Re: Tweaking Output Profiles
Re: Tweaking Output Profiles
- Subject: Re: Tweaking Output Profiles
- From: bruce fraser <email@hidden>
- Date: Fri, 1 Jul 2005 13:24:18 -0700
I make two distinct types of tweak to output profiles.
1.) I edit the BtoA tables to improve the rendering of some part of
the color gamut with the full knowledge that in doing so I'm making
the rendering of some other part worse. This type of tweak tends to
be job-specific, and isn't something I undertake lightly! But
sometimes it's worthwhile to reduce the maximum delta-e at the cost
of increasing the average delta-e, particularly if the maximum
delta-e occurs in an area of the gamut that's important to the job at
hand.
2.) I edit the AtoB tables to improve soft-proofing, but only after
making sure that the display profile is absolutely as good as it can
possibly be. One common edit is to shadow gradations - most display
profiles have a black-hole black point (Lab 0,0,0) which no display
can possibly achieve. (It's not a good idea to have the event horizon
of a black hole sitting on your desktop, and that's the only think I
know of that allows no photons to escape.) So shadows are often
displayed as being more open than they will in print. The other
common edit is to the simulated paper white point. This is pretty
subjective, but very often the dynamic range compression is much more
obvious than the paper color, so I try to make the simulated paper
white as bright as possible while preserving the hue.
Aside from these two cases, I don't edit output profiles.
Bruce
At 3:39 PM -0400 7/1/05, Kevin Muldoon wrote:
I'd like to know to what lengths do people go to tweak their output
profiles -- or if they tweak them at all -- and IF the output
profiles are adjusted in some way, just what are they being adjusted
to?
I have been of the opinion that an output profile 'is what it is'.
If my image viewed under proof-setup in Photoshop matches my output,
and my QC color patches measure within tolerance, then I must be
satisfied that I am getting the best possible out of the Ink, Media,
Printer, RIP combination, even if my output may be overall
'yellowish' due to the yellow hue of the media (or blueish due to
the blue hue of media, or whatever).
I am inviting an open discussion on how, why, when color management
professionals tweak an output profile especially when the output is
not a proof of another printing process. Thanks!
Kevin Muldoon
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