Colorsync Unaware Printers & the Almighty Prepress Proof
Colorsync Unaware Printers & the Almighty Prepress Proof
- Subject: Colorsync Unaware Printers & the Almighty Prepress Proof
- From: Randy Zaucha <email@hidden>
- Date: Tue, 2 Nov 2004 20:15:23 -0800 (PST)
From: Paul Schilliger <email@hidden>
Subject: Re: How to work with ColorSync unaware
printers?
Paul Schilliger wrote:
What would you think of sending Photoshop files that
have been saved as
RGB EPS files? The printer would then have to check
the CMYK option
when he opens the file, and the file should be then
separated into his
CMYK settings. Would that approach make sense?
Hello All,
As a longtime ex-employee of many press and prepress
operations, color management has always boiled down to
one point...the prepress proof. The majority of the
printing industry bases all color decisions on their
Matchprints, Approvals, Fujiproofs, etc...and the
color correction skills of their pressmen.
Having put in many hours as a drum scanner operator,
the best workflow for the client was to give their
photographic originals to the prepress scanner guy who
was proficient at matching the color of originals to
the colors of the prepress proof.
For client supplied files:
RGB- I'd say the majority of printer's do not know how
to properly convert RGB to CMYK to preserve color for
a match using their CMYK color gamut and print
conditions. Few have truly color managed monitors so
they cannot see the result of the conversion until
they go to the almighty Matchprint proof. (Two
multi-million dollar retouching houses in San
Francisco flatly do not agree that color managed
monitors "work" and do not use them or allow their
retouchers to set them up!)
CMYK- If the client is lucky, supplied CMYK files may
be checked and corrected for Total Ink Density (280%,
325%, 350%, etc.) before being proofed. Color may be
adjusted by their operator for better or worse.
Now you see the first round of proofs. If you don't
like the color on the proof, you have to retouch or
pay for retouching. $$$$$$$...
Many files supplied to printers from digital cameras
are in RGB or CMYK. Many photographers hope that the
RGB to CMYK conversion preserves their idea of the
color. A good way to maintain color quality is to go
from camera profile to RGB profile to a Matchprint
CMYK profile and fine tune the Total Ink Density. Most
digital photographers have to roll the dice for
accurate color on a prepress proof. (See previous
paragraph on retouching)
Finally, we get to the press. Can the pressman match
the "contract" proof? While many prepress proofing
systems can be put on the actual substrate they are
going to print on, many printers do not set up the
system to represent the actual dot gain for the
press/paper conditions. This fact fudges on the
accuracy of the proof to press in regards to contrast
and gray balance.
Another reason prespress proofs have color problems is
that they are "cold" systems. Unless properly
programmed (best is profiling an actual printed
sheet), many prepress proofs do not simulate the
effect of wet trapping which is the mixing of inks
during the heat and pressure of the printing process.
Wet trapping effects the hue of many colors including
heavy colors like purples and violets. Many printers
have their new digital proofers simulate their old
film proofs, which had all the previously mentioned
color errors!
So finally your color quality is left up to the poor
pressman who must use his restrictive analogue ink
keys and thin ink film to "color manage" your color
images to match the flawed contract prepress proof you
signed off on. (Let the games begin again...$$$$$$)
In conclusion, color management for printers normally
consists of a generic proofing system that leaves
actual color quality in the hands of the pressman who
wields the weakest and most expensive color correction
tool in the whole process.
Modern color management allows us to measure the whole
process from start to finish and have matching color
on the press and a prepress proof that actually
simulates the final result. To answer Paul's question,
the answer is the same as heard on this list
forever.... you need the best source and destination
profile that you can get your hands on to get the best
color at the end...otherwise, see the retouching
paragraph.
Randy Zaucha
Thomas Kinkade Comapny
San Jose, Ca
ZBetterscan Method, www.zbetterscan.com
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