Direct to Screen Workflow

[Lizard]

I am interested in how others handle the file workflow for direct to screen.  What works and what doesn't?  How do you archive files for reuse?  Do you keep all files in one folder? Anyone use a database to record job specifics? Or anything else you can add that makes the workflow easier.

[jvanick]

I've posted about our directory structure before.. but here goes

top level:

Client Folders/
--->  ClientName
        --->  Job Name (ie,  Summer Fling 2016)
             Job Files in the job name directory
                Proof.ai (this generally includes all the proof work for the job)
                Proof.jpg (the proof that was sent to the customer)
                Front_Screen.ai (the prepared screen files front, back, crest, sleeve1, sleeve2, etc)
                Front_Screen.ps (the printed 'postscript' file for creating the screens
                Front_Screen.* (whatever files are created by the i-image -- saves the 'rip' settings, etc)

for reprints, all we do is pull up the .ps file on the i-image and run with it.

[Homer]

we set up customer folders, then a sub folder with job name / title, then we label the file name with the line count, screen mesh and number of screens.

example file name, "top colors 45 225S x3.ps".... so this would be 45 line, 225S mesh @ 3 screens needed.

It helps us with reruns and communication between me and the guy printing the screens. If something needs to change, we just update the file name...it's not perfect but it works very well for us...

[ZooCity]

About a year or two ago I reset our workflow to be "dts ready".   I began using Acrobat to output preview all final files, still use it a little but now opt for InkQuest plugin view since it can be done right within Illustartor.  The preview InkQuest provides is a low res/last check, probably akin to the i image's from the sound of it.  Would prefer better detail but not necessary for most spot color and process work is heavily pre-flighted in channels in .ps anyhow. 

All files printed from .ai to RIP.  No other files saved.  Outside the artboard there is a text area with all output information, including film, printer, ink, RIP used, lpi, angle, dot shape, font and whatever else ya want to note that is pertinent to output.

We still get to check film while pinning but it's become rare that there is any issue at this check point.  The goal is to not be reprinting films due to items overlooked in pre-flight and I've achieved that 99%. 

Each unique art file has three related files:

• .....FINAL.ai
• .....PRESS SHEET.gsheet
• .....MOCK.psd

.jpeg proofs are uploaded in the order system.  .psd saved, despite file size, for quick and easy print/shirt color changes on future orders which is super common for us.  Our mockups are very accurate and photorealistic so rebuilding them again and again is not efficient.  This example attached does not, but most mocks are branded and have art size displayed (big time cya in some cases).

Screen shot here shows our file organization and how the press ops access the data sheets for setup and recording location and other info.  They pop open the order link from the calendar on their ipads, mounted on the presses and hit the link for the art number to open in sheets.  The [PLASTI] text directs them to which tab in the press sheet they should use since one art# may have multiple print iterations such as performance plastisol, wb/dc, HSA, plasti with DC UB and so on.  Same goes for screen and ink departments. 

Maybe this was tmi, but I hope that helps. 

This system has worked well for us.  Our only issue is press ops have been driving us up a wall not reading the press sheets, not going to the right tab, etc., it's just laziness though, if you have attentive people they will love the direction provided and ability to provide information to improve future runs.   Unique art numbering + the tabs for different setups eliminates all confusion on what file is printing where and how from pre-press to imaging to staging to press.  For instance, when my back end crew sees a [wb/dc] tab they know to stack one of each size up top on the cart to run first and do a quick dye variance check.  When the ops see [performance] they know to run dryer at 290˚ and plan accordingly. 

And one last benefit to using a unique alphanumeric string for all files is that we can search by art number anywhere within our systems, saves a ton of time navigating.

[Dottonedan]

Great post Zoo.

This is also an example as to why it's important to name your files with a job number. If you have 70 different "Big Sky Brewing 2016" then all you do is go to the archived folder for the saved rip files and type in the number 167953. It goes right to 167953BigSkyBrewing2016_LC_3pc.

When they do the search in the Archive folder for 167953, It may pull up like this and be much easier.
167953BigSkyBrewing2016_LC_3pc
167953BigSkyBrewing2016_Fnt_6pc
167953BigSkyBrewing2016_Back_5pc

I've seen people want to have the I-Image folder on the server back up, contain all of the customer info.
They have the mock ups, the art (work files), the approved version, the production version, and the final ripped version all within one job folder that sits inside a customer folder.
That is well organized for someone who needs to get into all that "often", like the artist.  If you have them in a customer folder, then when the screen rm people do a search, they must....

1, go to the location on the server,
2, they must go to that specific customer,
3, then locate the specific job in the list they need in that customer folder,
4, then go into the art folder,
5, then search for the ripped file or the "correct ripped file" if it has not been replaced.

It's not easy for the screen room guys/gals that are pulling up a reorder. It may be for your people in your shop, but in general, think KISS.  Keep It Stupid Simple. That's not a polite way to think about your employees, but it's reality for many shops that have people coming in and out often that don't work well with computers and searching.

All they should be doing is going to one archive folder that has (all) ripped files auto saved to that folder and then when a reorder comes in, they go to that one folder, type in the number and there it is. No digging into sub folder after sub folder.

I suggest to always keep a Ripped archive file to pull from. The reason being, When they get pulled up, they will be output this time, the exact same way as last time. That info on how it was printed from your device is saved with the DTS archived file. If they are ripped new each time even for exact reorders, That leaves the film or DTS to potentially be changed based on it's new output settings at this time (if it has been changed at all). It could be different than last year. Gain and even position from screen to screen can be slightly different using different print modes. For example, you do not want to only change one new screen in the file, and then use all others from the old file that may be set to use HIGH SPEED and BI DIRECTIONAL output but on this new screen, the machine is set on HIGH SPEED UNI DIRECTIONAL. Always RIP all screens on the same settings.

[ZooCity]

Great post Zoo.

This is also an example as to why it's important to name your files with a job number. If you have 70 different "Bug Sky Brewing" then all you do is go to the folder for the saved rip files and type in the number. Goes right to it.

I've seen people want to have the I-Image folder on the server back up, contain all of the customer info.
They have the mick ups, the art (work files), the approved version, the production version, and the final ripped version all within gone job folder that sits inside a customer folder.
That is well organized for somone who needs to get into all that "often", like the artist.

It's not for the screen room guys/gals that are  pulling up a reorder. All they should be doing is going to one archive folder that has (all) ripped files auto saved to that folder and then when a reorder comes in, they go to that one folder, type in the number and there it is. No digging into sub folder after sub folder.

That sounds like a lovely way to do it but what happens when you update an art file.  i.e., increase/decrease choke on UB, etc?  Would the pre-press artist go into the ripped files, delete old, rip new so that the screen room crew can't grab the old one?

[Dottonedan]

Artist seem to be the ones to always have control of editing those folders so if they make an art edit, then it would be protocol to then go into the ripped archive folder and remove the old ones on a job that has not been completed yet.

Also, in a case when doing same job, but different year, or any kind of add on/change from the last completed order it would get a new number but keep both jobs.

[Lizard]

Thanks for the input guys. We will be transitioning over in a few weeks.

[TCT]

Good info guys! I've been wondering if there is a better way we can be saving or improving our flow here.
 Currently we have folders that are by year, under that is month, then every job has It's own folder the folder name starts with the job number then customer then design name. Ex- 12345_TheShirtBoard_AlexIsAwesome

The one thing I've not been doing and maybe because I'm relatively new to CTS, is saving the ripped file like Dan mentioned. I can see how that is a good idea now though. I'd need to beef up the HD on the CTS computer, which is probably a good idea anyway!

[ZooCity]

I like this idea of printing from the prior RIP now.  Prevents accidental output at different lpi, angle, dpi, etc.  Dan's idea of simply making it protocol for art/pre-press to delete the previous RIP file before adjusting a final art file solves the potential issue I had in my mind. 

Zanegun mentioned something about Exile's system using compressed RIP files I think?  That could make it work without file storage bloat.  Also takes a load off the rip station if it's simply recalling reprints v. re-ripping them. 

Great stuff.

[zanegun08]

Zanegun mentioned something about Exile's system using compressed RIP files I think?  That could make it work without file storage bloat.

That was a concern with the i-image when we installed as we do a lot of art.  We are in the 12,000s for art numbers, so the exile rip outputs to a compressed tif which is typically less than 100kb.

I'm on my phone, so I can write more in depth with our workflow, but we take a less is more approach, this has changed recently as historically, making pelons, and spec sheets, was done for every job without question, so we were doing so much data entry for tons of stuff that doesn't ever get re-ordered.

This thread makes me think about adding to are terms of service that we will take the responsibility for accurate reprints one year from the order date, or newest reorder date, as since we are always progressing, CTS, better seps, better print methods, different mesh counts, ect.  I don't think it is our responsibility to keep tabs for years and years, we have art from 1990s when I was just a young buck, rooms of films, and we are just sending them all to recycle because in the name of progression and streamlined work flow, less is more!

I'll post out file structure and workflow from the office soon

[jvanick]

I'd need to beef up the HD on the CTS computer, which is probably a good idea anyway!

personally, I'd install a small server preferably either raid 1 with a hot spare (3 drives) or raid 5 with a hot spare (5 drives)...

Kevin or I could suggest something if you're interested

Have the I-Image connect to that share drive to load images/etc, and keep your art archives there as well.

[Printficient]

I'd need to beef up the HD on the CTS computer, which is probably a good idea anyway!

personally, I'd install a small server preferably either raid 1 with a hot spare (3 drives) or raid 5 with a hot spare (5 drives)...

I know of a bathroom that has a space for a server now

[TCT]

I'd need to beef up the HD on the CTS computer, which is probably a good idea anyway!

personally, I'd install a small server preferably either raid 1 with a hot spare (3 drives) or raid 5 with a hot spare (5 drives)...

Kevin or I could suggest something if you're interested

Have the I-Image connect to that share drive to load images/etc, and keep your art archives there as well.

I wanted to do that, well sort of, we have everything backed up and whatnot to a NAS here(about as technically advanced as I felt comfortable doing myself). Everyone just saves everything to the NAS(which is double backed up) but I could of sworn I read somewhere in the I-image literature you were not supposed to access files off a outside drive.   

[jvanick]

We've been doing it that way since day 1.. actually was suggested to us by Javier who installed it.