Get the best film output

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Get the best film output

do you want to get better output from the output center? Here are some things you can do to ensure the best output

skip Griswold, the boss of advanced computer imaging in Atlanta, saw everything from the development of TrueType to the growth of pages in his middle-aged nine years of service in the output service center. But some things have not changed: the files the guest brought to Griswold are missing fonts, images with wrong resolution, and page settings with wrong order

most errors like this occur in the output center. The wrong font is used in the page, or the image disappears, or the file cannot be printed at all. But designers and their guests still have to pay in the end, although it will waste time and money

in the digital process, the designer must undertake the work done by the previous color separation personnel. Or at least they must know these things to prevent the creation of files that will cause problems in the next production process. If you know what to pay close attention to, it will be easier to prevent disasters. For its main features, as shown in Table 1, so that designers can no longer make the same mistakes and find out how to avoid mistakes, I visited seven export service centers in China

the harm of inexperience

Jon Pennington, the production manager of adage graphics, and some other people I spoke with pointed out that the new generation of publishers who have just taken advantage of imaging software for windows are usually inexperienced. Not surprisingly, Pennington has a lot more problems with Windows files than with MAC files. But designers and output centers still have to contend with these familiar problems. Griswold said that, like other industries, novices will experience the mistakes experienced by older employees

another change that makes life difficult for output centers is the increasing application of color inkjet printers. Before inkjet printers, many designers mistakenly relied on black-and-white laser printer proofing to verify the final output; After the application of color printer, the confusion became more serious. Hugo Bonilla, the prepress manager working at Chantilly printing graphics, said that his matchprint proofing was rejected by the guest business across many fields because the color could not match the print they brought

because inkjet printers can disguise a large number of sins, such as low resolution or RGB images. Furthermore, they can print a wider color gamut than four-color prints, so inkjet colors often look brighter or more saturated than the final print

similarly, the experience of page design has changed the expectations of many designers for their prints. Like inkjet printers, computer displays are less sensitive to differences in resolution and can display more colors than offset printing. Once designers see the various images on the page, they want to apply these images to the printed matter. The result is the input of GIF images that the guests want to reuse in their brochures, trouble with page image files, and other output nightmares

font: it's still the number one cause of error. Of course, I won't be surprised. The first word of every prepress operator's comment on the designer's error is font. Since the advent of electronic publishing, designers have forgotten to transmit the necessary fonts. But mistakes go far beyond missing fonts: designers often send wrong fonts, or modified fonts, or other fonts that cannot be used in versions

for example, some Bonilla advertising guests occasionally use Macromedia fontographer software to modify fonts. Although they sent new and modified fonts, Bonilla said that adobe type Manager Deluxe often failed to recognize them as valid font files. Then it needs to replace the font. Sometimes it can be replaced to the approximate corresponding transmission process of the modified font, and the gapless bidirectional font can be carried out. Sometimes it can only be replaced to the courier font. Because the modified font is usually used as the title, Bonilla advises its guests to set the title in the illustration software, then turn the font into a path, and then introduce it into the typesetting software. In this way, the font becomes a vector artifact, and the font file is no longer needed

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