Graphics Programs Reference
In-Depth Information
software engineering factors in image editing applications. The quality of
the monitor as well will depict the accuracy of your preview. Currently,
CRT monitors are still the tool of choice for color accuracy, but LCDs are
coming of age within the next few years. We have high hopes that all
issues will be resolved shortly.
ADR:
What part of color management do you have difficulty
implementing?
MO:
OK, You asked for it, Andrew. Well, it's a tough call to choose
just one subject so I'll cover a few critical points of interest. The current
implementation of color management assumes that all users will work
from a linear RGB working space, after a controlled capture has been
rendered to said space. Each output device shall have its own output file
generated from the working space file.
In general, this ideology works great for RGB and CMYK work flows
when the person doing the color work has a solid understanding of the
process, as I have stated before. The more people who get involved in
the color reproduction process, the less color management becomes a reli-
able asset due to the inherent open architecture or the lack of said road
maps in graphic applications.
Along with the core ideology of an RGB work flow comes the require-
ment(s) of the user to perform multiple color space conversions for each
specific output device. In general, this works well if you are a single user
controlling the work. This methodology of multiple files for multiple
devices is completely rejected in the commercial print sector due to the
simple fact that the prepress environment is one of chaos by nature and
having many files for many devices is not a realistic or cost-effective
procedure to follow. Having multiple files, with multiple people involved,
as well as having the work going in many directions during the cre-
ative/production process, is just not physically possible considering there
is no such thing as a 24-hour turnaround time anymore. Files come in
around 6
P
.
M
. and are expected to show at 9
A
.
M
. the next day.
Another major stumbling block with an RGB work flow destined for
a CMYK printing environment is that you can't perform independent
channel editing for the destination color space while in an RGB working
space. In other words, in order to fulfill the requirements placed upon
service providers by art directors in ad agencies and design firms, a person
such as myself can't utilize the RGB working methodology. For example,
I can't make a 2 percent move in the magenta channel without affecting
the other channels. This may seem like a ridiculous request, but many
people don't understand the nature of the commercial work environment
and the demands placed upon service-oriented production facilities. An
average press run would drift more so than the edit, but whether you
believe it's job justification on the part of the people calling the shots or
not, it is a critical job requirement. Regardless of the edit(s) being made,
