How to profile inkjet printer + paper with i1Photo Pro 3 Plus & i1Profiler
HTML-код
- Опубликовано: 27 июл 2024
- This is a step by step demonstration how to profiler inkjet printer & fine art paper with X-Rite i1Photo Pro 3 Plus with i1Profiler software. Equipment used this in this demo are specific, however, with a board interpretation and generalization the concept shown here can be apply to any other printers, paper brands and computer OS.
Extra Resources
How to install proper Epson Driver on macOS: • How to choose the corr...
Lightroom Printing Guide: • HOW TO: Fundamental Li...
Canson-Infinity Paper: www.canson-infinity.com
SW271C www.benq.com/en-us/monitor/ph...
Review: • BenQ SW271C The Best 2...
LED Lightbox that I used in this demo IVISII G2 RGB LED • IVISII G2 RGB LED Ligh...
Find out more about X-Rite Devices here*: x-rite-photo.2rcf97.net/nYoe6
If you are in the US, send me an email or add my Facebook page or instagram and message me for a 10% off code. :) Happy Calibrating!
*If you purchase something from X-Rite affiliate links this channel will get a small commission with no extra cost to you. This makes it possible for us to make more videos. Thank you!
Time Stamp to skip ahead!
00:00 Intro
00:12 Preface & Equipment info
02:52 i1Profiler Start Screen
03:54 Patch Set (Choose how many)
05:00 Test Chart (Paper Info)
06:43 i1Pro 3 vs i1Pro 3 Plus Patches size compared
07:38 Optimize number of patches & print pages
10:47 Print the patches
11:19 How to install proper epson driver on Mac
11:33 Nozzle Check & Print Settings
14:32 Caution waiting for prints to dry
15:00 Measurement & Device Calibration
16:41 How to measure color patches
20:40 Setting Printer Information
21:35 Lighting & Spectral Information
22:30 Ambient Light Measurement why do it?
23:26 How to setup & Measure Ambient Light
26:20 Profile Settings
27:39 Creating ICC Profile - Naming Convention
29:16 Profile Created & What to look for
29:47 Comparing Profile
30:40 Test Print with LightRoom
31:41 Check Print Settings
32:33 Finish Printing
33:27 Conclusion
33:44 Outtakes
Please give this video a like and subscribe if you are new!
Director of Photography & Filming by
Art Suwansang
SW321C www.benq.com/en-us/monitor/ph...
Review: • BenQ SW321C Review - T...
SW271C www.benq.com/en-us/monitor/ph...
Review: • BenQ SW271C The Best 2...
SW270C www.benq.com/en-us/monitor/ph...
Review: • BenQ SW270C Review: Th...
SW271 www.benq.com/en-us/monitor/ph...
Review: • BenQ SW271 Full Review...
SW240 www.benq.com/en-us/monitor/ph...
Review: • BenQ SW240 Review, The...
SW2700PT www.benq.com/en-us/monitor/ph...
PD2720U www.benq.com/en-us/monitor/de...
PD3220U www.benq.com/en-us/monitor/de...
Review: • The Ultimate BenQ PD32...
PD2700U www.benq.com/en-us/monitor/de...
PD3200U www.benq.com/en-us/monitor/de...
PD3420Q www.benq.com/en-us/monitor/de...
Review: • BenQ PD3420Q Review, T... 
Наука
Bravo!! Best step by step explanation I have ever seen concerning color managent and profiling for beginners
Glad it was helpful!
It's the best explanation I've seen. Thank you so much!
You're very welcome!
Excellent Man!!! GREAT VIDEO.
Much appreciated!
Art,
Many thanks for your great video. I rarely donate money, but this video is worth every penny. Unlike many other videos, you provided information about the Pro 3 Plus that is not available anywhere else.
One of the major questions I’ve had is: “Why are these i1 Pro calibration tools much more expensive than other tools like the i1Studio that I have?” Since I have a BenQ SW321c, Epson SC P900, and a decent supply of Canson Infinity paper, now I’m comfortable that the i1 Pro 3 Plus will help me get the best image possible. It fills a major gap for me. The initial cost will sting, but I think that every printed image going forward will ease the pain. (At least that’s my hope.)
Thanks again and best regards,
Dan
Awesome, glad I'm able to help. If you have any more question please post it in a new comment this way I'll see it.
photography is one thing. printing it is another diffrent hobby
ok, to many it is not a hobby, generalizing and classifying it as such might not be the most sensible statement. Also what is being shown here, you have to take your hobby seriously to spend this kind of money.
The measurement condition (M0, M1, M2) and rendering intent (Perceptual, Relative, Absolute) are important. You should have a video about that sir.
That is more in-depth follow up videos, thank you for the suggestion/request. They are added to my list.
Thanks!
Thank you!
Thanks...
You're welcome!
Hi Art. Let me first thank you for your informative videos. They've helped me considerably to choose the right photo editing display (Benq SW321C) and how to use the accompanying software effectively. You've saved me a lot of time getting up to speed with color management. Thank you. The question I have regarding printer/paper profiling is whether the profile generated is paper size dependent; i.e. print and measure test charts on A4 if you want to print on A4 or is the accuracy generated on A4 applicable to larger size prints? I have access to an i1iSis device - however, it will only read A4 paper. Again - Thank you!
Hi Dan, so yes the paper size should be independent, because they generally make the paper is super large sheets and cut them down. For instance the 13 x 19 that you have could come from the same sheet as the 8.5 x 11 box. The variation between paper size and batch runs are really small that the custom profile that you create should account for most of the variations. :)
What are the reasons someone would choose this model spectrophotometer vs the ColorChecker studio? Thank You for the informative videos.
Pro vs consumer and by Pro I mean pro lab or any one who is serious and does printing for a living. It is an expensive device that cost about 5 times as much as the consumer model and the sensor inside is much better and there are more LED to light up the area being measured as well. So in order to create a consumer model of a spectrophotometer that is 4 times less, well there are some areas where the company has to scale back.
sir, just wanted to ask. printing for the first time (the patches) on a random kind of photo paper that idk the specific name of the media. what media type should i use? so cheaper version of paper manufacturer doest recommend what media type to choose. 13:32. help pls.
I would look and feel the paper to choose the media type, generally if it glossy, I would just choose photo glossy, Matte, photo matte, and if it is fineart paper, which this one does not sound like it is, then I would choose either velvet fine art or just go with matte.
Hi! very nice video. I have i1studio. is it possible to use/connect the i1studio hardware (photo spectrometer) with i1profiler software in place of i1studio software. as I have to profile for cmyk to use with rip software. I am using dtf printer based on Epson l1800 rgb printer. Please help how to do it. thanks in advance.
You can’t really do that with the i1Studio device. That’s the reason why I device cause about 1/6 the price of the i1Pro 3
i use i1 profiler software to create an icc profile for printer using photoPrint RIP with CMYK+3 and i don't know how to specify color parameters like LM, LC and varnish in i1 profiler software in advanced mode
Those are specific inks color for specific printer. The RIP would be the software that you would use do that, i1Profile is unaware of individual ink colors and therefore can't specify the ink output.
Hi Art, thank you again for the amazing video. Sorry to be a bother, I've followed your instructions for the RGB workflow, however I am using an Epson F6300 CMYK dye sub printer, and using the created RGB ICC profile in SoftRIP gives me an error (profile contains only 3 colors). Not sure if I have missed a step somewhere?
The untransferred print looks fine, infact looks more correct compared to a CMYK profile I also made following your steps (the CMYK profile prints and sublimates slightly too much green), but I made the CMYK profile before I realized I should have changed from CMYK to RGB workflow in i1Profiler!
Files I will be receiving to print will be in RGB mode, so I need to ensure I get the profiling right for that. Cheers!
Are you printing through the RIP, that is an entirely different process. Can you give me an over view of your workflow?
@@ArtIsRight Thanks Art. Yes, printing through SoftRIP. I have linearized the printer, and am printing the test charts from i1Profiler with no Output ICC profile assigned.
Basically following this at the same time: proimagingsupplies.com/uploads/file/Color%20Management%20Best%20Practices%20for%20Dye%20Sublimation%20v1c.pdf
and
wasatch.com/profilingpss/
What confuses me it they say I need to create two profiles, depending on what type of file (CMYK or RGB) the customer provides. But then I get the error when trying to use the RGB output profile in SoftRIP
Right, I am unfamiliar with that. I would reach out to SoftRIP and see what they say about this.
Thank you, these videos are great. I’m hoping you can help me. I am using the i1 3 pro plus kit to calibrate 6 epson p20k printers, with 6 different paper types. Our main paper Moab Entrada makes up about 80% of the paper used so im really trying to dial it in. We feel like the shadows/blacks appear dull and desaturated, often differing significantly from the file. Is there a part of the profiling process where I can further alter the profile to accommodate for this effect? I am currently printing 10 2033 patch charts for every paper and then scanning them to create a profile. Aside from the various Printer Settings we apply from Photoshops print dialogue, they are all being scanned the same way with the same settings in i1. I heard you mentioned two types of patches - the general patch set and then the iterative. Is there some additional steps I need to do that are paper dependent to ensure our shadow values maintain richness and color? I would very much appreciate you lending your expertise. Thank you Art
iterative one is a process that you can push further the profiling by printing more patches but the overall end result does not change much and won't necessary help in your case. Have you printed with the canned profile from Moab to compare the results?
there's a lot of discussion to have about this, best do dm me on fb or insta, if not email
Hi! I have a few questions that are off topic, however, I don’t know where else to ask so I’m asking here.
Could you please make a video showing what to do after a monitor calibration? Especially about color settings in photoshop, premiere, lightroom etc.
I am a little confused. Should I use the display profile as working rgb in photoshop? Should I use soft proofing in photoshop? Why is it that when I fill the canvas with the background color in photoshop, the color on the canvas is slightly different?
What is a color managed app? Are non color managed apps showing inaccurate colors?
Is there a way to know if my gpu supports multiple luts? When I calibrate a monitor and measure the profile quality, then calibrate a second monitor, the quality of the first one gets a little worse. Is this because my gpu doesn’t support multiple luts? Would a hardware calibrated monitor setup solve that?
How exactly can I disable the effect of the calibration in Windows to get the uncalibrated look? Should I do that before further calibrations or can I calibrate a monitor that has the previous calibration profile active?
I am sorry for asking so many questions but I’ve been searching the internet for a long time and nobody has provided a detailed enough explanation covering all the topics I am interested in. Thank you very much for your videos!
LR you can't change color it does all the color management by itself this video will help build some understanding ruclips.net/video/Gu1nqEf8vzg/видео.html , Premier is similar to PS where you can set the color profile and in the video shared above, I briefly mentioned how to setup color is PS as well. I would use this as a guide for now. Full PS guide is in the works.
Based on the video that I shared, in a sense it does not matter but if you want to see the most accurate colors then yes use the display profile.
Soft proofing is a simulation process based on measured data from the profile, different type of medium will show color slightly different.
"Why is it that when I fill the canvas with the background color in photoshop, the color on the canvas is slightly different?"
If you use soft proofing it is doing a simulation over the image and will cause the color to change based on the print profile and translation rendering intent.
"What is a color managed app?"
All Adobe Software, PS, LR, etc. Windows for instance is non color management.
"Are non color managed apps showing inaccurate colors?"
The can depending on what profile they are using and if they are using CMM or not.
"Is there a way to know if my gpu supports multiple luts?"
Yes most of the time 1, for Mac I found out through some conversations with various engineers that it can support up to 2. But I don't have white paper proof on this, in fact most of these intricacies are not written or documented in white paper.
"When I calibrate a monitor and measure the profile quality, then calibrate a second monitor, the quality of the first one gets a little worse. Is this because my gpu doesn’t support multiple luts?"
Could be deeding on if you are using Mac or PC.
"Would a hardware calibrated monitor setup solve that?"
Yes the LUT is independent on the GPU and reside on the individual display.
"How exactly can I disable the effect of the calibration in Windows to get the uncalibrated look?"
You can just remove the icc profile. Although windows does not color manage to start with the icc effect that you see through out the GUI should be very slight or visually non noticeable.
"Should I do that before further calibrations or can I calibrate a monitor that has the previous calibration profile active?"
Active profile or not, or if you set a profile before calibration, it does not matter. All good color calibration null the system profile and adding a linear, non adjusted profile, before calibration. So nothing matters here.
"I am sorry for asking so many questions but I’ve been searching the internet for a long time and nobody has provided a detailed enough explanation covering all the topics I am interested in. Thank you very much for your videos!"
Hope this helps.
@@ArtIsRight Thank you very much for your answer!
I am still a little confused about photoshop, though. Would it be possible for you to have a look at this video? ruclips.net/video/CnPAnBHPdfk/видео.html
I know that soft proofing simulates paper profiles for print etc. however, when I don't have it enabled, the colors in photoshop are inaccurate (if I understand it correctly) as you can see in the video. Enabling soft proofing solves that but I think that I might have a wrong setting somewhere because I think it should look normal without soft proofing too.
Another thing is that when I screenshot the photoshop canvas, the colors on the screenshot are lighter as well, is there something I can do about it?
The screenshots are lighter in photoshop even after setting my working space for RGB to my display profile.
I did not have these problems before calibrating.
DM me on Facebook message or insta, let's have a chat about this.
@@ArtIsRight Sent you a message on instagram. Thank you very much :)
Hi Art! Don't tell people to change patch amount to fill up the paper sheets. Chart loses gray colors and they are important to fulfill the gamma. Also to make bigger patches is very useful.
By doing this you are not really removing the grays, control patches are on every sheet printed. There's an optimal number of patches, the number that Presented here is near that optimal number. More is not better nor less. Bigger patches meaning each patch are bigger in dimension or more number of patches. Useful, sure but there's a point of diminishing return.
@@ArtIsRight just check. Line of grey shades disappears when you change amount from 2033 to 2034. For that reason I wasted 10 days with customer service at xrite and they didn’t know that too. To get a full gamma looks like those greys are important.
I see, the number that you have exceeded the maximum optimal number of patches too. I have to look it up but the optimal number is somewhere between 1650-1750, I have to look up the exact number. Exceeding it can lead to issues. But I'm glad that you figured this out. This seems like a bug of some sort and filling the pages or not should have little baring on the overall result. So this is an interesting finding.
@@ArtIsRight Another number which is good is 1877. I have no tried it and don't have any profiles 2033 worked good for me. But this was a nightmare to me. Rolls and rolls of paper. Thank you for your videos! They helped a lot as well.
Good to know. I used 1632 and found that to work well across multiple papers. As I said, speaking to other who have used this device and tested the profile, using anything more than 1700-1800, let alone 2000 patches will start to cause issues - point of diminishing returns.
Hi Thank you for this detailed video. I followed exact this step with using my i1 pro 3 and print color is way off. I printed test chart three times on basic mode and advance mode and scanned chart many times all icc profile make disaturated and weird color photo,, any possible mistake I did during step? or is my device malfunction?
There are so many variables that can happen along the way. Send me the icc profile via email or we transfer let me know what paper are you using, printer etc. Also did you turn off color management during the patch printing and when you print with icc?
@@ArtIsRight Hi I'll send profile, I'm using epson p600 and making profile for epson luster paper for test. and yes I did turn color management during print which is showing on your video. thank you for reply
@@ArtIsRight where can I find your email? thank you.
in the about section of my main RUclips page. RUclips.com/artisright
@@ArtIsRight Hi I just figured out! Xrite guys helped me :) I was printed test chart with wrong setting. And they were recommending your video for reference :)
Just before you start measuring, after you've calibrated the spectrometer on the white tile, there is no mention of the settings on that screen. Where it says printer information and paper information, none of that matches velvet fine art, or the printer. There are options for solvent printers and UV printers and other things, but nothing for inkjet printers, and the only paper options seem to be matte photo and photo type papers.
You don't choose the specific paper in these type of programs. You choose the printer type which for most ink jet is RGB even when it is using CMYK variety inks. And then you choose the best corresponding paper. Too many brands of paper and subtype. Just do a broad definition and you'll be fine.
Will the Pro3 Plus read metallic gloss or pearl paper?
Both, although with Metallic you might need to use the polarizer filter with it
@@ArtIsRight That is what I thought, but xrite says no.
I would try both and see which one produce a better result. It ultimately depends on the reflection on the paper and each brand metallic act different. There are some super glossy metallic and some more pearl type surfaces. Just test on these edge cases.
Would like to see a fresh printed image split in half meaning half color half grey scaled , if there will not be at all a color cast like magentas or green then the print will pe just on spot. We tried a lot of workarounds for this problem and it never ends. It is true that we do not use the Xrite products Yet, but for sure if you analyze with a hawk eye there will be a minimum cast , and there comes the question: Is there a way to edit or control the color shift in an ICC profile ?
You can't do that in i1Profiler, you can do sometime iterative profile fine tuning but that is the limit. You may have to look into even more pro programs to do what you want to achieve. Also yes minimal color cast with using an instrument but is it perceptible to the eye or will most see it as neutral? Another way to get around this is to use a RIP that forces the printer to use just the various black tones ink. But it is more work that is for sure. I have done this in the far distant past, now a day, I found that the need has lessen, at least for me.
@@ArtIsRight First of all thank you for your quick response we do use a P6000 from Epson, and we do generate our profiles using the Silver Fast Package, when do we choose to print only black and white artworks all fine you can set this from printer’s driver and it will use only the PK or MK inks so far so good no complaints, but when do you need a combination of color and bw then comes the ICC profile, and often all fails when rendering the neutral colors and indeed on the black areas you will notice slight casts. We experienced with some rips and still some limits. Anyway when an artist comes to our print shop he / she will wants to see the work art as planned with all colors in place, still yet in my opinion the industry is not very well prepared 😊 Most of the printers fail miserably especially when comes to render low keys, fine bw gradient combined with vivid colors and more….if you remove the cast from the bw part it will remove also some values in primaries…a never ending circle 😊
I see your situation now. Wow that is within a very small margin and effect even a smaller groups of creatives. This is a great dilemma to explore but as you already found out, it is a never ending rabbit hole that keeps going deeper and deeper. And then if you can edit the icc, the issue would you like you said, remove the color info from B&W area and you also remove color from the color area as well. Just to find out, you might want to give X-Rite sales a call, they might be able to get you to the correct person that know more about this either one of their engineer or color scientist. They might have a way around this. However, there may not be an answer on this as well since this is such a sub niche need.
@@ArtIsRight The interesting part here was in your presentation the possibility to match the light spectrum by measuring it directly with the tool, to avoid the metameric failures, I suppose that step indeed will help to analyze the projected light versus the paper and color that calibration will match, that was the part clicked my interest. Anyway we would try as you recommended maybe to consult a color specialist from them and hopefully to discover something that helps. Thank you for your time.
Sure thing! And using the light spectral data will help to get an even better match.
Thanks 👍 for video sir. 😟 We don't have canson in india (not in my place) and in amazon.in it's too expensive.
You can use any paper for this it does not have to be Canson Infinity
@@luxnova64 Yes sir i do calibrate my printer and monitor for profiling. I have VMS brand in India but A4 size only. I'm looking for A3. I use i1 Studio Device Designer Edition and it works fine with BenQ SW2700PT 2K Monitor (MFG Jan 2020), Epson L1800 and Epson L3150 printer.
Very nice!
I have a problem in profile step because of license
Right what device do you have?
Hello sir, have the driver for Windows 10?
i1Profiler from X-Rite yes there's Win version.
@@ArtIsRight Have one link to download?
This is way too much - Im trying to stay awake
If you don't have the device and it is not relevant to what you are doing at the moment yes. If you have the device, the effect would be different. Relevancy is a direct correlation to attention ;)
excellent! could you explain if it is possible to work with the X-Rite i1Publish Pro 2 Plus and i1iO. Thank you very much!
yes but I would reach out to X-Rite for more info
@@ArtIsRight Thank you very much!
Thanks!
Thank you!