difference.
Is there anything else not mentioned above that we ought to consider?
Don't forget to use Proof Setup and Proof Colors. Very helpful for soft
proofing with an Artisan to view images this way prior to output to
avoid surprises. You can toggle (command-Y on Macintosh, control-Y on
Windows) the soft proof while color correcting/enhancing images to see
the effect on both the original as well as how the edits will translate
to final output.
Chris Murphy
Color Remedies (TM)
www.colorremedies.com/realworldcolor
---------------------------------------------------------
Co-author "Real World Color Management"
Published by PeachPit Press (ISBN 0-201-77340-6)
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