when i was involved with the ICC, they seemed focused on their historical origins of print endproduct and screen as preview. I think the action in color management may have moved to the various moving picture technical committees, the cinema guys are very serious about using calibrated screens for grading and ensuring viewers get the best experience in theaters, and there's a whole community of "home theater" people who calibrate their super large TVs and projectors with high end spetroradiometers. Edmund On Wed, Nov 3, 2021 at 10:39 AM Nick Dunmur via colorsync-users < colorsync-users@lists.apple.com> wrote:
On Wed Nov 03 2021 09:03:02, edmund ronald via colorsync-users arranged some pixels to say…
Strange how the traffic dwindled away.
I think everyone’s still here (hello to all, and Neil for poking the stick in :-) !)… perhaps colour management issues are less of a ’thing’ than they used to be? I’m still using the tools and workflows I have been for some time, but make a lot less work for print these days (90% of commissioned work is screen-use only, apart from personal work) and people seem generally happy viewing content on high-contrast, over-saturated screens. It’s a bit like the whole social media thing - we’re (collectively, I mean, not here, of course) losing (or have already lost) the ability to appreciate nuance and subtlety across a range of experiences.
kind regards
Nick __
dUNMUR | member of the Association of Photographers
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