Hello, I dont know if this has been answered but, Im having problems to load an ICC profile into PS. What I want to do is to gather all the calibrated monitors profiles I use at home and work, and load them into PS so I can make an aprox. of how it will be seen.
Normally I put my ICC files where they use to be, into “spool” subdirectories, but PS doesnt load them when I look for them into proof-custom. Is understandable what Im trying to do, or it leads to a wrong concept?
Maybe just try adding extra folder to load plugs etc. from this exact place?
Dunno if it will work but still some another option.
Cheers!
Damian M. vel. Opat
The way I “softproof” other monitors is to calibrate my monitor to mimic the other monitors profile. Several monitor profiling softwares allow one to match the profile of different monitors. I do not think that the soft-proofing mechanism in PS will work with monitor profiles in the same way that PS allows soft-proofing of prints
thomas
I see what you mean. The thing here is that I calibrate my monitors to get from them the maximum dynamic range. If I then try to match it to other monitor, it performs a profile conversion hence down rating its dynamic range. Also another issue would be which monitor to rely on (or which monitor to mimic to). Logically I would say, my newest or best monitor… where I is supposed to do all my final color adjustments, cause its my source profile (not re-profiled)
I have a Spider probe, but it cant make monitor matching. Although I found a program called cineSpace that works for that… do you know of any other?
Another question is the new PS cs4 feature of softproofing abstract profiles, maybe it would be what I say of loading other (monitors or whatever) profiles for softproofing?
The last thing I was wondering is profiles in postpo programs like shake, or nuke. I read that shake uses some sort of profiling through Truelight, I searched and found that truelight is a system used in the industry for film calibration or so… Does it also work as a continuity to a color managed workflow, like say, keeping my image/video in sRGB, from source to output? I dont understand much of this truelight but any info is very welcome.
With the video issues, you are going beyond my expertise (I’m a print guy). And I cannot speak to any CS4 enhancements, not having it yet. But with the monitor calibration/matching, the only way to truly match all monitors is by using the lowest common denominator (if a monitor cannot get bright enough or dark enough, it just can’t). I would let the bad monitors just suffer and only calibrate the good ones to each other. I have used ColorEyes Display and and Monaco color and they support monitor matching.
Other wise you can calibrate to similar standards and get them close enough, but to softproof what it would look like on another monitor, only a monitor of greater or equal dynamic range will work, and than it will have to mimic down.
As to which monitor to use, obviously the monitor that is best able to match the color specifications of you intended output/use, for me that is SWOP and GRACoL (being a print guy), I am sure that there are eqivelent standards for Film, Video and TV.
good luck,
thomas
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