My BullsEye Screen Registration System has arrived

[mk162]

Doug shipped the unit to me and I got it Monday.  I went over a couple things about the shipping with him to improve it on future orders.

He is also changing what the table is made of because of my suggestions.

My first impression was it's not much equipment, which I really like.  The table is sort of flimsy, but that is being fixed and Doug is shipping me a new one when it's ready.

The bracket that mounts to the platens are very nice.  Well made and sturdy.  No carrier sheets or consumables that need to be purchased.

I have only done a couple 1 color jobs so far with it, but I am printing a 5 color and a couple 2 or 3 color jobs also this week.  I don't expect to be perfect on the first couple jobs, there still is an element of human error that can only be removed with a direct screen imaging system.

I will post how the jobs setup for us.  Doug asked me to do this, but is in no such way paying me or giving me anything to post this.  He wants me to be as honest as possible...which is good.

[mk162]

update #1:
even 1 color jobs setup way faster.  about 1/2 to 1/4 the time it used to.  no more taping out reg marks after lining the screen up.  now we block them out before they hit the press.  I am digging it so far.

I can't wait until the new expo unit is running as well.  7500 watts of pure sun-tanning power.  Going from 1K to 7.5K should be a huge jump...and I can do 2 screens at one time.

[bimmridder]

One comment if I may. Even with direct to screen, you can't count on perfection. You have to consider the person operating the machine, the screens you use, the tolerances you have you press set to, etc. Just think of every variable involved in your set up. I could go on and on. As a user of DTS, I believe it's worth every penny. It is great to set up an eight color job and have it nailed. But don't count on every set up being dead nuts....unless your entire system is.

[Socalfmf]

I say sell it, get tri-loc and a new msp3140

just sayin;

Sam

ahahahah

glad you are happy brad

[alan802]

What kind of tape do you use on the substrate side on the regi marks?  We use clear tape and cover the marks on one color jobs at our taping station.  It's not a huge time saver but why tape up on press when you don't have to.

That regi system should work fine.  As long as those three points don't have any "play" in them, you don't make a mistake when transfering the film to screen, or have any movement when you lock down the screens you'll be good to go.

[Homer]

take some pics -where does it touch on the screen? Do you use rollers? -nevermind, you're a static guy. . .We had an on going issue of the film moving, so we now tape all 4 sides of the film to the glass. No need to tape reg marks, they are out of the squeegie zone so we just grab and go. We line up one color designs to a platen with some lines on it -way fast. . .let us see some pics of this beast. maybe Sam will buy one. . .

[mk162]

The 3140 is a step up from what I use now, but a step down from what I bought.

I use clear rubber backed tape.

The unit has zero play in it.  It's well built.

I think the tri-lock is an OK idea.  The idea of carrier sheets is poor engineering to be honest.  M&R could make that system way better if they tried.

[jasonl]

Can I come to your shop and check it out?  You are still welcome to come to mine when you come to Rome next month.

[alan802]

The triloc can be used without carrier sheets, and to be honest, I've done it both ways and the carrier sheet method was more accurate than doing it without.  I used to be with you in that I thought the triloc was ok, but I have one now and I think it's better than ok. 

Using the carrier sheet is faster than using double sided tape or messing with some type of glue, I timed us doing all three methods.  If you use double sided tape, you have to put a barrier piece of clear scotch tape down first or the double sided tape will permanently stick to the film and it will be ruined for future use and I had issues with the glue not holding the film in place worth a damn. The carrier sheets just get a little dirty sometimes when you aren't doing that part of the process in a clean environment.  I'm trying to talk my artist into moving the film-to-screen process into his department so he can do it instead of my production guys (they aren't detail oriented or bright enough to understand how a few extra minutes aligning film can pay huge dividends at the press) but he's not liking that idea.  What he doesn't know is he might not have a choice.

[mk162]

jason, you are more than welcome to stop by, my darkroom is a mess right now while I make the transition into a better setup.

Alan, I don't reuse film, so that isn't an issue.  I've tried filing it, and for the cost of film, it's worth it to reprint jobs as they come through.  frankly, I think M&R is a good company, their strong suit it service & reliability, not innovation.

MHM's setup is hands down the best film setup I have personally seen.

[ZooCity]

our pin lock uses carrier sheets but they are short and we cut them down even further, no carrier sheet behind the positive. they do work very well and let the reg process become an off press, off screen task. the true benefit of carrier sheets is the final check over of each film to the rest. next benefit is that you have film in reg at the ready if you lose a screen along the way to completing the run. they stay in reg until you un tape them so the carrier/film combo could be stored (you would use a higher quality, more archival film) and used in lieu of filing burned screens if your screen inventory isn't enough our space is an issue.

I thought carrier sheets were lame at first too but there are serious benefits.  alan's case is a perfect example- let the art dept output, reg and check films and nothing hits the floor that will cause downtime from an art issue.



Sent from my intelligent phone-a-majigger.

[jasonl]

Here come the facts!  IF YOU USE THE TRILOC CORRECTLY, FORGET ABOUT IT, IT CAN'T BE BEAT!  My artist does all the carrier work, its not done in the production area.  Artists should always do it, not a choice, IMO.  If one person in the process does there part wrong, FORGET ABOUT IT, its SUX!  But when its right it is awesome!

[mk162]

i am not trying to start a flame war here, but have you seen the FPU from MHM?  That sucker is simple and faster than the Tri-Lock.

The problem I have is the expo unit I've had for ages is a top glass unit.  I was looking for something compatible with that.  I can use the tri-lock with the new unit I am installing, but I really didn't want to shell out $2300 for one and then continue to have to buy carrier sheets.  If you are that concerned about proofing things, set up a proofing step in between film and screen by somebody other than the artist.

I also don't like pulling platens off to put the jig on.  That seems like an unnecessary step as well.  I am not saying the tri-lock sucks, it doesn't, but it could be better.

[Homer]

funny you say that, it is rather annoying to yank a platen  -it seems like such a simple thing,  they pop off easy and go on easy but we are like -damn-  this kinda blows.

B- when you raise the table, what is the clearance between the jig clamps and the screen? I see they are beveled and rather flat but are they just low enough where they don't touch the screen?

[inkman996]

I just recently started using the Triloc and i am impressed, sure you do need to yank a platen but what i have been doing is trilocking two or three jobs at one time to save on that assuming 2 or 3 color jobs. What i am curious about is how often are people reusing the carrier sheets before they get to sloppy? Plus I also figured out you must do the carrier registration in a clean dust free room because the static electricity on those sheets is brutal!