Re: Remote proofing
Re: Remote proofing
- Subject: Re: Remote proofing
- From: bruce fraser <email@hidden>
- Date: Fri, 12 Mar 2004 09:11:50 -0800
At 12:30 PM +0100 3/12/04, Henrik Holmegaard wrote:
The only way to ensure that the printing process is fed the _right_
CMYK values is to only place RGB / Lab in InDesign.
Or to place the right CMYK values in InDesign to start with-this is
the idea behind PDF/X1a, and it works with a great deal less
uncertainty than submitting all color to an unknown downstream
conversion, or even to a single known one-see below.
The fundamental idea of color management is that all objects in the
page geometry share the same ink limit and black replacement, which
is in fact an idea even PostScript Level 1 conceptualizes.
Ink limits, certainly, but black replacement most certainly not.
Black replacement is as much an image-specific concern as a
process-specific one. Simple, real world example. Screen shots
absolutely need a heavy black generation. Most natural images will
actually be hurt by a heavy black generation, particularly ones with
dark saturated colors.
Right now, ID3 doesn't let me do that when I place RGB files.
Everything has to go through the same output profile.
Let me be very clear. I have no philosophical objections to
late-binding workflows. I'd much prefer them to early-binding
workflows, and even more so to the depressingly common
premature-binding workflows. My objections are purely practical ones
to the current limitations of late-binding implementations.
Ideologically, I'm totally behind late binding, but I don't intend to
screw up my print jobs for the sake of ideology, and hosing all my
color through the same black generation irrespective of image content
is one way that the current late-binding implementations will indeed
screw up my print jobs...
So can we dismiss the straw men, forget about the philosophical
positioning statements, and figure out how to make late binding work
at least as well as a properly-constructed early-binding workflow?
I'd love to be able to place all color as RGB in a future edition of
Real World Photoshop, for example. It would make reprints a great
deal easier, it would make the files smaller and more agile. It's
just that if I did so now, I'd have to decide whether I wanted the
screen shots or the images to look like crap, and I'm simply not
prepared to make that compromise.
--
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