"look and feel" of film and ICC abstract profiles

Discussion in 'Darkroom Developing and Printing' started by Dale, Mar 2, 2014.

  1. Dale

    Dale Guest

    when I worked at Kodak R&D they had something called QsubA which was an
    analysis of the pleasure of an image as opposed to the accuracy, it went
    beyond color reproduction and included image structure issues, I will
    talk about color, it is extensible to image structure

    certainly you have to start with accuracy to get a "more attractive"
    design in systems

    and I realize there is something called "good enough" that prevails over
    accuracy and attractiveness when it involves things like more effort or

    ICC has support for something called Abstract Profiles

    the "look and feel" of film still is preferred in some markets today,
    there is even B&W films/chemicals in Kodak's motion picture catalog

    you could put a base "look and feel" of a film system into an abstract

    to properly use things like chemical manipulation, you need algorithms
    and and application to edit abstract profiles

    abstract profiles can contain digital edits too

    implementation of the "look and feel" of analog and hybrid systems could
    be a transition for film manufacturers and hybrid system manufacturers
    to digital, digital will not replace media, there will always be
    colorants, substrates, filters, etc., but there are some "looks and
    feels" that are valuable to digital

    to make an abstract profile or abstract profile editor, you could do it
    two ways, mechanistically (hard way) or empirical (easy way)

    mechanistic approaches involve knowledge of the characteristics of a
    system that such manufacturers could share or license, developing this
    information yourself would probably be too costly, for instance single
    layer coatings of multi-layer films are necessary to resolve interimage
    in film/chemical processes that include DIR or DIAR scavenger couplers
    resulting in less interimage

    empirical approaches work good enough in single stage systems, but multi
    stage systems do not calibrate beyond a single color balance point using
    a grey card and require editing, steady state calibration is a
    prerequisite for any characterization

    this leaves the mechanistic approach as preferred and the sharing and
    licensing of necessary information, some proprietary, as film dies the
    industry may be willing to deal, Kodak recently licensed something to IMAX

    abstract profile editing using digital algorithms related to analog and
    hybrid systems would ofcourse have to mechanistic
    Dale, Mar 2, 2014
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  2. Dale

    Dale Guest

    besides industry algorithms, you could use system development
    techniques, and film building techniques as editing algorithms

    unsharp masking is a film technique used in digital
    Dale, Mar 3, 2014
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  3. Dale

    Dale Guest

    a good example of historic techniques used in digital manipulation is
    Corel Painter

    a very wide selection of historic brushes, etc and a sophisticated brush

    a colorant mixing palette, hopefully using uvL or xyL as a starting point

    this is more of a bitmap "creation" program, but bitmap "editing"
    programs like Adobe Photoshop could benefit from additional historic methods

    both could benefit from design and systems development techniques too
    Dale, Mar 3, 2014
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