The CRI (Colour Rendering Index) is a measure of the colour rendering quality of a light source. It indicates how well a light source reproduces the colours of objects in comparison to a reference light source, e.g. a daylight spectrum.
The colour rendering index is measured on a scale from 0 to 100. A value of 100 means that the light source reproduces the colours of objects perfectly. A value of 0 means that the light source does not reproduce the colours of the objects at all.
LED lamps usually have a CRI of 80 to 95, which means that they reproduce the colours of objects well. However, LED lamps with a colour rendering index of 100 have recently been introduced by manufacturers such as YUJILEDS and are particularly suitable for use in areas where the quality of colour rendering is important, e.g. in photo studios or museums.
In the printing industry, D50 standard light is the common standard light in Europe. Whether you need D50 standardised light depends on your requirements. If the colours of objects and prints need to be reproduced very accurately, D50 standard light is the best choice.
However, if the requirements for colour rendering quality are not so high, an LED with a high CRI can simply be used. LED lamps with a high colour rendering index are generally cheaper than D50 lamps and easier to find.
At Proof GmbH, we have standard light booths from Just with D50 standard light, but we often only use an LED with 500 Kelvin and the highest possible CRI of 90+ on the winders. Nevertheless, significant colour differences and metamerism effects often occur here when proofs are only viewed on the cutting table. We therefore always use the standard light booths for a comprehensive colour assessment.
Unfortunately, no retrofit solutions are currently available for simply replacing ‘old’ D50 standard light neon tubes with LED tubes, for example. As neon tubes will be banned from 2024, completely new LED units must currently be purchased and installed from Just, for example, when replacing old D50 standard light neon tubes. However, at several thousand euros, the replacement is currently still quite expensive.
The most important colour management event takes place every two years in Munich: the Fogra Colour Management Symposium. Once again this year, all professionals are invited to make the pilgrimage to Munich: two days of lectures, discussions and a Bavarian evening await participants. Matthias Betz, owner of proof.de, will also be there again: for many years, he has been taking advantage of the opportunity to exchange ideas with colleagues and friends, learn about new technologies, hardware and software, and talk to colleagues from Fogra, freieFarbe, GMG and many more. In … read more
Peter Jäger is an expert in colour management that reliably works across the boundaries of printers and monitors, web and print – essentially: cross-media.
In the current issue of Fogra News “Fogra Aktuell” Proof GmbH is involved in two places. Firstly, a summary of the Fogra report on our first FOGRA55 certification for seven-colour printing with extended colour space in CMYKOGV appeared. You can also find more information on our FOGRA55 certification on the Fogra website: https://fogra.org/en/press-releases/fogracert-erste-cpc-zertifizierung-fuer-fogra55-cmykogv-330 and on proofing.de: And secondly, there was a report on the completion of the research project for textile digital printing, FOGRA58, in which we were allowed to investigate and test the proof capability of the new textile … read more
Whether it’s a large global corporation or a small company, the following often applies to designs or redesigns today: we develop everything for digital first.
Over the last few months, we at Proof.de have been thinking about further improving our already very good colour measurement technology in terms of speed and measurement precision. Relatively quickly it became clear that only two devices would come into question: The KonicaMinolta MYIRO-9, the successor of the former FD-9, or the X-Rite ISIS 2 XL. The starting point: Since we at Proof GmbH have 5 proofing devices, the calibration of targets for profile optimisation is a time-critical undertaking for us. Therefore, we had been looking around for an upgrade of … read more
After Eddy Hagen pointed out in this posts, that there were some major colour deviations between the brand new PANTONE Solid Coated Guide 2023 and the previous version especially for the PANTONE 2635 C, I was curious to lookup the same colours in the new PANTONE Color Bridge Coated Guide of 2023 and compare the colours with the previous version. I measured a dE00 of 8,15 between the two colours that Eddy mentioned, which is really far apart from how accurate PANTONE colours should match between the different PANTONE guides. … read more
From now on you can order proofs for metal decor printing on white sheet metal at proof.de: The ICC profile for Fogra60 is Metal-Printing_MPC1_FOGRA60.icc
Anyone who has reinstalled or updated their i1 Profiler app in the last few weeks has been confronted with disturbing news: X-Rite announced directly in the start window that it would no longer support its enormously popular i1Display and i1Pro2 devices. Users of the i1Pro 2 devices and i1iO 2 tables, which are extremely popular in printing and colour management, will be particularly hard hit by the announcement: An investment of €6,000 is quickly consigned to the electronic scrap heap. But what can you do if you own such a … read more
Even almost 9 years after the introduction of the successor colour space PSOCoatedV3, ISOCoatedV2 / FOGRA39 is still the most widespread colour space in Europe. We at Proof GmbH count around 200 jobs from time to time for the German Printing and Media Industries Federation, among others. In the last count, proofs in ISOCoatedV2 accounted for around 68% of all proof jobs at our company. This is a clear sign of the continued widespread use of the colour space. ISOCoatedV2: From the classic colour space to the beacon of the … read more
In recent years, various problems have arisen with our previous proof paper supplier. On the one hand, we sometimes had to wait more than three months for paper deliveries; on the other hand, we sometimes had significant problems with batch-to-batch discrepancies, surface defects and much more. After lengthy deliberations, we decided in December to replace all the paper. We therefore received pallets of new paper at the turn of the year, which we are now gradually incorporating into our production. There will be no hard cut, but the new papers … read more