Last month #45 presented three proofing resolutions for the New Year that I promised to expand upon in subsequent golden nuggets. Resolution #2 stated that you should “€œProve to customers your proof meets the desired standard of quality.” In other words, we need to certify proof quality. In #46 we discussed using process control to find the sweet spot of your proofing system, and then not only keep it there but continually improve the system. It stands to reason that once you have put the process discussed in #46 in place you now have proofs that consistently conform to a known quality level. Now it is time to let the world know that our proofs are certified to be consistent and repeatable based upon objective factual information.
The most important part of a certification system is the label we attach to the proof that either contains a snapshot of the quality data or even better yet points the proof viewer to a web-site where very detailed information about this proof is easily obtainable. The label also needs to contain an overall Pass/Fail status for instant evaluation by the viewer of the proof.
The process of certifying a proof is important, because a proof that is signed off as being ok by the end customers is a contract. Your internal customer for that proof, your pressroom, now has to match the proof in order to live up to the terms of the contract. The pressroom will check that certification label to make sure that the proof is within the standards established by the process control system. When proofs are consistent and repeatable it is much easier to consistently and repeatedly match them on press. Also, when they are having difficulty matching the proof on press they are more likely to focus on the press rather than blaming a proof that conforms to standards they have matched time and time again in the past.
Next time we will discuss making proofs that are an even closer match to your press.
I have a question. I know this might sound simple, but:
1. For a beginner who is given an Imagesetter, several jobs and told “Go output films and get it right” what should be the first step?
2. In doing color management, what would be the best options as far as training? On-site consultations or seminars?
3. In fingerprinting our presses, we’ve run up against the dreaded “Hurry up and do it, but don’t put too much work into it.” What are your recommendations for impressing upon the higher ups that doing color balancing and working out the calibrations takes time?
Any tips are welcome. Sorry if you’ve covered this in earlier blogs. I’m happy to hear any tips – or if you could email me directly if it is easier to answer. Thanks.
I have a question. I know this might sound simple, but:
1. For a beginner who is given an Imagesetter, several jobs and told “Go output films and get it right” what should be the first step?
2. In doing color management, what would be the best options as far as training? On-site consultations or seminars?
3. In fingerprinting our presses, we’ve run up against the dreaded “Hurry up and do it, but don’t put too much work into it.” What are your recommendations for impressing upon the higher ups that doing color balancing and working out the calibrations takes time?
Any tips are welcome. Sorry if you’ve covered this in earlier blogs. I’m happy to hear any tips – or if you could email me directly if it is easier to answer. Thanks.
Dale,
Your questions are all very good, and to some extent have been answered in previous posts. I believe, however, I will use each of your questions as future Golden Nugget topic, and address the details of the question specifically. So, stay tuned and your questions will be answered.
Dale,
Your questions are all very good, and to some extent have been answered in previous posts. I believe, however, I will use each of your questions as future Golden Nugget topic, and address the details of the question specifically. So, stay tuned and your questions will be answered.