ly 15, 2001 7:01 AM
Subject: filmscanners: Color Calibration Help Please
| There was some discussion on this list some time ago about calibrating
| color settings between monitor and printer. Someone suggested a website
| that explained theses issues thoroughly and I seem to have lost the
There was some discussion on this list some time ago about calibrating
color settings between monitor and printer. Someone suggested a website
that explained theses issues thoroughly and I seem to have lost the link.
Can someone help me?
Thanks,
Jon
FYI: I found this at www.linocolor.com... it's their basic tutorial on
color management and calibration... very applicable to filmscanning so
that red in does not come out with a purple haze...
http://www.linocolor.com/colorman/colorman_frames.htm
Mike M.
Tony Sleep wrote:
>
> Incidentally, glass filters seem to be extremely variable between makes, no two
> manufacturers make an 81a which is anything like anyone else's. Warm-balanced
> film like E100SW seems to work better than 81 series do, unless it's very blue
> light.
>
> It's a major
On Thu, 29 Mar 2001 07:44:48 -0700 Michael Moore ([EMAIL PROTECTED]) wrote:
> This why I use the Fuji emulsions... REALA in 35mm and NPS/NPL in 4x5... I
shoot
> in mixed light (daylight/tungsten/flourescent) with NO FILTERS and get great
> results...
Same here, Reala, Superia 100, 400 :-) Mass
This why I use the Fuji emulsions... REALA in 35mm and NPS/NPL in 4x5... I shoot
in mixed light (daylight/tungsten/flourescent) with NO FILTERS and get great
results... I've been the gels/flourescent filters/this and that route... that's
the problem with trannies on interiors...
Mike M.
Tony Sle
On Wed, 28 Mar 2001 18:04:01 +0100 Michael Wilkinson
([EMAIL PROTECTED]) wrote:
> If you are working quickly its almost impossible to use gels unless
> you've used the location before.
Specially if it's flourescents ;). However, then it's difficult to see the v/f
image.
> The drawback to any
I use a Minolta colour temp meter with gels but only when Im using a
tripod and H/blad or Monorail
Its a reasonable way foreword and far more noticeable when using Tranny.
Fuji 400 is my choice for mixed lighting,scans well and is very
tweakable in the darkroom.
If you are working quickly its al
On Tue, 27 Mar 2001 22:18:41 +0100 Michael Wilkinson
([EMAIL PROTECTED]) wrote:
>
> Do any of you use a colour temperature meter when shooting interiors ?
Ah, no. For two reasons. First that simple red/blue meters like the Gossen
Sixticolor are fairly useless IME - OK it tells you the Mired
es such as Barco which
have the hardware built in and I believe they start at around £5000.
- Original Message -
From: "Maris V. Lidaka, Sr." <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Wednesday, March 28, 2001 12:43 AM
Subject: Re: filmscanners: Color Calibration
Wilkinson" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Tuesday, March 27, 2001 3:11 PM
Subject: Re: filmscanners: Color Calibration
| I whack a kodak Grey card in a scede,soot it ,remove it ,shoot again
| then when photoshoping do the colour balence with the grey card shot
| th
Do any of you use a colour temperature meter when shooting interiors ?
Dont foget that reciprocity failure is also influential in altering both
colour and exposures.
If youve got poorly lit rooms use a fast film,800 asa fuji works a
treat, and if you have someone to help get them to hold the shutt
I whack a kodak Grey card in a scede,soot it ,remove it ,shoot again
then when photoshoping do the colour balence with the grey card shot
then transfer the settings to the cardless shot.
But the bottom line is to calibrate your monitor so that what you see is
what you get
wysiwyg.
More expense I k
On Mon, 26 Mar 2001 11:06:44 -0700 Michael Moore ([EMAIL PROTECTED]) wrote:
> What I would like to know is your opinion of Vue Scan as the medium for
controlling
> the linear or raw scans into PShop instead of my Minolta software..
I do this (with a Polaroid), for the simple reason that VS 'wh
breeze.
Dave
- Original Message -
From: Michael Moore <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Monday, March 26, 2001 12:54 AM
Subject: filmscanners: Color Calibration
> I shoot mostly architecture on Fuji emulsions, Reala for 35, NPS and
NPL
> for 4x5..then I s
> What I would like to know is your opinion of Vue Scan as the medium for
> controlling
> the linear or raw scans into PShop instead of my Minolta software.. I have
> been too
> busy to take the time to figure out VS for my purposes...
>
I typically use VueScan to send a high bit file to Photosho
The reason I say this (as to the 3 cards) is that I have been working on several
interior shoots lately, one is a home with lots of white (how many shades of white
paint are there?) walls... I kept getting deeper and deeper into the muck until I
figured out that if I used the ultra bright kitchen
On Sun, 25 Mar 2001 22:54:11 -0700 Michael Moore ([EMAIL PROTECTED]) wrote:
> what I
> am thinking of doing is making up 3 large (say 12"x12") panels, one
> white, one 18% gray, one white, attaching a color bar underneath and
> sticking that in the main light area of each different view, where
place
absent unusual circumstances, even without a gray card.
Maris
- Original Message -
From: "shAf" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Monday, March 26, 2001 12:20 AM
Subject: Re: filmscanners: Color Calibration
| Michael writes ...
|
| > I shoot mos
Michael writes ...
> I shoot mostly architecture ... exteriors are pretty easy to
> scan and get the color close enuf ... however when it
> comes to interiors, it is whole different story.. ... what I
> am thinking of doing is making up 3 large (say 12"x12") panels, one
> white, one 18% gray, one
I shoot mostly architecture on Fuji emulsions, Reala for 35, NPS and NPL
for 4x5..then I scan them as 16 bit linear scans into PShop 6 from my
Minolta Dimage Elite, whre I do an invert and then levels which is
where the fun begins..the exteriors are pretty easy to scan and get the
color close
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