Re: Hexachrome, which train are you on?
Re: Hexachrome, which train are you on?
- Subject: Re: Hexachrome, which train are you on?
- From: email@hidden
- Date: Mon, 29 Apr 2002 19:56:37 EDT
In a message dated 4/29/02 6:04:25 PM, email@hidden writes:
>
> Actually, I am proofing Hexachrome press files to a range of CMYK, CcMmYK
>
and
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> CMYKOG devices with assorted RIPs for comparison and testing.
>
>
Then you know which RIPs support Hexachrome ICC profiles? Great. I guess
>
your just challenging me.
No, actually; you were challenging me.
You must have Roland if printing CMYKOG, right?
>
Or
>
are you using a DisplayMaker XII or something similar?
C M Y K O G, count them. Six channels. Any Epson since the 3000 is capable of
that.
I am interested
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in
>
how you are proofing CMYKOG with limited gamut CMYK or CcMmYK ink set-ups?
Have you done gamut comparisons for PressHexachrome, and Inkjet CMYK? Or to
put it in common sense terms: have you run into many colors in photographs
that were beyond the gamut of a dye inkjet on glossy stock? The only other
thing to hit is spot colors, which is why I said the choice is between the OG
for Pantones, or the Light C&M for photo smoothness.
>
True, not every image will benefit from the Hexachrome but how are you
>
determining if the image will benefit using Hexachrome process. If the
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image
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won't benefit from Hexachrome printing then why not just use CMYK instead
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of
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trying to simulate six colors on a 4 color device?
You appear to be thinking in terms of final output to an inkjet. For press
proofing the very limited gamut of PressCMYK means that many images will
suffer, and that many Pantone colors cannot be accurately matched. So
Hexachrome has significant value for image gamut, and for avoiding extra
color plates to hit Pantones that CMYK can't reach. With the proofer, your
only job is to match the range of the Hex Press... or the parts of it that
are important for a given job.
>
>
> The "something"
>
> that you are missing is that PressHexachrome is needed because PressCMYK
>
is
>
> quite a limited gamut... for inkjets with their wider gamut the choice
>
exists
>
> of getting a few more of the Pantone colors to proof accurately by using
>
OG,
>
> or to get the smoother images by using the light C&M... few images actually
>
> need the OG for gamut enlargement. If you want both at once, then yes,
>
an
>
> eight color device is your only choice.
>
>
I still don't understand how you can simulate six colors on a 4 color
>
device. The contract proofers that are certified by Pantone use Hifi 4/C
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sheets to achieve a color gamut as large as the Hexachrome process. Inkjet
>
printers don't have a gamut as large as Hexachrome. If they did then why
>
bother with the Hexachrome anyways?
PressHexachrome! Inkjets can being used to proof the PressHexachrome gamut
with whatever colors you choose to run in them... the fact that a given job
(say a newsprint webpress run of advertising material) is within the gamut of
a CMYK inkjet on a particular stock does not mean that it is within the gamut
of a CMYK web press on newsprint. So you could proof that job in its totality
on a CMYK or CcMmYK inkjet, and print it in PressHexachrome for the added
color gamut that offers on press, to the otherwise weak color range of a
web/newsprint job. If you are talking about a cut sheet coated Hexachrome
job, with special wide gamut color images or lots of brilliant vector colors,
then using a CMYKOG inkset in you inkjet would be appropriate for proofing
that job.
>
>
>
>> Maybe you should read the article before I start reiterating what I
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spent
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>> a
>
>> bunch of time putting together. I don't give away the *secrets* for
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free,
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>> sorry.
>
>
>
> I can't imagine there are too many *secrets* involved... <G>
>
>
Sure, if this was straightforward then we wouldn't be having this discussion
>
and I wouldn't writing articles about this stuff -- it would be understood
>
and accepted as we do for CMYK <g> :)
I believe I was expressing myself fairly clearly from the start...
C. David Tobie
Design Cooperative
email@hidden
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