Dye Sublimation Color Management Achieving Accurate Color Output Using Standardized Processes

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Transcript of Dye Sublimation Color Management Achieving Accurate Color Output Using Standardized Processes

  • Slide 1
  • Dye Sublimation Color Management Achieving Accurate Color Output Using Standardized Processes
  • Slide 2
  • Color Gamut Definition of GAMUT 1.The subset of colors which can be accurately represented within a given color space or by an certain output device and ink combination. 2.The complete set of colors found within an image at a given time. Converting a digitized image to a different color space, or printing it to a given medium generally alters its gamut. The gray area represents the entire chromatic range. The colored triangle represents the color display. This is a typical CRT gamut reflected by the sRGB ICC profile.
  • Slide 3
  • RGB and CMYK RGB. Three colors of light, red, green and blue make white light. Cyan, magenta and yellow are also combinations of RGB. The intensity of light also changes the color. CMYK. Three inks, cyan, magenta and yellow make black. In practice this black lacks intensity, so a separate black (K) is usually added. Red, green and blue are made from CMYK. RGB and CMYK are two different color spaces. The RGB color space uses light in colors of red, green, and blue to create the visible spectrum. Our eyes see color in terms of reflected light, so the observed world is closer to RGB than CMYK. That is why native RGB devices that use light to create color, such as film recorders, scanners, and cameras can reproduce color fairly accurately.
  • Slide 4
  • Typical Color Spaces Comparison of typical wide RGB gamut for a color accurate display, standard RGB gamut for an ordinary color display and a typical CMYK gamut for standard pigment inks. The Adobe RGB profile reflects the wide RGB gamut, the sRGB profile reflects a standard RGB gamut.
  • Slide 5
  • Rendering Intent Handling Out-of-Gamut Colors Standard Rendering Intents Perceptual Relative Colorimetric Relative Colorimetric Black Point Compensation Absolute Colorimetric Saturation
  • Slide 6
  • Rendering Intent Perceptual Relationships among colors are preserved Color space is uniformly shifted Absolute colors are not preserved Technically reversible depending on RIP Graphic to be printed Printer
  • Slide 7
  • Rendering Intent Absolute Colorimetric In gamut colors are preserved Out of gamut colors are shifted Not reversible Graphic to be printed Printer
  • Slide 8
  • Rendering Intent Relative Colorimetric Optional Black Point Compensation Absolute Colorimetric with Compensation for White Black Point Compensation also compensates for Black In gamut colors are corrected for white and black points Out of gamut colors are shifted Black Point Compensation not supported on Adobe Output Not reversible
  • Slide 9
  • Rendering Intent Saturation Only CIELAB Lightness or L* is preserved All colors are shifted Not reversible
  • Slide 10
  • Simple Color Management Chromatic and Ink Limitation Clipping Causes Unpredictable Results
  • Slide 11
  • ICC Color Management Standards Based Approach to Achieving Predictable Color
  • Slide 12
  • Standard Adobe Design Environment The standard Adobe design environment is RGB using the Adobe RGB color profile. The target CMYK space is typically US Web Coated (SWOP) : an offset press.
  • Slide 13
  • Color Conversion Space RGB L*a*b* CMYK ICC Profiles Connect Design and Output Spaces Using the L*a*b* Space as the Intermediary
  • Slide 14
  • Color Conversion Space RGBLabCMYK 34741411716-569880839 2863123159-4697791458 44897123-3395712681 ICC Profiles are the basis for transforming color from the source space to the color conversion space and then to the printer. They can be thought of as tables that define conversions to and from L*a*b* space. Color values not in the table are interpolated.
  • Slide 15
  • Late Binding RGB devices will have distinctly different white and black points than CMYK output in relation to the colors that are produced. Conversion between RGB and CMYK accounts for differences in gamut and white points. Optionally there can be compensation for differences in the black point. Late binding allows these to be mapped accurately to the final output device. RGB Display DeviceCMYK on White Fabric
  • Slide 16
  • Output CMYK Color Mapping Adobe RGB: 0 45 98 Dye Sublimation CMYK (Elvajet) Differs with Rendering Intent Proprietary RIP algorithms also impact the color output. Navy Blue Pantone 282 SWOP CMYK: 100 68 0 54 Absolute: 96 82 14 71 Perceptual: 96 73 11 61 Relative BPC: 94 65 10 71 Relative: 95 80 17 75 Saturation: 97 78 09 61
  • Slide 17
  • ICC Color Management Standards Based Approach to Achieving Predictable Color Late binding: Design in RGB let RIP convert to CMYK Modified late binding: Design in RGB and Named Colors Pantone Spots
  • Slide 18
  • ICC Color Management Standards Based Approach to Achieving Predictable Color Single Environment Two Profiles 1.Printer Profile RGB to CMYK 2.Named Color Profile RIP optionally bypasses printer profile and uses the named color formula if it exists. Unnamed colors should be specified in RGB. Do not use raw CMYK specifications.
  • Slide 19
  • ICC Color Management Linearization: Controls Perceived Optical Density 45% color value 1.25 optical density ?? pixel value
  • Slide 20
  • ICC Color Management Ink Limits: Improve Optical Density and Control Chromatic Shifts MagentaCyanGray RedBlueBlack