Custom Profile to soft proof 10% Clip?

Thanks in advance!
I'm trying to set up an image to be used on a piece of packaging, which is supposed to be 'light and airy', and therefore uses pretty light colours thoughout. But I've been told that the image will clip any ink below 10% on the final output.
I've been supplied a generic ISO Coated FOGRA39 profile but that's it. So I'm trying to find a way of soft proofing to see where the clipping will occur.
I'd prefer to work in Adobe RGB for as long as possible rather that convert to the FOGRA309 profile and tweak the channels individually.
So can anyone give me some pointers on setting up a custom soft proofing profile?
Cheers! (I hope)
PS. CS3 10.0.1, OSX 10.5.8, 2x2.8 Quad

Thanks Buko.
But I think the FOGRA 39 profile was just sent as a general catch-all profile, and as such will not help me see the clipping below 10%.
The image has several areas of smooth gradient, hypothetically going from 100% of a channel to 0% of of a channel. This displays and prints smoothly (with the FOGRA 39 profile or without).
However I have been told that the final print will have worse tolerances, and areas below 10% af any particular colour will simply burn out, leaving a hard edge at the lighter end of the gradient.
It's these hard edges I'm trying to see, so that I can try and minimise the damage. I thought I may be able to create a profile to do this for me?

Similar Messages

  • How to use ICC profiles and soft proofing profiles?

    Hi,
    I got an Epson Stylus Pro 3880 and Epson Hot Press paper which, upon investigation, received great profeesional reviews and, having never printed digitally before, I don't know how to use profiles for soft proofing or printing.
    I don't know where to go in Aperture or what to do. My driver is up to date and I downloaded the paper profile - not sure where it ended up. What's next?
    So far as I know, soft proofing is about calibrating the monitor to the paper - am I correct?
    Thanks guys,
    Raphael

    Raphael,
    A good reply is going to require a full-size keyboard, which I don't have access to just now.  Here are some starter pages:
    http://www.cambridgeincolour.com/tutorials/soft-proofing.htm
    http://www.luminous-landscape.com/tutorials/soft-proofing.shtml (a bit grumpy and out-dated)
    Fwiw, I print to Epson Hot Press using a 3880.  Imho, it's a _great_ printer, and that combination of printer and paper produced state-of-the-art results.  (Not suitable in all cases, but if that is a look you like, the only thing that I've seen that surpasses it is the Epson 9900, and without looking at prints side by side you can not tell them apart.)
    Your profile ended up wherever you have told your browser to save downloaded files.  The Epson site should provide instructions on where to move the file.  Once it is in the right Finder folder, when you next Aperture it should show in your list of profiles.
    Keep in mind, though, that soft-proofing is useless without a well (read: hardware-calibrated) calibrated display.
    HTH,
    --Kirby.
    (Sent from my magic glass.)

  • Does Photoshop support N-Color ICC profiles for soft proofing?

    Hi All,
    Does Photoshop support N-Color ICC Profiles for soft proofing? If yes, then can anyone guide me?
    Thanks!

    No, it does not.

  • Display profiles and soft proofing Windows RGB / Monitor RGB

    This might have asked before, but I did not find any definite answer for this. Sorry this gets a bit long.
    Short question:
    What's the difference between softproofing with Windows RGB and Monitor RGB targets? I see differences in my image between these targets.
    Long question(s):
    Here's some reasoning.. let me know when I go wrong.
    I have hardware calibrated my display Spyder 3 elite to sRGB standard. I have understood that the generated display profile contains a LUT table that affects gamma values for each RGB component, so that affects both gamma and color temperature. That table is loaded into video card when Windows starts. In addition to the LUT table, the display profile contains what? Probably information on what color space the display has been calibrated to. Does that matches directly with the LUT table information, but may deviate from sRGB in the case my monitor cannot reproduce sRGB 100%?
    Now if I have image that that is in sRGB, but the embedded sRGB profile has been stripped away, should any non color management aware image viewer show the colors properly, if it is assumed that 1) my monitor can handle full sRGB space and 2) my monitor was succesfully calibrated to sRGB and the LUT table has been loaded into video card?
    Or does it still require a color management aware program to show the image, which implies that the LUT table information alone is not enough and the display profile contains some extra information that is needed to show the image correctly? I would think this is true, as I needed to turn on color management in Canon Zoom Browser to see images in it the same way as in Photoshop.
    Now to the original question, what's the difference in Photoshop when soft proofing with Windows RGB and Monitor RGB targets
    I read from www.gballard.net that
    Photoshop can effectively "SoftProof" our web browser color:
    Photoshop: View> Proof SetUp> Windows RGB
    Photoshop's Soft Proof screen preview here simulates how unmanaged applications, web browsers, will display the file on 2.2 gamma monitors, based on the sRGB profile. If the file is based on sRGB and our monitor gamma is 2.2 and D/65 6500 degrees Kelvin, we should see very little shift here, which is the goal.
    Photoshop: View> Proof SetUp> Monitor RGB
    THIS IS WHERE the color-brightness-saturation problem will repeat consistantly.
    Soft Proofing Monitor RGB here strips-ignores the embedded ICC profile and Assigns-Assumes-Applies the Monitor profile or color space.
    The color and density changes seen here show the difference between the monitor profile and the source profile sRGB.
    I'm not sure how to read that. Assume here that my monitor has been calibrated to sRGB and the PS working space sRGB. Do in both cases photoshop strip away color profile from the image at first? What happens after that? Does in Windows RGB case Photoshop pass the color values as they are to display? What does it do in "Monitor RGB" case then? Does it assign my monitor profile to the image? If it does, does there also happen conversion from one color space to another? In either one conversion there must happen as the soft proofing results are different. Does either one cause "double profiling" to the image as the monitor is already calibrated?
    Thanks

    Windows defaults to sRGB if you don't calibrate your monitor so untagged sRGB files should display (more or less) correctly in applications that don't know about color management on systems with uncalibrated monitors.
    When proofing against Windows RGB you're proofing against sRGB, it will show you how applications that don't know about color management on an uncalibrated monitor will show the image. This is what you proof against if you want to see how the image will display in web browsers.
    When you proof against Monitor RGB, Photoshop will assign your monitor's icc profile to the image which tends to be utterly useless most of the time.

  • Soft proof blurb profile

    I want to soft proof with the Blurb ICC profile. In LR4.0 beta I can only select from attached printers or display profiles.
    OS10.6.8, I have stored the Blurb profile in root/Library?ColorSync/Profiles.
    In Photoshop the Blurb profile is an option, so that location works for Photoshop (version 12.1)

    Austerberry wrote:
    That does answr the question, but what I wanted to do was to soft proof the output of the Blurb printers.
    You can’t for several reasons. One, LR only handles an RGB path and the output device here (an Indigo) is a CMYK device. You could soft proof in Photoshop which of course supports RGB and CMYK.
    But the other issue is, the ICC profile Blurb provides is a generic one that does not describe all the print conditions (all possible paper and print behaviors) so even if LR could use the profile, the soft proof would be inaccurate and of little use.
    Third, if any print provider demands output in say sRGB (which is what LR feeds to Blurb), then a user has no control over the actual conversion process (control of Rendering intent, pretty darn important, Black Point Compensation etc). So in such workflows, having a profile you can’t use, being forced to send sRGB is kind of pointless.
    What can you do? Well until Blurb in this specific case provides CMYK profiles you can actually use for conversions for all their possible print processes, nothing. If they did, you could soft proof and convert in Photoshop. But until LR provides a CMYK path (don’t hold your breath), you can’t use the CMYK specific profiles even if they were available (which thay aren’t).

  • Soft Proof Profile??

    Hi, my question is quite simple really, Is it possible to create a profile for soft proofing? If it is possible, could somebody let me know how to do it! Many Thanks!!

    Thanks for the reply!! I do understand that and to say the least I am a novice. I have a Huey Pro which is calibrating my colour. I recently had my first batch of prints done by a professional lab they sent me one batch corrected and the other straight print. The straight print was darker than the image i had on the screen. So it was my understanding that you could use the soft proofing to gain some idea of what the final image would look like depending on the media type. So what i was getting at really was if i select the standard profile of lightness decrease i have an image on screen far closer to that of the straight print. So what i would like to do is create or edit an existing profile to take the lightness a little lower which will being bang on for the lab prints. This is just so i don't have to second guess the results from there colour correction. I hope that make sense. But as i said before I am a novice and i might have this wrong!!

  • Soft Proofing Books?

    Is there any way of soft proofing books, as in CS2 View/Proof colors? And is there a choice of papers?

    At the very bottom of the view menu you can select an ICC printer profile for soft proofing. You can then the function and will use the selected profile. I can't think of anyway to select paper a type unless a specific profile is provided for that printer/paper combination.
    Sam

  • No paper appears for Soft Proofing in Snow Leopard and R1900 Epson printer...?

    No papers appear for Soft Proofing a photo when using Epson R1900 printer and in Snow Leopard.
    Print driver 6.62 is installed. Soft Profing papers are listed when an image is open in Preview but
    can't print from Preview. None appear when a photo is open in Photoshop. Paper profiles
    are listed in Color Sync Folder in Library but they don't appear for Soft Proofing when in PS.
    How can I get profiles for Soft Proofing? They did appear when my printer was in Tiger & a Power Mac...?

    I can't really tell which drivers you are using right now. It sounds like the best course of action for you is to uninstall all of the Epson printer drivers and reinstall them one at a time. You will need to go into the Library/Caches folder and delete the Epson folder. Also go into the Library/Printers folder and delete the Epson folder. In the PPDs folder, delete the .gz files for your printers, too. If you are using the Gutenprint driver, you will need to uninstall that first. You can download the uninstaller at the following URL:
    http://sourceforge.net/projects/gimp-print/files/Uninstaller%20-%20Mac%20OS%20X% 20ONLY/1.2.6/gutenprint-uninstaller-1.2.6.dmg/download
    Click on the file it downloads and uninstall Gutenprint.
    Once all the drivers have been uninstalled, install the latest drivers for each of your printers one at a time and make sure each works before installing to the next one.
    Hope this helps, Syd

  • Soft proofing CMYK in LR 5.2?

    ACR 8.1 allows CC users to soft proof in CMYK and LAB color spaces.  LR 5.2 will have ACR 8.2 capabilities, so will we be able to soft proof in these spaces as well?

    What a shame.  The only book vendor option we have from within LR is Blurb, which uses CMYK printers and provides a CMYK profile for soft proofing.  The only way to soft proof with this profile, however, is to use Photoshop, but you then convert back to RGB when you return to LR, so thre is no point of going through that routine. 
    Clearly Adobe recognizes the importance of soft proofing, and put that capability into LR.  Clearly Adobe recognizes that many LR users would like to produce books, and put that capability into LR.  Somehow Adobe failed to connect the dots and did not provide the capability to softproof book projects being sent to the only print vendor available in the book module. 
    What exactly is Jeff's reply saying?  Jeff says it "won't" happen, which might mean that it could  happen, but for some reason Adobe has decided that having this capability in LR would not be beneficial to Adobe in some way.  I can't imagine how CMYK capability in LR would affect sales of other Adobe products, so that explanation seems unlikely.
    Perhaps Adobe thinks that LR users would be confused by having the CMYK space available to use.  However, we have the option of chosing from among three RGB color spaces now, so how would a fourth space be a problem for us?  Besides, I don't think that LR users are less capable than Photoshop users (in fact, there is a lot of overlap), so if it can be understood in PS it can be understood in LR.  Hence, that explanation also seems unlikely.
    Perhaps Adobe is trying to maintain a clear distinction between its "professional" products, which have greater techincal capabilites, and its, for lack of a better term, "consumer" products, which do not need to be so capable.  LR doesn't get CMYK because it is intended for customers who don't need it (although they send us to a book printer that only uses CMYK printers).  Of course, Adobe realizes that many LR users are professional photographers who have prints made in high-end print shops that use CMYK printers, just like Blurb does, so that explanation is just as unlikely as the first two.
    Perhaps Jeff misspoke, and meant to say that it can't happen, not that it won't happen.  That is, that there is some technical reason why LR can't use the CMYK color space.  This seems very, very unlikely, although if somebody is aware of such limitations to LR, perhaps they could explain them to us.
    The bottom line at this point, unless there is more information on why LR can't have CMYK capabilities, is that Adobe has made the decision, and that is that, and we have to live with it.  Sort of like the Creative Cloud.

  • Soft Proofing:  View Proof Setup Custom:  Profile Disappears when Re-opened

    Photoshop CS6 on Mac
    Edit an image file and get it to where I like on the monitor
    Duplicate the file and set the new file to the profile for the printer which will be used, by using View > Proof Setup > Custom and setting an imported printer profile for the printing company that I use.
    As soon as you do that, the file looks like crap, so...
    Edit the soft proof file to get it to where it looks good again. 
    Save off the file for the printer and also save the new PSD file.
    Close the PSD file.
    Reopen the new (soft proofed) PSD file.
    Still looks good, but.... when you check View > Proof Setup it's now generally set to Custom: U.S. Web Coated (SWOP) v2 instead of to the imported printer profile which was set previously.  WHY????  Where did the printer profile go?  Is it supposed to do this?
    If I then reset View > Proof Setup to the correct printer profile, the image goes to crap again. 
    Is this me doing something wrong, or is the PSD file not properly remembering the printer profile, or... what's going on here? 
    Thanks much!

    None of what you write makes any sense whatsoever to me, sorry.
    Let's start by using correct terminology.  For the last time, you are not "importing" any freaking profile.  Wrap your head around that once and for all, please.
    Let me try once again, totally disregarding the scenarios you were unsuccessfully attempting to describe above.  Forget all that mumbo jumbo for now, please.
    You have not mentioned what your working space is, so let's assume it's Adobe RGB.
    You have finished editing an image, so now you have an AdobeRGB-tagged image.  Fine.
    Now you want to soft proof it to see what it will look like in that FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper printer in Anchorage.  (Made up names of course.)
    So you make a duplicate COPY of your finished image file named BabyPictForPrint.psd.  You're still in Adobe RGB, of course.  You put the original away in a safe and forget about it—forever.  That's like your negative in film days.
    Now you soft proof the BabyPictForPrint.psd COPY by using the infamous FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper.icc profile the outfit in Alaska sent you.
    When you soft proof it with that Alaska profile, you have not imported anything.  Photoshop is simply using the profile you pointed it to to show you in your monitor what it would look like.  Your pixels so far are untouched, yet yo see your image "die" before your very eyes.  Ouch!  Now you need to compensate for the effect of printing under those proposed conditions, so you set about the task of editing the copy accordingly.  Remember, you're still in Adobe RGB.
    Once you have the copy just the way you like it, YOU SAVE ALL YOUR CHANGES in that copy.  Now you have a fully edited image file in the Adobe RGB space but tweaked to look fine when printed in the FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper printer.
    At that point you are done!  Finished!
    Now you are faced with two choices:
    A) Sending the finished, saved ADOBE RGB COPY to your printer if you consider him capable of knowing what he's doing.  (If you think he does not know his business, look for another printer).  Or…
    B) Assume you're dealing with a moron on the other end who wants the image CONVERTED to his custom FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper.icc.  If that is the case, then open your COPY in Photoshop, go to the Edit menu > CONVERT to Profile… and convert the copy to the infamous FujiWonderPrinterInAlaskaUsingMatteThaiElephantPoopPaper.icc profile.  It's critical to use CONVERT TO Profile, not "Assign Profile"!
    At that point, under scenario B), you do not EVER want to return to Proof View / Soft Proof mode, ever, EVER again, because then you would be applying the profile doubly and you'd see your image die before your eyes once again, and if you edited it you'd have real elephant poop!
    Hope that helps.

  • SRGB or Blurb icc profile better for soft proofing prior to Book module?

    As I understand it images destined for Blurb are converted by the Lr engine into sRGB behind the scenes. To achieve best chance of colour accuracy in the finished Blurb book, is it better to softproof using a sRGB profile or the icc profile* offered on the Blurb Support website. On the surface this icc profile is recommended (by them) for their Booksmart process. Anyone know if that is similar to the Lr Book module process? There is no mention of Lr anywhere on the Blurb color management pages.
    It would be great to pin down the answer to this. I cannot find any recommendation for best work practice aimed at getting good colour reproduction in these books; and trial and error, whilst acceptable in making inkjet prints, is a very expensive route when applied to printing a Blurb book.
    * And even then, as far as I can see, there is no method for differentiating between the Blurb papers. It is just one profile to fit all.

    I tried using 'Export Book to PDF' in the LR Book module with 'Book' set to 'Blurb' and the PDF images are all tagged as sRGB profile and 8-bit color.
    SUGGESTION
    If you set 'Book' to 'PDF' under 'Book Setting' you can use Adobe RGB profile, 300 ppi, and your own Sharpening selection, which as Andrew Rodney mentioned is a better choice. You can submit the LR Exported PDF at Blurb's 'PDF To Book' upload page and they will do the proper CMYK conversion on their end. The only issue is that the images are still exported in the LR Book module as 8-bit color JPEGs. This may cause banding with a wider gamut profile, but that should be apparent when reviewing the exported book PDF.
    Here are some comments from Blurb concerning using Blurbs 'PDF to Book' workflow, which is similar to what I just described:
    From Me:
    My Workflow Details:
    My objective is to process all images in LR4 and then export them as 300 dpi, ProPhoto RGB profile, 16 bit TIFF images for layout in InDesign using Blurb's InDesign plugin (Blurb Book Creator CS6 v2.0.2.34d8). I will soft proof the placed images inside InDesign using its 'Proof Colors' tool and the Blurb_ICC_Profile.icc profile. Once the InDesign layout is complete I will do the RGB to CMYK Blurb_ICC_Profile conversion during the export to PDF process using the Blurb PDF X-3 Export Preset v1-1.
    Blurb's Resonse:
    Response Via Email(David) - 07/18/2012
    Using InDesign and our Blurb InDesign Plug-in does mean you're using the PDF to Book Workflow. This is because your InDesign files will ultimately be exported/uploaded as PDF files.
    Regarding, "Once the InDesign layout is complete I would like to do the RGB to CMYK Blurb_ICC_Profile conversion during the export to PDF process":
      Unfortunately, there is no option for this and it's actually unnecessary during the export process. Our printers convert and process all images as CMYK using the Blurb ICC Color Profile, so even if you upload/export them with an RGB color profile, they'll be converted to CMYK for the production process.
    My Response:
    Customer By Email - 07/19/2012 05:10 AM Thanks for the explanation David. It sounds like I can just upload the PDF file using my ProPhoto RGB profiled PDF, but I would prefer to do the conversion from ProPhoto RGB to Blurb ICC CMYK profile. This way I can see the results before uploading the file to Blurb. Can I use the Blurb PDF X-3 Export Preset v1-1 with Output > Color Conversion to Destination > Blurb CC profile, and then upload the PDF file myself? If so please advise where I should upload the file on the Blurb website.
    Blurb's Response:
    Response Via Email(David) - 07/20/2012 03:49 PM Hi Todd,
    If you do end up exporting your PDFs with the workflow you're referring to, you can upload your files here:
    http://www.blurb.com/make/pdf_to_book
    IMHO there's no reason why Adobe and Blurb couldn't work together so ProPhoto RGB 16-bit images can be used in the book PDF that gets uploaded (or exported!) to Blurb's website. Blurb then handles the CMYK conversion using full-gamut 16-bit images and not clipped sRGB 8-bit images.

  • Changing color profile in Lightroom 5 Soft Proofing from ProPhotoRGB to sRGB is not showing any changes, changes in Photoshop CC are dramatic

    I am working with  the color profile ProPhoto RGB in both Lightroom 5 and Photoshop CC. In preparing for my first Blurb book I have tried to generate pictures in sRGB in Lightroom, using the Soft Proofing feature, but there are no changes at all. Then I transfer the same pictures into Photoshop, change the color profiles and the results are dramatically different.
    What can I do to achieve the same results in Lightroom

    With an average monitor what you see on-screen is already soft proofed to sRGB (or something very close to it), because that's all the monitor is capable of displaying anyway. So soft proofing to sRGB won't tell you anything. You won't see any difference.
    In Photoshop it sounds as if you assign profiles. That's not the way to do it. If you convert correctly you won't see any difference. Same principle as above: there may be clipping in the process, but what you see on screen is already clipped, so no visual on-screen difference.
    With a wide gamut monitor soft proofing becomes slightly more useful. But still you won't see any changes occurring outside Adobe RGB. You'll get a better idea by keeping an eye on the histogram. Ideally, all three channels should taper gently off towards the endpoints. If any one or two channels are backed solidly up against the endpoint, on either side, that's gamut clipping.
    If Blurb gave you a real profile, one that reflected their actual printing process, you could soft proof to that. But apparently they don't.

  • Convert to Profile & Soft Proofing.

    Hello,
    Apologies if this has been asked and answered. Some answers on soft proofing searched on the forums helped, but didn't hit the nail on the head.
    I'm grateful for ideas, instruction, pointers.
    I. Per the instructions of the printer who's printing my work, I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen; and b) give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no?  Do I have this wrong?
    II. I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible, with allowances, of course being made for paper, ink, etc. The match has to be close. Is there a standard for softproofing that will allow me to see what's likely to appear on a given screen. A tall order, I know. Wondering if I should just inform the viewers to view the jpegs with their monitors set to a certain color profile--or if I should send them a monitor profile along with the jpegs.
    Again, I'm grateful for ideas.
    Best-
    Gear: iMac 27"; Native Gamma 2.2; CS6.

    I've converted my image profiles to Dot Gain 20%. I would like to make sure that what I'm seeing on my screen will a) be a close match to what she (the woman printing the work) will see on her screen
    if YOUR monitor profile is proper, Photoshop is 'accurately' displaying your image
    to see your image the same, SHE (or anyone) will need to apply your source profile and also have a proper monitor profile
    give me a sense of how the printer (Espson Stylist Pro 4800) will interpret and print the work. It makes sense to me that I should change my Proof Setup to Dot Gain 20%, no?  Do I have this wrong?
    Gernot offers a good approach (what I would recommend):
    "Leave images in sRGB (Working Space sRGB)
    Modify by PhS until the appearance is nice
    In Soft Proof choose your PP"
    in other words, "Soft Proofing" (View> Proof Setup> Custom: Device to Simulate: the specific Epson profile) -- it doesn't make much sense to Soft Proof source DotGain20% to device DotGain20%
    my question to her would be: is Dot Gain 20% the actual Epson Print Space (or does she use a specific printer-paper-ink profile that you can Soft Proof on your 'calibrated' monitor)
    if she doesn't do any conversions to your DotGain20 file (it is the Print Space), then Photoshop is showing you the contract proof on your monitor when you open it (is my opinion)
    I also need to make a set of jpegs that will be seen on a variety of screens, each of a different make and calibration. These jpegs need to be as convincing a match to the print as possible
    here, i would Convert to sRGB and embed the sRGB profile -- short answer here -- that is the best you can do

  • Custom cmyk profile not in proof setup

    Working with Blurb.com Printer Profile CMYK  named Blurb_IC_Profile.ICC
    Opened profile  and saved in Rose/AppData/Local/Adobe/Profile
    Cannot bring it up in soft proof setup.  Also when I close CS5 and reopen the profile is no longer in that location.
    I tried to see if the profile would work with changing the cmyk setting in the color settings under edit.
    CS5 menu comes up and states not a good working cmyk profile and does not load it.
    From what I have read on the Blurb forums people have downloaded this profile and it works.  No replies
    for 2011, last was 2010.
    I wanted to know if there is a special way to load this profile that I'm not aware of as I checked several photoshop sites
    to ensure this was the right spot to put the profile in.
    I am using Srgb setting for the images and  now want to soft proof them in cmyk before sending up to the Blurb they use
    4 color press Hp printers.
    Thanks
    Rose

    If you look closely at the image that states  blurb profile locked – there is a little golden image of a lock next to the blurb profile and it is locked – similar to what
    we see when we open a image for the first time and there is a lock (layer background) so you double click it and then background layer becomes “o” .
    I followed your image.png and your profile too.  I have watched their video 3 or 4 times.  I watched a color management
    color flow for an hour in Blurb. But the one hour video is using a Mac instead of Windows and the profile was already
    installed on the mac but they showed the process on the mac on where to place it – not windows.
    I am doing everything that is shown for windows and where you told me to input the blurb profile,
    However, when I close and reopen photoshop I do not see a blurb profile in proof setup.\
    The 1 hour color management video shows that the profile is named Blurb.icc but it is not in my
    setup for custom proof.   That video is done with a Mac and different placement  folders.
    I can only assume that Blurb.com profile needs to be changed or updated.
    I sent emails to them today again and hope to see some answers monday. 
    There showing a 32 bit profile video instead of 64 bit but you did help me to  get the profile in the right spot.  It is a very short
    video for the download process.  two screens to be exact.
    They don’t have a phone number or I would call them personally.  I have sent emails with pictures today.
    Thank you
    Rose

  • Custom Soft Proof Settings....

    Hi....I'm looking for a way to save and load custom soft proof settings in AiCS4. The Adobe help docs say this is possible:
    http://help.adobe.com/en_US/Illustrator/14.0/WS218910C1-B8D3-450b-AC31-9E6EA50C2BAD.html
    ...but my custom soft proof dialog doesn't give me the options. I'm wondering if it's possible.
    Illustrator CS4 v14.0.0
    Thanks,
    Carl Stawicki

    Well I re-did the monitor profiles with PMP 5 and got  the same results - toggling Soft Proof on and off (Cntrl-Y) displayed a darker/yellow image when on.
    Then I re-profiled both monitors with i!Match (I profiled the lesser, an HP-TFT display, and then matched the NEC IPS to it) and now Soft Proof works as it should.
    Why did PMP 5 do this?
    I ran PMP 5 on another Dell with a Dell monitor to see if I had overlooked some step or setting that was crucial and nothing leaped out at me.
    This makes me wonder if I can depend on any profile from PMP 5.
    cvt

Maybe you are looking for