Re: Commercial Printers and Color Management
Re: Commercial Printers and Color Management
- Subject: Re: Commercial Printers and Color Management
- From: Nick Virgilio <email@hidden>
- Date: Mon, 06 Oct 2003 13:46:20 -0400
I am having similar problems...
We are a producer of fine art posters where "exact" color matching is of
supreme importance.
We recently have started doing our own scanning, color correction and
digital proofing for the images for press. We have run into some problems
with our offset printer.
First our equipment... Mac OS 9 platform, all SONY CRT monitors calibrated
using PMP and eye-one package, SOFV-1e desktop 5000k viewing boxes, 10600UC
running Best XXL rip profiled with PMP and spectrolino package proofing to
Best remoteproof 9180 paper. So we have the right equipment.
Now the process...For years the company has been outsourcing the
scanning/color correction/matchprint proofing. No-one complained about the
matchprints not matching press. I worked with the dealer that sold us the
equipment and calibrated our 10600 proofing system to the matchprints we
were use to getting, they printed the "i1 ECI 2002 CMYK" which we used to
create the reference profile. We used the "color300.tif" to judge results
and its an excellent match. We tag all files with the matchprint profile we
created from the charts and color correct on our monitors in the same CMYK
space.
And the problem...The offset printer recently went direct to plate and they
are complaining that our proofs do not match their press. They say that our
digital proofs will never be as good as a matchprint as they do not have the
same dot structure. And then there is the "correct" lighting discussion I
keep having. We match all proofs to original artwork under 5000k lights but
the end user will not have 5000k lights when hanging the work on their wall.
Our Best 9180 proofs look extremely magenta under improper lighting, where
as the offset sheets and matchprints are not as affected by different
lighting. I get complaints about this too.
Solution?...So what do we do? Do we need to profile their press? Are they
correct about digital proofs? How is it possible to calibrate an offset
press without getting them to print the two pages of charts of "i1 ECI 2002
CMYK" 3000 times during a regular print run? And how accurate will that
press profile be, presses are adjusted on the fly per job and don't they
fluctuate daily anyway? I asssume they have created their own ink densities
and curves for their system and that their prints don't match any kind of
proofing system.
In answer to the original message's questions... When I worked for a print
company we had a built in "art" charge that encompassed handling customer
files and color correction. But, we did charge extra for images that did
not use our supplied printer profiles and for images that came with proofs
that did not match their files ie. crappy uncalibrated inkjet or laser
proofs. The problem is that most files out there were not created in a
calibrated system and do not come with embedded profiles or with accurate
proofs. So I think as long as your files came with calibrated files/proofs,
embedded with a printer profile, they have no business charging extra for
calibration problems.
Original Message...
I heard a story from a customer the other day that caught my attention.
I also had a similar experience and can see this coming to a lot of
people.
Here's the short story:
Designer gets her scans done a trade shop (mine) and gets proofs with
them. She outputs her proofs on her Epson printer and all is well. Our
proofs look very similar to hers and she's happy.
She takes the job to a commercial printer (high end, not schlock
printer) and gets Kodak Approvals.
The color is way off. Very heavy magenta cast.
Printer charges her an arm and a leg to color correct all of her files.
She comes to me and asks why. Note we did not make all the images on the
job, many are legacy images from a wide variety of sources she's used
over the years.
Here's my take on this.
The printer is using digital plating. They have adjusted their solid ink
densities and curve shapes for their plating in such a way that they are
unique. They don't match and "standard" proofs such as a Matchprint,
Fuji ColorArt, Dupont Waterproof, etc.
Given that they are so different from any proof anyone could get outside
of their shop this would seem to be a problem for them to print anything
that they didn't scan.
Now comes the problem.
I feel they should have color management that can map images from an
outside source to their color space. I know this isn't magic bulllet
but it certainly is better than no management at all.
Recently I had a similar problem with a printer. I was amazed at how
little the printer knew about color management. They were stuck in a
complete "CMYK I only know how to use Photoshop curves" reality. I tried
to explain to them that the adjustment needed was more than just
adjusting CMYK gradations and it took quite an effort to take them to
the water and get them to even look at it, nevermind drink.
At the end of the day we profiled their press and made proofs that so
closely matched their printing that even I was surprised.
What we did was batch process all of the images with a "Convert to
Profile" in Photoshop and reproof them with the new profile. At press
time the job was a tremendous success. Very easy press OKs.
Now my point is, isn't it time printers use RIPs that have built in
color management to handle images from outside their world?
I certainly don't think it's fair to charge someone an arm and a leg to
color correct all of the images because they didn't scan them.
I would be more than happy to take their press profile and proof with it
so the customer could see what they can expect and deal with this before
the 11th hour.
At the bare minimum they should provide the designer with a profile so
they can at least preview on the monitor what they're going to get.
Sorry about the rant.
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