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Setting up color management

From: Scanning with SilverFast

Video: Setting up color management

In this segment, I'd like to talk about setting the color management for when you're working in automatic workflow. And once again, it's not possible to set preferences when we're actually working in the automatic workflow, so we have to go back to the manual workflow, and then we can activate our preferences. In this case, we're going to go to the CMS, the Color Management Section. And when you look at this dialog box, it's not nearly as intimidating as it appears at first. First of all, the Input Working Space and the Output Working Space should be set typically for ColorSync, or whatever color management system is working on your particular computer-- ColorSync is the most common one.

Setting up color management

In this segment, I'd like to talk about setting the color management for when you're working in automatic workflow. And once again, it's not possible to set preferences when we're actually working in the automatic workflow, so we have to go back to the manual workflow, and then we can activate our preferences. In this case, we're going to go to the CMS, the Color Management Section. And when you look at this dialog box, it's not nearly as intimidating as it appears at first. First of all, the Input Working Space and the Output Working Space should be set typically for ColorSync, or whatever color management system is working on your particular computer-- ColorSync is the most common one.

But I would recommend do not set this to none. You should at least have some basic color management in terms of how things are going to be displayed on your monitor coming from an image. And then your working space in terms of output, typically, that's going to be RGB. Now, if you're working in a color managed workflow that uses CIE-Lab or using ColorSync for your exchange color space, then maybe you'll choose one of those. But 99 out of 100 times, you are going to be using RGB. So typically, when you move into this dialog box, these three are going to be preset pretty well for you.

This one should also be preset, but it's worth checking to make sure that you have the proper one set. And this is the SilverFast profile for the Perfection V700 series, my scanner is the V750, but they have the same components. So SilverFast has already created what's called an Input profile. Later on in this course we will talk about creating custom profiles that we can put here. But for now you'll want to use the generic Epson Perfection V700 series Input profile. And then for the internal, you'll want to have one of the Adobes.

The one I recommend is Adobe RGB 1998 as the default. Again, if you create your own color profile for an internal one, you can set your own here. My recommendation is if you're working in both scanning and let's say digital photography--you've got both of those going on in your workflow--really, really good idea to have exactly the same Color Input profile for both of those. So on your digital camera, let's say, you may have a choice between sRGB and Adobe RGB, and I strongly recommend that you choose instead of having sRGB that you use Adobe RGB for both of them.

Adobe RGB is a little bit larger color space, which gives you a wider variety of devices that you can display to and print to without going out of gamut. So I suggest setting your scanner and your digital camera at the same internal space. If you're working a lot with grayscale images and you're scanning and converting the grayscale and outputting, then you can choose one of these two profiles. I don't do that. I always scan in RGB and then convert to grayscale in Photoshop because I have more control. But if you like the grayscale conversion--and we're going to go through one of those that SilverFast offers, and it's pretty darn good--then you may want to choose one of these two profiles.

My recommendation for you is to just try both of them. Try the 2.2 profile and the Generic Gray profile. See what they look like when you just output them without any correction. So one of those two you could use. And we'll just use the 2.2, which is very common. And then finally, by default there is no printer that's output here. If you know the printing device that you're going to go to, for instance, let's say that you're working in a prepress shop and you're using one of the U.S. Sheetfed Coated or Uncoated--or if you're using one of the newer ones such as the GRACoL standards--then you can actually choose one of these as your output profile for printing.

But if you're not printing, and particularly directly from SilverFast, then you might want to just leave this as None if you're going to be printing from another application such as from Photoshop. So this is most important for you to set if you're actually going to be printing from SilverFast. Otherwise, leave that at None. And finally, your Rendering Intent. If you're working primarily with photographs-- which most of us are--I recommend that you leave this on Perceptual. Certainly stay away from Saturation. You might want to use Saturation if you were scanning pie charts almost exclusively, where you want to get the highest saturation and consistency of colors on neutral spaces.

So for photographs, typically Perceptual is the best Rendering Intent. If you're working in a color managed workflow, then Relative Colorimetric is sometimes the choice, but you'd know that based upon the color management system that you're working with. And then finally, I do recommend that you embed the color profile. It's going to use the internal profile here, the Adobe RGB. And the reason for that is that if you embed the profile, then you send your file to somebody else, like an output service bureau, they have an embedded profile, so they know how to interpret your image in their color management workflow.

So there's an introduction to setting up a color management workspace. And we will return to this dialog box a little bit later, when we're in the Manual Scanning section, when we actually create some custom profiles for use through SilverFast.

Show transcript

This video is part of

Image for Scanning with SilverFast
Scanning with SilverFast

52 video lessons · 4157 viewers

Taz Tally
Author

 
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  1. 5m 19s
    1. Welcome
      58s
    2. What you should know before watching this course
      43s
    3. Taking the Tazmanian Oath
      3m 38s
  2. 19m 14s
    1. Launching SilverFast
      4m 2s
    2. Touring the SilverFast interface
      3m 35s
    3. Understanding SilverFast's scanning workflows
      4m 28s
    4. Using automated vs. manual scanning
      4m 31s
    5. Getting help as you use SilverFast
      2m 38s
  3. 32m 46s
    1. Touring the SilverFast 8 automatic scanning tools
      6m 7s
    2. Preparing for automatic scanning
      4m 6s
    3. Arranging your workspace
      4m 23s
    4. Setting up color management
      4m 43s
    5. Setting scan frame and resolution
      3m 55s
    6. Adjusting, naming, formatting, and locating an image
      8m 24s
    7. Previewing scan settings with the info tool
      1m 8s
  4. 1h 7m
    1. Scanning simple line art
      8m 6s
    2. Scanning detailed line art
      8m 9s
    3. Scanning grayscale photos
      11m 43s
    4. Scanning color photos
      11m 17s
    5. Scanning a color photo as a grayscale image
      12m 15s
    6. Scanning a positive piece of film
      6m 52s
    7. Scanning a negative piece of film
      8m 39s
  5. 26m 1s
    1. Touring the manual scanning tools
      7m 19s
    2. Setting preferences for manual scanning
      10m 0s
    3. Calibrating your scanner
      3m 40s
    4. Arranging your workspace
      5m 2s
  6. 1h 35m
    1. Scanning simple line art and changing it into vectors
      7m 38s
    2. Scanning simple line art and keeping it as pixels
      5m 41s
    3. Scanning detailed line art
      8m 18s
    4. Scanning grayscale photos
      14m 5s
    5. Scanning landscape color photos
      15m 51s
    6. Scanning color portrait photos
      13m 56s
    7. Scanning color product shots
      9m 29s
    8. Scanning a color photo as a grayscale image
      4m 31s
    9. Scanning a piece of positive color film
      5m 52s
    10. Scanning a piece of negative color film
      9m 56s
  7. 1h 0m
    1. Should I use SilverFast or Photoshop?
      4m 9s
    2. Making global color corrections
      4m 37s
    3. Bringing out shadow details
      4m 28s
    4. Making a selective color replacement
      3m 21s
    5. Sharpening in SilverFast
      7m 15s
    6. Working with target-based corrections
      4m 55s
    7. Color correcting with neutrals
      10m 19s
    8. Exploring automatic color correction in manual mode
      3m 35s
    9. Scanning a printed image
      5m 49s
    10. High-bit-depth and HDR scanning
      5m 28s
    11. Removing noise and patterns
      3m 32s
    12. Removing dust and scratches
      3m 30s
  8. 7m 2s
    1. Batch scanning images
      1m 28s
    2. Using the JobManager
      4m 16s
    3. Exploring SilverFast 8 shortcuts and tips
      1m 18s
  9. 1m 29s
    1. Goodbye
      1m 29s

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