Re: proofing
Re: proofing
- Subject: Re: proofing
- From: Ray Maxwell <email@hidden>
- Date: Tue, 07 Feb 2006 08:52:59 -0800
You have brought up one of the fundamental questions for this industry.
Do you adjust your proof to match the press or do you adjust the press
to match the proof. However, you have left out the third partner in all
of this. What was the target when the CMYK separations were made?
Before CTP, scanner operators adjusted there scans to get the (3M,
Imation, now Kodak) Matchprints , (Dupont) Waterproofs, or (Fuji) Final
Proofs to match the original art. The press was then adjusted to match
the industry standard proofs. The color was controlled by the proof
media manufactures. Everyone used a linear imagesetter and adjusted
scans to produce the correct color on the laminate proofs. The
manufactures of the laminate proofs worked very hard to made a proof
that was easily matched on most presses. They also used very expensive
spectrophotometers and statistical process control to keep there product
very stable and repeatable. This meant that a separator could make a
laminate proof and lithofilm and send to anywhere in there country and
the pressman could adjust his press to match the proof.
Now we have CTP. There are no lithofilms from which to make a laminate
proof. You can make a laser Matchprint or Final Proof, Waterproof, or
Approval on a machine such as the Spectrum proofer. These proofs have
the same color sets as the original laminate proofs. However, many
people are using inkjet proofers due to much lower costs.
In my opinion you should make your inkjet proofer match one of the
original laminate proofs. Then adjust your press , RIP, and platesetter
to match this laminate proof. Most of the files that you receive are
going to be separated for one of these standards.
Remember, you have to match three things.
1. The CMYK separations were targeted at some standard
2. The proof should be made to this same standard
3. The press should be adjusted to match the proof
I have found that a press can be adjusted all over the map and varies
with which press person is on shift. Standard proofs are much more
consistent. Most press persons can bring the press quickly to match
standard proofs.
I know that this is a controversial subject and not all will agree.
Ray
MSD wrote:
Good morning,
Can anyone give me something I can make understandable to easily
relay to the sales staff and prepress department regarding this issue?
- Press set to repeatable standards
- Press profiled
- HP 5500 calibrated and profiled
- Profiles patched together
- Result is that our Press, when running our standard densities,
matches the HP proof.
---
- Client submits job
- Files are processed and an HP proof is made
- Press runs up to densities and the sheet matches the HP proof
- Client pulls out his proofs
one created from his office inkjet (quality inkjet)
one created at a color house across town (dot proof - probably Fuji
final proof)
- Client wants our press sheet to match his proofs - not our supplied
profiled proof
---
The decision makers at the print shop now are talking of "tweaking"
our curves
to match the clients proof.
This, I suppose, would involve messing with the linearization of the
platesetter.
(It wouldn't do any good to "tweak" my HP if my plates do not match
the clients proofs.)
---
What does one do about this?
If I "convert" to the press profile upon export, or PDF creation, from
the native file
the colors would still remain consistent to the final file I have --
correct?
I can not believe we are going to need to "tweak" our platesetter
to create custom curves so we can match every clients personal inkjet,
or other proof.
Thank you for your input,
Michael
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| | >proofing (From: MSD <email@hidden>) |