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3202 newby


Steven Deverill

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Specificaly I'm finding the software really restrictive. if want to change or add a print channel, I have to wait for all the work in the OC to have finnished before I can do anything. and bearing in mind we are running from 3 kiosks as well I'm not finding the time to make any changes to how the thing works.

also I'm imputting from quite a few pro photographers and schools, but there is no way in the software to change the backprint to say who i'm printing for! the result being lots of wedding prints at lots of sizes and I have no idea who they are for. time spent opening the images on a computer to sort into appropriate piles is not something I expect from a modern piece of equipment.

cannot shut the lab down and leave work in th OC to print the next day.

cannot turn the lab on early and get on with my work until the chemistry is up to temp.

these are all things that I could do with ease on previous equipment but not on the new lab.

there are more instances of restrictions on the software but I don't wish to moan too much.... in fact really don't want to moan at all. maybe i'll get use to it but i'm finding it really difficult to get my head around. any suggestions would be appriciated.

Steve

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I would consider looking at pro lab software solutions, possibly running the lab in Net Order mode as a network printer.  This will allow for all order prep to be done off the printer and sent when you are ready.  

We use Frontline and ZBE's workstream.  You create orders in these systems, color correct, apply products, then after they are rendered you send to the printers.  This can all be done with or without the printers set up.  

If this isn't an option, I know you can add Backprint information and assign it as you print each job.

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tried to use the digital darkroom software today and its really good for putting packs through for schools. I also bought the KIDS software which again seems ok for send work into the lab, even though it is slow to use.

i'm interested to hear you can adapt the backprint to saya customers name! How? Noritsu UK don't seem to know.

It is all a little acedemic at the moment as the lab is broken....... i did get a full 5 days work out of it.

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yeah the contact print section of the operator selections lets you change part of the back print, alternatively from a kiosk order there is text in each job section in the AUTOPRINT.MRK which can be edited manually (perhaps with a find-replace all in a text editor) if you can not find the base setting in the kiosk to change it automatically to suit.  the AUTOPRINT.MRK information lets you change the whole backprint text.

addtionally in the print channel settings the CVP checkbox near the bottom I think it is, lets you disable backprints for that one channel.

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In the operator selection section, you can input a number of different backprint options for different customers, as well as put their logo on any index prints you do for them. Our pros love it, particularly with a full set of wedding proofs. You can also put the copyright symbol on the back as well for them.

We have 1 radical wedding photographer who wants purple 8x10 index prints with all his weddings and also purple borders. With the Noritsu software, its so easy to do.

You can also do colored borders with the photographers name and copyright within the border.

There are a huge number of options available.

How do you find the QSS Kids software? I've looked at it, but cannot justify the price here until I can give it a workout.

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My 32 is now working and I'm starting to adapt the way I work to accomidate it software failings. thanks for the tips on the backprint settings. it might be usable if there is a quick way to get there. but you can only add 20 customers!

Kids software looks good on the surface, although I haven't had much up time to get a feel for how useful it will be. having huge problems getting colours to be consistant from the software. this is something I will be keeping a close eye on.

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What do you mean about getting consistent color? Ours is rock solid. But I'd have to say we have educated our pro's to convert their files to sRGB rather than let the Noritsu do it. Made a hell of a difference even though our 3202 is set to convert to its working space. Whenever we do B&W prints, especially for our major accounts we do an emulsion balance and always drop the chroma to 50. It has worked a treat and we have actually gained new business because of the quality of our B&W work. We also use Supra paper for all our pro matt stuff, and that makes a big difference too.

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the colours don't seem to have the same bias on every print! some will have a heavy yellow cast, some red yet some are completely neutral! the images I've been testing with are our own so I know the the files are OK. Its the same story if I send from Express digital, so at the moment I Have 2K in software thats completely useless.

I would imagine that its something in the 3202 that is affecting the files before they are printed, but I've been into the print channels and tuned off all of the auto corrections. Are there any more auto's in there, somewhere?

Been converting all files to sRGB for a while now, as my last lab was set up the same. I am getting some nice results from it now. interesting tip on the chroma for B/W prints Thanks.

do you do anything other than an emulsion setup to keep the whole lab printing consistantly?

Also using Supra Matt for the pro stuff, and results are quite good, although going to get some Fuji DP paper to try as a comparison. Fuji is certainly prefered by the pro's in the UK but we are a Kodak store so i suppose I should really stick to the Supra.

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  • 3 weeks later...
What do you mean about getting consistent color? Ours is rock solid. But I'd have to say we have educated our pro's to convert their files to sRGB rather than let the Noritsu do it. Made a hell of a difference even though our 3202 is set to convert to its working space. Whenever we do B&W prints, especially for our major accounts we do an emulsion balance and always drop the chroma to 50. It has worked a treat and we have actually gained new business because of the quality of our B&W work. We also use Supra paper for all our pro matt stuff, and that makes a big difference too.

Where do you set to convert to its working space? First of all  what do you mean by saying a printer having a working space? i think printers will have its own device space not a working space and generally files need to be converted from its space(generally it's your working/editing space )to device space and print to get consistent and reliable color. And I think Noritsu 3202 printer software is not ICC CMS aware and assumes all incoming files are in sRGB and does not care about embedded profiles,so that is why every one ensures the files are in sRGB space or converted  to sRGB externally before sending it to print.

Want,  proof of this above above statement, send  two files of same image in two different spaces assigend,say one file in 'sRGB' and another file assigned with 'prophotoRGB' space and print both files with same corrections ,say,all normal corrections and compare the prints with  both the files open in CMS aware application like photoshop and you can conclude yourself that 3202 printer software (driver)is not ICC CMS aware.

AjantaKVS

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All I can add to this is that since the Noritsu went in I have had a lot of complaints about colour correction, from customers who spend thousands of pounds a year and I can't afford to lose customers.

when I get a good print from the lab, its is really good. but it is not consistant.

I myself have been grading professional prints for the last 15 years, so i'm pretty confident that the problem isn't the fact that I can't grade. so the problem has to be the lab.

I have given up on KIDS for now as all it seems to do is change the whole monitor profile to sRGB (from its calibrated profile) when the program is booted up, and to remove that profile from the monitor I have to do a restart. any advise on how to stop this would be great!

I've got to grips with Express Digital and that seems to work fine.

the monitor on the lab is just not good enough. if i put the same 6 images in PJP and sit back and look at them, they are all different colours and densities. here is where my biggest problem lies (I think).

so as I have put in another thread I'm needng advise on what monitor I should replace it with?

I am getting more frustrated with all of this as time goes by. In my naivety I expected that paying out

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I would highly recommend looking at Frontline.  It is an incredible workflow software.  We run the entire lab, with it as a backbone.  All orders are color corrected on standalone, machines with calibrated monitors.  They are then send to Frontline for rendering, ICC profile conversion and sent to the Noritsu's via Net Order Mode.  We run roughly 95k images per day through it with out a hiccup.

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if colour consitency is a problem have you tried running an emulsion number change before an important set of prints?  one thing to keep in mind is that different paper sizes and types have different profiles that aren't updated with the daily set up in the morning (at least on my QSS3000) so if there has been a slow shift in the chemistry over a week and you suddenly get 100 black an white images to print on your largest size paper, if there has been no emulsion # change done on that paper size those prints might come out greenish or the likes instead of straight b&w whereas on the standard paper size it will be proper b&w.

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