Artisan calibration/soft proof workflow
Artisan calibration/soft proof workflow
- Subject: Artisan calibration/soft proof workflow
- From: "Will and Pam" <email@hidden>
- Date: Sun, 4 Jan 2004 11:50:37 -0500
We are implementing new Sony Artisan monitors in an art museum scanning
project and have some questions about how to proceed. We've gleaned what we
can from various sources, including posts to this list, books, on-line
resources, etc. and perhaps we've missed the answers to some of these
questions--if so, we apologize!
We're scanning primarily original photographs (black-and-white, cyanotype,
albumen prints, etc.), and 4x5 color transparencies depicting works of art
such as paintings, prints, drawings, etc. We are creating generic masters
for archival purposes but are also deriving files from the masters for both
web delivery and print output. Our two output target devices so far are
Epson ink jet (1280) and, at a service bureau, a Durst Epsilon printer. We
have generic profiles for both.
Our editing area has no daylight, and TCI d50 overhead ambient lighting. We
own a TCI d50 viewing booth and TCI d50 light box (unfortunately not the
dimming kinds). We use the booth and light box to display the scanned
originals while editing the archival masters. We also use the light box to
display prints made from the Epson to compare against the images on the
monitor. The Epson prints then become sort of reference prints to give to
the service bureau. We are a Windows operation and the service bureau is a
Mac operation, with a d50 environment.
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).
In addition to the Artisan colorimeter/software we also have a Spyder and
Optical monitor calibration software.
Our questions are:
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?
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?
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?
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.
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?
Is there anything else not mentioned above that we ought to consider?
Thanks in advance for any advice you might have--I am always impressed with
the level of expertise freely dispensed on this list.
Will
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