I gave up on ColorSync when, having set everything up correctly including installing printer profiles, it decided that reversed white text needed to have about 20% cyan and 10% magenta added to it to make it "correct white"
I pretty well agree with everything you have pointed out here, although it is my experience that not many production people have the eye or skill to calibrate their monitors properly with the Adobe or Apple calibration utilities. In order to get more consistency across all of our equipment it is neccessary to use monitor calibration sensors and software and then have one EXPERT EYE tweak the proofers profiles to get the closest results to press proofs. They are never perfect, but they are close enough to satisfy our customers' eyes. In Xpress you just turn off the color management and make sure you carefully scrutinize your color images and mixes in a more reliable environment (like Photoshop).
Thank you Bruce for once again providing information that the rest of us are unlikely to be able to get access to.
I can't tell you how many hours and days I've spent trying to get colour management to work as advertised, and fighting by trial and error through inadequately documented or non-functioning parts of the process.
It's a sad comment on the state of the technology and its interface that your report on what DOESN'T work, and isn't worth the time to try is so helpful.
For the moment, I rely mainly on the same half-measures I've used for years -- a good, properly calibrated monitor, trusting the colour on-screen in Photoshop, and largely ignoring everything else. Lower-cost pre-film proofs from an expert-operated Epson 9000 help too.
One of these days, it would be nice to be able to do it all on my own desktop, with reliable colour on screen and reasonably reliable output to my own lower-cost inkjet. Wasn't that supposed to be the point all along?
Sadly, this isn't the only Quark feature that doesn't work. Trapping is another. Sometimes it works, but in other situations it can go badly wrong. Essentially, it can't properly process the trapping for an element that crosses several backgrounds. So you can end up with knockouts and overprints you don't want. The bottom line is, you can't rely on it, so it's a waste of space.
Submitted by David Glover on Wed, 06/07/2000 - 20:42.
ColorSync? Ha!
I gave up on ColorSync when, having set everything up correctly including installing printer profiles, it decided that reversed white text needed to have about 20% cyan and 10% magenta added to it to make it "correct white"
Your best bet with Xpress Color Management is to turn it off
I pretty well agree with everything you have pointed out here, although it is my experience that not many production people have the eye or skill to calibrate their monitors properly with the Adobe or Apple calibration utilities. In order to get more consistency across all of our equipment it is neccessary to use monitor calibration sensors and software and then have one EXPERT EYE tweak the proofers profiles to get the closest results to press proofs. They are never perfect, but they are close enough to satisfy our customers' eyes. In Xpress you just turn off the color management and make sure you carefully scrutinize your color images and mixes in a more reliable environment (like Photoshop).
We need you, Bruce!
Thank you Bruce for once again providing information that the rest of us are unlikely to be able to get access to.
I can't tell you how many hours and days I've spent trying to get colour management to work as advertised, and fighting by trial and error through inadequately documented or non-functioning parts of the process.
It's a sad comment on the state of the technology and its interface that your report on what DOESN'T work, and isn't worth the time to try is so helpful.
For the moment, I rely mainly on the same half-measures I've used for years -- a good, properly calibrated monitor, trusting the colour on-screen in Photoshop, and largely ignoring everything else. Lower-cost pre-film proofs from an expert-operated Epson 9000 help too.
One of these days, it would be nice to be able to do it all on my own desktop, with reliable colour on screen and reasonably reliable output to my own lower-cost inkjet. Wasn't that supposed to be the point all along?
Ben Wolfe
Green by Design
Consistent with other Quark 'features'
Sadly, this isn't the only Quark feature that doesn't work. Trapping is another. Sometimes it works, but in other situations it can go badly wrong. Essentially, it can't properly process the trapping for an element that crosses several backgrounds. So you can end up with knockouts and overprints you don't want. The bottom line is, you can't rely on it, so it's a waste of space.
Good Answers, Good Answers
I'm always searching the web for colormanagement answers and as usual I come upon Bruce. Its a long curvyyyy road.