As the name would suggest, this section is a compilation of answers to the questions our clients commonly ask. Just start by following one of the links below.

1. I converted RGB to CMYK; why do you want the original RGB files?
2. What is a "contract proof"?
3. The color proof looks different than what I see on my monitor or inkjet proofs; what do I do?
4. I'm concerned about how my job will print, but am not experienced at press checks and may not know how to express myself; any suggestions?
5. My client wants to provide digital images for their next brochure. Any tips?
6. How long do you keep files?
7. What's the best way to submit a disk to you?

1. I converted RGB to CMYK; why do you want the original RGB files?
   RGB is a much wider color range than CMYK. It is not a simple matter of selecting CMYK from the color mode in Photoshop; the conversion settings must be correct. If the conversion is done improperly, the color information is lost. We always prefer to have the original, at least for reference.
   
   
2. What is a "contract proof"?
   An off-press proof representing a contract between the print buyer and the printer. By signing off on a contract proof, the buyer expects final press color to be a reasonable match to the proof. Any proof can be a contract proof, but in high-quality commercial printing it is usually considered to be a proof with a halftone dot, such as Kodak Matchprint or Approval, or Fuji Final Color. A contract proof can be either a traditional proof from film or a digital proof. MGTL offers Kodak Digital Matchprints.
   
   
3. The color proof looks different than what I see on my monitor or inkjet proofs; what do I do?
   Even on calibrated monitors there can be variations in color from the RGB screen to the CMYK proof. Inkjet printers are capable of laying down deep, saturated colors that aren't achievable in four-color process, so it's important that they are calibrated as closely as possible to mimic what will happen on a printing press. We can provide you with a four-color proof and the file that made the proof so you can compare and adjust accordingly.
   
   
4. I'm concerned about how my job will print, but am not experienced at press checks and may not know how to express myself; any suggestions?
   A big part of our job is translating your comments into what needs to be done technically. You'll find our pressroom staff to be patient and knowledgeable. Additionally, your account representative or contact person will be right there with you on press. Keep in mind that the key to getting the results you want on the printed sheet is at the proofing stage. Although we have some latitude on press, it's usually not practical to stray too far from what you see on the prepress proof.
   
   
5. My client wants to provide digital images for their next brochure. Any tips?
   Our standard recommendation is to use a professional photographer if possible. If that isn't an option, here are some pointers:
   (1) Zoom in as tight as possible on the image. Filling the available frame area with usable image will give you the highest resolution, rather than capturing image that will be cropped later.
   (2) Shoot at Super High Quality (or whatever the highest quality native resolution is called on that particular camera). Don't use interpolation to get higher resolution. Don't use "Raw".
   (3) Don't use built-in camera flash. Separate lighting sources should be adjusted for even coverage.
   (4) Save as a .tiff rather than .jpg if that option is available on the camera. Tiffs are not compressed; .jpg images always have some amount of compression. The greater the compression, the more it degrades the image. If an image is shot as .jpg, it should never be resaved as .jpg as each time you resave, it further degrades the image. Instead, if a .jpg must be resaved, save as .tif or .psd or .eps. If .tiff option is not available, use the highest quality .jpg setting.
   (5) Use a tripod whenever possible. Hand-held shots are seldom as crisp and sharp as those shot with a tripod.
   (6) Natural outdoor light is best. Shoot in indirect light; avoid shadows or bright sunlight. Fluorescent lighting will create a green color cast; incandescent lighting creates an orange/red color cast.
   
   
6. How long do you keep files?
   The final files used to produce your job are kept for about five years; longer if they are part of on-going image libraries that we maintain for our clients. We don't charge for archiving job files; we do charge for the time in takes to read in tapes or disks and for any media required should you want them picked up and/or written to disk at a later date.
   
   
7. What's the best way to submit a disk to you?
   First, put all items in a folder labeled with the project name. Within the job folder, there should be a font folder containing all of the printer fonts and suitcases used on the job. All of the job files can be loose. Any miscellaneous files, such as previous versions or master layered files or text files you used to import into the page layout program should be in their own folder. The disk should only contain elements that pertain to the project; this avoids confusion and saves us time by not having to sort through a lot of files. Finally, check the disk. The best way is to open the fonts from the disk, then open the page layout file and check the links to make sure all images are on the disk. Printing a laser from the job disk is the best way to verify that your disk is correct.