Re: Qualifying a CMYK Press Profile
Re: Qualifying a CMYK Press Profile
- Subject: Re: Qualifying a CMYK Press Profile
- From: Graeme Gill <email@hidden>
- Date: Wed, 20 Nov 2002 12:33:28 +1100
Stuart Peel wrote:
>
However, regardless of the 'Quality' of output from your proofer when
>
using the press profile, the proof will only be accurate if the press
>
remains in the same state as when the profile was created.
What was done for our newspaper customers, was that they setup one
of their presses to their satisfaction (a high but everyday achievable
quality level), and then ran off both test charts, and check images.
We created proofing profiles from the press run for our RIP/HP1050C
"by the numbers", and these were qualified partly by instrument
comparison, but mainly by visual comparison against the check
targets and images of the calibration press run.
Since the proofs are printed on the exact press stock, and an absolute
match is expected, this visual comparison is reasonably straightforward.
>
Therefore, it is essential to establish the condition of the press prior
>
to profiling and ensure that this condition is repeatable time after
>
time. i.e. No mechanical instability, same dot gain characteristics -
>
which is a function of the plate type and physical press set-up.
What happens in production, is that they have our proofers both
at the editorial office and the (remote) printing plants. Once
a page is approved, it is sent electronically to the printing
plant, and a proof printed for each press. The RIP and printer
being fast assists in this. Our RIP calibration is also vital
in keeping the local and remote proofing systems in alignment.
The proof for each press is used to adjust the press during
production, back to the conditions of the particular press
used during the calibration test run. In this way, both the
consistency and quality of the press output has been improved.
The other purpose our proofs are put to, is in proofing for
advertising customers. They get a very realistic proof to
sign off on, eliminating rework.
Graeme Gill.
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