fastfilms reference manual - home page - atlas screen supply company

Fresener's AutomatedSeparations for T-Shirts

REFERENCE MANUALVersion 3.5

For Photoshop 4.0 and higher.(Certain routines do not run in Photoshop 4.0.)

PUSH BUTTON SEPARATIONS

© 1998-2002 Scott Fresener and the U.S. Screen Printing InstituteTempe, AZ USA - All Rights Reserved

See the FastFilms™ web site on the Internet!

http://www.fastfilms.com/


WELCOMECredits | License | Table of Contents | Home Page

Welcome to FastFilms™You have purchased the most powerful separation software available for T-Shirt printers. With just the push of abutton you will be able to do industry specific separations for simulated process color on light and dark shirts,index color on light and dark shirts, real process color and basic spot color.

Unlike other programs that only do one thing, FastFilms™ is a suite of programs. Certain designs are perfect forIndex Separations where sepecific Pantone colors are needed, or where a high-contrast bright image isrequired. Other images that are very photorealistic need to be separated as true Process Color (CMYK) for lightshirts, or Simulated Process color for dark shirts. Other images work best if a graphic treatment is given to themlike the stunning Old Photo routine.

And, for those of you who need a little artistic help, FastFilms™ has built-in Edge Effects and does theDistressed look! In fact, FastFilms™ even does basic Spot Color separations right in Photoshop!

FastFilms™ was created as a way to automate the separation process. It is the culmination of dozens of yearsof teaching the process to large and small companies and literally contains the knowledge gained fromthousands of hours spent doing separations and high-end printing. What has taken years to learn and perfect isnow just a push button away.

It is my hope that printers will no longer need to spend hours learning intricate computer moves and can nowfocus on the art and challenges of simply running a business. FastFilms™ is a very powerful tool to help youbecome more proficient, do higher quality work and increase profits.

If you are new to Photoshop and high-end computer separations don’t let the power of FastFilms™ andPhotoshop intimidate you. Read the manual, view the video training tape and dig in. In no time you will be amaster of both!

I hope you enjoy the program as much as I enjoyed creating it!

Scott FresenerFastFilms™ developerPresidentU.S. Screen Printing Institute


CREDITSWelcome | License | Table of Contents | Home Page

FastFilms™ Reference ManualCopyright Notice©1998-2002 Scott Fresener and The U.S. Screen Printing InstituteTempe, AZ USAAll Rights Reserved.

The use and copying of this product is subject to a license agreement. Any other use is prohibited. No part ofthis publication may be reproduced, transmitted, transcribed, stored in a retrieval system or translated into anylanguage in any form by any means without the prior written consent of the U.S. Screen Printing Institute.Information in this manual is subject to change without notice and does not represent a commitment on the partof the vendor.

Federal copyright laws permit you to make a backup of this software for archival purposes only. Any otherduplication of this software, including copies offered through sale, loan, rental or gift is a violation of law, andsubject to both criminal and civil penalties.

CreditsCreated by Scott FresenerProgrammed and Developed by Scott and Mike Fresener.Additional Programming by Carlos Gutierrez.

TrademarksFastFilms™ is a trademark of The U.S. Screen Printing Institute.All other trademarks and trade names are acknowledged. Brand or product names are the trademarks,registered trademarks, or trade names of their respective holders. Pantone® is a registered trademark ofPantone®, Inc. Adobe, the Adobe logo and Photoshop are trademarks of Adobe Systems Incorporated.Windows and Microsoft Camcorder are either registered trademarks or trademarks of Microsoft Corporation.Lotus ScreenCam is a registered trademark of Lotus Development Corp.

Sample graphics courtesy Janet Erl and Shlomo Cohen.

U.S. Screen Printing Institutea division of U.S. Graphic Arts, Inc.605 S. Rockford Drive Tempe, AZ 85281 USA(480)929-0640Fax (480)929-0766Email: [email protected] site: www.usscreen.com and www.fastfilms.com


mailto:[email protected]

http://www.usscreen.com/

http://www.fastfilms.com/


LICENSEWelcome | Credits | Table of Contents | Home Page

Software License and Warranty AgreementCarefully read all the terms and conditions of this Agreement before installing this FastFilms™. InstallingFastFilms™ indicates your acceptance of these terms and conditions.

The license set forth below is given by The U.S. Screen Printing Institute, Tempe, Arizona USA, a division ofU.S. Graphic Arts Inc., with respect to a program called FastFilms™.

YOU MAY NOT ASSIGN, SUBLICENSE, RENT, LEASE, CONVEY, OR OTHERWISE TRANSFER,TRANSLATE, CONVERT TO ANOTHER PROGRAMMING LANGUAGE, DECOMPILE OR DISASSEMBLESUCH PROGRAMS. YOU MAY COPY THE PROGRAMS ONLY FOR BACKUP PURPOSES AS EXPRESSLYPROVIDED BELOW.

1. License: You have the limited non-exclusive right to use the enclosed program on a single computer. Youmay physically transfer the program from one computer system to another provided that the programs are usedon only one computer at a time. You may not provide copies of the Software to others. If the program is to beused by multiple users across a network or on more than one computer you must have an individual licensedcopy of the program on each computer or have purchased a site license for multiple computer use.

2. Copies and Modifications: The Software is copyrighted. You may make one copy of the program solely forback-up purposes. You must reproduce and include the copyright notice on the back-up copy. You may notcopy the program except for the back-up copy. You may not modify the Software.

3. Confidentiality: The Software is protected by copyright, trade secret and trademark law. By accepting thislicense you acknowledge that the Software is proprietary in nature, and that the Software contains valuableconfidential information developed or acquired at great expense, including data processing algorithms,innovations and concepts. You will not disclose to others or utilize such trade secrets or proprietary informationexcept as provided herein. This obligation shall survive the termination of this Agreement.

4. Term: This license is effective from the day you install FastFilms™ until terminated. You may terminate thislicense by destroying the Software together with any copy thereof. If you fail to comply with any term of thisAgreement, The U.S. Screen Printing Institute may terminate this license upon notice to you and you must thenpromptly return the Software. In addition, The U.S. Screen Printing Institute may enforce their other legal rights.

5. Limited Warranty and Liability: It is your responsibility to choose, maintain and match the hardware andsoftware components of your microcomputer system. Thus, U.S. Screen Printing Institute does not guaranteeuninterrupted service or correction of errors and the programs are licensed on an "AS IS" basis.

The floppy disks and/or CD disks on which the programs are recorded are warranted against defective materialor workmanship under normal use as follows: for a period of ninety (90) days after purchase from an authorizeddealer. Defective media can be returned with proof of receipt, and proven to be defective upon inspection shallbe replaced without charge. Replacement floppy disks and/or CD disks will be warranted for the remainder of

the original ninety (90) day warranty period. The limited warranty does not apply if the failure of the floppy disksand/or CD disk resulted from accident, abuse or misapplication of the program.

No implied warranty (or condition)* as to the quality or performance of FastFilms™, including any warranty (orcondition)* of merchantability or fitness for a particular purpose, is given for FastFilms™, and all suchwarranties are expressly disclaimed (except for implied warranties on the disks which are limited in duration tothe ninety (90) day period described above). No other warranty or guaranty given by any person, firm orcorporation with respect to FastFilms™ shall bind The U.S. Screen Printing Institute or anyone else who hasbeen involved in the creation, production or delivery of the program (some States or Provinces do not allowlimitations on how long an implied warranty lasts, so the above limitations may not apply to you).

Neither The U.S. Screen Printing Institute nor any other person, firm or corporation is responsible for the loss ofrevenue or profits, expense or inconvenience, or for any other special, incidental or consequential damagescaused by the use, misuse or inability to use FastFilms™, whether on account of negligence or otherwise, or byfailure to confirm to any express or implied warranties or conditions (some States or Provinces do not allow theexclusion or limitation of incidental or consequential damages, so the above limitation or exclusion may notapply to you). This limited warranty shall not extend to anyone other than the original user of the Software.

In no case shall the U.S. Screen Printing Institute's liability exceed the purchase price for the software. Thedisclaimers and limitations set forth above will apply regardless of whether you accept the Software.

This limited warranty gives legal rights, and you may also have rights which vary from country to country.

6. Support: Support is provided free for FastFilms™. See the support section of the Reference Manual forsupport specifics. Support does not mean training on the program. The end user is expected to read and followthe Reference Manual as it pertains to the installation and running of the program. Free support does not meantraining on other third part programs such as Adobe Photoshop.

7. Severability: In the event that any of the provisions of this Agreement shall be held by a court or other tribunalof component jurisdiction to be unenforceable, the remaining portions of this Agreement shall remain in fullforce and effect.

8. Acknowledgment: By opening this Software package, you acknowledge that you have read this Agreement,understand it, and agree to be bound by its terms and conditions. You also agree that this Agreement is thecomplete and exclusive statement of Agreement between the parties and supersedes all proposals or priorAgreements, verbal or written, and any other communications between the parties relating to the subject matterof this Agreement. No amendment to this Agreement shall be effective unless signed by an authorized officer ofU.S. Screen Printing Institute.

9. Modifications to Agreement: This Agreement will be governed by the laws of the State of Arizona. ThisAgreement may only be modified by a license addendum which accompanies this license or by a writtendocument which has been signed by both you and the U.S. Screen Printing Institute. Should you have anyquestions concerning this Agreement, or if you desire to contact the U.S. Screen Printing Institute for anyreason, please write: The U.S. Screen Printing Institute, Customer Sales and Service, 605 S. Rockford Drive,Tempe, Arizona 85281 USA.

* Applies to software used in Canada.

© 1998-2002 Scott Fresener and the U.S. Screen Printing Institute

Tempe, AZ USA - All Rights Reserved


TABLE OF CONTENTSWelcome | Credits | License | Home Page

-- Quick Menu --Quick Start Reference | Section 1 | Section 2 | Section 3 | Section 4 | Section 5

Section 6 | Section 7 | Section 8 | Section 9 | Section 10 | Section 11 | Section 12Section 13 | Section 14 | Section 15 | About the Developers

In A Hurry? - Quick Start Reference

Section 1 - FastFilms™ Overview

About FastFilms™Types of Separations

Section 2 - General Information

FastFilms™ and Adobe Photoshop VersionsAbout This ManualA Word About File Sizes and Hard Disk SpacePrerequisites and AssumptionsAbout PhotoshopAbout Screen Printing About the Training TutorialsTechnical Support

Section 3 - Installation and Program Setup

Installation from CDUnlocking ProgramInstalling in the Actions PaletteStopping an ActionPhotoshop SetupMonitor SetupGeneral SettingsDot GainColor Separation SetupDot Gain and Ink Values

Section 4 - Original Art and Photoshop Adjustments

About the Original ArtImage ResolutionA Word About Scanners

Color Balance and SharpeningImporting FilesFile TypesTwo Versions of ArtImage MaskingRGB Mode

Section 5 - Running FastFilms™

Choosing the Best Routine General Running of the ProgramWork File FormatsAbout the Work FilesOpening the Working FilesPreviewing Images on ScreenWorking With ChannelsAdjusting Individual ChannelsMoving Channel Print OrderPrinting A Paper Proof

Section 6 - Simulated Process Color Separations

What is Simulated Process Color?Specific Color SetRunning Simulated Process ColorOptional Flesh and BrownCustom Spot ColorsChoking Underbase WhiteCombining Two ChannelsKnockout Under ColorsKnockout Shirt ColorOutputting Simulated Process ColorScreening Simulated Process Color

Section 7 - Process Color Separations

What is Process Color on Shirts?The Problems of CMYK on ShirtsProcess Seps with FastFilms™Ink ValuesOutputting ProcessScreen Printing Tips

Section 8 - Index Color Separations

What is Index Color?Image ResolutionIndex Color TablesCustom Index ColorsPreviewing and Printing Index ColorOutputting Index ColorScreening Index Color

Section 9 - Black & White and Sepia Separations

About Black and White and Sepia-Tone EffectsOutputting B&W/SepiatoneScreening B&W/Sepiatone

Section 10 - Basic Spot Color Separations

Creating Simple Spot Color SeparationsUnderbase and TrappingRunning ProgramOutputting Spot ColorScreening Spot Color

Section 11 - Special Effects

About Image Graphic EffectsSawtooth EdgeBrush Stroke EdgeHand Stippled EdgeStucco EdgePond Ripple EdgeVignetted Edge EffectDistressed Look

Section 12 - Outputting Images

Printing Directly from PhotoshopPrinting ChannelsTransfer FunctionPrinting MediaExporting Files to Other ProgramsDCS2 Files for Quark and Illustrator

Section 13 - Dark Shirt Screen Printing Techniques

Quick Tips for Successful Dark Shirt Printing

Section 14 - Important Terms

Section 15 - Troubleshooting

About the Developers



QUICK START REFERENCEReturn to the Table of Contents

Who Is This Section For?For those who wish to get up and running fast and who don't want to have to wade through the manual...... thissection is for you. If you are experienced with Adobe Photoshop and have already done separations in theprogram, this section will give you the basic steps needed to start doing your first set of separations in just a fewminutes!

FastFilms™ is very easy to use. There is much more of a learning curve to Adobe Photoshop or Corel Draw.Those programs do thousands of things. FastFilms™ does just a few things (very well!) and only has a couple ofdozen buttons that are important.

Once you get up and running please take time to read this entire manual. Even if you are a seasoned pro you willfind little tips and tricks that will help the program and separations run better.

Installation in Adobe PhotoshopThe following section is for both Mac and Windows users. If you don't understand some of the following steps orterms, read the rest of this full Reference Manual.

1. Make sure Plug-Ins are installed correctly.The installation program for FastFilms tries to install all of the files in the proper location. If you have previousversions of Photoshop or have multiple versions on your hard disk, the installation program may not place thefiles in the correct folders.

In order for FastFilms™ to run correctly the FastFilms “plugin” files must be in the Photoshop Automate folder.Also, Photoshop must be set to find the proper Plugins Folder (Photoshop 5.0-5.5 File/Preferences/Plugins &Scratch Disk. Photoshop 6.0 Edit/Preferences/Plugins & Scratch Disk). The easy way to check if Photoshop hasfound the program is to open Photoshop and go to File/Automate. There should be a black button calledFastFilms and a gray button called CustomIndex.

Note, you DO NOT run FastFilms from the Automate menu. You MUST run these programs from the FastFilmsActions Palette.

If for some reason the plugins do not show up in the Automate menu, you will need to move the files FastFilms.8liand CustomIndex.8li from the FastFilms folder to the Adobe Photoshop Plugins/Automate folder. In Photoshop5.0, this folder is: Photoshop/Plug-Ins/Automate. In Photoshop 5.0,5., 6.0 & 7.0, this folder is:Photoshop/Plug-Ins/Adobe Photoshop Only/Automate. Simply drag the files to the new folder before startingPhotoshop.

2. Unlocking ProgramFastFilms™ has a security feature that locks the program to a specific computer. If you bought just one copy ofthis program then it is designed as a "single user" and can only be used on one computer. If you wish to have theprogram on more than one computer you will need to upgrade to a Two-User, Five User or Ten User version.

The unlock feature does not activate until you open Photoshop. You will be given a group of words called a"Challenge." These words may seem random but they are specific to your computer. If you install the program on

another computer you will be given a different set of words. If and when you upgrade to a new computer orreplace the hard drive on your existing computer simply give us a call for another unlock.

This group of words needs to be emailed, or faxed or to the U.S. Screen Printing Institute. You will then be issuedthe correct "Response" words that can be entered to unlock the program. You will generally be issued theResponse to your Challenge within 24 hours or less.

You can cancel the unlock routine and still use Photoshop while you wait for the Response. There is a TWENTYDAY grace period on the unlock routine.

3. Load FastFilms™ into the Actions PaletteOpen Photoshop and Show Actions (Window/Show Actions). Click on the upper righthand horizontal arrow on theActions Palette. Clear the old actions and load the new FastFilms™ action.

The installation program placed the FastFilms™ ATN (Action Files) in a folder called FastFilms on your hard disk.Make sure to load the correct version for your version of Photoshop. The file will be named ff103-4.atn forPhotoshop 4.0 and FF35-5English.atn (or the latest version) for Photoshop 5.0-5.5 and FF35-5-6English.atn forPhotoshop 6.0 or higher. There is also an “Express” action that just has the important buttons without the helpmenus. FastFilms™ Express Menus have an EX in the file name. You will also find all of the foreign languageversions in this folder.

4. Run the Actions Palette in Button Mode.The program may open up in “List View.” This is where the buttons are in black and white. You MUST run theprogram in Button Mode. To change the view go to the horizontal arrow in the top of the Actions Palette andcheck Button Mode. The buttons should be yellow, red, and violet in color.

5. Do a Monitor CalibrationSee the Photoshop User's Guide for detailed information on this.

Do the proper Photoshop setups.The following is for Photoshop 5.0, 5.5, 6.0 and 7.0. If you are still using 4.0, refer to Section Three of the fullReference Manual. Adobe moved the CMYK Setup section from the File Menu to the Edit Menu in Photoshop 6.0.

6. Change CMYK Setup.In CMYK Setup (PS 5.0-5.5 File/Color Settings/CMYK Setup), set the dot gain to 35%, Color Separation settingsto GCR, Light, Black Ink Limit 85%, Total Ink Limit 250%.

(PS 6.0/7.0 Edit/Color Settings/Working Spaces/CMYK/Custom CMYK) use the above settings and leave Gray set toGamma 2.2 and change Spot to 30%.

7. Set the monitor profile RGB to Apple RGB.(PS 5.0-5.5 File/Color Settings/RGB Setup. PS 6.0/7.0 Edit/Color Settings/Working Spaces.)

8. Set the channels to display properly(File/Color Settings/Grayscale Setup). Check Black Ink under Grayscale Behavior. Photoshop 5.0-5.5 only.

9. Set the color names to Short Pantone® Names.(File/Preferences/General). Photoshop 5.0-5.5 only.

10. Open the Channels Palette in Photoshop.Place it next to the Actions Palette (Window/Show Channels).

11. Create two versions of the artwork.You will need the Main File that is on a white canvas (white around the outside edges of the artwork) and aMasked File that has black around the outside canvas. If the image goes all the way to the hard edge of the filethen you will use the same file.

Think of this as seeing the image on the monitor EXACTLY as it will look if printed on a black shirt and a white

shirt (even if you are going on different shirt colors). This is a very important concept to understand. If you do notunderstand this section refer to the rest of this manual.

12. Use the correct resolutions.The file resolutions need to be 150 to 200 dpi, in RGB mode with no layers. The image needs to already beadjusted for proper color balance and sharpness.

13. Close work files before running.The work files need to be closed before running separation routines. When running all of the separation routinesthe program will ask you for the file names and will open the files for you. When running any of the edge effects orimage adjustments you will need to open the file first.

14. Run any of the main separation routines on the file.For best results run the Simulated Process Color routine of 9-Colors plus 2 Whites first. This routine gives you themost control. After the routine is run you can adjust individual channels (lighten and darken) by going to the ToneCurve (Image/Adjust/Curves), delete colors that aren't important, combine channels and much more.

15. Follow the on-screen help messages exactly!

16. Play with your separation.Very Important Tips:It is not uncommon for the image to NOT match the original exactly when the separation routine is first run. Keepin mind that we are trying to separate an image with thousands of colors into just a handful of colors. Don’t getdiscouraged with your first job. FastFilms™ is a tool that will get you very close to where you want to be. You willlearn after doing a few sets of separations that all it takes to make a good set of separations GREAT is to dominor adjustments if necessary. This is where the video training tape comes into play. You can see exactly how toadjust an image after the routine is run.

The program will automatically use Black as the shirt color for the default. You can easily change this bydouble-clicking on the Shirt Color channel. Generally, you don’t print black on a black shirt. When viewing animage on a black shirt you should take the Photoshop “eye” off of the Black separation. When you do this, theimage will often look a little washed out. THIS IS NORMAL. FastFilms™ displays the image with Dot Gainapplied. Even if you have little 1% dots in highlight areas, Photoshop will make them brighter than they will print(you probably won’t even be able to hold them on a screen). A simple tweak with the Tone Curve to theUnderbase channel will help make it higher contrast.

The same thing applies to light shirts. The Black separation may seem weak. Remember, the color that will getdarker more than any other is black. The image will print correctly but may not display quite as dark.

After the image is separated, try to eliminate colors, combine channels and tweak individual color channels. Don’tlet the number of colors fool you. If you only have a six-color press it is easy to get most designs down to six oreight colors. You can also let the program do this for you by running the 5-color plus 2 white routine (you don'tprint the Black separation on a black shirt and you don't need two white separations on a light shirt).

Some designs separate better if you pick the actual colors used (Custom Index Separations). Other images lookbetter on light shirts if you use the True Process routine and add additional spot colors.

The beauty of FastFilms™ is that you aren’t stuck with just one routine. This is why we have thousands of usersin over 70 countries doing work for Disney, Harley, WWF, Warner Bros., and more, plus hundreds and hundredsof small shops doing award winning work that would have not been possible before FastFilms™.Yes, there maybe a slight learning curve to understand how to adjust the separations but the reward will be worth it. To seesamples of the type of work being done with FastFilms go to www.fastfilms.com and view the Contest Winnerspages.

17. Output the image.Print out the image to vellum, film, acetate or whatever you normally use. Select the Outputting Images button tosee what the recommended frequency and angles are.

18. Make a print on a shirt.Screen print the image using the recommended mesh counts from the Screening Image button. You can use yournormal off-the-shelf plastisol for the colors and your favorite high-opacity white for the underbase and highlightwhite.

Quick Start TipTo really see how the program works in a short time period, create special low resolution versions of test files.Keep them as low as 50 to 72 dpi. These files will not be used to actually print an image but will allow quicktesting of the program.

Don't use low resolution files on items like the edge effects or where there is choking or trapping. The outcome ofthese routines is based on resolution of the original file.

Now, read the full manual and have fun with FastFilms.

Return to the Table of Contents

Section 1

FastFilms™ Overview


About FastFilms™FastFilms™ is a plugin for Adobe Photoshop that enhances the abilities of Photoshop and enables the printer todo automated color separations in a matter of minutes. FastFilms™ works in the Actions Palette in Photoshopand has thousands of routines built-in that call other routines, analyze the image for the correct colors and colorintensities based on very specific garment printing requirements, apply proper levels and curves, take intoaccount garment dot gain and ink impurities and many more behind the scene functions.

The program separates images and builds Alpha Channels as part of the image. These Alpha Channels can thenbe printed out, exposed on screens and high-quality images screen printed on light or dark shirts.

The reason the program works in the Actions Palette is that this palette in Photoshop is easily accessible andprovides a user friendly interface for the program.

In most cases the program does EVERYTHING for you because it separates for a specific ink color set. The onlytime it needs minor user input is when it asks the name of the file to load and when you specify custom colors inthe Custom Color index and Spot Color routines.

Not Just for T-ShirtsThe program will also work with non-textile and graphics screen printing applications. It is a simple matter ofchanging the dot-gain characteristics before running the routines. Certain areas of the program are fairly specificto T-shirts. It is also so easy to use that you will be doing color separations almost the minute you install theprogram.

It Does More Than SeparateNot only does the program separate, it determines the color sequence and tells what halftone frequency andangles to use PLUS indicates the ink colors, types of ink and mesh counts. All of the guesswork is taken out ofthe process. Artists can now be artists rather than separators!

Type of SeparationsFastFilms™ separates a variety of ways depending on the end goal and the type of original you have. It will donormal RGB to CMYK conversions including building additional spot color (bump plates) and creating underbaseand highlight whites for dark shirt printing.

It also creates very high-quality simulated process color for light and dark shirts. It will create from four to twelvecolor images including creating underbase and highlight whites.

The program has an excellent index color routine (square dot) that uses predetermined color palettes or allowsyou to choose your own colors. These routines also build underbase and highlight white channels.

Another nice feature is the ability to do basic spot color separations. While this is normally done in a vector basedprogram, it can be done with FastFilms™ including trapping and choking colors!

Special Effects Too!Along with it's excellent separations, FastFilms™ create special effects for images. There are a number ofgraphic edge effects that can keep an image from being a plain rectangle on a shirt. You can also make an imagelook like it has been washed with the Distressed Look.

To give the image an old photo look there is a very effective black and white and sepiatone routine too.

FastFilms™ is a ToolThink of the program as a tool that allows you to reach a new level of print quality. It will separate most designs inless than ten minutes and save you countless hours of art and production time!


Section 2

General Information


FastFilms™ and Adobe Photoshop VersionsFastFilms™ is an Adobe Photoshop plugin that runs under the Actions Palette. It will run in Photoshop versions4.0, 5.0, 5.0, 6.0 &7.0 on either a Macintosh or IBM compatible computer (running Windows 95 or 98). Initially, theprogram was originally written for version 4.0 of Photoshop. With the introduction of version 5.0 and 5.5 ofPhotoshop, Adobe made major changes in how their program handles colors and the display or preview ofcolors. It is now possible to program for the solidity of ink and simulate how plastisol inks print on differentcolored shirts. Adobe made other improvements to the program that enable FastFilms™ to separate moreaccurately.

With this in mind, version 3.5 of FastFilms™ is designed specifically for Photoshop 5.0, 5.5, 6.0 and 7.0. This versionand future version of FastFilms™ will not be backwards compatible. We encourage all users to upgrade toPhotoshop 5.5 or higher to get the most benefit from it and FastFilms™. The most current and final version ofFastFilms™ for Photoshop 4.0 is version FF103-4.

Version FF103-4 does not contain the more advance Simulated Process routines for Combining Channels,Knocking Out Shirt Color, and Choking the Underbase. It also does not include the Black and White/Sepiatoneroutine, and some of the edge effects and distressed look.

About This ManualThis manual is designed to work with version 3.5 of the program. Since the major changes between version1.03 and 3.0 were improvements to the program and additional routines, most of the information in this manualalso pertains to version 1.03.

Most support calls are from first time users who have not read any of the manual. Please take time to reviewthis entire manual first. For easy reference print this manual out and put it in a binder. If you are a computerpower user and want to get up and running in a short amount of time, go to the Quick Start section of themanual.

A Word About File Sizes and Hard Disk SpaceFastFilms™ is a high-end program that will build very large files. A normal Photoshop file at T-Shirt size and aresolution of 150 to 200dpi can be from 15mb to 30mb. FastFilms™ will increase this basic file size by three tofour times. Photoshop also wants up to four TIMES the separated file size for temporary working files. Thismeans a file could grow from 30mb to 100mb with FastFilms™ and Photoshop will look for 300 - 400mb of freedisk space. If you don't have at least 250mb of free disk space, the program may stop in the middle of a routineas you get the "dreaded" Not Enough Scratch Disk Space error.

Program CDIf you purchased this program on a CD ROM, the CD includes the program, sample test files in a folder calledSAMPLES. It also includes a folder called INKS that contains the most popular ink companies process color inkvalues.

If you purchased the program on-line, the sample test files and ink values are available for download from thefastfilms.com User Arena web site.

Prerequisites and Assumptions

FastFilms™ is a separation program. It is designed to work with the images it is given. In other words, if you askthe program to separate from a very flat original that is not sharp, the image on the shirt will be that of a very flatoriginal that is not sharp. Garbage in garbage out.

It is almost impossible for a program to know that you don't want the image to have a color cast or dust specksfrom the scan as part of the final print. Adobe Photoshop is a very powerful program that can be used toenhance the quality of the original image. It is your responsibility to make the original look as good as possible,and be at the correct resolution in order for FastFilms™ to generate a high-end separation. The program doeshave Color Adjustment and Sharpening features built in but you must determine what degree of adjustment theimage needs.

A Word About PhotoshopThis User's Guide assumes that you know the basics of working in Photoshop since FastFilms™ is a programdesigned to work within Photoshop. If you do not know how to use the basic tools and moves in Photoshopplease take time to read the Photoshop manual, or purchase the T-Shirt Graphics with Adobe Photoshop videosfrom the U.S. Screen Printing Institute. Section 5 of this manual details how to adjust the image and work withthe original art.

The good news is that if you do a good scan at a high enough resolution, only minor adjustments may beneeded to the image before simply running FastFilms™.

A Word About Screen PrintingIt is also assumed that you have a good grasp of the screen printing process. Other than simple spot colorseparations, the program produces very high quality separations that will require good screen making andscreen printing skills to look like the original. This means high tension screens, the ability to hold fine halftonedots, a good printing press, sharp squeegees, the proper ink, and good printing technique.

Obviously some will have better success than others. For the best initial success, try using the software on anon-critical image such as a cartoon or animal photo. You will be surprised at how great the image looks. Next,use FastFilms™ on one of the sample images with flesh tones. Reference colors such as flesh are harder toreproduce and will require better overall printing technique.

Technical SupportPhone SupportIf you have a problem with the program please re-read the manual make sure you are following the on-screenprompts exactly, before you call for support. If you can't resolve the problem, call our support line at(480)929-0640 between the hours of 9:00am and 4:30pm Mountain Standard Time (Arizonan's never changetheir clocks and are the same as Pacific Standard Time in the summer). You MUST have your serial numberavailable. No support for FastFilms™ will be given without a valid serial number. Please have the computer nearthe phone with Photoshop up and running so our support person can better serve you.

Please mail or fax the enclosed registration card immediately so you can be entered into our user database.

Internet FastFilms™ User’s ArenaYou can also get 24-hour support from the FastFilm™ User's Arena on the internet at www.fastfilms.com. Hereyou can communicate with other users of the program, read FAQ's, and download manual updates.

E-Mail SupportIn many cases better support can be given if the file is available for inspection. If you are having problems with afile or need assistance with what routine to use you can email the file to: [email protected]. DO NOTEMAIL A FULL SIZE FILE. The file must be low resolution (72dpi) and SAVED AS a JPG (JPEG) file formatwith a quality of 3 or 4. This should make the file size no more than 200 to 300 kb that is easy to email.

Fax SupportSupport questions can also be faxed to (480)929-0766.

Adobe Photoshop Support

If you are having general problems or questions that are Photoshop related, contact their technical support line.Adobe Support: Windows (206)675-6303 Macintosh (206)675-6203

If your support questions are hardware related please contact your hardware vendor.


Section 3

Installation and Program Setup


PLEASE READ THESE STEPS. IF YOU ARE UPGRADING FROM AN EARLIER VERSION THESEINSTALLATION INSTRUCTIONS HAVE CHANGED FROM VERSION 2.0. THERE ARE A NUMBER OF NEWSTEPS FOR VERSION 3.0 AND HIGHER.

You must read and follow these steps for the program to run correctly. If you follow and understand these stepsit will eliminate unnecessary support calls.

Installation from CDFastFilms™ is very easy to install. The installation will place a number of key files on your hard disk. Thesample files will remain on the CD. You must have your serial number (password) handy when you install theprogram. This number is on the back of the FastFilms™ case.

The Serial Number/Password is case sensitive when entered. Use all capital letters.

Windows users:Place the CD in the CD drive. Select the Start button, choose RUN. Type (CD-ROM drive letter):\setup.exe. Press Enter. You can also Browse the CD drive for the file called Setup.exe and press enter. Follow theinstructions on the screen. If you downloaded the program from the internet, this file is called FastFilms.exe.

Macintosh:Place the CD in the CD drive. Double-click on the FastFilms™ CD icon that appears on your Desktop.Double-click on the FastFilms™ Installer icon. Follow the on-screen instructions. If you downloaded theprogram from the internet, this file is an archived file using Stuffit, called FastFilms.hqx. It must be unstuffedbefore it can be run.

Readme FileThe CD contains a file called Readme. This file contains information about the program that is more current thanthe manual. You should read the Readme file to see what changes have been made after the publishing of thismanual.

Make sure Plug-Ins are installed correctly.The FastFilms installation routine attempts to put all the important files in the correct location. If you havemultiple versions of Photoshop on your hard disk these files may or may not be placed correctly. In order forFastFilms™ to run correctly the FastFilms “plugin” files must be in the Photoshop Automate folder. Also,Photoshop must be set to find the proper Plugins Folder (PS 5.0-5.5 - File/Preferences/Plugins & Scratch Disk.PS 6.0/7.0 - Edit/Preferences/Plugins & Scratch Disk). In the Plugins and Scratch Disk section, Photoshop must be"pointing" to the Plugins folder. The easy way to check if Photoshop has found the program is to openPhotoshop and go to File/Automate. There should be a black button called FastFilms and a gray button calledCustomIndex.

Note, you DO NOT run FastFilms from the Automate menu. You MUST run these programs from theFastFilms Actions Palette.

If for some reason the plugins do not show up in the Automate menu, you will need to move the filesFastFilms.8li and CustomIndex.8li from the FastFilms folder to the Adobe Photoshop Plugins/Automate folder.

In Photoshop 5.0, this folder is: Photoshop/Plug-Ins/Automate. In Photoshop 5.5, 6.0 & 7.0, this folder is:Photoshop/Plug-Ins/Adobe Photoshop Only/Automate. Simply drag the files to the new folder before startingPhotoshop.

If you get an error that says "Can't Find FastFilms" when running a routine, then the program IS NOT installedcorrectly.

Unlocking ProgramFastFilms™ has a security feature that locks the program to a specific computer. If you bought just one copy ofthis program then it is designed as a "single user" and can only be used on one computer. If you wish to havethe program on more than one computer you will need to upgrade to a Two-User, Five User or Ten Userversion.

The unlock feature does not activate until you open Photoshop. You will be given a group of words called a"Challenge." These words may seem random but they are specific to your computer. If you install the programon another computer you will be given a different set of words. If and when you upgrade to a new computer orreplace the hard drive on your existing computer simply give us a call for another unlock.

This group of words needs to be emailed, faxed or phoned to the U.S. Screen Printing Institute. You will then beissued the correct "Response" words that can be enterred to unlock the program. You will generally be issuedthe Response to your Challenge within 24 hours or less. You can cancel the unlock routine and still usePhotoshop while you wait for the Response. There is a TWENTY DAY grace period on the unlock routine.

Installing FastFilms™ in the Actions PaletteThe Photoshop Actions Palette is set default to bring up a number of basic routines. To open the Actions paletteselect the Window pull-down menu and Show Actions. When running the program you will need to have theChannels palette open also (Window/Show Channels). The Actions and Channels palettes can be dockedtogether to give you more free screen space.

This step is very important!Before you can use FastFilms™ it must be loaded in the Actions palette. You should also clear out the defaultActions. To clear the Actions palette simply select the small horizontal arrow in the top right hand corner of thepalette and select Clear Actions. You will be prompted Delete All the Actions? Say OK to this. This questionDOES NOT mean you will be deleting anything from the hard disk. It is just referring to the Actions palette.

You should clear out any existing actions before loading FastFilms™.

To load FastFilms™ simply click on the horizontal arrow again and select Load Actions. You will be prompted asto the location of the Actions file. If you did a normal installation, the Action file was installed in a folder on yourhard disk called FastFilms™. Select this folder and click on the file named FF103-4.atn for Photoshop 4.0,FF35-5English.atn for Photoshop 5.0 or 5.5, and FF35-6English.atn for Photoshop 6.0, etc.

Express MenuStarting with version 2.0, a limited Express Menu was added. This has only the key buttons to the program and

is designed for experienced users who don't need all the help and prompt screens. The Express Menu has an"EX" in the menu name. Running Actions in Button ModeThe Actions palette can be run in either List View or Button Mode. If is much easier to run the palette in ButtonMode. If the palette installs in List View, simply change to button mode by selecting the upper right horizontalarrow and check the bottom selection Button Mode.

Stopping An Action During A RoutineThis is very important!If for some reason you stop an action in the middle of a routine you MUST reset the action. If you do not reset

the action it will start in the middle of the routine the next time you selectit and the routine may not run correctly. If you are in Button View you willknow when an action has been stopped because the button will turnbright red.

To reset an action simply click on any of the yellow buttons or just clickon the Reset Menus button. Even if you "stop" the help menus from theyellow buttons (they will turn red) you can press any other routine andthis will clear any red buttons.

Reasons for Stopping ProgramThere could be a number of reasons for stopping the program in themiddle of a routine. If you are low on hard disk space you may get anOut of Memory error. Also, you might have loaded the wrong file bymistake, or selected Stop rather than Continue on one of the helpmenus.

The following setups are VERY IMPORTANT for FastFilms™ to runand preview correctly!

Photoshop SetupPrior to running FastFilms™ you will need to do some basic setups to Photoshop. These are small changes tocertain program settings that will have an effect on how FastFilms™ operates. The following routines need toonly be done once. Photoshop remembers these settings for future sessions.

Monitor SetupIt is important to view the image on the monitor the way it actually is on the hard disk. This means that if theimage has a blue cast on the monitor - does the actual image have the color cast or is the monitor not setcorrectly? If you adjust the blue out you may actually be making the image greener.

Photoshop has an excellent section in the manual about monitor calibration. It is very important to read thissection of your Photoshop manual and do the calibrations before you start to do high-end separations. (Note: in Photoshop 5.0, the manual states that for Windows users go to the Photoshop\Calibrate folder. This isincorrect. You must go to the Windows Control Panel section and click on the Adobe Gamma icon.)

General SettingsAll of the default settings in Photoshop will work with FastFilms™ but there are some settings that have an effectif you change them. The most critical setting is in the General Preferences Menu (File/Preferences/General).You MUST have Short Pantone® Names checked.

Dot GainScreen printers typically get 30% to 40% dot gain at the press. In order to preview separations on the monitorthe way they will look when printed it is important to apply the correct dot gain to the preview. Setting the correctdot gain is different between Photoshop 4.0 and 5.0, 5.5 and 6.0.

Dot Gain and Ink Values in Photoshop 4.0To set the correct dot gain in Photoshop 4.0, select File/Color Settings/Printing Ink Setup. If you have a favoriteink company, install their ink values in the Ink Colors menu (select Load). There are ink values for a well knownink company in the Ink folder. These files will be used for the Process Color routine and include numbers for 305(120cm) manual, 305 (120cm) automatic, 355 (140cm) manual and 355 (140cm) automatic. These ink valuesshould also modify the Dot Gain settings. If you have no ink values, set the Ink Colors menu to SWOP(Newsprint) and dot gain to 35%.

Make sure to CHECK Use Dot Gain for Grayscale Images.

Color Separation Setups

For the Process Color routines you will need to tell Photoshop how to do specific separations for T-Shirts. Whendoing these routines, the program will prompt you to make the following settings. If you follow this setup routineyou will NOT need to make changes later. In Photoshop 5.0-5.5 select File/Color Settings/Separation Setup.Check GCR, Black Ink Limit 85%, Total Ink Limit 250%. Note: In Photoshop 6.0 select Edit/ColorSettings/Working Spaces/CMYK/Custom CMYK.

Dot Gain, Ink Values and Separation Setups in Photoshop 5.0, 5.5 and 6.0Adobe put all of the previous settings in one main menu in Photoshop 5.0, 5.5 and 6.0. You can now go toFile/Color Settings/CMYK Setup. Use all the settings just given for Photoshop 4.0 including ink values, dot gain,and separation settings. Photoshop 6.0 moved this menu to be under the Edit/Color Settings/WorkingSpaces/CMYK/Custom CMYK menu.

Grayscale SettingsIn order for the dot gain settings to work in the preview of thechannels you need to make one more change in Photoshop5.0-5.5 only. Select File/Color Settings/Grayscale. SelectBlack Ink under Grayscale Behavior and make sure Previewis checked.

RGB ModesPhotoshop 5.0-5.5 allows you to view images in a variety ofRBG modes. If you don't have or don't know your monitorprofile, check to see that you monitor is set to Apple RGB(even on a PC) for the most accurate image display. Go toFile/Color Settings/RGB Setup. In Photoshop 6.0 go toEdit/Color Settings/Working Spaces/RGB.

Dot GainIn Photoshop 6.0 you must also change the dot gain to 30% under Edit/Color Settings/Working Spaces/Spot.


Section 4

Original Art andPhotoshop Adjustments


About the Original ArtIf your artwork is scanned from a flatbed scanner, chances are theimage will need adjustment. Photoshop is excellent for adjustingimages and making them look the same and/or better than theoriginal. FastFilms™ will give you a very high-quality set ofseparations if you give it a high-quality image. If you have itseparate a low resolution image that has no detail, you will get thesame on the separations.

The program has an excellent help section that will guide youthrough many of the important points of scanning and imagemanipulation.

Image ResolutionFor most general designs, a resolution (at the final printing size) of150 to 175 dpi will work. If the image has a lot of type and hardedge graphics, try to use a resolution of 200 to 225 dpi. Try tokeep from resampling up to a higher resolution. Resampling upwill often put soft edges around areas of high contrast and theseareas become shadows and garbage in the image when printed.

You CANNOT resample the resolution size of an index color image once you have run the routine.

If you are not use to doing T-Shirt separations, it may appear that 200 dpi is a low resolution. Keep in mind thatwe are generally printing at a halftone line count of no more than 55 to 65 lpi as opposed to an offset printing linecount of 133 to 175 lpi. We can work at a much lower resolution and still get a very acceptable print on the shirt.Even though at 200 dpi text edges may be slightly jagged, these edges will close in when printed and appear tobe smooth on the shirt.

A Word About ScannersFlatbed scanners generally scan too dark in the shadows and midtones and soft. After the scan is in Photoshop,lighten it a little with a slight tone curve adjustment (Image/Adjust/Curves) by pulling on the middle of the curve.

Color Balance and SharpeningFastFilms™ has enhancement routines Adjust Color Balance and Sharpen Image built in. These can be run tohelp improve the quality of the image. Consult your Photoshop manual or the videos T-Shirt Graphics with AdobePhotoshop from the U.S. Screen Printing Institute for more training on using Photoshop for image enhancement.Many flatbed scanners will scan softer than the original and the original color intensity may be lost.

Since the program also separates for a specific color set, if possible, try to work with these colors and design forthis color set.

Importing FilesYou can use files that have been created in Adobe Illustrator, Corel Draw, Quark Xpress or Freehand. These arevector based programs. Files from these programs can be Exported as EPS, TIF or PSD files.

Make sure to Export from these programs at the final image size and a resolution of 150 to 200 dpi. If you can,Export them with Anti-Aliasing turned off to maintain edge sharpness. If you have control, set the fountain fillsteps as high as possible. Files should be exported as RBG, 16-bit or higher color.

File TypesPhotoshop supports a wide variety of file types, including TIF, JPG, PSD, EPS, etc. A JPG file is a compressionformat that will lose quality as you open and save as a new file name. It is OK to save a file in JPG for sendingover the internet or as an archive backup but you are much better off working with the file as a PSD. This is anative format for Photoshop. Files in a PSD format open and separate faster. Once you have run a separationroutine you MUST save the file as a TIF or PSD. File with Photoshop Alpha channels cannot be saved as JPG.

The Following is a very important concept!Two Versions of ArtIf your images are going on light and dark shirts, FastFilms™ will need to see TWO versions of the art. The mainversion will be the image as it should look on a white or light shirt. The second version will have black around theimage so it looks the way it should print on a black shirt. This is called the Masked File. This does not mean tohave a black box around the image. It means the image MUST have black that goes all the way to the edge ofthe image (again, exactly how you would expect it to look on a black shirt).

If the image does not have a canvas around it, or if you are separating specifically for a light or black shirt, loadthe same file twice.

Imaging MaskingIf the image is only going on a light shirt simply use the file as is. If the image is only going on a dark shirt (even acolor other than black), the file MUST have a black canvas around the image. This is a called a mask.

There are any number of ways to place black around the image. First, make sure the Main File is the correct sizeand has any adjustments of improvements made to it. Next, duplicate this file. It will be one you will mask withblack and it will be saved with a different name than the main file.

Using LayersIf you are familiar with layers (or if your image was created using Layers) you can simply make the Backgroundlayer black on one version and white on another. Of course these layers will need to be flattened before you canrun FastFilms™.

Using Magic WandThe easiest way to give the image a black mask is to first change the Background Color on the Toolbox to Black. Next, select the Magic Wand Tool and make sure its Options (Window/Show Options) are set to 32 pixels. (Thisnumber determines how many pixels of similar colors the Magic Wand will stop at. If the image has a soft edge orvery light colors blending into the edge, you may need to lower this number.)

Next, simply click on the white area around the image with the Magic Wand Tool. After it makes its selectionaround the image, simply press the Delete Key. You will have selected white around the image and replaced itwith black.

If the Magic Wand tool selected too much or not enough of the outside edge, change the Tolerance setting in theOptions Palette. Make sure to save this file with a different name so you know it is the "masked" version.

You can also select the area with the Magic Wand tool and simply use the Paint Bucket tool to fill the area withblack.

Work on DuplicateIt is always safest to work on a duplicate image. The program will not harm or change the Masked file (it isloaded, analyzed and then closed). FastFilms™ will add channels to the Main File. These channels can bedeleted if you want, but for safety, work on a duplicate of this file. Many of the special effect routinesautomatically make a duplicate of the file for your protection.

RGB Mode and No LayersThe image must be in RBG mode and have no layers. If you have problems with separations, check the modeand see if there are any open layers.


Section 5

Running FastFilms™


Choosing the Best Routine to RunThere are a number of ways and methods that can be used to separate a design. If the image is only going onlight colored shirts it could be separated as real Process Color (CMYK), Simulated Process Color or even IndexColor. If you are not familiar with these processes it can be hard to determine which is the best method to use.

Often, the method used is dictated by the customer demands and the artwork style. The following section shouldhelp in making the correct decision. Since FastFilms™ is easy to run and fast, you may want to try separatingan image a variety of ways to see the final outcome for each routine. There are specific sections of this manualthat detail how to use each separation method.

Simulated Process Color: This method works well on light and dark shirts. Although this routine creates eleven channels of color, many ofthem you will not need - especially on light shirts. If your image has a lot of standard colors such as red, yellow,blue, purple, green and brown then this routine should be run first. In fact even though this routine is designedfor images with a lot of color gradations you may be surprised how well it does on simple spot color images.

Simulated process color is also called tonal spot color. Because all purpose plastisols are used the image willprint very bright and be more washfast than process color. Simulated process prints use an eliptical halftone dot.

When in doubt run Simulated Process Color FIRST.

The Simulated Process Color routine gives you the most freedom and allows you to easily eliminate colors,combine colors, boost colors and much more.

Process Color - RBG to CMYK Conversion: If the image is very photorealistic and needs to go only on light or medium colored shirts, this may be themethod to use. It will give a somewhat of a softer look to the image and will not work as well on dark shirts. Theprogram does create an underbase and highlight white plus additional spot colors if there are Pantone®matches or problem colors - but process color on an underbase of white may be somewhat dull looking.

This routine should be run where absolute photorealism is a must and where you are trying to come as close aspossible to the original. Process prints are not as bright as simulated process color and because of the highmesh counts used they may fade slightly when washed. Process Color uses an eliptical halftone dot.

Index Color: Index Color separations are great for light and dark shirts. They print easy and very consistent because you areprinting a square stochastic dot next to a dot and not a halftone dot on a halftone dot. Indexing works well formany designs. FastFilms™ offers a number of predone color palettes to use for indexing. You can also choosethe colors you want to use during the separation process.

Unfortunately, some designs have dominant colors that are not in the predone color palettes. These images willnot separate properly. Other designs that have prominent primary colors will separate exceptionally well.

If your image has very specific Pantone® colors with gradations you should run the Custom Color Indexroutine.

If you choose your own colors, it may require six to eight colors or more to get an accurate match. Generally,

with index color separations, the more the colors the better. For this reason, you may want to run the SimulatedProcess Color routine first and the Index Color routine second to see the appropriate method.

A lot has been written about square dots and round dots and there is great confusion about index color. It canbe an excellent method of reproduction and also fall short if the colors aren't correct. Even though competingprograms tout that square dots are far superior to halftone dots, if you simply look at all the great award winningshirts, 75% of them are done using halftone dots.

If you run an Index Color routine, you have NO control over the image once it is separated - other than to put adifferent color of ink in the actual screen on the press or to rearrange the print sequence. Index color uses adiffusion dither (stochastic) dot that is a bitmap and not a grayscale.

Once Index Color is run, you cannot apply tone curves or eliminate colors because an index routineplaces the dots side-by-side and the image is like a puzzle. If you remove a color there will be holes inthe design.

Spot Color: The Spot Color routine should be used for very simple designs that don't have gradations. Spot color is betterseparated using a vector based program such as Corel Draw or Adobe Illustrator. The spot color routine inFastFilms™ is available for those occasional jobs that are already finished in a pixel based painting programand that can't be reconverted to vectors.

General Running of the ProgramFastFilms™ is very easy to use. The FastFilms™ Actions palette is divided into color coded sections. Theyellow sections tell about the sections that follow them. Clicking on these buttons produces help screens forthose sections. The violet buttons are the actual action programs. Clicking on these buttons run the actions thatanalyze the image and create the separations. Don't let the number of buttons confuse you.

Most of the program is designed to separate to a specific color set (other than the Custom Index and Spot Colorroutines). This is to your benefit. You no longer need to mix custom colors for each job.

When running the program it is helpful to have the Channels palette open (Window/Show Channels) at thesame time as the Actions palette. This way you can watch separations be built.

Just Push A ButtonTo run a routine simply push the appropriate button. Each routine is started with a help message screen thatexplains what is going to happen and tells you exactly what to do. The program contains over 100 help screens.In fact, these help screens are like an on-line manual.

If is VERY IMPORTANT to read these help screens. They give specific instructions that need to beunderstood and followed.

Each help screen contains either both Continue and Stop buttons or a single Stop button. If the screen containsBOTH buttons and you press the Stop button you will have stopped in the middle of a routine and will need toreset the buttons (see Section Three - Installation and Program Setup).

Work File FormatsOther than the Special Edge Effects, Image Adjustments, and Optional routines (Flesh and Browns) all otherroutines start with the image CLOSED. The routines will ask you for the file names when needed.

The work files MUST also be in RGB Mode and have no layers. Many of the support calls received fromnew users of the program are because the files are in CMYK mode or have unflattened layers.

About The Work FilesAs you know from Section Four - Art Preparation and Image Adjustment, if the final films need to work on bothlight and dark shirts you will need TWO working files. One version needs to have a white canvas around thedesign and the other needs a black canvas. This version is also called the masked file. If the image is only goingon a light shirt (where you don't need an underbase or highlight white) then a version with a white canvas is allyou need. This is covered in Section Five - Artwork and Image Adjustment.

For FastFilms™ to run correctly the image MUST be at the final resolution and be adjusted for optimum quality(sharpness, good tonal range, etc.). If the image is dark in the midtones and shadows, apply tone curveadjustments.

Opening the Working FilesWhen you press a Run button, the separation routine starts and a help message screen will tell you that youneed to load the masked version first.

The program will take you to the Open File screen of Photoshop and you simply select the correct file.

After the masked version of the file is loaded, the program creates the underbase and highlight white channels.

The program then tells you to load the next file.

You will again be taken to the Open File menu and simply select the proper file.

FastFilms™ will now separate the individual colors, place them in the correct print sequence, place the colorname and Pantone® number on each channel, adjust for dot gain and ink interaction, adjust for the opacity ofeach color, adjust for shirt color, and do hundreds of other behind-the-scenes calculations.

Previewing Images on ScreenAfter you have run a specific routine, you will need to preview the image to see how it will look on a shirt.Photoshop allows you to see a channel by placing the eye in the small box next to the thumbnail of eachchannel. If only one channel has the eye next to it, the image will be in black and white grayscale on themonitor. If more than one channel has the eye, Photoshop will display the image in the correct color.

Photoshop 5.0, 5.5 and 6.0 displays the preview image much more accurately than Photoshop 4.0.

Working With ChannelsYou can also preview a single channel by placing just one eye next to the channel and removing the eyes fromthe others. If you want to adjust a specific channel it will need to be selected.

Don't confuse SELECTING a channel with placing an EYE next to it and PREVIEWING it. These are twoseparate commands. You can have channels set for preview (with eyes) and have only one selected foradjustment.

Adjusting Individual Channels with Tone CurvesOnce a channel is selected it is possible to apply filters, curves, sharpen, erase sections and much more. Thereare times when image touchup will be necessary or if you find that a particular color is not intense enough it canbe boosted.

If the preview of the image is close but maybe just not dead on, don't be afraid to adjust one or more channels. Good separators run the program first and then tweak individual colors. You can double-click on the Shirt Colorchannel and preview the image on different color backgrounds to. You might find that on a black shirt it looksgreat but on a white shirt, the Black channel needs boosting.

Don't be shy here. Go to extremes to see where adjustments need to be done. The best place to start is with theTone Curve (Image/Adjust/Curves). Put your cursor on the center of the curve a pull it up or down. If you havethe preview eyes on all the channels but only have the channel you are adjusting selected you will be able tosee the effect the adjustment has on the overall image.

Moving Channels to Change Print OrderSome images may need a different print order than FastFilms™ recommends. Simply click on a channel nameand hold the mouse down while moving the channel to a different location.

Changing the Shirt ColorYou can easily preview the image on a different shirt color by double-clicking on the Shirt Color Channel andthen clicking on the colored square box. This will bring up the Color Picker. Select any color you choose and youwill see an immediate on-screen change to the new shirt color.

Deleting ChannelsChannels that you don't need can also be deleted by dragging the channel to the Trash Can at the bottom of theChannels palette.

Changing Channel HeaderYou can also change the wording in the channel header by double-clicking on the channel name. This featurewill allow you to put the color sequence, mesh count or other information here. This information will print on theactual individual separation films.

Printing a Paper Proof by Merging Spot Channels

A great new feature in Photoshop 5.0 and 5.5 allows you to merge all Spot Color channels with the original RBGimage and print a composited paper proof! This is a very important change between 4.0 and 5.0.

To merge channels in Photoshop 5.0 or higher, simply select each channel you want to merge (don't forget theshirt color!) by holding down the shift key and clicking on each channel. Once they are all selected, simply go tothe upper right horizontal arrow in the Channels menu and select Merge Spot Channels. All of the channels willnow be part of the RBG image. If you DO NOT select the shirt color, the original RBG image will show throughand change the look. The merged channels will merge in the order they are stacked and the shirt color will blockthe original RBG from showing through.

Make sure to work on a duplicate of the separated image because once merged, the image is now a compositeand the individual channels do not exist any more!

Once merged you can print out a composite ink jet proof of what the image will look like on the shirt.


Section 6

Simulated Process ColorOn Light and Dark Shirts


What is Simulated Process Color?Generally a real process job is a photorealistic image that is printed with the colors of cyan, magenta, yellow andblack (CMYK). This process only works on a light shirt. The term Simulated Process Color has evolved to meanan image that is photorealistic but does not use CMYK. Simulated process colors generally are made up ofspecific spot colors that are halftoned. From the distance they look like process color but upon examination arenot CMYK.

In the old days Simulate Process applied only to black shirts. In recent years it has also been applied tophotorealistic images on light shirts that are not printed with CMYK.

The beauty of simulated process color images is that they look vibrant on black shirts because other than theunderbase, they are printed with all purpose inks. Simulated process prints are generally at least six colors andif going on a dark shirt almost always have an underbase white and a highlight white.

In the past, doing separations for simulated process color was an art that took a good understanding ofPhotoshop and screen printing. FastFilms™ has changed all of that. A complete set of separations can be donein just a few minutes with very little intervention of the user.

Simulated Process or Index Color?A common question is whether to use simulated process color or index color for an image. Index color hasgained popularity because it was easy to let Photoshop do the separations without much knowledge of theprocess. Simulated process has always been harder to separate because the separator needed to have moreknowledge.

Simulated process color has a smoother look to gradations because you are printing a halftone dot rather thanone size pixel. If the image is critical use simulated process color.

Indexing can tend to have a posterized and grainy look to the images. This is OK for some graphics but may notwork where you need true photorealism.

Now that you have FastFilms™ do all the thinking for you, simulated process color may be the better choice fora more photorealistic look.

Specific Color SetTo make separating and printing easier, FastFilms™ was designed with a very specific color set. The programwill analyze the image for these colors and separate according to what it finds. It also applies the proper ToneCurve and Levels adjustments based on the ink color, amount of coverage, dot gain expected from each colorand other industry specific parameters.

The beauty of the program is that you can eliminate unnecessary colors and reduce the color palette down. Theprogram is designed to pull seven colors (Run 5-colors plus two whites) or eleven colors (Run 9-colors plus twowhites), plus additional spot colors and optional flesh and browns.

Without the flesh plates, FastFilms™ generates excellent flesh tones using the yellow and red plates. If theimage has large and/or important flesh areas the optional flesh plates will help enhance the flesh.

The following section has a listing of the ink set that is used. Other than the underbase which is a high opacity,the rest are just off-the-shelf all purpose inks and in some cases very basic colors that should be found in everyshop.

FastFilms™ Simulated Process Color Ink Set,Suggested Mesh Counts and Sequence

1. High Opacity White2. Lemon Yellow - Pantone® 1023. Scarlet Red - Pantone® 1854. Blue - Pantone® 2865. Purple - Pantone® 219 6. Green - Pantone® 3617. Light Blue - Pantone® 3068. Gray - Pantone® 4219. Brown - Pantone® 16710. Highlight White - all purpose11. Black

* Highlighted colors are those used in the Five Color plus Two Whites routine.

180-230 (70-90cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)180-230 (70-90cm)280-355 (110-140cm)

Optional Flesh & Brown12. Light Flesh - Pantone® 47513. Dark Brown - Pantone® 16114. Medium Brown - Pantone® 18115. Orange - Pantone® 150

dd280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)280-355 (110-140cm)

Running Simulated Process ColorTo run the program have two versions of the original art asmentioned earlier. Have the channels and actions palettes open atthe same time if you have room on the screen. Don't be confusedby the number of buttons under the Simulated Process Colorroutine. Many of them are for special effects. The main buttons areRun 5-Color + 2 Whites and Run 9-Color + 2 Whites.

The program will make twelve new channels, including one for theshirt color if you run the Nine Color plus Two Whites routine. Beforeyou panic....... examine the image. If it is going on a black shirt youwill not normally print black as a color. If it is going on a white shirtyou will not need any of the whites (you may print just thehighlight). By taking a quick second to eliminate unneeded colorsyou will see that it is not hard to reduce the number of colors.

Note: In version 2.0 the 9-color routine generated the nine colorplus three whites. The "Optional Bump White" has been eliminatedin version 3.0.

After the program is done, analyze the image. Try rearranging color sequences and if necessary select specificchannels and boost or decrease the intensity of colors. If you have a limited number of print heads, now is thetime to determine what colors are not necessary or that you can live without. Use the eye to turn colors in thechannel display on and off.

The program selected two blues. Chances are you don't need two. In fact you might try combining the two bluesusing the Combine Channel routine.

For this example it wasn't too hard to reduce the number of colors for a black shirt to just SIX! To eliminate

channels simply drag them down to the trash container.

Six Color Press RoutineIf you really don't feel comfortable with your ability to reduce the number of colors, we have included a FiveColor Plus Two Whites routine that will create separations that will work on a six-color press. Even thought youhave seven separations, you generally don't print black ink on a black shirt and you can eliminate the underbasewhite on white shirts or the highlight white on medium colored shirts.

When in doubt, run the 9-Color plus 2 white routine and reduce it down to the best six printable colors.This will give you many more colors to work with.

Optional Flesh & BrownIf a design has large important flesh or brown areas run this routine. This routine only works after FastFilms™has created the basic color channels first and will only work on an image that is open.

To preview the flesh or browns, move these channels above the highlight (earlier in the print order) and turn the"eye" next to each new channel on and off to see what colors improve the overall design.

Custom Spot ColorsCertain jobs have colors that are hard to separate from a design. If the program has not found a very specificcolor or if there is a critical Pantone® color simply use this routine to "pull" the color. Follow the screen promptsvery closely. This routine only works after you have run the other main separation routine. When it is done, youwill need to move the channel to the correct channel preview order.

Heat Transfer Base and Clear CoatVersion 3.0 and higher includes a new set of routines for people who screen print hot split plastisol heattransfers. The program will make ten channels (no highlight white) that are flipped horizontally and have the inkopacities adjusted so the image displays the way it will print. This includes a Clear Coat plate to be used as abacking for the transfer. You can delete unnecessary colors, combine channels and do other adjustments toenhance the image.

Remove Black from Underbse ButtonVersion 3.5 includes a new button that can help increase the detail and contrast of the underbase. The blackplate often has the most detail in it. When creating an underbase white, this detail is often lost. By pressing thisbutton you will be removing any areas of image that are on the black channel from the underbase white. Youcan run this routine more than once to increase the contrast of the underbase.

Choke Underbase WhiteCertain designs have solid text areas with a solid underbase of white. For these images to print better it ishelpful to choke back the underbase. Choking an underbase makes it "skinnier" where the solid top colors printover it. This allows for better registration and less of the white peeking around the top colors.

This routine will choke the solid areas of the underbase white by 1 or 3 pixels (approx. .5 to 3 point choke at150 to 200 dpi). This may help designs with a lot of heavy text that need to have the underbase choked.

Important Point About Choking With FastFilms™This routine DOES NOT work properly on low resolution test images. The amount of choking is based on pixels.If the image is low resolution the choking will be greatly exaggerated.

This routine does not work on halftone images. It only works on solid areas of color. You can run this routine asmany times as you want.

Follow the on-screen message prompts very closely!

Combining Two ChannelsIf you have a limited number of printing heads this routine will help you combine channels in order to eliminatethe number of colors. FIRST, select the channel you want to copy another channel into. Then click on FinishCombining Channels.

It is also possible to combine a channel with more than one other channel. Try combining the Green channelwith the Yellow and Lt. Blue. You will now be making the green with those two colors and you can eliminate thegreen channel!

Knockout Under ColorsSometimes there is a lot of a top color (such as brown) that prints over the yellow and scarlet halftones. Also,when pulling custom spot colors, they will print over other colors that the program has already created. For a jobto print cleaner, it is helpful if you can knockout or remove the colors that are under other solid colors. To do thisrun the Select Colors to Knockout first and then follow the on-screen prompts.

Knockout Shirt ColorThis routine is designed to let you knock out any areas of a separation where you want the shirt color to be partof the image. i.e. If you do race cars you might want the car to be the color of the shirt. This routine will alter thelook of each separation. The program will make a duplicate of the image first. If you don't like how the knockout

routine worked, simply close the duplicate and run the routine again. To run this routine follow the on-screenprompts.

Outputting Simulated Process ColorPrint the individual channels out using a 55lpi frequency, angle of 25 degrees for ALL channels and ellipticaldot. Any channel with the "eye" next to it will print. Change the settings by going to File/Page Setup/Screens. For more detailed information about outputting images refer to Section Twelve - Outputting Images.

Certain laser printers and dry film imagesetters have a hard time using eliptical dots. They produce a slightmoire pattern on the film. You may have better luck using a round dot.

Screening Simulated Process Color For best results use retensionable screens at 30 newtons or higher. Put the Underbase and Highlight on 180 -230 (70 - 90 cm) and the top colors on 280 - 355 (110 - 140 cm). Flash only after the underbase white. Uselower mesh counts for basic images.

For more detailed information on screening simulated process color refer to Section Thirteen - Screen PrintingTechniques.


Section 7

Process Color CMYK Separations


What is Process Color on Shirts?True process color (also known as four-color process) is where an image is separated from its RGB componenton the computer to the pigment colors of CMYK. These images are then printed through very high mesh countsusing special process plastisol.

In most cases, process color is more than four colors of ink. It is impossible for just four colors of ink toreproduce the millions of colors that may be in a design. Important design colors that cannot be reproduced areoften printed as additional spot colors or touch plates.

Also, since many images are printed on light colored or pastel shirts, white is an additional color that may beprinted. This white is generally not an underbase but what is called a negative white printer - it just puts whitewhere there is white in the image.

The Problems of CMYK on ShirtsIn shirt printing we manage to take a great image and then make it look poor by converting it to halftone dots,putting it on a woven screen mesh and then printing it on a knit shirt. The quality of the original degrades all theway down the line. On top of that, it is hard to hold the very fine dots on the screen - causing dot loss AND thedots in the mid-tones and shadows grow in size - causing dot gain.

Process Seps with FastFilms™FastFilms™ automates doing process separations using industryspecific numbers and standards. It also compensates forweaknesses in Adobe Photoshop and does calculations that helpthe image print clean and sharp.

The program will automatically make two white printers. One is anegative white plate and the other is an underbase white plate formedium and dark colored shirts. You can choose the one you wantto use. The program will also ask what spot colors you want andallow you to sample the spot colors from the image and will thenbuild a channel for these spot colors.You will be prompted to verify the CMYK Setup settings when the program runs. Follow the on-screen promptscarefully.

After the initial routine is run, the image will be separated but will still be what Photoshop calls a composite.When in composite mode you can't move around the channel sequence. To preview the image the way it willprint on a shirt click on Process Final Display. FastFilms™ will place the CMYK channels in the correct printorder and make a shirt color channel and move the white channels their proper location. This routine is only foryour display and preview and has no effect on the files.

If you are going to export this file into Adobe Illustrator DO NOT do the Final Display routine. AdobeIllustrator will want to see the composite image and not a multi-channel image.

Ink ValuesFor a better reproduction of the original, install the ink values from the CD during the setup routine, or use inkvalues from your favorite ink company. Most ink companies will provide the ink values for their process colorsfor free. Most of the major ink companies values are on the CD or downloadable from the FastFilms™ User'sArena.

OutputtingTo output the process separations select File/Page Setup/Screens.You should use a frequency of 65lpi for automatic printing and 55lpi for manual. Use Eliptical Dot shape. Usethe following angles: CyanMagentaYellowBlack Both WhitesSpot Colors

15 degrees45 degrees75 degrees75 degrees15 degrees15 degrees

orororor oror

22.5 degrees52.5 degrees82.5 degrees82.5 degrees 22.5 degrees22.5 degrees

These may seem odd, but work great!

For more detailed information refer to Section Twelve - Outputting Images.

Screen Printing TipsThis is where a great set of films can make a poor print. You need to be a good printer, use retensionablescreens if possible and good technique.

For additional information on how to do high-end process printing purchase the video training course How To

Print Award Winning Process Color from the U.S. Screen Printing Institute.

For best results have all screens at 25 to 30 newtons. Use a specific brand of ink that goes with the ink valuesyou installed. Print with a medium hard, sharp squeegee on a good press with low off-contact on the screens.Use a good quality shirt too!

Your mesh selection should be 305 to 330 for manual printing and 355 for automatics. The white can go onlower meshes if necessary.

The printing sequence should be YMCK. The white will obviously go first and if it is the negative white printer -do not flash. Any spot colors should be printed after the similar color (i.e. spot red after magenta).


Section 8

Index Color On Light and Dark Shirts

Return to the Table of ContentsWhat is Index Color?Index color is a term that generally means to reduce the number of colors in the color palette. Photoshop has anindex color routine that has been used for years in internet web graphics to make images have a smaller filesize. The process was adapted to T-Shirt separations a number of years ago.

When indexing, Photoshop is told what colors to use to index and then tries to make the other non-index colorsfrom those chosen. Generally a color palette is made up of the dominate colors in the image.

Index color separations are made up of small random pixels called a diffusion dither (stochastic). Unlike halftonedots that have different dot sizes, all of the pixels in an index separation are the same size. Because of this,index images are very easy to print. You are not printing a dot on top of a dot, but rather square dots next tosquare dots.

Index color prints are also very forgiving. The prints can be done with all-purpose inks on light and dark shirts (ifunderbased properly), and all the prints look the same. Other than a flash after the underbase (if on dark shirts),index images can be printed wet-on-wet. This technique actually helps blend the colors and gives very smoothgradations.

FastFilms™ did not invent index color. Photoshop does the indexing. FastFilms™ simplifies the procedure andautomates the task of converting an index image into individual channels that can then be printed out.

Image ResolutionThe image resolution is much more critical for index color. Since there is no halftone dot, the size of the pixel isdetermined by the resolution of the image. A 200dpi image has a very small pixel that is equivalent to a 10%65lpi halftone dot. A 60lpi image has a very large pixel and if indexed, will give a hand stippled look to the print.

For general work, scan the image at 150 to 175dpi - at the final print size. For high-end work go to 200 or 220dpiat the final print size. Try to keep from sampling up. The index routine has a hard time knowing what to do withunwanted shadow areas around the image.

It is also helpful to have your original index image higher contrast and use the hue/saturation menu to increasethe saturation slightly. Try to make the black areas dead black.

Index Color TablesAlthough index separations have been normally done from customcolor tables that were created specifically for each design,FastFilms™ has developed a number of stock color tables that willwork with most images AND allow you to once again use a stockink set. The following color tables are menu selections forFastFilms™. You may find that less is more with indexing. Acommon belief is that you need a lot of colors. This is true if you arepicking your own color table. But, it you choose a table that is madeup of primary colors, plus other standard colors you will bepleasantly surprised at the results. You can do a very respectableindex job just using the five color table below!

FastFilms™ also takes advantage of the much improved index colorcontrol found in Photoshop 5.0. All of the stock tables below showthe number of colors you would print on a light shirt. Each routinealso creates an underbase white and a highlight white.

Eight Color Index Table

Lemon Yellow - Pantone® 102Scarlet Red - Pantone® 185Royal Blue - Pantone® 286Purple - Pantone® 219Green - Pantone® 361Lt. Blue - Pantone® 311Orange - Pantone® 716Black -Plus Two Whites

Seven Color Index Table

Lemon Yellow - Pantone® 102Scarlet Red - Pantone® 185Royal Blue - Pantone® 286Purple - Pantone® 219Green - Pantone® 361Lt. Blue - Pantone® 311Black -Plus Two Whites

Six Color Index Table

Lemon Yellow - Pantone® 102Scarlet Red - Pantone® 185Royal Blue - Pantone® 286Green - Pantone® 361Lt. Blue - Pantone® 311Black -Plus Two Whites

Five Color Index Table

Lemon Yellow - Pantone® 102Scarlet Red - Pantone® 185Royal Blue - Pantone® 286Lt. Blue - Pantone® 311Black -Plus Two Whites

Four Color Index Table

Lemon Yellow - Pantone® 102Scarlet Red - Pantone® 185Lt. Blue - Pantone® 311Black -Plus Two Whites

Custom Index ColorsFastFilms™ will also let you pick your own colors. This is actually a much more accurate method if you aretrying to match the original artwork. This routine builds an underbase and highlight white and then lets you picka Custom Color Table. You can pick as many colors as you wish. When you are done selecting the colors theprogram automatically makes the channels, assigns the correct color, and puts them in the correct print

sequence. It is important to follow the on-screen prompts during this routine.

If your image has very specific Pantone® colors with gradations you MUST run the Custom IndexRoutine.

Previewing and Printing Index ColorIndex separations can be previewed and channels moved around to see what color sequence works best.Remember, even if the image is only going on a black shirt you MUST make black one of your colors. You willjust not print this plate. Also, it is much harder to eliminate index channels because there will be a hole wherethe color is missing from. This is not the same as in simulated process where you can delete certain minorcolors.

Photoshop tends to preview indexed images very grainy until you zoom in to see what the image looks likeclose-up. Once indexed you can also convert the image back to RGB mode to improve the preview and it willhave no effect on the individual channels.

The individual channels will preview correctly when the eye is placed next the each channel image.

Another area of concern is that once the image is indexed it is no longer in grayscale mode. You cannot applycurves, sharpen, etc. You can use the eraser to remove random dots and clean up images.

Outputting Index Color

Index color does not have a frequency of dots. The size of the dot is determined by the scan resolution. For bestresults use a scan resolution of 175 to 200 dpi. When printing index films, you do not need to specify afrequency, angle or dot shape.

The indexed image MUST be the correct resolution before running the routines. You CANNOT up-sample anindexed image to a higher resolution after it has been separated. For additional information refer to SectionTwelve - Outputting Images.

Screening Index Color For best results use retensionable screens at 30 newtons or higher. Put the Underbase and Highlight on 180 -230 (70 - 90 cm) and the top colors on 280 - 355 (110 - 140 cm). Flash only after the underbase white. Uselower mesh counts for basic images. For additional information refer to Section Thirteen - Dark Shirt ScreenPrinting Techniques.


Section 9

Running Black and White andSepiatone Routines


About Black & White and Sepia-Tone Effects These routines are almost like a special effect. They convert afull-color image into either a high-quality black and white image, orthey give the image an old photo sepia tone tint.

The routines are very straight forward. They actually create sixchannels including an underbase white, highlight white, three grayor sepia levels and black.

As with the other routines in FastFilms™, the program asks for a Main File and a Masked version. You can alsorearrange the channel sequence, change the colors, etc.

For a very stunning effect, replace the various shades of gray (or sepia) with shades of another color like blue orred.

Outputting B&W/SepiatonePrint the individual channels out using a 55lpi frequency, angle of 25 degrees for ALL channels and ellipticaldot. Make these changes underFile/Page Setup/Screens. Screening B&W/SepiatoneFor best results use retensionable screens at 30 newtons or higher. Put the Underbase and Highlight on 180 -230 (70 - 90 cm) and the top colors on 230-255 (110 - 100 cm). Flash only after the underbase white. Uselower mesh counts for basic images.


Section 10

Basic Spot Color


Creating Simple Spot Color SeparationsFastFilms™ will create simple spot color separations. Generally, theseimages are separated in a drawing program and not in Photoshop,BUT if you have a simple image, this is the place to do it.

Also, this is the place to pull additional spot colors for your SimulatedProcess color images. Just run this routine AFTER you havecompleted doing the main Simulated Process separations first.

The secret to having good luck with this in FastFilms™ is to make surethe image resolution is high enough to give hard edges. A resolution of175 to 220 dpi will work well for most designs. Simply create thedesign in your favorite drawing program and export the image at thecorrect resolution at the correct size. This routine will also work withimages that have been scanned and have very specific solid colors.

The image should also have solid well defined colors. You can separate images with gradations, but may find doingeven these jobs in the Simulated Process, or Index Color routine will work better.

Underbase and TrappingThe program will allow you to create basic underbases that can also have a slight choke (made skinnier).

You can also apply a trap to the spot color images to allow for easier setup and printing (especially if using vellumpaper on wooden screen frames).

Running the ProgramThis part of the program requires a fair amount of user intervention.

You will need to read and follow the on-screen prompts.

Outputting Spot ColorFor solid spot colors simply print out each channel. If the image has gradations, go to File/Page Setup/Screens andselect the proper channel from the menu. Use settings of 35 to 45 lpi, angle of 25 degrees, ellipse dot shape.

Screening Spot ColorYou can use a wide variety of meshes for spot color. Simple designs can go on 125 to 180 (48 - 70 cm). Imageswith halftones can be on 180 - 230 (70 - 90 cm). The underbase can be on 86 - 125 (34 - 48 cm).


Section 11

Special Effects


About Image Graphic EffectsIn order to make an image more appealing on a garment,FastFilms™ has a number of special Edge Effects that give designsinteresting and very graphical edge treatments. These effects canmake a simple rectangular design take on life and graphically jumpoff the shirt.

The program also can make the image look like it has beenwashed. This effect works best on simple text images and is calledthe Distressed Look.

These routines do not harm the original image. They make aduplicate and close the original.

Before running any of these effects the image must be the originalRBG with no layers AND no channels. Run these routines BEFOREyou do the separations. You must use the Marquee tool and make arectangular selection approx. 1/2" from the outside edge of theimage all the way around.

For a more interesting edge effect, use the Lasso Tool and make a more freeform selection about 1/2” to 1” infrom the edge of the image. Make sure to carefully follow all of the on-screen message screens. Differentsettings will give different results.

The remaining canvas around the images can be black or white and the program allows you to run the routinetwice without losing the original marquee selection. This means you can run the same effect on the image twiceto give you the two versions you need to run most of the separation routines.

Sawtooth EdgeThis effect will give the design a special edge treatment that looks like a sawtooth.

Brush Stroke EdgeThis effect will give the design a special edge treatment that looks like brush stroke.

Hand Stippled EdgeThis effect will give the design a special edge treatment that looks like it has been hand stippled.

Stucco Edge

This effect will give the design a special edge treatment that looks like a stucco wall.

Pond Ripple EdgeThis effect will give the design a special edge treatment that looks like a ripple in a pond.

Vignetted Edge Effect

This effect will give the design a soft “vignetted” edge effect.

Distress LookThis is not really an edge effect. It gives the entire image a distressed or worn and washed look. If you want theimage to have a soft edge AND distressed look, run one of the Edge Effects first and then run this routine.

If the image is going to be multi-color with an underbase you need to make sure the distressed parts of theimage lineup with each other. Run the routine on the Main File first and then Run Distressed Look - Underbasesecond.


Section 12

Outputting Files


Printing Directly from PhotoshopFastFilms™ has been designed for ease of output. Many graphic designers are taught to take Photoshopimages into Quark Express, Adobe Illustrator, Corel Draw or other programs for additional graphics and printing.This is great if you are proficient with all those programs and want to spend the extra time exporting andimporting individual channels, but since we are only printing on a T-Shirt, we can use a lower resolution than foroffset printing.

At a resolution of 175 to 200 dpi, our files sizes are fairly managable and the edge definition of the final imageon the shirt is still excellent. It doesn't make sense to take the image elsewhere when it can be just as easilyprinted out of Photoshop.

Printing ChannelsTo print directly from Photoshop, simply select or put an eye on a channel. You can even select more than onechannel by putting more than one eye next the channel image or selecting more than one channel by holdingdown the shift key and selecting multiple channels.

To print a channel(s), first go to File/Page Setup/Screens. This is where you will tell Photoshop about thefrequency, line count and dot shape. The following sections covering specifics of each separation process givethe parameters for each type of printing. In Photoshop 4.0 ONLY the black ink settings in the Halftone Screensmenu affects the channels. In Photoshop 5.0, 5.5 and 6.0 you have to input the frequency and angle for eachchannel.

You should also check on Registration Marks, Labels, and Calibration Bars. These items will print on the filmsand make setting up and analyzing a job easier.

Transfer FunctionPhotoshop has a printing section called Transfer Function (File/Page Setup/Transfer) that allows you to applyadditional curves to the image based on more dot gain than the program will allow and/or deficiencies in youroutput device. Since vellum, laser acetate and the dry film imaging systems have a hard time holding 5% dots,AND you often get closing in at the 70% range and higher, you can apply a special Transfer Curve to theimages to compensate for these problems.

FastFilms™ comes with a transfer curve called Fastcurve3.atf. If printing out to the following media, load thiscurve from the FastFilms™ folder and apply it to the image being printed. This curve will slightly enlarge the sizeof dot in the 5% area and will reduce the dot size in the 70% and above areas.

Printing Media

VellumFor non-critical jobs you can use vellum or translucency. It is not as stable as film and may not hold tightregistration but will be adequate. Vellum will have a hard time holding a 5% dot without getting burn-throughwhen exposing the screen.

Laser AcetateThis is a matte finish acetate product that goes through a laser printer and is more stable than paper vellum. Itshould be used for jobs that are more critical.

Darkening the ImageBoth vellum and laser acetate benefit GREATLY by spraying the printed images with an artist's matte finishspray or fixative (make sure it doesn't have a UV block in it). This spray makes the black toner almost TWICE asdark and helps the material hold a finer dot during exposure.

Dry Film Image SystemsFor process color, high-end simulated process color and high resolution index color, a better choice of mediawould the newer dry film imaging systems such as the EcoPro from Calcomp. The material is much more stableand holds a harder, denser dot.

Imagesetter FilmThis is obviously the best way to output images. Photoshop files can be sent to Service Bureaus for output.Make sure to specify what channels you want printed, the frequency, angle and shape of dots and size of finalfilm.

Exporting Files to Other ProgramsIt is possible to take a FastFilms™ separated image into Corel Draw, Adobe Illustrator, Quark Xpress orFreehand to either output or add additional graphic elements.

For Corel Draw, and early versions of Adobe Illustrator and Freehand the channels will first need to be split.Simply click on the horizontal arrow at the top of the Channels Palette and select Split Channels. (Once split youCANNOT put them back together!) Each channel is now a separate file that can be saved, named and importedinto the other programs and graphic elements added.

DCS2 Files for Quark Xpress and Adobe IllustratorPhotoshop 5.0 supports DCS2 files with alpha channels that you can bring into Quark Xpress or AdobeIllustrator version 8.0 (many MAC users who print to imagesetters need to print through a program like Quark).To create a DCS2 (for the Simulated Process and Index routines only), simply convert the main RGB or Indeximage to grayscale (Image/Mode/Grayscale). For CMYK images from the Process Color routines you do notneed to convert to a grayscale. You should be doing this on a duplicate file so you will not lose the originalimage colors. Next, simply do a Save As a DCS2 EPS format.


Section 13

Dark Shirt Screen PrintingTechniques


Quick Tips for Successful High-End Dark Shirt PrintingPrinting simulated process color and index color on dark shirts can be very rewarding and also veryfrustrating. If you have never done this type of printing you might be shocked at the high mesh counts andtype of ink used. If you normally print spot color and heavy athletic printing this will be MUCH DIFFERENT.

In order to have great results with FastFilms™ you may need to change your thinking on how you print andmake screens. It is important to try to follow these guidelines.

All screens should be properly tensioned. At best, use retensionables that are at 30 Newtons. If youhave wood frames, use the tightest ones you have. Yes, these images will work with wood, but you willlose some detail and not have as good an underbase.

1.

Use medium-hard squeegees that are sharp. Triple durometers are better (70/90/70). 2. The underbase white plastisol should be designed as an underbase or if not, should at least give asmooth deposit of ink. Some of the low-bleed whites tend to bubble slightly when heated and do notmake a good underbase.

3.

The underbase should be printed through 180 to 230 (70-90cm) meshes. Try to do one good stroke. Ifnecessary a second stroke may help coverage. Try to hold the fine detail in the image. You ARE NOTreally looking for the white to jump off the shirt. This is the job of the highlight white! Flash cure afterthe underbase. This is the most critical print.

4.

The highlight white can be the same as the underbase white, but IDEALLY should be a standardmixing white (semi opaque). This will let it blend better when laid on top of other colors. Print thehighlight white through a 180 to 230 (70-90cm) mesh and keep the stroke to one firm pass. Thehighlight white is printed last in the sequence.

5.

The top colors (other than highlight) should be all-purpose plastisol. They should be smooth andcreamy and printed through 280 - 355 (110-140cm) mesh with one good stroke, wet-on-wet. Again, donot kill these prints. A fast stroke is better to clean off the screen and hold the halftone dots. DO NOTPANIC until the last color is printed. Often, it is the highlight that brings it all together. It brightens areasand lightens other colors.

6.

If a design does not look like the original art, modify an ink color and try different color sequences. Thisis normal when printing on dark shirts. It generally takes more than one shirt for an image to settle inand print correctly. There are many variables that affect the final print, from screen tension to quality ofthe printing press, and technique of the printer or machine. Making adjustments at press is commonlydone by high-end printers who have often spent thousands on separations. FastFilms™ takes intoaccount the crushing of inks wet-on-wet.

7.

Print on a good shirt. DO NOT use a test square - other than for lining up the screens. The print needsto have the absorbency of the shirt AND the tighter the knit the better. 100% cotton is obviously betterthan 50/50 because of the dye migration from the shirt.

8.

For stencil system, we recommend a dual-cure or pure photopolymer direct emulsion. Use thin coatsand try to hold all the halftone dots. It may mean adjusting exposure times and doing a test exposure.Use dyed mesh in order to hold better halftone dots.

9.

Section 14

Important Terms


The Most Misunderstood Computer and Art TermsAll About Halftones, DPI, PPI, LPI, SPI

Quick Glossary:

HalftoneA series of large and small dots that represent image areas of a continuous tone image. Continuous toneartwork can be converted into printable halftone dots using a process camera or by scanning into a computerand outputting onto film or paper as a series of dots. Even the photos in this manual are printed as a series ofhalftone dots. They are just smaller than we use in garment printing.

LPI - Lines-per-inch This actually refers to the number of dots-per-inch in a halftone but the term is LPI and NOT DPI. You can seewhere LPI and DPI can get confused. This term is also known as the frequency in computer graphics (frequencyof lines-per-inch). The standard LPI of a screen printable design is 35 lpi to 45 lpi for cartoon type work and from55 lpi for manual process prints to 65 lpi for automatic process prints. The higher the number the smaller the dotand the harder it is to put on a screen.

PercentageThe amount of coverage in a halftone dot is called Percentage or Tint. A 10% dot is much smaller than an 80%dot. When screen printed, a dot grows in size. This is called dot gain and it can be as much as 30% whenprinting on an automatic press and 40% when using a manual. For this reason you should try not to apply anytints in designs above 70% (they will just grow and be a solid). It is also important to take into account dot gainwhen using tints. Always use a smaller tint percentage than you think because in most drawing programs youcannot specify the dot gain (you can in Photoshop!).

ShapeDots are also used in various shapes that range from diamonds, to squares, circles and ellipses. An elliptical dotis the best to use because it tends to chain together and is easier to burn on a screen and the dot gain will notbe as noticeable in the midtone range.

AngleThe angle of the dot is the angle at which the dots chain together. The problem with most computer graphicsprograms is that the angles of the halftones are generally great for offset printing but not good for screening. The recommended angle for Simulated Process color is 20 to 25 degrees for all colors. For real CMYK ProcessColor try Cyan 15, Magenta 45, Yellow and Black 75, or Cyan 22.5, Magenta 52.5 and Yellow and Black 82.5.

Moiré Pattern A moiré is an interference of two patterns. It generally has a checkerboard pattern to it. You get moiré’s whenusing patterns on patterns - as you do when you put halftone dots on screen mesh and/or halftone dots onscreen mesh on a shirt pattern. Moiré patterns can be reduced or even eliminated by using a different angle(see Angles) and using a higher mesh count in relation to the LPI of the halftone. The general rule of thumb hasbeen that to reduce moiré patterns use a mesh that is 4 to 5 times the LPI. In example, when using a 50 LPIhalftone, a mesh count of 200 would be a good start. There have been lengthy articles written about moiré.

DPI - Dots-per-inch

Generally used to describe printer resolution and often used to describe scanner resolution. Obviously thehigher the number the better the resolution of the image. By doubling the number the resolution actuallybecomes four times larger. In the old days (a few years ago) 300 dpi was the norm for a laser printer.Unfortunately, at 300 dpi, the edges of the image were still a little ragged and at 300 dpi a halftone will onlygenerate around 16 gray levels. A 600 dpi halftone will give you over 300 gray levels.

DPI is also used as the designation for a scan. Like printers, the higher the number the higher the resolution.Most scanners default to 300 dpi when they should really be set much higher when scanning line art.

PPI - Pixels-per-inchThis is actually what a scanners resolution should be referred to. PPI is the same as DPI and you see the termsused interchangeably.

SPI - Samples-per-inch This is the same as PPI and again is really how we should talk about a scanner’s resolution. You see SPI insome scanner ads. It is the same as PPI and DPI.

This may be much more information than you need but you must get the vernacular down. You know……. "Iscanned the job at 600 dpi and printed it on a 250 with at 45 LPI ellipse at 20 degrees and didn’t get any moiré."


Section 15

Troubleshootingand

Technical SupportPlease read this section before calling for technical

support.

Return to the Table of ContentsFastFilms is a GREAT program being used by thousands of printers in 70 countries. It is very "clean" and shouldrun totally without errors. If errors are encountered it generally means that the program was not installedproperly or the files are not correct. If you continue running a routine after getting an error, the separations willnot be correct. If you encounter problems please read all of the following section before calling for support. Forthe best success with the program, please take time to view the 2-hour Training Video and read both the QuickStart Manual and the Full Reference Manual.

Technical SupportPhone SupportIf you have a problem with the program please re-read the manual and make sure you are following theon-screen prompts exactly. Please read the following Problems and Solutions before you call for support. Ifyou can't resolve the problem, call our support line at (480)929-0640 between the hours of 9:00am and 4:30pmMountain Standard Time (Arizonan's never change their clocks and are the same as Pacific Standard Time inthe summer). Please have the computer near the phone with Photoshop up and running so our support personcan better serve you.

Internet FastFilms™ User’s ArenaIf you are a registered user of the program, you can get 24-hour support from the FastFilm™ User's Arena onthe internet at www.fastfilms.com. Here you can communicate with other users of the program, read FAQ's, anddownload program updates.

E-Mail SupportIn many cases better support can be given if the file is available for inspection. If you are having problems with afile or need assistance with what routine to use you can email the file to: [email protected]. DO NOTE-MAIL A FULL SIZE FILE. The file must be low resolution (72dpi) and SAVED AS a JPG (JPEG) file formatwith a quality of 3 or 4. This should make the file size no more than 200 to 300 kb that is easy to email.

Fax SupportSupport questions can also be faxed to (480)929-0766.

Adobe Photoshop SupportGenerally, we will help with minor Photoshop issues as they relate to FastFilms. If you are having technicalproblems that are Photoshop related, contact their technical support line.Adobe Support: Windows (206)675-6303Macintosh (206)675-6203

Problems and SolutionsProblem:

The channels do not look right when separated.Solution:The image MUST be in RGB mode and there cannot be any layers. Check the mode of the image and open theLayers Palette to verify that the image is flattened. It MUST say Background in the Layers Palette.

Make sure the program was not stopped in the middle of a routine. If an actions button is RED the program wasstopped and the Actions Palette must be reset.

Also, this could be caused by memory errors. Photoshop has a "memory leak" that allows it to build very largetemporary files that are not always deleted as you close work files. If certain channels do not look correct, closeand re-start Photoshop and/or re-boot your computer.

Problem:The routine stops in the middle and Photoshop gives me "Out of Memory" errors.Solution:The program greatly increases the file size. Try to have at least 250mb and preferably more free hard diskspace. Because of Photoshop's memory leaks, try re-starting Photoshop or re-booting your computer toeliminate as many temporary files as possible.

Problem:The separations are not dead on.Solution:It is very difficult to take an image with thousands of colors and have them print with only a handful. Manydesigns will be extremely close. Other images may need a little "tweaking" to bring them around to match theoriginal. Sometimes your first few jobs will be a learning experience - especially if you have never done this typeof work. You will learn to trust what the monitor shows you and to trust your screen printing experience when"tweaking" the separations.

Most of the time, one or two minor adjustments is all it takes. FastFilms will generally get you within 95% ofwhere you want the separations to be. Without a program like FastFilms it can take hours and hours of work todo the separations and many failures at the printing press. With FastFilms as a tool, it takes less than tenminutes to run the basic routine and then a few more minutes to do minor adjustments.

Problem:The separations on the monitor look great when the Black Channel is turned on but whenI turn it off, the image looks flat.Solution:This is not uncommon. If you have areas of solid black in the image, they must not have any color. This means ifyou use the Info Palette and do a reading, they should be at 0 levels for RGB. If these areas are NOT deadblack, FastFilms will "think" you want color where you actually want it to be the color of the black shirt. Whenyou display the Underbase without the Black channel on, you will be seeing a small 1% or 2% dot pattern.Obviously you won't be able to burn this on the screen, but it will show on the monitor. To clean up theunderbase, simply press the button marked Remove Black from Underbase. This removes all areas on the blackchannel from the underbase and helps the image display better. You can also take a Tone Curve and adjust thehighlight end slightly to make the underbase a little more high contrast.

Problem:The prints look muddy and are not bright.Solution:It is critical that you have a good clean underbase. Low tension screens will give a mottled look to the white.Increase the screen tension and make sure you are on the correct mesh. The top colors need a clean and fairlyfast stroke.

Problem:Process color prints look muddy on the shirt.Solution:If you are experiencing too much dot gain (from low tension screens, soft shirt, poor printing conditions,etc.) apply 10% more dot gain to the image before running the routines (make it 10% lighter) by using the ToneCurve.

Problem:The original design has solid spot colors of text and the program made the colorshalftones.Solution:FastFilms uses a pre-determined palette of colors. If your image has a light red, FastFilms will have to make thered (Scarlet Pantone 185) from it's palette lighter by using halftone dots. If you want the red area to be 100%color, simply be agressive with a Tone Curve to that particular channel.

If you need to do 100% solid Pantone matches through-out the image, it is better to run the CustomIndex Color routine where YOU pick the colors from the image.

Problem:Menus don't display correctly on the MAC.Solution:Some of the MAC users have said that the prompt menus that come up have the last parts of the sentences cutoff or missing. We have researched this but have found no solution EXCEPT that the problem seems to goaway when you upgrade to Photoshop 5.0 or 5.5.

Problem:Index images do not look correct if resampled.Solution:Some of the users have created Index Color Separations and then decided to upsample the image to a largerpage size. DO NOT DO THIS. When upsampling an indexed image, Photoshop places grayscale pixels ofvarious shades around other pixels causing the pixels during printout to be very soft. Make sure to be at thefinal resolution and size before running the Index Separation routines.

Problem:White underbase is not heavy enough.Solution:The white underbase has been carefully created to make a soft underbase where there are gradations in theimage, and a solid underbase where there is solid text and graphic elements. If this underbase is too weak,simply select the underbase channel and apply a Tone Curve adjustment to it. You cannot adjust the whiteunderbase in an index image once it has been indexed. If the underbase it too weak in an index image, makethe version of the file that has been masked (the first one to load) lighter than normal before running theprogram on it.

Problem:Black channel too weak on simulated and real process jobs.Solution:The dilemma is how to make the black display the way it will print. Since black ink will gain more than any othercolor, it is hard to have it both ways. Generally the black plate is correct but may look a little light on the monitor.

If you feel the black channel is too light, simply apply a slight Tone Curve to it.

Problem:Colors in channels are all wrong.Solution:If the assigned colors in the channels are wrong, check to see if you have Short Pantone® Names checked inthe General Preferences window before running the program. It should be checked. This error can also becaused by the image not being flattened.

Problem:Program asks to approve all of the routines.Solution:If you run the program and it asks you to approve almost every move it makes, you have accidentally turned onthe "stops" in the program. This is an easy mistake to make when switching from List View to Button Mode. Theonly solution is to Clear the Action and then Load the Action back into Photoshop again. The program may alsonot be installed correctly. See the next "Problem."

Problem:General File Errors when running routines."can't perform command" "command not available" "object not available" etc.Solution:If you get continuos errors such as "commands" can't be found, it usually means the file is not in the correctformat. Make sure the original file is RGB, No Layers (must say "Background Layer") and has No additionalChannels other than the RGB composite and individual R, G, B (four channels total).

Even if you "think" the file is OK, take time to open the file and double-check these issues.Checking for RGB:1. Open the file.2. Open the Channels Palette (Window/Show Channel).3. The file MUST have four channels - RGB, R, G, B. There can be no additonal "alpha" channels, channelmasks, etc. Sometimes if you stop a routine in the middle and save the file, these extra channels stay with thefile. Also, when getting files from customers, there are often mask channels that they forgot to delete. NEVERrun a file without opening it first to check it out.

Checking Layers:1. Open the file.2. Open the Layers Palette (Window/Show Layers).3. There MUST only be ONE layer and it MUST say "Background." If there is more than one layer or if the singlelayer says "Layer 1" or anything else, the layers are not flattened. To flatten the layers, go to the upper rightarrow in the Layers Palette and click on Flatten Layers.

Problem:Errors when first running a routine."Can't Find FastFilms" or "Can't Find FastDemo" ErrorSolution:Version 3.0, 3.01 and 3.5 must have the files FastFilms.8li and CustomIndex.8li in the "Automate Folder" underPlugins. If these files are not found by Photoshop you will get the error "can't find FastFilms" or "Can't findFastDemo" immediately upon running the 9-color or 5-color Simulated Process routine, the RGB to CMYKroutine, and any Index routines.

Check Automate folder:The installation routine automatically copies these files to all known instances of Automate folders on the hard

disk. In many cases, users have multiple versions of Photoshop (and don't know it) from doing upgrades orre-installs of the program. The easy way to tell if Photoshop has "found" the plugins is to open Photoshop andgo to File/Automate. The menu selections of FastFilms and Custom Index (grayed in) will show up here. Youdo not run the program from here - but the files must be in this menu.

If the files are not in the correct Automate folder, then the must be moved from the FastFilms folder to theAutomate folder. In Photoshop 5.0, this folder is: Photoshop/Plug-ins/Automate. In Photoshop 5.5 & 6.0, thisfolder is: Photoshop/Plug-Ins/Adobe Photoshop Only/Automate. Simply drag these files to the new folder beforestarting Photoshop.

Make sure Photoshop in "pointing" to the Plugins Folder:If the program still can't find the plugins, check to see that Photoshop is "pointing" to the plugins folder. InPhotoshop 5.0-5.5, go to File/Preferences/Plugins & Scratch Disk. In Photoshop 6.0, go toEdit/Preferences/Plugins & Scratch Disk. Make sure it is set to point to the Plugins folder (not Automate). If youhave more than one version of Photoshop, there is a good chance you are pointing to the wrong version. As anexample, early versions of Photoshop put the program in the Adobe folder. In later upgrades on PC's, Adobeputs Photoshop in the Program Files/Adobe folder.

Please double check these items:If the program still doesn't show up in the Automate Menu in Photoshop (File/Automate) even after you haveverified that the files are in the Automate folder and that Photoshop is "pointing" to the Plug-ins folder - you havemissed something. Return to your hard disk (Windows Explorer on a PC or Mac Hard Disk) and do a Find of theword Automate. You will probably find more than one version in places you didn't know about. Also, you haveprobably not choosen the correct folder when telling Photoshop to point to the plugins folder.

Problem:ADM Error "Can't Find ADM Plugins Manager"Solution:In order for Photoshop to run any plugins, it must have a file called ADMPlugins.APL installed. This is astandard Photoshop file and for some reason Photoshop will forget where it is. This file must be present on thehard disk in the following folders: (Note - many people install Photoshop under Program Files and then theAdobe folder.)

In PS5.5 & 6.0 the file ADMplugin.APL must be in: Adobe/Photoshop55/Required.

In PS5.0 the file ADMplugin.APL must be in: Adobe/Photoshop50/Plugins.

If at this point the program still does not recognize the Plugins or does not find the ADMPlugin.APL file you willneed to Re-Install Photoshop.

Problem:Interlok Errors "Interlok Device Driver Not Found"Solution:Interlok is the "unlocking" program that is used by FastFilms. On PC's, two files are copied to Windows foldersduring installation that Interlok needs to find. This error means these files are not where they should be. Checkto see if the following files are in the correct folders.

tpkd.vxd must be in Windows\systemvl.vxd must be in Windows\system\iosubsys

Problem:Windows 2000 and Windows NT errors.Solution:

Windows 2000:If you are a Windows 2000 user there is one more step to the installation that must be done. In the Windows2000 folder on the CD and under the FastFilms folder on your hard disk there is a file called TPkd.sys. This fileneeds to be copied to the \winnt\system32\drivers folder on your hard disk. This file has THE SAME NAME asthe file used for Windows NT. These files share the same name but are different.

Windows NT Installation Directions:If you are a Windows NT user there is one more step to the installation that must be done. In the Windows NTdirections folder on the CD and under the FastFIlms folder there is a file called TPkd.sys. This file needs to becopied to the \winnt\system32\drivers folder on your hard disk. This file has THE SAME NAME as the file usedfor Windows 2000. These files share the same name but are different.

Problem:Can't find FastFilms in Actions Palette. "I loaded the action and it is still not there"Solution:There is no way to automate the loading of the actual "action" that FastFilms uses in the Actions Palette. Thismust be done manually. Simply open the Actions Palette (Window/Show Actions) and go to the upper right handarrow. Come down to Replace Actions. When the Load menu appears, select the appropriate action from theFastFilms folder. Make sure the action is in Button Mode (upper arrow and select Button Mode). The buttons arein purple, yellow, etc.

A common mistake when moving from a demo version to a full version or when upgrading to a newer version isthat if you Load the action, it places the new version BELOW the old version. You have to scroll down on themenu to even find it. You must REPLACE the action - not load it.

Problem:The Index routine images look grainy on the monitor.Solution:Index images can be grainier on the monitor than when they print. Also, the file resolution determines how"grainy" the image will be. You must be at a resolution of at least 150 to 200dpi for indexing to look good. If yourun the routine on a low resolution file it will be very grainy AND you can't upsample an indexed image once theroutines are run.

Problem:Index routine underbase and top colors don't match in size.Solution:This one is easy to miss. When the index routine is running the menus will prompt you TWICE to "verify that theinput and the output resolutions are the same." Sometimes Photoshop will change the resolution in this menu. Ifit says Input 200 dpi and Output 150 dpi, then you will be sampling the image down in size. The underbase willnow be SMALLER than the top colors. You must read the menus and follow the directions.

Problem:Image has a square box of black around it.Solution:Many first time users don't understand about the black "masking" around an image. Any areas outside of theactual design are called the canvas. These areas must be filled with black. This doesn't mean a black boxaround the design. It means the black must go up the edge of the image. Just imagine what the image shouldlook like on a black shirt and this is how the masked version must look.

Problem:Unlocking issues.

Solution:FastFilms uses a security program that only allows you to install the program on one computer at a time. Oncethe program is installed on the computer correctly, you will receive a series of words called a Challenge. If youhave the full version of FastFilms, it needs to be unlocked within 20 days. We do not accept the Challengewords verbally over the phone because these words are very specific and there are always errors inunderstanding them. You must fax or email them in. When you get the Challenge words, there is a buttonmarked "copy" in this window. By pressing this button, you automatically copy the words to "clipboard" on yourcomputer. You can simply paste these words into your E-mail. We will send you back a series of words called aResponse that will then unlock your computer.

If the Response Words Don't Work:If you upgraded from a demo version to a full version, you may accidentally give us the Challenge words for thedemo. The Response words we send back will not work if we think we are unlocking a full version. If youupgrade, make sure the Challenge window does not refer to the "demo version" of FastFilms. If it does, it meansthe installation program did not remove the demo. You will need to go to your computer hard disk and removethe FastFilmsDemo35.8li file from the Automate folder.

Problem:If All Else Fails.....Solution:If all else fails, please re-read the manual and re-run the routine making sure to follow the on-screen menusexactly. It is also helpful to view the video training tape again and learn more about proper image adjustmentthat needs to be done before you run the program.

Here are examples of typical support calls:

Call #1:User: I can't get the Distressed Look to work. I keep getting errors.

Support: Is the file in RGB mode.

User: Yes

Support: Let's look at the file. In the Channels Palette what does it say.

User: Index

Support: It MUST say RGB. You can't run any of the routines on an already indexed file.

Call #2:

User: The trapping doesn't work in the Spot Color Routine.

Support: What is the file like?

User: It has solid red, blue and yellow and a little bit of airbrushing on the green.

Support: The trapping routine ONLY works on a file that has no gradations. When you run the routine the firstmenu tells you this. Please read the menus more carefully.

If you have additional questions or problems please do not hesitate to e-mail or call our support team.


ABOUT THE DEVELOPERSWelcome | Credits | License | Return to the Table of Contents | Home Page

Scott FresenerPresident - U.S. Screen Printing Institute

Scott Fresener has been in the screen printingindustry since 1970. Scott and his wife Pat are theauthors of How To Print T-Shirts For Fun andProfit! and The Encyclopedia of Garment Printing.In 1979 he co- founded the U.S. Screen PrintingInstitute and has taught over 10,000 students thebusiness of screen printing on garments.

In 1989 and 1992, Scott and the Institute receivedthe coveted Magnus Award from the ScreenPrinting Association International (now called theScreenprinting and Graphic Imaging Association)for outstanding contributions to the industry. Scotthas written hundreds of articles for the trademagazines and has been a feature speaker andlecturer at industry trade shows since 1979. In1995, Scott was made a member of prestigiousSGIA Academy of Screen Printing Technology. In1996, Scott was awarded the Screenprinting andGraphic Imaging Association's prestigiousParmele Award, which is the highest honor youcan receive in this industry. This award is given foroutstanding lifetime contributions to the industry.Scott is a member of the Board of Directors of theScreenprinting and Graphic Imaging Association.

Scott is also a popular industry consultant andspends much of his time on the road consultinglarge and small firms in this country and abroad onscreen printing and computer graphics. Hisspecialty is teaching companies how to do very high-end separations for light and dark shirts in-house.

Scott has also produced numerous video tapes on screen printing and computer graphics including T-ShirtGraphics with Adobe Photoshop, T-Shirt Graphics with Corel Draw, Dark Shirt Printing Made Easy and IndexSeparations for Screen Printers.

Mike FresenerVice-President - U.S. Screen Printing Institute

Mike Fresener was literally born into the Imprinted Sportswear industry and is the son of Scott and Pat Fresener.

Mike has spent most of his adult life working at the family's U.S. Screen Printing Institute where he helps teachclass, handles technical calls on screen printing and computer graphics, and built and maintains the Institute'spopular T-Net web site (www.usscreen.com) and the FastFilms™ site (www.fastfilms.com). Mike also helpsproduce screen printing training videos and conduct hands-on workshops at trade shows with his father. He hasalso written dozens of articles for industry trade magazines and is considered to be a leading industry authority onthe internet.

Mike is also a regular speaker on computer graphics and internet topics at the Imprinted Sportswear Shows andScreenprinting and Graphic Imaging shows.

Mike took a couple of years off from working with the family and traveled around the country with theRenaissance Festivals. Besides his screen printing skills, Mike can juggle, throw knives and axes and is anall-round world traveler.


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