"look and feel" of film and ICC abstract profiles
when I worked at Kodak R&D they had something called QsubA which was an
analysis of the pleasure of an image as opposed to the accuracy, it went beyond color reproduction and included image structure issues, I will talk about color, it is extensible to image structure certainly you have to start with accuracy to get a "more attractive" design in systems and I realize there is something called "good enough" that prevails over accuracy and attractiveness when it involves things like more effort or complexity ICC has support for something called Abstract Profiles http://www.color.org/faqs.xalter#p5 the "look and feel" of film still is preferred in some markets today, there is even B&W films/chemicals in Kodak's motion picture catalog you could put a base "look and feel" of a film system into an abstract profile to properly use things like chemical manipulation, you need algorithms and and application to edit abstract profiles abstract profiles can contain digital edits too implementation of the "look and feel" of analog and hybrid systems could be a transition for film manufacturers and hybrid system manufacturers to digital, digital will not replace media, there will always be colorants, substrates, filters, etc., but there are some "looks and feels" that are valuable to digital to make an abstract profile or abstract profile editor, you could do it two ways, mechanistically (hard way) or empirical (easy way) mechanistic approaches involve knowledge of the characteristics of a system that such manufacturers could share or license, developing this information yourself would probably be too costly, for instance single layer coatings of multi-layer films are necessary to resolve interimage in film/chemical processes that include DIR or DIAR scavenger couplers resulting in less interimage empirical approaches work good enough in single stage systems, but multi stage systems do not calibrate beyond a single color balance point using a grey card and require editing, steady state calibration is a prerequisite for any characterization this leaves the mechanistic approach as preferred and the sharing and licensing of necessary information, some proprietary, as film dies the industry may be willing to deal, Kodak recently licensed something to IMAX abstract profile editing using digital algorithms related to analog and hybrid systems would ofcourse have to mechanistic -- Dale |
"look and feel" of film and ICC abstract profiles
On 03/02/2014 12:00 AM, Dale wrote:
to make an abstract profile or abstract profile editor, you could do it two ways, mechanistically (hard way) or empirical (easy way) mechanistic approaches involve knowledge of the characteristics of a system that such manufacturers could share or license, developing this information yourself would probably be too costly, for instance single layer coatings of multi-layer films are necessary to resolve interimage in film/chemical processes that include DIR or DIAR scavenger couplers resulting in less interimage empirical approaches work good enough in single stage systems, but multi stage systems do not calibrate beyond a single color balance point using a grey card and require editing, steady state calibration is a prerequisite for any characterization this leaves the mechanistic approach as preferred and the sharing and licensing of necessary information, some proprietary, as film dies the industry may be willing to deal, Kodak recently licensed something to IMAX abstract profile editing using digital algorithms related to analog and hybrid systems would ofcourse have to mechanistic besides industry algorithms, you could use system development techniques, and film building techniques as editing algorithms unsharp masking is a film technique used in digital -- Dale |
"look and feel" of film and ICC abstract profiles
On 03/02/2014 10:16 PM, Dale wrote:
besides industry algorithms, you could use system development techniques, and film building techniques as editing algorithms unsharp masking is a film technique used in digital a good example of historic techniques used in digital manipulation is Corel Painter a very wide selection of historic brushes, etc and a sophisticated brush creator a colorant mixing palette, hopefully using uvL or xyL as a starting point this is more of a bitmap "creation" program, but bitmap "editing" programs like Adobe Photoshop could benefit from additional historic methods both could benefit from design and systems development techniques too -- Dale |
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