Re: Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
Re: Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
- Subject: Re: Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
- From: "dpascale" <email@hidden>
- Date: Thu, 19 Jun 2008 09:27:11 -0400
Eric,
Your description of what must have monopolised most of your time in the last
year is a pleasure to read. This is a well balanced mix of technical info,
situation assessment, human drama (I am sure you have many such stories!)
and success. I know many other readers of this list are involved in some or
all of the tasks you did to make this project go through, but it seems that
in this case you were in a driving position, AND with support from the
bosses.
Now, what are you waiting for to extend this message in a multi-part
magazine article in a trade publication (easily 3-4 parts; it is not as if
you did not have contacts with a good publisher!). A book would be even
greater, but this takes a lot of time.
If you ever write other accounts of this project, please give us the links.
Danny Pascale
www.babelcolor.com
----- Original Message -----
From: "eric@poem" <email@hidden>
To: <email@hidden>
Sent: Thursday, June 19, 2008 3:58 AM
Subject: Subject: Re: Colorsync-users Digest, Vol 5, Issue 207
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.
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