Re: Match the Proofer?
Re: Match the Proofer?
- Subject: Re: Match the Proofer?
- From: neil snape <email@hidden>
- Date: Thu, 27 May 2004 08:58:08 +0200
on 27/05/2004 4:09, Roger Breton wrote :
>
Now, if presses actually did not match proofs then I know a lot of
>
people at hair coloring companies like L'Orial and others that would
>
fire all their printers tomorrow morning first thing because that's not
>
the way it works. Everyone has its own experience in the color
>
reproduction field here. Mine is not particularely extensive, to this
>
day. But I will never forget the case of that hair colorant company
>
suing a large magazine publisher because their advertisement came out
>
with three different sets of colors accross three magazines they'd
>
bought space in. I've seen the printed pieces. it was plain to see that
>
in magazine A, the hair color was brown. In magazine B, it was reddish
>
and in magazine C it was grayish brown. What do you think was used as a
>
base to substantiate the claim : proofs signed off on by the hair
>
colorant buyer.
Here's how it works with L'Oreal. The proofs are usually supplied in form
of some type of digital proof as now they have little use for analogue film
as everything is CTP. The account is divided between many different agencies
and they are all using either in house prepress or rather +51% owned
subsidiaries going out to the various printing media. Either large offset or
web (helio) gravure machines thus the print characteristics are very
different. Most printers are running reverse curves for legacy dot gains or
the more adept printers normalise with workflow servers including products
from Helios, Heidelberg, Creo etc and color by color servers as well such as
Gretag iQueue.
In the end you see the assumed color correctness for output is not well
managed where it should be but at the back end. The proofs then are run to a
density standard, slowly more and more are adapting colorimetric
measurements. If anything the inkjet proofs are easier to match than an
analogue as the rich appearance of the laminate can't be matched on many
press papers.
Here's where the fun starts. The media space buyers count on a large
discount on off color runs , and if it's really far off the space is
credited for a few months. This color error is a inevitable effect of the
many papers/printers and thus will never be hard lined to so many delta E's
away from any proof.
Also be aware that in France L'Oreal is a majority shareholder in one of the
largest magazine groups so it's almost self supporting. Always a twist
somewhere!
>
I think they don't call it contract proof for nothing.
For magazine printing it's the all important reference point that takes
precedent over editorial , yet is rather a proof of the proofing system and
files that the press operator and back end try to meet.
Problems of proofing systems that reject profiles is another story though
isn't it?
This is where the humble photographer trying to create separations and
proofs with EuroV2 are bitten by this, as the EuroV2 is a press destination
and many prepress places are still separating to a higher order only to be
transfer curved out later. Oh so go the woes of CM to press.
Neil Snape nsnape @ noos.fr neil_snape @ mac.com
http://mapage.noos.fr/nsnape
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