Re: Remote proofing
Re: Remote proofing
- Subject: Re: Remote proofing
- From: Henrik Holmegaard <email@hidden>
- Date: Sat, 13 Mar 2004 21:09:05 +0100
bruce fraser <email@hidden> writes :
>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.
The screenshots in my copy of Stefan, Dietmar and Liane's PostScriptum
have a nice magenta cast, which was an excellent reason for not
printing the cookbooks. But other than that I'd want better black
replacement and better press control systems long before I even so much
as began to think about multiple destination spaces.
You cannot have your cake and eat it, too. Color management is already
incredibly complicated and largely manual as there is pressure to
convert in Photoshop where conversion does not belong. Conversion
belongs in InDesign for the PS pipeline and in the interpreter for the
PDF pipeline.
The Kodak ColorFlow architect once said that when Fuji launched, the
reaction was a stunned, But grass can't be that green and sky can't be
that blue. There are styles of gamut mapping just as there are styles
of analog color rendering. For a project you take your pick.
It may be that to satisfy pride and enhance teamwork the style of gamut
mapping has to be chosen by the upstream image designers contributing
to any given project rather than dictated by the press operator. If so
the characterization table, the ink limit and the black replacement are
specified, and the gamut mapping is left to the image designers.
But black replacement is process specific and the decision belongs with
the production manager, just as the ink limit decision does. It does
not belong with the image designer in my humble opinion. There has to
be a division of labour in order for the press to run in a controlled
manner.
>Right now, ID3 doesn't let me do that when I place RGB files.
>Everything has to go through the same output profile.
Thankfully, or we would have every photographer wanting a separate
black replacement for every image on every page in a magazine. How many
destination spaces is enough? Please, replay this positioning argument
s - l - o - w - l - y and listen to the pin drop to the floor.
You once said to Joseph that the number of people who would want to
know every ToCIE and FromCIE leg of every transform could be counted on
two hands. Those who want what you are proposing could be counted on
one, and the press and proofing people would write off color manglement
for ever if they so much as heard of this.
You may not realize, but the press manufacturers were and still are
inherently sceptical of controlling what comes out of the desktop. I
don't blame them, what a nightmare it must be. The desktop is sure to
make life more complex and workflows ever more impossible to manage for
a predictable result.
>I have no philosophical objections to late-binding workflows.
I know you don't, but you have a curious way of positioning the
non-objection -:).
Thanks,
Henrik
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