If I would have done it all I am sure it can be made to match 100%. As I use a large variety of papers I didn't do all of the above. Alignment trough-out the jobs is identical, no significant or observable shifts. The drawers were adjusted (took 3h for the servicemen), each paper type can have a particular image positioning and scaling, each tray can have its own alignment, image shift from EFI Command Workstation. It is true, it the machine can be adjusted (hardware + menus + software) to come within these tight tolerances.
#Cannon c 700 commercial full color machine registration#
The specs say duplex registration precision should be <1 mm. it's not a nice way to do business ! The machine is supplied with an expensive gray-scale chart one can use in conjuncture with the scanner to achieve neutral grays in custom profiles.ģ) Page Registration. Spot color matching in CW is licensed only for EFI i1 Pro2 and therefore doesn't work with my X-Rite Pro2. Anyway: red is red (not orange) and blue is blue (not plum). I created my own (just one) profile and have good results on all thicknesses of glossy and matte coated media.
The coated media profiles are crap ! I had the same green tint.
I won't go into details here, but on plain and uncoated media you can use the provided profiles and create your own profile after combining the apropiate profile with the specific paper linearization. The printer profiles provided with the printed are very good, except those for the coated media. Color Consistancy is bad with "maximum density" ON from the CW print menu.Ģ) Color Accuracy. I had 3 firmware changes until now and this problem seems to be hardware related (my opinion). It can, on some colors/tones, have visible small banding for me it's OK. This can be corrected with some menu tweeks. I have to mention that on some thin stocks the back side may have a small color difference when compared to the front. This behaivior is consistent independent of the paper type, size and coating. Linearization was used for the specific media before each job. The same job printed days later had the same colors as the previous job. I printed jobs with ~2000 A3 pages duplex and the color was perfect and the same trough-out the lenght of the job. I will not compare with this either because the C800 is in a different league.ġ) Color Consistency. My previous printing machine was an ImageRunner C5030i. I haven't seen prints done with the competing machines and because of this I wil not make any comparison. My configuration is: Fiery F200 server, Multi-Drawer Paper Deck B1 with double feed detection, Saddle Finisher-AM2 and the X-rite Publisher i1 Pro2. I have the ImagePress C800 and I'm pleased with it. The Canon C700 FF is available to pre-order now, but at $33,000 you might want to wait to see what other full frame mirrorless offerings Canon are still planning.Small personal review of Canon ImagePress C800 / C700 / C60 There’s also an RJ45 LAN socket, 4 pin XLR (12v DC) power input and a D-Tap output. AdvertisementsĪs for connectivity, there are 2 BNC monitor outputs, 4 BNC (SDI) outputs, 1 HDMI output, a 3.5mm stereo mic level input and a pair of 3 pin XLR inputs. It houses a pair of CFast 2.0 card slots and a lone SD card slot (presumably UHS-II, although it doesn’t specify). There’s 15 stops of dynamic range with built in 2, 4 and 6 stop ND filters for when it’s just a little bit brighht out. It’s also compatible with existing EOS C700 accessories including the EVF-V70 viewfinder, the MO-4E/ MO-4P B4 mount adapters and the OU-700 remote operation unit. 5.9K sensor, 15 stops of dynamic range, Dual Pixel CMOS AF when you’re using EF mount lenses, and it shoots Canon Cinema RAW, ProRes and XF-AVC footage. It’s funny how smaller sensors are looked down upon with disdain by many in the world of photography, yet in cinema,the option to shoot those formats is being highlighted as a feature. Want to simulate a Super 35mm or Super 16mm camera? Then just pick it from the menu options. It’s a 5.9K, 18.69 MP (5952 x 3140 pixel) effective resolution full frame CMOS sensor offering a 17:9 ratio, confirming to the 35mm widescreen film format. Having an aspect ratio slightly more cinematic than a 3:2 DSLR sensor, being a little wider side-to-side and shorter top-to-bottom. And that goes to its shape and dimensions, too. One of the big differences between the sensor in this camera and the “full frame” sensor those found in Canon’s DSLRs is that this one is optimised for video.
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