Color Management

1. Color Management Are You Managing Your COLOR?

2. Presenter: M. Rizwan Khan & Hassan Malik

3. Overview Main Theory and Concepts of Color Management Workflow Software Setting up EFI ColorProof Setting Up Creo Prinergy Levels of Color Management Setting up Applications Putting it to the Test (Samples)! Square Spot / Staccato FM Technology and How it Relates Profile Wizard Color Management Overview Top Ten Color Management List Q&A

4. First a Little FUN! Folding Arms Exercise • Are you 10 yrs old or the Customer

5. Main ConceptYou use ICC profiles to go from one color space to another to another to another . . . Human Eye Trans/Ref Scanner Monitor Proof Press

6. Main Concept It’s just a thought processW.W.W. Where did this color Image/Graphic Come from? What color space am I working in now? Where am I going with this Image/Graphic?

7. Main Concept

8. Main Concept Managing the process of printing color

9. Predictable Results = Proof Press

10. Consistency Same Results Scanner Monitor Dig. Proof Press

11. Color Management (ICC) - Why? • You get the best possible color from a device • It is not proprietary • Low color knowledge needed to use • Quicker turnaround of jobs • Quicker make ready on press • Lower user intervention • More cost savings • Happier Customer

12. Color Management What it is NOT! • Replacement for image editing • Replacement for quality control • Replacement for “Garbage in, Garbage Out!” • Replacement for quality color people • Cure for unpredictable devices • Plug and Play/ “Push Button Color”

13. Color Management Color Management vs. ICC ColorSync Color Management

14. Color Management Color Management - is generic term that describes a way of manipulating color with a proprietary color tool to your liking for each device that you may have. It does not necessarily mean you are using ICC Color Management.

15. Color Management Example:

16. Color Management ICC ColorSync Color Management - provides a built-in framework for implementing and managing device profiles. Color Sync profiles follow the International Color Consortium (ICC) profile format. This format provides a single cross-platform standard for translating color data across devices and across operating systems. A profile created for a particular device is usable on systems running different operating systems.

17. Color Management ICC Color Profiling vs.Press Profiling

18. Color Management ICC Color Profiling - is taking a snapshot of the color your device produces at that particular time. A profile is a standard file format that communicates measured color output of a system or device in response to a known input. Its data describes a device’s characterization to applications and operating systems that support the format.

19. Color Management Press Profiling - is commonly mistaken for ICC profiling. Press Profiling is the process of ensuring that the press conforms to an established state, specified by the manufacturer, user, or an industry wide specification or standard. i.e.: SWOP,GRAcol

20. Color Management Calibration vs. Linearization (Baseline) vs. Characterization

21. Color Management Calibration - The process of ensuring that all color production devices (scanners, monitors, printers) conform to an established state, specified by the manufacturer, user, or an industry wide specification or standard.

22. Color Management Linearization - A specific type of calibration in which an output device is adjusted to deliver a straight-line relationship between input and output. For example, an imagesetter is linearized to output halftone dot values within a certain tolerance of those input. You Linearize by doing a Baseline Calibration on the Iris 2/4 Print.

23. Color Management Characterization - It is a way of determining how an input device captures color or an output device records color when it is calibrated. This is the process of creating an ICC Profile.

24. Color Management Densitometer Vs. Spectrophotometer Vs. Colorimeter

25. Color Management Densitometer- reads densities. How much light is reflected or transmitted. Spectrophotometer- reads spectral data from reflected light, giving it an LAB value. Colorimeter - reads spectral data from emitted light, giving it an LAB value. Usually used on a monitor.

26. Color Management Delta E– Delta E is the difference in change from one color to another.

27. Conditions of Color • Viewing environment • Viewing booth • Human factors • Background influence

28. Conditions of Color • Viewing Environment- Should be in a neutral environment. With no windows if possible. Fluorescent lighting should be kept at a minimum

29. Conditions of Color • Viewing Booth - Should be used at all costs. It provides a consistent standard (D50/D65) of lighting for viewing color.

30. Conditions of Color Human factor

31. Background Influence

32. Background Influence

33. Background Influence

34. Background Influence

35. Color Spaces • Device Independent • RGB • CMYK

36. Device Independent Color Space

37. Device Independent Color Space L*a*b* Defines color location White L* Yellow +b* L* indicatesLightness Green -a* Red +a* Blue -b* a*b* indicates Color Black L*

38. RGB Color Space Is an additive color space. This is usually your scanner, monitor, and sometimes your color proofer.

39. Additive Color The additive color process begins with black, or the absence of light, and therefore no color. It involves transmitted light before it is reflected by a substrate. With transmitted light, all the colors of the rainbow can be produced by mixing the three primary wavelengths of light (red, green, and blue) in different combinations.

40. CMYK Color Space CMYK is a subtractive color space. It is usually your digital proofer and printing press.

41. Subtractive Color Subtractive color process is based on light reflected from an object which has passed through pigments or dyes that absorb or "subtract" certain wavelengths, allowing others to be reflected.

42. ICC Profiles All they are…

43. Sets of Information BEGIN_DATA A1 0.2994 0.1755 0.0406 48.9460 58.6530 38.6919 70.2655 213.4118 A2 0.1144 0.0846 0.0390 34.9172 26.2550 15.4585 30.4679 210.4889 A3 0.2044 0.1326 0.0423 43.1571 43.1289 27.7162 51.2668 212.7263 A4 0.1561 0.1145 0.0462 40.3208 29.7382 20.5934 36.1725 214.7022 A5 0.1176 0.0990 0.0519 37.6593 16.6584 12.9789 21.1176 217.9229 A6 0.3257 0.2475 0.0897 56.8303 34.2931 30.0951 45.6260 221.2697 A7 0.2770 0.2283 0.1040 54.8994 24.3016 21.9431 32.7424 222.0804 A8 0.2374 0.2147 0.1193 53.4592 13.9699 14.7785 20.3362 226.6111 A9 0.6265 0.5942 0.3760 81.5240 12.7116 14.2196 19.0731 228.2049 A10 0.6489 0.6371 0.4450 83.8166 7.9127 9.2837 12.1983 229.5583 A11 0.6655 0.6718 0.5034 85.5938 3.9652 5.5139 … END_DATA

44. LAB Measurement L= 51,80 a= 29,51 b= 28,94 L= 31,75 a = 43,05 b = 29,62 L = 57,70 a = -7,54 b = 47,30 L = 41,06 a = -4,25 b = 26,73 Color Definition CMYK C = 0 M = 66 Y = 66 K = 30 C = 0 M = 100 Y = 33 K = 33 C = 17 M = 17 Y = 83 K = 45 C = 50 M = 50 Y = 83 K = 45

45. ICC Profiles • Defines color gamut • Color characteristics • Set of information

46. CMM - Color Management Module/Method • It is behind the scenes software engine that maps one gamut to another, usually CMYK/RGB to LAB and back to CMYK/RGB. • The secret, keep it consistent. Always stick with the same CMM in every application you use.

47. Rendering Intent • Perceptual • Relative Colorimetric • Absolute Colorimetric • Saturation

48. Rendering Intent Perceptual - Compresses the total gamut from one device’s color space into the gamut of another devices color space when one or more colors in the original image is out of the gamut of the destination color space. This preserves the visual relationship between colors by shrinking the entire color space and shifting all colors proportionality - including those that were in gamut.

49. Rendering Intent Relative Colorimetric - When a color in the currant color space is out of gamut in the target color space, it is mapped to the closest possible color within the gamut of the target color space, while colors that are in gamut are not affected. Only the colors that fall outside of the destination gamut are changed. This render intent can cause two colors, which appear different in the color space, to be the same the the target color space. Also called “clipping”

50. Rendering Intent Absolute Colorimetric - Colors match exactly with no adjustment made for white point or black point that would alter the image’s brightness. It is very similar to Relative Colorimetric, but will always print with the targets paper white tint. Absolute colorimetric is valuable for rendering “signature colors.”