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Oh snap! https://www.xerox.com/downloads/usa/en/b/brochure_splashg630901.pdf

I want to meet this Shirley babe!!!

I really think it has something to do with the render engine. It has to be different then illustrator. The main clue for me here is when you get the "this pdf has rgb and cmyk objects" from a pdf created in indesign and opened in Illustrator. It seems to me indesign "bakes in" the working space...

Saw a jaz drive catch on fire once!!!

This is the bad boy I had! (You can own this one for only $450 off ebay...parts only...LOL!)

I actually got some damn good color out mine! It was slow, but it never crashed once!

Sweet! Reprographics was where I started. Running diazo, and helping in the photo dept. black and white, but big prints. The first time I started Photoshop I was hooked! Been a tech on Oce engineering printers, Kip, xerox. I’ve run all the front ends. Even had a Splash rip (it was Mac! a blue...

I agree! The same goes with printer specs in their sales propaganda! “It can run 9 million square feet an hour” The bitch of it is, if we do our job right the end customer has no idea! It’s fairly thankless. I try to keep an open mind, and if what I’m discussing is a hurdle I’ve gotten over...

I think Colorcrest has a lot to offer to this forum. People (me included) are not always the best at putting their conundrums into helpful talking terms. Most everything I’ve seen from him/her/them has been pretty spot on. For the most part we all have different setups so nomenclature can get...

Yeah dude! We have to straight up stop the presses until it can be reprinted, then production can commence in order. The transfer paper is cheap compared to the fabric, so if we catch it before the transfer it’s usually good. It happened to me on this 200’ back wall and some of the image seams...

ColorCrest If a file gets to our rip with a named spot from Illustrator and Indesign, that color prints the same. If effects or a raster image is below it, indesign converts it all to process. I also just had image link issues come up with a recent project. The image is the same exact link, but...

The dye sub ink. Had an Israeli made hp scitex when I started, the cyan for that was like royal blue. Getting to anything cyan was impossible. It was always periwinkle. We printed for HP with it, part of the deal was I had to use their machine...but I couldn’t hit their brand color! I told...

A great workflow that gets around full on profiling. At the minimum you want to be linearized and calibrated. When you do this in the best profile your ink can give you it works even better!

We deal with metamerism fairly frequently. The problem is every showhall in the country has different temperature ambient light. We have to seam 100-200' long covers together to create one cohesive image. The roll to roll differences are no joke. I'm limited to the size of stock I can get my...

In Onyx I would have just created a spot color library and maintained it. We run dye sublimation, so things are a little dicey with color. Our cyan is almost like pms300c. With our smallish color gamut, when colors are off they are really off. What I do like about dye sub is I really only have...

Having to match a color every time it comes up is very time consuming. That is how it was done here before I started. A thousand may have been extreme.

That sheet is a thousand man hours! (or as long as we have this printer!) We have Caldera...it has a color books function. I really prefer Onyx, but couldn't get a decent profile with my ink and printer. The main difference is I can't tweak stuff in h,s,v predictably. Onyx swatchmaker is the...

Colorcrest breaking it down! Awesome advice and concise direction! Your spectro is not a tool you use to find a color! It does a few things aside from standard calibrations. - Shows you the limits of your color gamut. Ink is the direct driving force in this. My current ink sacrifices gamut for...

Once you build your custom print condition (linearization, ink limits, spectro readings, material, finish) then you can hit the same color consistently. You end up with something like the photo I've attached. The beauty of controlling your color like this is there is zero translation from your...

ding ding ding! Perfect explanation! "The only cmyk that matters is your output from your rip!" If you are not using a rip, than yes color matching seems near impossible. You can hit a color. Once. Your rip will give you consistency that is hard to achieve without. The problem is all of the...