Re: Artisan calibration/soft proof workflow
Re: Artisan calibration/soft proof workflow
- Subject: Re: Artisan calibration/soft proof workflow
- From: email@hidden
- Date: Sun, 4 Jan 2004 17:52:08 EST
In a message dated 1/4/04 11:51:53 AM, email@hidden writes:
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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?
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If you can't dim the viewing lights without color cast issues, then adjusting
the luminance of the monitors should do the same thing, provided the monitors
are as bright as the viewing lights to start with. But if you have both
transparancies and reflective art, how will you account for the differing
brightness of these two conditions, since the monitor must be set to one luminance?
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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?
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I assume, since you spent the bucks on the Artisan proprietary system, that
you would want to use it. But my description will be in terms of OptiCAL, since
thats my background. Start by using PreCAL to adjust both the color
temperature (RGB bar graph) with the gain controls, and the total luminance at the same
time until the bars are the same height, and the white luminance of the
screen matches your proofing lights. After that, you would simply run OptiCAL set
at native whitepoint (since you have already set the whitepoint in PreCAL) in
Standard mode.
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What target color temperature (d50? d65? other?),
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There's some debate about that; if your room is dark enough D50 might work
fine, or you could split the difference and go with something in the 5700 range.
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gamma ("native", 1.8, 2.2,
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other?),
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2.2 will do the least damage to your number of levels per channel, giving you
smoother gradients on screen.
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white and black points should we use when calibrating the monitor?
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You really don't want to tweak these again, which is why I suggested Standard
Mode. The luminance adjustment you did in PreCAL already defined your
preferred White Luminance, and the black is set with the gray threshold target.
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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?
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I'll let others take a stab at that, I'd just say find something between d50
and d65 (inclusive) that works for you...
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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.
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Do they hate paying for staircases when there are not always the same number
of treads in each set?
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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?
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Delta-Es mean suprisingly little in terms of user satisfaction with the final
image. Custom profiles may make your results far more satisfying, even if
they don't decrease your delta-E range significantly.
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Is there anything else not mentioned above that we ought to consider?
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Probably, but unless you hire a consultant to oversee the process its likely
to a bits-and-pieces process where you install some components, work with them
and see if you need to tighten things up even more... it can save money (or
waste it) but either way is likely to be a slower, more iterative process.
C David Tobie
Product Technology Manager
ColorVision Inc.
email@hidden
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