CreativePro Forum

Return to Member Forum

• Author
  Posts
• • April 9, 2011 at 10:24 pm #59222
    Ketrinz

    Member

    Hi All. I set two magazines – one of the mags prints like my screen – the other mag prints quite a bit darker and much redder. I have only calibrated with Apple software. I am happy to purchase a spyder, but my concept is that you calibrate your screen to output specifics. While I have the suite color settings, which I change in Bridge for each specific magazine, I haven't got other settings. I need something that I can flick on and off as I will soon be setting both magazines in tandem. I have played with the View > Proof set up (which I think is document specific) and used the same setting that the printer has used. ie ISO Coatedv2 300%(ECI).
    Any help would be gratefully received.

  • April 10, 2011 at 6:46 am #59223
    David Blatner

    Keymaster

    No, you don't calibrate to the output condition. You just need to characterize (make a profile) for your screen (so InDesign knows what you're looking at). That's what making a monitor profile is all about.

    Are the two magazines printed on different paper stocks? At different printers? Why on earth would they be different, I wonder.

  • April 12, 2011 at 5:36 pm #59236
    Ketrinz

    Member

    Thanks for answering David.

    One printer saves as Acrobat 4 (1.3) which flattens all transparency, the other one as Acrobat 7. I use different colour settings in Bridge for each printer settings. It is the one that uses Acrobat 4 that prints dark, the other one is perfect, as my screen. Both are on same paper stock.

    Have you got any sites that you can start me on please. Is it worth getting a Spyder – can I adjust it to different monitor settings and just flip between the two.

    I have just called the printer and they will get back to me with some soft proofing settings. Hopefully that will fix my problem. It is just that I will be setting the two magazines in tandem shortly – I will separate the jobs as to the Photoshop stuff, so I don't go balmy.

  • April 13, 2011 at 6:38 pm #59256
    Alan Gilbertson

    Participant

    Definitely ask each printer for their .joboptions file appropriate to the type of work you will submit. Colour is a roll of the dice unless you at least use the settings that the prepress department prefers for their particular software and press setup. Colour management via a Spyder or similar isn't worth a thing if your output file isn't right for that printer.

    General rule: Always, always, always consult the printer about any job before you submit final art. Your print providers and your clients will thank you, and you'll sleep better at night.

  • April 20, 2011 at 1:00 pm #59353
    Ketrinz

    Member

    Thanks for that Alan. I have always worked closely with printers and always ask for .joboptions and set the colour space to match theirs.

    It worked out that the printer was printing 10-15% over saturated in the midtones. The colours are very nice and vibrant, just dark. I only see electronic proofs, so it is important to me to get a decent visual. The Spyder didn't make a huge difference, I had manually calibrated my screen fairly well. This is only version 2 so we'll see what goes with version 3.

  • April 20, 2011 at 3:15 pm #59356
    Alan Gilbertson

    Participant

    It never hurts to ask for a contract proof, and it sounds like a Matchprint or Sherpa would have been the way to go in this case. Monitor calibration and soft-proofing are really so you know what it ought to look like. Controlling what comes off the press is, as in this case, still a matter of a press check and/or a contract proof if you need color accuracy.

• Author
  Posts