Re: In search of a D50 Editing colorspace
Re: In search of a D50 Editing colorspace
- Subject: Re: In search of a D50 Editing colorspace
- From: Lars Borg <email@hidden>
- Date: Thu, 04 Sep 2014 20:58:57 +0000
- Thread-topic: In search of a D50 Editing colorspace
Hello Steve,
As you noted, most users want to map display white to paper color, a
media-relative mapping.
As you know, with the ICC-absolute colorimetric intent you can also match
colors across different paper stocks, useful when an insert is printed on
a different stock. This mapping is not media-relative but
illuminant-relative. The colors in print match only under a given
(calibration) illuminant, and typically don't match the display. The
former was the intent of this intent; the latter never was.
Of course, you can improve the display-to-print match by using the same
white points for the display and viewing booth (with Judd-Vos correction?)
Isn't everyone doing this?
The above options are directly supported by the ICC profiles.
There are other potential use cases not trivially supported by ICC
profiles:
Matching two displays.
For the case of matching HD and UHD reference monitors (their white points
match), use regular ICC profiles and the relative colorimetric intent.
But consider displays with different white points, say an HD reference
monitor and a cinema projector. Both the display luminance levels and
white points differ. Yes, we can hack a device link profile that makes
them match in absolute XYZ, because we know a lot more than what's in the
ICC profiles.
A CIE absolute colorimetric match between display and print with different
calibration white points is another challenge. What are the critical
viewing conditions in such a case? How would you control for the
illuminant on the print in the wild?
I don't think there's anything new in the above.
Lars
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