目前我使用的電腦EMAC,螢幕設定為ADOBE(1998),
EOS 20D相機:ADOBE RGB,
相機附的編輯軟體Digital Photo Professional,則好像只有SRGB及螢幕的選項可選?
CS的設定:ADOBE(1998)
想了解的地方是之前拿去印刷雜誌之後,顏色非常接近螢幕,
,是否就代表,目前的設定是OK的呢?
(因為昨晚將營幕調成EMAC原始設定,發現亮度差異頗大)
那SRGB的用途到底在哪呢?
剛剛爬過文,找不到解答,所以想請教各位前輩這方面的知識,萬分感謝!
礙於瀏覽主題的便利性,我就不在主題上打請問,關於..等尊稱或語助詞,
每天都來報到,連自己都覺得首頁可已換成冰果室說.
螢幕及影像編輯軟體的色彩設定?
版主: ross_tt、bryanchang、Faust
Re: 螢幕及影像編輯軟體的色彩設定?
基本上，sRGB是Windows所能顯示色域，也應是唯一能顯示的，VASON 寫: 那SRGB的用途到底在哪呢?
所以當要貼圖時，我們會將圖片設為sRGB，以免Windows用戶看到的圖，
其色彩和我們所期待有所不同。
或許你可以先行參考一些色彩管理相關書籍。
依輸出條件做不同的螢幕校正Profile~
如果沖照片,基準請設定Gamma 2.2,色域用sRGB;
如果印刷稿,基準請設定Gamma 1.8,色域用Adobe RGB
作好不同Profile,依輸出條件螢幕設定選各Profile下作業..
(請記得,螢幕的Profile不是讓你轉檔用的..)
印刷稿件工作色域設在Adobe RGB,完成確認稿件,如果需要轉檔為CMYK,
Convert Option選Relative Colorimetric, Destination Space Profile最好用印刷廠提供的Profile,
如果沒有,選Japan Color 2001 Coated~
存檔時,記得選取最下方Color:Embed Color Profile XXXX~
Windows下的情況如何小弟就不清楚了..
如果沖照片,基準請設定Gamma 2.2,色域用sRGB;
如果印刷稿,基準請設定Gamma 1.8,色域用Adobe RGB
作好不同Profile,依輸出條件螢幕設定選各Profile下作業..
(請記得,螢幕的Profile不是讓你轉檔用的..)
印刷稿件工作色域設在Adobe RGB,完成確認稿件,如果需要轉檔為CMYK,
Convert Option選Relative Colorimetric, Destination Space Profile最好用印刷廠提供的Profile,
如果沒有,選Japan Color 2001 Coated~
存檔時,記得選取最下方Color:Embed Color Profile XXXX~
Windows下的情況如何小弟就不清楚了..
相對的絕對和絕對的絕對絕對是不同的--相對上來說.
-
bryanchang
- 討論區管理員
- 文章: 7057
- 註冊時間: 04/19/2001 1:01 am
- 來自: The '60s
- 聯繫:
Faust 寫:依輸出條件做不同的螢幕校正Profile~
如果沖照片,基準請設定Gamma 2.2,色域用sRGB;
如果印刷稿,基準請設定Gamma 1.8,色域用Adobe RGB
作好不同Profile,依輸出條件螢幕設定選各Profile下作業..
(請記得,螢幕的Profile不是讓你轉檔用的..)
印刷稿件工作色域設在Adobe RGB,完成確認稿件,如果需要轉檔為CMYK,
Convert Option選Relative Colorimetric, Destination Space Profile最好用印刷廠提供的Profile,
如果沒有,選Japan Color 2001 Coated~
存檔時,記得選取最下方Color:Embed Color Profile XXXX~
Windows下的情況如何小弟就不清楚了..
謝謝你,及大家這麼詳細的說明,請問GAMMA是從顯示器那裡調整嗎?
關於校色儀,我朋友的朋友...那邊有,等我做大了..可能才會考慮.
只是目前還是有不少朋友出現,調了還是不準的狀況,我想應該是某些步驟沒做好,
順便想代友請教各位...新款的20寸LCD,跟CRT品質還是落差很大嗎?
因為他拿校色儀回去調,結果顏色對不起來...可能是那個環節出問題呢?
蘋果生手
6 Tips for Creating Better Monitor Profiles
Ok, you have your monitor and your profiling kit and you want to keep your display nice and neutral. Well here's Will's 6 Tips for making better monitor profiles:
ONE - Warm Up: Be sure you let your monitor warm up for at least 20 minutes, on both CRT and LCD displays before profiling. If you are in a cold climate, like we are in Chicago, warm up the monitor for 30 minutes or more just to be sure they are in their most stable state.
TWO - Use Gray: Selecting a desktop color of gray is smart because it fires the red, green and blue guns of the CRT monitors in equal amounts so your warm up time is most effective, and the neutral gray color in the background reduced eye strain when viewing the color of your on-screen files.
THREE - Use Gamma 2.2: Alright, I know the Mac faithful (of which I am one) want to use a gamma (contrast) of 1.8 for use as the "Mac Standard". Well, only Macs think that IS a standard, the rest of the imaging world is on the PC standard of 2.2 and if you take a look at the hardware that drives your labs printers - it's pretty much all PC. So if you are wanting to have your images match your labs prints or if you want to integrate into the rest of the printing and a good portion of the offset printing world, switch all your gamma decisions to 2.2. But if you are PC phobic, and your prepress tech / separation house is cool with 1.8 stay with it and be pulled kicking and screaming into 2.2 at a later date. My suggestion is to switch now, you will get used to it. We have 2 big Macs in our studio and they are profiled into 2.2 gamma and look terrific, and look just like the monitors on our PC's too. : )
FOUR - Use D65: Before you calibrate and profile your monitor with one of our recommended kits, get your monitor ready by making some selections through the on-screen menu options by pressing the buttons of the front of the monitor on CRT screens and some LCD / TFT screens. Set those menu settings to receive a custom profile by choosing a "custom" RGB setting, the gamma 2.2 contrast setting, and try selecting the white point to D65 or the color temp setting to 6500K. If you are working in a more "graphics" oriented workflow with your files going out to offset printing, you may want to stick with the D50 or 5000K white point, but for most photographers the D65 white point will work better, much better in fact. If you work in an area that is illuminated by a lot of incandescent light (screw in light bulbs) you may want to try the D55 or 5500K white point, but don't get trapped in the daylight / 5500K thing. Unfortunately it doesn't work out that way in this process. About 85% of all photographers will get great print-to-screen match using D65.
FIVE - Degauss: CRT monitors build up small amounts of image destructing magnetism as they present various images on-screen. This magnetism can make calibration and profiling difficult so we like to get rid of it before we profile. Use the on-screen menu on your monitor, or the software that came with your monitor to activate the Degauss function it has. It's a violent process and make noise and funny way lines on the screen but do not panic, it's a good thing but don't overdo it. One press of the degauss button does the trick every or every other time you profile.
SIX - You bought it so use it!: We suggest profiling your monitor every 2 weeks and it only takes a few minutes so use it. No need to do it everyday, and no, you won't wear it out.
Monitor Profiling Kit Comparison and Ratings
by Will Crockett, 11/04
The ability to see a photo file on-screen with accurate color and tone is essential for professional workflow regardless if your image was created on film or using digital capture. When your monitor was new, it's color was pretty darned close to "accurate" without much tweaking or calibration, but the monitor is the weakest link in the color management chain because it will shift color values as it ages. CRT, or "tube" type monitors shift their color values greatly over time and LCD / TFT (flat screen) type monitors shift very little. But, the LCD monitor just doesn't have the ability to present accurate color and tone (yet) when compared to a CRT; that's why when you are ready to get in-control of color in your studio, you need to be viewing images on a big ole CRT monitor, not an LCD monitor. No kidding, we have both in our studio and I can tell you with all confidence that our 19-inch, $370 CRT monitor is miles more accurate than our $1600, 20-inch TFT monitor ever will be - even after profiling. LCD's are getitng better but they have a long way to go. So for your studio's "reference" monitor, stick to the tube.
In order to keep your CRT or LCD monitors "honest" in their ability to present a neutral and unbiased image on-screen we need to correct for their color shifting. No problem.. monitor profiling kits to the rescue! We need to use a "kit" consisting of a color measuring device referred to as a "puck" that connects to your computer, usually via USB. The puck links up with its accompanying software application to measure how far "off" your monitor's color shift is, then builds a digital filter to correct for this shift; so no matter how far off it is (within reason)... the profiling kit has corrected it back to neutral. Monitor profiling kits don't do a thing to your actual photo file, they only neutralize your monitor and correct how it presents the image on-screen.
Your lab uses a monitor profiling system on all their monitors so they can see your file accurately and so should you. If you are not already profiling your monitor, now's the time to jump in because the current crop of kits are good, not very difficult to use, and well worth the investment. If you are already profiling, you may need to move up to one of our recommended kits to keep your system in tune over time with predictable and reliable results. Unfortunately, the biggest selling kit (not for long!) is the ColorVision / ColorSpyder line and it is not on our recommended list because we do not feel it hold up to pro level standards- here's the facts on this product.
To help you decide which kit is right for you, we bought or received comp "media" copies (fully operational) of 9 different monitor profiling kits to test on 4 different monitors:
Test monitor ONE is only 4 months old and has excellent image reproduction ability.
Test monitor TWO is 18 months old and has excellent image reproduction ability.
Test monitor THREE is 4 years old and has good image reproduction ability.
Test monitor FOUR is over five years old and has poor image reproduction ability.
In order for a kit to make it onto our recommended list, we feel that it must be capable of
* working in Mac OSX, Windows XP and 2000,
* profile both CRT and LCD / TFT screens,
* save the newly created profile in the proper folder to be used as the default profile immediately,
* and be able to "neutralize" a monitor to within a color tolerance range of 7 CC's of equivalent Color Compensation unit filtration values which is certainly a "noticeable" color shift.
This is easier to judge than you may think. We tested these kits using 2 monitors connected to one computer, with our properly profiled "reference" monitor right alongside the monitor in question, to make side-by-side comparisons between profiles.
Here's a comparison chart of the products we recommend followed by info on each one and some tips for creating good profiles for your monitor.
BTW, the photos below are placed correctly, this is how the puck will hang on your CRT monitor while profiling. : )
轉自 http://www.shootsmarter.com/infocenter/wc026a.htm
Ok, you have your monitor and your profiling kit and you want to keep your display nice and neutral. Well here's Will's 6 Tips for making better monitor profiles:
ONE - Warm Up: Be sure you let your monitor warm up for at least 20 minutes, on both CRT and LCD displays before profiling. If you are in a cold climate, like we are in Chicago, warm up the monitor for 30 minutes or more just to be sure they are in their most stable state.
TWO - Use Gray: Selecting a desktop color of gray is smart because it fires the red, green and blue guns of the CRT monitors in equal amounts so your warm up time is most effective, and the neutral gray color in the background reduced eye strain when viewing the color of your on-screen files.
THREE - Use Gamma 2.2: Alright, I know the Mac faithful (of which I am one) want to use a gamma (contrast) of 1.8 for use as the "Mac Standard". Well, only Macs think that IS a standard, the rest of the imaging world is on the PC standard of 2.2 and if you take a look at the hardware that drives your labs printers - it's pretty much all PC. So if you are wanting to have your images match your labs prints or if you want to integrate into the rest of the printing and a good portion of the offset printing world, switch all your gamma decisions to 2.2. But if you are PC phobic, and your prepress tech / separation house is cool with 1.8 stay with it and be pulled kicking and screaming into 2.2 at a later date. My suggestion is to switch now, you will get used to it. We have 2 big Macs in our studio and they are profiled into 2.2 gamma and look terrific, and look just like the monitors on our PC's too. : )
FOUR - Use D65: Before you calibrate and profile your monitor with one of our recommended kits, get your monitor ready by making some selections through the on-screen menu options by pressing the buttons of the front of the monitor on CRT screens and some LCD / TFT screens. Set those menu settings to receive a custom profile by choosing a "custom" RGB setting, the gamma 2.2 contrast setting, and try selecting the white point to D65 or the color temp setting to 6500K. If you are working in a more "graphics" oriented workflow with your files going out to offset printing, you may want to stick with the D50 or 5000K white point, but for most photographers the D65 white point will work better, much better in fact. If you work in an area that is illuminated by a lot of incandescent light (screw in light bulbs) you may want to try the D55 or 5500K white point, but don't get trapped in the daylight / 5500K thing. Unfortunately it doesn't work out that way in this process. About 85% of all photographers will get great print-to-screen match using D65.
FIVE - Degauss: CRT monitors build up small amounts of image destructing magnetism as they present various images on-screen. This magnetism can make calibration and profiling difficult so we like to get rid of it before we profile. Use the on-screen menu on your monitor, or the software that came with your monitor to activate the Degauss function it has. It's a violent process and make noise and funny way lines on the screen but do not panic, it's a good thing but don't overdo it. One press of the degauss button does the trick every or every other time you profile.
SIX - You bought it so use it!: We suggest profiling your monitor every 2 weeks and it only takes a few minutes so use it. No need to do it everyday, and no, you won't wear it out.
Monitor Profiling Kit Comparison and Ratings
by Will Crockett, 11/04
The ability to see a photo file on-screen with accurate color and tone is essential for professional workflow regardless if your image was created on film or using digital capture. When your monitor was new, it's color was pretty darned close to "accurate" without much tweaking or calibration, but the monitor is the weakest link in the color management chain because it will shift color values as it ages. CRT, or "tube" type monitors shift their color values greatly over time and LCD / TFT (flat screen) type monitors shift very little. But, the LCD monitor just doesn't have the ability to present accurate color and tone (yet) when compared to a CRT; that's why when you are ready to get in-control of color in your studio, you need to be viewing images on a big ole CRT monitor, not an LCD monitor. No kidding, we have both in our studio and I can tell you with all confidence that our 19-inch, $370 CRT monitor is miles more accurate than our $1600, 20-inch TFT monitor ever will be - even after profiling. LCD's are getitng better but they have a long way to go. So for your studio's "reference" monitor, stick to the tube.
In order to keep your CRT or LCD monitors "honest" in their ability to present a neutral and unbiased image on-screen we need to correct for their color shifting. No problem.. monitor profiling kits to the rescue! We need to use a "kit" consisting of a color measuring device referred to as a "puck" that connects to your computer, usually via USB. The puck links up with its accompanying software application to measure how far "off" your monitor's color shift is, then builds a digital filter to correct for this shift; so no matter how far off it is (within reason)... the profiling kit has corrected it back to neutral. Monitor profiling kits don't do a thing to your actual photo file, they only neutralize your monitor and correct how it presents the image on-screen.
Your lab uses a monitor profiling system on all their monitors so they can see your file accurately and so should you. If you are not already profiling your monitor, now's the time to jump in because the current crop of kits are good, not very difficult to use, and well worth the investment. If you are already profiling, you may need to move up to one of our recommended kits to keep your system in tune over time with predictable and reliable results. Unfortunately, the biggest selling kit (not for long!) is the ColorVision / ColorSpyder line and it is not on our recommended list because we do not feel it hold up to pro level standards- here's the facts on this product.
To help you decide which kit is right for you, we bought or received comp "media" copies (fully operational) of 9 different monitor profiling kits to test on 4 different monitors:
Test monitor ONE is only 4 months old and has excellent image reproduction ability.
Test monitor TWO is 18 months old and has excellent image reproduction ability.
Test monitor THREE is 4 years old and has good image reproduction ability.
Test monitor FOUR is over five years old and has poor image reproduction ability.
In order for a kit to make it onto our recommended list, we feel that it must be capable of
* working in Mac OSX, Windows XP and 2000,
* profile both CRT and LCD / TFT screens,
* save the newly created profile in the proper folder to be used as the default profile immediately,
* and be able to "neutralize" a monitor to within a color tolerance range of 7 CC's of equivalent Color Compensation unit filtration values which is certainly a "noticeable" color shift.
This is easier to judge than you may think. We tested these kits using 2 monitors connected to one computer, with our properly profiled "reference" monitor right alongside the monitor in question, to make side-by-side comparisons between profiles.
Here's a comparison chart of the products we recommend followed by info on each one and some tips for creating good profiles for your monitor.
BTW, the photos below are placed correctly, this is how the puck will hang on your CRT monitor while profiling. : )
轉自 http://www.shootsmarter.com/infocenter/wc026a.htm
Faust 寫:小弟從事影像處理,就是用Apple Cinema 20"螢幕,未校色時顏色偏藍,
經過校正後,覺得比CRT效果更好~亮度、對比、細節呈現都相當不錯..
同時,不用擔心CRT的輻射及長時間使用比較不會感覺眼睛酸澀,也沒有變形的問題~
如果您像小弟需要一天超過12小時以上盯著螢幕,用LCD螢幕勢比較適合的..
色彩管理不是光作好螢幕校色就好了的,這樣問所知都是片段的,還是建議您找些書看看,比較有幫助~
p.s: 小弟校色用的是Eye One系統
嗯~~原本我對LCD的顯示,沒多大信心,不過看了朋友的Apple Cinema 20"螢幕,
倒覺得超出我的想像,尤其是對比度大,讓我產生好印象(沒事就會心動)
關於他色彩校色的問題,可能就要請他助理幫忙研究了,
謝大家!
蘋果生手
接讀卡機也成的........官方的清單，是有包括Conon 20D的。VASON 寫:有支援20D嗎
不過，沒有包括到的，也不表示一定無法用。
重點是使用的溝通協定(protocols)，參考底下文章：
iPod Camera Connector: Supported Devices
http://docs.info.apple.com/article.html?artnum=301052
How to use the iPod Camera Connector
http://docs.info.apple.com/article.html?artnum=301059
iPod Camera Connector: Using the USB port
http://docs.info.apple.com/article.html?artnum=301057
iPod Camera Connector: Choosing a photo importing protocol on a camera
http://docs.info.apple.com/article.html?artnum=301058