color management use-cases

Discussion in 'Darkroom Developing and Printing' started by Dale, Feb 1, 2014.

  1. Dale

    Dale Guest

    simple monitor editing is almost trivial, you apply the input profile to
    the monitor profile then edit and proceed

    you can simulate a hard proof, Kodak did it with PCS100, and maybe
    Prophecy and Design Master, Design Master was Eikonix before Kodak
    bought it, Kodak bought Eikonix because it had a patent which made
    scanners with filtration matching XYZ used in Design Master, Prophecy
    and PCS100 were the Eikonix Kodak people's products, I didn't quite
    understand that the print reference medium of the above products would
    have to be made into an option for other media to get these products
    from the pre-press markets in which they were successful to the
    commercial photo labs that were interested in color management for
    multi-purposing of images

    one way to do a hard proof, you just use the proofer's profile and not
    the monitor, use the proofer's space as the working space

    one way if you want to simulate a hard proof on the monitor, you use the
    "reverse" transform in the profile for the proofer, for instance
    CMYK->XYZ, then XYZ of the proofer to XYZ of the monitor then the
    "forward" transform of the monitor's profile, for instance XYZ->RGB,
    this implies an XYZ working space, but you could pick a device space by

    a simulation of a press proof works the same way

    a better hard proof simulation incorporates the press's profile, for
    instance CMYK of press to XYZ of press to XYZ of proofer to XYZ of the
    monitor to RGB of the monitor

    all of the above should happen in the frame buffer of the graphics card
    above the working space, for instance RGB of proof or simulation of
    proof to RGB of working space, the working space should be held in
    memory for editing under the buffer, the edits are made to the
    simulation in the frame buffer then transferred to the working space and
    eventually a standard storage space which should be a CIE delta E* space
    like LAB or LUV for quality and purposing considerations

    storage is a use-case too

    I'm wondering if/when CIECAM will enter ICC

    I'm also wondering if/when ICC and W3C will meet
    Dale, Feb 1, 2014
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  2. Dale

    Dale Guest

    maybe some errors here, I was an image systems engineer not a color
    science, although I dabbled in the science when I got the chance and it
    was one of my most enjoyable career things

    correct me if I am wrong, but I think I got them all except for spot
    colors, named colors, color palettes, etc.

    also missed editing profiles

    I do not know if ICC has a white paper on use-cases
    but they should

    maybe I will make a free opensource imaging suite out of these, I know a
    little about data-flow and object-oriented architecture, design and

    I know a little about bitmap creation and editing
    I know a little about vector creation and editing
    I know a little about page layout
    I know a little about RIPs, renderers, etc.
    I know a little about central storage/sharing

    I just get stuck learning IDEs like netbeans and give up on regular
    programming when I have to write a file library or something, I do
    better with MATLAB, SAS, etc.

    the Eikonix/Kodak group was going to make a central color server for
    various people working on the same thing, they showed it in DRUPA once,
    didn't have some things like account management, and various suite
    considerations, just a bitmap thing, etc., or maybe it would have gone over
    Dale, Feb 1, 2014
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  3. Dale

    Dale Guest

    missed another

    mixing palette colors on a palette

    isn't as simple as Yuv, Yxy etc. color mixing, or other types

    depends on the brush type, and where on the palette you are, towards the
    edge you will have different colors than on the middle, colors will
    differ along the edges of the brush, etc.

    difficult, but important

    might be easier if you temporarily let the mixing palette and brush be
    vector types, then RIP it back to bitmap space afterwards
    Dale, Feb 1, 2014
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