James, Mark & Michael--
Hey, guys, I didn't mean to turn this discussion into a flame-thrower
contest! :-)
Point 1, I haven't seen the specs on the vaunted PL3000 (sorry, I've been
busy). If apologies are required, then apologies are given. I'd still want
to see it (with a loupe) before I bought it.
Point 2, if an art director gets very much reflective art that's under
4-inches max-dim to scan at 3000dpi, somebody is doing something very
wrong--this is a bit like engraving the head of a pin, in real-life
publishing. I knew a guy who did s/s illustrations, but he was an exception.
Native of Spain, by the way. :-)
Point 3, while it goes without saying that the "absolute best" 4-inch
flatbed format might actually be OK for "medium format" film or tranies,
what about the really-really-really professional 8x10 transparencies? (Oh
yeah, they still shoot those). Those're going to have to go the "Big
Scanners," any way you cut the deal.
Point 4, a 1200/1200 res flatbed will scan as big an illustration as the
viewing glass allows and do a pretty decent job--anything bigger has to go
to the cameraroom (also).
Point 5, a film scanner scans film. That's why we're all here. Any
questions?
I'm not portraying myself as "Mr.Bigshot Art Director" here, but give me a
break. I've been on both sides of the hiring/firing triad (use your
imagination ). I know this publishing stuff, a little bit. If somebody
thinks my assessment of Armando's dilema was wrong, that's OK--I've been
*there* before, too. And if you'd like some real-life lessons about working
under a budget with skinflints, I could probably e-mail you a list of people
I've worked for in the past and even give *glowing references*. ;-)
Best regards--LRA
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