Anybody using CMYK workflow?

Question

I'm in a desperate need of a case study for my disertation on CMYK and RGB workflows.
I'm looking for somebody (graphic designer, studio, repro house or similar practices) who uses a CMYK workflow, meaning that the images are converted to the CMYK destination profile in the beginning of the workflow before any colour correction is performed. It is very important that this CMYK profile is the known output profile that the printer requests the work to be delivered in.
I would hugely appreciate if somebody working in such a workflow could offer me some of their time for a telephone/skype interview which I would use to write the case study. I would like to ask a few questions about how the conversion is performed, how the retouching and colour correction are done, InDesign settings, proofing, and delivery formats. If anybody could/would help me with this, please do get in touch with me here or via email: viktoriavass * gmail.com.
Even if somebody culd name such practice if would be glad to hear about it. I know finding such a practice sounds like an easy job, but actually many of those working in CMYK perfor the conversion withouth knowing the output profile.
I would also also be interested to hear about practices that use a medium binding workflow (converting images to destinatation profile after retouching, before placing them in the InDesign file) or an extreme late binding workflow (delivering RGB data to press, for exmple PDF/X-4.)

Answer 1

OK. “No Color Management” settings in the US defaults to US Web Coated SWOP v2. I don’t really know that, or care, but it’s what I’m using.
I calibrate my monitor, using the free calibrator that comes with my system OS. I have a decent monitor. But more importantly, I realize it’s not perfect, not by any means. And I accept that.
Remember I’m a CMYK numbers guy. That’s how I edit my images – by the numbers. The monitor is an RGB device, and it’s just ball park color. I have learned never to trust it fullly.
So I open all the RGBs. I’m casting the RGB profile for each to the side, even though I’m not aware of it. But that’s OK. Because I’m not staying in RGB.
I get it into CMYK RIGHT away. Because that is the native color space of my print design.
After Mode: CMYK, I make adjustments. Moderate adjustments, mind you. I concern myself with two things initiallly: color cast and tonal range. For the cast I pay special attention to the highlights and neutral midtones, using a selective color adjustment layer to get the desired numbers. A whites shift and neutrals shift can work wonders. It is very helpful with skintones, furniture, yuou name it. Any thing that’s supposed to be gray or silver –those are GREAT to reference. Stainlesss steel, pavement. The cyan a few clicks higher than the other two.
The tonal quaility, no problem there either. Two dark? Drop the midtone. Washed out? Bump up the three quarter. Flat? S-curve –up with the 3/4, down with the 1/4. Moving the quarter down is really helpful –it removes that unwanted color component you encounter quite often.
Man I am working wonders on these images.
I keep things organized. All adjustments are layered, then grouped (Initial Adjustments).
Now a little monkey wrench in the mix, but no worries. This job is going to the UK. What’s more it’s on an uncoated stock. I know they do things a little differently over there so I contact the printer directly. The biggest concern is always total ink limit. 260, they say.
I’m at 300 now. No problem. A simple mask on a layer and I knock it down to 260. You can’t even tell.
I also realize the dot gain will be a little more on uncoated stock. I make another curve layer, dropping the midtone. That’ll open things up a bit.
There’s a possibility the printer will use a different standard than what I’m used to seeing in the U.S.. But that’s OK. This being my first job sent to them, I need to get contract proofs on randoms. I’ve got 200 images, so I pick 20.
At this point, no guessing. I send off the images for proofing. Once I get the proofs back, then I can make more adjustments if necessary. Which will be an extremely simple process, and I’ll never need to go through it for the same printer again.
What do you think so far?
You’re my customer – tell me how the proofs look and we’ll go from there.