A question about monitor settings and printing?

I have a new PC with an HD monitor, it didn't come with an HDMI cable, but a VGA one, I recently got the HDMI and I noticed that comparatively when using the VGA cable & using the default monitor settings that the darks were darker than when using the HDMI with default settings, (the colour depth looked best with the VGA) I'm using PE9 and need to make an image to have printed at the printers, I would love to use the HDMI cable, but I'm concerned that if I do (and I change the monitors default settings for contrast, hue...etc to compensate) that... it will have been edited here one way and look totally different on the print shops monitor...
... So, how can I be sure it will come back from the printers looking the same as I had edited it?
Should I give up with the HDMI cable? I also have PrE 9 for video editing, so I'm a bit confused at to what is best to do...
Thanks.

There are no free calibration tools.  Like most things you get what you pay for.  However, the low end versions are quite good, so take a look at the Xrite Huey.
This will get your display calibrated which ensures you see the best rendering of the image on screen.  It does not guarantee good print matching since this also requires a print colour managed process and good viewing conditions.
Colour settings in Elements are mis-leading.  They apply to new documents being created in Elements or to images being opened that don't contain a colour profile.  Virtually all JPEG images from cameras will have a profile tagged in them.  So choose any setting but not the one that says 'No Colour Management'.  The best default in my opinion is 'Optimise for Screen'
Colin

Similar Messages

  • Questions about Using Lightroom and Print Studio Pro

    I want to use Print Studio pro via the lightroom plugin since as I understand it, that is the only way to ensure a 16-bit file is being passed to the printer (on Windows).  However, I am a little confused about how the image is being rendered.  Is lightroom applying a default output sharpening to the file before handing it off to Print Studio Pro or Does Print Studio Pro manage resolution and Output sharpening based on the media and print size you choose?  
    So basically I am wondering if there is any output sharpening being applied, and when is it applied.  The possibilities I think would be:
    Lightroom is applying a default output sharpening when rendering the file to TIF for Print Studio Pro (If this is the case, what setting is being applied and is it possible to change it?)
    Print Studio Pro is applying output sharpening based on media type and print size, or applying a generiz amount of sharpening that does not take into account media or size.
    No Sharpening is being applied.  In this case, I should probably be exporting this file manually with output sharpening applied and then opening in Print Studio Pro
    The other question I have is if when using the plugin is the TIF file that is being generated in 16-bit pro-photo to ensure the maximum amount of color data?
    Because if Print Studio Pro is not applying sharpening I think it may just be better to print through the lightroom tool even though it renders down to 8-bit because the amount of control I have via the lightroom print module would be far more advantageous than any color data I am losing by printing in 8-bit.
    Anyone know the answer to all this?

    I had similar questions when I first got my Pro-100.
    1. You can call up PSP from any module, so I assume it is ignoring print module settings.
    2. If I select a Saved Print, which adjusts the print module settings specific to that print, and the open PSP the paper settings in PSP are not what is in LR, supporting the "ignore" conclusion.
    3. I ran some test prints using LR to print at three different output sharpening settings (Off, Standard, High) to ensure I could see a difference (I did).
    4. I ran four test prints: LR-Standard, XPS driver, LR-Standard regular driver, PSP using standard driver and PSP using XPS driver. I couldn't see any difference between the four prints.
    Since LR is such an easy printing process I haven't seen a reason to use PSP.
    John Hoffman
    Conway, NH
    1D Mark IV, Rebel T5i, Pixma PRO-100, MX472

  • Re: Satellite L350-170 - Question about webcam settings and microphone

    HI,
    I would like to know the webcam resolution of my laptop as it shows preety bad out put. Also where is the inbuilt mic locates? I would also like to know about screen brightness settings. How can I register my laptop? kindly help
    Since this is my secondhand computer, is there any software which can detect the settings and confirm everything? My product details are as below.
    Back to support homepage
    Switch models Satellite L350-170 Part Number : PSLD8E-00D008EN Key Features - Intel Pentium Dual-Core Processor
    - Genuine Windows Vista Home Premium Edition (pre-installed, Toshiba-HDD recovery)
    - DVD-RW SuperMulti drive (Double Layer)
    - 2048 MB (1024+ 1024) DDR RAM (800MHz)
    - 17" Widescreen TruBrite XGA (1440 x 900) High Brightness display
    please help.

    Hi shahchin,
    I think you should check this Toshiba document:
    [How to change the settings for the integrated webcam if the image is very dark or black |http://forums.computers.toshiba-europe.com/forums/ann.jspa?annID=59]
    Furthermore the microphone is located on near the microphone because its a part of the webcam.
    Regarding the picture quality of webcam you could also try reinstalling the webcam driver from Toshiba website.

  • A few questions about the ka790gx and dka790gx

    i have a few questions about the ka790gx and dka790gx , how much better is the dka790gx compaired to the ka790gx ? . how much difference does the ACC function make to overclocking etc , i plan on getting a phenom II 940BE or 720BE . i already have the ka790gx so would it be worth building another system using the dka790gx mobo , or should i keep what i already have and just change the cpu ?

    It's largely irrelevant what other boards had VRM issues other than the KA790GX - the fact is it died at stock settings. Since there is little cost difference between the more robust DKA790GX (or Platinum if you really need 1394) why bother with the proven weakling? There are other examples around of the KA not having a robust power section.  There's no way I would use even a 95W TDP CPU in the KA and absolutely not O/C.....!
    As for the credentials of Custom PC, I have generally found their reviews accurate and balanced, and echo my own findings where applicable. If a little too infrequent.
    The fact that the KA has such a huge VRM heatsink leads me to my other comments on the Forum, particularly regarding the "fudge" aspect:
    """Henry is spot on - the notion that adding a heatsink to the top of the D2PAK or whatever MOSFETS is effective is virtually worthless. The device's die thermal junction is the tab on the device back - which is always against the PCB pad. The majority of heat is therefore dissipated in to the board, and the fact that the epoxy plastic encapsulation gets hot is simply due to the inability of the heat to be conducted away from the device die via the tab. Not sure when Epoxy become an effective conductor of heat.... Good practice is to increase the size of the PCB pad (or "land" in American) such that the enlarged PCB copper area acts as an adequate heatsink. This is still not as effective as clamping a power device tab to an actual piece of ali or copper, but since the devices used are SMD devices, this is not possible. However, the surface area required to provide sufficient PCB copper area to act as a heatsink for several devices isn't available in the current motherboard layouts. Where industrial SBC designs differ in this respect is to place the VRM MOSFETs on the back of the PCB on very enlarged PCB pads - where real estate for components is not an issue.
    Gigabyte's UD3 2oz copper mainboards sound like a good idea, on the face of it. However, without knowing how they have connected the device tabs to where and what remains a mystery. I suspect it is more hype than solution, although there will be some positive effect. From an electrical perspective, having lower resistance connecting whatever to whatever (probably just a 0V plane) is no bad thing.
    The way the likes of ASUS sort of get round the problem is to increase the sheer number of MOSFET devices and effectively spread the heat dissipation over a larger physical area. This works to a degree, there is the same amount of heat being dissipated, but over several more square inches. The other advantage of this is that each leg of the VRM circuit passes less current and therefore localised heat is reduced. Remember that as well as absolute peak operating temperature causing reduced component life, thermal cycling stresses the mechanical aspects of components (die wire bonds for example) as well as the solder joints on the board. Keeping components at a relatively constant temperature, even if this is high (but within operating temperature limits), is a means of promoting longevity.
    For myself, the first thing I do with a seperate VRM heatsink is take it off and use a quiet fan to blow air on to the VRM area of the PCB - this is where the heat is. This has the added benefit of actively cooling the inductors and capacitors too....
    Cooling the epoxy component body is a fudge. If the epoxy (and thus any heatsink plonked on top of it) is running at 60C, the component die is way above that.....
    It's better than nothing, but only just."""

  • Question About Color's and Gradients

    Hi all,
    I have a question about color swatches and gradients.
    I am curious to know, if I have 2 color swatches that I make into a gradient color, is it posible to change the tint of each indivdual color in that gradient and have that applied to the gradient without having to adjust the gradients opacity.
    The reason that I'm asking this is because in creating a project I found that the colors that I chose for to make my gradient from my swatches were to dark, and while I can adjust each one's tint to my liking (if the object they were applied to was going to be a solid color) but that doesn't seem to apply to the overall gradient.
    I hope that makes sense, I know that this was something that was able to be accomplished in quark and was wondering if I can do something similar.

    If you double click your gradient swatch (after adding it to the swatches)
    Then click a colour stop in the gradient, and then change the drop down menu to CMYK (or rgb)
    And you can alter the percentages there. It's not much use for spot colours but it's a start.
    But making tint swatches would be a good start anyway.
    At least then when you double click the gradient (in the swatches) to edit it you can choose from CMYK, RGB, LAB, or Swatches and adjust each colour stop to your liking.

  • Question about clear page and reset pagination

    Hi,
    I have a question about clear pages and the reset pagination in an URL. What is the reason why a clear page doesn't also trigger a reset pagination on the pages which are cleared?
    I can't really imagine a business case where it makes sense to clear all data of page items on a page and don't reset the pagination of reports on that page which probably use a page item in there where clause...
    The drawback of this behavior is that a developer always has to set the reset pagination checkbox when he clears the target page and the even bigger drawback is that if you specify other pages to clear, you can't reset pagination for them, because reset pagination only works for the target page.
    Thanks for your input.
    Patrick
    *** New *** Oracle APEX Essentials *** http://essentials.oracleapex.info/
    My Blog, APEX Builder Plugin, ApexLib Framework: http://www.oracleapex.info/

    Enhancement request filed, thanks,
    Scott

  • The question about portlet customization and synchronization

    I have a question about portlet customization and synchronization.
    When I call
    NameValuePersonalizationObject data = (NameValuePersonalizationObject) PortletRendererUtil.getEditData(portletRenderRequest);
    portletRenderRequest.setPortletTitle(str);
    portletRenderRequest.putString(aKey, aValue);
    PortletRendererUtil.submitEditData(portletRenderRequest, data);
    Should I make any synchronization myself (use "synchronized" blocks or something else) or this procedure is made thread-safe on the level of the Portal API?

    HI Dimitry,
    I dont think you have to synchronize the block. i guess the code is synchronized internally.
    regards,
    Harsha

  • Color settings and printing

    I have created a custom monitor profile and use this to optimise the results from my printer. If I am sending my photos else where to print or emailing them, should I use this profile or the default sRGB profile or is the AdobeRBG even better.
    Thanks

    Your custom monitor profile is only used for display purposes not printing.
    Monitor Profiles and Printer Profiles are independent of each other.
    When printing you need to use a Printer Profile that matches the printer and paper. If you are sending your images out then you should check with the print shop. Typically they will expect images in sRGB.
    Colin

  • A question about item "type and release" of  source system creation

    Hello expert,
    I have a question about item "type and release" of  source system creation.
    As we know,when we create a web servie source system,there will display a pop-up which includes three items as "logical system","source system"and "type and release".
    About the item "type and release",when we push "F4" button,there will be three default selections as below:
    "ORA 115     Oracle Applications 11i
    TLF 205     Tealeaf 2.05B
    XPD 020     SAP xPD".
    Who can tell me when and how should I use the three selections.
    And also I attempted to input the item by some optional letters except the default three selections and it seems that I can input it freely.
    Thank you and Best Regards,
    Maggie

    Hello DMK,
    Thank you very much for your answer.It is very helpful for me.
    Can I ask you further about it?
    I got that it is a semantic description item.
    You said the default selections are set by our basis people.Would you like to tell me how should we creat a new value except the default ones for item "type and release"?Only by inputing the value in the item directly?But you see we canot see the new value item we created by ourself when we push "F4" button next time ,is that ok?Or do we have to ask basis people to define one new value item just like the default seletions before we use it.
    Also if possible would you like to describe detail about "This becomes important when you are troubleshooting certain issues especially when RFC connection problems."
    Thank you and Best Regards,
    Maggie
    Message was edited by: Maggie

  • Generic questions about CMYK profiles and proofing

    I just read a big book about color management and am trying to make it happen but it seems that in real life I can't get good results.
    I have my scanner profiled and it produces aRGB docs.
    All good and fine. The images look good on the monitor (which also is profiled.)
    Now these images I place inside InDesign as aRGB.
    And at some point comes the time for soft proofing.
    So I start experimenting with different CMYK profiles.
    First question: Should I already do a CMYK conversion for my images in Photoshop or is it ok to do it in InDesign when exporting to PDF?
    Coated Fogra27/39, ISO Coated v2 and Euroscale Coated v2 seem to change the colors only slightly.
    But when I turn on "Simulate Paper Color" all hell breaks loose. The paper color seems to be always a cold horrible grey and the image is darkened and dulled. It looks like in need of serious color correction.
    And further how do these generic profiles know about my paper color anyway?
    So maybe this feature should only be used if the profile is custom made for a specific printer and paper.
    Second question: has anyone succesfully used the simulation of paper color with a custom made profile?
    But it seems that custom profiles are something I can only use at home because the printing service providers seem to be quite unaware of profiling their machines for a specific paper (or profiling it at all).
    They tell me to send a "pure" CMYK file without any profiles. But that is impossible because to transform an RGB in CMYK one MUST use a profile.
    Third question: Which kind of profile should I use when I am instructed to provide a profile-less CMYK document?
    And finally what is the purpose of proofing in the first place if I don't know exactly the profile created for the combination of the output machine and output paper? This issue becomes clearer when using (slightly) colored paper.
    - Rami Ojares

    >First question: Should I already do a CMYK conversion for my images in Photoshop or is it ok to do it in InDesign when exporting to PDF?
    You can save the conversion until you make the PDF if you like, especially if you don't know the correct profile in advance, but you lose the ability to fine-tune and individual image.
    >But when I turn on "Simulate Paper Color" all hell breaks loose. The paper color seems to be always a cold horrible grey and the image is darkened and dulled. It looks like in need of serious color correction.
    I think this is mostly a case of your eye accommodating to the brightness of the screen. I'm not sure how to avoid this, and I generally don't use the simulate paper color. Comparing my screen to the real printed output without the simulation seems pretty close. Even a generic profile makes an assumption about the color of the paper stock, but a custom profile would be more accurate.
    >Third question: Which kind of profile should I use when I am instructed to provide a profile-less CMYK document?
    As you already said, you can't do the conversion without knowing the profile. What they are asking is that you don't embed that profile when you do the conversion to PDF. This means they can use a file prepared for the wrong profile and not risk further conversion at the RIP which would create rich blacks from you 100% K elements (type), but the colors wouldn't be 100% correct unless the profile you chose for conversion originally matched the press.
    Generic profiles are a quasi-standard that most presses can match, but may not be able to produce quite as wide a color gamut as a custom profile, but many presses don't have a custom profile available. You should ask for a "contract proof" to check the color before the press runs, and if possible go to the printer for the make-ready and check the color on the press before the whole run is printed. There is a LOT of color control available to a skilled press operator, and expect some variation through the run.
    Peter

  • Question about Java RMI and Eclipse

    I would like to create an application with which I can easily connect to a JAVA program, installed on a web server, through JAVA RMI. I have already created a ClientRMI.java and a ServerRMI.java and compiled them. The stubs also have been created properly.
    When I run the application outside the Eclipse editor, everything works just fine! However, when I want to integrate the files into a bigger project in Eclipse... and starts running it, he tells me he can't find the stub class or something like that. I need to place this one in the classpath but I don't know how to do that in Eclipse? Could anyone help me with this problem?
    Thanks!
    This is the fault message I get:
    no security manager: RMI class loader disabled)
    D-me

    Do you have an idea of what the answer to our
    question could be?I don't have much idea about the question myself. I was groping in the dark. :-)
    Anyway, the project classpath settings and the external jars (or dependent projects) are a few things which could be experimented with. I'm afraid I couldn't be much help without having a look at what you are trying to do. :-(
    Regards,
    x

  • Question about "Native ISO" and Color Grading in PP

    I have a question about "Native ISO" in the real world and how it relates to color grading.  I was shooting 35mm film before all these digital cameras became flat-out amazing practically overnight.  Then the goal was always to shoot with the lowest ISO possible to achieve the least amount of grain (unless you were making an artistic decision to get that look).  If I was shooting outside plus had a nice lighting package I'd shoot 5201/50 ASA (Daylight) and 5212/100 ASA (Tungsten) 99 times out of 100.
    I've recently been shooting a lot with the Blackmagic 4K and have read that its "Native ISO" is 400.  Because of my film background this seems counter-intuitive.  Yesterday I was shooting for a client and had the camera at an f16 with a 200 ISO.  Because of what I'd read, I was tempted stop down to an f22 and change my ISO to 400... but the "little film voice in my head" just wouldn't let me do it.  It kept telling me "Higher ISO means more noise... stay at 200 and you will get a cleaner image".
    So how does it work with "Native ISO"?  Should I really shoot at a 400 ISO every chance I get in order to capture the best image for how the camera is calibrated?  Will it really give me more latitude when color grading?  Or would I still get a cleaner image staying at ISO 200?   I've Googled around quite, but haven't found any articles that answer specifically this question.  Would love to hear from someone who knows a bit more on the subject or has a link that could point me in the right direction.
    Thanks much.

    Hey, shooter ... yea, interesting discussion and always nice to learn. Great pic, too!
    jamesp2 ...
    Great answer. I've followed quite a bit of the discussion about the BM cams as well, one does feel a need to check out the possibilities for that next beastie one will need to acquire. But ... which one?
    I've always been a bit of a hard-case about testing testing testing. For instance, what happens with dome down or use of a flat diffuser vs. dome in the up position in metering? Back in the film days, we had our own lab and did our own printing as well as the um ... difficult images ... from other studios. I needed to know how to get exactly the same diffuse highlight no matter whether it was a "standard" light 3:1 studio shot, or a near-profile with no fill that needs dark shadows. I tested & burned through boxes of medium-format polaroid & 120 film and a lot of color paper. Finding? To get the same print time no matter the contrast or lighting style, needed to be metered either with the flat disc (Minolta) or dome-down (Sekonic) and held at the highlight-location pointed at the main light source. I could meter and nail the exposure every time. Ahh no, insist so many ... one must have the dome on/up and pointed at the camera! Right. Do that, change the contrast, and see what happens to your diffuse forehead highlight on a densitometer ... and see how your printing exposure times change. Oh, and you've just moved your center-of-exposure up or down on the film's H&D curve, which will also change the way the shadows & highlights print. In truth, though it was subtle, we had realistically no matter latitude for a best-case image with pro neg film as one had with chromes. You could probably get away with being "off" easier, but it still wasn't dead-on.
    So wading into video ... oi vey, you may have noticed the things claimed here there & everywhere ... this setting is God's Gift to Humanity but no, it's total crap ... this sensor is totally flawed but someone else is certain it's the finest piece out there. Yes, opinions will be all over ... but ... in film, it was the densitometer. In video, it's the scopes. Truth. And getting to that can be a right pain. I've seen quite a few contradictory comments about using the BM cams in film mode and also at ISO 200. Yours above gives the most ... comforting? ... explanation (for me) because of your reference to your scopes & the waveform patterns. Thank you.
    Love to learn ...
    Neil

  • Getting Started with CFBuilder - A Question About Project Settings

    Hello All,
    I'm just getting my feet wet with CFBuilder and giving it a spin after over a decade's worth of experience with Dreamweaver and I have a question about setting up my work environment.
    First of all, I have two computers that I mainly work from.  My home desktop computer, and a laptop for when I'm on the road.  I keep all of my web site project files syncronized between the two computers using Dropbox.
    I've noticed that when I create a new project in CFBuilder it stores a few files in my project root like ".project" and "settings.xml".  It looks like "settings.xml" stores information about which CFBuilder web server should be used for the project.  Unfortunately this messes things up for me a bit because on my desktop a web site project url might be:  http://desktop/myProject/ and on my laptop the project url could be http://laptop/myProject.
    The reason this isn't a problem in Dreamweaver is because dreamwevaer stores its configuration/preferences outside of my project folders so I can essentially define any testing server I want for both the desktop and laptop.
    Is there a way to configure CFBuilder to store project settings outside of the project folder?  Or does anyone have a suggestion for someone like me who syncronizes their project files from their laptop to their desktop?
    Thanks in advance for helping out a CFBuilder noob.

    I would recommend using a distributed version control system (DVCS) with a hosted service, such as using Git/Mercurial and Github/BitBucket/UnFuddle.  With Git, you can use a .ignore file to specify files/folders that you want to exclude from being stored in version control (I also exclude my CFBuilder project files from my repositories).  You would then sync your local Git repositories with your service of choice, and they would be accessible from any machine. 
    There are many advantages of using Git and a hosted service over just Dropbox:
    Each computer has a complete copy of the code repository, including all code changes over the history of your project.
    You store code modifications in "commits", or small entries in the DVCS.
    Commits can contain user-defined descriptions that help you identify what you did at each step of your development process
    You can roll back commits if you break something in your code.
    You can create "branches" of your code when you want to work on a specific feature of your application, and that branch is kept in isolation from other branches until you are ready to merge it back into the main production code branch.
    You can have public or private hosted repositories on the various services, enabling you to work with a team or participate in open-source development.
    There are Eclipse plugins available for CFBuilder that provide GUI tools for working with Git and hosted repositories (unless you are comfortable with using the command-line to do all your Git interactions).
    I don't think you can separate the project settings from the project in CFBuilder.

  • Question about monitor calibration

    I'm hoping someone can tell me what role the monitor factory settings play on monitor calibration.  My Spyder 3 Elite calibration device tells me (before I start calibration) that I should reset the factory settings on my monitor.  On my old monitor I didn't know what the factory settings were and couldn't find a way to reset them.  My new monitor just arrived today with a brightness setting of over 90 (on a scale from 0-100, and the contrast setting was around 80.  The first thing I did when I turned the monitor on was to change that because the display was so bright I could hardly read the forum on it.  I can't imagine that those are the "factory settings" that I am supposed to use!  Thanks!

    This is actually a VERY good question, because the initial settings will affect, to some extent, how you'll see all things that are not color-managed.
    Things get even more complicated if you're going to maintain two monitors and would like them to more or less match.
    What I'd do is spend some time, before firing up the profiling device, to try to set the on-monitor settings so that you have a comfortable brightness level and get the response as close as possible to gamma 2.2.  Then the video card curve cablibration process won't have as much to change.
    There's a chart I like to use to see if the gamma is close to 2.2:
    First, make sure any remnants of a monitor profile from your old monitor are removed, and that you're back to defaults (e.g., sRGB IEC61966-2.1).
    Make sure and view the above chart at 100% full size, and using your on-monitor controls try to get the gray bars in the left column to seem as one smooth gradient, the same brightness from side to side.  Also, you should barely be able to see dark gray on black squares in the top-right black bar on white background.
    Depending on your monitor gamut, you may not be able to get all the color out of the center column, but get it as close as possible.  Then you'll leave the calibration/profiling process a good starting point, and you shouldn't be hugely disappointed in what you see from your non-color-managed applications.
    -Noel

  • Overclocking Core i5 750 on MSI GD80 Question about BCLK, RAM, and QPI

    Hi,
    I am trying to overclock my core i5 750 processor to 3.6 Ghz (default is 2.66 Ghz) and I have an important question about the BCLK I should be setting so that my RAM would run at its default speed of 1600 (G. Skill Ripjaws 4 GB). 
    Basically, the only speeds I can set the BCLK at, to run the RAM at 1600, are 160 and 200 Mhz.  Right now, I have it set at 200 Mhz (160 is not enough to push the i5 to 3.6 Ghz sadly) and with a 20 multiplier, I got 3.6 Ghz on the i5.  But here are the questions:
    1.  My QPI speed is now at 6400 Mhz (far from the default 4800) - is that actually safe?
    2.  Is 200 BCLK way too high?  I haven't seen too many people overclocking using my settings...
    Thanks 

    Quote
    2.  Is 200 BCLK way too high?  I haven't seen too many people overclocking using my settings...
    "Too high" or not too high is a somewhat pointless question when it comes to overclocking.  From a specfication perspective, everything above default clock speeds is too high and so is a memory clock speed of DDR3-1600 (as Intel's specifications define DDR3-1333 as the maximum supported memory speed).
    Quote
    I have an important question about the BCLK I should be setting so that my RAM would run at its default speed of 1600 (G. Skill Ripjaws 4 GB). 
    Your RAM will not mind if it is not exactly running @DDR3-1600. There is no necessity to aim for an exact BLCK/RAM Frequency match.  Let's say you find a stable spot that will result in a DRAM Speed of DDR3-1578.  So what? 11 MHz less will not have any significant impact on the system performance.

Maybe you are looking for