Apache-Talk @lexa.ru 

Inet-Admins @info.east.ru 

Filmscanners @halftone.co.uk 

Security-alerts @yandex-team.ru 

nginx-ru @sysoev.ru 

   


   


   















      :: Filmscanners
Filmscanners mailing list archive (filmscanners@halftone.co.uk)

[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: filmscanners: Which Buggy Software?



On Sun, 15 Jul 2001 22:33:07 -0400  rafeb (rafeb@channel1.com) wrote:

> Nope.  Dan's approach is to go by the numbers 
> (RGB values, or L*a*b values, or CMYK values) 

Oh, that still.  I don't see any major contribution to road safety here: 
RGB is device dependent, whether numbers or colours - if you don't set the 
numbers for the specific output device, they will be wrong. So R127G127B127 
is mid-grey, mathematically at gamma=1, but what's the right gamma? How 
red is red? And life is too short to start defining skin tones in different 
lighting...  I don't have a clue about what output devices will be used, or 
what some numbskull may do as a result of what they see, once the file has 
left my hands - but it's a racing certainty that monitors will be used in 
DTP systems. LAB? Well, nobody even knows what it is, certainly among Art 
Eds and Production Eds of my acquaintance - and you can't JPEG a LAB image 
anyhow AFAIK, so I can't deliver it electronically (50Mb TIFFS are not 
popular:). And as for CMYK, I can't convert to CMYK as I have no idea of 
the press/ink/paper characteristics which will be used wherever an image 
ends up. I've discussed the possibility, never had a useable answer.

All/any of these could work just fine if you have anal end-to-end control 
over the entire process, eg you are self-publishing, but nobody working for 
magazines or press has a hope in hell of doing it that way. The information 
simply is not available, you are just one factor in a chain which involves 
lots of people, each with specialised skills and minimal overlap, and 6yr 
old Radius monitors with screen burn. It's no use asking the designer what 
flavour CMYK they want, they won't know - and even if they can ask the 
repro house, they probably won't understand the answer, and it's all 
aggravation they don't want on press day anyhow. 'Can't you just shoot it 
on E6?' is their idea of colour management.

It's this chaos that ICM is supposed to provide a thread of sanity through, 
but the final stage, repro/print, mostly hasn't caught up and it remains an 
area of profound drain bramage IME. In the 6 years I have been doing this 
stuff, there has been infinitesimal progress there, and supplying dig 
images remains a game of Russian Roulette.

Regards 

Tony Sleep
http://www.halftone.co.uk - Online portfolio & exhibit; + film scanner info 
& comparisons




 




Copyright © Lexa Software, 1996-2009.