Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
- Subject: Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
- From: "eric@poem" <email@hidden>
- Date: Thu, 19 Jun 2008 08:58:27 +0100
Hi List,
I started a project with one of the UK's largest publishers in April
2007, (it was the 2nd, just to miss April Fools day!).
The brief was to take their complete portfolio into a colour managed
workflow.
This comprised 55 consumer titles, a mixture of long run glossy's,
short run interest titles, and weekly newspapers.
This involved 8 print groups, printing sheetfed, web, gravure and
coldset, and 6 reprohouses.
When I started there was not one calibrated display!
14 months later this is the scenario:
280 calibrated and profiled displays, re-calibrated monthly.
55 editorial teams now producing anywhere between 25% to 100% of pages
completely at the desktop, uploading the InDesign files for automatic
PDF generation, and supply of a softproof using Dalim Dialog. For
editorial pages NO hard copy proofs are supplied to the printer.
The majority of titles use the 39L gamut, ISOCoated 300 V2, there are
some that use ISO Webcoated, the Newspapers use ISONewspaper V4 26 and
there are a smattering that use bespoke profiles, the gravure titles
and one title that prints heatset on improved newsprint.
The editorial teams process all the images at the desktop using
Photoshop actions. All colour correction/ adaption is carried out in
RGB, then converted to the CMYK target condition and sharpened. This
means that every image, on every page, on every spread, on every
section has exactly the same and optimum CMYK definition.
Working with the editorial teams was interesting, I gave them all a
seminar on basic colour theory and the aims and concept of colour
management. Then I took each team through the practical aspects at the
desktop, showed them how to set their software correctly, how to
correct and adapt images, how to softproof and convert. Initially they
felt a little daunted, and were not sure that they wanted to become
repro operators, now the majority would not have it any other way,
they now truly own their pages, they design them and now control the
look of the images themselves, hence the 100% take up in some titles.
Dealing with the reprohouses and printers was also an interesting and
sometimes challenging task. The reprohouses are supplying the workflow
engines, Twist workflows, for file processing and PDF generation and
Dialog for softproofing. With them the problem was unlearning some of
the traditional procedures, the concept of processing files in RGB,
rather than CMYK, the importance of ensuring the correct profile was
used for conversion and proofing and to be sure that they didn't
supply files that exceeded the Tac limits, easy in RGB, more difficult
when correcting in CMYK.
When it came to the printers, always the cinderellas when it comes to
appreciating the science behind what they produce, I had a wide spread
of reaction. Some had started on the road to ISO standard conditions,
others really didn't have a clue on how to go about it. The main thing
was to get them to understand the change of approach. Up till now the
CMYK numbers they received in the files supplied did not necessarily
match what they needed to reproduce the content accurately, so their
role was essentially reactive, content driven, bouncing the press all
over the place to try and make the numbers fit. By adopting a
standardised approach, matching the charaterisation data, and
receiving CMYK numbers that match that target very quickly the old
subjective compromise scenario soon changed.
All the talk of matching gamut, target conditions, spectral
measurement etc. had some heads scratching, and the thought of not
having any proofs supplied to run to was largely dismissed. But here
we are 10 months later and all of these titles across 8 different
printing groups, sheetfed, web, gravure and coldset all print every
issue by the numbers. The publisher is getting more consistent,
predictable results than ever before, they have saved a huge amount of
money by bringing the production inhouse, reduced their carbon
footprint by softproofing, two of their titles have already won awards
for colour, and they are both coldset weekly newspapers, and the
production team has just one production team of the year.
As for me, I have been in repro all my working life, started as a
camera operator in 1968, worked scanners, page make up systems and
macs and had my own reprohouse for 15 years. I have always been
passionate about colour reproduction, this is the most significant
thing I have done in my whole career, and I am proud to have help make
a positive contribution to the industry.
_______________________________________________
Do not post admin requests to the list. They will be ignored.
Colorsync-users mailing list (email@hidden)
Help/Unsubscribe/Update your Subscription:
This email sent to email@hidden