From Esko to EFI-colorproofXF

[geminianspark]

We have a template set up in Packedge 7.6 that uses the "task input" for a reportmaker ticket in Backstage.  The first task input places the art file, the second taskinput places a scaled down callout of only the white/pattern uv/ or clear stock on the proof.  The second one is set to black/white only so that it prints in black. 

This works great for our low-res proofs that get colormanaged to RGB for non-colormatching emailed proofs to the customer.  However, with our hi-res proofs we have the ticket NOT set to color manage in backstage. 

We are printing the hi-res to an EPSON 7800 using EFI Colorproof XF and have set up press matching profiles.  The first problem is that anything set to 0/0/0/0 as we set our white/ pattern uv/ and clear stock to so as not to affect the view of the art for proofing....  when viewing the normalized pdf from this ticket, there is now 10% cyan added. 

To fix this, I added white, pattern uv, and clear stock to the spot table in EFI XF and set their values to 0/0/0/0. 

SO, What's the Problem?

Because of the second task input being set to black/white, the EFI sees an extra color it labels as "Separation Black".  At first it was an unknown spot color so i added it to the spot color table to print  0/0/0/100k. 

If our search priority is set as source/internal/cmyk/lab it recognizes the separation black but proceeds to shift the colors in the list so that each one actually prints as the color below it and the white/pattern uv/clear turns to black. 

If our search priority is set to cmyk/lab/internal/sourch it does not recognize the separation black and prints the label as required but does not print our callout. 

I understand we are sort of trying to print the same color as two different colors in the same printout.... but does anybody have ANY suggestions here? ????? 

[Ear]

That is odd. First off, I'll say that in my EFI, I have the search priority set to LAB/internal/cmyk/source... if that makes any difference.

Or... What if you create a spot color and call it 'uv', in Backstage, then add it to the "custom spot color library" in EFI. You could then change Search Priority to see source first, then use the 'alias' feature in 'spot color editor' to map it to where you want it.

I have not run into this so these are just educated guesses. Using the spot color editor and Alias (mapping) seems logical. Also, is your 'input handling' set to automatic or force?

[DigiCorn]

I'll say that in my EFI, I have the search priority set to LAB/internal/cmyk/source... if that makes any difference.

Or... What if you create a spot color and call it 'uv', in Backstage, then add it to the "custom spot color library" in EFI. You could then change Search Priority to see source first, then use the 'alias' feature in 'spot color editor' to map it to where you want it.

ditto

We are printing the hi-res to an EPSON 7800 using EFI Colorproof XF and have set up press matching profiles.  The first problem is that anything set to 0/0/0/0 as we set our white/ pattern uv/ and clear stock to so as not to affect the view of the art for proofing....  when viewing the normalized pdf from this ticket, there is now 10% cyan added. 

To fix this, I added white, pattern uv, and clear stock to the spot table in EFI XF and set their values to 0/0/0/0. 

SO, What's the Problem?

My belief is that you have to do two things here:

On the color tab, under "Simulation" try setting profile to "none" and "Rendering Intent" to "Relative Colormetric (no paper white)" otherwise EFIColor will print a background to try to mimic the off-white of paper stock as opposed to the bright white of the proofing stock.

Under "Additional Settings" on this same tab, make sure there is no checkmark in the box for "Black point Compensation." I don't know what this does, but stuff seems to get FUBAR when it's checked.

[Ear]

Right, I forgot about the "Relative Colormetric" thing. It's a cool feature but can cause problems.

Also, you can select and map colors right in the spot tab without even opening the spot color editor, tho the editor will give you more control.

[geminianspark]

Yup, relative colormetric (no paper white) was set.   

The part i'm having a hard time explaining to support is that on the art, we have a pattern uv that has been given a swatch color of 0/0/0/0 and set to overprint.  If we name that swatch in illustrator as say, pattern uv....  THEN, when we launch the reportmaker template in backstage, that template created in packedge uses a taskinput to place a copy of that ink named pattern uv in black into a callout off to the side.  SOOO, technically speaking, we have an ink named pattern uv set to white on the art and black on the callout....  and trying to print that to the EFI in a way that recognizes our spot colors is recognizing one or the other but not both at the same time.   

The only fix i know is to set the EFI to print everything as CMYK and forgo the spot color recognition all together. But in doing that, then our pantone colors come out a lil bit off so I'm being pressed to find settings that work for EVERYTHING so all these people have to do is press a button and print.  I'm OVER it!!!!!!!!   

[David]

Is your pattern UV a designer Ink in Esko?
The setting of 0,0,0,0 and overprint I would think would be a problem there. You have nothing set to overprint, essentially.

[Ear]

I was just thinking the same thing, Dave. Can you call out the original Illustrator swatch something other than 0/0/0/0? Like 10/0/0/0, called out as spot. Or, placing a 10/0/0/0 spot on another layer should show up in a JDF workflow and will transfer to the EFI, at which point it would be live and you could map it.

[DigiCorn]

I use SDV or SGV for my spot varnishes, and BUT I do not have them defined in EFIColor as a LaB definition mimicking white, because I notice I get a color alteration on my proof. So what I do is let my EFIColor error, uncheck the box next to SDV (or SGV) on the color tab after the error and let it reprocess without.

What I do in the case of dielines or foils (which is the same process for UV in your case) is I have the same naming process every time so there's no error ("DIELINE" or "GOLD FOIL"), and then I have a dieline or foil color description in my spot color table in EFIcolor that identifies my dieline on the proof (it's a LaB build of a magenta/red that stands out 52,79,-19).

If a customer INSISTS on seeing their spot varnish, I make an overlay with tinted color already defined in the spot color table as a separate imposition... most people don't request this, though.

[David]

All of our "custom" colors have to have some definition, like 1% of anything, so the Printer knows it has something to print. In Esko, they're called Designer Inks, you can set the ink density (opaque like a metallic, transparent like a process ink, etc), what  color (like red, blue, green) and then give it a name.
I have to set these up on all the output devices. On the Epson, we use Oris so it's set up in the Color Tuner and on the Approval it's a Recipe Color.
In both, I can further fine tune the color or change it completely to a different color, as long as the name matches exactly from Esko to the output device.
If everythingin the name matches, the file will RIP and process through the proofer, if the name is a mis-match in any way, it will fail at the RIP and give me an error message.