Hello Marco, I was working at a large publisher with over 45 magazines. Of those magazines, we did use stochastic screening on a choice few. Here are some things that where noticed with stochastic offset. * It is very difficult to monitor solid densities. The Press runs we experienced would have no real solid, even on the color control bars. This was something of a surprise to us. This presents problems in control as SWOP is monitored and fingerprinted with target solid ink densities. * We had odd gradation shifts and banding. These became more apparent in areas of light gradations as, lets use the example of 15% to 1%. This caused impossible gray balance issues in snow images as well as flesh tones and drop shadows. * Certain subject matter reproduced nicely with stochastic. High contrast high detailed images were the best target subjects for stochastic. The printer that was selling us this process was having obvious control issues in the quality of our stochastic printed covers. These issues were never resolved in my time in that position. We were told many times that the issues were fixed and new test proved that in fact, they were not. The printer could have been questionable in their abilities with stochastic. We had constant issues with their quality compared to multiple other printers we used. These issues with them were of conventional screened jobs as well. If The New Yorker is successful with stochastic, things may have changed or they may be using stochastic on targeted cover designs. I hope this sheds some light on your question. To answer Mathew Kelly's remark, they were using a CREO Trend Setter. That is a direct to plate system. Some of the issues of plate contact mentioned could also be applied in the offset process in some other form of a problem. As far as hexachrome, a hi-bred stochastic process could be used for only the Orange and Green plates. Maybe 5th color bump plates too. Sam Landry
On Date: Wed, 19 Oct 2005 18:43:04 -0700, Marco Ugolini wrote:
Just by pure chance, I happened to examine closely a recent New Yorker magazine cover -- the October 10, 2005 issue.
I was quite surprised to see what I believe is stochastic printing.
Strangely enough, the cover for the October 17 issue went back to traditional 133 lpi halftone screening.
I find this use of FM screening in commercial magazines interesting. I was not aware of it having become so mainstream.
Anyone knows more about this trend?
Thank you.
-------------- Marco Ugolini Mill Valley, CA
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