Re: The CIECAM challenge in ColorSync
Re: The CIECAM challenge in ColorSync
- Subject: Re: The CIECAM challenge in ColorSync
- From: Graeme Gill <email@hidden>
- Date: Wed, 25 Jan 2006 09:22:50 +1100
Olaf Drümmer wrote:
PMJI - from my point of view the most important aspect of color
management in the graphic arts industry is predictability. We need to
know in advance what a color will look like, with as much accuracy as
possible. At the same time there are situations where a user may expect
the 'nicest' possible color (not necessarily expecting deterministic
predictability). So what's important when?
And here goes my question:
Where would CIECAM or any other such advanced/smart CMM help me? Just
for [1]? Or also for [2] through [4]? Exactly what would it achieve that
can't be achieved today?
The main advantages are certainly in the area of perceptual renderings, where
there is more likely to be a change of viewing conditions, and a change of
gamut that requires gamut mapping.
There are subtle advantages in other color work though. Even for proofing
renderings, there is often the need for gamut clipping, and if the gamut
sizes are different enough, CIECAM02 may show advantages. If you are
doing things like soft proofing, different viewing conditions come into
the picture again, and an appearance model may have useful application.
While ICCV4 can (in theory) provide much of the same effect (by using
the A2B and the B2A tables to transform to a PCS that has a defined
gamut, as well as viewing conditions), it provides less flexibility
(being hard coded in tables, so you can't play with ink limits or black
generation), and will probably have more inaccuracies and variations due
to the use of two gamut changes per colorspace transform, rather than
a single transform in the case of a "Smart" CMM.
Graeme Gill.
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