Re: Rel vs Abs proofs
Re: Rel vs Abs proofs
- Subject: Re: Rel vs Abs proofs
- From: Roger Breton <email@hidden>
- Date: Fri, 13 Oct 2006 21:34:38 -0400
Terry,
> Roger, it looks to me like option #1 (assuming GMG is an option here)
> would be your best bet. If you think about it, it offers the best of
> both worlds. Because the paper white is smoothly reduced throughout
> the "gamut", you'd get a more-or-less relative colorimetric look from
> paper white throughout the quarter/mid-tones but with NO gamut
> expansion at all in the solid primaries/secondaries.
Yes, I can see this would be perfect for certain clients who just have a big
problem (located between their two ears) with AbsCol.
> In practical
> terms, it's much like a relative ICC rendering up to about the
> quarter-tones but from there to 100%, it's basically an absolute ICC
> rendering.
Wunderbar idea.
> This is ALWAYS the best option. Find a proofing media that offers the
> closest match to your primary or "house" press stock with perhaps a
> slightly higher L* but with the same basic a*/b* values and use that.
This comes back to Graeme's earlier remark that in the case that the Source
and Destination white points are equal, RelCol and AbsCol come out to the
same.
> There are several medias that I've worked with that are exactly that.
> A couple that come to mind are GMG's Semimatte 250 and Satin 230 and
> the ProofLine White Satin 230 medias. These all have L* values of
> around 96-97 with b* values of between -2 to -3.5,
GMG Semimatte with a b* values between -2 to -3.5? Really? I thought the
Semimatte was closer to a*=0, b*=0.
> Terry Wyse
Roger Breton | Laval, Canada | email@hidden
http://pages.infinit.net/graxx
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