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Communication is the paramount concern when handing off les to the replicator Make sure you address these concerns: If you deliver on a medium other than a fully premastered optical disc, you need to communicate to the replication service how to deal with the les that you provide You should map out the le and directory structure, specify the intended format of the DVD or CD project, itemize the individual assets, and communicate all of this clearly to your account representative Since most services have preprinted forms designed to accept all of this information, spend some time lling in the necessary data If you need help with some of the requested information, don t guess at the proper response ask someone Whenever possible, hand over artwork for packaging and labels ahead of the disc master that is delivered Extra time is generally required for processing these items, particularly if the replicator outsources the work to specialists Packaging, in particular, can sometimes require an extra week or two for preparation Be clear about all the scheduling issues and any proo ng responsibilities or approvals that are required from you during the manufacturing Replicators will do everything possible to make sure
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Expert s View: Preparing Artwork for CDs
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the job comes out right, but you will necessarily have to oversee some of the process and respond to their sign-offs and approval cycles as the work progresses Take advantage of these opportunities to make sure that the manufacturing is proceeding according to your intentions once the discs are pressed, you can t erase them and start again
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Once you have turned all the necessary materials over to the replication facility, you are generally nished with your role in the process At this point, you just need to sit back and wait for the manufacturing process to be completed, which can take anywhere from a few days to three or four weeks If you have included artwork for printing, many replication facilities will offer a proof copy for your approval to ensure the design will print as intended While this will approximate the nal appearance of the completed disc, replicators will be quick to tell you that there are differences that will be apparent on the manufactured version, because of different materials and processes used As long as you understand the nature of these differences and how they will affect the nal results, you can avoid unpleasant surprises Have the replication service explain the printing issues to you in detail before proceeding with the job
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Discs can be packaged in a multitude of packaging materials and various types of containers Your choice of packaging re ects the image of your company and provides the rst impression of your title Many companies are choosing minimal packaging materials and insisting on recyclable materials to reduce the environmental waste and responsibly deal with disposal issues For more details on the packaging options, refer to A Gallery of Package Types on page 412
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Expert s View: Preparing Artwork for CDs
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The steps involved in preparing the packaging materials for a disc and designing the artwork for the disc label should generally be accomplished before the disc is released for replication These steps can require as much as an extra week or two beyond the disc manufacturing process, so it helps to begin somewhat sooner The characteristics of a silver or gold re ective disc are not the same as paper, so the printing process must necessarily be quite a bit different The following Expert s View covers the issues involved in printing to CD
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as explained by Lance Svoboda, the Electronic Pre-Press Manager at Disc Makers, who counsels clients on the techniques that ensure the best results I imagine from your perspective, there are certain artwork preparation problems that you see all the time There are de nitely certain common mistakes Probably the most common mistake is supplying images that we can t use Or, supplying images that we have to work with extensively (we generally always have to do something with the images) Some customers will supply their artwork in four-color, when they re looking to do spot color (which is what we use on the CD label) Or, they will supply artwork for true duotones, where they have one screen overprinting another screen To convert those, we pick a lighter color and apply a base color; we do a ood coat underneath the halftone and actually only print a halftone over a solid area Why wouldn t a duotone work for a label There is a possibility of registration issues Certainly, we can make lm that is good and won t have any registration issues When it goes to the plant, this is done in silk-screening The registration can t move as much as a point in any direction So, there is a possibility that a dot pattern will appear, whether it is a moir pattern or a funny rosette any of those things that happen when you lay a screen over a screen and it isn t in proper register The other issue is that there is no way that we can do a proof on a duotone We don t have these inks We can t predict how they re going to stick, how they re going to lay down We can t show the customer anything that says, This is how your label is going to look It could come back looking very different from the laser proof that we supply So, you re really basing your judgement on how it is going to look on past experience That s right There are a thousand different PMS inks and depending on how they are mixed at the plant, they are either more or less translucent Two plants could mix the same color and one could come up with a very opaque ink and the other come up with a very translucent ink The same disc printed at two different plants with the same duotone could look very different
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