DOCSLIB.ORG

Color Management Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Color Management Handbook Strategies to master color management in the digital workflow. Start applying them today. ver.5 Is that really the correct color? “Is this color good to go?” — A hesitation we often have before making prints in the digital workflow. Photographer Designer Are the application settings on the monitor correctly adjusted Is the image displayed on the monitor really accurate? and does the color match the printed image? Retoucher Printer Is the photograph edited the way it was intended? Do the colors in the design comp and color proof match? 2 Color Management Handbook 3 4 Color Management Handbook Management Color 5 makes it possible to handle data smoothly. data handle to possible it makes photographic, design, and plate making stages, and making it the shared standard, standard, shared the it making and stages, making plate and design, photographic, Maintaining an awareness of the final printed color in the finished product in the the in product finished the in color printed final the of awareness an Maintaining coincide, but color management can make them approximate one another. another. one approximate them make can management color but coincide, color gamuts that can be reproduced. These two gamuts cannot be made to to made be cannot gamuts two These reproduced. be can that gamuts color printing color standard of ISO coated v2, we can tell that there is a difference in the the in difference a is there that tell can we v2, coated ISO of standard color printing work step. work If we compare the color space widely used in digital cameras, Adobe cameras, digital in used widely space color the compare we If ISO coated v2 coated ISO bring other major benefits to each each to benefits major other bring sRGB correct color! correct for color management color for improve the end quality but also also but quality end the improve Adobe RGB RGB, with the the with RGB, ® Print in the the in Print use monitors specifically made made specifically monitors use ® Color management will not only only not will management Color For correct display, display, correct For lighting rules to correctly handle the data. the handle correctly to rules Check under the appropriate appropriate the under Check This is the basic principle of color management. color of principle basic the is This performed by following a set of of set a following by performed so that the various colors can match more closely. more match can colors various the that so support color management color support Color management can be be can management Color via a common color space (a color space independent of any device) device) any of independent space color (a space color common a via Display with applications that that applications with Display However, it is possible to convert the color data of each device device each of data color the convert to possible is it However, Color management in practice practice in management Color and it is impossible to make them a perfect match. perfect a them make to impossible is it and Monitors and printers have their own color idiosyncrasies idiosyncrasies color own their have printers and Monitors Color data of the device device the of data Color Print Color data of the device device the of data Color Color data of the device device the of data Color Digital camera Digital DDCP The first time I laid eyes on Terry Lennox he was drunk in a Rolls-Royce SiSillver Wraith outside the terrace of The Dancers. The parking lot attendant had brought the carcar out and he was still holding the door open because Terry Lennox's left foot was still concerns at the back end of the process. the of end back the at concerns dangling outside, as if he had forgotten he had one. He had a WARNING young-looking face but his hair was bone white. You could tell byby his eyes thahatt he was plastered to the hairline, but otherwise he looked like any other nice young guy. workflow can lead to significant significant to lead can workflow y. digital the in management color Poor gu ung ung o y nice r othe y y n a like d looke e wise h wise ther o but but ine, l hair e h t o t d re aste pl was was e h t t ha t es es ey s hi by by l . You could tel could You . e t i bone wh bone s a w r i ha s hi t u b ce fa ng ki o o l - ung yo d a d ha e H e. e. n ad o ad h he he en t got or f d a h he s if if s a de, si g out g n angli d ill ill s st s wa t foo t s lef s ' x o n n Le y y r r e T because because n pe o r oo d e e th g in d l ho ll i t s as w he d n a t ou car the t gh rou b ad h t n da en parking lot att lot parking he he T rs. e c n a D e h T f o ace r r te the the e e d i ts ou ith a r r W r e v l Si e e c y Ro - ls l runk in a Ro a in runk d was was he ox nn e ry L ry r e T on yes e d i a l I e im t t rs The fi The CIE L*a*b, etc. L*a*b, CIE printed material. printed CIE XYZ, XYZ, CIE color space color tones between the comp output and and output comp the between tones Common Common the check, or a difference in color color in difference a or check, the Monitor depending on the monitor used for for used monitor the on depending Inkjet printer Inkjet experienced color variations variations color experienced with the right color? right the with printed materials is bound to have have to bound is materials printed colors accurate? colors Is it printed it Is Are the monitor’s monitor’s the Are Color multifunction device multifunction Color Anyone involved in creating creating in involved Anyone production digital workflow. digital production Is it properly calibrated? properly it Is Color data of the device device the of data Color environment appropriate? environment constant concern in the print print the in concern constant Is my color checking color my Is of the application correct? application the of Issues concerning color are a a are color concerning Issues Are the color settings color the Are Color data of the device device the of data Color a printer to check it on paper…. on it check to printer a A monitor to display the data, data, the display to monitor A A designer’s work environment work designer’s A Color data of the device device the of data Color It aims to unify the image throughout the entire production by using the profiles of the various devices to adjust their colors their adjust to devices various the of profiles the using by production entire the throughout image the unify to aims It Full of potential problems in the digital workflow digital the in problems potential of Full Concerns over color in the digital workflow What is color management? color is What workflow digital the in color over Concerns reference is used at each step of production from photography to design, plate making, and printing. and making, plate design, to photography from production of step each at used is reference Color management provides a unified environment for handling colors where a common color color common a where colors handling for environment unified a provides management Color . Keep these in mind to significantly improve your color management. color your improve significantly to mind in these Keep We will explain about the key points in each production step. production each in points key the about explain will We No more color worries. The basics of color management. color of basics The worries. color more No The Benefits of Color Management in Practice The key points in production steps. Preparing an environment for color management involves installing the appropriate machinery, adjusting settings, and deciding and sharing rules for color management with work staff to remain consistent. While it may be a challenge, we will show the benefits of using a color management system in the creative workflow. Communication between front-end Reduce cost and time associated and back-end of the process is smooth with reprints and multiple proofs What should we be careful about to ensure that data is handled correctly Photographer / Retoucher in each process leading up to the finished product? We will deal with each Illustrator production step separately. By referring to these steps, you can greatly increase your color management accuracy. 1st proof 2nd proof 3rd proof Photographer 8 Photograph under a 5000 K light source with printing in mind Apply color Design company management Retoucher 9 Unified image Embed the profile while working in a correctly lit environment Good 1st color proof or monitor-based proof! Designer 12 Plate making company Design with the colors as they are on the monitor Output a comp and PDF based on the printer profile Gives you peace of mind as you work Printer 21 Convert images to CMYK while looking at the monitor Output a color proof via DDCP or an inkjet printer Printing company Peace Summary 24 of Proof Deliverable The perfect monitor for every workflow mind Accurate display Extras 26 Define the color space underpinning the work process You can increase the quality of the final product with these benefits.
Recommended publications
  • Basics of Color Management

    Basics of Color Management

    Application Notes Basics of Color Management Basics of Color Management ErgoSoft AG Moosgrabenstr. 13 CH-8595 Altnau, Switzerland © 2010 ErgoSoft AG, All rights reserved. The information contained in this manual is based on information available at the time of publication and is sub- ject to change without notice. Accuracy and completeness are not warranted or guaranteed. No part of this manual may be reproduced or transmitted in any form or by any means, including electronic me- dium or machine-readable form, without the expressed written permission of ErgoSoft AG. Brand or product names are trademarks of their respective holders. The ErgoSoft RIP is available in different editions. Therefore the description of available features in this document does not necessarily reflect the license details of your edition of the ErgoSoft RIP. For information on the features included in your edition of the ErgoSoft RIPs refer to the ErgoSoft homepage or contact your dealer. Rev. 1.1 Basics of Color Management i Contents Introduction ................................................................................................................................................................. 1 Color Spaces ................................................................................................................................................................ 1 Basics ........................................................................................................................................................................ 1 CMYK .......................................................................................................................................................................
  • Deep Learning-Based Color Holographic Microscopy

    Deep Learning-Based Color Holographic Microscopy

    Deep learning-based color holographic microscopy Tairan Liu1,2,3†, Zhensong Wei1†, Yair Rivenson1,2,3†,*, Kevin de Haan1,2,3, Yibo Zhang1,2,3, Yichen Wu1,2,3, and Aydogan Ozcan1,2,3,4,* † Equally contributing authors * Corresponding authors: [email protected] ; [email protected] 1Electrical and Computer Engineering Department, University of California, Los Angeles, CA, 90095, USA. 2Bioengineering Department, University of California, Los Angeles, CA, 90095, USA. 3California NanoSystems Institute (CNSI), University of California, Los Angeles, CA, 90095, USA. 4Department of Surgery, David Geffen School of Medicine, University of California, Los Angeles, CA, 90095, USA. Abstract We report a framework based on a generative adversarial network (GAN) that performs high-fidelity color image reconstruction using a single hologram of a sample that is illuminated simultaneously by light at three different wavelengths. The trained network learns to eliminate missing-phase-related arti- facts, and generates an accurate color transformation for the reconstructed image. Our framework is ex- perimentally demonstrated using lung and prostate tissue sections that are labeled with different histo- logical stains. This framework is envisaged to be applicable to point-of-care histopathology, and pre- sents a significant improvement in the throughput of coherent microscopy systems given that only a sin- gle hologram of the specimen is required for accurate color imaging. 1. INTRODUCTION Histological staining of fixed, thin tissue sections mounted on glass slides is one of the fundamental steps required for the diagnoses of various medical conditions. Histological stains are used to highlight the constituent tissue parts by enhancing the colorimetric contrast of cells and subcellular components for microscopic inspection.
  • Color Management Handbook

    Color Management Handbook

    Color Management Handbook Strategies to master color management in the digital workflow. Start applying them today. ver.5 Is that really the correct color? “Is this color good to go?” — A hesitation we often have before making prints in the digital workflow. Photographer Designer Are the application settings on the monitor correctly adjusted Is the image displayed on the monitor really accurate? and does the color match the printed image? Retoucher Printer Is the photograph edited the way it was intended? Do the colors in the design comp and color proof match? 2 Color Management Handbook 3 4 Color Management Handbook Management Color 5 makes it possible to handle data smoothly. data handle to possible it makes photographic, design, and plate making stages, and making it the shared standard, standard, shared the it making and stages, making plate and design, photographic, Maintaining an awareness of the final printed color in the finished product in the the in product finished the in color printed final the of awareness an Maintaining coincide, but color management can make them approximate one another. another. one approximate them make can management color but coincide, color gamuts that can be reproduced. These two gamuts cannot be made to to made be cannot gamuts two These reproduced. be can that gamuts color printing color standard of ISO coated v2, we can tell that there is a difference in the the in difference a is there that tell can we v2, coated ISO of standard color printing work step. work If we compare the color space widely
  • Got Good Color? Controlling Color Temperature in Imaging Software

    Got Good Color? Controlling Color Temperature in Imaging Software

    Got Good Color? Controlling Color Temperature in Imaging Software When you capture an image of a specimen, you want it to look like what you saw through the eyepieces. In this article we will cover the basic concepts of color management and what you can do to make sure what you capture is as close to what you see as possible. Get a Reference Let’s define what you want to achieve: you want the image you produce on your computer screen or on the printed page to look like what you see through the eyepieces of your microscope. In order to maximize the match between these images, your system must be setup to use the same reference. White light is the primary reference that you have most control of in your imaging system. It is your responsibility to set it properly at different points in your system. Many Colors of White Although “White” sounds like a defined color, there are different shades of white. This happens because white light is made up of all wavelengths in the visible spectrum. True white light has an equal intensity at every wavelength. If any wavelength has a higher intensity than the rest, the light takes on a hue related to the dominant wavelength. A simple definition of the hue cast of white light is called “Color Temperature”. This comes from its basis in the glow of heated materials. In general the lower the temperature (in °Kelvin = C° + 273) the redder the light, the higher the temperature the bluer the light. The one standard white lighting in photography and photomicrography is 5000°K (D50) and is called daylight neutral white.
  • Color Management the Basics Simply Explained

    Color Management the Basics Simply Explained

    How-to: AccurioPro Flux Color management The basics simply explained In this How-to, we explain why color management is necessary and what happens in the background. AccurioPro Flux | Color management: The basics simply explained The colors in a print job can come from different sources: Images from cameras or scanners, as well as graphics, text and layout from various applications. In each source, color can be defined differently. Also the output of each printer is a little different. One printer can print many colors, another only a few. Even printers of the same type and manufacturer always print colors a little differently. In addition, the color rendering is influenced by the toner used and the selected paper. With good color management, it is possible to control the colors in the print job and set up a color-constant printing process. The aim is to achieve a constant color rendering across the various printers and papers according to a predefined standard. If you print a job on different printers with the same paper, you get consistent color rendering. If a customer orders a print job at a later date, they receive an output in the same colors as for the initial order. A few basics in advance for a better understanding: What is a color space A color space includes all the colors that a device or medium can display. The larger a color space is, the more colors can be displayed. Each printer and monitor has its own color space. These color spaces vary in size so that different monitors and printers can display different numbers of colors.
  • Color Management Is an Extract from Martin Published by Focal Press, an Imprint of Evening’S Forthcoming Book: Adobe Photoshop CS for Harcourt Education

    Color Management Is an Extract from Martin Published by Focal Press, an Imprint of Evening’S Forthcoming Book: Adobe Photoshop CS for Harcourt Education

    Martin Evening Adobe Photoshop CS for Photographers To order the book Adobe Photoshop CS for Photographers Adobe Photoshop CS for Photographers is This PDF on Color Management is an extract from Martin published by Focal Press, an imprint of Evening’s forthcoming book: Adobe Photoshop CS for Harcourt Education. Photographers, which will go on sale from early 2004. ISBN: 0 240 51942 6. This latest update in the Adobe Photoshop for The title will be stocked in most major Photographers series will contain 576 pages in full color. bookstores throughout the UK and US and The book has been completely redesigned and contains via many resellers worldwide. It will also information and updated advice on everything you need to be available for purchase from: know about using Photoshop, from digital capture to print www.focalpress.com and also through the output, as well as all that is new in Adobe Photoshop CS! on-line bookstores: www.amazon.com and www.amazon.co.uk. A note about the chapter structure One of the things that is different about the latest revision to my book is the chapter order. Display calibration is mentioned early on in Chapter Three and the remaining information about color management is left till later on in Chapter Thirteeen. The reason for this is so that the reader is not bombarded with all the complexities of color management so soon in the book. So in this extract I have reunited the section about display calibration. This is why you will see a change in the appearance of the header a third of the way through and why the figure diagrams refer to a different chapter number.
  • Color Management Guide

    Color Management Guide

    CMS neutr GB 02999 Q4.0 02.09.1999 14:34 Uhr Seite 1 Chapter 7 Colour Management CMS neutr GB 02999 Q4.0 02.09.1999 14:34 Uhr Seite 2 Color Management Color Management This chapter describes the concept of Color Management,how to set up the appropriate settings in SilverFast, and how to calibrate your scanner to get precise colors. 7. Color Management 125-144 Introduction . .127 Objective of Color Management . .127 Objective of SilverFast Ai Color Management . .128 CMS Dialogue . .131 Color-Management . .132 Profiles for ColorSync (ICM) . .134 Embedding Profiles . .136 Plug&Play CMYK . .137 CMYK Output with Color Management . .138 Example-Settings SilverFast/Photosho 5 . .139 RGB-Output with Photoshop without CMS . .139 RGB-Output with CMS . .139 CMYK-Output with CMS . .140 Saving Profiles from Photoshop . .140 7 2 SilverFast Manual CMS neutr GB 02999 Q4.0 02.09.1999 14:34 Uhr Seite 3 Color Management Color Management Introduction In the past getting professional results with color reproduction was only achieved by highly educated professionals. There have been two major reasons for this: 1. Devices for color reproduction demanded high investments 2. Operation of devices was complicated - complex Know-How was necessary. Luckily the above mentioned reasons are not valid any more today, because the devices needed as, scanner, PC, printer have become affordable for almost everyone. Also operation has become easy with intelligent software and Color Management matured. Objective of Color Management System (CMS) Professional workflow without Color Management is not conceivable any more today. To save time and money it is desired to see the result of the final scan on the monitor or printer already on the pre- view.
  • A Color Managed Raw Workflow from Camera to Final Print

    A Color Managed Raw Workflow from Camera to Final Print

    TECHNICAL PAPER A Color Managed Raw Workflow from Camera to Final Print TABLE OF CONTENTS The power and control that digital technology brings to photography is drawing more 2 The color management problem and more photographers to adopt it. The immediacy and spontaneity of digital format 3 Color management setup are addictive. But digital format is not perfect. Getting accurate and predictable color 5 Configuring Camera Raw is still a challenge to many users, and color management is often a source of confusion and frustration. It doesn’t have to be that way. 8 Previewing prints 15 The workflow in a nutshell A digital image in a camera (left) and the printed digital image (right) The goal is to process a digital image from a camera to a final print as efficiently and accurately as possible. This process can be nonintuitive, and the steps are complex, which makes them prone to error. However, that’s a far cry from where we were a few short years ago. At least today, the process actually works. The time has passed when you had to adjust your monitors’ controls to have the screen image bear some resemblance to the final output. If you’re still doing that, you may need to revisit your workflow because it’s like trying to lift yourself off the ground by pulling your shoelaces. Make color management work for you rather than against you. Color management is at the core of Adobe® Photoshop® CS2, Camera Raw, Adobe Bridge, and printed output—you can’t avoid it, despite the presence of the Color Management Off setting in Photoshop.
  • Color Management Fundamentals Wide Format Series

    Color Management Fundamentals Wide Format Series

    Color Management Fundamentals Wide Format Series Kerry Moloney John Nate Field & Channel Marketing Manager – Fiery Wide Format WW Technical Product Training Manager – Fiery Wide Format Session overview • Color management fundamentals, including basic color theory and management terms • Get the best out of all of color technologies, regardless of the technology type • Focus today on printing, with an emphasis on some wide format printing considerations • Take a quick poll 2 Topics to be covered • Color management defined • Color space • Color accuracy and Delta-E (ΔΕ or dE) • Device dependent and device independent color • Gamut • Rendering intents & black point compensation • Color transforms • Calibration & profiling • Spot colors 3 What is color management? And why do we need it? 4 Color management is… • A process, not a task • Ensures color fidelity between devices • Limited by each device 5 Color management is… • A process, not a task • Ensures color fidelity between devices • Limited by each device 6 Color management is… • A process, not a task • Ensures color fidelity between devices • Limited by each device 7 Color management is… …like making toast… by Steve Upton 8 Color management is… …like making toast… by Steve Upton 9 Color management is… …like making toast… 10 Color management is… …like making toast… 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 11 Color management fundamentals Basic terms 12 Color space (L*a*b*) 100 50 L* 0 13 Color space (L*a*b*) -127 0 +127 a* 14 Color space (L*a*b*) -128 0 +127 b* 15 Color space (L*a*b*)
  • Generalites About Colors in Color Management Guide by Arnaud Frich

    Generalites About Colors in Color Management Guide by Arnaud Frich

    Introduction to color management Through these pages, I will teach you the specific vocabulary linked to color management. As this is a quite new vocabulary, this is often not part of the well known vocabulary linked to argentic technics. Here, monitor calibration devices and ICC profiles replace tubes, chemical products and thermometers. Key points if you are a beginner ... Here are the key points to remember on color management. The rest of this page will be dedicated to those who want to go into more details. Color management is a set of tools and concepts that try to preserve as much as possible, the same colors from the shooting to the final use : printing or Internet. All this to avoid those too often heard things : "Oh, the colors of my prints are very different from my monitor..." or "your colors are not like mine at home..." or even "Your monitor is dark !" and so on... Color management thus serves to align all monitors, printers on the same color values, at least, close to it. The goal is for example to display a photo at home, a photographer place, or your neighbor with the same aspect ... For this, we will need to calibrate. The basis of color management is constituted by the calibration of the different devices that we will be used and in the first place comes the monitor. The digital camera can be calibrated but only under certain conditions that cannot be of interested when starting. Then, remains to calibrate the printer. But how calibration works ? Calibration is used to know and then neutralizing the defects of a monitor, for example so that it displays the "right" colors, or in other words, the correct colors and if possible very close to all other calibrated monitors.
  • Camera Requirements for Precision Agriculture

    Camera Requirements for Precision Agriculture

    Camera Requirements For Precision Agriculture Radiometric analysis such as NDVI requires careful acquisition and handling of the imagery to provide reliable values. In this guide, we explain how Pix4Dmapper handles the images as well as what are the requirements for accurate and reliable radiometric mapping. Introduction The goal we are considering is a quantitative analysis of plant properties using remote sensing with digital images. The quantity of interest is the reflectance of the plants in different wavelengths, since the wavelength­resolved reflectance properties contain much information about the plants. For example, chlorophyll absorbs red light (making plants look green) and reflects infrared, so the difference between red and infrared, such as computed by the NDVI, tells us something about the chlorophyll content. The reflectance is what is required to perform index calculation such as NDVI, but the camera outputs only images. However, if one can ​ ​ estimate the influence of the illumination as well as the sensor, this image can be transformed in a good estimation of the reflectance: ​ ​ ​ ​ Reflectance = Image / (Sensor * Illumination) Illumination ● The spectral signature of the illumination The sun does not emit the same amount of radiation in all wavelengths. The relative power of different wavelengths can vary depending on clouds, geometry, and shadow of the plants among others. This can be estimated using a radiometric calibration target. ● The total power of the irradiance The total amount of irradiance can change due to changing conditions such as moving clouds. The amount of irradiance can be measured using an upward looking sensor. This is important to get absolute reflectance values but is not very important for NDVI computation.
  • Spyder Ebook All About Your Color Management

    Spyder Ebook All About Your Color Management

    2 3 Spyder eBook All about Your Color Management Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Color Management for Photographers | aha Understanding Digital Color | 2 © Copyright 2012 Datacolor. All rights reserved. 4 5 Spyder eBook All About Color Management Datacolor C. David Tobie – Global Product Technology Manager Color Management for Photographers | aha Understanding Digital Color | 4 © Copyright 2012 Datacolor. All rights reserved. 6 7 Chapter 1: aha Understanding Digital Color Preface 4 Color Measurement Hardware 6 What exactly do ICC profiles do? 10 Framework 10 ICC Background 12 ICC in Practice 14 1. Color Models 14 2. Color Spaces 16 3. Color Profiles 16 Photos in RAW Format 18 RAW Data 18 From Image to Workflow 20 Benefits for Photographers 20 Benefits for Digital Artists and Designers 22 Problem Areas 22 DNG (Adobe Digital Negative) 24 Color Management for Photographers | aha Understanding Digital Color | 6 2 3 Color Management for Photographers | aha Understanding Digital Color | 2 4 Preface 5 Preface High quality digital photography with if color accuracy was required it could era chip captures an image using an Anyone who has ever tried using an RAW files is no longer a complex sci- only be achieved using specialty labs RGB color model. “RGB” stands for red, artist’s paint kit to mix an exact color, ence, but can now be quite easy to at premium prices. green, blue, and refers to an additive has a rough idea of how difficult it is to achieve: A photo is reviewed on the Working in the current digital “dark- color space, similar to the red, green, reproduce colors as seen by the eye, camera’s LCD screen and downloaded room” on your desktop has many ad- blue color cone system in the human using dyes or pigments.