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Soft Proofing Conundrum
I have been successful in implementing the soft-proofing/full pdf workflow. Software we use: InDesign-InCopy for internal alts. Kodak InSite via RRDonnelley, utilizing Eye-One Match 3 software and and Eizo ColorEdge CG241W color correct monitor. Great workflow now! Saved over $40,000 this year so face in proofing charges.
(This is same discussion I have setup in the Design & Production Group, but I have not had any responses yet, so I'm trying it in Technology)
I am attempting (yet again) to go from paper proofs to soft proofs, and before I invest my precious budget dollars and staff training, I want to make sure we are aware of any possible problems. My goal is to eliminate hard proofs on all our editorial pages, so that I can save on those costs.
Workflow: We're using InDesign CS3, I have my editors using InCopy, and nearly all our ads are submitted as PDF/X-1a files. Currently, we submit native layout files to our PREPRESS vendor, who puts the FRACTIONAL ADS in place and saves each page as a PDF for upload via INSITE to our printer. I USE A PC, and MY COMPANY DOES NOT SUPPORT MACS.
Recommendation from printer: My printer's team has said I should just get a good monitor, like an EIZO CG241W or CG21 and use KODAK Matchprint Virtual Proofing software, JUST LIKE THEY DO. Printer has Apple Cinema Displays and the Kodak Matchprint Virtual software.
Problem: KODAK's software is ONLY written for the mac. Printer's tech reps tell me there will be POTENTIAL problems with color matching if don't have a mac. Having found this difficult to believe in today's technological universe, and after some research on my own, I have found the X-RITE i1Display 2 color-calibration device which works in a Windows XP environment (good for me). Now, having explained this to my printer, they tell me we'll just run an occassional hard proof to make sure our systems are in sync so that I can do soft proofing.
Solution/and REQUEST FOR ADVICE: Is it really this simple now? Will we get good color match with this setup? I want to ensure that I don't create any production workflow, color matching and output problems by moving to soft proofing. Can anyone advise me if I'm missing anything, and what problems I can expect? I am hoping that I'm headed down the right road now.
MANY THANKS.
(This is same discussion I have setup in the Design & Production Group, but I have not had any responses yet, so I'm trying it in Technology)
I am attempting (yet again) to go from paper proofs to soft proofs, and before I invest my precious budget dollars and staff training, I want to make sure we are aware of any possible problems. My goal is to eliminate hard proofs on all our editorial pages, so that I can save on those costs.
Workflow: We're using InDesign CS3, I have my editors using InCopy, and nearly all our ads are submitted as PDF/X-1a files. Currently, we submit native layout files to our PREPRESS vendor, who puts the FRACTIONAL ADS in place and saves each page as a PDF for upload via INSITE to our printer. I USE A PC, and MY COMPANY DOES NOT SUPPORT MACS.
Recommendation from printer: My printer's team has said I should just get a good monitor, like an EIZO CG241W or CG21 and use KODAK Matchprint Virtual Proofing software, JUST LIKE THEY DO. Printer has Apple Cinema Displays and the Kodak Matchprint Virtual software.
Problem: KODAK's software is ONLY written for the mac. Printer's tech reps tell me there will be POTENTIAL problems with color matching if don't have a mac. Having found this difficult to believe in today's technological universe, and after some research on my own, I have found the X-RITE i1Display 2 color-calibration device which works in a Windows XP environment (good for me). Now, having explained this to my printer, they tell me we'll just run an occassional hard proof to make sure our systems are in sync so that I can do soft proofing.
Solution/and REQUEST FOR ADVICE: Is it really this simple now? Will we get good color match with this setup? I want to ensure that I don't create any production workflow, color matching and output problems by moving to soft proofing. Can anyone advise me if I'm missing anything, and what problems I can expect? I am hoping that I'm headed down the right road now.
MANY THANKS.
Replies are closed for this discussion.
Replies to This Discussion
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Permalink Reply by David Cardillo on -
(James, see reply in Design & Production forum)
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Permalink Reply by Paul Chernoff on -
We started soft proofing this year. We are saving money, time and are not losing any quality. We continue to have Kodak Approvals for pages with important color photos (editorial and advertising) but as we gain experience and confidence we expect to reduce our Kodak Approval demand.
We run Remote Director software, which was supplied by our printer. We run it on a PowerMac Dual-G5 with an Apple Cinema Display. It was important that we run hardware and software approved by the Remote Director publishers (I will get back to the Mac issue since you are a non-Mac shop). This computer is used only for running Remote Director and for color correction in PhotoShop. The 2 go hand-in-hand since we use Remote Director to color calibrate the monitor to the printer's specs. The production people know that this monitor is the best match. It is also critical that this computer be in a room where the light is consistent. We had someone from the printer come over to help us set up the lighting. This room has no windows and free from light coming from outside of this room.
Color knowledge is still important. When we started a new publication on non-glossy paper we realized that our setup would need changes since the same press printing on non-glossy paper will make colors look different than on our regular glossy stock.
Back to you not being a Mac shop. Since this computer will only be used for color correction purposes, if you cannot buy a Windows to meet your needs, I would think that you could have a single Mac that is dedicated to a function and not to a specific person.
Other than that, we do color calibrate our art, production and editorial computers to ensure that the colors they see on their screens approximate what will print. But since they are not calibrated to our printer and have constantly changing light conditions (mostly due to windows) we don't use them for color proofing. But it does help us save explaining to editors that the purple that they see on the screen will print blue.
We also calibrate our color office printers to match the press as closely as possible. But again, this only goes so far because our paper does not match what we print.
--Paul Chernoff
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