Colors in Photoshop, Illustrator, InDesign, Quark, etc. Â If you worked hard you couldn’t create a less consistent workflow.Īnd yet, for the last 15 years or so, this has not been a problem. On computers the images are additive (three light sources) while on paper they are subtractive.
The challenge in print is to ensure that a scanned image reproduces with correct colors on an RGB display and prints consistently on a wide range of types of printers (and size of output) in CMYK color. What ColorSync facilitates is a color accurate workflow, also referred to as a color managed workflow. The challenge is quite significant when you consider that each device treats color slightly differently: they have different “color profiles” in ColorSync Profiles. Every printed cover looked the same, and the same as it did on the computer screen when it was desgined.ĬolorSync was the solution the print industry needed to deal with color consistency and matching. photocopying) the color covers were done in Sydney by a direct-to-plate digital offset and we never ever had color accuracy problems with an output bureau that used ColorSync. While the interior was done with xerography (i.e. By this time we had  learnt – although that particular output bureau never did – the joys and benefits of ColorSync.
DATACOLOR SPYDERCHECKR FCPX COLOR FINALE FULL
There’s nothing like first hand knowledge of the problem to appreciate the cure!īy early 1998 we were full on into publishing, with the release in February 98 of the Media 100 Editor’s Companion. Just like that, the print industry’s color management problems were now my color management problems. The problem was, what we saw on the screen and what they printed were two entirely different images. The Chocolate "Blast of Mouthwatering Bliss" had to match Cadbury purple. And we got blue-purple, and red-purple: seemingly every color except the one we wanted. Since the new product was a chocolate variation on a traditional English Christmas Pudding, having the purple match was beyond important. Cadbury – Australia’s biggest chocolate company – have always used a specific purple in their packaging, and had just spent several million dollars on a campaign that heavily featured this purple.
This became a serious problem when – while developing a food product for my parent’s company during the period I managed it (in addition to my own two companies) – we needed a very specific purple on mockup packaging we were presenting to food buyers at the national department store chains in Australia. Color output wasn’t as common then as it is now and we didn’t get the first Kinkos until very late in the 1990’s, so we really only had one choice for our runs of 2-3 covers for each job. Until that point we’d only done black and white printing, and it’s easy to proof what you’re going to get on a B&W laser printer. Given that I already had a graphic designer on staff for titles, illustrations and animations, I decided to delight clients by having our designer create a full color slick for the (then) VHS deliverables. It also meant we were migrating from Amiga computers to Macs.
DATACOLOR SPYDERCHECKR FCPX COLOR FINALE PRO
That remains the best business decision I ever made (and selling it to jump to Final Cut Pro 1 was the second best business decision). In the mid 1990’s my Australian company made the decision to purchase a Media 100 system.
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