Re: Preview for RAW conversion
Re: Preview for RAW conversion
- Subject: Re: Preview for RAW conversion
- From: edmund ronald <email@hidden>
- Date: Thu, 02 Jun 2016 19:07:35 +0200
The problem is that even a 'calibrated' laptop is basically random. An
Epson print on epson paper is mostly invariant from machine to machine.
On Jun 2, 2016 5:16 PM, "Ben Goren" <email@hidden> wrote:
> On Jun 2, 2016, at 6:21 AM, Martin Orpen <email@hidden> wrote:
>
> > The problem is having to visually match the look of a Finder “preview”
> (not even a Preview conversion) on the uncalibrated MacBook Pro screens of
> people on another continent after all of the retouching has been done on a
> campaign :(
>
> Alas, there are far too many variables there to solve. Your first step is
> to make sure that everybody knows that what's being asked of you is about
> as impossible as turning bacon and eggs into hogs and hens. But maybe
> everybody could take a field trip to the SPCA and pick out a cute little
> kitten to take home, and that's good enough?
>
> The suggestion of an iPhone snapshot of the screen plus a physical
> ColorChecker is not a bad one. I'd amend it to suggest sending a digital
> ColorChecker (Bruce Lindbloom's site is a good source) and having that on
> the MacBook next to the picture you're trying to "match."
>
> If you do a lot of profile building, you could go that route to attempt
> the "match." But, if that's not something you do all the time, you're about
> as well off using Photoshop curves. The margin of error (big enough to sail
> the Titanic through) is about the same either way. First adjust the iPhone
> snapshot so the physical ColorChecker is "close enough" -- and, for the
> sake of all that's unholy, don't beat yourself up trying to get the perfect
> match! Then, in a new document, make a new curves layer that "matches"
> Bruce's ColorChecker to the now-"adjusted" iPhone snapshot. Your last step
> is to put the two sets of curves on top of each other.
>
> But, even more importantly...take this as a lesson for all involved --
> both your clients _and_ you -- to not waste time in the future trying to
> "match" colors in a non-managed workflow. Anything not managed is for
> composition and position only. If the client sees something not managed
> that they like, you get a verbal description and use that to draw
> inspiration for your own edits, just as if the client asked you to "give it
> more punch" or "dial back the greens" or "make it more moody."
>
> Cheers,
>
> b&
>
> P.S. If the client gets really insistent...tell the client you'll need
> physical possession of the laptop for a week or so -- either they FedEx it
> to you or they pay your way to go to them. You can then bring all sorts of
> tools to bear, including colorimeters and what-not, to get reasonably (but
> not perfectly) close. And if it's not worth it to them to spend that kind
> of money, it's not worth it to you to attempt that level of precision. b&
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