Im looking for clarification on how i should approach colour management settings when my rip compensates for dot gain for the different paper types.
I am sending litho plates out via a pdf based workflow utilising a harlequin rip.
If my workflow (harlequin rip) is calibrated to adjust for dot gain depending on different paper types ( FOGRA Coated/Uncoated) should i then just be sending files to it that are not tagged with profiles/colourmanaged to prevent multiple conversions?
Should i colour manage pre-rip and allow for dot gain (2 conversions) or is only 1 or the other necessary?
1. I am assigning a FOGRA coated profile to my images in photshop
2. Then placing my image in my indesign layout and exporting it to pdf using FOGRA coated settings
3. pdf is then dropped into the workflow
4. pdf is ripped and dot gain allowance is applied
5. Plate is then outputted
Any thoughts please
I am assigning a FOGRA coated profile to my images in photshop
it's usually a bad move in Photoshop to Assign a profile unless the source image was created and saved in that colorspace or the correct source profile was first applied and then Converted to that profile and then saved...
I'd want to see your InDesign Color Settings. The RIP should have a choice in its calibration methods whether to honor .icc profiles and application settings. So, hypothetically if you feed it a PDF job that includes profiles and honors existing application color setups ( PS, Ai, ID, etc., etc. ) and the RIP is set to honor app color settings and profiles, then no duplication of dot gain adjustment will take place. If the RIP is set to not honoring app color settings and/or profiles, then it will adjust for dot gain. Look into your RIP's calibration and whether or not it honors application color settings and .icc profiles. Should it somehow apply a second round of dot gain adjustments, then deselect dot gain adjustments in your desktop applications. You only need dot gain adjustment done once.