Re: press output looks pale and unsaturated
Re: press output looks pale and unsaturated
- Subject: Re: press output looks pale and unsaturated
- From: Henrik Holmegaard <email@hidden>
- Date: Thu, 24 Jan 2002 07:40:32 +0100
Gerhard Kassner <email@hidden>
I prepared CMYK files with embedded output profiles and delivered an
"overview" Chromaline proof with them. The printing company worked also with
film. The pictures in the catalogue now look pale and unsaturated. Files
with the same separation delivered to another printing company came out just
like intented. What could have gone wrong and how can I prefent such a
desaster in the future? - Gerhard Kassner, Berlin
This has nothing to do with embedding but with choosing the right
separation profile for the right printing process, and finding a
printing company that knows how to print properly.
If you have a separation profile for a known printing process, then
always use that profile. For instance, if you are separating for
publications like Burda (: Euro fashion magazine for you folks in the
US) or Springer magazine work (: Euro version of Newsweek / Time for
you folks in the US), then use the separation profiles these
companies post on www.eci.org.
If you are separating without knowing the printing process, or in
other words without a published separation profile for a house
standard for printing, use a standards-based ISO CMYK profile and
create a proper proof for that which is not what you do with Cromalin
but with a fully ICC enabled system that delivers a colorimetric
match. Include the UGRA/FOGRA control strip in the matched objects
say using GretagMacbeth iQueue or BESTColor and if the printing
company can't print to specifications, then that's their problem.
Match and you pay, don't match and they pay, simple as that -:).