10:30 a.m.
On 16 Nov 2004, at 19:27, ECI.org Admin wrote:
Hi all
Since the Altona Application Package, the ISO 12647-2 is now known at
a much broader front. Some seminars and workshops are held in Germany
and Austria to educate and emphasize the pre-print and print people
out there, as well as print buyers, to also show and give guidance how
to work with it on a daily basis.
I would be very interested on some feedback from other countries than
Germany and Austria, how this standard is adopted. And if someone is
not working with it, my question is: Why? It is not a DIN-Standard or
a Ö-Norm Standard, it is an ISO-Standard which means International (no
one excluded).
Again: I am talking here about ISO 12647: Graphic technology— Process
control for the production of half-tone colour separations, proof and
production prints
Part 2: the offset process, working with AM-Screens at 60 lpi.
Please tell about the good sides, as well as what is going wrong, and
also about your expectations and the real life in print production.
best regards / mit freundlichen Gru:ssen
Peter Kleinheider
Hi All,
New to this list, so I thought I would introduce myself and give a
little feedback on our experiences with ISO 12647-2.
I run a small retouching company in London and we have been supplying
files to magazines / agencies and photographers or many years now in
RGB or CMYK. At first is was a question of TRYING to get a little info
from whoever as to what icc profile they would like the files in, then
it moved onto art directors at major magazines asking for files in
Adobes Euroscale Coated V2. This was purely down to the fact that it
was the only cmyk setting they actually 'knew'.
Anyway, in the last 12 months we started using the ISO profiles and we
haven't had any huge problems since.
Recently we have installed GMG colorproof, and we are proofing to the
ISO standards. We have not even bothered with a DP10 proof setting. If
we can stick to ONE set of standards (ISO 12647-2) I fell it makes life
easier for us all and may possibly force printers to confirm.
The problem small bureaus like ourselves face, is that many publishers
/ repro houses / printers don't either want to help us supply in
correct settings, or maybe it is more because they have no profile or
standards in place. Also, the small startups have taken away valuable
scanning and retouching work from the pre-press men. What is we can
take the whole CMYK conversation issue away as well? When we are
retouching images we often do not know where / when or how the image
will be printed (often the client does not know either). They still
want a CMYK proof, so we offer it to 'a standard' , being either ISO
Coated or ISO Web Coated.
The bigger retouching labs in London such as Metro have enough weight
to get Conde Nast and other publishers to release printing specs. They
now proclaim to have icc profiles for all major magazines in UK. I
would be interested to hear if these profiles work well and/or fit in
with the new ISO standards? Anyone from Metro wish to comment?
I think the new ISO standards will help our side of the problem a huge
deal, but it will take quite a while before everyone here starts using
them. Getting Adobe on board would I'm sure help a great deal, their
European pre-press default settings being a pain.
My only problem so far has been a couple of european printers
complaining that the black generation is too high. Maybe this will be
an ongoing issue?
All the best
Graeme Bulcraig
------------------------------------------------------------------------
-----------------------
Touch Digital Ltd. http://www.touchdigital.co.uk
t. +44(0)20 7684 7500 f. +44(0)20 7684 7499
8:09 p.m.
New subject: Feedback of ISO 12647-2
Hi Graeme
It's great to hear that and it shows that is is working.
New to this list, so I thought I would introduce
myself and give a
little feedback on our experiences with ISO 12647-2.
I run a small retouching company in London and we have been supplying
files to magazines / agencies and photographers or many years now in
RGB or CMYK. At first is was a question of TRYING to get a little info
from whoever as to what icc profile they would like the files in,
then it moved onto art directors at major magazines asking for files
in Adobes Euroscale Coated V2. This was purely down to the fact that
it was the only cmyk setting they actually 'knew'.
I once hear someone saying that the Standard in Europe is SWOP and
AdobeRGB due to the fact that this is the standard setting for
Photoshop. He is quite right. Do bring a turn in the whole situation is
to also work tight togeather with the manufacturers so they also
include the ISO-profiles into their products.
if someone knew of the Euroscale Coated V2 profiles, than this was a
person already one step ahead. A step in the right direction.
Anyway, in the last 12 months we started using the ISO
profiles and we
haven't had any huge problems since.
Meaning: You had problems before with all the different profiles and
now with the ISO-Profiles everything is better. We all know that there
are also issues left, but better a 80:20 solution than no solution.
Recently we have installed GMG colorproof, and we are
proofing to the
ISO standards. We have not even bothered with a DP10 proof setting. If
we can stick to ONE set of standards (ISO 12647-2) I fell it makes
life easier for us all and may possibly force printers to confirm.
You see it so, we see it so, the rest of the world should also see it
so.
The problem small bureaus like ourselves face, is that many publishers
/ repro houses / printers don't either want to help us supply in
correct settings, or maybe it is more because they have no profile or
standards in place. Also, the small startups have taken away valuable
scanning and retouching work from the pre-press men. What is we can
take the whole CMYK conversation issue away as well? When we are
retouching images we often do not know where / when or how the image
will be printed (often the client does not know either). They still
want a CMYK proof, so we offer it to 'a standard' , being either ISO
Coated or ISO Web Coated.
The bigger retouching labs in London such as Metro have enough weight
to get Conde Nast and other publishers to release printing specs. They
now proclaim to have icc profiles for all major magazines in UK. I
would be interested to hear if these profiles work well and/or fit in
with the new ISO standards? Anyone from Metro wish to comment?
That would be very interesting indeed.
I think the new ISO standards will help our side of the problem a huge
deal, but it will take quite a while before everyone here starts using
them. Getting Adobe on board would I'm sure help a great deal, their
European pre-press default settings being a pain.
My only problem so far has been a couple of european printers
complaining that the black generation is too high. Maybe this will be
an ongoing issue?
thx - we got it.
and thx for this great feedback
Peter
9:47 a.m.
New subject: Feedback of ISO 12647-2
Which London retouching company are you from? Its good to get your
experiences
in this market. We advocate the use of ISO 27L to many of out installs now
and its starting to take a hold.
Judd Perring
GMG UK
----- Original Message -----
From: "Peter Kleinheider" <pkleinheider(a)a1.net>
To: <eci-en(a)lists.transmedia.de>
Sent: Friday, November 19, 2004 7:09 PM
Subject: Re: [ECI-EN] Feedback of ISO 12647-2
Hi Graeme
It's great to hear that and it shows that is is working.
New to this list, so I thought I would introduce
myself and give a little
feedback on our experiences with ISO 12647-2.
I run a small retouching company in London and we have been supplying
files to magazines / agencies and photographers or many years now in RGB
or CMYK. At first is was a question of TRYING to get a little info from
whoever as to what icc profile they would like the files in, then it
moved onto art directors at major magazines asking for files in Adobes
Euroscale Coated V2. This was purely down to the fact that it was the
only cmyk setting they actually 'knew'.
I once hear someone saying that the Standard in Europe is SWOP and
AdobeRGB due to the fact that this is the standard setting for Photoshop.
He is quite right. Do bring a turn in the whole situation is to also work
tight togeather with the manufacturers so they also include the
ISO-profiles into their products.
if someone knew of the Euroscale Coated V2 profiles, than this was a
person already one step ahead. A step in the right direction.
Anyway, in the last 12 months we started using
the ISO profiles and we
haven't had any huge problems since.
Meaning: You had problems before with all the different profiles and now
with the ISO-Profiles everything is better. We all know that there are
also issues left, but better a 80:20 solution than no solution.
Recently we have installed GMG colorproof, and we
are proofing to the
ISO standards. We have not even bothered with a DP10 proof setting. If we
can stick to ONE set of standards (ISO 12647-2) I fell it makes life
easier for us all and may possibly force printers to confirm.
You see it so, we see it so, the rest of the world should also see it so.
The problem small bureaus like ourselves face, is that many publishers /
repro houses / printers don't either want to help us supply in correct
settings, or maybe it is more because they have no profile or standards
in place. Also, the small startups have taken away valuable scanning and
retouching work from the pre-press men. What is we can take the whole
CMYK conversation issue away as well? When we are retouching images we
often do not know where / when or how the image will be printed (often
the client does not know either). They still want a CMYK proof, so we
offer it to 'a standard' , being either ISO Coated or ISO Web Coated.
The bigger retouching labs in London such as Metro have enough weight to
get Conde Nast and other publishers to release printing specs. They now
proclaim to have icc profiles for all major magazines in UK. I would be
interested to hear if these profiles work well and/or fit in with the new
ISO standards? Anyone from Metro wish to comment?
That would be very interesting indeed.
I think the new ISO standards will help our side of the problem a huge
deal, but it will take quite a while before everyone here starts using
them. Getting Adobe on board would I'm sure help a great deal, their
European pre-press default settings being a pain.
My only problem so far has been a couple of european printers complaining
that the black generation is too high. Maybe this will be an ongoing
issue?
thx - we got it.
and thx for this great feedback
Peter
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2 comments
3 participants
participants (3)
-
Graeme Bulcraig -
Judd Perring -
Peter Kleinheider