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I love this place!!!! You guys are awesome!
(BTW, let me note, I want to make this work in the WORST way. I belong to the church of PDF, I just wanna get closer to the altar and not get sacrificed)
Ok, to run down the list, currently for color management what we've been doing predominantly is making a profile for a stock from a pressproof and convert CT's to that. Then proof with a devicelink on our fuji's. Kick ass if you ask me for uncoated or tricky stocks. We haven't even touched any other type of color management outside of photoshop. We're starting to dip our toe in the water a little bit, but we see huge pitfalls. We've just recently changed over to Nexus, so hopefully I'll be able to play a bit more with this in the near future. As to color control, that's a different story, but for another time. (that could be it's own forum)
Currently, 99.5% of my work comes in native. We do a TREMENDOUS amount of work and modifications to our customer's files. Color being the biggest critical point. We also have unbelieveable specifications from our pressroom for how a job is to be built. My belief is that when a job comes in we should create a hi-res PDF and work it from there. Kinda like the digital master. But how do you guys handle color corex? What procedures do you have for versioning? Type patches? I've got pitstop, and it's awesome, but what do you do when you recieve a whole new file? Re-creating all the work we do up front can be a whole shift ordeal. And for sure I can't currently expect my clients to send me a pdf since they can't send me clean app files.
I'm having a hard time convincing them that this can save time in the overall life of a job. Any suggestions / specifics would be appreciated.
thanks everyone...you are great.
Dave
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Last night, I talked to the prepress gods. They said I was gonna be alright. You, however, you\'re f@#$%d!
AWS Nexus 8.4r4
2 Creo Trendsetter Spectrums
2 Fuji Finalproofs 3 Epson 10600
All Mac Prepress (for now)
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