re: Creating Separations for Dai Nippon
re: Creating Separations for Dai Nippon
- Subject: re: Creating Separations for Dai Nippon
- From: Tyler Boley <email@hidden>
- Date: Sat, 22 Jun 2002 10:27:58 -0700
John, your comments are really appreciated, thank you for the reality
check. Some questions come to mind.
>
Dot gain, ink limits, UCR, GCR, Trapping, its all done in the RIP at the
>
time of plate output to our specifications... and of no concern whatsoever
>
to the files creator.
I think they would be of great concern to me if I want to give you the
best possible file, but anyway...
If you are going to rework the file extensively to meet the above
specifications to your satisfaction, why are we giving you pre separated
CMYK files? From what you say, all our hand wringing over good CMYK
conversions is in vain.
If I create an RGB file, that when converted via some widespread
standard like a Knoll swope profile yields a Kodak Approval or
Matchprint I'm happy with, wouldn't it be better to give you that RGB
file and the proof? Then you can separate with your own specs, lose less
data, and theoretically match my proof?
We are generally told RGB is not accepted, but all this muxing in CMYK
seems less than ideal.
>
I understand yours, and everyone else's dilemma about wanting to "see" on
>
your monitor as close as is possible to the end product result. We too would
>
love it... but you just can't. You can get to the ballpark fairly easily...
>
but getting on base is tough, and you will never get to home.
This is my limited experience also.
>
new problem of recent years is that now everyone does their own scans... and
>
I can understand that. But the majority look like crap. Not all... but
>
certainly over 50% of them. They say print it... we print it. We leave our
>
basic output setups the same. We can't "fine tune" junk. Generally speaking,
>
we are printing work for agencies now, that they would never have signed off
>
on years ago. With the exception of our high end furniture or clothing work,
>
the days of proofing for an agency and then correcting and re-proofing over
>
and over are gone. When they do the files everything is good because most
>
don't want to pay to fix it.
I understand this too. Many of us detect reluctance by the printers to
work with us, and I suspect a lot of it is because the new environment
is resulting in sub standard work coming out of your shop. Who wants to
deal with crappy files and no budgets? I'm definitely not happy with
some of the new tasks I'm taking on either, as long as my hand is in the
prepress pot, my work will never look as good on paper as it did 10
years ago handing my E6 off to good craftsmen. But here we are, seems
like there must be ways to make it work better, and it's great to see
someone like you here. What I usually hear from prepress people is that
colorsync doesn't work (believe me I do have my doubts). Unfortunately
that doesn't leave me with any where to go.
Tyler
_______________________________________________
colorsync-users mailing list | email@hidden
Help/Unsubscribe/Archives:
http://www.lists.apple.com/mailman/listinfo/colorsync-users
Do not post admin requests to the list. They will be ignored.