Re: Absolute vs. Relative rendering intent while proofing
Re: Absolute vs. Relative rendering intent while proofing
- Subject: Re: Absolute vs. Relative rendering intent while proofing
- From: Terry Wyse <email@hidden>
- Date: Thu, 20 Apr 2006 16:06:56 -0400
Besides the suggestion of using a paper that matches your house sheet
and using relative colorimetric (good suggestion), I didn't consider
an option that Bret Hesler elluded to to....with GMG Colorproof you
can edit the MX4 profile in such a way that you can remove the paper
white cast but LEAVE the cast as soon as there is any printing dots.
Sort of like relcol for paper white but abscol everywhere else. This
is the kind of edit that is impossible to do (AFAIK) with a normal
ICC profile but takes 2 sec. to edit in a GMG profile.
The real advantage of this approach is that you could still use
absolute rendering for multiple different press stocks but still have
paper white that would let you pick up the scum/trash dots. With a
straight relative rendering, you lose the ability to simulate
different press stocks no matter what.
Regards,
Terry
On Apr 20, 2006, at 2:32 PM, Steve Obermiller wrote:
I've recently run into a roadblock regarding absolute rendering when
proofing. We are currently proofing with absolute rendering intent
using
US Web Coated SWOP with an edited white point to simulate our
house stock.
We have consistently gotten our best results yet in matching the
press
sheets. But we have gotten burned lately on one issue. Customers
often
send in files with 1-3% trash in the background around their images
(either from JPEGing or just carelessness/ignorance of clipping
paths,
etc. With absolute rendering these highlights are getting blended
into the
paper simulation and are not being seen on the proof and caught
until it
hits the press where they stop the job down. Testing shows that
relative
intent while proofing shows the 1-3% dot very well, but absolute
rendering
gives us the best overall results in color across the board. I've run
these tests on both an HP5000 and an Epson 9800 through EFI
Colorproof XF
with the same results.
We're getting burned but management says (rightly so) that if the
customer
can't see it on the proof and aren't aware of the problem then we
eat the
subsequent problems at press time.
They want us to be able to show this as a problem at the proofing
stage
while getting the best color results (absolute rendering). I'm
stuck in a
Catch 22.
I've tried manipulating the profiles in to increase saturation in the
highlights, but I'm a novice at this and profile manipulation
scares me
anyway, and my results have been unacceptable.
Is there anything I can do to get these highlights to show up
clearly with
absolute rendering so I can achieve both goals?
Thanks.
Steve Obermiller
Branch Smith Printing
Fort Worth, Texas
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Color Management Consulting
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http://www.colormanagementgroup.com
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