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Open Colour Standard: Dissipating the vapour

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hello right I so my name is ginger parents are you may have heard me speak yesterday about the LibreOffice Magazine and I just now I'm here to talk to you about a little something that is called the Open Core standard and the title of my talk is spoken voice standard and distorting the vapor however it today I've been thinking of it a little bit as a eulogy for Open standard so on you may notice that there aren't any slides behind me and a little bit about replay of last year when I had no slides which I quite like so so let's talk about the same color it's a it's a product of a working on for quite unfortunately very nearly 3 years at this point i which is an awfully long time for something this still looks dangerously like and and I wondered about that a little bit myself how is it that I've invested 3 years of my life and that's and quite a bit of it because I actually wrote my master's thesis about at how and I've got nothing out of that and we have nothing workable to show for it so they often standard was an effort to solve 1 of the most irritating and intractable problems In floors print production which was we don't have spot colors support or more to the point where we don't have time to because as we all know if they don't all know all run over quite quickly and pattern is basically the defect most popular spotless system in the world for print design and unfortunately it's very restrictive license it's very expensive and they're very very very picky about who gets to integrate their standard well I standard the system into the software so for example applications like Inkscape again all of
our final frontier I don't actually even if they wanted to and wanted to actually be licensing fees would have great difficulty getting content and to cooperate in the integration of pencil in their products so this is an issue and this is an issue for me when I was working in a newspaper and my managing editor kept coming to me and saying so here we have spot on on this page OK can you do that and I would have to break into my workflow doing to Photoshop and apply the kinds of so I thought to myself there must be a better way there must be similarly to make a floss popular standard huge mistake there there's 3 years of my life I am because as it turns out it's actually quite a big big big problem the issue of essentially standardizing digital to print or point printed digital art the issue of looking at physical color as a thing and as a standard Izabel thing is huge it's absolutely massive and I I'm coming to the conclusion slowly steadily and sadly that it's not a job for 1 person that's fresh air and unfortunately due to the physical nature of it it's a difficult job for even a distributed set of people even if they're really interested in it and really what work on that so all tell you go about what it is that I've done essentially the problem as I've seen it is that what we lack if a physical standard right and so I say physical standard I actually means the ability to put a real killer on a book on the substrate basically said to put ink on paper and able to say this is this to a given degree of certainty because of course if any of you know pre-injury well or even not very well but you'll know the classic seemed like a problem which is that fidelity is no interesting I and a lot of work with CYK comes down to looking at proofs and saying 0 I like that on the joy something like that it's incredibly standardized it's incredibly consistent and you can actually be sure when you specify that it's going to come out the way you want it to come out and so what about the working on I've been working on the setting a baseline for essentially have a physical standard for color which is to say doing things like assuming that carrier materials thinking about how to define white thinking about things like what piece do we even start from how do we get pigment had we standardize pigment when a distributed system so how do we essentially make something that doesn't require 1 monolithic supply chain in order to function properly and that's a huge issue so what I came down to was the idea of piggybacking on existing standards so and essentially saying essentially too much and I started out with Dionisi so FTSE I would be well it's food drug and cosmetic die it's an American the US FDA approved and regulated standard for dies that can go into foods drugs and cosmetics and because it's so incredibly heavily regulated because it comes from such a stiff regulatory history from with massive scandals and poisoning on it's quite nicely regulated quite consistent which means that if you pick up a packet or that or whatever of death FT and the number 1 in a you're going to get the same FT in the blue number 1 that you're getting every other time no matter what manufacturer comes from so I thought to myself this is fantastic this is a nice consistent starting point for a color standard self that's not so bad and substrates suddenly become an issue and carry material suddenly become an issue even if you can say here's a pigment so we gonna pigment and that's fine I think we get the least of our problems next problem we come to you the issue of carrier materials I which is another 1 altogether because suddenly we have to look at it and say 0 shit every manufacturer does things quite differently we can actually standardize carrier materials for index of across manufacturer because it's difficult and it's almost nonsensical so what we do but carry materials we see it ourselves OK pick 1 manufacturer and decided that this is standard because we like them you know so I I should backtrack a tiny bit and say that my proof of concept on this has always been screenshot because it's nice it's
tidy and it is in tackling the monolithic problems of printers it's tackling the mental problem of C. we start standardizing color with hobby hobbyists people who like to screen print then we can build up from that they're engaged community that people who might actually be interested in fiddling around with silly things like physical definitions of color so carrier materials 1st stumbling blot because suddenly where institutionalizing 1 company as a supplier of this materials so you can see this is a problem that I go to around this time last year the carrier material issue I and this is the bit where I started realizing that I was looking downhill at something that would be incredibly difficult resource intensive and basically almost impossible to do without a large chunk of cash there's that there's white so we won't talk about white what is the hugest issue in existence in defining color because if you tend to find a way accurately you can't find anything the measurement I don't even wanna get into measurements but essentially the bottom line all of this is that we've come to this issue of we I've come to this issue quietly in my lab with my particular mask on some of realizing that we have a case of turtles all the way down and standards all the way down and really yeah it's heating legally little problems all the way down they're just quite difficult to deal with and that can actually all can't easily sold by throwing time and manpower at them or time in person power on woman power for him to be accurate so technical problems on which is why I I'm standing here in front of you tell you that I am giving you a eulogy for a project that has been around dismisses paper where think system very helpful people on the Adobe forums he got wind of it and set up the liver happen pretty accurate assessment actually had the kinds so the really exciting thing extending the sad where is that some this thing that 70 people get sometimes on this thing that 70 people have hoped for and that everyone always says when I told him about it it's a great idea we totally need that I I'm coming to the conclusion that it's or I have come to the conclusion although being a little bit quixotic have still been tilting at it even though I've already reached this is basically an ion possible for anyone but big in companies like pencil I O whoever or rather I pencil not in company but again 2nd that's a side issue this is an issue that's not really for hi sir the sensor fatalistic and it's an issue that's not really for motivated excited groups individuals in this community structures it's an issue that's for large coordinated centralized groups of people who have you know 20 thousand dollars spectrometers I and you have a lab coats and stuff and nice skills speakers don't get me started on my program skills the you don't wanna know about my program scales but the and basically that's kind of it so the trajectory of this here we are wouldn't it be nice if we had a spot standard that was accessible to everyone that everyone can contribute to add to that we could grow and it will keep that we could use and false without having a huge litigation problems because I know the in the back of the room there has some lovely work with swashbuckler and lots of people have done exciting things exciting largely illegal things with you know how do we cliques sneakily slightly integrates the existing content system into our work without paying for it I haven't there are lots of lovely sneaky sly work-arounds but sadly I'm knowledge is beginning to think that the issue of making our own colors standards is 1 that is frankly a little bit depressing an incredibly time-consuming self 1 I think all I can say is open spot color instead Long live open spot color and this questions OK and so I thought it was
saying was cool to you cannot have enough standards optimal apparently goes wrong I so my idea is many not feasible to make an open onto would let so look at how open to you and you lose these gonna by further and things and web small trust and believe that they can produce things which makes which so ivory in electrical more come only in printed form and the so if we can't have a of maybe we can have a way to make it very easy given the substrate and a a given set of into which are available at a certain place to make a torch and get back to the people who want to use it so so you would not observable just OK this is this print shop that I have the skulls they can do this topic so it was obvious up to produce a spot what they have and doesn't matter spent on all from the moon in clinics themselves they by paper doesn't matter give them out and they we also show to 10 and then they give it to a customer someone they can use rules calls it
sounds like a perfectly reasonable thing the 1 thing I always have come to and this because that's what I looked at 1st actually before I can do anything else I spent most of September 2009 intuitive kicking my feet saying no OK so I need to get a bunch of sample index for a a bunch of different manufacturers and access to some equipment to actually measure the spectrum all of these things as their printed and see who matches up with this issue of trying to figure out whether were tied to 1 manufacturer or whether it's possible to actually general generalize across multiple manufacturers beyond seem like a right to get those extra necessary colors to produce other the stuff that falls outside of the CYK gamma right so but still it's a very sensible valid solutions that just also takes an exciting amount of labor and equipment and although the labor from printed it would be lovely if they would get on board with that so Antonia itself isn't exact wider it's an approximation so we have a specimen of a color in 1 location on a planet and is they all what I want my they to have that color you call the people of printed and a due date best efforts to make something that is within their possible efforts this same color so if you're able back to have color manage computer screens that's like a lot like death and tries them was cause like RGB while you portray there and so on collective on like standardize on an RGB triplets and you're all already quite close was that that was the caller I
want so if you want to go further and that you want and need to go into something that is actually multispectral imaging in a way that the reproducing the spectral color you didn't have that to reproduce at this watch you could try to create that diffuse slightly devices prisons that has like selects that actually bits of spectrums recombine it and diffuse light and actually is like a single pixel spectral imaging device this might be expensive will be a completely different solution development paula dust and you might even be able to do this cheaper than you imagine I don't know but if you could actually quite this 1 single pixel is all substrate is not nothing but is actually a spectral reproduction of a color well maybe that's correct actually element induce sort of knowledge feebly I agree
with you right surely by it's by defining almost like a
punt on like set of colors just XYZ standard viewing conditions and 90 % of the way that you can it's a rather than try procurements watches itself people that he put color this is that color With this much error rather physically trapped the material itself of the that you that banks that really not telling historic presentation and Disney LGM and it's good to get background on that project and its current state and I guess I have another background knowledge questions that might lead to another long talks it in right then you but it goes I don't get it wise Pantone enforceable what is the legal system by which that can break yeah enforce my answer is its trade secret essentially I everyone knows so that no it's not the number so the structural information not a problem right it's the mixing information it's an issue and it becomes more enforceable 0 yes it's all about formulas right that's the major problem that were company 1 it's the issue of the the essentially have a monopoly a on mixing in Kingston ways right and they also produce their own range of angst so we're looking at when movement patterns actually hexa chrome right so it's not just for a is beyond seem like a it's in rich palette of basic pigments right and so a the license the production of those to various manufacturers be the then heat a recently tight sort of control over the actual mixing directions themselves that lead to the creation of those and then thirdly we get exciting things like x Acromine able printers you know that have proprietary mixing systems so you can get your colleges right the kind of again further for the right OK so it's physical distribution of the artifacts as well data point well this is I understand because I have talked a lot to crystal shavers been pushing pushing pushing the colors and in inscribed as and you know what he's done he's been able to get a lot of Pantone's competitors to say 0 yeah I will give you are watches without any problems we've had a lotta cover of colors but here's the basic problem that anybody comes up against you can't really copyright patent whatever their color itself anybody can make that color which you cannot do and this is where
that the pants on hammer comes down is you can't even say that this color is equivalent to Pantone's such and such and you know as far as the idea of setting up another of system of colors or whatever are you know I I would think somebody like we would say the last thing he wants is yet another set of things that he has to buy In in I'm not sure that helps him out at all so in fact to address the 1st half which is this essentially getting other ink manufacturers like Toyota Winocur stuff has been in talks was to a great extent to cooperate and hand over access to this stuff that's great that's lovely and it solves the initial problem and these scratches that you know pre-production niche of the how do we deal with the sparkle anything on but to need as a sort of a matter of principle almost the issue becomes steeper than that it's not just about having sort of read-only access to that right it's about having the right so it's about the ability to actually that know it just the the the manufacturers colors as the rule and the last right it's the ability to actually form of more holes still there are more holistic community around it and actually do things like allow people to define color beyond those however many hundred slash thousands of colors defined by the press abiding manufacturers so that thing 1 and thing to is there's a reason I was starting by turning crafters and archaeologists and that's because I know full well that most printers will say no no you're not doing that because yeah it's not at this point and presumably would take years to build up to being a workable solution in a print production environment right as a beginning the idea was to actually look at specialized groups who use color in very specialized ways like way archaeologists use months all friends to define it the right or whatever you know the way biologists look it up or botanists I guess look at a plant and define its green on the pento skills right it's not just about the issue of the instrumental issue of can we print this it's about the issue of who owns the colors that define our everyday lives and the world around us it's there is a a deeper philosophical issue and than just can we print what
thank you very much you know I am very happy that you keep on bringing up this sort of white elephants every year I think there's something to keep doing what I unfortunately couldn't make it to 0 the ICG Q meeting on Monday and and I don't know if it's it you to ask external you were taking down an exhibition at the time uh um is there a way I'm just curious what they're thinking is about the problem we are dealing with of not having an open collar stop standard is there any dialog with them about what the future of that it's In recent of mostly we are not in the business of defining standards and of doing great of scientific research and so on I once customer level for applications so doing practical research in that so the Parliament's questions
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Metadaten

Formale Metadaten

Titel Open Colour Standard: Dissipating the vapour
Serientitel Libre Graphics Meeting (LGM) 2011
Teil 04
Anzahl der Teile 39
Autor Coons, Ginger
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen und nicht-kommerziellen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/21715
Herausgeber River Valley TV
Erscheinungsjahr 2011
Sprache Englisch
Produktionsort Montreal

Inhaltliche Metadaten

Fachgebiet Informatik
Schlagwörter Libre Graphics Meeting (LGM)
Libre and Open Source graphics software

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