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What is the best way to get my feet wet doing variable date bar codes to an Indigo 5000? InDesign? HP Smartstream? Esko? Any ideas would be appreciated-we're new to this procedure. Thanks

Not sure what "comfort angles" are but K-15, C-0, M-45, Y-75 would give me heartburn. In the past when running a project with hairline key lines around photos, black at 45 kept them nice and crisp. Is it possible you are running intricate 4 color black halftones and the misregistration is more...

The biggest obstacle is changing the designer's and print buyer's minds. If their client's company logo has been Pantone 192 and Pantone 185 for the last 30 years, it's tough to convince them you'll match it on press with this cool new printing process-anyone remember Hexachrome? As a side note...

That's pretty good. I too have been retouching since the early years of Photoshop (ver. 1.0.7). Back then Photoshop was looked upon like a toy. How could you possibly achieve the level of quality customers had come to expect from high end systems costing hundreds of thousands of dollars from the...

Thanks WI-Flexo, that's exactly the kind of feedback I was looking for. We are running on a Windows platform so El Capitan isn't an issue. We rely heavily on PackEdge and Plato so ArtPro enhancements wouldn't help either. Thanks again from a fellow Cheesehead.

Thanks eskopdl. You are the Linkmeister. Do you have any anecdotal evidence of gains in productivity or in the user experience?

We upgraded to suite 14 in fall of 2014 and have not done any of the incremental upgrades since then. Are we missing out on functionality by skipping these updates? I'd like to make a case to management for remaining current but I have no hard evidence to back my request. Any input on your...

Thanks Screenpixie. Your findings mirrored my own. Thanks for the workflow tip.

I would lean towards the printer ultimately being responsible to identify and mitigate moiré. Any supplied PDFs or artwork should be reviewed for evidence of re-screened material which will surely moiré. A slight blur in Photoshop will take care of those situations. Other moirés are optically...

From time to time we get fairly complex artwork created in Illustrator that contains multiple opacity masks. We normalize and bring into PackEdge. Once in Esko the opacity masks retain CMYK data which is represented with an exclamation point in the color palette. The artwork is created with spot...

That white box trick is too cool! You'd think Adobe would shout that one from the rooftops. I saved over 30% in file size and a quick check of the Googles revealed this trick has saved some up to half! Thanks!

Sounds like a union worker-oops that was below the belt, I'll keep the gloves up.

Looking for a working unit or one for parts.

Windows 7 Enterprise - works fine.

Great. Could you provide model numbers and contact info?

No calibration or dot gain compensation is being used-films are linear

Film is absolutely smooth-the tonal jump happens when ink hits the stock. I hesitate to call this "banding" as it is not something adding noise will help.

We have. It works to varying degrees of success but there is always the chaining issue giving us the tonal jump (some call this optical bump) I just call it frustrating.

Thanks for the reply macdevin. Full disclosure-I've posted this issue in the past and Gordo has been a wealth of information, but we still see the tonal jump in some gradients. We do high end applique work and the clients are extremely critical. We output film to a Megasetter, resolution is at...

Any tips on how to eliminate the tonal jump in silk screened vignettes? No matter how smooth the film looks, when the image is printed we see a tonal jump which creates a hard line in an otherwise smooth gradient. We have tested multiple dot shapes but do not currently have a license for the...