confusing color management & color correction, was: Color settin gs and upgrades

Chris Murphy <lists@...>

Chris, It is possible to have a dot for dot digital proof in a filmless CTP
workflow (wherever there is a dot on plate there will be a dot on press
Yes it is. Another benefit of digital proofs over analog proofs,
especially in CTP applications.

A transfer curve can effect a tonal match when presswork must match proofs
from different vendors. In so doing there will be an impact on color.
At least in SWOP applications, most of the variations between SWOP
Certified proofing systems are adjusted on press, not with transfer
curves. But, to get to that point at all, yes transfer curves are used so
that the press will exhibit ~18% dot gain in order to conform with SWOP.
Without the use of transfer curves (or rather, linear transfer curves),
the dot gain would be more like 9-11%.

(But we both know this already so it's mostly a conversation for the
benefit of others.)

However, it is unlikely that a transfer curve will be able to compensate for
the differences in hues of the base colorants of the different proofing
media. Hence it is unlikely that the presswork, no matter how much
"adjusted" will "match" conflicting original proofs.
Right. A digital proof would suffer the same problem. It needs to be
matched to an inkset. If rhodamine is being dumped into magenta for press
work without this being explicitely compensated for in the proof, no
amount of transfer curves will solve the resulting mismatch.

And once again I've used up my three allotted posts for the day.

Chris Murphy