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Thread: Problem with RIP screen angle

  1. #16
    Donor daniboyweb is on a distinguished road
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    So, I'll try CMYK separations and send in AI the angles, if doesn't work, I'll put the values in the RIP... Both with CMYK separations... If doesn't work, I'll let you know...

  2. #17
    Donor daniboyweb is on a distinguished road
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    I'll copy and paste the things that says in the rip... maybe that can help ;)

    It's with CMYK separations, 2540 dpi and 100 lpi.
    And with No Override Angle in job....

    Everything is from AI CS5:


    With angles in rip changed....
    Code:
    Only the registered members can see the download links/content. please Register to gain full access.
    With angles in rip normal:
    Code:
    Only the registered members can see the download links/content. please Register to gain full access.
    With angles in Ai changed and in RIP normal:
    Code:
    Only the registered members can see the download links/content. please Register to gain full access.

  3. #18
    Moderator super silja will become famous soon enough super silja's Avatar
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    hi,
    as i see, you send CMYK job to rip. RIP recognize color plates and produce accurate angle and lpi. in all three cases, rip works excellent.
    problem will happen when you send spot ( quadtones to rip) in that case rip does not know how to render ( rasterize ) spot colours. Reflex Blue (for example) will be printed in 45 degree ( your setup). to avoid same angle and lpi you must to manualy setup custom colours.
    (look at my example) myred, myorange, myblue .....
    angles 7.5-67.5-22.5-37.5 is used in flexo to avoid interference (moire) with anilox cylinder but it would not help you in your case.
    also i recommend you to use cmyk setup instead of monochrome. Because of process colours calibration.

  4. #19
    Donor daniboyweb is on a distinguished road
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    but my imagesetter es for flexo, and it's monochrome....
    For calibration, I'm using a monochrome calibration, that makes the 4 colors, and really I only want that the CMYK colors where in the same lpi, I said quadtones because i didn't know how to say it...

    In other words, I want that CMYK colors where printed in the same lpi, and when I ask for 100 lpi, get out of the imagesetter in 100 lpi.... do you understand what i'm saying? Its a little difficult for me talk in technicals word because my native language is spanish...

  5. #20
    Donor daniboyweb is on a distinguished road
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    I have made it! :D
    Maybe is not the best solution, but since it works for me, I'll leave it like that....
    First, instead of printing from illustrator in separations I print it in compose, and in the rip, using cmyk separations, I put the same numbers that kazanchi gave me...

    The lpi are 103, not 100 like i wanted to, but all colors are the same, so I'm happy... :D

    (with all this, I'm starting to hate AI CS5 hahaha)

    By the way, all the problems that i have maybe wasn't the LPI in the picture, instead was the F***ing color management from AI, that gave me all my pictures very yellow...
    Last edited by daniboyweb; 06-23-2011 at 08:51 PM.

  6. #21
    Donor daniboyweb is on a distinguished road
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    Quote Originally Posted by super silja View Post
    there is two option
    1. Program send information to rip. You choose screen angle in program
    2. RIP decide what screen angle to use.

    Please don't use Color Setup: it's not necessary

    In your case you print quad tone images separation
    Separations: is critical in your case
    If you check overide angle in job RIP will choose which angle to assign to which color plate
    In your case rip only know for CMYK angle all other will be printed at 45 degree.
    that is you problem
    You can click in this dialog box
    Field edit selected row -> new ad add name off color and assign screen angle.
    this is impractical if you print a lot different duo-tons (quad-tons)

    for you is best other solution. To print to postscript file from illustrator, and to assign in illustrator screen angle

    Attachment 704
    you will see in rip window, real screening value
    Attachment 705
    and in roam preview
    Attachment 703
    I've have realized something... did you see that in your rip, the lpi are all the same, and all closed, without difference between one another? In mine, I have some inaccurate and in yours not....

  7. #22
    Donor daniboyweb is on a distinguished road
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    Now I have made it... It was the rip... It was in bad shape, and when I migrate the files from this to the ecrm rip 8.3, the same mistakes where copied there....
    I've reinstalled ecrm rip 8.3 and star all over again, and works fine! :D

  8. #23
    Junior Member sid6581 is on a distinguished road
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    Where can I find these settings for ECRM VR36 old CTF machine?

  9. #24
    Donor daniboyweb is on a distinguished road
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    what kind of settings do you need?

  10. #25
    Junior Member sid6581 is on a distinguished road
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    I need page setup, calibration, exposures. Software stuff. Everything what is inside of a RIP software

  11. Your ad here

  12. #26
    Junior Member sid6581 is on a distinguished road
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    I have found some calibrations from a MAC but every time I want to save them as calibrated setting they revert themselves to uncalibrated . I dont know what is the problem? Also there is no way i could define color in Screening, Separation & Color section of a Page Setup. It says No Color Management :/ and also device is unselectable though i want to apply this setting to ECRM VR36.

  13. #27
    shampa
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    I is intentional that the yellow has a slightly higher screen angle. The purpose is to reduce moire since the angle is only 15 degrees from cyan (or maybe magenta).
    Some rips actually switch to FM screening for the same reason.
    It should not be enough difference to cause significant issues on press, but if it does then a separate press curve for the yellow should fix it.

  14. #28
    Junior Member sid6581 is on a distinguished road
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    Quote Originally Posted by shampa View Post
    I is intentional that the yellow has a slightly higher screen angle. The purpose is to reduce moire since the angle is only 15 degrees from cyan (or maybe magenta).
    Some rips actually switch to FM screening for the same reason.
    It should not be enough difference to cause significant issues on press, but if it does then a separate press curve for the yellow should fix it.
    Well... It appears that the chemical components inside of a film developing machine mixed each other. That's why I was having some weird shadows on the developed film itself. Machine for film development is old, also ECRM VR36 is old and it has been using an old "blue" film. I have to experiment with other ECRM VR36 which uses "brown" film.

  15. #29
    Doris
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    Thumbs up screen angle

    As desktop computers didn't have the power to deal with irrational screen angles in the same way as the high-power Linotype-Hell systems, halftones created on them possess cells that are all the same shape, but of different sizes. A consequence of this is that the cells don't always line up with the recorder grid at all screen angles, specifically the irrational ones. Adobe sought to solve this problem with RT Screening, a screen algorithm devised by Linotype-Hell and licensed by Adobe in PostScript Level 1. Halftones created with this process attempted to eliminate moiré by rounding the irrational angle to the nearest rational angle.....

    [URL="http://print24.com/uk/product/postcards"]print postcards[/URL]

  16. #30
    Junior Member sid6581 is on a distinguished road
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    I just cannot calibrate in to monochromatic mode. The values deviate too much from each other.
    My setup:
    • ECRM VR36:
    • ECRM RIP 8.3
    • Exposure: 130
    • Screen Frequency:150
    • Screen Angle: 45
    • Resolution: 2540x2540
    • Screen Spot: Euclidean

    Values:

    0-0; 2-9; 4-13; 6-17; 8-21; 10-25; 15-33; 20-42; 30-56; 40-72; 45-79; 50-81;

    55-80; 60-84; 70-90; 80-96; 85-98; 90-100; 92-100; 94-100; 96-100; 98-100; 100-100.

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