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Author Topic: Soft Proofing - Adobe RGB 1998  (Read 3587 times)
digitaldog
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« Reply #20 on: July 17, 2013, 02:30:15 PM »
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If you have a better name for the check box, that's fine with me. How about the fact we can toggle to a Perceptual rendering intent on profiles that can't provide one? Same in Photoshop too. The little inclusion of RGB working space and display spaces has been around awhile and discussed too in LR centric forums and videos, that's one of my points.
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Andrew Rodney
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Tim Lookingbill
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« Reply #21 on: July 17, 2013, 03:36:25 PM »
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OK, Andrew, I get your point.

Aside from that why would Dinarius or anyone else want to Soft Proof in AdobeRGB since it doesn't change the preview in LR?

Are they using it simply for the histogram and RGB readouts similarly as I illustrated with ProPhotoRGB?
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digitaldog
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« Reply #22 on: July 17, 2013, 04:26:20 PM »
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Are they using it simply for the histogram and RGB readouts similarly as I illustrated with ProPhotoRGB?

That's the only reason I could see (or if you want to use the display OOG to see how far out the data is on an sRGB display).
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Andrew Rodney
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« Reply #23 on: July 17, 2013, 04:53:21 PM »
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Aside from that why would Dinarius or anyone else want to Soft Proof in AdobeRGB since it doesn't change the preview in LR?

Actually, there are some images where changing the soft proof from ProPhoto RGB to Adobe RGB and sRGB will have an impact on the image–which is the whole purpose of soft proofing in the first place. And while there are no version 4 ICC profiles for ProPhoto RGB nor Adobe RGB that allows using a perceptual rendering intent, the ICC does offer a v4 sRGB profile that DOES have perceptual matrixes that offers an alternative to relative colorimetric.

Also not that if somebody want to check the RGB readouts in 0-255 and Adobe RGB is the final output then soft proofing allows the use of 0-255 readouts.
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digitaldog
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« Reply #24 on: July 17, 2013, 05:40:29 PM »
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I have a raw file I know is outside both sRGB and Adobe RGB (1998). If I soft proof on my wide gamut display using ProPhoto (no soft proofing) versus Adobe RGB (1998) I see no difference visually. If I soft proof between Adobe RGB (1998) and sRGB I do (it's very subtle but visible). I suspect the gamut of the display plays a role here (it better). An interesting aside. If I make a screen capture of both, the resulting sRGB capture doesn't show much difference visually.
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Andrew Rodney
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Tim Lookingbill
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« Reply #25 on: July 17, 2013, 07:08:11 PM »
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I have a raw file I know is outside both sRGB and Adobe RGB (1998). If I soft proof on my wide gamut display using ProPhoto (no soft proofing) versus Adobe RGB (1998) I see no difference visually. If I soft proof between Adobe RGB (1998) and sRGB I do (it's very subtle but visible). I suspect the gamut of the display plays a role here (it better). An interesting aside. If I make a screen capture of both, the resulting sRGB capture doesn't show much difference visually.

On a related question sort of, Andrew, have you noticed saturation levels differ by any degree viewing the same color managed image on a dual display setup, one a wide gamut, the other sRGB-ish both calibrated with the same calibration package?

The reason I ask is it seems saturation levels of CM previews on my newly acquired & calibrated, slightly less than sRGB (LG 27") are a bit less vibrant than what I remember seeing on my Dell 2209WA which is slightly larger than sRGB. I might just be seeing things and could chock it up to the larger 27" LG screen area over the Dell 22" influencing my adapting to perceived saturation levels.

I know for sure with the LG's increase of yellow/green in its gamut over sRGB and the Dell, fresh grass backlit by an early morning sun just above the horizon looks so much vibrant than on the Dell. I'm just trying to distinguish gamut size as the influence over whether display calibration packages can create profiles that accurately render CM saturation levels between two displays with different size color gamuts. Can't see this for myself since I don't have a wide gamut display to compare against.
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digitaldog
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« Reply #26 on: July 18, 2013, 08:37:17 AM »
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On a related question sort of, Andrew, have you noticed saturation levels differ by any degree viewing the same color managed image on a dual display setup, one a wide gamut, the other sRGB-ish both calibrated with the same calibration package?

No because I'm not in that workflow (I'm using SpectraView for wide gamut display, i1P for the other device which at this time is a MacBook Pro display-yuck).

What I don't understand is why I can't capture via a screen capture or video the big visual differences I see soft proofing in Photoshop and LR on this one image. If I toggle between Adobe RGB (1998) and sRGB I see this update on-screen within the two app's. But toggling a screen capture of capturing a video of this doesn't show up! Weird.
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Andrew Rodney
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« Reply #27 on: July 18, 2013, 10:29:40 AM »
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No because I'm not in that workflow (I'm using SpectraView for wide gamut display, i1P for the other device which at this time is a MacBook Pro display-yuck).

What I don't understand is why I can't capture via a screen capture or video the big visual differences I see soft proofing in Photoshop and LR on this one image. If I toggle between Adobe RGB (1998) and sRGB I see this update on-screen within the two app's. But toggling a screen capture of capturing a video of this doesn't show up! Weird.

Hi, Andrew...

I never tried a screen capture, but have seen the same effect.

I run dual monitors (with two separate cards on Win7)...both calibrated with i1P.  One wide gamut and one sRGB

With the right image, they look slighly different.  If I softproof the wide gamut image to sRGB, they, then, look identical.  Frustrated me until I realized this  Smiley

To Tim:  I would not worry about the different saturation.  After a few prints you will be able to judge the saturation level of the screen to the print output.  The importance is consistency.  One of my displays in LED backlit and the other CFL.  With the CFL, I had difficulty getting good calibration until I realized the color was not consistent until it was one 30 min.....now, I can absolutely trust it if it was calibrated "warm" and used "warm".
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John
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