Digital Color Management

At present, many digital studios, regardless of their size, are worried about the colors. It is not the colors and densities displayed by multiple monitors in each department of the studio that are different. It is the color of their own monitor that is different from the color of the digital photos washed out by the company. It is complained that the selected digital photos are of poor color and so on. In the final analysis, what is the problem of color management, how can we do a good job in the color management of the studio, to achieve consistency in input and output, improve quality and work efficiency, this is the studio wants to know and do. Color management is a highly specialized technology. In the early days of the studio, when you are not very familiar with the theory of color management, you may wish to start your work from the following points.

1, the monitor's color management

There are many types of displays, some of which are inconsistent in the colors of the monitors in the photo studio, the art department, and the sales department, which has brought a lot of inconvenience and trouble to the work. The studios all hope that their multi-displays can have the same color, and they can be very close to the output, so that they can achieve true WYSIWYG. First, they must do a good job in the color management of their monitors.

To make the monitor's color management, there are two issues that are critical, one is the monitor's grade problem:
Photo studio is actually a very professional system, you need to buy Sony E230, ViewSonic P75f +, triangular 74SB such a grade of the monitor, the price above 1800 yuan, a lot of studio just touch digital, listening to some computer company's recommendation, bought some low-grade or say Does not meet the studio use of the monitor, these monitors because of the bandwidth is not enough, it is difficult to achieve and the company's display and output machine color synchronization, often showing less color, and brightness is not enough. When operators in the studio build images in front of these monitors, they often feel that there is not enough contrast and contrast, resulting in images that are too rigid (contrast is too large), which greatly affects the quality of the film. A studio should not avoid buying multiple brands of monitors, try to buy the same brand of display, because only the same manufacturer's display color is the closest, different manufacturers' display color performance is not the same.

The second problem is how to display color management files. The studio hopes that the best display colors of its multiple monitors are the same, and it is better to be consistent with the color of the printing company. To achieve the former is not a difficult task, and to achieve the latter is more difficult, it requires professional colors in the studio. The participation of technical experience people. In the market, we often see or hear monitor calibrators that pass the Eye One, Color Vision Color, or X-Rite Xrite. The main function of these calibrators is to match the color of multiple monitors and to make them neutral. Grab the quasi-simultaneously and generate a monitor's color management file. The color performance of the calibrated live multiple monitors is very close (including the LCD monitor, which requires a higher model calibrator to have this function), and roughly the output of the printing company. Being close, although there is still a small gap, early problems have been solved and the troubles have been reduced. The next step is to look at the punching level of the printing company. It is like the traditional photo studio shooting the film in a certain way and then handing it to the printing company. To be more precise, professional people are required to participate. After installing the photo shop, there will be a adobe gamma software. Adjusting the red, green and blue parameters in this software can affect the color of the monitor, as long as the electronic files in the computer are Comparing the photos output from this electronic file, adjusting the colors of the display to follow the colors of the printed photos can make the color of the photo studio display and the color of the print company closer, but this needs to be performed by an employee who has experience in the color of the wedding portrait. Or call the printing company to send technical personnel to join. After the color matching is completed, the studio owner can rest assured that it is like the printing equipment is purchased by himself.

2, color temperature and viewing environment

The digital imaging community needs a fair and fair viewing environment, including digital wedding dresses. That is to say, both the photo studio and the printing company should review the color of the digital photo in what light environment. The answer is, no matter what the color temperature, both parties should at least look at the same light environment. But should there be a standard? The printing company will not play under the fluorescent lamp, but the studio will be under the low color temperature light, so the color of the two parties may never match. In the digital printing industry, color management has become very popular. The 5,000-K color temperature viewing environment has become the industry's standard for viewing the film. 5000K is the white light of the company. In the digital wedding industry, we advise customers to view the film at a color temperature of 6500K. The 6500K is also a light source for neutralization. It is neither cold nor warm. It is white light and close to outdoor light. Although it is 6500K, but it is 5000K. The degree of neutralization of light sources is almost identical. Some large-scale printing companies have already taken the first step and popularized color management knowledge in the studios. Many studios also followed suit, replacing their own color and film viewing environment with the same lighting environment as the printing company, in order to achieve the closest color Or sync. The 6500K color temperature corresponds to the s RGB in the photo shop software. Of course, before the monitor is calibrated, the color temperature must be set to 6500K on the hardware. Here we recommend the Philips TLD36W/965 fluorescent tube.

Perhaps the photo studio will have doubts. What will be the environment for the newcomers to go home? In fact, our printed magazine shows consumers that consumers do not have such a standard light source at home, but they also accept it because they have different colors and image professionals.

3, photo shop software and digital camera color settings

In fact, the inconsistent output colors are also related to the photo shop software and digital cameras we use. Use s RGB as a color standard, but there are some studio photo shop software and digital camera settings that do not choose s RGB. It may be because you may not know how to set it up. In the photo shop, the commonly used color management is Adobe RGB, Color Match RGB, Apple RGB and s RGB, remember to choose s RGB, because the photo shop default is s RGB. Check the settings of the digital camera and digital camera guide software, there are usually two: one is s RGB, one is Adobe RGB, Adobe RGB is for the printing field, s RGB is for digital wedding use , If the software or the camera is not set correctly, it will lead to misunderstanding of the color of the image during operation (such as green or very red), and ultimately affect the accuracy of output quality and color synchronization.

Another important point is that when saving files in the photo shop, remember to embed the s RGB color management files so that people in the printing company know how to handle colors correctly.

4, print the company's output of some common sense

The first three are all ready. Is it right? There is no need to worry about the output quality. Of course not, the studio also needs to understand some of the output of knowledge, because these are all related to color.

l The image with too much contrast will rush out and it will feel like a reversal film.

l High light jumps, such as excessive mutations in the face highlights to normal skin tone, there is no hierarchy in the T-shape, and there is no hierarchy in the white gauze.
Hair agglomerated images, printing companies can not basically restore the level.

l Too dark images, after the dense image processing company rushes out, you will find the particles of the face (yellow-green,
Noise appears.

l It is difficult to make good images with poor color deviation. Yes, any color adjustment in the later period will cause color separation or skipping and affect the output quality.

l The color synchronization is closely related to the colorist's sense of color, experience, and method. If you find that the color of the operator's tone is not very satisfactory, you can change it until you are satisfied. In our industry, experience is very important. Some colorists need to have a color-based foundation and must have a professional color grading technique to get a good picture. Lack of experience in this aspect can often not make good things.

There is still a lot of knowledge about color management. The above is just some basic knowledge. It aims to let the studio learn first to raise awareness of color management, and it can be practiced to improve quality.

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