00:00 - 00:07
will be the uh the presenter
00:04 - 00:10
um and today we will talk about uh
00:07 - 00:11
color management in photoshop so we will
00:10 - 00:14
discuss about
00:11 - 00:18
icc profiles we will discuss about
00:14 - 00:21
rendering intents and a little bit also
00:18 - 00:23
about uh how to manage images in
00:21 - 00:25
photoshop basically but i don't want to
00:23 - 00:28
tell you anything because jared will
00:25 - 00:31
will cover all the all these points
00:28 - 00:32
and on friday we will have another
00:32 - 00:36
where we will discuss about the digital
00:35 - 00:39
printing world
00:36 - 00:41
in general so we will provide some data
00:39 - 00:42
we will analyze the current status of
00:42 - 00:46
digital printing industry uh we will
00:45 - 00:49
also address what we
00:46 - 00:51
know which is uh color management so
00:49 - 00:54
we'll discuss a little bit about
00:51 - 00:56
what is a rip software uh why you need
00:54 - 00:58
the rip software and what are the
00:56 - 01:03
advantages of working with a
00:58 - 01:05
control color management workflow
01:03 - 01:06
a couple of more things then i will
01:05 - 01:10
leave the stage
01:06 - 01:12
to gerrard um it's very nice that you're
01:10 - 01:13
that you're chatting uh on on the chat
01:13 - 01:17
on the on the right side of the page but
01:15 - 01:22
if you look at the bottom
01:17 - 01:26
of of zoom screen you will see a q a
01:26 - 01:29
the presentation will be around 30
01:29 - 01:33
gerard will will will give you a lot of
01:33 - 01:37
thinking points and at the end of the
01:35 - 01:41
presentation we will leave
01:37 - 01:43
around 10 minutes for a short and brief
01:43 - 01:46
if you have additional questions if you
01:46 - 01:50
more details about what gerard will
01:48 - 01:52
present today
01:50 - 01:53
we will leave our emails at the end of
01:52 - 01:56
the presentation
01:53 - 01:57
so feel free to send us an email and we
01:56 - 02:00
will reply to you
01:57 - 02:03
uh one by one okay we will not talk
02:00 - 02:05
uh about in edit products today okay
02:03 - 02:08
so the presentation is not focused on
02:05 - 02:11
what our solutions are
02:08 - 02:14
but we will discuss about photoshop
02:11 - 02:16
uh in general so uh the idea is really
02:14 - 02:20
to share with you knowledge is not to
02:16 - 02:21
uh sell you the product today so if you
02:20 - 02:23
again if you have questions regarding
02:21 - 02:25
the workflow if you have questions
02:23 - 02:28
regarding innate product
02:25 - 02:29
please note down our emails uh you will
02:28 - 02:31
see our emails at the end of the
02:29 - 02:34
presentation
02:31 - 02:37
send us email uh send us feedback uh
02:34 - 02:37
and we will reply to you uh as soon as
02:37 - 02:43
okay uh gerard
02:41 - 02:46
that's all for now so i'll leave you the
02:43 - 02:47
stage i'll put i'll be mute for the next
02:46 - 02:50
30 minutes and
02:50 - 02:55
thanks a lot for the presentation uh for
02:53 - 02:56
the ones who doesn't know me as he said
02:56 - 02:59
i am char book from the saints
02:58 - 03:02
department but i've been
02:59 - 03:04
uh in the technical side for a long time
03:02 - 03:07
hearing inevit
03:04 - 03:10
and i will try to as he said to share
03:07 - 03:14
my knowledge or experience on this field
03:10 - 03:15
and they will treat the the color
03:14 - 03:20
management aspects
03:15 - 03:22
and how to make or or take the best of
03:20 - 03:24
uh working with photoshop i will share
03:22 - 03:27
the screen okay and
03:24 - 03:30
and share the presentation hope
03:27 - 03:34
everyone can see my screen
03:30 - 03:38
i might ask to please uh
03:34 - 03:41
make full size your screens
03:38 - 03:44
because probably there are uh
03:41 - 03:44
some details that that we need to see it
03:44 - 03:48
okay we will we will focus on some small
03:48 - 03:51
so make the the screen the the biggest
03:54 - 03:59
a set we are making a it's a very basic
03:57 - 04:03
introduction to color management
03:59 - 04:03
and using it with adobe photoshop okay
04:04 - 04:08
uh the main points we're going to talk
04:06 - 04:11
about today uh
04:08 - 04:12
are these ones uh finally you will see
04:12 - 04:15
you can read a little bit all of them
04:14 - 04:18
but is what he said
04:15 - 04:22
why to use photoshop
04:18 - 04:24
different modes that are available about
04:22 - 04:26
color profiles what are them uh how we
04:24 - 04:29
work with them
04:26 - 04:31
then we will focus in in the rgb mode
04:29 - 04:32
okay because uh finally
04:31 - 04:35
i will explain that probably is the one
04:32 - 04:37
that it's more convenient for us
04:35 - 04:39
which kind of rendering intents we have
04:37 - 04:40
what are they and what's the difference
04:39 - 04:44
between them
04:40 - 04:44
and a conclusion of all we've talked
04:45 - 04:52
so let's start from why
04:48 - 04:53
why photoshop uh think that uh there are
04:52 - 04:57
a lot of different
04:53 - 04:59
platforms or or software for design
04:57 - 05:00
but we're going to focus on photoshop
04:59 - 05:04
these are the main uh
05:00 - 05:07
points and or keys that uh why we
05:04 - 05:08
choose photoshop for for this and it is
05:07 - 05:10
because first of all
05:08 - 05:13
it is the most extended design platform
05:10 - 05:15
so many many users in the wall are using
05:13 - 05:16
this platform instead of others that can
05:16 - 05:21
we can find most important is that it
05:20 - 05:23
allows to work with
05:21 - 05:25
embedded profiles and work with them
05:23 - 05:26
using the functions convert assign and
05:25 - 05:28
proof profile
05:26 - 05:30
which i am going to explain during this
05:30 - 05:33
and also it is even possible to send to
05:32 - 05:34
print preserving the color management
05:34 - 05:42
chose and we used uh during uh
05:38 - 05:45
the creation of of the design
05:42 - 05:48
finally uh just in a small addition
05:45 - 05:48
uh as you know we have some products we
05:48 - 05:52
which is called neotextill it's a
05:50 - 05:53
software that we have for photoshop
05:53 - 05:57
some additions some plugins to make it
05:55 - 06:00
easier to work it
05:57 - 06:03
with um for that for the textile wall
06:00 - 06:04
okay i'm not going to talk about them
06:03 - 06:06
but you can always
06:04 - 06:08
check them in our website and make a
06:08 - 06:12
so finally we think that photoshop is
06:10 - 06:14
set the main platform in the world for
06:14 - 06:17
and in addition we have this kind of
06:17 - 06:21
so from now on i'm going to focus and
06:21 - 06:24
all the things that i'm going to show
06:22 - 06:28
will be based on
06:24 - 06:28
the photoshop functions okay
06:30 - 06:34
so in photoshop and also in in
06:32 - 06:38
everywhere we can find different
06:34 - 06:41
color modes that we can use i will just
06:38 - 06:44
try to take what doesn't matter i don't
06:41 - 06:48
know if you're seeing
06:44 - 06:53
just a minute sorry i want to
06:48 - 06:56
hide some things okay
06:53 - 06:57
so basically uh when we work in color we
06:57 - 07:00
mainly there are more but mainly we have
06:59 - 07:04
these three modes okay
07:00 - 07:07
cmyk rgb and lab
07:04 - 07:07
um finally i wanted to explain a little
07:07 - 07:10
uh which are the differences between
07:10 - 07:16
okay working in uh this is a the kind of
07:14 - 07:18
modes uh it's something you can switch
07:16 - 07:21
also in photoshop okay there are
07:18 - 07:24
different modes and when you switch them
07:21 - 07:24
you find sometimes that colors change a
07:24 - 07:29
or the behavior of of the changes you do
07:28 - 07:31
in the designs are a little bit
07:29 - 07:34
different depending on the mode
07:31 - 07:35
that you chose from the start so talking
07:35 - 07:40
cmyk it is a subtractive mode when we
07:39 - 07:43
call it subtractive
07:40 - 07:44
means that uh you see on the right side
07:44 - 07:49
graph in which as you see the
07:47 - 07:50
the addition of the three colors makes
07:49 - 07:53
black so we are starting
07:50 - 07:54
from a white point so the background is
07:53 - 07:57
a white point
07:54 - 07:58
and we subtract light from it so at the
07:58 - 08:02
that we put color on it what we are
08:00 - 08:05
doing is to subtract color
08:02 - 08:06
uh subtract light until we get the
08:05 - 08:09
maximum which is black
08:06 - 08:11
the minimum value always it's comple
08:09 - 08:13
zero zero zero zero and it gives
08:14 - 08:17
but when we talk about also black which
08:16 - 08:20
is the maximum
08:17 - 08:20
uh this is a little bit uh strange
08:20 - 08:24
sometimes to explain because we have the
08:24 - 08:27
the k the black component so we could
08:27 - 08:31
if i put a hundred of black and
08:30 - 08:33
everything at zero
08:31 - 08:35
i have black but also making
08:33 - 08:37
combinations of them
08:35 - 08:39
can give different tones of black and
08:37 - 08:41
it's complicated to
08:39 - 08:42
find the maximum value sometimes it will
08:41 - 08:45
depend on the
08:42 - 08:46
on the printer or in the output so
08:45 - 08:49
that's why i put
08:46 - 08:53
i leave it a little bit in the air okay
08:49 - 08:54
finally cmyk mode it is based in how a
08:54 - 08:59
a printer works because it's based on
08:56 - 09:02
the on the inks it depends on the inks
08:59 - 09:03
on the in cmyk but let's make a short
09:02 - 09:05
question and
09:03 - 09:07
what happens if our printer has eight
09:07 - 09:10
not only cmyk so we can have more inks
09:10 - 09:17
just a cmyk based maybe
09:14 - 09:18
some time ago most of the printers and
09:17 - 09:21
also nowadays
09:18 - 09:22
lots of printers have cmyk but when we
09:22 - 09:28
textile uh printers uh
09:26 - 09:30
nowadays most of them when we talk about
09:28 - 09:33
for example reactive printers
09:30 - 09:36
reactive in printers most of them have
09:33 - 09:39
six eight and even up to 12 colors
09:36 - 09:40
so it is really kind of confusing to
09:40 - 09:45
innings in cmyk inks when
09:43 - 09:47
finally our printer can have more than
09:48 - 09:54
so for some people that has in mind uh
09:51 - 09:57
the switching of colors by not putting
09:54 - 09:59
more ink of one or one or the other
09:57 - 10:01
it may be easy but depending on the
09:59 - 10:05
printer that have in production
10:01 - 10:09
can be quite confusing okay
10:05 - 10:11
so it's still a valid uh mode
10:09 - 10:13
but now i'm going to talk about the rgb
10:11 - 10:17
mode which is the one that
10:13 - 10:20
we promote and we and we use mainly
10:17 - 10:23
okay which is a set the rgb rgb
10:20 - 10:27
it's an additive mode uh also
10:23 - 10:28
again checking the the right uh graph
10:27 - 10:30
see that it's completely the opposite
10:28 - 10:32
when we have the minimum value which is
10:30 - 10:34
zero 0 0 we have
10:32 - 10:35
black and in this case not like in the
10:35 - 10:41
it's always this point so when i put 0 0
10:39 - 10:44
0 it returns me a black
10:41 - 10:44
so there is no confusion and the maximum
10:44 - 10:51
it's which is 255 255 255
10:49 - 10:53
it returns the maximum value which is
10:51 - 10:56
white and it's the mixing
10:53 - 10:56
of all the the three colors uh red green
10:56 - 11:00
so it's completely the opposite of cmyk
11:00 - 11:06
adding light uh to the to the color
11:03 - 11:11
until we get the full light let's say
11:06 - 11:14
and which it gives us in return white
11:11 - 11:15
the rgb mode is based on how ours not a
11:14 - 11:18
printer but and how
11:15 - 11:20
our screens work and it doesn't depend
11:18 - 11:23
on names it's dependent on
11:20 - 11:26
color this is the main reason also
11:23 - 11:26
why we decided or we think that the rgb
11:26 - 11:32
it's it's the most useful or the most
11:32 - 11:38
to work in also in digital uh
11:35 - 11:40
printing why finally a set we are
11:38 - 11:41
depending on color we only need to focus
11:41 - 11:47
so once a designer starts working
11:44 - 11:48
in photoshop or any other platform
11:47 - 11:51
doesn't need to think on
11:48 - 11:52
okay if i put more ink from that or more
11:52 - 11:56
so not too thin in inks and colors from
11:56 - 12:03
but focus only on the color itself
11:59 - 12:04
later later someone the the producer or
12:03 - 12:07
in production
12:04 - 12:08
will be the one who really uh tries to
12:07 - 12:11
make the best
12:08 - 12:12
from the color that the the the designer
12:12 - 12:19
to print the best out of it but finally
12:15 - 12:22
we what we want or what we prefer
12:19 - 12:25
is that during design you only need to
12:22 - 12:28
worry about colors not about inks
12:25 - 12:30
so finally the inks and the device
12:28 - 12:30
doesn't matter in this process we are
12:30 - 12:35
we're only focusing in color
12:33 - 12:39
and finally as the last color mode i
12:35 - 12:42
always i also wanted to talk about lab
12:39 - 12:45
lab uh it is based in how the
12:42 - 12:47
human eye works so on how we see these
12:45 - 12:51
are the components also that
12:47 - 12:53
that our eye uses
12:51 - 12:55
to see it is a very vast it's a huge
12:55 - 13:00
and usually is used as an intermediary
12:58 - 13:02
i i put these words universal language
13:02 - 13:06
somehow to explain i also i like to
13:06 - 13:12
uh with language okay imagine that uh
13:09 - 13:13
two person talking different languages
13:13 - 13:18
and someone says a word uh sometimes
13:16 - 13:20
some words in one
13:18 - 13:21
language doesn't exist in a second
13:20 - 13:25
language okay
13:21 - 13:27
uh can can can happen so it's very
13:25 - 13:30
difficult to explain one to the other
13:27 - 13:33
but if we have a universal language that
13:30 - 13:35
has inside all the words of all the
13:33 - 13:38
languages in the world it would be
13:35 - 13:42
very easy to use it uh not
13:38 - 13:43
to communicate between us so this is
13:42 - 13:48
more or less what
13:43 - 13:51
makes the lab the function of the lab
13:48 - 13:52
it contains all the colors possible even
13:51 - 13:54
compressed inside
13:52 - 13:55
rgb inside any profile it contains all
13:55 - 14:02
so it makes as an intermediary uh
13:59 - 14:04
a great communication between them even
14:02 - 14:06
when we move from one to another mode
14:04 - 14:07
or even when we move in the same mode
14:06 - 14:10
from rgb to rgb
14:07 - 14:12
but in different sizes profiles so
14:10 - 14:12
that's why it is used as intermediary
14:12 - 14:18
really contains all the colors
14:16 - 14:20
uh that exist or that are in the
14:18 - 14:23
spectrum let's say of the human eye
14:20 - 14:24
okay and finally it's device independent
14:24 - 14:28
once one it was dependent on the device
14:27 - 14:29
depending on the
14:28 - 14:31
inks depending on this is completely
14:29 - 14:35
independent because it contains
14:31 - 14:38
everything in sight okay so
14:35 - 14:40
this is a more or less overview of the
14:38 - 14:43
three modes that we're going to
14:40 - 14:44
that we have available also to work in
14:43 - 14:46
photoshop i said there are some more
14:44 - 14:48
which is ray scale but
14:46 - 14:49
we're going to focus in the color ones
14:49 - 14:55
these three and even more
14:52 - 14:56
i'm going to focus in the rgb mode
14:55 - 14:59
because as i said
14:56 - 15:00
this is the one that we think which is
15:00 - 15:07
uh the most suitable for the
15:03 - 15:07
kind of job that we're going to do
15:09 - 15:12
after that let's say what's the color
15:12 - 15:16
uh because we're talking always about
15:16 - 15:19
right but sometimes we might could
15:19 - 15:24
what is it as a plain description okay
15:22 - 15:26
an icc profile
15:24 - 15:29
it is a set of data that characterize a
15:26 - 15:30
color input or output device or a color
15:30 - 15:33
fine so this really means that it's just
15:33 - 15:37
set of data this is fine which contains
15:37 - 15:40
amount of colors our device is capable
15:39 - 15:44
to represent
15:40 - 15:45
when i say device for example in our
15:44 - 15:48
case we are talking about
15:45 - 15:48
the amount or how many colors our
15:48 - 15:54
can show to us or how many colors our
15:51 - 15:56
printer is able to print so because
15:54 - 15:59
finally this relation
15:56 - 16:02
right sometimes our monitor can
15:59 - 16:06
have uh or can show us more
16:02 - 16:10
colors than what our printer is able
16:06 - 16:12
to reproduce or to print so finally our
16:10 - 16:15
profiles are usually shown
16:12 - 16:17
uh in a 3d graph for example this one
16:15 - 16:20
here that we are seeing it's the
16:17 - 16:23
adobe rgb okay which is a
16:20 - 16:24
generic space really really big that
16:24 - 16:27
lots of colors
16:31 - 16:38
sorry uh and what and that's so and
16:35 - 16:41
probably uh our printer profile will be
16:38 - 16:43
much smaller than this one so we can see
16:41 - 16:46
very easy in a 3d graph
16:43 - 16:47
the size of it finally the bigger it is
16:47 - 16:50
the more colors that it contains inside
16:50 - 16:55
colors that our device is able to
16:59 - 17:06
so here it's a
17:03 - 17:09
a comparison more or less of about
17:06 - 17:11
different profiles that we can find or
17:09 - 17:16
generic profiles that we can find
17:11 - 17:19
uh the first one is an adobe rgb
17:16 - 17:22
we have a reactive uh
17:19 - 17:25
standard profile uh one from sublimation
17:22 - 17:27
and one from a machine of on paper okay
17:25 - 17:30
a proofing paper
17:27 - 17:32
so how we can compare any 3d profile
17:30 - 17:34
viewer there are lots in the market okay
17:32 - 17:35
it's good enough to make a comparison of
17:34 - 17:37
profiles like
17:35 - 17:38
see that in the center i made a
17:37 - 17:43
comparison between two profiles
17:38 - 17:45
the adobe rgb and the reactive one
17:43 - 17:47
and usually a monitor based profile like
17:45 - 17:48
it is the adobe rgb well delivered hdb
17:48 - 17:53
bigger than a usual monitor profile okay
17:51 - 17:55
it's a standard really really huge
17:53 - 17:57
but still a monitor based profile as i
17:55 - 17:58
said usually it's much bigger than a
17:57 - 17:59
printer profile
17:58 - 18:01
and this leads to the question that i
17:59 - 18:03
said before uh
18:01 - 18:04
if it's bigger we have more colors
18:04 - 18:09
some of the colors that you are seeing
18:06 - 18:11
in the monitor later on
18:09 - 18:12
won't be able to reproduce on the
18:11 - 18:16
printer so we need to be
18:12 - 18:19
very careful when we select uh one color
18:16 - 18:22
or another because the the change or the
18:19 - 18:24
or the the resultant color can be much
18:22 - 18:26
different from what we expected on the
18:26 - 18:32
at the start so as i said
18:29 - 18:35
uh i will focus on working in rgb
18:32 - 18:38
okay i will i explain it a little bit uh
18:35 - 18:39
the other modes but finally i'm going to
18:39 - 18:46
in in rgb uh
18:43 - 18:50
here are some tips uh or important
18:46 - 18:51
things uh that i think from from the rpg
18:51 - 18:56
think that all spaces in rgb for example
18:54 - 18:58
i will go back just a moment
18:56 - 19:00
okay here remember that in the
18:58 - 19:03
comparison between adobe and reactive
19:00 - 19:04
we have two different profiles different
19:04 - 19:07
we could think that the amount of colors
19:06 - 19:09
right it's
19:07 - 19:11
uh there are a lot more colors in one
19:09 - 19:13
than in the other
19:11 - 19:15
but finally when we represent them in
19:13 - 19:18
values in rgb values
19:15 - 19:20
even if one is bigger than another
19:18 - 19:21
we have exactly the same amount of
19:20 - 19:24
colors which is
19:21 - 19:26
around the combinations that we have uh
19:24 - 19:29
in the three values
19:26 - 19:33
rg and b from zero zero zero to 255
19:29 - 19:38
255 and 225 we have more or less
19:33 - 19:41
16.7 million colors or
19:38 - 19:41
combinations of colors okay and think
19:41 - 19:48
both profiles the big and the small one
19:45 - 19:52
has the same combinations of uh
19:48 - 19:53
in rgb have the same amount of colors
19:53 - 19:59
probably uh if the space is very small
19:57 - 20:01
like in a printer profile we will see
20:01 - 20:05
lots of colors are very similar and in
20:03 - 20:07
the other one we have
20:05 - 20:09
even if the combinations are the same we
20:09 - 20:13
different colors and we have more
20:10 - 20:16
saturated colors inside that profile
20:13 - 20:17
and as a result if we think of it
20:17 - 20:22
we have the same combination so we have
20:19 - 20:24
for example zero zero zero is black
20:22 - 20:26
but probably in one profile in this
20:24 - 20:29
value zero zero zero
20:26 - 20:30
and in another profile in different size
20:30 - 20:36
the value rgb which is zero zero 0
20:33 - 20:36
it's the same but the color that
20:36 - 20:40
it's completely different maybe with
20:38 - 20:43
black it's not so
20:40 - 20:47
easy to find but imagine let's go back
20:43 - 20:48
again we have the three values okay
20:47 - 20:51
imagine that we
20:48 - 20:55
check the value 255 0 0
20:51 - 20:58
which is pure red okay if we go back
20:55 - 21:01
and we check this area see that probably
20:58 - 21:02
it's the in the corner of the red in the
21:02 - 21:08
which is a very nice and saturated red
21:05 - 21:09
but if we check our reactive point the
21:08 - 21:11
best thread that we have
21:09 - 21:13
it's completely different from the
21:11 - 21:17
obviously in a different position
21:13 - 21:21
so this means that the same value 255
21:17 - 21:22
0 0 the best red we have will really
21:22 - 21:30
a different coloring result than
21:25 - 21:32
the other so this just means that
21:30 - 21:34
in two different profiles the same rgb
21:32 - 21:36
value can give
21:34 - 21:38
or will give probably different color
21:36 - 21:41
results okay
21:38 - 21:43
we have to to keep this in mind always
21:41 - 21:48
okay it's a very important part
21:43 - 21:48
of all the next that is coming okay
21:48 - 21:53
so sorry so when we are working in rgb
21:52 - 21:55
mode we were
21:53 - 21:58
we were telling that we have big
21:55 - 22:01
profiles small profiles
21:58 - 22:04
different spaces and
22:01 - 22:05
we need a way to move from one to the
22:05 - 22:09
right so we are in a very big profile
22:07 - 22:12
and we say okay but i want to move to my
22:09 - 22:13
printer profile which is smaller and see
22:13 - 22:19
of my printer we have different ways
22:16 - 22:20
uh on achieving this conversion this
22:20 - 22:23
this movement from from profile a to
22:23 - 22:30
b and this is what i'm going to explain
22:27 - 22:34
uh we have one first option which is
22:30 - 22:38
called assign profile so same profile
22:34 - 22:40
really it's uh see that in the image
22:38 - 22:42
we can see where in photoshop we can use
22:40 - 22:45
this function okay
22:42 - 22:47
in edit the same profile and
22:45 - 22:50
if we use the same profile really it
22:47 - 22:53
will move from profile the image
22:50 - 22:54
okay we will change the profile from the
22:54 - 22:58
so the source profile to the b
22:56 - 23:02
destination profile that we
22:58 - 23:04
select okay when we assign a profile
23:02 - 23:05
the idea is that it maintains the rgb
23:04 - 23:08
codification
23:05 - 23:09
so as i said every color in this image
23:09 - 23:17
an rgb qualification it could be 0 0 0
23:13 - 23:20
2 3 4 okay any any qualification
23:17 - 23:24
so when we move from one to another
23:20 - 23:27
assigning it is maintaining the
23:24 - 23:28
rgb codification but remember i said
23:28 - 23:32
the same rgb qualification doesn't need
23:32 - 23:37
or doesn't mean that the color will be
23:35 - 23:40
the same because in different profiles
23:37 - 23:42
that the same values of our recipe can
23:40 - 23:45
have different color results
23:42 - 23:47
so using this tool the same profile the
23:45 - 23:50
colors are not preserved
23:47 - 23:52
we are only preserving the codification
23:50 - 23:55
in some cases in some cases can be
23:52 - 23:58
useful for example when we talk about
23:55 - 23:59
rgb color libraries or representing or
23:58 - 24:04
if we want to make a search
23:59 - 24:05
in our profile color wall but still when
24:05 - 24:12
talking about uh not about our images or
24:09 - 24:13
existing images what we really need is
24:12 - 24:16
that the colors
24:13 - 24:16
the colors are preserved okay but let's
24:16 - 24:20
when we assign a profile let's see the
24:20 - 24:26
for example see that in this case i took
24:24 - 24:27
this image okay this is the in the
24:26 - 24:29
source profile
24:27 - 24:31
image this image had the srgb generic
24:29 - 24:35
profile okay embedded
24:31 - 24:38
and see that uh in in the left
24:35 - 24:40
in the up left side i selected the color
24:38 - 24:42
okay it's rounded the color i selected
24:40 - 24:44
i selected exactly the same in all the
24:42 - 24:45
next images okay so you can focus on
24:45 - 24:49
i open the color picker and see that in
24:49 - 24:56
we have the value rgb 158
24:52 - 25:01
165 201 okay this is the qualification
24:56 - 25:03
for this exit caller in the srgb profile
25:01 - 25:05
now what i'm going to do is this image
25:03 - 25:08
to assign a new profile which is a
25:05 - 25:12
printer profile that i have okay
25:08 - 25:14
and this is the result okay see that
25:12 - 25:16
i took exactly the same color after the
25:14 - 25:18
sign you can also see in the in the
25:16 - 25:21
bottom of the image that the profile
25:18 - 25:25
changes okay and
25:21 - 25:29
taking the same color the rgb value it's
25:25 - 25:31
exactly the same 158 165 201
25:29 - 25:32
and this happens not only for this color
25:32 - 25:36
for every pixel in every color in this
25:36 - 25:40
and as a result yes we are preserving
25:40 - 25:43
values but see i will move from one to
25:43 - 25:47
see that the colors are completely
25:47 - 25:57
because as i said it doesn't preserve
25:52 - 26:00
the color it is preserving uh
25:57 - 26:03
only the the values of rgb
26:00 - 26:04
which is the same but finally in our
26:03 - 26:07
second profile
26:04 - 26:08
the same values doesn't mean that gives
26:07 - 26:12
exactly the same color
26:08 - 26:14
okay this is how assigning
26:15 - 26:18
now we have a second tool inside
26:18 - 26:22
which is convert to profile this will
26:22 - 26:26
as we said we'll switch from profile 8
26:25 - 26:29
to profile b
26:26 - 26:30
so it will really change the color space
26:29 - 26:33
of our image
26:30 - 26:36
same as in a sign but in this case
26:33 - 26:37
it will do the opposite it will try to
26:37 - 26:41
exact or the the colors the maximum
26:41 - 26:45
even sacrificing the rgb value so it's
26:43 - 26:48
not going to take care
26:45 - 26:51
or to to worry about
26:48 - 26:54
the rgb values but it will focus
26:51 - 26:55
on keeping the color correspondence of
26:55 - 26:59
and it's needed see that the menu that
26:57 - 27:01
we have it's a little bit bigger
26:59 - 27:02
and we need to define an intern of
27:02 - 27:06
which we will talk later okay in this
27:06 - 27:12
perceptual uh to make to make the change
27:09 - 27:16
and to see the the the result
27:12 - 27:18
okay so again here we have
27:16 - 27:21
exactly the same the same window as
27:18 - 27:24
before we have selected one color
27:21 - 27:26
and see that the rgb values are
27:24 - 27:27
the same as before okay i took the same
27:27 - 27:31
and in this case i will make the
27:29 - 27:35
conversion instead of making
27:31 - 27:39
assigning i will convert so
27:35 - 27:43
now this is a converted to profile
27:39 - 27:43
okay so see that
27:43 - 27:47
the colors try to maintain much better
27:45 - 27:50
than when we assign it
27:47 - 27:51
but if we check the rgb codification of
27:51 - 27:57
see that it's completely different
27:54 - 27:58
similar but different okay so in this
27:57 - 28:02
case it's right
27:58 - 28:04
to maintain the color but we lost
28:02 - 28:06
the rgb codification which in this case
28:04 - 28:09
is not important because
28:06 - 28:12
finally we we we met our purpose
28:09 - 28:13
that is to change the less possible the
28:12 - 28:15
source image
28:13 - 28:16
okay and the second detail which i
28:15 - 28:19
marked is that
28:16 - 28:20
see that the color picker okay sorry
28:19 - 28:22
this i forgot okay
28:20 - 28:24
when we assign it happen the same okay
28:22 - 28:27
see that the color picker
28:27 - 28:31
mainly the the vertical axis in which we
28:30 - 28:34
have the hue
28:31 - 28:35
because this is all all that our color
28:34 - 28:38
wall of our profile
28:35 - 28:39
okay see that it's completely different
28:39 - 28:46
really changing the options even in the
28:43 - 28:49
photoshop color picker okay this is
28:46 - 28:52
why one of the main reasons why
28:49 - 28:56
we it's important or it's
28:52 - 28:56
very interesting to move to our printer
28:56 - 29:04
this also restricts our color picker
29:00 - 29:06
to the colors that our printer
29:04 - 29:07
has okay so finally what we have here
29:06 - 29:11
this color picker
29:07 - 29:11
really converted to the let's say the
29:11 - 29:18
picker of our printer okay this was
29:14 - 29:21
the colors that our monitor can
29:18 - 29:22
handle okay which are see that they are
29:21 - 29:25
a lot more saturated and
29:22 - 29:27
brighter and it's normal it's a monitor
29:25 - 29:30
and these ones
29:27 - 29:33
are the colors from our printer okay
29:30 - 29:34
so it's it's really interesting that we
29:33 - 29:37
really switched
29:34 - 29:40
our color picker and now if we continue
29:37 - 29:43
working any color that we select
29:40 - 29:45
we will make sure that our printer is
29:43 - 29:47
able to reproduce it
29:49 - 29:56
sorry just a second
29:59 - 30:05
and as a third option that we have
30:02 - 30:08
in photoshop is to prove a profile okay
30:05 - 30:09
this is a different tool that we have in
30:09 - 30:13
see that it's in a different place in
30:11 - 30:15
photoshop it's not in edit
30:13 - 30:16
it's in view and in view we have the
30:16 - 30:20
custom see that the window of the proof
30:20 - 30:24
it's very similar to what we have in
30:22 - 30:27
convert okay
30:24 - 30:31
so in fact we are doing exactly the same
30:27 - 30:34
as when converting to profile but
30:31 - 30:34
not really doing it now you will see
30:34 - 30:38
so it really does not switch from
30:36 - 30:41
profile a to profile b
30:38 - 30:43
it doesn't make the change but
30:41 - 30:44
tries to keep the color correspondence
30:43 - 30:48
so it's the same uh
30:44 - 30:51
process as we were doing in uh
30:48 - 30:53
when we convert to profile
30:51 - 30:55
but it's really not applying it's only
30:53 - 30:57
showing to us
30:55 - 30:59
inside photoshop if we save the document
30:57 - 31:02
it will be saved as the original okay
30:59 - 31:03
so it's only showing on screen the
31:03 - 31:07
it's like it's just a simulation of the
31:05 - 31:10
conversion but it's not
31:07 - 31:14
really really applying the
31:10 - 31:17
um the conversion to the image
31:14 - 31:19
okay and also it has something very
31:17 - 31:22
interesting which is the possibility to
31:19 - 31:23
simulate paper color okay it is an
31:22 - 31:25
option that you can see also in the
31:23 - 31:26
window of customized proof condition
31:26 - 31:30
which is simulate paper color this
31:28 - 31:32
option it's not available when we
31:30 - 31:35
convert to profile it's
31:32 - 31:36
only available in this proof profile now
31:35 - 31:40
you will see
31:36 - 31:44
the difference okay so this is our
31:40 - 31:44
source profile as always and now we will
31:44 - 31:49
proof printer profile see that
31:48 - 31:51
it's a little bit different what
31:49 - 31:53
happened this
31:51 - 31:55
usually when we work in in photoshop
31:53 - 31:59
when we convert a profile
31:55 - 31:59
there's a small
31:59 - 32:04
thing that that i don't like i will go
32:02 - 32:05
back again i think it will be easy to
32:04 - 32:08
explain this part
32:05 - 32:10
okay so i will come to the converted see
32:08 - 32:14
that when we convert to profile
32:10 - 32:17
it's true that all colors move
32:14 - 32:20
to the simulator of the printer but
32:17 - 32:22
on in the image on the bottom left side
32:20 - 32:24
you have a pure white and a pure black
32:24 - 32:27
see that there's no change in these two
32:27 - 32:32
photoshop really it's not reproducing
32:31 - 32:34
the white that we have for example if
32:32 - 32:37
our printer profile
32:34 - 32:39
was done on a fabric usually the fabric
32:37 - 32:41
the white it's not perfect right a
32:39 - 32:44
fabric can be
32:41 - 32:45
a little bit yellowish so photoshop it's
32:45 - 32:49
reproducing this effect so the black and
32:47 - 32:52
the white always maintains
32:49 - 32:52
like a perfect condition okay even all
32:52 - 32:57
all the other colors uh really changed
32:56 - 33:02
really switched to the
32:57 - 33:04
uh to the destiny destination profile
33:02 - 33:06
when we use proof profile and use the
33:04 - 33:10
simulate paper color option
33:06 - 33:12
see that it really also switches
33:10 - 33:14
the white and and simulates everything
33:12 - 33:15
not only simulates the colors but also
33:15 - 33:19
the black and the white of our printer
33:19 - 33:22
we wouldn't say see a lot of difference
33:22 - 33:28
in all the colors but in the
33:26 - 33:29
white and dark areas there will be
33:28 - 33:33
really a difference
33:29 - 33:34
because this is really really the colors
33:33 - 33:36
from our printer in this case we
33:34 - 33:39
simulated everything
33:36 - 33:41
that's why the proof printer profile is
33:39 - 33:44
really interesting
33:41 - 33:46
but as i said remember
33:44 - 33:47
they said okay we are proofing or we are
33:47 - 33:54
simulation on screen but we are not
33:51 - 33:57
we are not changing it really
33:54 - 34:00
internally see that in this case
33:57 - 34:00
uh in the center the color picker is
34:00 - 34:06
the previous one okay also in the bottom
34:04 - 34:08
we see that the profile applied in the
34:06 - 34:11
picture it's still the srgb
34:08 - 34:12
so we really only change it the colors
34:12 - 34:19
but nothing else has been uh
34:16 - 34:20
changed okay so internally we are still
34:19 - 34:24
on the same profile
34:20 - 34:27
but we are showing on screen how it will
34:24 - 34:31
apply our printer profile
34:27 - 34:34
so finally finally as the best option
34:31 - 34:37
i can offer okay it's this one okay
34:34 - 34:38
we are going to make a combination of
34:38 - 34:46
so we will take the best of both first
34:42 - 34:49
first we will convert to the profile
34:46 - 34:52
so see that in this case really the
34:49 - 34:55
the rgb change it uh the colors
34:52 - 34:55
change it to the also in the bottom the
34:55 - 35:01
change it from first to the other and
34:58 - 35:04
after converting to my profile i
35:01 - 35:04
activated the proof printer profile so i
35:04 - 35:12
both so now we can activate also the
35:08 - 35:15
paper simulation and we have
35:12 - 35:16
all in one okay we have the conversion
35:15 - 35:18
to the profile we have the
35:16 - 35:20
in the color picker the colors of our
35:18 - 35:25
printer and at the same time
35:20 - 35:25
we are simulating the um
35:25 - 35:33
the paper or the fabric in our screen
35:33 - 35:40
let me check because there are a lot of
35:37 - 35:45
comments and i don't know if there's
35:40 - 35:45
something important
35:46 - 35:50
ah okay seems it was a problem at the
35:48 - 35:53
start and i continued
35:50 - 35:53
okay nice well seems that the problem is
35:53 - 36:01
okay perfect so
35:58 - 36:03
uh hope we don't have more more problems
36:06 - 36:13
so talking about convert because finally
36:11 - 36:15
we said that probably convert and also
36:13 - 36:15
make the proof in case we want to see
36:15 - 36:20
the background or the white of the
36:18 - 36:23
fabric also on screen
36:20 - 36:27
seems like it's the best option okay
36:23 - 36:30
and when we make the conversion we agree
36:27 - 36:32
that it ignores the rgb value so
36:30 - 36:33
and at the same time tries to keep the
36:32 - 36:37
most similar
36:33 - 36:39
possible uh i keep the color okay
36:37 - 36:41
the most similar possible from the
36:39 - 36:44
source profile
36:41 - 36:45
so even in that case remember that
36:44 - 36:48
really some colors change it so
36:45 - 36:50
there were some colors probably in the
36:50 - 36:57
that existed on screen but didn't exist
36:53 - 36:59
in the printer so the color really
36:57 - 37:00
doesn't exist in the destination profile
37:00 - 37:03
it will search the best possibilities so
37:02 - 37:07
that the the one that
37:03 - 37:09
matches the best but let's say
37:07 - 37:10
who is who decides which is the best
37:10 - 37:14
right because finally uh
37:13 - 37:16
we have a color that doesn't exist and
37:14 - 37:19
someone needs to tell me
37:16 - 37:22
which is the best option in the
37:19 - 37:23
destination profile and this is the
37:22 - 37:26
rendering intent
37:23 - 37:27
okay we have four different rendering
37:27 - 37:33
called absolute saturation relative
37:30 - 37:35
and perceptual and depending on the
37:33 - 37:37
intent that we choose
37:35 - 37:38
all these colors that are out of gamut
37:37 - 37:41
let's say
37:38 - 37:43
will become something different okay
37:41 - 37:45
depending on what we choose
37:43 - 37:46
i will explain them uh surely all of
37:46 - 37:52
so when we use absolute choreometric
37:50 - 37:53
what we have is that it's the most
37:53 - 37:57
let me activate the gif we have the most
37:57 - 38:00
color communication between the icc
38:00 - 38:04
see that even if we go from a very big
38:03 - 38:07
profile to very small
38:04 - 38:09
all the colors that are in common will
38:07 - 38:10
remain the same so we will have the best
38:09 - 38:14
accuracy process possible
38:10 - 38:17
but the problems the problems
38:14 - 38:19
is that we can have some clipping
38:17 - 38:21
near white and black areas if they are
38:19 - 38:22
very different not only in the white and
38:21 - 38:24
in fact not only in the white and black
38:22 - 38:26
areas but also
38:24 - 38:28
in any color that are completely out of
38:26 - 38:32
gamut see that all that points that are
38:28 - 38:34
out from the from the small profile
38:32 - 38:35
becomes exactly all of them come to the
38:35 - 38:38
so this means that we will have a lot of
38:37 - 38:40
gradients and
38:38 - 38:41
colors that will be completely plain
38:41 - 38:46
okay still it is an interesting intent
38:44 - 38:48
to make proofing
38:46 - 38:49
of a printer to another okay because in
38:49 - 38:53
also the white also the white will be
38:52 - 38:56
printed so if we
38:53 - 38:58
if we move from a printer profile to
38:56 - 38:59
another printer profile
38:58 - 39:01
let's say that it's very interesting
38:59 - 39:05
also when we make a simulation
39:01 - 39:05
of a fabric in paper in the paper it
39:05 - 39:09
even print the background so if we have
39:09 - 39:13
fabric and print it in paper and use the
39:11 - 39:15
absolute rendering intent
39:13 - 39:17
we will see that it even tries to
39:15 - 39:18
reproduce the yellow of the fabric
39:17 - 39:22
that's why it's a very
39:18 - 39:23
interesting intent to print to make a
39:23 - 39:29
in fabric on paper for example okay
39:27 - 39:31
and this is how it looks the difference
39:29 - 39:33
so in the on the left side we have the
39:31 - 39:35
srgb and in the right side we have the
39:33 - 39:38
absolute used
39:35 - 39:41
uh we will check focus on
39:38 - 39:43
two two main points okay see that for
39:41 - 39:44
example in the up left of the image we
39:44 - 39:47
a gray gradient okay see that using
39:47 - 39:51
as there's a moment that the white is
39:50 - 39:52
not enough and the black is not enough
39:52 - 39:58
clipping okay there's a moment that it
39:54 - 40:00
cuts and we have exactly the same color
39:58 - 40:02
even the left and the right side same
40:00 - 40:05
happens on the middle gradients
40:02 - 40:07
okay in which at the last point it
40:05 - 40:09
really clips and we lose a little bit of
40:07 - 40:12
the gradient
40:09 - 40:13
and finally it's also nice to see
40:12 - 40:17
there's also in the center
40:13 - 40:20
a woman completely in grayscale okay
40:17 - 40:21
that even in the face some of the
40:20 - 40:24
gradients are lost and become plain
40:21 - 40:25
also next to it there is a black woman
40:24 - 40:27
with white hair
40:25 - 40:29
in which we lost a lot of details
40:27 - 40:33
because of this
40:29 - 40:35
clipping in the light areas okay
40:33 - 40:36
but see that for example on the plain
40:35 - 40:40
colors that we have in the
40:36 - 40:41
up left side which are small squares of
40:41 - 40:44
they really maintain quite nice so as i
40:44 - 40:50
the color accuracy is really nice
40:48 - 40:52
but when talking about gradients we can
40:50 - 40:56
have problems like this
40:52 - 40:59
okay let's move to the next one
40:56 - 41:01
saturation saturation uh
40:59 - 41:03
it's uh it's a kind of intent that tries
41:01 - 41:05
to preserve only the saturation of the
41:05 - 41:10
it really is really nice when we want to
41:07 - 41:13
reproduce vibrant colors okay
41:10 - 41:14
but but uh it will sacrifice completely
41:13 - 41:16
the color accuracy
41:14 - 41:17
accuracy and the gradients and it will
41:16 - 41:20
just deliver
41:17 - 41:23
saturated colors okay
41:20 - 41:24
let's see how it moves see that all the
41:23 - 41:27
points always
41:24 - 41:30
moves to even on the right side of this
41:27 - 41:31
of this gif okay always move even if we
41:31 - 41:37
that color it will move always to the
41:35 - 41:38
um to the completely to the right side
41:38 - 41:41
saturated color and this is what it
41:41 - 41:48
us okay see that
41:48 - 41:52
maybe here we can check most of it see
41:51 - 41:55
in the center there are
41:52 - 41:56
a couple of flowers two roses that it
41:56 - 41:59
moved to the most saturated red but see
41:58 - 42:01
that we lost
41:59 - 42:03
a lot of detail same happens on the we
42:01 - 42:05
can see the same on the same
42:03 - 42:06
on a different flower on the right side
42:06 - 42:10
we had a lot of gradients and and
42:10 - 42:13
inside the the flower and in the right
42:13 - 42:19
as it becomes completely over saturated
42:16 - 42:22
we we really uh lose
42:19 - 42:23
all this precision and all all these all
42:22 - 42:26
these details
42:23 - 42:27
okay still okay sometimes it could be
42:26 - 42:30
nice because it really
42:27 - 42:31
brings the most saturated colors
42:30 - 42:34
possible but as we said
42:31 - 42:35
we lost the gradients and we lost all
42:35 - 42:38
accuracy in colors
42:40 - 42:46
next one relative seeded relative
42:43 - 42:48
has the same has the same uh picture
42:46 - 42:49
uh or give than the absolute because it
42:48 - 42:52
really works
42:49 - 42:55
very similar okay but it has
42:52 - 42:56
a big difference which is the clipping
42:56 - 43:02
near the white area okay so it's like
42:59 - 43:04
it's similar to absolute but in this one
43:02 - 43:07
we solve the problem of clipping
43:04 - 43:10
in the white or in the near white
43:07 - 43:12
areas okay so we have also the most
43:10 - 43:13
accurate color communication it
43:12 - 43:14
preserves the exit colors within the
43:14 - 43:20
and also in addition the white so
43:18 - 43:23
as i said before in absolute for example
43:20 - 43:25
that if we use absolute it will print
43:23 - 43:28
the background right we have we compare
43:25 - 43:30
or we move from a textile with a
43:28 - 43:31
yellowish white point it will try to
43:31 - 43:35
in this case this is not going to happen
43:33 - 43:39
because it it really moves
43:35 - 43:40
uh the white point okay
43:39 - 43:42
so as we said with this will keep the
43:40 - 43:44
maximum accuracy which is needed in
43:42 - 43:48
textile because finally
43:44 - 43:51
we have colors logos and
43:48 - 43:52
we use pantone colors we use colors that
43:51 - 43:53
really needs the maximum accuracy
43:53 - 43:56
so that's why this is usually one of the
43:56 - 44:04
used uh in in textiles okay
44:00 - 44:07
in the in or in on any kind of printing
44:04 - 44:08
and how it will look see that it's very
44:08 - 44:15
or as i said it's completely the same as
44:12 - 44:18
we had in absolute but again if we check
44:15 - 44:21
the gradient uh up in the left side
44:18 - 44:21
the grayscale you will see that the
44:21 - 44:25
in this case there's not we don't see
44:23 - 44:27
that clipping right that there's a
44:25 - 44:29
moment that it's completely white
44:27 - 44:30
it really the transition is really nice
44:30 - 44:33
that it's not soft in the other in the
44:32 - 44:37
opposite side
44:33 - 44:39
the black really have some clipping and
44:37 - 44:40
this is the main problem of the relative
44:40 - 44:45
still a very nice
44:43 - 44:47
rendering intent but it has some
44:45 - 44:50
clipping in the dark areas
44:47 - 44:51
and not only in this radiant but if we
44:50 - 44:52
check some images here which are the
44:52 - 45:00
in the bottom right side okay
44:56 - 45:03
we have a black guy and a black painted
45:00 - 45:04
woman we see that some of the details
45:03 - 45:05
and the gradients are lost and became
45:05 - 45:11
okay so relative is still
45:08 - 45:12
really nice but it has this clipping
45:12 - 45:18
in the dark areas
45:15 - 45:18
now let's move to the last one which is
45:18 - 45:24
okay so perceptual has the best gradient
45:22 - 45:27
communication between profiles
45:24 - 45:28
it will not clip on the dark or the
45:28 - 45:34
but but to make so it will
45:32 - 45:35
lose or it will lose or it will have
45:35 - 45:38
accurate color communication between
45:38 - 45:43
see that in this case uh all the colors
45:42 - 45:46
that are in the middle of the
45:43 - 45:46
conversion and in the gift that we have
45:46 - 45:50
all of them moves a little bit in order
45:50 - 45:55
they they position a little bit further
45:53 - 45:57
to let all the ones that are outside
45:55 - 46:00
enter the second profile
45:57 - 46:02
this means that we really lost a little
46:00 - 46:02
bit of color accuracy because all the
46:02 - 46:06
in relative or absolute all the colors
46:06 - 46:10
inside or within the gamut kept at
46:09 - 46:12
exactly the same point so the color
46:10 - 46:15
accuracy was better
46:12 - 46:17
okay this is the rendering intervals
46:15 - 46:20
used in photography because
46:17 - 46:21
sometimes in uh in photos there are lots
46:21 - 46:26
transitions of colors and they need to
46:24 - 46:28
keep the best possible
46:26 - 46:30
to not have these clip effects let's say
46:28 - 46:33
in some areas
46:30 - 46:34
and just like i i want to point that
46:34 - 46:37
probably here we have a lot of neostampa
46:37 - 46:41
i must and they might think okay in
46:40 - 46:42
estampo you use perceptual but looks
46:42 - 46:46
relative worlds a little bit better okay
46:45 - 46:50
uh just as a
46:46 - 46:51
point uh in stamp we use perceptual but
46:50 - 46:54
perceptually it's a little bit
46:51 - 46:56
modified okay so it's modified by yes
46:54 - 47:00
when you choose perceptual it's not the
46:56 - 47:03
the the usual perceptual okay in
47:00 - 47:03
our perceptual it's the same as relative
47:03 - 47:07
solving the clipping effect in the dark
47:05 - 47:10
areas so we take
47:07 - 47:13
the best of both okay and create a
47:10 - 47:15
new one a new perceptual uh in which
47:13 - 47:16
uh will work with the best of both
47:15 - 47:19
options okay
47:16 - 47:21
that's why neostampa eight and nine
47:19 - 47:23
works with the perceptual rendering
47:21 - 47:27
intent it's not the usual
47:23 - 47:31
it's a modified bias rendering intent
47:27 - 47:33
that gives the best of each one okay
47:31 - 47:35
and this is how it looks at traditional
47:33 - 47:38
perceptual see that
47:35 - 47:38
if we check the the grayscale gradient
47:38 - 47:42
looks perfect there are no jumps there
47:40 - 47:44
are no clipping
47:42 - 47:45
okay also in the gradients down of it
47:44 - 47:48
but it's true that
47:45 - 47:49
maybe if we check all the plain colors
47:49 - 47:53
maybe we could find that in relative
47:51 - 47:56
some of them
47:53 - 47:56
may look a little bit better okay but
47:56 - 48:03
as i said it's a different possibility
48:05 - 48:09
all of this if you want you can make the
48:07 - 48:11
test you know how to do it now
48:09 - 48:13
so you can just go to photoshop take an
48:11 - 48:14
image from yours and try all the
48:13 - 48:16
rendering intents
48:14 - 48:18
and see the differences between all of
48:16 - 48:20
them finally this is the
48:18 - 48:22
the purpose of this of this chat that
48:20 - 48:24
you have all the tools
48:22 - 48:26
and for each image you can decide
48:24 - 48:29
because finally it's not about using
48:26 - 48:30
one or the other it's about using the
48:29 - 48:34
rendering intent the best suits
48:30 - 48:37
for that for that job so not just taking
48:34 - 48:37
the one by default but now you have the
48:37 - 48:41
to decide by yourself for one image
48:40 - 48:44
which is the best
48:41 - 48:44
rendering intent that you can use for
48:44 - 48:52
purpose okay so finally
48:49 - 48:54
uh as a conclusion as a conclusion um
48:52 - 48:55
i wanted to just make a summary of the
48:54 - 48:58
of the key points
48:55 - 48:59
that that we talked the during this
48:58 - 49:02
webinar okay
48:59 - 49:03
first of all it is very important to
49:03 - 49:08
in an image a profile think that if you
49:06 - 49:09
don't know which profile it's embedded
49:08 - 49:10
in the image
49:09 - 49:12
you don't know in which space you're
49:10 - 49:14
working you can use
49:12 - 49:16
any profile but at least know which
49:14 - 49:19
profile is inside it
49:16 - 49:20
okay this is the most important as an
49:19 - 49:22
option for us
49:20 - 49:25
the the rgb workflow is the best color
49:22 - 49:27
space for a textile workflow
49:25 - 49:29
as we said imagine that you have more
49:27 - 49:31
than four colors in a
49:29 - 49:32
in our printer environment or we have
49:31 - 49:35
multiple printers
49:32 - 49:35
and one with four colors five six uh it
49:35 - 49:40
we don't only we will not only have one
49:38 - 49:42
machine but we could have three
49:40 - 49:43
with different ink sets and this would
49:42 - 49:46
make very hard
49:43 - 49:46
to work in cmyk depending on the amount
49:46 - 49:50
when we talk about rgb as i said we
49:49 - 49:52
don't focus
49:50 - 49:55
on the inks of the device we only focus
49:52 - 49:59
on color so it's a very nice
49:55 - 50:01
opportunity to use the rgb
49:59 - 50:02
also in order to maintain the color
50:01 - 50:04
correspondence
50:02 - 50:06
after the profile conversion we use
50:04 - 50:08
convert to profile not a sign
50:06 - 50:10
so when we convert we try to keep the
50:08 - 50:12
colors the best possible
50:10 - 50:14
and selecting a rendering intent and
50:12 - 50:16
depending on what we
50:14 - 50:18
in which one we use can really change
50:16 - 50:21
the color output
50:18 - 50:24
so it is our decision to choose the
50:21 - 50:26
intent that suits best for that uh for
50:24 - 50:28
that job we're going to do
50:26 - 50:30
and finally i wanted really to remark
50:28 - 50:33
that the photoshop option proof
50:30 - 50:35
is really great to make the simulation
50:33 - 50:36
of the white on screen so everything
50:35 - 50:40
will look better
50:36 - 50:42
and remember as i explained that making
50:40 - 50:44
the combination of first convert and
50:44 - 50:47
it really gives the best combination
50:47 - 50:53
inside photoshop because we will use
50:51 - 50:55
we will really change the profile by
50:53 - 50:56
converting and also using the color
50:56 - 51:00
of our printer and finally with the
50:58 - 51:03
proof after that
51:00 - 51:06
we will have also the best simulation
51:03 - 51:06
possible on screen
51:06 - 51:13
and well uh i think
51:10 - 51:16
i arrived to the end of of this session
51:13 - 51:19
okay uh as always uh
51:16 - 51:20
we remain available here you have uh the
51:20 - 51:25
me and luca for any question that you
51:25 - 51:32
in a future okay as we said
51:28 - 51:36
this was a very generic color management
51:32 - 51:36
usage in photoshop maybe some other day
51:36 - 51:40
talk also how to apply this in our tools
51:38 - 51:43
into our rip or into
51:43 - 51:47
tools for photoshop neotextile or our
51:46 - 51:49
ribnews tamper
51:47 - 51:51
but in this case i wanted to make a
51:49 - 51:54
generic introduction
51:51 - 51:56
i really hope you liked it and that you
51:54 - 52:00
learned something from me
51:56 - 52:03
and probably as luca said
52:00 - 52:06
we can now we will try to
52:03 - 52:10
stop sharing this the screen
52:06 - 52:11
and let's see if we can answer some
52:11 - 52:18
yeah well hi luca hi i'm back
52:14 - 52:20
back to you that's my face back again
52:18 - 52:21
thank you so much for the presentation
52:21 - 52:25
and let's try to answer a couple of
52:23 - 52:26
questions maybe we don't have much time
52:26 - 52:30
i'm looking at the q a there there were
52:28 - 52:32
a couple of questions that maybe
52:30 - 52:33
i will i will ask the question to you
52:32 - 52:36
like if i was one of the
52:33 - 52:37
attendants one of the questions that i
52:36 - 52:41
that i see here
52:37 - 52:41
a couple of people were asking
52:42 - 52:48
which is the uh color mode that you'd be
52:46 - 52:49
would use in in photoshop to prepare the
52:49 - 52:53
for printing they're asking uh would it
52:53 - 53:00
or cmik let's say will you work
52:57 - 53:00
in an rgb space in photoshop or will you
53:00 - 53:07
cmyk well as i explained
53:04 - 53:11
finally both are good options but but
53:07 - 53:12
because each one it's focused in as we
53:11 - 53:15
said in two different
53:12 - 53:18
ways of working cmyk focus on
53:15 - 53:19
inks of the printer and rgb focus on the
53:19 - 53:24
for us the best option is rgb because as
53:22 - 53:26
we explained
53:24 - 53:27
if we have a machine with more than four
53:26 - 53:29
color or multiple machines
53:27 - 53:30
it's much easier to focus on color and
53:29 - 53:34
not to focus on the
53:30 - 53:35
and the final output so in textile and
53:35 - 53:40
all i think that probably in all
53:38 - 53:42
kind of printing not only with textile
53:40 - 53:45
uh rgb should be the
53:42 - 53:48
the best option great and
53:45 - 53:49
another question is i see here that it's
53:48 - 53:51
it's interesting for the
53:49 - 53:53
person that are already working with neo
53:51 - 53:56
stampa or with a rip
53:53 - 54:00
software in general they are asking
53:56 - 54:03
um is it better or what is the
54:00 - 54:06
suggested workflow would be to convert
54:03 - 54:09
the image to profile in photoshop
54:06 - 54:11
or you can do the conversion uh in in
54:09 - 54:14
the rip software or maybe both
54:11 - 54:17
what what is the the the usual workflow
54:14 - 54:19
so uh think that it's true that
54:17 - 54:22
neostampa will do it for you
54:19 - 54:24
so anything that you do in photoshop
54:22 - 54:26
if you don't make the change or you
54:24 - 54:28
don't convert to profile stamp will do
54:26 - 54:31
it automatically for you
54:28 - 54:32
but but it's also nice we are giving
54:31 - 54:33
this option because
54:32 - 54:35
if you do the conversion in photoshop
54:33 - 54:38
you will be able as we said
54:35 - 54:39
to work with all the with the device
54:39 - 54:43
okay in your in your color palette and
54:42 - 54:46
also to see that ones
54:43 - 54:47
on screen so if you keep working with a
54:46 - 54:49
generic profile
54:47 - 54:50
all of that even if the result will be
54:49 - 54:52
the same because your stamp
54:50 - 54:54
will also make the conversion for you
54:52 - 54:57
automatically
54:54 - 54:59
you uh will be working with on on screen
54:57 - 55:00
in photoshop with colors that really
54:59 - 55:02
doesn't exist
55:00 - 55:04
that's the main advantage of doing that
55:02 - 55:06
in photoshop also
55:04 - 55:08
great one last point that i would like
55:06 - 55:11
to clarify here
55:08 - 55:11
um somebody's asking why when we didn't
55:11 - 55:15
illustrator um at the beginning jar said
55:15 - 55:19
um basically photoshop and illustrator
55:19 - 55:22
two designs platform most used in the
55:22 - 55:26
the difference is that photoshop is
55:26 - 55:30
illustrator is vector-based uh so
55:29 - 55:32
depending on what you
55:30 - 55:34
what you want to do if you wanna do
55:32 - 55:36
logos for example if you
55:34 - 55:37
if you have geometric designs and you
55:36 - 55:41
want to use vector then
55:37 - 55:43
you're gonna go for for illustrator uh
55:41 - 55:45
on the other on the other way you would
55:43 - 55:48
use photoshop if you are creating
55:45 - 55:49
art like i don't know artworks uh
55:49 - 55:54
and uh typical textile design so
55:52 - 55:56
according to to our experience we will
55:54 - 55:56
say the the majority of our customers
55:56 - 56:01
uh um photoshop and our solutions are
55:59 - 56:03
based in photoshop at the moment we do
56:01 - 56:07
not have a solution
56:03 - 56:09
for uh illustrator let's say to um
56:07 - 56:11
we also have a set of plugins that are
56:09 - 56:14
connected to photoshop so we
56:11 - 56:16
work mainly on photoshop but it doesn't
56:16 - 56:19
the companies are not working with
56:18 - 56:21
illustrator you will find also a lot of
56:19 - 56:23
illustrator in the market
56:21 - 56:24
uh you will find photoshop and you will
56:23 - 56:27
find illustrator
56:24 - 56:28
uh gerard and what in in general we
56:28 - 56:33
have a solution for photoshop so this is
56:31 - 56:36
why the presentation was mainly
56:33 - 56:38
focused on on photoshop and not on
56:38 - 56:42
just a small note i don't know if you
56:40 - 56:45
want to add something gerard
56:42 - 56:46
no it's fine it's true that uh i said
56:46 - 56:49
there are many platforms uh used for
56:49 - 56:53
uh we focused a set in photoshop because
56:52 - 56:56
uh that points
56:53 - 56:58
okay um but finally i know that uh
56:56 - 56:58
illustrator is also a nice tool and
56:58 - 57:03
lots of different ones also okay finally
57:03 - 57:06
in this one because uh kind of design
57:06 - 57:10
usually comes come from that and as he
57:08 - 57:11
said most of our customers works with
57:11 - 57:14
so we focused on this one maybe maybe we
57:14 - 57:19
uh explain a little bit of workflow from
57:17 - 57:21
illustrator on another day but in this
57:19 - 57:23
case we focused on this one
57:21 - 57:25
well uh i see that it's it's very nice
57:23 - 57:28
so we have a lot of questions in the q a
57:25 - 57:30
panel so maybe we can set up a q a
57:28 - 57:32
session another day because now we are
57:30 - 57:34
running out out of time and the purpose
57:32 - 57:37
of the day was not to
57:34 - 57:41
to to really fill in the q a but was to
57:37 - 57:43
to present you a few concepts so
57:41 - 57:44
we will stop here again thank you so
57:43 - 57:45
much gerard for the presentation was
57:45 - 57:49
at least for me i learned something so i
57:47 - 57:52
hope that also
57:49 - 57:55
the others can
57:52 - 57:56
take the most out of it so thank you so
57:55 - 57:58
much for your time
57:56 - 58:00
uh i think we will create another q a
57:58 - 58:01
session really people are getting crazy
58:01 - 58:04
we will collect all the questions and uh
58:04 - 58:10
select the the most interesting ones and
58:07 - 58:11
and create another session another day
58:11 - 58:17
uh do you have something more to add or
58:13 - 58:19
we can go grab a cup of coffee and
58:17 - 58:22
say hello to everybody you're asking to
58:19 - 58:25
me it's it's fine
58:22 - 58:27
it's completely fine uh really thanks a
58:25 - 58:28
lot thanks thanks a lot to everyone for
58:27 - 58:31
the assistance
58:28 - 58:32
uh more than 100 people i was getting
58:32 - 58:36
i get i did the best of me so thanks a
58:36 - 58:41
and we will see again in short uh
58:39 - 58:42
starting this friday i hope all of you
58:41 - 58:45
assist again
58:42 - 58:47
okay yeah guys don't forget to sign up
58:45 - 58:48
for our friday webinar you can find the
58:48 - 58:53
sign up on our website go to
58:51 - 58:55
www.init.com and
58:53 - 58:57
with a simple click you can say now it's
58:55 - 58:59
completely free
58:57 - 59:01
totally free for everybody and today was
58:59 - 59:03
very interesting on friday i hope it
59:01 - 59:05
will be even better so
59:03 - 59:08
see you all on friday and have a good
59:05 - 59:08
day stay safe
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