Re: Some general color profiling questions...
Re: Some general color profiling questions...
- Subject: Re: Some general color profiling questions...
- From: Terry Wyse <email@hidden>
- Date: Tue, 23 Nov 2004 16:15:34 -0500
Comments in-line:
On Nov 23, 2004, at 3:20 PM, Walt wrote:
Terry wrote:
Yep. If you're talking about matte COATED stock and gloss coated
stock,
Yes, this is what they were doing. At first I thought
there were just mistaken in their stock descriptions,
but that wasn't the case.
Again, separate profiles for these two flavors of coated stock MIGHT be
overkill but there's no way to say for for. If they print significantly
different, then it might be reasonable to have separate profiles. And
if they're WAY different, I'd be looking into using plate tone curves
or some other tool to bring them closer to each other. Use of a plate
tone curve would be the simple thing to do to bring the dot gain
in-line between the two different stocks.
I think the more reasonable approach would be to have separate profiles
for each stock in the proofing RIP but to standardize on a single CMYK
profile for use in making separations in Photoshop.
Yes and no. If prepress and the pressroom are in-house,
Prepress and pressroom are in house; they do only their
own internal work, nothing that's designed elsewhere.
Then a case can be made that a custom press profile is better than
using one of the more "generic" press profiles that come with
Photoshop.
OK, I'll try to be more helpful: Are you using Absolute Colorimetric
rendering? Lighter shades like that can be GREATLY affected by either
the inclusion or exclusion of the paper color cast. What sort of
proofing RIP is driving the HP5000?
It's a BestColor RIP, however(!) I'm not certain how much
of the work it's actually doing. (I haven't seen a setup like
this before.) They have a FlowDrive RIP sending RIPped
tiff flats to the BestColor RIP which then "Calculates" the
files with color profiles that you can assign at that point.
There is no way (that I was able to find, and according
to the FlowDrive manual) to get non-ripped output from
the FlowDrive workflow.
Actually, you wouldn't necessarily want to get non-RIPed output from
their prepress system. What you describe is a typical "ROOM" workflow
where their FlowDrive system is doing the heavy lifting of
preflighting, trapping, etc. the files that will eventually get imaged
to their platesetter. It's actually a DESIRABLE thing from a
file/digital integrity standpoint to proof the file AFTER it's been
through the major RIPing/interpretation phase. At that point, for all
intents and purposes you're proofing from the same data that will image
the plates. That's a GOOD thing assuming no further color management is
being applied downstream of the proofer.
While it might be true, from a certain viewpoint, that the BestColor
RIP is RIPing the file a second time, it's really simply taking the
RIPed TIFF flats from FlowDrive and passing them through a profile
conversion on their way to the proofer. The fact that it's using
contone TIFF data ensures that interpretation errors such as font
substitution wouldn't happen. It's about as secure as you can get short
of imaging/proofing the actual 1bit screened data that gets sent to the
platesetter itself. And there are solutions for THAT as well!
I think they were using relative colorimetric... Is Absolute
what they should have been using? And I'm almost
certain we did not include the paper cast...
GENERALLY absolute colorimetric is what should be used in a proofing
workflow. The only exception would be if the proofing media you're
using has a very similar paper white/cast to the final press sheet.
Absolute vs. relative will have quite an impact on the colors you
mentioned (basically pastels).
Hope this helps,
Terry
_____________________________
WyseConsul
Color Management Consulting
email@hidden
704.843.0858
http://www.colormanagementgroup.com
http://www.wyseconsul.com (coming soon)
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