This is for Armando--
Art E's advice is good, and worth paying attention to. Here's what he left
out:
There are two appropriate sayings in the Publishing Business: "Whatever can
go wrong, will go wrong," and "It's easier to get Forgiveness than
Permission." The first one is "engraved in stone"--and the second one should
be.
I learned this when I A-D'ed a couple of specialty magazines in the 70's
(that didn't make my fortune, but made a fortune for the publisher! ;-) ).
If you work too hard to stay within a *cheap* budget and the results are
bad, your magazine will suffer, the company will lose the price of the wrong
scanner that someone will have to replace, and you'll probably lose your job
unless you own a big percentage of the magazine!
My intuition says that you're looking at a hi-res flatbed because, as an
art-director, you have to deal with both reflective and film illustrations.
I tried that a year ago, and it didn't work. As Art indicated, flatbeds
don't do well with film. You're probably going to need BOTH a hi-res flatbed
(1200x1200dpi) and a specialized filmscanner for your magazine (2700x2700
will do, higher-res with a higher density range is better)--unless your
lifelong desire is to develop a stomach ulcer. The two different formats
produce such disparate results that you'll kill yourself (almost literally)
trying to resolve them on a flatbed.
I'm using a Scanwit, and I'd recommend against it for professional work,
although it's a good high-amateur format. I'm not familiar enough with other
platforms to recommend either the Nikon or Minolta scanners, but please know
this:
If you overspend your budget, you'll be criticized; if you screw up a
*Cover* you'll be fired.
So look carefully, choose the best scanners you can *really* afford, but
don't buy the cheapest option just because it fits an arbitrary budget--look
on it as a long-term (two years) investment in quality.
And just to be on the safe-side, update your resume and make a few
phonecalls. :-)
Best regards--LRA
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