Hello. Here with Jim Raffel from Color Metrix. How you doing today, Jim?” I’m great. How are you Deb?
Long-time friends, long-time fan. I am. So, yesterday, you spoke at the SGIA Wide Format Workshop about Color Management, and something that was very interesting to me was there’s basically two types of settings, if you’re going to enter or get a new machine. You’ve got the ones that come with the machine and then you’ve got an option to customize your own, which was what you helped people do. Correct?” Right. So, you’re talking about color profiles.
Yes, color profiles.” And, so there’s really two flavors. We call that can profiles, and can profiles will typically come, either with the printer, with the media, from the printer manufacturer, from the media manufacture, from the ink manufacturer. And then, there’s custom profiles, and the difference is that, a can profile is just a custom profile, made and distributed. A custom profile is when you make for your printer, for your ink and for your media. Your conditions, including environmental, like temperature and humidity. And then, you use that. So, if your goal is color critical applications, then a custom profile is almost essential. If you just need to get a quick and dirty sign off the door, oftentimes you can use a can profile.
You said something very interesting and I was trying to ask you the last question, but I was asking too many already. What do you mean by, the color is already in the media? And then also, crazy question, why did they call wide format paper media not paper?” Or substrate, right? The more general term.
Substrate. Right.” So, pan with me. So, we got multiple print samples up here. This one in the middle is a matte banner, and the two on the outsides are gloss vinyl, and if we look at those, we’ve got a pretty good – I don’t want to use the word match. We’ve got a pretty good common visual appearance between all three of those.
I love common visual appearance versus match. That’s genius.” Yes. It’s a G7 word. G7 printer. So, where there’s a difference is, obviously you can see –
Which is very hard to see on film so I’m going to get this on you.” Yes. But the point that we’re making is, there is a difference, and the difference is that one of those materials is matte and one of those is glossy. So, light hits it and reflects back differently. One of those has a much brighter white point, so when light hits it, there’s more color available. Because if you think of it, when the lights come down and it hits the media or the substrate, whatever you want to call it, it hits that and then it bounces back. And then, we put ink over the top to limit how much comes back. But, it all starts with how reflective that material is, how white that material is.
Right. And, is that why a lightbox is essential for something like that, for that?” Yes, because we’re looking at these under identical viewing conditions, so we illuminated illumination and angle of light and all of those things, which are part of the real world things. But, we need to eliminate to eliminate variables when we’re evaluating.
Right. I know you gave specific examples for Coca-Cola yesterday and ironically, I work on Coca-Cola International, and I did stadium boards and things like that, and this was a while ago, so, you know, while it go enough that we don’t really discuss color critical about any of that stuff because it was outside. It was on one of those rotating things. The weather was going to weather it, and as long as it pretty much looked okay on the TV, everyone was happy. How color critical is wide format?” I think you’ve already answered the question. It depends upon the application. If I’m going to have a Coca-Cola pop up sign next to a stack of Coca-Cola twelve-packs, well, I can tell you that the twelve-packs are always going to be Coke red because they’re very tightly controlled. So, if you’re pop up sign is sitting right next to Coke red and you’re not Coke red, you got a problem. If it’s a sign in a stadium where there’s really, I mean, even if I’m holding a can of Coke, it’s so far away, it’s different. Right? And, if it’s on the side of a bus and again, it goes by, as long as it’s close enough, we’re okay. But, if you know, if it’s on the carton, if it’s on the can, if it’s on the pop up sign –
Right. It’s got to match.” Yes.
That makes total sense and it’s really funny, because when we did photoshoots, there were actually special cans and bottles and labels that came to us that were not actually the colors that we would print, but were created because they were going to go through a photographic process to make sure that they showed up correctly. So, the whole thing is very interesting.” Markup sale.
Well, you’re always really interesting. You’re doing a session today, as well. Correct?” Yes. 3 o’clock. It’s Color Calibration, Verification and Process Control.
And, how can people get in touch with you and why should they get in touch with you?” Well, they should get in touch with us if they want to learn more about making custom profiles, because you have to calibrate and verify it to make a good custom profile. And, they can reach us, the company can be reached much easily on Twitter, @ColorMetrix. That’s also our website www.colormetrix.com. There’s a contact page, and if they want to reach me directly, on Twitter, I’m @raffel. Not like a raffle ticket, it’s different.
And, you can’t see her, but there’s Shelby.” Hello.
Who doesn’t like to be on camera, but I always like to mess her up.” Well, if you tweet @ColorMetrix, you’re going to get Shelby.
Awesome. Shelby’s awesome even though she doesn’t like to be on camera. Well, have a great show. I’ll be back later to bother you, and it’s always lovely seeing both of you.” Thanks Deb.