You can use Soft Preview (View menu/Proof Set-up and Proof Colors) to see how your final document can be expected to print on Press.
Then make a duplicate flattened file.
Covert it to the correct 8-bit CMYK profile for your proposed output device; and Place that file in your InDesign document.
If you need to hand over a folder containing your InDesign and image files and any supporting fonts to another operator, converting everything to the correct color space can be safer.
By the way, I'm working for the packaging industry. My end product is usually a CMYK file with additional spotcolor channels.
YES - your primary concerns are correct and there is nothing you can do about it. Enjoy the fact that you are a beneficiary and victim of the technology. There are only books about best practices. There are no books being written about how to solve the problem because Abobe is not interested in solving problems - just creating more features.
Embrace the reality that your job my just explode and deal with it.
There really is no good reason to hand of Live ID files with the linked
files any more.
I agree with that entirely.
The problem that could arise in a corporate situation is if jobs are archived for future use possibly by other operators.
In that case, it might be safer to collect all of the job-related files (including the InD file, fonts and images — and perhaps the output PDF too) into a single folder and archive the complete job.
The Old school ways, just because they are tried and tested, aren't necessarily the best.
The ability to to run a muck to your hearts content without any knowledge necessary.
It's brilliant~!
This is old school thinking...
The world has forever changed. Adobe has not.
You MUST go and do some serious reading before you post anymore of this misleading nonsense!
:(
You really do need to buy, and READ, some current books on the subject.
8/
I am not being unkind but there is SO much more to this subject than you currently begin to comprehend.
Let's start with your Color Management settings:
(gballard's web site, to which we directed you in your other thread, will be a great help to you in getting a better understanding of this subject.)
You simply MUST start with a properly calibrated and PROFILED monitor. That is non-negotiable so buy a spectrometer (Puck) if you don't already have one.
In your CM settings you have a selection of choices but if you are sending work to a Press, it is absolutely essential that you choose a CMYK Profile which is targeted to the KIND of Press and the type of Stock on which your job will run.
And of course you can, and SHOULD, create your document in a recognized RGB working space (either ProPhoto or Adobe RGB but NOT sRGB) and embed that Profile into your document because you then have the flexibility to CONVERT that RGB file to the correct CMYK Profile for the job.
And your Printing Company has some terms of reference, and the means of rectifying your file, if your CMYK conversion does not meet the requirements of their Presses.
Next, you need to learn to use Soft Previews.
You should set your proposed CMYK Profile as your Preview Profile (in Photoshop's View menu/Proof Set-up/Custom) making sure that you have checked "Simulate Paper Color".
If you keep "Proof Colors" checked, you can work in RGB while getting a very clear idea of how your colors will actually print when the ink hits paper on the Press.
I should have said that in CMYK you are limited to the four cans of ink
and the pantone colors.
Sorry, no. "CMYK" means cyan, magenta, yellow and black. Nothing more. No Pantone spot colors. No metallic hot stamping. No blind emboss. Just the four process inks.
Neil
How much of the total job have you already done in CMYK and, more importantly, are you absolutely certain that you are using the correct CMYK Profile (including Total Ink) for the Press and Stock on which the job will run?
If you build the file in InDesign, you can Place your Image files and InDesign can convert everything on Output to the PDF with the correct Profiles.
don't call me...