Re: G7 press calibration, best press conditions or average?
Re: G7 press calibration, best press conditions or average?
- Subject: Re: G7 press calibration, best press conditions or average?
- From: Henry <email@hidden>
- Date: Wed, 5 Nov 2008 16:11:24 -0500
Press crews have traditionally aimed at solid densities and gain
values at various parts of the tone scale. A fancy way of saying
this would be, "they set up the machine to match a set of
characterization data that are independent of any subjective aim
point". The press crew is thereby defining the gamut's size and shape.
G7 is just a different method. By either method, the press arrives.
If it arrives at the same place by either method, then which is better?
Henry Davis
Eric wrote:
<snip>
When press crews have had this explained and be shown that the way
forward is for them to set up their machine to match a set of
characterisation data, using specific spectral targets that are
independent of any subjective aimpoint, i.e a page proof, it is like a
veil has been lifted from their eyes: get the rugby ball, the gamut,
the right size and shape and all of the colours expected will be in
there somewhere.
Surely this is a calibration? The press crew now has a very specific
set of target data to match, the machine, the ink, the fount, the
blankets, etc etc, may well all have to be "adjusted" to achieve the
"calibration" that will result in a conforming colourspace being
created.
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