M&R i-Image questions

[DannyGruninger]

If your screen wash department is setup like that you guys will be good to go from the start. Your workflow will be extremely fast compared to what your currently doing using films..... Honestly if your making the amount of screens you are, I wouldn't be waiting any longer as your press setups are going to justify the cost of the machine before you even calculate film savings, ink savings, etc. From the sounds of it I don't think you will have to change much in terms of how your workflow operates but without seeing your setup/how you do things it's impossible to say but I really don't see a huge learning curve for you guys.... The biggest aspect to get used to is how to send ripped files to the dts software but that should go pretty quick as well if you have an artist even halfway smart lol..... But seriously if I was in your boat I wouldn't even have to think twice about purchasing the ste.......

we have four artists - two work remotely and send the separations via dropbox. 

currently the artist will send the art to the aspect computer and all i have to do is open the file, double check spelling and then its added to the layout to be printed to the film. 

we have lots of reprint jobs - right now we have walls of racks with file folders.  the employee would take the folder out, remove the films, expose on the screen and then put the film back. with the i-Image - going forward we will have to send all the art on our schedule over to the i-Image.  im not sure what is involved, but will we have to convert any of our separations to a format that the i-Image will interpret?  or can we just have the artist put all the photoshop and illustrator files on a hard drive (faster for the terabytes of files we have) and just plug it into the i-image computer and we would be all set...  im concerned with tying up one of our artists who should be working on separations.

I can no doubt explain all this better on the phone so apologies if this doesn't make sense........ The I Image st/ste takes it's own file format for the rip software which we refer to as a PRT file. Here's basically what we do on our end which I assume is similar to most shops using this dts....

1. When dealing with photoshop seps, save the psd channel seps as a DCS 2.0 file
2. Open file in Colorprint(the rip software that runs the dts)
3. Set all print parameters in the rip software( angle, dot shape, etc). We the go file print(which saves the ripped image as a prt file into whatever folder of print files you have setup on the i image computer)


The above steps are what you or one of your artists will do. The files will then be saved as a prt(print file) into a folder on the i image computer.

4. I Image operator will then access the folder of prt files that the artist has prepped and open the files into the print production software.

At this point the operator can use a high resolution preview to view the files in que ready to be imaged, check as if they were checking films, etc.

5. All the operator then has to do is load a screen, hit the print button and watch as the screen gets imaged. During this time they can be setting up the next job, so on and so forth.....

It might seem like a lot of work but actually is a nice process that goes really quick once you get used to it. Like I said I can def. explain this better on the phone but after a few days/maybe a week you should be used to the process.

For reorders and such, all the operator has to do is go look up the job in print production and go back hit 1 button and make the screens.... It really doesn't get any easier on reprints as we do a fair amount of reorders around here and dts has made them super super easy to do. It takes us less time to look up the job in print production then it does to find the folder of film, pull it out, then replace the film that hopefully didn't get damaged.

In the end, it's really easy to use and shouldn't be tying any artist up or anything like that...... Like I said give me a call if this isn't the info your looking for but again I would strongly stand behind the i image ste as it has been kicking major ass for us




4.

[Zelko-4-EVA]

Are you set to use a registration system on all 4 autos?  You definitely have the screen output to justify a very nice unit but if you're registering jobs manually with the DTS then that will negate a huge chunk of the benefits of going there.

We do a ton of repeat stuff too and that plays a role in the decision but our screen usage is 1/3 of Zelko's right now and we only have 1 auto so we're not a "slam dunk" like many shops are with going DTS.

we have the tri loc - the master frame is a "23-25X31-36 adjustable master frame".  our exposure unit - Douthitt DMZ exposes two 23x31 screens side by side, but unfortunately is not big enough to accommodate a double tri loc master frame. our other exposure unit is large enough for a double tri loc - but we use it for the 36x42 frames.  we set the adjustable master frame on a table and taped the films on - so we never really saw the benefit that others would see from the tri loc.  it also didnt help that our roll fed films occasionally didnt register close enough. 

the two gauntlets and the chameleon are fine with the tri loc, the anatols obviously wont be.  replacing one of the anatols is the next step.

[Lizard]

So can anyone elaborate on the process for ganging screens?  Do you have to print a whole job, all X amount of screens, then reload the screens in the machine to print the other job?

[Zelko-4-EVA]

So can anyone elaborate on the process for ganging screens?  Do you have to print a whole job, all X amount of screens, then reload the screens in the machine to print the other job?

i think i read somewhere that you would have to. 

we also gang up screens - left chest with a sleeve print - small images. 

question for those with an STE:  are you able to "turn off" the exposure part for the first image, rotate the screen, print the second image with the exposure "turned back on"?

 

[Printficient]

Are you set to use a registration system on all 4 autos?  You definitely have the screen output to justify a very nice unit but if you're registering jobs manually with the DTS then that will negate a huge chunk of the benefits of going there.

We do a ton of repeat stuff too and that plays a role in the decision but our screen usage is 1/3 of Zelko's right now and we only have 1 auto so we're not a "slam dunk" like many shops are with going DTS.

we have the tri loc - the master frame is a "23-25X31-36 adjustable master frame".  our exposure unit - Douthitt DMZ exposes two 23x31 screens side by side, but unfortunately is not big enough to accommodate a double tri loc master frame. our other exposure unit is large enough for a double tri loc - but we use it for the 36x42 frames.  we set the adjustable master frame on a table and taped the films on - so we never really saw the benefit that others would see from the tri loc.  it also didnt help that our roll fed films occasionally didnt register close enough. 

the two gauntlets and the chameleon are fine with the tri loc, the anatols obviously wont be.  replacing one of the anatols is the next step.

Duane, Give me a call.  I might have a buyer for the Digikote t2 and the Vindicator.  404-895-1796

[DannyGruninger]

Almost every job we print with the I image we gang screens.... We print lots of jobs where full back design and left chest print on same screen. My brother will image the back full size print while having the led exposure light bar turned off, then flip the screen and image the left chest that is the same color while having the machine set to have led exposure turned on and each screen is made in less then a couple min front and back. It just takes the person using the machine to setup the printing this way... We print all day everyday like this very efficiently now.

To add even further to this quite a few jobs with muitlple locations but same colorways we image on the ste in a way that we tri lock the screens only one time then just use tape on the underside of the screens after each setup. This alone has saved us lots of time as well.... if you have someone that can run the machine well it can do endless things. I will say we setup 78 screens today and less then a handful needed micro adjustment on press which is where I found big savings.

[244]

So can anyone elaborate on the process for ganging screens?  Do you have to print a whole job, all X amount of screens, then reload the screens in the machine to print the other job?

i think i read somewhere that you would have to. 

we also gang up screens - left chest with a sleeve print - small images. 

question for those with an STE:  are you able to "turn off" the exposure part for the first image, rotate the screen, print the second image with the exposure "turned back on"?

yes you can

[jsheridan]

the anatols obviously wont be.  replacing one of the anatols is the next step.

why so.. I know Dave from Spreading Ink has an I iamge (switches frames sizes also) and uses triloc on his floor of anatols.

[tonypep]

Depends on the pallet locking system. If I remember right the Vinny had the fixed lock.

[Zelko-4-EVA]

today i got to see an i-Image STE in action.  a shop a few miles away has one - and they love it.  printed and exposed a screen before i could find the stopwatch app on my phone.

he was only using static aluminum screens - he said if the frames arent perfectly flat (laser scans the top to prevent a head strike) the machine wont accept the screen. 

we use roller frames and nothing else. 

so  - - for those using roller frames - did you encounter any issues?  any extra prep to make the frames work? 

[DannyGruninger]

today i got to see an i-Image STE in action.  a shop a few miles away has one - and they love it.  printed and exposed a screen before i could find the stopwatch app on my phone.

he was only using static aluminum screens - he said if the frames arent perfectly flat (laser scans the top to prevent a head strike) the machine wont accept the screen. 

we use roller frames and nothing else. 

so  - - for those using roller frames - did you encounter any issues?  any extra prep to make the frames work?

Other then my s mesh statics all we run is rollers and we have zero issues with the ste. We keep up on our tape and keep screens nice so its a non issue. Every once in a while the laser will stop the screen but we quickly fix the straggling piece of tape then move on. Honestly I'm surprised you guys havent pulled the trigger yet as with the amount of screens it will speed up your production more then you can imagine. It's the key ingredient to the way my work flow operates and easily my most important machine we use imo. Rollers and the i image ste are a magical package for us.

[Zelko-4-EVA]

Other then my s mesh statics all we run is rollers and we have zero issues with the ste. We keep up on our tape and keep screens nice so its a non issue. Every once in a while the laser will stop the screen but we quickly fix the straggling piece of tape then move on. Honestly I'm surprised you guys havent pulled the trigger yet as with the amount of screens it will speed up your production more then you can imagine. It's the key ingredient to the way my work flow operates and easily my most important machine we use imo. Rollers and the i image ste are a magical package for us.

good to know that it works with roller frames without issues - i knew that it had to work, but i needed confirmation...

im trying to get as much information about how it will affect the workflow for everyone.

i can understand a press and the benefits of options, image size; i can understand a dryer and what we need for capacity...  but before i change the first building block that can affect how the final product will look, i want to make sure that if and when it gets here, that we wont have any problems.  i think i need a book "what to expect when you are expecting an i-Image" written for me. 

i coudnt find many youtube videos that go in depth about the machine.  promotional videos are fine but i have to sell the machine to the owners of the company that i work for, and i cant expect them to open their wallets after handing them an ROI spreasheet and watching a 2 minute youtube video...   i have no doubt that the machine works great, but i need to make sure that it works great in our shop. i want to see it in action - start to finish.

it was either buy a press or buy an i-Image. i have to show to the owners that the i-Image will benefit all the parts of production and will speed up production for everyone. 

we bought a roller master to speed up the stretching,  possibly might be looking at some more frames (im hoping for some 25x33 M3), and fixing a few bottlenecks in the reclaim area.

i havent had a chance before today to actually see that the ink was wet when it came out of the machine.  if we get an ST model without the exposure,  do you have to wait for the ink on the screen to dry before exposing? 

[ericheartsu]

we just signed the paper work today. We will be the first shop in houston to have one of these bad boys.

so this thread is very helpful

[KevWilso]

Congrats eric.

[244]

Other then my s mesh statics all we run is rollers and we have zero issues with the ste. We keep up on our tape and keep screens nice so its a non issue. Every once in a while the laser will stop the screen but we quickly fix the straggling piece of tape then move on. Honestly I'm surprised you guys havent pulled the trigger yet as with the amount of screens it will speed up your production more then you can imagine. It's the key ingredient to the way my work flow operates and easily my most important machine we use imo. Rollers and the i image ste are a magical package for us.

the ink does not have to be dry and is not supposed to be dried. It is a blocker of UV and does that perfectly fine. Best suggestion for your company will be this unit. Don't know where you are but you should either come to Chicago to play with it live or go see one of a couple hundred shops that have installed one already, probably near you.

good to know that it works with roller frames without issues - i knew that it had to work, but i needed confirmation...

im trying to get as much information about how it will affect the workflow for everyone.

i can understand a press and the benefits of options, image size; i can understand a dryer and what we need for capacity...  but before i change the first building block that can affect how the final product will look, i want to make sure that if and when it gets here, that we wont have any problems.  i think i need a book "what to expect when you are expecting an i-Image" written for me. 

i coudnt find many youtube videos that go in depth about the machine.  promotional videos are fine but i have to sell the machine to the owners of the company that i work for, and i cant expect them to open their wallets after handing them an ROI spreasheet and watching a 2 minute youtube video...   i have no doubt that the machine works great, but i need to make sure that it works great in our shop. i want to see it in action - start to finish.

it was either buy a press or buy an i-Image. i have to show to the owners that the i-Image will benefit all the parts of production and will speed up production for everyone. 

we bought a roller master to speed up the stretching,  possibly might be looking at some more frames (im hoping for some 25x33 M3), and fixing a few bottlenecks in the reclaim area.

i havent had a chance before today to actually see that the ink was wet when it came out of the machine.  if we get an ST model without the exposure,  do you have to wait for the ink on the screen to dry before exposing?