Harlequin Harlequin PLUS Server RIP, Harlequin RIP Eclipse Release, Harlequin RIP Genesis Release Series Raster Image Processor Software OEM Manual
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Harlequin
Mac OS X
®
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Harlequin PLUS Server RIP v9.0
June 2011
Copyright and Trademarks
Harlequin RIP OEM Manual
Harlequin PLUS Server RIP
June 2011
Part number: HK–9.0–OEM–X
Document issue: 106
Copyright © 2011 Global Graphics Software Ltd. All rights reserved.
Certificate of Computer Registration of Computer Software. Registration No. 2006SR05517
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of
Global Graphics Software Ltd.
The information in this publication is provided for information only and is subject to change without notice.
Global Graphics Software Ltd and its affiliates assume no responsibility or liability for any loss or damage that may arise from the use of any information in this publication. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of that license.
Harlequin is a registered trademark of Global Graphics Software Ltd.
The Global Graphics Software logo, the Harlequin at Heart Logo, Cortex, Harlequin RIP, Harlequin ColorPro,
EasyTrap, FireWorks, FlatOut, Harlequin Color Management System (HCMS), Harlequin Color Production Solutions (HCPS), Harlequin Color Proofing (HCP), Harlequin Error Diffusion Screening Plugin 1-bit (HEDS1), Harlequin Error Diffusion Screening Plugin 2-bit (HEDS2), Harlequin Full Color System (HFCS), Harlequin ICC
Profile Processor (HIPP), Harlequin Standard Color System (HSCS), Harlequin Chain Screening (HCS), Harlequin Display List Technology (HDLT), Harlequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS),
Harlequin Precision Screening (HPS), HQcrypt, Harlequin Screening Library (HSL), ProofReady, Scalable Open
Architecture (SOAR), SetGold, SetGoldPro, TrapMaster, TrapWorks, TrapPro, TrapProLite, Harlequin RIP Eclipse
Release and Harlequin RIP Genesis Release are all trademarks of Global Graphics Software Ltd.
Protected by U.S. Patents 5,579,457; 5,808,622; 5,784,049; 5,862,253; 6,343,145; 6,330,072; 6,483,524; 6,380,951;
6,755,498; 6,624,908; 6,809,839.
Other U.S. Patents Pending
Protected by European Patents 0 803 160; 0 772 934; 0 896 771; 672 29 760.8-08.
Portions licensed under U.S. Patent No. 5,212,546; 4,941,038.
TrueType is a registered trademark of Apple Computer, Inc.
The ECI and FOGRA ICC color profiles supplied with this Harlequin RIP are distributed with the kind permission of the ECI (European Color Initiative) and FOGRA respectively, and of Heidelberger Druckmaschinen AG
(HEIDELBERG).
The IFRA ICC profiles supplied with this Global Graphics Software are distributed with the kind permission of
IFRA and of GretagMacbeth.
International Cooperation for Integration of Processes in Prepress, Press and Postpress, CIP4, Job Definition Format, JDF and the CIP4 logo are trademarks of CIP4.
Adobe, Adobe Photoshop, Adobe Type Manager, Acrobat, Display PostScript, Adobe Illustrator, PostScript, Distiller and PostScript 3 are either registered trademarks or trademarks of Adobe Systems Incorporated in the
United States and/or other countries which may be registered in certain jurisdictions.
Global Graphics Software Ltd is a licensee of Pantone, Inc. PANTONE
®
Colors generated by ScriptWorks are fourcolor process simulations and may not match PANTONE-identified solid color standards. Consult current PAN-
TONE Color Publications for accurate color. PANTONE trademarks of Pantone, Inc. © Pantone, Inc., 1991.
®
, Hexachrome
®
, and PANTONE CALIBRATED™are
Other brand or product names are the registered trademarks or trademarks of their respective holders.
Harlequin PLUS Server RIP v9.0: June 2011 OEM Manual
iii
US Government Use
Harlequin RIP software is a computer software program developed at private expense and is subject to the following Restricted Rights Legend:
“Use, duplication, or disclosure by the United States Government is subject to restrictions as set forth in (i) FAR 52.227-14 Alt III or (ii) FAR 52.227-
19, as applicable. Use by agencies of the Department of Defense (DOD) is subject to Global Graphics Software’s customary commercial license as contained in the accompanying license agreement, in accordance with DFAR 227.7202-1(a). For purposes of the FAR, the Software shall be deemed to be ‘unpublished’ and licensed with disclosure prohibitions, rights reserved under the copyright laws of the United States.” Global Graphics
Software Incorporated, 31 Nagog Park, Suite 315, Acton MA 01720.
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OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
Contents
1 Introduction to the Harlequin RIP 9
Why become a Harlequin RIP OEM? 27
Integrating the Harlequin RIP with your product 28
2 Running the Harlequin RIP 33
Installing printer interface cards 37
Harlequin RIP folder structure 38
Starting up the Harlequin RIP 42
Menus affected by optional features 48
3 Getting Started with the Harlequin RIP 53
A simple Harlequin RIP session 53
A more complex use of the Harlequin RIP 62
Using the Harlequin RIP with a spool folder 64
Monitoring the Harlequin RIP 66
4 Harlequin RIP Output Methods 69
Advanced details of page buffering modes 82
Page buffering modes: a summary 86
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5 Configuring Output Formats 87
Creating and managing Page Setups 87
Page Setup Manager dialog box 88
Selecting different devices 92
Sending output to the screen 95
Sending output to a printer 120
Multiple device output plugins 122
Output plugin dialog boxes 125
Separations, Screening and Color 126
Media and time saving using optimization 134
Managing separations styles 165
Separations Manager dialog box 166
Screening options and number of gray levels 178
Job settings and Harlequin RIP settings 182
Harlequin Precision Screening 183
Harlequin Screening Library 190
Automatic detection of color separations 196
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How the Harlequin RIP controls files 200
Control of page buffering modes 201
Threads and parallel processing 204
Harlequin RIP memory allocation 209
Resetting the Harlequin RIP to default values 210
Choosing the user interface language 211
Using the AppleTalk input plugin 219
Using the Spool Folder input folder 219
Using the Socket input plugin 224
Using more than one method 230
Using the Print File command 230
Printing PostScript language files 232
Printing JPEG and JFIF files 247
Printing page buffer files 253
Entering PostScript language code by hand 256
Advancing and cutting media interactively 260
Advancing and cutting media automatically 261
What is Simple imposition? 275
How to activate Simple imposition 276
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Configuring Simple imposition 277
Installing fonts in the Harlequin RIP 307
Producing a list of installed fonts 310
The HqnFontSetStubs start up files 315
Calibration and linearization 321
Calibration in the Harlequin RIP 322
Consistency of calibration 335
Using a combination of calibration sets 340
Print Calibration dialog box 341
Calibration Manager dialog box 343
Edit Calibration dialog box 347
What color separations are 358
Producing color images from separations 361
How color separations are produced 363
Creating and managing separations 365
Separations Manager dialog box 365
Color separation angles in job 386
Pages in the Output Controller 387
Appendix A Troubleshooting 391
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Appendix B Jobs Containing Color Management Data 409
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OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
Preface
The Harlequin
É
RIP is an interpreter and renderer for multiple page description languages.
This manual is a complete guide to using the Harlequin
É
RIP, and provides technical details when necessary. For details of how to install the RIP, see the separate Installation Guide.
This manual is intended for anyone using or evaluating the graphical user interface version of the Harlequin RIP for Mac OS X platforms. The guide covers the features of the Harlequin
RIP in a structured way, giving examples that show you how to perform a wide variety of
Contents of this manual
This manual discusses basic concepts at an early stage, leaving more complex issues for the later chapters. In addition, each chapter starts with a basic description of the relevant features before describing in detail the more technical issues involved.
Changes to the Harlequin PLUS Server RIP v9.0 Release
™ include:
• Leasing and installment plan.
• Try Before You Buy upgrades.
• Demonstration dongle expiry.
• Negative ROAM option.
• Push Interface for calibration.
• Remove Enfocus Status check support.
Changes to the Harlequin PLUS Server RIP v8.3 Release
™ include:
• Support for Windows 7 32-bit and 64-bit.
• Support for Windows 2000 dropped.
• Support for Macintosh OS X 10.6 (Snow Leopard).
• Support for Macintosh OS X 10.3 (Panther) dropped.
• Support for Linux dropped.
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• NT Print plugin not supplied or supported.
• AppleTalk plugin not supplied for Windows Vista, Windows 7 or Macintosh OS X 10.6
(Snow Leopard) because the AppleTalk protocol is not supported on those operating systems.
Changes to the Harlequin PLUS Server RIP v8.2 Release
™ include:
• PDF/X versions have been updated. See “Printing PDF files” on page 233.
• PDF v1.7 ExtensionLevel: 3 support. See “Printing PDF version 1.7” on page 237.
Changes to the Harlequin PLUS Server RIP v8.1 Release
™ include:
• The Configure RIP Options dialog has changed. See Section 7.1, “Configure RIP dialog
box” and Section 7.3, “Control of page buffering modes”.
• Information on multi-threading see Section 7.5.1, “Multi-threading” and
Section 7.5.1.1, “Memory per renderer thread”.
• Updates to PDF Raster output. See Section 5.9, “Output to PDF Raster”.
• The NT Print plugin is installed by the separate Plugins installer.
Changes to the Harlequin RIP v8.0 Release
™ include:
• Information on Multi-threading. See Section 7.5, “Threads and parallel processing”.
• Support for the XPS Document format. See Section 5.28, “XPS Options”.
• Support for PDF 1.7. See Section 8.9, “Printing PDF files”.
• Addition of the PDF raster output plugin. See “Output to PDF Raster” on page 115.
• The JDF Enabler chapter has been removed. All material relating to the JDF Enabler can be found in the JDF Enabler User Guide.
• Updates, corrections and edits.
Changes to the Harlequin RIP Genesis Release
™ v7.2 include:
• More information on Annotations selections. See Section 10.5.7.3, “Annotations”.
Changes to the Harlequin RIP Genesis Release
™ v7.1 include:
• Minor updates, corrections and edits.
• Annotations selections marks added. For more information see Section 10.5.7.3,
• Simple Imposition is updated to v2.0. For more information see “Simple Imposition” on page 275.
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Changes to the Harlequin RIP Genesis Release
™ v7.0 include:
• PDF 1.5 support for: JPEG 2000, optional content, X-ref streams, compressed object streams and 16-bit images.
• Font emulation implementation. For more information see “Enable font emulation” on page 154.
• PDF/X 2003 revisions for both 1.1a and 3 specifications.
• Implementation of Simple Imposition. For more information see “Simple Imposition” on page 275.
• JDF Enabler version 2.0. For more information see “JDF-Enabled RIP” on page 319.
• TrapProLite is discontinued.
• Media Saving renamed to Advanced Media Saving. This helps to differentiate it from the
Media Saving Optimization option. For more information see “Advanced Media Saving” on page 127.
• Support discontinued for Mac OS 9, Solaris, Irix, Windows 98 and Windows NT 4.0.
Changes to the Eclipse Release SP4 of the RIP include:
• The installation of the Harlequin License Server with all Eclipse Release SP4 (and later) RIPs. For more information see the Installation guide for your platform and the
License Server manual.
• The Harlequin Eclipse Release SP4 RIP is JDF ready. For more information see the JDF
Enabler User’s Manual.
• The Output to TIFF section has been updated, see “Output to TIFF” on page 101.
Changes to the Eclipse Release SP3 of the RIP include:
• The addition of a control strip, see “Control strip” on page 138.
• The addition of Enfocus preflight checking of PDF files.
• RIP executables are supplied with associated shared library files, see “Starting up the
• The following options are added to the Media Saving section: Switch Roam Color to
Black, Name Flat after and Tracking of media width to aid automatic cassette selec-
tion. See “Advanced Media Saving” on page 127.
• The addition of a control for the handling of features found in jobs from Adobe InDesign.
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• New options provided under Delete on error and a new Suppress on Startup option in
• Extra information on PDF/X standards is provided in the Printing PDF files section,
see “PDF/X standards” on page 234.
Changes to the Eclipse Release SP1 of the RIP include:
• Implementation of AppleTalk input for Mac OS X.
• Relocation of the
MediaSaving directory.
• Additional font support.
• A change to the way image interpolation works.
• The addition of the Minimum shaded fill levels option.
Changes to the Eclipse Release of the RIP include:
• Harlequin ColorPro
™ with enhanced user interface.
• Support for N-color and Gray Profile ICC profiles.
• Press/Proof simulation added to color products (RGB proofing workflow).
• Black threshold parameter added to custom rendering intent GUI.
• ProofReady Plugin support on Mac OS X.
• Harlequin 1 bit and 2 bit EDS plugins.
• SetGold
™ v1.2 and SetGoldPro
™ on Win NT only.
• TrapPro
™ trapping.
• Trap Zone support for PDF files.
• PDF/X-1a and PDF/X-3:2002 support.
• PDF 1.4 including: transparency, JBIG2, 128 bit encryption, output intents, and referenced PDF. Because of this, the InFlight checker has been removed.
• Support for Palette color (Index color) TIFF files.
The first three chapters contain information about what the Harlequin RIP does, and how to get it up and running on your machine.
Chapter 1, “Introduction to the Harlequin RIP”, gives a description of what the RIP
does and the kind of tasks for which you can use it. This chapter also gives a broad overview of the different versions of RIP that are available.
Chapter 2, “Running the Harlequin RIP”, describes your machine requirements, and
how to start up the Harlequin RIP once it is installed.
Chapter 3, “Getting Started with the Harlequin RIP”, describes the most fundamental
elements of the system. It shows you how to do useful work without learning a large number of new skills.
OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
The next four chapters form a more comprehensive account of the software.
Chapter 4, “Harlequin RIP Output Methods”, introduces the different ways in which
the RIP can operate, and how you can get the best performance out of the software for the jobs you are running. The chapter moves from general principles to more specific examples of the best way to use the RIP.
Chapter 5, “Configuring Output Formats”, describes the flexibility the Harlequin RIP
provides for configuring the appearance of any printed page. The tools described in this chapter will be used on a regular basis, and are important for anyone who will make extensive use of the product.
Chapter 6, “Screening”, explains the control the Harlequin RIP gives you over screen-
ing techniques. This chapter includes a complete description of using Harlequin Precision Screening.
Chapter 7, “Configuring the RIP”, shows you how you can configure the Harlequin
RIP to give the best performance in your environment. You will probably want to experiment with the options described in this chapter, but once you are satisfied that the RIP is running as you want it, you will not need to alter them on a regular basis.
The later chapters of the manual deal with specific facilities that the Harlequin RIP offers, and may be used as reference.
Chapter 8, “Configuring Input”, describes the different ways in which you can send
postscript language code and other forms of job as input to the Harlequin RIP, either working on a stand-alone machine, or as part of a network.
Chapter 9, “Media Management”, gives you complete details of the media manage-
ment facilities available in the Harlequin RIP.
Chapter 10, “Simple Imposition”, provides details on how to use the imposition fea-
tures of the Harlequin RIP.
Chapter 11, “Fonts”, describes the use that the Harlequin RIP makes of fonts, the dif-
ferent font formats that are available, and the special built-in facilities that the RIP has to make handling fonts easy and more efficient.
Chapter 12, “Calibration”, discusses the ways in which the Harlequin RIP can help
you ensure accurate calibration of your output.
Chapter 13, “Color Separation”, describes the facilities the Harlequin RIP provides for
controlling the printing of individual colorants in both composite and separated output.
Appendix A, “Troubleshooting”, provides solutions to common problems that occur
when running the Harlequin RIP.
Appendix B, “Jobs Containing Color Management Data” describes how jobs and
images with attached color management data interact with related settings in the Harlequin RIP.
Appendix C, “Using Genlin” describes a utility program providing semi-automatic
measurement of calibration targets generated by the Harlequin RIP.
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Lastly, the “Glossary” explains terminology used throughout the manual.
Assumptions
The Harlequin RIP runs in the Mac OS X environment. It is important that you are familiar with your version of Mac OS, at least to the level of using the Finder and a simple text editor or word processor such as SimpleText. If you are not, please refer to the appropriate Apple manuals, online Guides, or Help systems.
In complex installations, you may wish to send jobs between PCs, Macintosh computers, and computers running the UNIX operating system. This manual describes the details special to the Harlequin RIP, but not the fundamentals of networking connections and services. You are likely to require assistance from technical support staff for initial configuration and occasional maintenance of such installations.
Conventions
This manual uses some conventions to make it clear where you give keyboard commands or choose from the menus and dialog boxes, as described in the following sections.
The keyboard
You can execute many of the commands available in the Harlequin RIP either by using the mouse or by using a keyboard shortcut. This is a combination or sequence of key presses that executes a command without you having to choose a menu option with the mouse. Keyboard shortcuts for individual commands are discussed, in context, throughout the manual.
Shift
The Shift key is often used when selecting a group of objects from a list. For example, when selecting a group of files to print. It is also used in keyboard shortcuts and in some mouse actions.
The Command key is used in keyboard shortcuts and in some mouse actions. For example, you can often hold down Command while pressing another key or a mouse button. Whenever this manual describes one of these actions, the text shows which key or mouse button to use: for example, when you can use the Command key and the letter key K in combination, the text shows Command-K.
The Command key is also used when selecting several objects from a list that do not form a contiguous block. For example, you can use this key when selecting a number of files to print.
Some keyboard shortcuts are specific to a particular window and only operate when that window is active. When using a windowing system, ensure that the relevant window is active before using one of these keyboard shortcuts.
OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
Fonts and formats
The following fonts and styles are used throughout this documentation.
1. Paragraphs that are numbered and use this font contain instructions which you should follow in the shown order.
Text written in this
sans-serif bold
face represents a menu title, a menu item, or a control item in a RIP dialog box. Text including an angle bracket (
>
) indicates both a menu and the option in that menu. For example: “choose the
File > Start Inputs
option” is a shorthand method of referring to the
Start Inputs
menu option in the
File
menu.
Text written in this typewriter face represents a piece of PostScript language code, a file name, or text displayed by the Harlequin RIP.
If a term is written in italic, it is the first mention of an important concept. This concept is explained in the text immediately following, in the glossary, or both.
Note: Text indicated by starting with a bold word in the left margin is important and should be read carefully. A Note, like this one, is often a suggestion that may save you work, improve performance, or improve the quality of output.
Warning: Like a Note, a Warning is important and often indicates the need for care to avoid loss of files or settings.
Note to OEMs: Notes like this one, specifically addressed to OEMs, are not meant for onward publication to end-users. They list opportunities for customization, related technical documentation, and other items of possible interest to staff at Global Graphics and its OEMs.
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OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
1
Introduction to the
Harlequin RIP
This chapter provides an introduction to the capabilities of the Harlequin RIP.
Note to OEMS: This chapter contains two types of information. Section 1.1 through
Section 1.3 contain material for both end-users and OEMs, and should
be easily adaptable for use in an OEM’s own user manual. The remaining sections are for an OEM readership only.
• “What is the Harlequin RIP?” on page 9 defines the Harlequin RIP.
• “Why use the Harlequin RIP?” on page 10 describes the advantages of using the
Harlequin RIP.
• “The Harlequin RIP in depth” on page 12 describes various features of the Harlequin
RIP.
• “Why become a Harlequin RIP OEM?” on page 27 describes the advantages of inte-
grating the Harlequin RIP into an OEM system.
• “Integrating the Harlequin RIP with your product” on page 28 discusses how to inte-
grate the Harlequin RIP.
• “About Global Graphics” on page 32 describes the company behind the Harlequin
RIP.
1.1 What is the Harlequin RIP?
The Harlequin RIP is an application that takes a document or job describing images or pages and produces output from that job on an output device—which can be a printer, imagesetter, computer screen, or a file on disk. The term output device is used throughout this manual, except where the nature of the device is important.
In general, a software application or hardware device that performs this task is known as a
Raster Image Processor (RIP) or, where the PostScript
® language is involved, a PostScript language compatible interpreter.
The Harlequin RIP is a software RIP management system. It contains both a software RIP and a collection of supporting functions that help the RIP perform its task efficiently. For example, the RIP accepts jobs from various sources, handles previewing and output of processed pages, and performs the associated file handling.
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Introduction to the Harlequin RIP
1.1.1 Input and output formats
The Harlequin RIP accepts jobs and produces output in several formats, with the exact options depending on your configuration of the RIP.
The range of input formats includes: PostScript language and Encapsulated PostScript (EPS) files, Portable Document Format (PDF) files, XML Paper Specification (XPS) files,
TIFF/IT-P1 files, (16-bit) TIFF 6.0 baseline files, and JPEG and JFIF files. The Harlequin RIP supports modern versions of these files including PostScript LanguageLevel 3, PDF versions up to and including 1.7, and derived standards such as PDF/X. The RIP also has controls for special handling of older versions of these files if necessary.
The Harlequin RIP can produce output in a variety of formats, to suit various physical output devices and file formats. The ability to produce TIFF 6.0 files is a standard feature but it is easy to add output options for other formats such as TIFF/IT-P1 files and CIP3 PPF files.
Similarly, there are options for output to many proofing printers and final output devices.
1.1.2 Versions of the Harlequin RIP
The Harlequin RIP is available in different configurations and is able to operate on different computer platforms. The configuration that is best for you depends very much on your individual needs. This manual should help you assess the functionality that meets those needs.
In particular, a version of the Harlequin RIP with a full graphical user interface (GUI) is available for: PowerPC Macintosh computers running Mac OS X; Macintosh computers using Intel processors running Mac OS X, computers (PCs) using Intel or compatible processors and running, Windows Server 2003, Windows Server 2008, Windows Server 2008 (R2),
Windows XP (home and pro), Windows Vista and Windows 7; and computers running the
Linux operating system. The Harlequin RIP may be used on both single and multiple processor machines running the Windows Server 2003, Windows Server 2008, Windows Server
2008 (R2), Windows XP, Windows Vista or Windows 7 operating systems.
This manual describes the version of the Harlequin RIP for the Power Macintosh running
Mac OS X.
The Harlequin RIP is appropriate for a wide range of output devices including high-resolution imagesetters, lower-resolution plain-paper setters, and medium to high-resolution printers and plotters. It supports the special features of these devices, and maximizes their overall productivity.
1.2 Why use the Harlequin RIP?
The Harlequin RIP has proven itself to be a fast, versatile, and powerful interpreter and renderer for multiple page description languages. There are many reasons for choosing it above other similar interpreters, the most important of which are discussed here.
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OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
1.2 Why use the Harlequin RIP?
The Harlequin RIP is effective, compatible, and robust; and shows real benefits in everyday use.
• The Harlequin RIP is effective because it processes jobs quickly, is able to process jobs of virtually any size, and can re-output selected pages or a complete job without reinterpretation.
• The Harlequin RIP is compatible because it is kept up to date with the PostScript language, PDF, XPS, and font specifications; image file formats; and relevant standards from independent bodies.
Note: The Harlequin RIP is able to use proprietary extensions internally for quality of output, speed, and efficiency without losing compatibility.
• The Harlequin RIP is also compatible because it supports several networking protocols for use in many kinds of networks, whether or not all the computers are of the same type.
• Robustness comes from experience with many real jobs. You can configure the Harlequin RIP to override poor settings in incoming jobs (and avoid office printer quality screening on expensive media); use its ability to detect poorly labeled color separations, and so on.
• The Harlequin RIP is flexible enough to support many workflows, including: composite or preseparated color; the PostScript language, PDF, XPS or TIFF/IT-P1. Some of these input formats require the Harlequin RIP options.
A system using the Harlequin RIP is easy to extend and to upgrade when necessary because the Harlequin RIP is a software-based RIP.
• You can add options, such as advanced screening, color management, and trapping. In many cases you can do this by entering passwords and in other cases with softwareonly procedures.
• You can add more output options with software plugins to support imagesetters, platesetters, proofing and display printers, and workflow integration.
• A PostScript language programmer can add simple fragments of PostScript language code to provide features such as marking pages with draft or similar overprint and color bars.
• It is possible to upgrade hardware and software independently. The Harlequin RIP is very similar on all platforms so there is little or no need for retraining if you need to add another type of computer.
• When you upgrade the Harlequin RIP you can transfer your existing settings to the new version of the RIP and most optional output plugins.
• The Harlequin RIP supports simple imposition of books, page padding, and creep.
“The Harlequin RIP in depth” on page 12 discusses many of these features in more depth.
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Introduction to the Harlequin RIP
1.3 The Harlequin RIP in depth
“Why use the Harlequin RIP?” on page 10 described some of the advantages of using the
Harlequin RIP. This section describes the features that contribute to those advantages.
• Characteristics of a software RIP. See page 12.
• File format and version support. See page 13.
• Extended color capabilities. See page 14.
• Screening options. See page 19.
• Harlequin ColorPro. See page 20.
• Graphics formats. See page 21.
• Input and output methods. See page 21.
• Throughput control. See page 23.
• Page buffer compression. See page 24.
• Fonts and font handling, including composite fonts and font emulation. See page 25.
• Convenience features. See page 25.
• Simple Imposition. See page 275.
1.3.1 Software RIPs compared to embedded RIPs
Many interpreters and renderers for page description languages are based on hardware rather than software. That is, most printers come supplied with a RIP that runs on its own special hardware. Sometimes a RIP may run on only one type of printer.
The Harlequin RIP contains a software RIP, carefully written to support a number of computing platforms and output systems.
There are a number of advantages to using a software RIP:
• If you have a hardware RIP and wish to take advantage of new hardware, you must either pay for an upgrade of the old hardware or stop using it. With a software RIP such as the Harlequin RIP, you can use your old hardware for other purposes—you still have a usable computer. Thus, taking advantage of new technology in the hardware industry is much more cost effective if you have a software RIP.
• You can easily take advantage of new features if you have a software RIP. If new features are added to a hardware RIP, the only way to take advantage of those features is to buy the new version of the hardware, or to have a firmware upgrade. Both of these
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OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
1.3 The Harlequin RIP in depth
options incur considerable time and expense. Doing the same thing for a software RIP is much simpler and cheaper—improved versions of the Harlequin RIP can be run on the same hardware as older versions, and can be sent to you on disk.
• When you buy a hardware RIP, you buy a dedicated machine which is specialized for performing one task: interpreting the page description language. With a software RIP, the non-dedicated hardware you buy is a computer, which can be used for many purposes other than running the Harlequin RIP.
• It is much more expensive to customize a hardware RIP to individual requirements than it is to customize a software RIP.
Even if, despite these points, you feel that a hardware RIP is still the best solution for your particular case, it need not be traditional, dedicated hardware. It is possible to use hardware accelerators to assist a software RIP such as the Harlequin RIP.
1.3.2 File format and version support
The Harlequin RIP supports several file formats and maintains this support across the widely-used versions of these formats, as well as the latest versions.
The input file formats that the Harlequin RIP supports are:
• PostScript LanguageLevel 3, Level 2, and Level 1.
• PDF versions up to and including PDF 1.7 files.
• XPS version 1.0 files.
• PDF/X-1a:2001, PDF/X-1a:2003, PDF/X-3:2002, PDF/X-3:2003, PDF/X-4, PDF/X-4p,
PDF/X-5g, PDF/X-5gp.
• JPEG and JFIF.
• TIFF 6.0 and optionally TIFF/IT-P1.
• GIF.
See “Page Setup Options” on page 151 and Chapter 8, “Configuring Input” for more details.
The reason for supporting older versions of files and applications is that almost all page descriptions are created automatically by applications. Those applications can only use the features of the page description language as they existed at the time of writing the application, and those features are subject to change.
For example, the Harlequin RIP is a PostScript
®
LanguageLevel 3-compatible RIP management system but still supports features of PostScript Level 2 and earlier. The RIP also recognizes uses of PostScript language code specific to common image creation and page layout applications.
The PostScript language was first created and used in the mid-1980s and since that time it has undergone many improvements and changes. Throughout this period, people have been trying to create PostScript language page descriptions that, above all, work—despite any bugs in the interpreters which may have existed at the time.
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To cope with this situation, the Harlequin RIP is compatible not only with the PostScript language jobs of today, but with the jobs of yesterday. There are two aspects to dealing with older jobs: dealing efficiently with features that are now better supported by more modern versions of the page description language; dealing with work-around methods for bugs in older versions of the page description language. The Harlequin RIP does both.
It might not be immediately obvious why it is necessary to deal with bugs and work-around methods, but consider this example.
What happens if a bug is fixed in a widely-used PDL interpreter and renderer? Newer RIPs and applications no longer have to cope with that bug, but problems arise if you wish to interpret old page descriptions (generated with an application written before the bug was fixed) with your new RIP. The old page descriptions take the bug into account, but the new
RIP does not, so the hard copy produced with your new RIP is wrong. If your RIP cannot accommodate this, as the Harlequin RIP can, your old files (and indeed your application if you still use it) are useless.
1.3.2.1 Additional information
The Harlequin RIP can also enable substitution of high resolution images for PDF and Post-
Script language jobs, using an in-RIP implementation of the Open Prepress Interface (OPI),
The Harlequin RIP can be configured to support special features—color management, font substitution, duotones, and vignettes—of jobs produced by several image creation and page layout applications. These applications include:
• Adobe Photoshop
®
• Adobe Illustrator
®
• QuarkXPress
®
See “Page Setup Option Extras” on page 156 for more details.
1.3.3 Extended color capabilities
The Harlequin RIP supports the use of color capabilities introduced with PostScript
LanguageLevel 3. This support includes use of N-color or HiFi color systems using varying number of colorants, whether those colorants mimic CMYK systems (photo-ink systems) or use obviously different colorants.
The RIP provides separations management, preview, screening, calibration, and plugin support for the popular N-color systems.
The RIP also has the ability to calibrate and screen spot colors separately from process colors.
This feature greatly simplifies the management of spot colors in the RIP.
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1.3.3.1 /DeviceN and N-color
The
/DeviceN color space allows better control of PostScript language code in environments where the number of separations is no longer dominated by the CMYK, RGB, and monochrome color models. “N” represents the number of process color separations. Using the
/DeviceN color space, CMYK corresponds to N=4, RGB to N=3, and monochrome to N=1.
This color space allows the Harlequin RIP to access separations where N=2 (duotones) or greater than 4 (N-color).
The
/DeviceN color space provides the functionality to support HiFi color or N-color systems where colorants in addition to CMYK enhance the attainable gamut of an output process. It also provides solutions for minimizing the number of spot colors required by an output device.
The Harlequin RIP uses this color space to extend separations management, Roam, and plugin capabilities. Depending on your specific device and workflow, additional plugin development may be required to make use of the expanded number of color channels.
1.3.3.2 Duotones, tritones, and quadtones
Some applications (for example, Photoshop versions 2.5 and later) convert duotones involving spot colors to CMYK colors when producing composite PostScript language jobs. While the composite output is correct, when such jobs are submitted to a RIP that uses in-RIP separation, the duotones are drawn on the process color separations and not on spot color separations as expected.
Photoshop has the ability to produce spot color separations when in-RIP separation is selected for a LanguageLevel 3 RIP. This eliminates the problem just described for output generated by Photoshop 5.0 when sent to any LanguageLevel 3 RIP.
In addition to producing correct output from Photoshop 5.0 jobs, the Harlequin RIP correctly handles jobs from Photoshop versions 2.5 through 4 as well. The Harlequin RIP detects this construct in Photoshop jobs and correctly diverts the duotone to spot color separations. Note that you must configure the Harlequin RIP to generate these spot color separations for this to work.
For more information see “Adobe Photoshop features” on page 157.
1.3.3.3 Patterns and Smooth Shades
LanguageLevel 3 implements features that improve the quality of PostScript language fills.
In addition, it allows shades to be output smoothly at the resolution of the output device target. The RIP extends this capability by allowing for vignette replacement, in which existing vignettes in PostScript language and PDF jobs are replaced.
This functionality greatly improves the quality of gradients and shades on output.
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1.3.3.4 Images
The Harlequin RIP supports type 3 and 4 image dictionaries (for uses such as masks). This allows an application to produce masks using multiple images in a more efficient fashion.
This mask technique also improves performance by eliminating the need for a detailed Post-
Script language clipping path. This feature is best suited to lower-resolution output devices and workflows.
1.3.3.5 settrapparams
LanguageLevel 3 includes a software interface that allows the description of trap settings within a PostScript language file.
The Harlequin RIP incorporates the settrapprams interface and uses this for setting trapping parameters. Harlequin has extended settrapparams to include those trapping parameters that are not covered by the 3010 specification.
1.3.3.6 Type16 halftones
The Harlequin RIP supports type 16 halftones, which can contain more than 256 shades of gray. Harlequin has always supported an arbitrary number of gray levels, even in the Post-
Script language Level 1 compatible RIPs. In the Harlequin RIP, this support for more shades of gray is also accessible using the LanguageLevel 3 constructs.
1.3.3.7 Idiom recognition
The Harlequin RIP uses idiom recognition to detect PostScript language procedures and replace procedures that are bound when defined. This extends to procedures some of the benefits that Harlequin’s shadowop operator provides for operator redefinition. Once the
PostScript language code is intercepted, the Harlequin RIP replaces it with optimized code.
This operator has many potential uses that include detecting level 2 code in a PostScript language file and replacing it with LanguageLevel 3 code.
1.3.3.8 Type 32 fonts
The RIP recognizes and supports Type 32 fonts.
1.3.3.9 Other operators
The RIP supports the LanguageLevel 3 operators that are defined in the 3010
LanguageLevel 3 specification. The Harlequin RIP accepts PostScript language output from applications using these LanguageLevel 3 operators.
1.3.3.10 File filters
The Harlequin RIP supports the required file filter additions documented in the 3010
LanguageLevel 3 specification.
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1.3.4 Color, screening, and Roam functionality
The RIP contains several capabilities relating to color, screening, and roam. Where appropriate, Harlequin has taken care to enable the end-user to control the underlying functionality from the user interface.
Not all of the functionality is applicable to all output devices or workflows. You will find some features more relevant than others for particular output devices and workflow instances.
1.3.4.1 Color API
The Harlequin RIP contains a programming interface (API) that allows you to set the options for the Harlequin color management modules from PostScript language code. This provides control over all color options, including the installation of ICC profiles, without a user interface.
1.3.4.2 Spot color screening and calibration
The Harlequin RIP has the capability to calibrate and screen spot colors as well as process colors. This feature greatly simplifies the management of spot colors in the Harlequin RIP.
1.3.4.3 UseCIEColor
This operator improves color control in the PostScript language code by allowing devicedependent input data to be translated to a device-independent CIE color space. The input colors are mapped to the device-independent color space using an input profile. The colors may then be transformed ready for printing on another output device.
Harlequin has provided this functionality for some time through the color management modules the latest being ColorPro. You can choose to use the color management specified in the job by
UseCIEColor
, or to override this and instead use the more detailed controls provided with ColorPro.
1.3.4.4 Embedded ICC profiles
When ColorPro is enabled, the Harlequin RIP can detect and use ICC profiles embedded in
Photoshop EPS, TIFF, JPEG or HD Photo images. See the ColorPro User’s Guide for details.
1.3.4.5 Colorimetric roam
Provided a system is using an sRGB display (monitor and display card) and the monitor is properly calibrated, Roam approximates colorimetric output on the display.
1.3.5 Memory management
Harlequin has a continuous program for improving the performance of the Harlequin RIP memory management. This not only provides the groundwork for future memory features
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and enhancements, but also allows for a level of dynamic memory management within the
Harlequin RIP.
There are GUI controls for setting memory. As in the past, it is possible to specify the memory used by the Harlequin RIP, but there is a significant difference.
• With this implementation, the specified memory is not held exclusively for the Harlequin RIP. Instead, the Harlequin RIP takes only the amount of memory it requires at the time. This amount rises while processing a job but once the job is processed the memory is returned to the system. This allows the Harlequin RIP to co-exist better on a system with the operating system and other applications.
The implementation also makes it possible to specify a reserve amount of memory, available for short-term use by the Harlequin RIP. For example, the Harlequin RIP may use this reserve in time-critical operations, where the alternative would be to use disk storage, as long as the reserve is large enough to keep the operation in memory.
1.3.5.1 Garbage collection
Garbage collection is performed when memory is low and reclaims the memory occupied by composite objects that are no longer accessible to the PostScript language program.
This helps some jobs that allocate a lot of memory, but not all. Some jobs that could not partial paint will now need significantly less memory than before.
When garbage collection starts, a message is displayed on the console window.
Garbage collection is controlled using the PostScript Language operator vmreclaim
.
For more information on garbage collection, see section 3.7.4 of the The PostScript® Language
Reference (3rd Edition).
1.3.6 FlatOut
The Harlequin RIP releases are capable of stitching single-page PGB (Page Buffer) files into a predefined flat. This feature enables the development of page-based workflows around the
Harlequin RIP.
Three components are required to produce a stitched flat:
1. A background PGB (Page Buffer) file. You can create a background in a page layout application and then convert the PostScript language code to a PGB using the Harlequin RIP. This flat background contains a slot for each page. This background may contain sluglines, crop marks, and so on.
2. Single-page PGB file(s). For example, to produce an eight-page flat, eight single-page
PGB files must be generated.
3. A flat description file. This file describes the location of the background and singlepage PGB files on disk. The flat description file also indicates the positioning of pages on the flat.
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The flat description file is presented as an input to the Harlequin RIP and the PGB files are stitched into a single flat for output to the specified output device.
For additional information on how to generate a flat description and more on PGB stitching, please refer to the FlatOut User Guide.
1.3.7 Screening options
The Harlequin RIP has several screening features and options, designed to produce high quality output on devices ranging from imagesetters to inkjet proofing printers. There is generalized screening support for color systems that go beyond straightforward CMYK process colors, but you need an output plugin and device able to support these color systems.
The Harlequin RIP is able to create extra gray levels (with HPS) and to control the number of extra levels, even with PostScript language Level 1 jobs. This feature helps to eliminate stepping in vignettes and to avoid posterization, while enabling you to set a limit on the number of levels that is appropriate to the required image quality. The RIP also supports more than
256 shades of gray when they are specified using PostScript LanguageLevel 3 constructs.
1.3.7.1 Harlequin Precision Screening
For very high quality output, Harlequin Precision Screening (HPS) has been produced. This is a proprietary feature that eliminates objectionable moiré patterning when producing color separations.
Once correctly set up, and with sufficient memory available, the Harlequin RIP can produce output with HPS at speeds comparable to those obtained when using traditional lower-quality rational tangent screening.
HPS has been designed for automatic operation, without the need to refer to complex tables of magic numbers, and you can choose to override any bad settings in the job. This is especially useful for print bureaus, who often receive PostScript language code that is not set up for high quality screening.
Some RIPs have restricted dongles that do not allow HPS. In such cases, HPS can be activated with a password in the Configure RIP Extras dialog box.
1.3.7.2 Harlequin Screening Library
Global Graphics has developed a number of special screening strategies for very high quality press work, particularly when printing in color. They are included in the Harlequin
Screening Library (HSL), and require separate passwords to become enabled.
HSL includes Harlequin Dispersed Screening (HDS), Global Graphics’s patented Frequency
Modulation (FM) screening technology. Moiré patterning is impossible with HDS, and it gives finer detail for a given device resolution. Also included are Harlequin Chain Screening
(HCS), which is particularly good at creating smooth flat tints and at holding detail in continuous tone regions, and Harlequin Micro Screening (HMS) which allows a greater range of tones to be used even at high screen rulings.
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1.3.7.3 Screening for extended color systems
Several color systems require more than the four screens used for CMYK work. The Harlequin RIP contains screens suitable for use with HiFi color systems such as the PANTONE
®
Hexachrome Color Selector system or the various photo-ink technologies using different densities (light and dark versions) of one or more colorants.
1.3.8 Harlequin ColorPro™
It is possible to add and use the advanced color management facilities provided by Harlequin ColorPro which as an optional extra provided with the Harlequin RIP and requires a password for it to be enabled.
ColorPro together with SetGoldPro
™ profile making software is Global Graphics’ color science solution for ensuring color quality and accuracy for proofing and emulation.
ColorPro provides the largest realizable color gamuts for the final print market and allows greater accuracy than would be possible using standard profiles.
Harlequin ColorPro embraces open systems, industry standards and device-independent color science, and is able to make full use of them. If you have ICC profiles with which you already achieve good results you can use these profiles with ColorPro. You should however be aware that ColorPro contains color science that is optimized for the Harlequin RIP and is easily utilized with the introduction of SetGoldPro.
ColorPro allows you to specify different gamut-mapping algorithms in the reproduction of a page. For example, you can simultaneously specify Absolute colorimetric to reproduce some elements of the page and yet specify Perceptual to reproduce the photographs. The end result is that, on a single page, the color for photographs are each calculated without affecting other elements on the page.
Harlequin ColorPro allows processing of colors in page data using ICC profiles produced by
OEMs, third parties, or end-users using third party characterization and profiling tools. ICC profiles specify a translation between two color spaces. Each profile is prepared for a specific set of imaging conditions. One device may have more than one profile. The profiles may correspond to running the device with different combinations of resolutions, inks, and paper.
New profiles can be easily added to ColorPro, and previously installed profiles can be selected without the need to reinstall each time a profile is used.
An option to uninstall ICC profiles is also provided.
In addition, ColorPro allows the use of profiles prepared in the Harlequin RIP format. Global
Graphics supplies a number of profiles for commonly used systems.
When ColorPro is enabled, the Harlequin RIP can detect and use any ICC profiles that Photoshop has embedded in EPS, TIFF, JPEG or HD Photo images.
This manual describes the Harlequin RIP without ColorPro, but mentions areas where
ColorPro would modify your use of the Harlequin RIP. The extra facilities are described in the separate manual Harlequin ColorPro User’s Guide.
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For information on color facilities provided in the Harlequin RIP as standard see “Color
1.3.9 Graphics formats
The Harlequin RIP can produce halftone output, 8-bit grayscale output, 8- and 10-bit runlength encoded (RLE) output, and color contone (continuous tone) output in N-color, CMYK and RGB formats. This allows the RIP to be used for driving contone color printers as well as imagesetters.
This output is passed to an output plugin (described in “Input and output methods” on page
21), and from there to the output device controlled by that plugin. Output devices are often
physical printers producing images on paper or film; but devices can also be files on disk, storing the images in a specific graphics format.
An output plugin that creates disk files provides a simple method of translating from the input format to another graphics format. Using such an output plugin extends your ability to transfer graphics defined in the PostScript language or PDF to other software applications or systems. For example, you can produce a graphics image without dependencies on external fonts or color management. Also, you may wish to send a page description to someone who does not have access to PostScript language tools but who can use files in the Tagged Image
File Format (TIFF). TIFF is a commonly-used graphics format and a TIFF output device is supplied with the RIP.
1.3.10 Input and output methods
The Harlequin RIP performs most of its input and output using plugins, small auxiliary programs that the RIP loads when it starts up.
You can install new plugins into an existing installation of the Harlequin RIP to add new input and output capabilities. Several optional plugins are supplied with an installer program, and it is always better to use an installer if it exists, but the basic operation is file copying.
1.3.10.1 Output plugins
The RIP sends all output to printers and other output devices through output plugins, thereby allowing the quick and straightforward addition of support for new output devices.
Typical output plugins support single output devices or families of similar devices and may be supplied with special screens, calibration and color management, and other features appropriate to the device, such as control of exposure or cutting media.
Optional output plugins support file formats useful in workflow systems, advertising distribution, and setting up printing presses. These formats include TIFF/IT-P1 and the CIP3
Print Production Format (PPF).
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1.3.10.2 Input plugins
Input plugins provide communication between the Harlequin RIP and other systems, primarily as sources of input.
The standard input plugins provided with the Harlequin RIP include:
• AppleTalk
An AppleTalk network connects together a mixture of Apple and other computers and printers in order to share disk resources and printing services. AppleTalk runs on
LocalTalk and Ethernet and is a widely supported network protocol.
AppleTalk networks often include multiple printers, and are available to Mac OS X users through the Print Center. Because the Harlequin RIP behaves as any other printer on AppleTalk, you can send print jobs to the RIP running on a machine connected to the AppleTalk network, in the same way as any other printer. (The Harlequin RIP can emulate several, differently configured, printers if you wish.)
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
• Spool Folder
This plugin allows you to set up the Harlequin RIP so that it continually scans or polls a folder (directory)—for example, on a central server—for input files. When these files appear and are complete, the RIP processes them. The spool folder uses the network file access provided by your machine—for example, Network File System (NFS) on machines running the UNIX operating system. You can use multiple configurations (as
described in “Multiple inputs” on page 22), allowing you to have several scanned fold-
ers, each with a different associated Page Setup.See the Spool Folder Input Plugin manual for further information.
• Sockets
With this plugin, the Harlequin RIP can accept input from a network socket client program, which may be part of a larger workflow system. This plugin supports TCP/IP and UNIX socket protocols.
1.3.10.3 Multiple inputs
For some input types, it is possible to have available several configurations or Page Setups
(where parameters such as resolution, output device, rotation, and negation are given specific values). Using AppleTalk, several different virtual printers can be made available on the network using a single running copy of the Harlequin RIP, each printer with a different Page
Setup. When using the Spool folder plugin, several spool folders can be made available, each with an associated Page Setup.
You can enable multiple types of input allowing, for example, AppleTalk and Spool folder inputs to operate at the same time.
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1.3.11 Complex jobs
Given enough memory and disk space, the Harlequin RIP can interpret arbitrarily complex jobs. The same is not true for many other high resolution RIPs.
This is achieved with a feature called partial page buffering (or “painting partial pages” in some messages). Essentially, if a particular job is so large that it cannot all be fitted into memory at once, the RIP interprets only as much of the page description as does fit into memory, and places the interpreted image in a partial page buffer. Having dealt with part of the image, the RIP gains enough free memory to deal with the next part—the effect being that the page description is divided into manageable sections, which are interpreted one at a time. Disk space is used to hold what has been interpreted so far until the whole image has been processed, and printing can commence.
1.3.12 Throughput control
In almost all circumstances, it is desirable to produce page images as quickly as possible while maintaining high quality. All Harlequin RIPs are written with this aim in mind and can benefit from operating with fast hardware. Beyond this, and especially when using high resolution imagesetters, special techniques can help maximize the rate of producing useful output. The Harlequin RIP can use these techniques, collectively called throughput control,
The Harlequin RIP increases job throughput in two ways.
Firstly, the RIP differs from other RIPs in the way bitmaps are produced and sent to an output device. A traditional RIP must interpret a page and send the bitmap directly to the output device before continuing with the next page. Because of this, if you have to change cassettes or some fault occurs with the output device, the current page cannot be output until the fault is cleared; productive work stops until the situation is resolved.
The Harlequin RIP can be operated in this way if desired, but it offers a powerful alternative that overcomes these limitations—by saving bitmaps on disk in the form of page buffers, before bitmaps go from the disk to the output device. Many page buffers can be stored on disk (as many as will fit into the available disk space), and the RIP can continue to produce and save page buffers, even if the device is not ready to output. If a printer jam occurs in an overnight job, the RIP is still able to process the job and the page buffers are ready for output the next day. In a high volume environment, this ability can be invaluable.
Even when there are no problems with the output device, you can still save time—if you need to produce more than one copy, you do not need to reinterpret the page description, because the bitmaps are still retained on disk. This means, for example, that if a page gets damaged in the developer or there is a problem with ink delivery then it is easy to print another copy.
Secondly, the Harlequin RIP increases job throughput by allowing job interpretation and output to occur simultaneously. While some pages of a job are being interpreted, other pages, which have already been interpreted, can be sent to the output device. This can greatly increase throughput when outputting several pages in succession. With a fast com-
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puter, it is possible to drive the imagesetter continuously for several pages. Even with fast output devices, time can be used effectively, because the RIP can be interpreting data while the output device starts up.
1.3.13 Previewing
The Harlequin RIP allows you to preview pages, at their output resolution on screen to check them for mistakes before they are output, at their full output resolution. You can preview halftone, contone and grayscale images using the full color capabilities of the display system.
You can request a reduced view of the entire page in a separate window. This provides a better idea of what the whole page looks like, and also acts as a navigation aid to help you to display any part of the page at full resolution, to check fine detail.
Using either of the multiple page buffer modes, you can view several separations or pages, overlaid or separately. This allows a good check of the page, including checking image positioning, trapping, and so on. You can view separations in their natural colors, thus obtaining a realistic impression of final output, or in false colors, to highlight differences between similar separations or composite pages.
In either of the single page buffer modes, you can view only individual separations or a composite image, and only in the natural colors.
1.3.14 Page buffer compression
When producing jobs at high resolutions or on large format devices, large amounts of disk space are often required if page buffers are used. The RIP makes the most of the available disk space by compressing page buffers as they are created and placed on disk, and then uncompressing them as they are read from disk and printed or displayed.
Compression saves a great deal of disk space and often means that large jobs can be printed without stopping the imagesetter, because compressed data can be read from disk more quickly. Stopping an imagesetter part way through a job can lead to a loss in output quality,
so this facility can be of great benefit. (See the description of data underrun on page 84, which
explains one problem that page buffer compression can help avoid.)
Page buffer compression always produces buffers of the same size as or smaller than the original. For color pages, it typically achieves a compression ratio of 3:1, and for newspaper pages a typical ratio of 10:1. That is, the compressed page buffer could be less than a third of the size of an uncompressed one for color pages, and a tenth of the size for newspaper pages.
For color images, this can mean reducing disk requirements from 150 MB to only 50 MB.
Page buffer compression in the RIP is a completely lossless procedure. The quality of your output is fully preserved when compressing and then uncompressing the page buffers. For
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Files greater than 2 GB can be read and written. The most likely use of this is the ability to generate page buffers greater than 2 GB.
1.3.15 Fonts and font handling
To print text, the relevant fonts must be installed in a RIP before interpreting a job, or the fonts must be supplied with that job.
If the interpreter sees that a Times-Roman font is needed for a particular job, it must know what a Times-Roman font is. The Harlequin RIP comes ready-supplied with the 35 standard fonts found on most PostScript language printers and several additional fonts. (For more
information see “Supplied fonts” on page 305.) Thousands of other fonts are commercially
available, as is software to help you design your own fonts from scratch. The RIP can load any PostScript language font into the RIP for use in interpretation (unless the font is encrypted using some proprietary encryption mechanism).
The Harlequin RIP enables you to download, list, and proof fonts easily and quickly. You have complete control over which fonts are loaded when the RIP is run, and can remove any unwanted fonts at any time.
The Harlequin RIP can convert any Type 1 PostScript language font into its own format,
DLD1. DLD1 fonts consume much less memory and disk space than normal Type 1 descriptions, and so reduce processing time—but with no change in output quality.
The 35 standard hinted fonts are provided with the Harlequin RIP in DLD1 format. Font hinting is essential when previewing images or printing at low resolution, where it greatly improves the quality of the output.
1.3.15.1 Composite fonts
The Harlequin RIP supports composite fonts, in both Original Composite Format (OCF) and
Character Identifier (CID) formats, which allow you to use large or complex fonts such as those for Chinese, Japanese, or Korean characters. Composite fonts support large character sets and are especially important in the Far East.
There are several features to allow easy composite font installation without requiring complex structuring of the fonts. Also, because of the high value of such complex fonts, the Harlequin RIP provides a way of encrypting fonts, so that they can only be used with a particular copy of the RIP.
1.3.16 Convenience features
The Harlequin RIP provides some useful facilities for monitoring media on cassette-loaded devices such as imagesetters and for using or testing fragments of PostScript language code.
These fragments, page features, can do such things as labelling output.
Most of these facilities require little or no knowledge of the PostScript language.
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1.3.16.1 Media management
Output devices vary greatly in the type of output media they can use and the amount of manual intervention required. Some devices use a single source of roll-fed or sheet-fed material and the output is ready to use, while other devices can accept media from a variety of sources or require processing of the output. Equally, different users make very different demands on their imagesetters with respect to film and paper handling.
The Harlequin RIP includes a sophisticated media manager.
For example, you can keep track of the media left on the rolls of up to sixteen input cassettes; a variety of materials and media widths can be set, and the system allows you specify automatic media cutting at predetermined places, such as after a particular number of pages or before the take-up cassette gets too full.
In addition, the Harlequin RIP warns you when a cassette is nearly empty, and allows you to define how much space should be left between pages, between jobs, and between film cuts.
It will even save media by automatically rotating pages to use the minimum amount of film.
1.3.16.2 Page features
Sometimes you may want to apply a special effect to your jobs. For example, you may want to have the word Draft overprinted on every page. Because these can be one-off needs—you may want to produce a special copy of a document while it is at draft stage—it is preferable not to alter the job if at all possible.
The Harlequin RIP provides this facility by allowing you to specify a fragment of PostScript language code, independent of your main job, to be processed in conjunction with it. A fragment such as this is known as a page feature.
A page feature carries out some process on your job, leaving the original untouched. Often, the effect of the process is to produce a desired printed effects but some page features produce no printed output because their purpose is to report some properties of the job.
A number of page features are provided with the Harlequin RIP for immediate use or as examples. You can choose any of those for immediate use from a menu in a dialog box. See
“Features” on page 149 for details.
As with plugins, you can add new page features by placing them in a particular folder.
Note to OEMs: If you are interested in writing your own page features, ask Global
Graphics for the Harlequin RIP Extensions manual. This describes some powerful extensions to the PostScript language especially designed for use in page features and elsewhere and supported by the Harlequin RIP.
1.3.16.3 Interactive sessions
The Harlequin RIP has a feature known as the executive, which allows you to run an interactive PostScript language session. This means that you can type fragments of PostScript lan-
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1.4 Why become a Harlequin RIP OEM?
guage code and have them interpreted immediately. This can be very useful when debugging and testing small parts of jobs.
The executive feature is available in the Harlequin RIP on all supported platforms.
1.3.16.4 Page imposition
Page imposition is the process of laying out several pages of a document on one large sheet of paper or film. Using a combination of PostScript language operators and an extension to the language, it is possible to take several pages and produce output on a large sheet of paper, each page being printed in an orientation and position determined by you.
Page imposition can be useful both for saving media—pages can be orientated so as to use the optimum amount of paper—and for printing pre-imposed sheets of paper, for instance when printing a book where certain pages are made out of the same piece of paper. Some understanding of the PostScript language is useful here, but the Harlequin RIP is supplied with several imposition templates which can be used immediately.
1.4 Why become a Harlequin RIP OEM?
Note to OEMs: All material from here to the end of this chapter is intended for OEMs and evaluators only. It can be removed from user manuals.
The Harlequin RIP is a product already meeting the needs of many graphics and prepress users, so it is a good choice for those users. The Harlequin RIP is also a good choice for integration into various systems, based on many business and technical reasons.
Note: The Harlequin RIP is a proven brand with marketing backup, but Global Graphics can provide an equally good service to OEMs who prefer to supply a product without obvious branding.
The Harlequin RIP is a good choice now, for these reasons:
• There is a range of RIP editions for different needs. See “Editions of the Harlequin
• There is good scope for customization and differentiation in the market through use of existing options, OEM development, or custom development by Global Graphics.
OEMs can add their own plugins and use documented programming interfaces (APIs) and PostScript language extensions. Additionally, Global Graphics can offer internal additions to functionality or oversee complete projects including delivery of custom software and hardware.
• The RIP editions with a GUI support localization of dialog boxes and messages into different languages, including those requiring double-byte representations.
• There is technical support and documentation for the configuration and internal working of the RIP, and its interactions with popular real-world applications.
• Global Graphics provides user-level documentation for the RIP and its add-on options to shorten time to market and lower your costs.
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Introduction to the Harlequin RIP
The Harlequin RIP is also a good choice for the future:
• Global Graphics is developing RIPs and other components for use in workflow and networked applications, using a mixture of open standards and internal optimizations.
• Global Graphics is developing forms of GUI, such as PPM, for simpler applications and increasing the degree of OEM customization possible in those GUIs.
• Global Graphics participates actively in the international groups developing new standards for file interchange in the graphics and prepress industries. This gives Global
Graphics a voice in determining those standards and an early view of how those standards are being implemented.
1.5 Integrating the Harlequin RIP with your product
The way in which you build a system using the Harlequin RIP starts with a choice of the appropriate edition. This section lists the available editions, looks at one edition in detail, discusses input and output plugins, and describes one of the optional programming interfaces.
1.5.1 Editions of the Harlequin RIP
There are several editions of the Harlequin RIP, each adaptable to a particular combination of user needs and offering different scope for OEM development and integration.
The Harlequin RIP can be run in headless mode, that is, without a GUI. This mode is achieved using a simple -headless command when starting the RIP and is intended for use where commands can be supplied through plugins. The Harlequin RIP also has a CORBA interface (see the description of the SOAR SDK below). The Harlequin RIP in headless mode is able to use plugins and other configuration data used by the standard mode of the Harlequin RIP
The different configurations or editions of the Harlequin RIP include:
• The Harlequin RIP Classic Edition, is supplied with an integrated GUI, and is described in this manual. It is available on Macintosh, Microsoft Windows platforms, and the
Linux operating system.
The Harlequin RIP is both versatile and complex, because of its GUI, optimized performance, and potential for expansion. Even when you wish to use another edition in a final product, The RIP can be a useful analysis and prototyping tool and an aid to configuration of other editions.
• The Harlequin RIP Enterprise Edition is the same RIP as the Classic Edition but is run in headless mode, that is, as a suppressed-GUI RIP executable. This mode is achieved using a simple
-headless command when starting the RIP and intended for use where commands can be supplied through plugins. Global Graphics also provides a
RIP with a CORBA interface (see the description of the SOAR RIP below). The
Harlequin RIP in headless mode is able to use the plugins and other configuration data used by the standard Harlequin RIP.
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1.5 Integrating the Harlequin RIP with your product
• The SOAR SDK supports development against the Harlequin RIP CORBA interface.
The SOAR SDK is currently available on Microsoft Windows platforms and other Harlequin RIP platforms on demand. SOAR offers a well-defined cross-platform interface for use in fully-featured workflow systems or special purpose desktop applications.
Typically this interface allows construction of distributed systems comprising a Harlequin RIP, an OEM’s own GUI product, and perhaps other service managers supplied by OEM’s or Global Graphics.
1.5.2 Contents of a Harlequin RIP edition
The Harlequin RIP comes complete with a user interface and code to allow the core RIP to communicate with a variety of output devices, the file system, and different networks. You may not wish to use all the facilities of this system but it is useful to consider it as an example of how the core RIP interacts with other components as part of a complete system.
The details of the work you must carry out to integrate the Harlequin RIP with your product depend on the product you are assembling, the computer platform you are using, and the amount of work you wish to do.
Global Graphics can configure the Harlequin RIP to your specifications if appropriate. This can mean that you have a shippable system very quickly. Please contact us for details.
If you want to connect to an input or output device for which Global Graphics or third parties do not supply a plugin driver, you can either develop your own driver (possibly with a corresponding hardware interface development), or ask Global Graphics to quote for doing the necessary work. Global Graphics can supply documentation or training to help you produce input or output plugins.
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Introduction to the Harlequin RIP
Figure 1.1 shows the organization of The Harlequin RIP.
Core RIP
Modules
Core RIP Interface
Plugin Interface Code
Active
Queue
User Interface
Held
Queue
PREVIEW
Input Plugins
AppleTalk
EtherTalk
Spool
Sockets
Serial
OEM-defined
Comms
Core
RIP
Output Plugins
TIFF
OEM-defined
Recorders
File System
Figure 1.1 Schematic diagram of a Harlequin RIP system
The core Harlequin RIP forms the central module, onto which other modules are joined, each module performing a specific set of tasks. The four outer areas encircling it represent the modules in the system which must be added to use the RIP.
The module shown at the top of the diagram is the user interface of your system. This consists of the parts of the application that users see when using the software, such as windows or command line options. In editions other than the Harlequin RIP, all user information and commands can be routed to and from computers remote from the computer running the RIP.
On the left is the module which deals with connections to other systems for input, usually over a network. The diagram shows connections to a number of example networking systems—this is not an exhaustive list of possibilities. You can add other networks with appropriate plugins and the user can make multiple connections to different networking systems, if needed.
The module at the bottom deals with connections to the filing system of the machine on which you are running the Harlequin RIP. This module deals with all the file access requirements of the RIP, including access to PostScript language objects—for example, when a job requires access to a disk-based resource such as a font. It also handles file access from inside
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1.5 Integrating the Harlequin RIP with your product
the RIP itself—for example, access to temporary work space files on disk. In order to replace the underlying filing system, therefore, only this self-contained module needs to be replaced, leaving the core RIP unaltered.
On the right is the module dealing with page delivery and post-processing. This module takes output from the RIP and delivers it to a printer, a computer screen, a formatted file like
TIFF, or an OEM-defined device. Typically, this module will use a selection of output plugins to meet all your customers’ needs.
1.5.3 Input and output options
The Harlequin RIP can use input and output plugins. “Input and output methods” on page
21 describes the benefits of plugins to the user, but there are also advantage for OEMs and
other developers.
• The availability of ready-to-use plugins from Global Graphics or third parties means that you may not need to do any development.
• You can develop support for a new device independently of the Harlequin RIP, meaning faster time to market.
• You gain the ability to extend or upgrade existing installations.
It is easy to add an output plugin to your product. Because of the modular design on which the Harlequin RIP is based, code to run a particular device and any supporting files such as color profiles can simply be placed in an appropriate disk folder (directory). Subject to any security mechanisms such as supplying a password, that device becomes available when the
RIP is next run. You can add the plugin when configuring your complete product for manufacturing or supply the plugin folder with a simple installation procedure for later installation at a user site.
The RIP passes image data to output plugins in 1-bit halftone, grayscale or color run-length encoded (RLE), or grayscale or color contone format, as appropriate. Also, all device control functions such as cuts, feeds, and paper tray selection are passed though the plugin mechanism.
You can easily add your own input plugins. An input plugin provides an interface between the Harlequin RIP and an external job source and hides the details of communication with that source. This means that interfaces to input devices can be written independently of the
Harlequin RIP.
An input plugin may also be used to provide a PostScript language device on which a file can be opened, to support files opened explicitly from PostScript language programs that are stored in some special way. They can also be used to add custom PostScript language filters for manipulating data.
1.5.4 Harlequin Display List Technology
Harlequin Display List Technology (HDLT) is one API supported by Global Graphics. HDLT provides a programmatic interface for customization between interpretation and rendering, in all versions of the Harlequin RIP. This optional extension gives a PostScript language pro-
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Introduction to the Harlequin RIP
grammer the ability to intercept elements as they are put onto the display list. Once objects are intercepted, almost any processing can be done before the programmer decides whether to add, discard, or replace each object.
HDLT provides the ability to customize behavior after interpretation but before rendering, enabling tasks that are otherwise effectively impossible. HDLT is fully described in the Harle-
quin Display List Technology User’s Guide.
1.6 About Global Graphics
Harlequin began operating in 1986 in Cambridge, England, and was acquired in July 1999 by
Global Graphics S.A. Harlequin was renamed Global Graphics Software Limited in June
2001 and is now a multinational software company offering technology-based products and services for the digital printing and publishing industry. The company is a recognized leader in high-performance printing and publishing technologies. Global Graphics maintains a presence in the Americas, Europe, and the Asia Pacific Basin.
Global Graphics sells products through OEMs. Our OEM partners include the world's leading makers of imagesetters, computer-to-plate and direct-to-press systems, digital color proofers and large-format printers, as well as several leading prepress systems integrators.
Because our products are integrated with these OEMs’ digital publishing and prepress systems, they are offered under a variety of brand names.
Global Graphics, supplies high-performance precision equipment and system solutions to the graphic arts industry. Global Graphics supports its clients and distribution network worldwide and services its significant installed base through a technical and service office network in Europe, America, and Asia.
See the “Copyright and Trademarks” on page iii of this manual for sources of more
information.
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2
Running the Harlequin RIP
This chapter is a short guide to getting the Harlequin RIP running on your machine. It does not contain complete installation details because these differ between different combinations of computer, operating system, and output device. For full details, see the separate Harlequin
RIP Installation Guide for your platform (combination of computer and operating system).
This chapter provides details for the following:
• Machine requirements, described in “Machine requirements” on page 33.
• The files and folders used by the RIP, described in “Harlequin RIP folder structure” on page 38.
• Starting up the Harlequin RIP and an introduction to the standard menus and dialog
boxes, described in “Starting up the Harlequin RIP” on page 42.
• Stopping the Harlequin RIP, described in “Stopping the Harlequin RIP” on page 50.
2.1 Machine requirements
This section covers the hardware requirements that you need to run the Harlequin RIP. Do not worry if you are not familiar with the RIP technical terms used in this section. As you
work through the manual, all of these terms will be explained. The “Glossary” on page 421
explains many of these terms.
Hint: Follow the basics of this section on first reading to get a working installation of the RIP.
When you are more familiar with the RIP, use this section for reference, so that you can improve the RIP’s performance in your environment.
2.1.1 Performance
For a given processor type and speed, the most important things affecting the performance of the Harlequin RIP are the built-in or physical memory (RAM) and the speed and size of disks.
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It is recommended that you use a PowerMac G3, G4, G5, iMac, PowerBook or Intel Mac with
256 MB or more of built-in RAM for the RIP and a minimum of 4 GB of free disk space.
Windows Server 2008 (R2), Note: Please check the Install guide for the latest specification information.
In addition the following points should be considered:
• There must be sufficient space to hold page buffers on disk.
• There must be sufficient virtual memory available for the job. This is especially important when using composite fonts.
• For some output devices, a disk with a certain minimum performance may be required.
Important: The general rule is that the more memory, the better the performance. Note especially that if you use the following features, we recommend that you add extra RAM:
• Add an additional 8 MB RAM for each composite PostScript language font used in a single job.
• Add an additional 12 MB RAM for when using Harlequin Precision Screening (HPS).
• Add an additional 256 MB RAM when using TrapPro.
• Add an additional 32 MB RAM for EDS Screening in the output plugin.
• When using Harlequin ColorPro, add extra RAM. The required amount can vary according to the functions you use.
• There are some instances when the Harlequin RIP cannot paint partial page buffers to disk: for example, when recombining preseparated jobs or using TrapPro. In such cases, the RIP will need extra memory and must have enough memory to complete the
job. See “Harlequin RIP memory allocation” on page 209, the TrapPro User Manual and
Harlequin RIP Installation Guide for further details.
• For large format devices, more memory may be required.
In general, if a job uses more than one of these features, add together the extra memory required by each feature. For example, if a job uses composite fonts and you are using HPS add together the extra amounts of RAM. You will also need enough extra RAM to accommodate any printer and network buffers you want to set up.
Note: This manual uses conventions of font and style to describe special key combinations and to highlight the titles of programs, options in menus and dialog boxes, and text that we
suggest you type. For details, see the “Conventions” on page 6 in the Preface.
Windows Server 2008 (R2), Windows Server 2008 (R2), In summary, as well as the memory and disk allocations discussed here, the performance of the RIP also depends on the following:
• The speed of the processor.
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2.1 Machine requirements
• The amount of additional RAM on your machine. (Additional RAM is RAM above the basic requirement.)
• The disk speed of your machine.
• The interface used to send data to the output device, especially if it is a high-performance device.
Performance issues are described throughout this manual, but see especially Chapter 7,
“Configuring the RIP”, and Appendix A, “Troubleshooting”, for details about optimizing
the performance of your hardware.
For further details on machine specifications you should consult the relevant installation guide.
2.1.2 Ability to RIP a job
Depending on what page buffer mode you choose, the Harlequin RIP will usually create one
formance, no matter how complex the job is. The only requirement for your machine (apart from a minimum requirement of RAM) is that it must have sufficient free disk space to hold these page buffers.
By default, the Harlequin RIP compresses page buffers as it creates them: the compression is always lossless and does not affect the output quality in any way. This compression can reduce the disk space required to anything from half to a tenth of the uncompressed file, or even less. However, you do not have to compress page buffers if you do not wish to. See
Chapter 7, “Configuring the RIP”, for full details.
Note: Crop marks can greatly increase the actual size of the page (by adding largely blank surrounds to the image) and hence create a need for more disk space. If you ask the Harlequin RIP to compress page buffers as they are created, the extra space required by crop marks compresses well, as does the other blank space between text and images.
Typical free disk requirements, for both compressed (C) and uncompressed (U) page buffers, are shown in the following table, giving details for output at different resolutions and for different page sizes. These figures are for halftone page buffers holding a monochrome page or one separation of a separated page. All figures are given in MB.
US Letter
Resolution U C
300 dpi
400 dpi
600 dpi
800 dpi
900 dpi
1.00
1.70
4.00
7.10
9.00
0.20
0.36
0.80
1.40
1.80
U
1.00
1.80
4.10
7.40
9.30
A4
U
Tabloid
C
0.20
0.37
2.00
3.60
0.83
8.00
1.50
14.00
1.90
18.00
C U
0.40
0.71
2.10
3.70
1.60
8.30
2.90
15.00
3.60
19.00
A3
C
Broadsheet
U
0.41
0.74
4.60
8.20
1.70 19.00
3.00 33.00
3.70 42.00
C
0.93
1.60
3.70
6.60
8.30
Table 2.1 Typical free disk requirements for page buffers
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Resolution
US Letter
U C U
A4
C U
Tabloid
C U
A3
C
Broadsheet
U C
1200 dpi 16.00
1524 dpi 26.00
3.20 17.00
5.20 27.00
3.40
32.00
6.40
34.00
7.20 74.00
14.80
5.40
52.00
10.40
54.00
10.80 120.00
24.00
2400 dpi 64.00
12.80 68.00
13.60 128.00
25.60 136.00
27.20 296.00
59.20
3048 dpi 104.00
20.80 108.00
21.60 208.00
41.60 216.00
43.20 480.00
96.00
Table 2.1 Typical free disk requirements for page buffers (Continued)
Contone page buffers or composite color page buffers are bigger than monochrome page buffers when uncompressed, by a combined factor taking account of the number of bits used per color and the number of colors in the page buffer. For example, when uncompressed, a four-color page using 8 bits per color (256 tonal values) would use 32 times more memory than the figures given here. It is harder to predict the relative sizes of compressed page buffers because the contents of the page have a large effect. For example, the compression ratio achievable for a page filled with an unchanging background tint is likely to be better for a contone page buffer than for a halftone page buffer.
In addition, you must ensure you have enough disk space to hold workspace for processing the scanned images on any one page of your job. For example, when printing the Seybold
Musicians test job (a full-color scanned image), 8 MB of extra disk workspace will sometimes be required in addition to the figures shown above. (Whenever possible, the Harlequin RIP uses RAM in preference to disk space.)
use this surplus to create a RAM disk in which to place page buffers. To be useful, the RAM disk must be at least large enough to hold a single page buffer, and if you want to use throughput (using either of the multiple page buffer modes), it should ideally be large enough to hold at least two page buffers.
For 2540 dpi color work, a RAM disk of around 100 MB is desirable. For 1016 dpi monochrome output, a RAM disk of around 30 MB may be enough.
2.1.3 Driving a printer effectively
The machine requirements discussed so far have concerned the production of a page buffer.
Meeting these requirements is sufficient for you to view the page buffer on screen or for the
Harlequin RIP to convert it into a file in a useful graphics format.
When you want to convert the page buffer to an image on physical media, you must transfer the data to an output device. This transfer is another factor determining overall performance and often imposes other requirements on the computer system running the RIP.
Many output devices need data to reach them at a sustained high speed; in general, this
speed becomes higher and harder to achieve as the resolution of the device increases. Table
2.2, page 37, shows examples of required data transfer rates (in kilobytes per second) for typ-
ical output devices supported by the various versions of the Harlequin RIP.
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2.2 Installing printer interface cards
Rate
(KB/s)
200
2000
750
1500
8000
Resolution
(dpi)
300
300
2400
1270
4000
Output device
Large format inkjet printer
Dye-sublimation printer
Slow imagesetter
Fast imagesetter
Large format drum recorder
Table 2.2 Required data rates for typical output devices
With simple jobs, these data rates can be achieved without using a page buffer on disk. However, with complex jobs, a page buffer may be required, which means that the disk on your computer must be fast enough to supply data at these rates. If the disk is too slow and your printer is not capable of stop / starting without abandoning the page, it is not possible to output the whole page. If your printer can stop / start in the middle of a page, then achieving the required data rate is less important, but the quality of the output may still be affected, depending on the device.
When you look at the data rates in this table, note the following:
• The disk speed of your machine must be slightly faster than the data rate of the output device in order to drive it successfully—the extra speed allows for the overhead of transferring the output to the printer. For example, a machine with a disk speed of
1.3 MB/s may be required to drive a slow imagesetter at 750 KB/s.
• To smooth out peaks and troughs of disk performance and other system and RIP functions, the Harlequin RIP uses a printer buffer in memory. Typically, you should make this buffer large enough to hold between 5 and 10 seconds of output to the device: for example, 7.5 MB for a device that outputs at 750 KB/second. You can set the size of
the printer buffer in the Configure RIP dialog box: see Chapter 7, “Configuring the
We strongly recommend that you use compressed page buffers. If this is done, the Harlequin
RIP can achieve higher data rates because less data has to be read from disk. Compressing page buffers also lets you run the RIP on a slower disk than would be required were page buffers not compressed. There are very few situations where it is not desirable to compress page buffers.
2.2 Installing printer interface cards
If you want to produce output on a printer or imagesetter, there must be a suitable way of connecting the output device to the computer running the Harlequin RIP. Many low or medium resolution devices can connect to standard communications ports or printer ports on your computer. Using a high resolution or high speed output device may mean that you must install a special printer interface card in the computer.
There should be installation instructions supplied with any interface card and there are some general guidelines in the separate Harlequin RIP Installation Guide for each platform.
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2.3 Harlequin RIP folder structure
The folder in which the Harlequin RIP is installed contains the Harlequin RIP application itself, and a folder called
SW
, as well as other support files. The
SW folder contains the files that the RIP needs in order to run, such as device driver files, PostScript language header files, and fonts. You can install new device drivers, features, and so on—in many cases by placing the relevant folders or files directly into the appropriate folder, but it is safer to use a supplied installation program if there is one.
Warning: Do not delete any files from the
SW folder, except in the limited cases where this manual or the Harlequin RIP support staff advise you to do so.
Note: Installing the Harlequin RIP creates some of the following items immediately: other items are created later, as required by later reconfiguration of the RIP or the use of particular options such as screening features or spooled input.
The
SW folder contains the following items:
• The caldata folder, which is created when you first use the
Output > Print Calibration
menu option to print a calibration target, and is updated as you print more targets.
This folder holds files and folders describing the printed targets.
• The categories folder contains the categories resource.
• The charstrings folder contains the file
StandardCharStrings
, which contains the standard name-to-character mappings used by most fonts. Other mapping files may also be stored here.
• The
CIDFont folder contains fonts defined in the CID (character identifier) format.
• The
CMap folder contains information for use with CID fonts.
• The colorrenderings folder contains color rendering resources.
• The colorspaces folder contains resources for the color spaces defined in the Harlequin RIP.
• The
Complete folder is provided as a default location for the spool folder input to place files that it has successfully processed.
• The
Config folder contains all the configuration files for the Harlequin RIP. These include files detailing such things as the current Page Setup and Configure RIP settings, as well as folders for information including the configuration for available devices, default color profiles, and target definitions.
In the
Config folder, the
Factory Settings subfolder contains the default configuration for the Harlequin RIP when it is shipped. This is essentially a copy of the
Config folder itself.
In the
Config folder, the
Page Setups subfolder contains all the Page Setups you have saved within the Harlequin RIP.
• The
Crdgen folder contains the color rendering dictionary (CRD) generator plugin executables. You can only manipulate CRDs in the Harlequin RIP with the ColorPro option enabled.
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2.3 Harlequin RIP folder structure
• The
Devices folder contains all the output plugin files (possibly within subfolders) for the various output devices.
• The encodings folder contains the font encodings for the fonts installed in the RIP.
• The
Error folder is provided as a default location for the spool folder input to place files that it cannot process.
• The
Extensions folder can contain folders or files used to implement extensions to the RIP.
• The
FlatPgbDir folder provides space for the page buffer files used by FlatOut. See the FlatOut User Guide for details.
• The fonts folder contains fonts used by the Harlequin RIP (including the fonts installed with the RIP).
• The
FontSet folder is used for PostScript LanguageLevel 3 font sets, often used with
CFF fonts. It may be empty.
• The forms folder contains resources for bitmap forms.
• The halftones folder contains halftone resources.
Note: The comments in these halftone resources files show how you can define custom dot shapes in capable graphics and layout applications, and have these dot shapes linked to Harlequin screens in the generated PostScript language files.
• The icccrd folder contains the color rendering dictionaries (CRDs) produced from
ICC profiles.
• The
IdiomSet folder contains idiom set resources. Each idiom set in this folder is loaded when the RIP starts.
Note to OEMs: It is reasonable to add your own idiom sets to the Harlequin RIP by placing them in this folder. Adding too many idiom sets can degrade the performance of the bind operator but the addition of, for example, over a hundred well-formed idiom sets has little effect.
• The
Inputs folder contains all input plugin files (AppleTalk, Spool, and any others).
• The
Messages folder has been moved to the same level as the SW folder and contains localized message files. The appropriate file is selected the first time the RIP is started
• The
MediaSavingDir contains page buffers that are marked for media saving. From
Eclipse Release SP1 the
MediaSavingDir is located as a subfolder to the
PageBuffers folder.
• The
NamedColor folder is the location of files defining a resource type
/NamedColor
, which stores color values referred to by name. It is accessed by the Install ICC Profile dialog box present when using ColorPro, as well as by the Harlequin core RIP.
• The
NamedColorOrder folder contains files defining the orders in which resources of type
/NamedColor
, are searched when the Harlequin RIP is looking for the definition of a named color.
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40
• The
Page Features folder contains all the PostScript language header files that are available in the
Enable Feature
pop-up menu of the Edit Page Setup dialog box. This menu is generated dynamically from the files available in this folder. If a feature is turned on in the relevant Page Setup, the appropriate file is run at the beginning of the job. Additional example page features are available in the folder called
Examples within this folder. The example files supplied with the RIP show you how to do such things as produce draft copies, perform page imposition, resubmit page buffers, and use image replacement with DCS files. You can add your own files if you wish.
• The
PageBuffers folder provides space for rendered pages that are written to disk.
From Eclipse Release SP1 the
MediaSavingDir is located as a subfolder to the
Page-
Buffers folder.
• The
Passwords folder may be empty but is available for files used to install passwords for optional parts of the Harlequin RIP. The RIP installs all new passwords automatically, as it starts. Files with extension
.pwd
are files to be used by the RIP, files with numeric extensions (
.001
,
.002
, and so on) have been installed, and files with extension
.pwx
are files that the Harlequin RIP has failed to install.
• The patterns folder contains resources for PostScript language patterns.
• The
PrepFiles folder contains all the prep files used by the Harlequin RIP.
• The procsets folder contains various patches to the PostScript language, as well as other functionality that is not built directly into the Harlequin RIP. Patches for specific applications are held here, as well as calibration test jobs.
Note to OEMS: OEMs can add files to the procsets folder.
• The
ReproductionCriteria folder is the location of files defining a resource type
/ReproductionCriteria
. This is used to link color rendering dictionaries (CRDs) to the criteria which created them. This allows the Harlequin RIP to test whether a CRD needs to be regenerated or whether one already exists.
• The
Screenin folder contains screening plugins for use by the Harlequin RIP. In many installations, there are no screening plugins.
• The
Screens folder is used when halftone screens are cached (saved to disk for later use). There is a subfolder here for each dot shape cache known to the Harlequin RIP, either as supplied or as created during use.
• The
Separation Features folder performs a similar task to
Page Features but applies only when separating jobs in the Harlequin RIP.
• The
Spool folder is a default location used by the Spool folder input plugin for receiving jobs.
• The
Sys folder includes
HqnStart
, the Harlequin-specific startup file, and
Bootlist
, a list of files to be executed upon booting (starting) the Harlequin RIP. This folder also contains
HqnProduct
, which contains PostScript language startup code specific to that product, and
HqnOEM
, which may contain additional startup PostScript language startup code created by the RIP supplier (or OEM).
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2.3 Harlequin RIP folder structure
• The targeteps folder contains any EPS files that are incorporated in custom calibration targets (and potentially other targets). This folder is referred to from target definitions while interpreting a target file, especially in response to the Print Calibration dialog box.
• The tmp folder is used as a location for temporary files.
• The
TrapParams folder is used for PostScript LanguageLevel 3 trapping parameters. It may be empty.
• The
Usr folder contains several files needed by the Harlequin RIP.
• The
Utilities folder contains files, each of which can perform a useful function when run as a job (using the
Print File
menu option):
•
BackupConfiguration.ps
This file enables you to make a backup file containing all your configuration settings for an installation of the Harlequin RIP.
•
BackupFonts.ps
This file enables you to make a backup file containing all your fonts, both the standard set and any additional fonts that you have installed.
You can store such a backup file elsewhere for security and, for example, use it as a simple way to restore a complex configuration if you need to reinstall the same version of the Harlequin RIP. (You can restore backed-up fonts to a newer version of the RIP but you can only restore configuration settings to the same version of the RIP.)
Note: The
BackupFonts.ps
and
BackupConfiguration.ps
files should only be used via the
option on the
File
menu. Attempting to use these files from a socket input may cause the RIP to crash.
The
WorkSpace folder provides space for any temporary workspace files created by the
RIP.
• The
LOGFILE file contains a record of all transactions with the Harlequin RIP monitor.
This file can be saved and its size restricted. For more information see “Monitoring the
• The files
FILERED.PS
and
FILEMAP.DAT
(replacing
FILEMAP.PS
, which is still present for short-term compatibility) contain important information for use in file name mapping. The RIP manages these files automatically: you must not change these files manually.
File name mapping is necessary because PostScript language file names can be very long, can contain characters that have special meanings for file systems on the computer running the Harlequin RIP, and are case sensitive. For each PostScript language file name that could be a problem, the RIP creates a unique and acceptable file name in the file system and records both file names together as a mapping in
FILEMAP.DAT
.
You may find it useful to inspect
FILEMAP.DAT
, if you need to associate a particular file name with the other name in its mapping. For example, this is a typical mapping
(between Press and PRESS):
(Press)(PRESS)M
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• The version file contains text describing the version of the Harlequin RIP, for use by some RIP utilities. Do not edit or remove it.
2.4 Starting up the Harlequin RIP
Note to OEMs: You received your new Harlequin RIP via the Warehouse delivery system. This dictates the location of the various elements related to the
RIP. You should familiarize yourself with the Warehouse structure prior to starting the RIP.
You should refer to the installation guide for your platform for details on how to install and configure the Harlequin RIP.Note: The RIP executables are supplied with associated shared library files. The associated shared library files must be in the same folder as the RIP executable otherwise the RIP will not start.
To start up the Harlequin RIP application, double-click the Harlequin RIP icon at the top level of the installation folder.
An initial dialog box is always displayed while the program starts up. Some extra things happen in special circumstances:
• When you are starting up the RIP for the first time after installation, you see a dialog box asking you to choose the language to be used in dialog boxes, menus, and messages. The dialog box shows you which languages are available. (A language is available if the entries after its name are all
Present or
Yes
.) If you are in doubt, choose
English (United States) initially; you can switch to another language later, using the
File > Language
OK
.
• When you have installed a plugin or other option, that option may require enabling with a password. The RIP can read the password from a file if the installation process for the plugin supplied one. If the RIP reads a password file, it displays a dialog box with a message similar to this but with differences to the italic text.
Imported password file Passwords/1234-56-variable-string.pwd
Click
OK
to dismiss this dialog box.
• If you have chosen to reset the Harlequin RIP to its factory settings, you see a series of
When the RIP has finished loading the desktop (Finder) menus are replaced by those shown
Figure 2.1 The Harlequin RIP menus
Some windows appear, as described in Chapter 3, “Getting Started with the Harlequin RIP”.
That chapter describes some basic procedures that you can use to familiarize yourself with
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2.4 Starting up the Harlequin RIP
the Harlequin RIP. The remainder of this chapter introduces the menus, tool bar, and status bar; and describes how to stop the RIP.
For information on how to quit the RIP see “Quitting the Harlequin RIP” on page 50.
2.4.1 The headless RIP
The Harlequin RIP can be run in headless mode. This means that the RIP is run as normal but without any graphical user interface. In this mode all interaction with the RIP is done using PostScript language files.
Before using headless mode you should at least have configured an AppleTalk input (if supported) or a Spool folder. You can shut down the headless RIP by submitting a suitable
PostScript language file. See “Quitting the headless RIP” on page 51 for more information.
Navigate to:
<installation folder>/HARLQN.app/Contents/MacOS/
Issue the command: gui -headless
Alternatively, if you wish to start the RIP in headless mode every time you start the RIP, open the file:
<installation folder>/SW/Config/UIPreferences
Change the line:
/Headless false to:
/Headless true
Save the
UIPreferences file and then start the RIP in the normal way.
If you have configured the
UIPreferences file to start the RIP in headless mode you can start the RIP in GUI mode by navigating to:
<
installation folder>/HARLQN.app/Contents/MacOS/ and issuing the command: gui -gui
To stop a RIP running in headless mode see “Quitting the headless RIP” on page 51.
When run as a headless RIP the page buffering mode is automatically changed to
Single
(if required
). See “Page buffering modes” on page 69 for more information.
From the Harlequin RIP Genesis Release v7.1 the page buffering mode can be changed from
Single (if required) to one of the other available throughput modes. This can only be done using a PostScript Language file or via SOAR.
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2.4.2 The menus
There are several menus:
•
Harlequin RIP
menu contains standard Mac OS X commands for hiding the program
and for quitting the RIP. For more information see “Stopping the Harlequin RIP” on page 50.
• The
File
menu contains commands for configuring and operating the RIP, as well as for producing output.
• The
Edit
menu contains the common window-based edit facilities of
Cut
,
Copy
,
Paste
, and
Clear
.
• The next menu changes name to indicate which device it is controlling. This menu contains commands for controlling output and cutting the media being used on any printers connected to the computer. Because the displayed name can change, this documentation refers to it as the
Device
menu. (Figure 2.1, page 42, shows Preview in this
position.)
The device does not necessarily have to be a physical output device connected to your machine. The RIP is equally capable of saving an image to a file in a particular format,
such as TIFF. You can find out more about these options in “Selecting different devices” on page 92.
• The
Color
menu contains commands for starting the Separations Manager and for color management. The color management commands depend on optional parts of the
Harlequin RIP. See “ColorPro™menus” on page 49.
• The
Output
menu contains commands for controlling calibration, media management, and output.
• The
Fonts
menu contains commands for installing, deleting, and proofing fonts within the RIP.
• When required, the RIP can display other menus to the right of the permanent menus mentioned so far. For example, the
Print File
menu appears when you have used the
Print File
command to print a file, and contains commands allowing you to control printing of that file.
All standard commands in these menus are described in later chapters of this book together
quin RIP.
2.4.3 The tool bar
All versions of the Harlequin RIP have a tool bar containing icon buttons and a status area.
The buttons provide rapid access to frequently used menu options and dialog boxes, as
described in “Tool bar buttons” on page 46. The status area shows what the RIP is doing, as
described in “Status area” on page 48.
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The tool bar is a free-floating window, which you can display or hide using the
File > Tool Bar
menu option.
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2.4.3.1 Tool bar buttons
These tool bar buttons have the following uses:
Print File
Displays the Print File dialog box, where you can choose a file to print. This is equivalent to the
File > Print File
command.
Print Calibration
Start Inputs
Displays the Print Calibration dialog box, where you can print various patterns of calibration target for use in calibrating output devices, including printing presses. This is equivalent to the
Output > Print
Calibration
command.
Starts any enabled inputs. This is equivalent to the
File > Start Inputs
command when the inputs are stopped.
Stop Inputs
Stops any enabled inputs. This is equivalent to the
File > Start Inputs
command when the inputs are enabled.
Page Setup Manager
Displays the Page Setup Manager dialog box, where you can create and edit Page Setups. This is equivalent to the
File > Page Setup Manager
command.
Device Manager
Separations Manager
Displays the Device Manager dialog box, where you can instantiate (create) and configure devices driven from a multiple device driver. This is equivalent to the
File > Device Manager
command.
Displays the Separations Manager dialog box, where you can create and edit separation styles for the selected device. This is equivalent to the
Color >
Separations Manager
command.
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Color Setup Manager
TrapPro Manager
Calibration Manager
Cassette Manager
Imposition Manager
Input Controller
Media Manager
Displays the Color Setup Manager dialog box, which allows you to create and edit color setups with or without color management depending on whether the password-enabled ColorPro option is activated.
See the “Color Setup” on page 375 and Harlequin Color-
Pro User Guide for details. This is equivalent to the
Color > Color Setup Manager
command.
Displays the TrapPro Manager dialog box, which allows you to create and edit trapping setups.
TrapPro is a layered option and requires a password for it to be activated. See the Harlequin TrapPro User
Guide for full details. This is equivalent to the
Output
> TrapPro Manager
command.
Displays the Calibration (Dot Gain) Manager dialog box, where you can create and edit calibration sets.
This is equivalent to the
Output > Calibration Manager
command.
Displays the Cassette Manager dialog box, where you can create cassettes and edit their information.
This is equivalent to the
Output > Cassette Manager
command.
From the Harlequin RIP Genesis Release
™ this option displays the Imposition Manager dialog box, which allows you to create and edit Simple imposition setups. Pre-configured imposition schemes are provided as standard. Editing existing and creating new setups is a layered option and requires a password
Output > Imposition Manager
command.
Displays the Input Controller dialog box. Also, this button hides the controller if it is already displayed.
This is equivalent to the
File > Input Controller
command.
Displays the Media Manager dialog box, where you can set up automatic media management. This is equivalent to the
Output > Media Manager
command.
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Note: The
Device Manager
,
Separations Manager
,
Color Setup Manager
,
Calibration Manager
, and
Cassette Manager
buttons are also available from the Edit Page Setup dialog box.
2.4.3.2 Status area
The status area has three sub-areas: one shows what the input system and interpreter are doing, one shows what the output system is doing, and a final one shows the most recently used output device.
Figure 2.2 shows some typical contents of the status area.
1
2
3
4
Figure 2.2 The status area of the tool bar
The meanings of these example status bars are:
1 Idle
The RIP is not looking for jobs on its inputs.
2 Scanning
The RIP is looking for input but none is arriving.
3 Interpreting
The RIP is interpreting a job.
4 Printing
The RIP is sending a job to an output device.
In all these examples, the output device is the Preview device. The text can change to show other types of output, including output to graphics files and real printers and imagesetters.
This completes a brief description of the controls and status indicators in the Harlequin RIP.
If you want to try using the RIP, see Chapter 3, “Getting Started with the Harlequin RIP” on
page 53. If you want to stop the RIP, see “Stopping the Harlequin RIP” on page 50.
2.5 Menus affected by optional features
A number of commands and options in dialog boxes appear only if your copy of the
Harlequin RIP has been supplied with certain optional features and these are enabled.
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2.5 Menus affected by optional features
The major features that have this effect are:
• Harlequin ColorPro. See “ColorPro™menus” on page 49.
• Harlequin Screening Library (HSL). The visible changes are limited to new dot shapes
in the screening part of the Edit Style dialog box, as described in Chapter 6, “Screening”.
• TrapPro. See “TrapPro™” on page 49.
• Media Saving. See “Advanced Media Saving” on page 127.
• Simple Imposition Manager. See “The Imposition Manager” on page 276.
2.5.1 ColorPro™ menus
ColorPro is a color management system that can work as an integrated part of the Harlequin
RIP. If relevant options within ColorPro are present and enabled, the following commands appear. See the separate manual entitled Harlequin ColorPro User Guide for full details.
In the
Color
menu:
Color Rendering Intent Manager
This command allows you to create and edit custom color reproduction strategies in ColorPro. It appears only when the ColorPro option is enabled.
Color Setup Manager
A standard set of options is available with the Color Setup Manager without ColorPro including Black generation and Undercolor
Removal (UCR) control and color management override options.
When ColorPro is activated an extended set of options is available.
You can create and edit color setups including the selection of input and output profiles, rendering intents and press emulation.
Install ICC Profile
This command supports the use of industry-standard color profile files which enable portable definitions of the characteristics of printers, printing processes, presses, scanners, and other equipment. It appears when Harlequin ColorPro is enabled.
Uninstall ICC Profile
This command uninstalls ICC profiles and appears when Harlequin
ColorPro is enabled.
2.5.2 TrapPro™
TrapPro is an option for the Harlequin RIP that can be set up to perform trapping. If TrapPro is present and enabled, the following command appears in the
Output
menu. See the separate
TrapPro User Manual for full details.
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TrapPro Manager
This command displays a dialog box where you can inspect and create different sets of rules for trapping. These rules become available in the Trapping section of the Page
Setup dialog box. See “Trapping features” on page 386 for details.
Ink Set Manager
This command displays a dialog box where you can configure various types of ink including normal, opaque and transparent.
2.5.3 Media Saving
Media Saving is a layered option for the Harlequin RIP which is enabled using a password.
If Media Saving is present and enabled, the Media Saving option appears in the
Output
menu.
Media Saving
This option displays a dialog box where you can view the various flats being created
and view, roam or delete the various pages used to make up the flats. See Section 5.15,
“Advanced Media Saving” for details.
2.6 Stopping the Harlequin RIP
You can stop the RIP whenever you wish but you should keep it running as much as possible whenever you expect jobs to be input. There are very few cases where you must stop the RIP: for example, you must stop the RIP when you shut down the computer running the RIP or when you update your copy of the RIP.
The state of the RIP when you stop it is also the state that the RIP assumes when you next start it. For example, if you quit the RIP when inputs are active then the RIP restarts with the same inputs enabled.
2.6.1 Quitting the Harlequin RIP
If you are the only user of the RIP, all you must do is ensure that no jobs are in progress and choose the
Quit
command in the
File
menu. Take more care if there are other users, as described here.
If the RIP is providing a network service, warn the other users that there will be an interruption of service.
Disable output, by selecting the check box labeled
Disable output
in the Output Controller, if you are operating in either of the multiple modes. This shuts down the output cleanly, by allowing the current job to complete but not starting any other jobs. (When you restart the
RIP, output is re-enabled automatically, though you will have to answer a question if there are any jobs waiting to be output in the Active Queue.)
Wait for any active jobs to complete.
Leave the RIP settings in their usual state, unless you know that you will be making significant changes to the RIP, the computer, the network, or connected output devices.
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• If you leave settings unchanged, you need only restart the RIP to have it start responding to all its previous inputs.
• If you are making changes, you may prefer to disable inputs from other computers until you have restarted the RIP and proved that there are no resultant problems.
From the
File
menu, choose
Quit
(or press Command-Q) to exit the RIP.
2.6.2 Quitting the headless RIP
To quit the headless RIP a file containing the following PostScript Language code can be placed into a spool folder:
$printerdict /superstop /superstop put systemdict /quit get exec
Note: If a file containing this code is placed into a spool folder to quit the RIP, the file will not be automatically moved from that folder when the file is run. Therefore, you should ensure that the file is moved before attempting to re-start the RIP.
Alternatively, on Mac OS X Control-click the Harlequin RIP icon in the system dock and select Quit.
2.6.3 Stopping the computer
If you are also stopping the computer, exit any other applications and follow the usual procedure described in the manual for your computer or operating system.
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Getting Started with the
Harlequin RIP
Chapter 1 gave a broad overview of the kinds of tasks the Harlequin RIP can perform. In this
chapter you will learn how to process simple jobs, and how to switch between different configurations.
3.1 A simple Harlequin RIP session
Once the Harlequin RIP is installed and running on your machine, you can start to use it.
“Starting up the Harlequin RIP” on page 42 describes how to start the RIP and gives an over-
view of the menus and tool bar.
It is a good idea to start with a short test job and to view it on screen so that you avoid wasting materials. (Even when you are familiar with the RIP you should consider using such an on-screen test when processing a new kind of job for the first time.)
Note: This manual uses some conventions of font and style to describe special key combinations and to highlight the titles of programs and dialog boxes, options in menus and dialog
boxes, and text that we suggest you type. For details, see “Conventions” on page 6 in the
Preface.
3.1.1 Creating a Page Setup
First, you need to create a convenient Page Setup—a collection of settings that the RIP uses to process the jobs submitted to it:
1. Choose the
Page Setup Manager
option from the
File
menu. If you cannot choose this option, stop inputs to the RIP. To do this, click the tool bar button that shows a red arrow and traffic light, or choose the
File > Start Inputs
menu option.
2. In the Page Setup Manager, as shown in Figure 3.1, select a Page Setup.
Default Page
Setup is a safe choice: select it and click
Edit
to display the Edit Page Setup dialog box.
If you want to create a new Page Setup, the easiest way is to copy the
Default Page
Setup
. Select
Default Page Setup and click
Copy
to display the New Page Setup dialog box.
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Figure 3.1 Page Setup Manager dialog box
3. In the Edit Page Setup dialog box, shown in Figure 3.2, set the
Device
to
None and the
Vertical
Device
and
Horizontal
resolutions to something small, say 72 dpi. If you change the
, you must choose a separations style listed in the
Style
pop-up menu and, for some devices, a cassette name from the
Cassette
pop-up menu.
For the purposes of this example, you can select any option from these lists. For more
information about the options in this dialog box, see “Edit Page Setup dialog box” on page 90.
The
None device does not produce any printed output, but does perform all the neces-
sary processing for the job, including producing page buffers—as defined on page 429 in
the “Glossary”. This device can be used for testing and timing jobs, and is especially useful for previewing the job on screen.
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Figure 3.2 New Page Setup dialog box
4. Click
OK
. (Click
Save As
if you are working in the New Page Setup dialog box, and save the Page Setup as
Default Page Setup
; this changes the original Page Setup but it is convenient for use this name during this session.)
5. Click
OK
again to close the Page Setup Manager dialog box.
The Output Controller/Monitor window must be displayed for you to see the processed output for the
None device. If you cannot see this window: first choose the
Configure RIP
option from the
File
menu and check that the option shown against
Page buffering
is
Multiple (Parallel)
; then display the
Output
menu and look at (but do not choose) the option
Output Controller
.
If there is a check mark next to the menu option, the RIP is displaying the window but it may be hidden behind another window. The
Output > Output Controller
menu option can be used to toggle between opening and closing the Output Controller/Monitor. Each time that you open the Output Controller/Monitor it opens in front of all other RIP windows.
Note: The Output Controller is only available in either of the multiple page buffer modes.
You can also view a page in one of the single modes by setting the output device to
Preview instead of
None
. In the following description we assume that you are working in
Multiple
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(Parallel)
For the example job described next, make sure that you have deselected the
Disable output
check box in the Output Controller/Monitor. This box is selected by default, so that you can hold pages for on-screen viewing before sending the pages to real output devices.
3.1.2 Creating a simple job
You also need to set up a sample job. Usually, jobs are files created by another application, but you can create a simple job within the RIP, as follows:
1. From the
Fonts
menu, choose
Proof Fonts
. A window appears with a list of the available fonts, which the Harlequin RIP can use with any of its possible output devices. (See
Figure 3.3 Proof Highlighted Fonts dialog box
2. Select between one and six fonts. To select a range of fonts, click on the first font of that range and then hold down the
Shift
key when you click to select the last font.
3. From the
Page Setup
pop-up menu, select
Default Page Setup
.
4. Click the
Proof
button. Several things happen on screen, with some items appearing and quickly disappearing again:
• A
Print File
menu appears alongside the other RIP menu titles. This menu disappears when the job is complete.
• The status area on the right of the tool bar in the Harlequin RIP window shows an animated picture of a hand writing a page. “None” appears in the status area on the right. (When you use other output devices, you see other animations and
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names.) Note: If you cannot see the tool bar, use the
File > Tool Bar
menu option to display it. If you cannot see the RIP Monitor, use the
File > RIP Monitor
menu option.
• Text reporting the progress of the job appears in the scrolling text area of the RIP
Monitor window as the RIP starts the job and reads the necessary fonts.
• At least one progress dial window also appears and shows what is happening. For example, the Read Dial shows how much of the job the RIP has read and disappears when the RIP has processed the complete job. With a small job like this proof
and a fast computer, the Read Dial may not appear; Figure 3.4 shows the dial.
Other dials can appear, depending on the size of the job and the settings in your copy of the RIP.
Figure 3.4 Read Dial
Notice what happens in the Output Controller/Monitor window. A job called
1. fontlist appears in the list on the left, the
Active Queue
. After a few moments its name moves into the box at upper center of the window, to show that the RIP is processing it, and then to the
Held
Queue
on the right. (The job is called
1. fontlist
, to show that it is the first page of the fontlist job. This job is probably only one page long, unless you chose several fonts.)
3.1.3 Previewing the image on screen
This job has now been processed by the Harlequin RIP and sent to an output device. The output device you chose was
None
, a dummy device provided for test runs like this one and for previewing, so no physical printing has happened. However, you can look at an on-screen view of the page you have created:
1. Select the job in the
Held Queue
(by clicking), and then click the
Roam
button. A Roam window appears. Note that you can preview any page in the Output Controller.
The Roam window displays samples of the fonts you selected. (See Figure 3.5.) This window
also displays the title of the page,
1.fontlist
, the color of the page, and the resolution. The
Roam
menu appears to the right of the
Fonts
menu.
For most sizes of page, there are also horizontal and vertical scroll bars at the edges of the
Roam window. (The scroll bars appear only when the window is too small to display the whole page at one time.) When there are scroll bars, you can use them to move your view to different parts of the page image. Alternatively, you can drag the page image around by holding down the left mouse button when the cursor is over the image and moving the mouse. While you are dragging the image, the shape of the mouse cursor changes to a grip-
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Figure 3.5 Roam window
Note: When viewing a higher resolution image, the
Roam > Reduced Roam
menu option is probably available. It allows you to see more of the image in one view.
When you have finished inspecting the page preview, close the window. To do this, click the close box or choose the
Close
option from the
Roam
menu. Alternatively, you can use the standard methods for your operating system.
Note: You must close the Roam window (and the Reduced Roam window if you opened it) before you can roam another page.
3.1.3.1 Other pages in the job
If there are other pages in the job, the RIP has probably processed them in the time you spent inspecting the first page: if so, there are appropriate messages in the RIP Monitor window and new entries in the
Held Queue
on the right of the Output Controller/Monitor. Any following pages are called
2. fontlist
,
3. fontlist
, and so on. You can:
• View one of the processed pages by selecting it and clicking the
Roam
button.
• Stop processing any remaining pages by using the
Kill Current Job
option in the
File
menu. Any pages already processed stay in the
Held Queue
until deleted.
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3.1.3.2 Killing jobs and error messages
After killing a job and depending on what stage the job had reached, you may see a Post-
Script language error message in the RIP Monitorwindow. Error messages look similar to the following:
%%[Error: interrupt; OffendingCommand: interrupt; File: %disk0%tmp/fontlist]%%
Job Not Completed: fontlist
Such error messages are harmless if you stopped the job: they simply report that the job stopped before it was complete.
In other circumstances, an error message alerts you to a possible problem with a job. The details of the message may help a PostScript language programmer or your support organization to diagnose the cause of that problem.
3.1.4 Outputting to a real device
Your installation of the Harlequin RIP has probably been set up to be able to talk to a real printer or imagesetter and, if this is so, you can try sending some output to it. (If you do not have a suitable physical output device, try using
None again but vary the screen resolution to a value in the range 300 through 600 dpi, so that you can see more detail. Run another job
proofing fonts, then move to the next section, “Sending a job to the Harlequin RIP” on page
To send output to a physical device:
1. First display the
File
menu and choose the
Page Setup Manager
option (which this manual often describes as choosing the
File > Page Setup Manager
option).
2. In the Page Setup Manager dialog box, select
Default Page Setup and click
Copy
to display the New Page Setup dialog box. The New Page Setup dialog box is very similar
to the Edit Page Setup dialog box, shown in Figure 3.2 on page 55.
3. Select your preferred physical device from the
Device
pop-up menu.
Note: If the device is not listed in the
Device
pop-up menu, you may need to configure it using the Device Manager, available from the button next to the
Device
list and
described in Chapter 5, “Configuring Output Formats”. It is probably easier to use the
None device to do another screen preview.
4. Assuming that you have successfully chosen a physical device, set the resolution and any other required options in this New Page Setup dialog box. Note that if you change the
Device
, you have to choose a separations style from the
Style
pop-up menu and, for some devices, a cassette name from the
Cassette
pop-up menu.
5. Click
Save As
; the RIP displays the Save Setup dialog box. In the
Save As
text field type a name:
Default to Printer is suitably descriptive, so type that name then click
Save
.
Note: The Harlequin RIP limits all user created names or file names to 31 bytes. This is equivalent to 31 characters when using standard ASCII text, and 15 characters when using double-byte character sets, such as Kanji.
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6. Click
OK
to close the Page Setup Manager.
7. Choose
Media Manager
from the
Output
menu and select the
Disable media management
box. (You need to configure the media management before using it—that topic is cov-
ered in Chapter 9, “Media Management”.)
8. Now create a new sample job as before, by choosing the
Fonts > Proof Fonts
command and choosing some fonts from the Proof Highlighted Fonts dialog box.
9. From the
Page Setup
list, select
Default to Printer and click
Proof
.
The RIP displays the same indicators of activity: text in the RIP Monitor window, an animated picture, and one or more progress dials. Another fontlist job appears in the
Active
Queue
and a large, empty rectangle appears just above the center of the Output
Controller/Monitor and starts to fill with gray. This rectangle is known as the progress box.
Note that in either of the single modes, the progress box appears in a separate window.
This time, when the job is being processed, watch the two gray bars that successively fill the progress box, a light gray and a dark gray spreading from the top. The light gray bar represents the amount of data the RIP has processed; the dark gray bar represents the amount that has been sent to the output device (printer).
Note: The bottom edge of the light gray bar should always be ahead of (below) the dark gray. If the dark gray catches up, the page may not be output properly—it depends how the printer reacts to having to wait for data. In this case the RIP printer buffer has probably been set too small, and you should increase its size. You can do this in the Configure RIP dialog box available from the
File > Configure RIP
menu command. Typical sizes are in the range
4 MB through to 12 MB.
When the dark gray has reached the bottom of the progress box, the RIP has finished the job and the progress box clears. If the job was processed successfully, you can now pick it up from your output device. If the job does not output, or stops and starts while outputting, you may need to reconfigure the RIP or the host machine. (To help you identify a problem, the
RIP Monitor window displays and records any error messages.)
The Output Controller/Monitor provides another two useful facilities:
• If you want to reprint a page once it is in the
Held Queue
, you can do so easily: just drag it with the mouse back into the
Active Queue
. Try that with the top fontlist job now: it is sent again to the same device, which should be
None
. If you did the same to the other fontlist job (which was sent to your imagesetter or printer), the RIP would produce another hard copy.
It is very quick to output a page like this again, because it has already been processed once; the RIP stores the raster data, and just sends this data again to the relevant output device. By default, the RIP deletes processed jobs from the
Held Queue
only when it is necessary to free up disk space for new jobs.
• If you select a job and click on the
Info
button (or just double-click on the job), the RIP brings up the Throughput Info dialog box, which contains the settings for that particular job. You can change some of these settings before reprinting the job.
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3.1 A simple Harlequin RIP session
Note: If you are roaming a page, there are fewer available options in the Output Controller.
For example, you must close the Roam window (and the Reduced Roam window if you opened it) before you can roam another page.
3.1.5 Sending a job to the Harlequin RIP
You have seen how the Harlequin RIP processes a simple job, created within the RIP. Now it is time to see how to send a real job.
If you want to print a file, you can do so directly by choosing
Print File
from the
File
menu and specifying that file. Try printing a file now, if you have a small file available: for example, a PostScript language file. The RIP interprets the file and sends it to the printer or onscreen preview, according to the Page Setup that you choose in the Print File dialog box.
“Using the Print File command” on page 230 describes this method and the following sec-
tions describe other types of files that the Harlequin RIP can print.
Usually, however, you will want to let the RIP accept input directly from other applications.
We shall see how to do this using a spool folder or directory visible to other computers on
your network. For more details on supplying jobs to the RIP, see Chapter 8, “Configuring
3.1.5.1 Publishing a setup with AppleTalk
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
First, if you are outputting to an imagesetter and want to produce color separations, you should turn on HPS, Global Graphic’s proprietary high-quality screening system. To do this:
1. In the Page Setup Manager select the Page Setup that uses this output device—we suggested
Default to Printer
—and click
Edit
.
2. Click the
Separations Manager
button (next to the
Style
list) in the Edit Page Setup dialog box to open the Separations Manager.
3. In the Separations Manager select an appropriate style from the list, for example
CMYK
Separations (Halftone)
, and click
Edit
to open the Edit Style dialog box.
4. In the Edit Style dialog box, select the check box marked
Use Harlequin Precision Screening
—this enables a high-quality screening method (HPS). Click
OK
to save your change and close the Edit Style dialog box, and then click
Select
to close the Separations
Manager. The name of the style that you just edited appears in the
Style
list.
5. Click
OK
twice more to exit the Edit Page Setup and Page Setup Manager dialog boxes.
Because this may be the first time you have used this screening method, HPS has to cache
(save) information on disk; this may take a few minutes. This happens with each new resolution, dot shape, and screen frequency you use: the RIP displays a suitable progress dial as it caches each screen. For more information about the options in the Edit Page Setup dialog
box, see “Edit Page Setup dialog box” on page 90.
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To publish a printer on the network:
1. Choose
Input Controller
from the
Harlequin RIP
menu (or bring that window to the front if there is already a check mark against that menu option).
2. When the Input Controller dialog box appears, click
New
to display the Input Channel
Edit dialog box.
3. In the Input Channel Edit dialog box, choose a
Name
for the printer you are about to publish, say
Brill-O-Print
, and type it in. Select
AppleTalk from the
Type
menu list and select
Default to Printer from the
Page Setup
menu list. Make sure that the
Enabled
box is selected and click
OK
.
You can leave the Input Controller dialog box displayed or close it. See if there is a check mark in front of the
Start Inputs
option in the
Harlequin RIP
menu; if there is no check mark, choose this menu option. You will see a progress dial appear as the new setup is published.
Now go to a Macintosh computer elsewhere on your network, and try to print a document.
Among the available printers shown by the Chooser, you should now see
Brill-O-Print
. If you send a job to this printer, the RIP again displays the progress box filling with light and dark gray bars to show the job being processed in the usual way. The progress box is part of the Output Controller in either of the multiple modes, or a separate window in either of the single modes.
To disable a single AppleTalk input or other input temporarily, select it in the Input Controller and click
Off
. To remove an input permanently from the Input Controller, select the entry and click
Delete
.
See “Using the AppleTalk input plugin” on page 219 for more information.
3.2 A more complex use of the Harlequin RIP
You have seen how the Edit Page Setup dialog box lets you choose the output device and a variety of effects that control the appearance of the pages you display.
Many publishing environments deal with more than one kind of document. For example, suppose that you need to print a product manual in draft and final versions: draft documents need not be printed at a high resolution, but final versions should exploit the full printing quality of the output device.
The Harlequin RIP processes documents according to page setups. Each Page Setup specifies a complete page format in terms of the orientation, resolution, size, and so on; and provides
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3.2 A more complex use of the Harlequin RIP
3.2.1 Saving a Page Setup
To make and save a new Page Setup:
1. Stop inputs to the Harlequin RIP if necessary. In the
File
menu, make sure that there is no check mark in front of the
Start Inputs
option. Choose the
Start Inputs
option if there is a check mark: this stops inputs. Alternatively, click the
Stop Inputs
button in the tool bar.
2. Choose
Page Setup Manager
from the
File
menu or click the
Page Setup Manager
button in the tool bar. The Page Setup Manager dialog box appears, where you have two choices. If there is already a similar Page Setup, select it and click
Copy
to display the
Edit Page Setup dialog box. (If there is no similar Page Setup, click
New
to display the very similar New Page Setup dialog box.)
3. Edit the settings in the New Page Setup dialog box to give the configuration you want.
Click
Save As
.
4. The Save Setup dialog box appears, and you can specify a name for your new Page
Setup in the
Save As
text field. (See Figure 3.6.) Click
Save
to save the setup and return to the Page Setup Manager dialog box.
You can verify that the setup was saved under this name by looking at the entries in the
Page Setup Manager dialog box. Whenever you want to output a job manually you can use this setup by selecting its name in the
Page Setup
menu in the relevant dialog box: for example: the Print File or Proof Highlighted Fonts dialog box. You can also configure the Harlequin RIP to make named Page Setups available to jobs submitted by other users and applications, as described next.
Note: You can reorder the entries in the Page Setup Manager dialog box by selecting one or more entries and dragging with the mouse. The order in the Page Setup Manager is the order of appearance in menus where you choose a Page Setup—typically
when configuring a managed input (described in “Managing input plugins” on page
215) or interactively printing a file (described in “Using the Print File command” on page 230).
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Note: The order of page setups in the list is important in one other circumstance. From the Macintosh Finder, you can drag a file and drop it onto the Harlequin RIP icon to make the RIP print the file. When printing a dropped file, the RIP always uses the page setup at the top of the list in the Page Setup Manager.
Figure 3.6 Save Setup dialog box
3.2.2 Associating a Page Setup with an input
Creating and saving Page Setups also allows you to make a published printer use a specific
Page Setup: this allows all users of the RIP to choose a suitable Page Setup for a particular job by choosing the associated printer. Try the following to see how this works with just two published printers on the network:
1. Display the Page Setup Manager. Copy the Page Setup
Default to Printer
—select it and click
Copy
. In the New Page Setup dialog box, make no changes, just click
Save As
.
Give this Page Setup the name
Pos
.
2. In the Page Setup Manager, select
Pos and click
Copy
to make a copy and start editing that copy. In the
Effects
section of the New Page Setup dialog box, select the
Negative
check box and click
Save As
.
3. Save the new Page Setup with the name
Neg
. Click
OK
to close the Page Setup Manager.
4. Display the Input Controller and create two new AppleTalk devices, as before, called
Pos-O-Print and
Neg-O-Print
. While using the Input Channel Edit dialog box, select the Page Setup
Pos for
Pos-O-Print and
Neg for
Neg-O-Print
.
Once you have enabled the new inputs, and used
File > Start Inputs
, the RIP publishes the two new printers on the network. Sending a job to
Pos-O-Print causes it to be output as normal, while jobs sent to
Neg-O-Print are output in negative.
You can publish several more inputs to the Harlequin RIP, each with different Page Setups.
As well as changing the
Negative
setting, you can change the output device, output resolution, rotation, screening strategies, and many other settings.
3.3 Using the Harlequin RIP with a spool folder
Using a Spool Folder input, you can configure the Harlequin RIP to print files placed into a common folder, usually one accessible from other computers on your network. This means
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3.3 Using the Harlequin RIP with a spool folder
that various users or applications can write files into a spool folder. The RIP repeatedly checks this folder, and when it finds a new file, it processes the file. The RIP deletes each file from the spool folder after printing it but, using the Spool Folder Configuration options, you can instruct the RIP to save the file in another folder after printing.
The RIP associates each spool folder with a Page Setup, giving the benefits described in
Section 3.2, “A more complex use of the Harlequin RIP”, when the RIP was published as a
network printer. In particular, you can define several spool folder inputs, each with a different Page Setup, to match the needs of different users or applications. (If you find it convenient, you can use the same Page Setup with a spool folder and other types of input.)
To define a spool folder, follow these steps:
1. Choose
Input Controller
from the
File
menu (or bring that window to the front if there is already a check mark against that menu option). When the Input Controller dialog box appears, click
New
. In the Input Channel Edit dialog box, choose a
Name
for the output device you are about to publish, say
SpoolPrint
, and type it in. Choose
SpoolFolder from the
Type
menu and for
Page Setup
choose an appropriate Page Setup.
Click
Configure
to specify the folder. The default folder is called
Spool in the
SW folder.
box by clicking
OK
.
2. In the Input Channel Edit dialog box, select the
Enabled
box and click
OK
to exit. If necessary, choose
Start Inputs
from the
File
menu. You will see a dial appear as the new setup is published.
This starts the spool folder and any other enabled inputs. If there are files already in the spool folder, the RIP asks if you want to start by printing them. Files that are put into the folder after this input is enabled are rendered and printed in order of arrival in the folder.
Note: The RIP may fail to publish a spool folder input. If so the relevant entry in the
Status
column of the Input Controller dialog box shows
Stopped
. The most likely reason is that you have tried to use a folder already in use by another spool folder input: return to the Spool Folder Configuration dialog box and choose a new folder.
3. When you want to stop running the spool folder (and all other enabled inputs), choose
Start Inputs
in the
File
menu again.
To disable a spool folder temporarily, select it in the Input Controller and click
Off
. To remove a spool folder’s entry in the Input Controller, select the entry and click
Delete
. (Removing the entry does not remove the associated folder on disk, nor any contents of that folder.)
Note: Even though PostScript Language compatibility level 1 is rarely used, you should note that the spool folder plugin does not work with Page Setups set to PostScript Language com-
patibility level 1. See “PostScript language compatibility level” on page 152 for more infor-
mation. If this is attempted an “undefined” on “findresource” error will occur.
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3.4 Monitoring the Harlequin RIP
The RIP Monitor window shows the progress of jobs through the Harlequin RIP. The text displays information about timing, errors, job completion, fonts, and other messages.
To see this window if it is not visible, select
RIP Monitor
from the
File
menu. Alternatively, hold down the Command key and press M: that is, type Command-M. Repeat this command to hide or redisplay the RIP Monitor window.
Figure 3.7 shows some example messages in the RIP Monitorwindow.
Figure 3.7 RIP Monitor window messages
The RIP Monitor window displays only messages since the start of the RIP session and can display the last 32,000 characters of these messages. (Within this limit, you can scroll back to inspect the messages for old jobs: the window scrolls back to the end when new text appears.) In Multiple (Parallel) mode—the default page buffer mode—timings require careful interpretation, because the RIP may be outputting and interpreting jobs at the same time.
Also, if the RIP has to pause (for example, to wait for disk space to be freed), the timings may be misleading because of the variable time spent freeing space.
The RIP adds a copy of all the messages appearing in the RIP Monitor to a file, called
LOG-
FILE
, in the
SW folder.
The size of the log file can be restricted by editing the
GeneralPreferences text file found within the
Config folder in the
SW folder.
By changing the value of
/MaxLogfileSize to any value other than
0 will specify the maximum size of the file in bytes. When this maximum value is reached
LOGFILE will be changed to
LOGFILE.OLD
.
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3.4 Monitoring the Harlequin RIP
The size of the file is checked when the RIP is started and each time a message is written to the file. Only one
LOGFILE.OLD
is retained. Therefore, you must be aware of the size of the log files and rename them to keep all messages.
Note: You will only see messages that have been added to the log file since you started the current RIP session. To view the entire contents of the log file including messages from any earlier sessions, you must use a text editor.
The log file is an important source of information when difficulties arise. Refer to it if you have any problems.
Note: From Eclipse Release SP3 Font backup no longer backs up logfiles with the prefix
LOG-
FILE
. Thus copies of logfiles whose names do not start with
LOGFILE will be included in font backup files.
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4
Harlequin RIP Output Methods
This manual uses the term throughput to mean the productivity of your RIP workflow— how much work you are completing in a given time. The Harlequin RIP provides a comprehensive set of tools that allow you to maximize your throughput.
4.1 Historical overview
The Harlequin RIP is able to overcome many of the problems which have beset other interpreters and renderers for page description languages.
RIPs have traditionally operated in a serial fashion—that is, the RIP processes a page of the
PDL and then outputs it, then processes the next page and outputs it, and so on.
The Harlequin RIP can operate in this manner. This approach to processing (which includes both interpreting and rendering) and output is usually adequate with low to medium resolution devices.
However, with higher resolution devices this approach becomes wasteful, because periods are spent with the output unit idle while the RIP is working, and then with the RIP idle while the output unit is working. The RIP allows you to overlap processing and output for greater throughput.
Also, if you need to change cassettes or deal with a printer fault or media jam, most RIPs must wait until the fault is cleared before they can output the current page and continue. If you are processing a long job and a fault occurs, it must be reinterpreted once the fault has been detected. For an overnight job, the fault will probably not be detected until the morning, in which case a lot of time will have been wasted.
The Harlequin RIP overcomes these limitations by allowing you to choose one of four different modes of operation.
4.2 Page buffering modes
Depending on the job involved, and the configuration of your hardware, you can choose whichever mode is most suitable and overcome many of the problems described above.
There are two general methods of operation in the RIP—multiple and single. Multiple modes allow you to write each interpreted page to disk, ready for later printing and reprinting. Sin-
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Harlequin RIP Output Methods
gle modes only interpret one page before printing must occur (and hence make the RIP operate in a more traditional manner).
The four specific modes are: Single, Single (if required), Multiple, and Multiple (Parallel). Table
4.1 introduces and compares these modes.
Table 4.1 Comparison of page buffer modes
Mode Behavior
Single (if required) Only buffers a page to disk if the page is too complex to process in working memory— deletes this buffer after printing.
Otherwise, sends output directly to the output device.
Single
Multiple
Always buffers a page to disk before printing it.
Deletes the page after printing.
Always buffers a page to disk before printing it.
Retains on disk all pages created for a job, for ease of reprinting.
Multiple (Parallel) Always buffers a page to disk before printing it
Retains on disk all pages created for a job, for ease of reprinting.
Sends interpreted pages to the output device while interpreting other pages at the same time.
Note: For normal use, you should use Multiple (Parallel) mode. This gives the best overall performance from the RIP and the best control over every page processed. The RIP uses this mode by default.
Refer to Chapter 7, “Configuring the RIP”, for details of how to select different page buffer-
ing modes in the RIP.
4.2.1 Page buffering modes for the headless RIP
When run as a headless RIP the page buffering mode is automatically changed to
Single
(if required)
.
From the Harlequin RIP Genesis Release v7.1 the page buffering mode can be changed from
Single (if required) to one of the other available throughput modes. This can only be done programatically using a PostScript language file or via the SOAR interface.
4.2.2 Operating modes
Figure 4.1 presents an overview of the behavior of the Harlequin RIP in the single and multi-
ple modes.
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4.3 The throughput system
When the RIP is in either of the single modes, it sends each page straight to the output device once it has been interpreted. If the RIP buffers a page to disk, that page buffer is deleted once the page has been printed.
Jobs
Single Modes
Interpreter
....../manualfeed exch def
/paperheight exch def
Multiple Modes
Interpreter
....../manualfeed exch def
/paperheight exch def
Jobs
Page buffer file
Page buffer files
Output device Output device
Figure 4.1 How the Harlequin RIP behaves in Single and Multiple Modes
When in one of the multiple modes, pages are always buffered, and they are not usually deleted (until disk space is required for new pages) so they can be reprinted at a later point.
The throughput system tools can be used to oversee printing—allowing a range of benefits,
which are described below. See “The throughput system” on page 71.
Note also that when in Multiple (Parallel) mode, interpretation can take place at the same time as outputting an earlier page to a printer or imagesetter, but this is not true of either of the single modes. This is not illustrated in the diagram.
Even though the increase in job throughput is significant when in Multiple (Parallel) mode, there may be cases—usually because of hardware limitations—when you will need to use one of the other modes provided. For example, you may not have enough disk space to store any page buffers, or the combination of a slow disk and an output device with a high data
4.3 The throughput system
This section describes the Output Controller, which is the central part of the throughput system, and discusses how it can be used to increase throughput. The Output Controller is
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The Output Controller gives you powerful facilities for controlling any jobs output by the
RIP. These include:
• Reprinting without reinterpreting the original page description.
• Changing the order of the pages to be printed.
• Control over a variety of page characteristics without reinterpreting the page description.
• Aborting any page before it is completely printed.
4.3.1 Output Controller
To display the Output Controller (if it is not already displayed), select
Output Controller
from the
Output
menu, or type Command-O. It will appear as a separate window on your screen,
as shown in Figure 4.2. If you want to remove it, choose the menu option again. By default,
the Output Controller is displayed when you start up the RIP.
Figure 4.2 Output Controller / Monitor dialog box
4.3.1.1 The Active Queue and Held Queue
The
Active Queue
and
Held Queue
in the Output Controller can contain a number of items, each representing a page of output.
The
Active Queue
contains pages which are currently queued for printing. Pages listed at the top of the
Active Queue
will be printed first.
The
Held Queue
contains pages which are being held on your hard disk. They may have
The number of items in a queue, together with the amount of disk space they use, is displayed below each queue.
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4.3 The throughput system
If a page is currently being printed, it is shown in the box at the top of the Output Controller between the
Active Queue
and
Held Queue
.
As pages are printed, there is a constant flow from the
Active Queue
to the
Held Queue
. After a page has been interpreted, it will be placed at the end of the
Active Queue
, printed in its turn, and then transferred to the
Held Queue
where it will be retained until disk space is
needed for new pages, when it will be automatically deleted. This is illustrated in Figure 4.3.
3. Place page buffer in
Active Queue
4. Print page buffer
5. Retain page buffer in
Held Queue
2. Interpret job
1. Issue print command
Figure 4.3 Flow of a page buffer between the active and held queues
4.3.1.2 Interrupting output
The
Disable output
check box can be used at any time to stop printing. When it is selected, pages will remain in the
Active Queue
until you clear the check box to resume the printing.
Disable output
does not stop the current page printing, if there is one. To stop a page while it is printing, drag the page name from the top box into the
Held Queue
or
Active Queue
.
If pages are interpreted while output is disabled, the new pages created are added to the
Active Queue
as normal. Disabling output does not prevent you from processing jobs.
You will find
Disable output
useful if you need to renew the media in an output device, or if there is a fault on a device, but you wish to continue interpreting and preparing more pages for output.
The RIP automatically disables output when certain errors occur, for example if a device determines that the wrong cassette is mounted.
4.3.1.3 Moving page buffers
You can move any of the pages shown in the Output Controller between the
Active Queue
and
Held Queue
by selecting and moving them with the mouse.
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To move a page buffer, do the following:
1. Select the desired file.
2. Holding down the mouse button, drag the file between the queues.
The selected page will move with the mouse pointer and enter the list at the position where you release the mouse button.
Shift
If you wish, you can move a block of several pages at once. To select a block, select the first one, then hold down the Shift key and select the last one.
You can also select several page buffers which do not form a contiguous block. Hold down the Command key while selecting the page buffers.
You can reprint or abort a job, or reorder the pages in the queue, easily and quickly, by moving the pages between the queues, as follows:
• To reprint a page, move it from the
Held Queue
to the
Active Queue
.
• To stop a page before it is printed, move it from the
Active Queue
to the
Held Queue
.
• To abort the page that is currently being printed, move it from the box between the queues to the
Held Queue
.
• To change the order of the pages in a queue, move them within the queue.
• If you are moving a lot of pages at once, disable output first to ensure that none of them are inadvertently printed before you are able to move them.
4.3.1.4 Page buffer information
Information about each page is displayed in the
Active Queue
and
Held Queue
. Refer to
Figure 4.2 on page 72 to see examples of this. The following items of information are dis-
played:
• The delete permission for each page.
• Whether or not the page was created by an older version of the RIP.
• The page number of the original job.
• The original job name.
• The color for printing the page.
The delete permission for (or origin of) each page
You can configure the RIP so that it automatically deletes pages once they have been printed, or when space on the hard disk is low. However, you can still retain an important page by
changing its delete permission. See “Deleting buffered pages” on page 77, for details on
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deleting pages automatically, and “Operations on buffered pages” on page 78, for details on
retaining important pages.
The mark, if any, to the left of each page in the
Active Queue
and
Held Queue
indicates its delete permission.
♦
—The page is locked and cannot be deleted automatically
—(no mark) The page is unlocked and can be deleted automatically
<
—The page was created in an earlier version of the Harlequin RIP
Note: The mark (
<
) in front of the name of an older buffer is there to remind you that there
The page number of the original job
The page number of the original job from which the page buffer comes is displayed on the right of the delete permission.
For example, if you are producing separated CMYK color, the RIP produces four monochrome pages for each original page of the job. The first four pages represent the Cyan,
Magenta, Yellow, and Black separations for the original page 1. The next four represent the
CMYK separations for the original page 2, and so on. Separated pages produce pages with the original number labeled by color. Thus the four separations for page 1 are called
1. Jobname (C)
,
1. Jobname (M)
, and so on.
If you only print a range of pages from a document, they are labeled in the original job from
1 upwards, rather than with the true page number in the document. For example, pages 3 through 7 of a document are labeled from 1 through 5 in the job.
The original job name
The name to the right of the page number is the job name. This is not necessarily the same as the file name of the job.
If the job name for a PostScript language job is not specified in the page description, then one of the following will apply:
• If the input came from a file, the file name will be used.
• If the input came from the Executive, then the value of
%exec% will be used.
• If the input came from an AppleTalk network, then the value of
%ip:atalkname% will be used. The
atalkname
is the AppleTalk printer it came from.
For other types of jobs, the file name will be used.
The color for printing the page
Color separation pages in the Output Controller are labeled with their separation name (for example:
C
,
M
,
Y
, or
K
; or the spot color name), or
Composite if there are several colors on one page, for example when using the
PackDrum page feature. (
PackDrum is intended for use
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with drum imagesetters, and it is an example so you must add it before use, as described in
4.3.1.5 Monitoring progress
The Output Controller can be used to monitor the progress of each page as it is printed: the large box between the two queues gives you an indication of the progress of the job. As soon as a buffer begins to print, the shape of this progress box changes to reflect the aspect ratio of the page. For instance, if it is a portrait page, the box will have greater height than width, and if it is a landscape page, it will be wider than it is high.
As the page is printed, the box starts to fill from the top with a light gray pattern, followed
by dark gray. Figure 4.2, page 72, shows this happening.
• The amount of dark gray in the progress box indicates the proportion of the job that has already been printed.
• The amount of light gray in the progress box indicates the proportion of data currently in the printer buffer, waiting to be printed.
• The amount of white space in the progress box indicates the proportion of data not yet printed and not yet buffered.
• When the progress box is completely filled with dark gray, the page has finished printing, though margins and extra feeds may require a few more seconds.
In addition, the time taken for the current page buffer is displayed in the message area below the progress box.
Some printers may also buffer the data internally, so they may not start printing until some or all of the data has been received.
The message area and the progress box are both used to display additional information when problems arise. For example, if your printer becomes low on media, an icon will be
displayed in the progress box, together with an appropriate status message. See Appendix
A, “Troubleshooting”, for a full description of these error messages.
Note: In either of the single modes, the Output Controller is not available and the progress box appears in a separate window.
4.3.2 Job management
The Output Controller gives you control over a variety of page attributes. Using the Output
Controller you can for example:
• Ensure that certain pages will never be automatically deleted.
• Specify the number of copies of any page to print.
• Change individual page characteristics without having to interpret the job again.
There are two general methods of controlling these attributes: configuring the RIP so that it carries out certain tasks automatically, and changing them yourself.
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4.3.2.1 Deleting buffered pages
When the RIP is in either of the multiple page buffering modes, pages are kept buffered on disk. When the hard disk fills up, however, there is no room for new pages, and so the RIP cannot interpret any further jobs. To proceed, the RIP deletes some existing pages to make room for new ones.
The pop-up menu labeled
Delete
in the Output Controller lets you specify one of three strategies to follow. Choose whichever option you prefer.
• The default strategy is
When necessary
. As disk space is required for new page buffers, the oldest ones will automatically be deleted from the
Held Queue
. Pages which
have been locked will not be deleted. (See “Locking important pages” on page 79, for
details of how to lock pages.) The amount of hard disk space currently available is displayed at the bottom of the Output Controller, so you can tell when old page buffers are likely to be deleted. (The number displayed does not include any space you have
reserved for the system—see Chapter 7, “Configuring the RIP”).
• Choosing
Always will cause pages to be deleted immediately after they have been output. This means that page buffers will never be retained for reprinting, unless they
Always from another strategy, any unlocked pages in the
Held Queue
will be automatically deleted if you answer yes to a prompt.
• Choosing
Never will cause pages to be locked as soon as they have been output, which means that they will never be deleted automatically. If this strategy is used for long periods of time, the hard disk will eventually fill up, and no more jobs will be processed until you manually remove pages or otherwise create more disk space.
Note: The option
When necessary offers a good way to retain newer page buffers and manage disk space automatically. If you choose
Never or
Always for some special purpose, we strongly suggest that you return the setting to
When necessary as soon as possible—the RIP remembers and uses the option you choose for
Delete
, even between RIP sessions.
In
When necessary and
Always modes, it is possible for the RIP to get so far ahead of the output device that the disk becomes filled with pages in the
Active Queue
. In this case, the
RIP will temporarily suspend creating more pages until some of the existing ones are output and can be deleted to allow it to continue. The RIP Monitor window displays a message warning that the system has temporarily run out of disk space.
If disk space runs out when there are no pages that can be removed and no pages still to be output, the RIP will continue anyway, and if the disk reserve is used up then it will abort the job.
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4.3.2.2 Operations on buffered pages
There are a number of useful tasks that you can perform on buffered pages, as listed below.
Some of the options are only available for pages which are not currently being output or when no pages are being output.
Using the lists of page buffers, and the
Roam
button, you can:
• View pages on the screen.
• Select several color separations and view them on the screen.
Using the
Info
button and the Info dialog box, you can:
• Lock and delete page buffers.
• Print multiple copies of page buffers.
• Change a page to print in negative or vice versa.
• Change the exposure with which page buffers are printed.
• Trim excess white space from the output.
• Select the output device and cassette for page buffers (when appropriate).
• Set margins and center the page on the media (when appropriate).
• Change the colors used to Roam page buffers.
You can apply these changes to the selected page only, or to all the pages of a job.
These options are available in the Info dialog box. (Some options can be unavailable: either temporarily while you are Roaming a related page buffer or permanently because the output plugin requires particular settings.) Display the Info dialog box by selecting a page and pressing the
Info
button, or by double-clicking on the page.
Note: The mark (
<
) in front of the name of an older buffer is there to remind you that there
4.3.2.3 Viewing pages with the Roam function
You can view one page or several pages or separations at the same time.
By selecting one page buffer and clicking
Roam
, you can preview the selected page. This prevents wasted film and time by letting you check that an image has processed correctly before it is printed. While roaming a page, the RIP is still able to process other jobs, but not to output them. You cannot roam a page while the RIP is outputting, so you should disable output when using
Roam
.
To roam more than one page at once, select all the pages you wish to view and click
Roam
; the selected pages will be overlaid in the Roam window. For example, this allows you to preview all separations of a color image together. Remember, you can select several buffers using the Shift and Command keys.
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When viewing a higher resolution image, the
Roam > Reduced Roam
menu option is probably available. It allows you to see more of the image in one view. You must close the Roam window (and the Reduced Roam window if you opened it) before you can roam another page.
For more details about the Roam function see “Roam and Preview windows” on page 97.
4.3.2.4 Locking important pages
To lock a page buffer so that it is not deleted by the RIP when disk space is low, select the
Don’t delete page
check box in the Info dialog box. Page buffers which have been locked in this way are displayed in the Output Controller with a mark on the left of the job name, as
Figure 4.4 Info dialog box
You can delete any buffers from the hard disk—whether locked or not—by selecting them and clicking on the
Remove
button in the Output Controller. A warning dialog box appears which lets you cancel the operation if necessary.
4.3.2.5 Printing multiple copies
Multiple copies of any page buffer can be printed by specifying the number of copies required in the
Copies to print
text box of the Info dialog box for the appropriate page buffer.
The next time that buffer is printed, the specified number of copies will be produced, with the number in the
Copies to print
text box reducing with each copy until the value is
1
. The
Copies printed
value keeps count of how many pages have been printed in total.
4.3.2.6 Printing in negative
You can produce a negative copy of a positive page buffer or a positive copy of a negative page buffer by selecting the
Negative
check box in the Info dialog box. The default value taken by this option is the one specified in the Page Setup for the selected job; for instance, if the Page Setup specifies negative printing, you can use this option to produce a positive
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copy. See Chapter 5, “Configuring Output Formats”, for details of Page Setups and how
they are defined.
Note: If you have calibrated your output device, selecting this option from the Info dialog box may produce incorrectly calibrated output. If so, select the
Negative
option in the Edit
Page Setup dialog box instead, and output the job again.
4.3.2.7 Trimming blank space
You can trim white space from the top and bottom of a page by selecting the
Trim page
check box in the Info dialog box. The default trim page setting is specified in the Page Setup for the
selected job. See “Other options that save media” on page 135, for details. Trim page is
switched off as a default.
4.3.2.8 Changing the output device or cassette
You can change the selected output device or cassette for a page by choosing the one you want in the
Output device
or
Cassette
pop-up menus of the Info dialog box. Next time the page is printed, the new output device or cassette will be used. The default value taken by
Only output devices suitable for the page buffer are shown in the Info dialog box.
4.3.2.9 Changing the exposure
If an appropriate output device is selected, you can change the exposure for the selected page. Type in the new value in the
Exposure
text box of the Info dialog box. Next time the buffer is printed, the new exposure value will be used. You should consult the documenta-
tion for your output device to find appropriate exposure values, and also see Chapter 12,
4.3.2.10 Changing the color
You can specify the color of a job separation to roam from the Info dialog box. Click the
Change roam color
When roaming color images, this lets you assign different colors to different separations and view the resulting image without having to interpret the job again.
4.3.2.11 Specifying page layout
You can change a variety of margin settings for a page buffer by clicking
Page layout
in the
Info dialog box. The Page Layout dialog box will then be displayed, as shown in Figure 4.5.
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It is the same as the Page Layout dialog box that you can display by clicking
Page layout
in
the Edit Page Setup dialog box, as described in “Default page size” on page 136.
Figure 4.5 Page Layout dialog box
This dialog box allows you to change the margins for the selected page buffer. Type the margin size you want into the appropriate text boxes. You can choose the units of measurement you require from the
Select units
pop-up menu. In addition, you can center the selected page on the media by clicking on the
Center page on Media Width
and
Center page on Media Length
check boxes. The default value for each option is taken from the Page Setup for the selected page buffer. If you override any of these values, they will take effect next time you print the page buffer.
Some of the fields in the Info dialog box may not be editable, depending on the type of device.
Note: When
Centre page on Media Length
and
Centre Page on Media Height
are enabled the left and top margin values are set to zero. In other words, the RIP does not clip when those options are turned on. The page buffer ignores the margin when the “centre” options are turned on.
4.3.2.12 Changing attributes for the whole job
Each of the options described above only affects the selected page buffer. However, many jobs consist of more than one page, and very often you will want to make the same changes to all of the page buffers produced by the job, not just one. Making changes to each buffer individually can be tedious, if not impractical, so an option is available which allows you to change all the page buffers produced by a job at once.
To propagate changes in the current page to all other pages produced by the job, make your changes for one page buffer then select the
Change all pages in job
check box in the Info dialog box before clicking
OK
to close the dialog box. This change affects pages in both queues.
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If the current page is from a job currently being processed and pages are still being created, the new pages will get the new attributes if this option is selected.
4.3.3 Page buffers produced by older versions of the Harlequin RIP
The Harlequin RIP can read and print page buffers created by older versions of the RIP. The newer installation of the RIP must have an output device that matches the output device used to create the page buffers. There are some limitations on what you can do with earlier versions of page buffers, depending on the way in which you access the older page buffers.
There are several ways to use older page buffers with a newer version of the RIP:
• You can copy the older page buffers into a special transfer folder used only for that purpose by the newer version of the RIP. This is the safest method because it avoids any interaction between the two versions of the RIP, but it uses more disk space and requires you to manage two page buffer folders in the newer version. Choose
File >
Configure RIP
, then click
Change
to change the folder used to hold page buffers.
• You can copy the older page buffers directly into the page buffer folder used by the newer version of the RIP. You may need to restart that version of the RIP before the
RIP displays the page buffers.
Warning: Take care not to copy page buffers with the same file names as ones already in the destination folder.
• You can leave the page buffers in the page buffers folder of the older version of the
RIP. In the newer RIP version, choose
File > Configure RIP
, then click
Change
to change the folder used to hold page buffers.
Note: If you use Reduced Roam on a page first in the newer version of the RIP, this prevents you using Reduced Roam on that page in the same folder when using the older version of the RIP.
You can inspect the information displayed in the Info or Page Layout dialog boxes for an older page buffer but you cannot change anything. The main consequences are that you cannot change the number of copies to be printed and you cannot change the permission for automatic deletion.
You can Roam older page buffers without any problems beyond a small color change, which is most pronounced in continuous tone, unscreened page buffers.
4.4 Advanced details of page buffering modes
This section gives more details about each page buffer mode. As mentioned earlier, you should use Multiple (Parallel) mode whenever possible, but if this proves difficult, you can
Recall that a page is buffered to disk into a file of rasterized data, produced as the RIP interprets the data on the page. When the page has been interpreted, the data in the buffer file is sent to the output device and printed.
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Using buffers on disk means that complex pages can be interpreted without requiring large amounts of working memory.
the RIP in different modes.
4.4.1 Multiple (Parallel) mode
Multiple (Parallel) mode is a highly efficient way of increasing throughput, utilizing your computer to the full, and is the recommended mode for most cases. However, if you have an output device that can stop / start, you may want to use the Single (if required) mode, especially if the data rate of the printer is high.
Interpretation of pages can proceed while other, already interpreted, pages are being output.
In addition, multiple page buffers are created and saved on disk in this mode. These are not deleted after the pages have been output, allowing pages to be reprinted whenever necessary. This is extremely useful if a problem such as a developer jam occurs with the output device.
All the available processor time on your machine is used in this mode—priority goes to the task of sending bitmap data to the output device, and any processor time not used in that way can be used to interpret the next page of data.
It is possible for several pages to have been written to disk, but not yet sent to the output device. This may occur if there are pages which are quick to interpret, or if the printer is relatively slow or is not ready.
Eventually, of course, this will fill up the hard disk. When this happens, interpretation is suspended until enough pages have been output and deleted, or disk space has been freed up by another application. When the disk fills up, the RIP Monitor window displays this message:
System warning: Insufficient Disk Space
In Multiple (Parallel) mode, you can customize the RIP so that when disk space runs out, it
automatically deletes pages which have been output. See “Deleting buffered pages” on page
4.4.2 Multiple mode
In Multiple mode, like Multiple (Parallel) mode, page buffers are kept on disk. (This is in contrast to the single modes, where only one page can be held on disk at a time.) Before reprinting, the Output Controller can be used to change many characteristics of the interpreted pages, meaning that time is not wasted in interpreting jobs again.
As in Multiple (Parallel) mode, it is possible that the hard disk will become full—you should ensure that page buffers are deleted when necessary to free up disk space. You can let the
RIP delete pages for you, preserving important pages which you do not want deleted, or you can delete page buffers yourself whenever you want.
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The main difference between this Multiple mode and Multiple (Parallel) mode is that interpreted pages cannot be output while other pages are being interpreted.
In Multiple mode, when a page is ready, interpretation is suspended until it has been output, in a similar fashion to the way the single modes operate. The advantage of Multiple mode over either of the single modes is that, because multiple page buffers can be written to disk, interpretation can continue even if the output device is not ready to accept data (for instance, if there is a media jam or if it has been turned off).
Multiple mode should be used if you experience a lot of data underrun in Multiple (Parallel) mode. This is only likely to happen with very complex jobs or an output device that requires data to be supplied at a very high speed.
Note: Data underrun occurs when an output device does not receive data to print at a fast enough rate. Some devices will signal an error and stop when this occurs. Others may continue to feed through media—with the consequence that large bands will appear in the output. Still others will attempt to stop and restart. This may result in a loss in quality of the image, and in any case is likely to be slower. For more information about using the Harle-
quin RIP with such printers, see “Using a printer that can stop / start” on page 201. See also
“Printer buffer size” on page 205.
4.4.3 Single mode
When running in this mode, the RIP interprets a page of a job and sends it to the output device, then interprets the next page and sends it, and so on, until all the jobs specified have been printed.
Note: To run successfully in Single mode, as in Multiple mode, it is important that the RIP can send data to the output device as quickly as the output device requires it.
In this mode, the RIP always creates a single page buffer, sends the data in it to the output device, and then deletes the page buffer to make room for the next one. This means that you cannot use the throughput system tools.
By default, if a data underrun occurs and data cannot be read from the page buffer fast enough to keep up with the printer, the RIP tries once more to output the page and, if it still fails, aborts the job.
Note: The RIP does not display the Output Controller/Monitor in Single mode and Single (if required) mode.
In this mode, the
Output
menu contains a
Hold and Reprint
option. (You can also select this option by pressing Command-H.) Selecting this option allows you to choose whether or not to reprint each following page without having to reinterpret it. This can be used to print more copies of a page.
When you have selected the
Hold and Reprint
option, the RIP displays a dialog box at the end of processing each page—asking if you want to reprint the page. You can answer:
Yes
, in which case the RIP reprints the page and re-displays the dialog box; or
No
, in which case the
RIP deletes the page buffer and interprets the next page.
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Note: As a side effect of using
Hold and Reprint
, the RIP displays a harmless error message in the RIP Monitor window:
%%[PrinterError: re-print for hold and re-print]%%
4.4.4 Single (if required) mode
This mode is similar to Single mode, except that a single page buffer will be created only
when it is necessary. The RIP will attempt to output a page to the printer without using a page buffer at all, but will create one in either of the following cases:
• It is not possible to interpret the page quickly enough to keep up with the printer, and the printer does not have a stop and restart function.
• All the available working memory on your computer has been filled by interpreted data before the page has been completed.
In the second case, the interpreted data is placed in a page buffer, thus freeing memory. More data is interpreted, and when memory is exhausted again the data is merged into the original page buffer, and memory is again available to continue the job. This process continues until all the data for the page has been interpreted, at which point the data in the page buffer is sent to the chosen output device, as for Single mode.
This mode is very productive but robust where there is an unpredictable mix of simple and complex jobs, and is especially useful when most jobs are relatively simple. It is productive because the RIP processes the simple jobs without creating disk buffers and achieves maximum throughput for these jobs. It is robust because, when a job is complex enough to require buffering, the RIP creates and then sends the page buffer: this takes some extra time but the time is taken only when required.
In some cases, Single (if required) mode provides the quickest way to output a job.
The
Output
menu, contains a
Hold and Reprint
option, as described for Single mode.
4.4.5 Multiple (Parallel) compared to Single (if required) mode
The preferred mode for maximum performance and convenience is Multiple (Parallel) mode. The Single and Multiple modes will always be slower than Multiple (Parallel) mode: they are available only to help you cope with very demanding output devices that are not able to stop/start, when there is very little memory to use as a printer buffer.
However, in some circumstances, it is possible that the Single (if required) mode will be faster than Multiple (Parallel) mode. This is because the bitmap of an output page does not need to be compressed, written to disk, read back from disk and decompressed again, before being printed. If you run in Multiple (Parallel) mode, and the page buffer folder is on a RAM disk, the disk time required is minimal, but you still have to compress and decompress the page. It is a question of speed versus convenience. Multiple (Parallel) mode offers much greater convenience, and will usually also offer the best performance.
However, you should use Single (if required) mode if you are either only outputting a single page, (so there can be no benefit from the overlapping of outputting and interpreting) or if
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the time to compress and decompress the page to and from disk is large. This is true, for example, of the Seybold
®
Rainbow Islands test job, where 30% time savings are possible if Single (if required) mode is used at 2400 dpi.
The main problem with Single (if required) mode is that if the job is too complex, then the printer will catch up, a paint to disk will be necessary, and the page output again: wasting the time spent on the failed page and some media.
Another potential inefficiency of Single (if required) mode is that if the page is relatively simple, a lot of processing time is wasted when the page is outputting, which could be used to get the next page ready (as happens in Multiple (Parallel) mode).
4.5 Page buffering modes: a summary
The table below provides a summary of the major capabilities of each page buffering mode.
Will the Harlequin RIP…
Ever create a page buffer?
Single (if required)
✓
Single
✓
Multiple
✓
Multiple
(Parallel)
✓
Always create a page buffer?
Ever create more than one page buffer?
Retain any page buffers on disk?
Always output as soon as a page is ready?
Always stop interpreting while outputting?
Interpret pages while outputting other pages?
Allow pages to be output again?
Allow modification of page buffer settings without reinterpretation?
Allow previewing the page?
✗
✗
✗
✓
✓
✗
✓
✗
✗
✓
✗
✗
✓
✓
✗
✓
✗
✗
✓
✓
✓
✓
✓
✗
✓
✓
✓
✓
✓
✓
✓
✗
✓
✓
✓
✓
Table 4.2 Summary of the capabilities of each page buffering mode
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5
Configuring Output Formats
Chapter 3, “Getting Started with the Harlequin RIP”, presented some of the basic ways of
getting output from the RIP. That chapter introduced the Page Setup Manager and Edit Page
Setup dialog box and showed how you can use Page Setups to choose the output device and many output options.
This chapter describes the details of these dialog boxes and discusses likely output devices.
5.1 Creating and managing Page Setups
Every job that you supply to the RIP takes its imaging options from a named Page Setup.
This is true both for jobs arriving through a managed network input defined in the Input
Controller, and for jobs that are the result of you choosing a menu option in the RIP, for example:
Proof Fonts
or
Print File
. (These menu options can be a useful way to test new Page
Setups.)
You can keep a number of different Page Setups which you use regularly—perhaps one that has Harlequin Precision Screening (HPS) turned on, and one that does not, one that previews images, and one that sends output to a particular printer. You can save as many configurations as you wish.
Page Setups are such an important part of the RIP that you must name each one as you create and save it. You can use up to 30 characters in a name. It is useful to give each Page Setup a meaningful name, without being too specific about its contents.
• Choose a meaningful name because the Page Setup name appears in several menus where you have to choose a Page Setup. Also, for each job, the RIP displays a message in the RIP Monitor saying which Page Setup it used.
Choose a form of name that suits the variety of jobs and output devices that you work with. Consider making the name contain parts indicating the output device, and settings such as resolution. Another tactic might be to label a Page Setup with its general purpose, for example: proofing or final output.
• Try not to be too specific because you can change the settings within a Page Setup without changing its name.
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For example, this can be useful if you change the device you use for proofing. If you have several networked inputs that each use the same Page Setup, it is easier to edit just one Page Setup than to create a new Page Setup and then change all the inputs to use the new Page Setup.
You can give an experimental Page Setup a less carefully chosen name, but try to make it clear that it is not for routine use.
5.2 Page Setup Manager dialog box
The Page Setup Manager dialog box appears when you choose
Page Setup Manager
from the
File
menu, or when you type Command-S. (You must stop inputs before you can display the
Page Setup Manager: if necessary, choose the
File > Start Inputs
menu option or click the tool bar button that shows a red arrow and traffic lights.)
Figure 5.1 Page Setup Manager dialog
The Page Setup Manager contains a list of all existing Page Setups, showing the name of each
Page Setup, the corresponding output device and some important settings: the output resolution, the calibration set in use, and the separations style.
In a new installation of the RIP, there is always one Page Setup called
Default Page Setup
.
This Page Setup uses a set of options that can be expected to work with any installation of the RIP, producing a low-resolution on-screen preview. You can delete or redefine this Page
Setup to suit your installation.
5.2.1 Controls and actions
The controls below the list allow you to create new Page Setups, and to edit, copy, or delete existing Page Setups. You can also choose the units in which to view the resolution of output listed for each Page Setup.
Edit
Select a Page Setup and click this button to edit it in the Edit Page
Setup dialog box. A shortcut is to double-click a Page Setup. See “Edit
Page Setup dialog box” on page 90 for details of using this dialog box.
Note: To rename a Page Setup, copy it and save the copy with the desired name, before deleting the original.
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5.2 Page Setup Manager dialog box
New
Copy
Delete
Click this button to create a new Page Setup and edit it in the New
Page Setup dialog box. See “Edit Page Setup dialog box” on page 90
for details of using this dialog box.
Select a Page Setup and click this button to edit a copy in the New
Page Setup dialog box.
Select one or more Page Setups and click this button to delete them.
If any of the Page Setups are in use by a managed input, the RIP displays a warning dialog box for each used Page Setup. Click
Yes
if you are certain that you want to delete the Page Setup.
5.2.2 Reordering Page Setups
You can also select Page Setups and reorder them by dragging them to new positions in the list. The order in the Page Setup Manager is the order of the Page Setups listed in the Print
File, Proof Fonts, and Print Calibration dialog boxes and in the Select Page Setup dialog box shown before entry to the Executive window.
Note: The order of Page Setups in the list is important in one other circumstance. From the
Macintosh Finder, you can drag a file and drop it onto the Harlequin RIP icon to print that file. When printing a dropped file, the RIP always uses the Page Setup at the top of the list in the Page Setup Manager dialog box.
5.2.3 Selecting several Page Setups
You can select multiple Page Setups when you want to delete or reorder them. Use the following keys:
Shift
To select a block of setups that appear together in the list, select the first setup in the block, then, while holding down the Shift key, select the last setup in the block.
To select several setups, regardless of whether they form a continuous range, hold down the
Command key while selecting the setups.
5.2.4 Closing the Page Setup Manager
You must close the Page Setup Manager before you can use any tool bar buttons or menu options in the RIP: for example, to start inputs.
You have these choices:
• Click
OK
to confirm all the changes you have made in the Page Setup Manager or in the Edit Page Setup or New Page Setup dialog boxes.
• Click
Cancel
to discard all changes.
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5.3 Edit Page Setup dialog box
The Edit Page Setup dialog box (shown again in Figure 5.2) appears when you click
Edit
in the Page Setup Manager. The New Page Setup dialog box appears when you click
New
or
Copy
. The New Page Setup dialog box is the same as the Edit Page Setup dialog box, except that the
OK
button is labeled
Save As
. See “Closing the New Page Setup dialog box” on page
91 for details. References to the Edit Page Setup dialog box throughout this manual also
apply to the New Page Setup dialog box.
Figure 5.2 Edit Page Setup dialog box
The options you can configure from the Edit Page Setup dialog box include:
• The device to which the RIP sends output.
• The separations to be created from each job, together with the output format.
• The halftone screening to be used with each job.
• The calibration to be applied to each job.
• The color setup for the job.
• The effects to be applied to input jobs.
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5.3 Edit Page Setup dialog box
“Selecting different devices” on page 92 through “XPS Options” on page 161 describe the
options within these categories. Many options involve subsidiary dialog boxes.
All the information that you need to create a Page Setup is available from the Edit Page
Setup dialog box. You can call the Device Manager, Separations Manager, Color Setup Manager, Calibration Manager, and the Cassette Manager from the Edit Page Setup dialog box.
The changes you make in these managers are independent of the Page Setup you are creating. For example, you can use the Separations Manager to create a separations style, even if you do not want to use that separations style in the Page Setup.
5.3.1 Closing the Edit Page Setup dialog box
You must close the Edit Page Setup dialog box to save your changes. You must also close the
Page Setup Manager before you can use any tool bar buttons or menu options in the RIP: for example, to start inputs.
Click
OK
to confirm all the changes you have made in the Edit Page Setup dialog box. This confirmation is provisional: you must also click
OK
in the Page Setup Manager to finally save your changes.
Alternatively, click
Cancel
to discard your changes immediately.
Note: If you open one of the other managers from the Edit Page Setup dialog box, changes that you make in that manager are independent of the Edit Page Setup dialog box. For example, if you open the Separations Manager and create a separations style, as long as you close the Edit Style and Separations Manager dialog boxes with
OK
or
Select
, the new style will remain even if you click
Cancel
in the Edit Page Setup dialog box.
5.3.2 Closing the New Page Setup dialog box
You must close the New Page Setup dialog box to save your changes. You must also close the
Page Setup Manager before you can use any tool bar buttons or menu options in the RIP: for example, to start inputs.
If you click
Save As
in the New Page Setup dialog box, a dialog box appears, requesting that
you enter a name for the new Page Setup. Figure 5.3 shows this dialog box.
Figure 5.3 Save Setup dialog box
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The dialog box shows a list of existing Page Setups. You have these options:
• Type a name in the
Save As
text box and click
Save
. The new Page Setup is added to the list in the Page Setup Manager.
• Select a name from the list of the Page Setups to transfer it to the
Save As
text box. You can edit the name first or click
Save
immediately to overwrite the existing setup.
• Click
Cancel
to return to the New Page Setup dialog box.
If you attempt to save a setup using an existing name, the RIP asks you to confirm the action before overwriting the existing setup. If you answer
No
, you return to the Save Setup dialog box where you can choose another name.
Once you have saved the Page Setup, you must also click
OK
in the Page Setup Manager to finally save your changes.
5.4 Selecting different devices
The
Device
pop-up menu in the Edit Page Setup dialog box allows you to specify where your output is to be sent once the job has been interpreted.
You can send output to a physical printer, write it to a file in a specified format, or preview the file on your screen. Although the precise configuration of available devices may vary, the following output devices are always shipped with the evaluation copy of the RIP:
• Preview—enables you to preview on your monitor any jobs processed. This output device is available in both single and multiple modes.
• None—does not produce any printed output, but does perform all the necessary processing for the job, including the production of page buffers. This can be used for testing and timing jobs, and is especially useful for previewing on screen when you want to jump between pages or overlay separations using the Output Controller. The
Output Controller is available in either of the multiple modes.
• TIFF—produces TIFF (Tag Image File Format) files. Most desktop publishing applications can import this format of file.
And, depending on which physical output devices are available:
• Plugin devices, for example, Ultre, PelBox and Hewlett Packard HP650.
Note that if you change the
Device
, you may have to choose a separations style from the
Style
pop-up menu and a cassette name from the
Cassette
pop-up menu before you can save the
Page Setup.
5.4.1 Setting the resolution
Under
Resolution
, there are two options that allow you to specify the resolution of the image to be printed. The resolution defines the detail with which an image is printed or displayed, and is given in terms of dots per inch (dpi).
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5.4 Selecting different devices
The list of available resolutions varies between output devices. Most physical output devices support a limited number of resolutions and you must choose from the values shown in the pop-up menus. For some devices (such as TIFF) you can either type in a resolution or choose one of the values.
Normally the vertical and horizontal resolutions should be the same value: this is your only option when the screening method is HDS or when the chosen output device requires the same vertical and horizontal resolution. For other screening methods and with other output devices you can set the resolutions to different values—if you need to.
• Set both resolutions at once by defining just the vertical resolution—the horizontal resolution is automatically set to the same value.
• Set different vertical and horizontal resolutions by setting first the vertical and then the horizontal resolution.
Note: The resolutions shown in this dialog box always take effect for jobs that do not specify a resolution. If the job attempts to specify the resolution, you must select the
Override resolution in job
check box if you want to produce the resolution shown here.
5.4.2 Image interpolation
When an image is at a different resolution to the device on which it is to be imaged, artifacts can be introduced with various degrading visual effects. Image Interpolation attempts to eliminate these effects, using extra processing to effectively recreate the image specifically for the device.
Image Interpolation works both ways: reducing the resolution of the image to match an output device with a lower resolution and increasing the resolution of an image to match an output device with a higher resolution.
5.4.2.1 Increasing image resolution
If you input an image that has a resolution which is slightly lower (between 50%-100%) than the resolution of the output device, the resulting image appears with “jaggies”. Image interpolation will generally eliminate this type of problem, with very little (if any) perceptible loss of image quality.
If you input an image that has a resolution which is significantly lower (50% or less) than the resolution of the output device, the resulting image appears “blocky”. Image interpolation will smooth such images giving a blurry look. If the resolution of the original image is reduced more when compared to the output device, the output becomes more blurry.
In practice, you can still get jaggies when the image has a resolution that is significantly lower in resolution, but their effects are not as pronounced as in the slightly lower case.
It is a good idea to run some tests and decide whether or not to use image interpolation.
Image interpolation works by producing a smooth transition between adjacent sample values rather than painting all pixels covered by a source sample with the same color.
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There is a performance penalty when interpolation takes place, and this penalty is related to the area of the output image, and to whatever color management is taking place.
Because it may increase the time required to render the image, image interpolation is disabled by default. It is enabled when the width or height (or both) of an image on the device is larger than the corresponding dimension of the source. If either dimension of the image on the device is less than that of the source, the filter is deactivated.
Image interpolation takes place when the Interpolate flag in an image or mask dictionary is set to “true” and this is set by the generating application, or you can force all images to be interpolated.
Note: Interpolation (image and mask) is not supported for type 4 images.
Image interpolation increases the resolution of the image to the device resolution by increasing the bit depth of the image. For example, a 1 bit grayscale image will interpolate to, say, an
8 bit image, with a smooth gray scale transition between each black and white pixel.
Image mask interpolation produces output that is 4 times higher in resolution than the input, but it can run up to three times in a row, providing at most 64 (4 x 4 x 4) times higher resolution output. The mask interpolator uses two criteria to choose if higher resolution output is needed:
• If the source mask width and height are both higher than the device resolution, stop.
• If either the source mask width or height are more than 150% of device resolution, stop.
• Otherwise, interpolate again.
The second check is concerned with images whose source data is not square, but they have been transformed so that on the device they are close to becoming square. This is to avoid the larger side of the image becoming very large as the smaller side tries to achieve the device resolution.
5.4.2.2 Reducing image resolution
When an image is reduced on an output device, rows and columns of the source image are discarded to make the image fit in the desired area.
Some images are generally unaffected by this process—photographs for example. However, some images, such as technical drawings, can become badly affected. When an image contains many fine horizontal and vertical lines they can become badly distorted or even lost completely by the process naively discarding whole columns and rows.
The image reduction filter eliminates this kind of problem by resampling the whole image to the device resolution, ensuring that all pixels in source image are represented on the output.
Thin lines on a white background would become more faint as the image is reduced, rather than be discarded completely.
Any reduced image may benefit from the reduction filter—however images containing fine line detail will show the most benefit.
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5.5 Sending output to the screen
Although some processing time is required, the reduction filter can, in some cases, speed up processing as it reduces the amount of information the RIP has to work with. In particular, large, high-resolution images being output on a relatively low-resolution device (1200 dpi image on a 300 dpi device) may notice a speed improvement, particularly if the job is using color management.
The image reduction filter becomes active when the width or height (or both) of an image on the device is smaller than the corresponding dimension of the source. If either dimension of the image on the device is greater than that of the source, the filter is deactivated.
5.5 Sending output to the screen
There are two output devices that are provided for sending output to the screen:
Preview and
None
.
None is the more flexible choice if you are running the RIP in the Multiple or Multiple (Parallel) page buffer mode.
None is a dummy device provided for test runs and for previewing, so no physical printing takes place. You can preview the pages sent to the
None device using the
Roam
command from the Output Controller in the same way as you can preview the pages sent to an actual device. You can roam several pages at once if they are the same size, which allows you to view selected separations of a color image together or to compare buffers for the same page when processed with different Page Setups. You can also hide one or more separations when previewing a composite image. The Output Controller is only available in either of the multiple page buffer modes.
Preview is also a dummy device, and it enables you to preview individual separations, a composite image, or selected colors of a composite image in all page buffer modes. The
Preview device does not allow you to combine pages or separations for viewing, and jobs sent to
Preview do not appear in the Output Controller.
5.5.1 Using the Preview device
By setting the output device to
Preview
, you can preview any jobs processed on your monitor. As a separate output device, Preview is most useful when running in Single or Single (if required) modes, when the Output Controller is not available. The RIP pauses all job processing while you are viewing a page and resumes only when you close the Preview window.
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When you print a file to the
Preview device, a new window appears containing the image
processed, as shown in Figure 5.4.
Figure 5.4 Preview window
You have already seen an example of screen roam in Chapter 3, “Getting Started with the
Harlequin RIP”. Using screen preview as a device gives you the same options as screen
roam. You can preview up to 24-bit RGB or 32-bit CMYK raster images, as long as you have sufficient memory. If you have installed an N-color device, you can also roam N-color images.
Navigation in the Preview window is the same as in the Roam window. For details see
“Roam and Preview windows” on page 97. You can hide one or more separations when pre-
viewing a composite image. See “Roam Options and Preview Options dialog boxes” on page
5.5.2 Using the None device
When running in a multiple page buffering mode, you can preview pages from within the
Output Controller by clicking the
Roam
button. (See “Job management” on page 76.) By set-
ting the output device to
None
, you can carry out test runs, and preview pages and separations.
None device, you can select a page in the
Held Queue
of the Output Controller and click
Roam
. The Roam window appears.
The title bar of the Roam window contains the name of the file, the resolution and the color of the page or pages. You can view any page in any queue of the Output Controller, not just the pages you printed to the
None device.
To roam more than one page at once, select all the pages you wish to preview and click
Roam
; the selected pages will be overlaid in the Roam window. For example, this allows you to preview some or all separations of a color image together. Remember, you can select several page buffers using the Shift and Command keys.
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5.5 Sending output to the screen
If you roam the separations of a color image or if you are roaming a composite image then the combined image may become difficult to interpret, particularly if any of the separations have similar colors. There are ways to reduce the complexity:
• You can hide one or more separations as you are roaming the separations until all but
• You can choose to display a separation in any color (in the Info dialog for that separa-
tion) before starting to roam it. See “Changing the color in Roam” on page 388 for
details.
The Roam and Preview windows are described in detail in the following sections.
5.5.3 Roam and Preview windows
Note: This description applies to both Roam and Preview windows. For ease of description, this section refers to the Roam and Reduced Roam windows only: the same description applies to the Preview and Reduced Preview windows except that the word
Roam
in menus becomes
Preview
.
When previewing pages, the size of the image is proportional to the resolution chosen in
Edit Page Setup: the higher the resolution, the larger the image appears. Choose a high resolution if you want to look at a processed image in fine detail; choose a lower resolution to see the whole image at once.
When you are viewing a higher resolution image, the
Roam > Reduced Roam
menu option is probably available in the Roam window. It allows you to see more of the image in one view.
You must close the Roam window (and the Reduced Roam window if you opened it) before you can roam another page.
For most sizes of page, there are horizontal and vertical scroll bars at the edges of the Roam window. (The scroll bars appear only when the window is too small to display the whole page at one time.) When there are scroll bars, you can use them to move your view to different parts of the page image. Alternatively, you can drag the page image around by holding down the left mouse button when the cursor is over the image and moving the mouse. While you are dragging the image, the shape of the mouse cursor changes to a hand. The hand speed determines how quickly the image moves when you move the mouse. You can set the
hand speed, together with other options, in the Roam Options dialog box. See “Roam
Options and Preview Options dialog boxes” on page 98 for details.
For an accurate indication of what part of the page is visible hold down the Command key
(sometimes called the Apple or Cloverleaf key): a rectangle appears. This rectangle shows you how much of the page is visible in the Roam window and which portion of the page you are looking at. For example, if the rectangle is shown in the bottom right of the window, the bottom-right portion of the page is visible in the window. Hold down the Command key and click the mouse (Command-click) ?o jump to another part of the page. For example, if you
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Command-click on the middle of the window, the window scrolls to show the middle of the page.
Roam window Page image
Figure 5.5 Command key held down in Roam window
Arrows are drawn from the edges of the window: this is a reminder that the rectangle is proportional to the dimensions of the window. Typically, the shape of the window does not match the proportions of the entire page so the scaling for height and width is not the same.
5.5.3.1 Roam Options and Preview Options dialog boxes
Note: This description applies to the options for both the Roam windows and the Preview windows. For ease of description, this section refers to the Roam and Reduced Roam windows only: the same description applies to the Preview and Reduced Preview windows.
Display this dialog box by choosing the
Options
command from the
Roam
menu in either the
Roam window or the Reduced Roam window.
Figure 5.6 Roam Options dialog box
The Roam Options dialog box contains a list of the separations shown in the Roam window and the Reduced Roam window.
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5.5 Sending output to the screen
You can use this dialog box to choose the separations that are displayed. Select a separation, or use the Shift or Command keys to select multiple separation names, then click one of these buttons:
On
Displays the selected separation or separations.
Off
Hides the selected separation or separations. You cannot use this button if using it would hide all separations.
The other controls do not require a selected separation.
Color display
Hand speed
By default, the RIP displays the page image as quickly as possible. If you prefer a more accurate (but slower) display of colors, select
Accurate
from the
Color display
. (This control may be unavailable if there are restricted display colors because of hardware limitations or display modes chosen in the operating system.)
The hand speed determines how quickly the image moves when you move the mouse. If you find that the page image moves too quickly, you can slow down the hand speed by selecting
Medium
or
Slow
from the
Hand speed
.
Negative
The Negative option allows you to switch the Roam image from positive to negative or vice versa. This is particularly useful for negative images allowing you to view the image as a normal positive image.
You can close the Roam Options dialog box using the
Roam > Options
menu option again.
Alternatively, closing the Roam window will also close the Roam Options dialog box. If you do not close the Roam Options dialog box explicitly, it will be displayed the next time you preview pages.
5.5.3.2 Reduced Roam and Reduced Preview windows
When viewing a large or high resolution image, the
Roam > Reduced Roam
menu option is probably available in the Roam window. It allows you to see more of the image in one view.
You must close the Roam window (and the Reduced Roam window if you opened it) before you can roam another page.
When the Reduced Roam window is displayed in front, hold down the Command key. A rectangle is drawn on the image in the Reduced Roam window, marking the part of the page which is being shown in the (full-size) Roam window. (If only a little of the rectangle is visible, a circle is drawn around it to make it easier to see. Also, if part of the rectangle lies outside the Reduced Roam window, the edge of the rectangle is marked with an arrow head pointing in the appropriate direction.)
If you Command-click at a particular point in the Reduced Roam window, the view in the
Roam window scrolls to center on that point on the page.
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If you Command-drag with the mouse (hold down Command key, then press and hold the mouse button), you can range over the part of the page which is visible in the Reduced Roam window.
Reduced Roam Roam abcdefghijklmn
ABCDEFGHIJKLM
1234567890-=
Figure 5.7 Command-click in Reduced Roam window
5.6 Output to Preview
By setting the output device to
Preview in the Edit Page Setup dialog box, you can preview any jobs processed on your monitor. Using screen preview as a device gives you the same options as screen roam. As well as navigating a preview of an image, you can display a reduced preview window, which shows the same image reduced in size.
If you are running the RIP in one of the multiple modes and wish to preview jobs, you may find it useful to process those documents using
None
, and then preview each page buffer separately from within the Output Controller by clicking the
Roam
button.
Under
Separations, Screening & Color
, the
Style
pop-up menu contains all the separations styles created for the
Preview device. The choice of separations style determines the color space and format of the output.
See “Sending output to the screen” on page 95 for further information about the
Preview and
None devices.
5.7 Output to None
The
None device option available in the Edit Page Setup dialog box does not produce any printed output, but it does perform all the required processing for the job, including the production of page buffers in the appropriate modes. This can be used for testing and timing jobs, and is especially useful for previewing on screen when you want to jump between pages or overlay separations using the Output Controller.
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5.8 Output to TIFF
Under
Separations, Screening & Color
, the
Style
pop-up menu contains all the separations styles created for the
None device. The choice of separations style determines the color space and format of the output.
Note: The Output Controller is only available in either of the multiple modes. You can preview a page in one of the single modes by setting the output device to
Preview instead of
None
.
See “Sending output to the screen” on page 95 for further information about the
Preview and
None devices.
5.8 Output to TIFF
The Harlequin RIP can produce TIFF (Tag Image File Format) files, which you can choose by selecting the
TIFF output device in the Edit Page Setup dialog box. Most desktop publishing applications can import this format of file.
The Harlequin RIP produces TIFF files which are compatible with TIFF 5.0, Classes B
(bilevel), G (gray scale), and R (RGB color). CMYK color separations are also supported as defined in the published TIFF 6.0 specification, Appendix K.
Note: From Eclipse Release SP4, if a TIFF file of 4GB or more is produced the output will abort, and a “File size overflow” message will appear.
Under
Separations, Screening & Color
, the
Style
pop-up menu contains all the separations styles created for the
TIFF device. The choice of separations style determines the color space and format of the output.
Note: The TIFF file is complete when it appears in the file system with the name requested by the user, primarily to ease any subsequent, automatic processing of the file. (To make this possible, the RIP produces, and then removes, an intermediate file with the suffix
.TMP
, or the suffix
.TEM
if the requested name has extension
.TMP
.)
You can configure how the RIP produces and names TIFF files by clicking
Configure Device
in the Edit Page Setup dialog box, when the selected output device is
TIFF
. Alternatively, if you are running the RIP in one of the multiple modes, the device of any page buffer in the Output Controller can be configured by clicking
Configure Device
in the Info dialog box of that page buffer.
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Figure 5.8 shows the TIFF Configuration dialog box.
Figure 5.8 TIFF Configuration dialog box
The options in this dialog box fall into categories—location and naming, file format, and post processing—as described in the following subsections.
5.8.1 TIFF file location and naming options
Choose the folder in which the Harlequin RIP places files by clicking the
Folder
button and choosing a folder from the dialog box—select the folder in the list and then click
Select
. The
TIFF Configuration dialog box then shows the path to the folder that you chose, using the colon ( : ) character to separate the name of each folder from that of the containing folder.
If
Path includes resolution
is selected, the RIP places any TIFF files created in a sub folder of your chosen folder with the name of that sub folder set to the resolution of the job: for example,
300 or
2400
.
From the Harlequin RIP Eclipse Release SP4 two naming options are available;
Conventional
and
Template-based
file name generation. Conventional file naming is much the same as previous versions. Template-based file naming uses various tags to generate the name. This method has previously been used in a number of Harlequin RIP plugins.
Choose the method you wish to use by selecting the option in the
File name generation
field.
5.8.1.1 Template-based name generation
Selecting
Template-based
in the
File name generation
text box allows you to specify the automatic generation of an output file name using a template of fixed text and tags. When this method is selected, only the
Template
field is used for file name generation. All options in the
Conventional name generation
section are ignored (including the
Suffix
field).
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5.8 Output to TIFF
Most tags are content tags, representing variables such as the date and time a job is processed; the other tags allow you to reject names that would be illegal in a specified operating system.The maximum length of variables can be specified by preceding the tag name with an integer. For example,
<5jobname> truncates the job name to a maximum of five characters. Tags that produce numeric values are truncated from left to right, whereas tags that produce alphanumeric strings (strings containing the characters a-z, A-Z, and 0-9) are truncated from right to left. See the example below for further details.
Fixed text can be part of the file name stem or extension. For example,
stem_
<3unique><sepname><dot>tif would generate a file name of the form:
stem_
000Cyan.tif
, in which
stem_
can be any identifying text.
Try to use a file name extension that does not clash with any established convention.
Note: This file naming scheme does not provide useful file names derived from job names that contain double-byte characters.
The default when
Template-based
is selected but the template field is left blank is:
TIFF<2unique>.TIF
This means that when 100 files have been processed the RIP will stop.
Note: If you use unrecognized tags they will be maintained in the output filename.
The following tags are available and can be used in any order:
Tag
<colorant>
<colorname>
<date>
<dot>
<exposure>
<job#>
<jobname>
<jobname1>
<page#>
Description
The color space of the device, such as or
PhotoInk
.
DeviceCMYK
,
DeviceRGB
,
The name of the separation, such as
Cyan
.
The date when the job is processed, in the format truncated form is specified.
YYYYMMDD
, unless a
Separates the stem of the file name from the file extension, and appears as a period character (
.
) in the file name. For example,
stem<dot>ext appears as stem.ext
. The use of the
<dot> tag enables the verification of the stem and extension lengths.
The exposure setting, a device specific integer.
The job number allocated by the RIP. Automatic numbering means that successive jobs have incremented job numbers: and so on.
000
,
001
,
002
,
003
,
The page buffer name without the page number prefix and without characters illegal to the operating system. Whitespace characters are used, if present in the job name.
The page buffer name without the page number prefix, and using only alphanumeric characters (a-z, A-Z, 0-9). Whitespace characters are not used.
The page number (allocated by the RIP), within the current job. For example:
002
.
Table 5.1 Output file name tags
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Tag Description
<prefix>
The page number prefix from the page buffer name, such as so on.
1.
,
2.
, and
<prefixonly>
You can use this tag to include the characters from the prefix before the full point in the job name.
<realpage#>
The page number is determined using the
This is zero if the
HqnPageCounter procset.
HqnPageCounter procset is not available.
<time>
<unique>
<xres>
The time when the job is processed, in the 24-hour format unless a truncated form is specified.
HHMMSS
,
A unique sequence number used to make file names unique when outputting files to a directory.
The horizontal resolution of the page, as specified in the Page Setup.
<yres>
The vertical resolution of the page, as specified in the Page Setup.
Table 5.1 Output file name tags
The legality of an automatically generated file name is always checked against the requirements of the operating system on which the RIP is running.
To enable portability of files from one operating system to another, you can also use tags to specify the operating system for which generated file names must be suitable. The use of these tags changes the rules by which a file name is deemed valid. The tags do not modify the file names generated, but cause error messages if the file name is invalid.
For example, you can create the template
<dos>Averylongfilename.tif
, but an error is generated. This error occurs because DOS file names require the 8.3 format for stem and
extension, which this template fails to meet by having 17 characters in its stem. Table 5.2 lists
the operating system tags.
Tag Description
<dos>
<mac>
Verifies that the file name is a legal file name for the MS-DOS operating system.
Verifies that the file name is a legal file name for the Macintosh operating system.
<macosx>
Verifies that the file name is a legal file name for the Mac OS X operating system.
<unix>
Verifies that the file name is a legal file name for the UNIX operating system.
<win32>
Verifies that the file name is a legal file name for Windows operating systems.
Table 5.2 Operating system tags
Note: These operating system tags should always appear at the start of the template line.
Note: The only characters disallowed (discarded) in Mac OS X template-based file names are colon (
:
) and double-quote (
"
).
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Note: Illegal characters which would cause an error on a particular platform are removed.
The template format means that it is not currently possible to include less-than (
<
) or greaterthan (
>
) characters in a template due to their use as tag delimiters.
The following examples demonstrate the format of strings produced by individual tags.
Some examples also show how the tags may be used in combination to form a template. The examples are based on these job details:
Page buffer name: 1. TestPage: Section 20-Book 9
Date: 12th of May, 2004
Note: When creating multiple copies of a file, the same page buffer provides tag information.
If a template contains dynamic tags (such as
<time>
, where the value changes each time that a page buffer file is output), then multiple copies of the file are created. If the template contains just static tags (such as
<jobname>
, where the job name remains constant), a single output file is created. If there is no uniqueness in the name, because the file already exists, a message to that effect is sent to the RIP monitor and output fails with a file creation error
.
<colorant>
This tag includes the color space of the device in the file name string.
For example, the template
<colorant><dot>tif produces a file name of the form
PhotoInk.tif
for a device using a PhotoInk color space.
<colorname>
The tag
<colorname> can be used to include the name of the separation in a file name, for example:
Cyan
. You can include just the first letter of the separation by using the tag
<1colorname>
, which truncates the separation name to its first letter. If a composite style is used this is indicated by the string
Composite
. If a monochrome style is used this is indicated by the string
Gray
.
<date>
The template
<date><dot>tif produces the file name
20040512.tif
. You can remove the year information by using the tag
<4date> to produce the file name
0512.tif
.
<dos>
The use of this tag verifies that the file name is suitable for use in a DOS operating system. Illegal characters, such as a colon and whitespace characters which would cause an error, are removed.
For example, the template
<dos><jobname><dot>tif
, would generate an illegal file name because the job name is greater than the eight characters allowed in DOS operating systems. Truncation can be forced by using the template
<dos><8jobname><dot>tif
, which produces the file name
TestPage.tif
.
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<dot>
This tag separates the file name stem from the file name extension and enables the verification of their lengths. It is particularly necessary when creating file names compatible with DOS and Windows, otherwise the extension may be considered as part of the file name.
For example, the template
<dos><8jobname>.tif
would cause an error because the dot is removed as an illegal character and tif is then considered part of the file name stem.
<job#>
You can use this tag to include the job number in the file name string. The default length of the number is three digits, so the first file name created with this tag would be
000, unless a different length is specified. You can specify the length of the job number by preceding the
<job#> tag with an integer. For example,
<5job#> creates job numbers five digits long.
In multi-page jobs use the
<page#> tag as well as the
<job#> tag to differentiate between the different pages of a job.
<jobname>
This tag ensures that only legal operating system characters are used in the job name.
For example, in the RIP running under any Microsoft Windows operating system, the template
<jobname><dot>tif produces the file name
TestPage Section 20-Book
9.tif
. The colon character (
:
) is removed from the file name, because this is not a valid file name character for any version of Microsoft Windows.
<jobname1>
This tag ensures that only alphanumeric characters are used in the job name.
For example, in the RIP running under a Windows operating system, the template
<jobname1><dot>tif produces the file name
TestPageSection20Book9.tif
. The colon and whitespace characters are removed from the file name, because they are not alphanumeric characters.
<mac>
The use of this tag verifies that the file name is suitable for use in a Macintosh operating system. Illegal characters such as an asterisk, colon, and quotation marks cause an error. The maximum length of a file name is thirty-one characters (including the file extension).
For example, using the template
<mac><28jobname><dot>tif produces the file name
TestPage Section 20-Book 9
, in which the colon has been removed.
<page#>
You can use this tag to include the page number in the file name string.
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For example, the template
<page#><dot>tif produces a file name of the form
001.tif
. It is advisable to use this tag with the job number tag to differentiate between the same pages of different jobs.
<prefix>
You can use this tag to include the page number prefix from the page buffer name in the file name string.
For example, based on the page buffer name above, this tag produces the string
1.
<time>
You can use this tag to include the time a file is processed in the file name string.
For example, if printing to file at 15:39:36 (approximately 3:39 pm) this tag produces the string
153936
.
<unique>
You can use this tag to generate a unique sequence number for the page. The default length of the number generated is four digits long, so the first number would be
0000
.
The length of the number can be specified, as detailed in the example for the tag
<job#>
.
When restarting the RIP, the unique numbering will attempt to restart at its initial value, for example:
0000
. However, if a file exists with that number, the next available unique number is used.
<unix>
The use of this tag verifies that the file name is suitable for use in the UNIX operating system. Illegal characters such as an asterisk, colon, and quotation marks cause an error. The
<dot> tag cannot be used with this tag because file names in UNIX are composed of a single string and are not considered to have separate file extensions.
For example, using the template
<unix><255jobname>.tif
produces the file name
TestPageSection20-Book9.tif
, in which the colon and whitespace characters have been removed.
<win32>
The use of this tag verifies that the file name is suitable for use in a Windows operating system. Illegal characters such as an asterisk, colon, or quotation marks cause an error.
For example, the template
<win32><jobname><dot>tif produces the file name
Test-
Page Section 20-Book 9.tif
, in which the colon has been removed.
<xres>
You can use this tag to include the horizontal resolution of the page in the file name string.
For example, you can differentiate between pages with a resolution of 1440 x 720 dpi and 720 x 720 dpi by using this tag. This tag produces a string such as
1440 or
720
, depending on the horizontal resolution.
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<yres>
You can use this tag to include the vertical resolution of the page in the file name string.
For example, on a page with the resolution 1440 x 720, this tag produces the string
720
.
5.8.1.2 Conventional name generation
Selecting
Conventional
in the
File name generation
text box allows you use the previously employed method of generating file names.
In general, the RIP names each file within a folder uniquely by combining characters from some of the following character strings:
• The page number of the job.
• A stem—fixed or variable.
• The name of the separation.
• A sequentially increasing number.
• A suffix.
If the combined length of these character strings is sufficiently long, the RIP truncates the stem to stay within the maximum length of a file name on the computer running the RIP or an optional tighter limit providing greater portability between different types of computers.
To impose the limit for portability, select the box
Use 8.3 Filenames
. This specifies a maximum length of 8 character names with 3 character extensions: for example,
TIFF3001.tif
. This limit is necessary if you wish to move the TIFF files to a PC running some older versions of
MS-DOS or Windows.
Specify the suffix of the file name (that is, the file extension) by typing a string into the
Suffix
text box. By convention, many applications expect the suffix of a TIFF file to be
.tif
or
.TIF
.
The stem of the name can be a fixed stem or a variable stem based on the jobname.
You can specify the fixed stem of the file name produced (that is, the first part of the file name) by typing it into the
Stem
text box. For example:
TIFF
.
The RIP creates a simple file name based on the stem, a sequentially increasing number, and the suffix. For example, for a stem of
TIFF the sequence is:
TIFF00.tif
,
TIFF01.tif
,
TIFF02.tif
, and so on. If any of these files already exists, the RIP creates the lowest numbered file that does not clash and increases the numbers from that starting point, avoiding any other existing files.
Alternatively, the RIP can use the job name itself as the variable stem of the file name if you select
Use jobname as stem
. The job name is truncated if necessary to keep within the allowed length of file name.
In this case, the RIP creates a file name based on the page number of the job, the job name, the color of the separation, a number, and the suffix. For example, when separating a color job called jobname.ps
, you might see:
1jobnamepsC00.tif
,
1jobnamepsM00.tif
,
1jobnamepsY00.tif
,
1jobnamepsK00.tif
,
2jobnamepsC00.tif
,
2jobnamepsM00.tif
,
2jobnamepsY00.tif
,
2jobnamepsK00.tif
.
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If a file already exists, the RIP creates the next file in the sequence.
If you do not want the page numbers to appear at the start of the file name, select the
Del page num prefix
check box. In this case, the RIP creates file names such as jobnamepsC01.tif
. This option is only relevant if you select
Use jobname as stem
.
The
Use jobname unchanged
option is designed to support jobs arriving with names that include double-byte characters, as used in several Oriental languages and other extended alphabets. Previously, the output file name was constructed after testing characters byte by byte, and discarding characters that were potentially illegal in file names. This is still the safe and strongly recommended option, but when there are illegal characters it can produce files with unpredictable names, which may be difficult to use in complex workflows.
To retain the previous behavior, leave the check box
Use jobname unchanged
unselected.
To enable the new option, select the check box
Use jobname unchanged
. (For this option to work, you must also select
Use jobname as stem
.) The result is that each TIFF file has a predictable name but that name may be illegal because of length or characters used in the name.
It is very dangerous to use this option where the form of incoming job names is not known before submission to the RIP.
Note to OEMS: Warning:
You must test the consequences of using this new option in a controlled, non-production environment, and you must emphasize the risks to your end-users. Using this option can produce TIFF files whose names are illegal to the operating system, especially if the RIP installation is running in a different locale or on a different platform from the locale and platform used to create the job. In some circumstances, these illegal names can cause the operating system to crash or cause loss of data on disk. Global Graphics does not accept any responsibility for the consequences of using this option.
To recap, the full path and name of a TIFF file can be as complex as the following example:
McBit:RIP:TIFF_Folder/300/
1jobname cvpsM00.tif
In this example,
300 is the resolution of the TIFF file. The preceding text is the path to the selected folder and the following text is the file name.
The
Unique Filenames
option ensures that a ##number is added to the filename, and is selected as a default (providing the same behavior as previous versions of TIFF output). If the
Unique Filenames
option is not selected, the filename does not have the unique ##number added to it.
Shown below are examples of template-based file name generation that give similar (but not necessarily identical) results to the conventional name generation method.
These examples are based on the assumption that the conventional name generation fields
“stem” and “suffix” are set to TIFF and TIF respectively.
The template-based method uses a fixed-length uniqueness field. The template-based method will always fail to generate a unique name when files exist in the output folder using
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every possible number (whereas the conventional method increases the number of digits in the uniqueness number).
Template-based and Conventional name generation comparison.
Conventional options Template-based equivalent
Use jobname as stem
its own)
(on
<prefix><jobname1>.TIF
or
<prefixonly><jobname1>.TIF
Note: The first example is not identical because
<prefix> includes a space. The second example is available from 3.10r4.
Use jobname as stem
Del page num prefix
Del page num prefix
own)
(on its
<jobname1>.TIF
TIFF.TIF
Use 8.3 filenames
own)
(on its
TIFF.TIF
Use jobname unchanged
(on its own)
TIFF.TIF
Use jobname as stem
Use jobname unchanged
<prefix><jobname>.TIF
Note: Not identical— the template method strips characters which are not allowed in file names on the relevant platform, such as colon and slash (all platforms).
Use jobname as stem
Unique names
<prefix><jobname1><2unique>.TIF
or
<prefixonly><jobname1><2unique>.TIF
Note: The first example is not identical because
<prefix> includes a space.
The second example is available from v3.10r4.
Use jobname as stem
Use 8.3 filenames
Unique names
Use jobname as stem
Use 8.3 filenames
Use jobname unchanged
Unique names
Use jobname as stem
Del page num prefix
Use 8.3 filenames
<dos><prefix><3jobname1><2unique>
<dot>TIF
<dos><prefix><3jobname><2unique>
<dot>TIF
Not identical.
<dos><6jobname1><2unique><dot>TIF
Table 5.3 Conventional and Template-based equivalents
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Conventional options Template-based equivalent
Use jobname as stem
Del page num prefix
Use 8.3 filenames
Use jobname unchanged
Unique names
<dos><6jobname><2unique><dot>TIF
Table 5.3 Conventional and Template-based equivalents
Notes on the table:
1. These Conventional name generation options always generate the name
TIFF.TIF
.
2.
<dos> does not shorten names (which the conventional method's option does), so the tags used to make up the stem need to total eight. To allow for more characters in the prefix, the jobname would need to use less. You must use
<dot> to separate the name and the extension when using
<dos>
.
3. Because
<dos> strips space and full-stop characters,
<prefix> and
<prefixonly> become equivalent when
<dos> is used.
5.8.1.3 Temporary file names
Temporary files may persist in the case of a RIP failure or in the unlikely occurrence of the final file rename failing. From TIFF 4.0r0 the following temporary file names are of the form: cccccccc.uuT
. Where cccccccc is an 8-hex-digit string, and uu is two decimal digits.
For example:
CA7C63A7.00T
5BDDFE01.00T
5F1CA81C.00T
7B639678.00T
In some rare circumstances, the extension might be
01T or
002T instead of
00T
.
5.8.2 TIFF file format options
All the remaining options in the dialog, with the exception of
Anti-Aliasing
, provide different ways of storing the data in the file but do not affect the viewed image. These different ways of storing the data may be required by the specific application that will read the TIFF files or may improve the portability or speed of access of the files.
You can choose the basic internal format used for the file from the
Format
pop-up menu. TIFF files can either contain the image data in a
Single strip
(all in one chunk) or
Multiple strips
(several chunks).
Use the
Style
pop-up menu in the Edit Page Setup dialog box to choose the color space and interleaving style.
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To produce TIFF files with reverse bit ordering, select the
Reverse bit ordering
check box. This reverses the order of bits in a byte in the raster data of a halftoned TIFF file (monochrome), so if the byte was 11010001 it becomes 10001011.
Select the
Pad to 32 bit alignment
box to make each line of the TIFF file data end on a multiple of 32 bits. This is an efficiency setting, for monochrome output only, that may make the file faster to read in some applications.
You can choose between Macintosh and IBM PC byte ordering from the
Byte ordering
pop-up menu. This option lets you select the byte ordering to be that used by Intel (IBM PC) machines (little endian machines), or Motorola (Macintosh) machines (big endian machines).
This is the order of bytes in a word, needed by the TIFF reader to correctly interpret the TIFF header. Most TIFF readers can read both sorts of header.
You can choose the compression format used for the file from the
Compression
pop-up menu. The choices are:
None
,
CCITT Huffman
,
CCITT Group 3
,
CCITT Group 4
,
LZW
, or
Packbits
.
Note: The CCITT compression formats are only suitable for monochrome output.
Finally, for all except monochrome files, you can choose a level of anti-aliasing in which intermediate colors are used to visually smooth boundaries. (Anti-aliasing is most useful at low or medium resolutions.) Select the desired option from the
Anti-Aliasing
pop-up menu.
None is the fastest option but provides no anti-aliasing. Of the other options, the higher numbers provide more smoothing, but also require more time to prepare a given image.
Note: If you output any job to TIFF CMYK Composite (Pixel) with anti-aliasing set at
8x8
, the following error will appear for the TIFF device if the resolution is greater than 300 dpi:
%%[Warning: band size too small - please increase size]%%.
5.8.3 TIFF file post processing
You can use this section of the dialog box to define extra actions after the RIP has created each TIFF file. To do this, you type text specifying a command and its options in a way similar to typing in a command prompt or terminal window. The command can be a simple batch file or a complex application, provided that you can give the command all necessary options and information on the command line; a command needing operator interaction is likely to cause problems.
You can use such post-processing commands to convert the file to a different format or to send the data to a destination that is not directly supported by TIFF output from the RIP.
There are several other possibilities, such as extracting information for use in reports, limited only by your ability to obtain or create a suitable application and to supply information to it.
The controls in this section of the dialog box are:
Enable
Select this check box to enable a post-processing command, as entered in the
Command
text field. Leave it unselected to disable postprocessing.
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Create Window
Command
Check this box to display a command prompt window: for example, to display any messages produced by the post-processing command.
The command window closes at the end of the command so, to read any messages, you may need a timed delay before the command finishes. (A wait for a key-press may be useful for testing but becomes unworkable with many output files.)
The entry in this text field is a string specifying a post-processing application, which must be available on the computer running the
RIP. Optionally, you can supply options understood by the application, and data such as the name of the relevant input or output files.
The command string can contain substitution codes. The RIP expands the codes and runs the command at the end of each output file.
“Post processing substitution codes” on page 113 lists the recognized
substitution codes.
The string should normally include the file extension and the full path name of the application file. However, you can type just the file name if the command file has extension
.EXE
and is in one of the folders specified by the
PATH variable. File names passed to the application as data are assumed to be in the folder receiving the TIFF files, unless you type a different path name.
5.8.3.1 Post processing substitution codes
The Harlequin RIP recognizes the substitution codes shown in Table 5.4. You can insert an
integer between the percent character and the letter code, to restrict the maximum number of characters used in the result string. For example:
%6j represents the first six characters of the job name:
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.
114
%e
%f
%p
%r
%s
%j
%n
%o
Code
%c
%d
%g
Meaning
The current separation color, represented by a string of default length one character. Typical separation names are
Cyan
,
Magenta
,
Yellow
, and
Black
. Examples for length one are:
C
,
Y
,
M
, and
B
.
The current date. In the case of the TIFF plugin, this defaults to a length of 6 digits (
YYMMDD
).
For example: 26 October 1998 becomes
981026
.
%8d gives
YYYYMMDD
.
The job exposure, as entered in the Page Setup dialog box. For example:
221
.
The output TIFF file name, not including the full path. For example, based on jobname and not suppressing the page number:
1ColdfacepsC05.TIF
.
A fixed jobname using the following rules:
1. Skip over the leading nn.
which the RIP pre-pends.
2. Remove all non-alphanumeric characters.
The current page buffer name, as shown in the Output
Controller/Monitor. For example:
1. Coldface.ps (C)
.
The current job number, an integer that the Harlequin RIP increments each time it processes a new job. For example:
115
.
The full output directory path set by the Folder button (but not the resolution, if the check box to include resolution has been checked; nor the file name). For example:
C:\S\TIFF\
.
The current page number within the job. For example:
13
.
The job resolution, in dots per inch. For example:
72
.
The current job name, after removal of characters that would be illegal in a file name. For example:
Coldfaceps
.
%s uses the following rules:
1. Skip over the leading nn.
which the RIP pre-pends.
2. Remove all parenthetical expressions.
3. Remove everything which comes before delimiter characters -
:
(colon),
;
(semi-colon),
@
(commercial at),
-
(hyphen), and control characters. Delimiters within parentheses do not count.
4. Remove all non-alphanumeric characters.
5. If rules 1-4 result in an empty name, start over again and just use rule 4.
Table 5.4 Post processing substitution codes
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Code
%t
%x
%z
Meaning
The current time in the format HHMMSS, using the 24 hour clock.
The default length is 6. For example, a time just after 7:30 pm would be shown:
193211
.
The current file name suffix. For example:
TIF
.
The output file name stem, is taken from the job name if Use jobname
as stem is selected, otherwise it will be taken from the Stem text field.
For example: if Stem is set to
TIFF
, and Use jobname as stem is not selected;
%z will produce
TIFF00
,
TIFF01
, and so on for the output files
TIFF00.tif
,
TIFF01.tif
and so on.
Table 5.4 Post processing substitution codes
5.9 Output to PDF Raster
The PDF raster output plugin is a layered option and requires a password for it to be
enabled. See “Extras” on page 207 for more information.
The Harlequin RIP can produce PDF raster format files, which you can choose by selecting the
PDFRaster output device in the Edit Page Setup dialog box.
The Harlequin RIP produces PDF raster files which are compatible with various PDF/X standards depending on the selection made in the PDF Raster Configuration dialog. PDF raster files can be considered as a raster bitmap wrapped in PDF/X and can be opened in
PDF readers such as Jaws PDF Editor and Adobe Acrobat.
Under
Separations, Screening & Color
, the
Style
pop-up menu contains all the separations styles created for the
PDFRaster device. The choice of separations style determines the color space and format of the output.
Note: From v8.1 because
DeviceMono is no longer available any page setup which previously used this option in the Separations dialog will now not work. The RIP setups should be changed to use
Monochrome instead.
You can configure how the RIP produces and names PDF raster files by clicking
Configure
Device
in the Edit Page Setup dialog box, when the selected output device is
PDFRaster
.
Alternatively, if you are running the RIP in one of the multiple modes, the device of any page buffer in the Output Controller can be configured by clicking
Configure Device
in the Info dialog box of that page buffer.
The PDF raster output plugin supports up to 32 spot colors meaning that an output PDF raster file can contain up to 36 colorants (CMYK plus 32 spots). When a PDF raster containing spot colors is created by the RIP and then displayed in a PDF application (like Jaws PDF Creator or Adobe Acrobat), a tint transform is used to tell those applications how to display the colors. If, however, the PDF is passed onto a multichannel device (like the Harlequin RIP), which can support those colorants, they will be supported.
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Note: While the plugin will create PDFs with up to 32 colorants (total), the PDF specification defines the limit as 8 colorants, and so the plugin issues a warning when more than 8 are requested. Once the 32 limit is reached, the plugin will refuse to process the page.
Acrobat 8 will process pages with more than 8 colorants.
Note: PDF source documents can sometimes contain pages of variable size. If present, these variable page sizes are maintained in the output file.
Note: Do not try to re-order pages using the PDF raster plugin in the Output Controller.
Note: If you are processing very large pages you may wish to increase the
Memory for RIP
set-
ting. If the RIP runs out of memory the job will fail. For more information see “Harlequin
RIP memory allocation” on page 209.
Figure 5.9 shows the PDF Raster Configuration dialog box.
Figure 5.9 PDF Raster Configuration dialog box
The options in this dialog box fall into categories—location and naming, file metadata, file format, and post processing—as described in the following subsections.
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5.9.1 PDF raster file location and naming options
Choose the folder in which the Harlequin RIP places files by clicking the
Folder
button and choosing a folder from the dialog box—select the folder in the list and then click
Select
. The
PDF Raster Configuration dialog box then shows the path to the folder that you chose, using the colon ( : ) character to separate the name of each folder from that of the containing folder.
If
Add resolution to end of Path
is selected, the RIP places any PDF raster files created in a sub folder of your chosen folder with the name of that sub folder set to the resolution of the job: for example,
300 or
2400
.
Template-based file name generation is provided which uses various tags to generate the name. This method has previously been used in a number of Harlequin RIP plugins.
5.9.1.1 Template-based name generation
Template-based file name generation is used for PDF raster output, and allows you to specify the automatic generation of an output file name using a template of fixed text and tags.
When this method is selected, the Template field is used for file name generation.
Most tags are content tags, representing variables such as the date and time a job is processed; the other tags allow you to reject names that would be illegal in a specified operating system.The maximum length of variables can be specified by preceding the tag name with an integer. For example,
<5jobname> truncates the job name to a maximum of five characters. Tags that produce numeric values are truncated from left to right, whereas tags that produce alphanumeric strings (strings containing the characters a-z, A-Z, and 0-9) are truncated from right to left. See the example below for further details.
Fixed text can be part of the file name stem or extension. For example,
stem_
<3unique><sepname><dot>tif would generate a file name of the form:
stem_
000Cyan.tif
, in which
stem_
can be any identifying text.
Try to use a file name extension that does not clash with any established convention.
Note: This file naming scheme does not provide useful file names derived from job names that contain double-byte characters.
The default value for template-based name generation is:
Raster<2unique>.pdf
This means that when 100 files have been processed the RIP will stop.
Note: If you use unrecognized tags they will be maintained in the output filename.
Note: The list of tags displayed in the PDF Raster Configuration dialog is only a useful subset. All tags are supported for PDF raster output.
Template-based name generation for PDF raster works in exactly the same manner as for template-based name generation for TIFF. Therefore, for full details on all the tags available
see “Template-based name generation” on page 102.
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5.9.2 File Metadata
When either the
Update PDF Creation Date
or
Update PDF Modification Date
option is checked, the modification date or creation date will be set to the current time, whether or not these dates are present in the original PDF source file. If a date is present in the original source document and you have not selected the these option, the original date will be used in the output file.
The
Mark raster as Trapped
option allows the output PDF raster to be set as trapped or not.
PDF files have a trapped flag which can be set either true or false
. If set true the contents of the PDF have been trapped in some way, either by the RIP or by using some third party plugin. This option allows you to decide whether the output PDF raster is configured as trapped.
If required, you can specify an Art Box or Trim Box size if values for one or the other does not already exist. If values for Art Box and Trim Box are present in the source PDF file they will be used no matter what values are input into this dialog.
To enter a value select either
Art Box
or
Trim Box
from the pop-up menulist and then enter values for the LLx, LLy, URx, and URy which specify the lower-left x, lower-left y, upperright x, and upper-right y coordinates of a rectangle. For more information on specifying these values see the PDF Reference Sixth Edition v1.7 Section 3.8.4.
When the values have been entered check the
Apply
box.
Note: All boxes will be within the Media Box, and if they are not they will be clipped to the
Media Box size. Trim Box and Crop Box settings are maintained in the output file if they are present in the source PDF.
If a PDF input file has a date within the metadata which does not conform to the PDF specification a warning will appear and the date in the output PDF will be changed to the current
RIP date. Warning of the following form are displayed when this occurs:
Warning: input PDF uses a modification date \"%s\" that does not conform to the
PDF specification.
or
Warning: input PDF uses a creation date \"%s\" that does not conform to the PDF specification.
5.9.3 PDF raster file output format options
All the remaining options in the dialog, with the exception of the
Post Processing
section, provide different ways of storing the data in the file but do not affect the viewed image.
You can choose the page style option from the
Page style
pop-up menu. This option decides whether the output file is saved as one file per job (a 100 page job is created as a single PDF document containing 100 pages), or one file per page (a 100 page job is created as 100 separate PD documents each containing one page).
Note: If you abort a page and your PDF raster configuration is set to “one file per job” (rather than “one file per page”) your whole job and all pages therein will be aborted.
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5.9 Output to PDF Raster
You can choose the output PDF format settings from the
PDF Format
pop-up menu. Currently the options are:
PDF/X 1a:2003 (PDF 1.4) and
PDF 1.4
.
You can choose the compression format used for the file from the
Compression
pop-up menu. The choices are:
None or
ZIP
. The compression settings only affect images.
The
Level
option determines the amount of compression applied to the output file. A value of 1 means “don’t compress very much” (and is quicker); a value of 9 means “compress as much as possible” (and is slower). The default value is 6.
You can choose the rendering intent to be used for the file from the
Output identifier
pop-up menu. There are various styles available. These styles cannot be changed or added to.
You can choose the output data format used for the file from the
Output
pop-up menu. The choices are:
ASCII or
BINARY
. If you are planning to transmit the output file via e-mail, choose
ASCII
, which provides an Ascii85 encoding. Otherwise, for normal use choose
BINARY
.
5.9.4 PDF raster file post processing
You can use this section of the dialog box to define extra actions after the RIP has created each PDF raster file. To do this, you type text specifying a command and its options in a way similar to typing in a command prompt or terminal window. The command can be a simple batch file or a complex application, provided that you can give the command all necessary options and information on the command line; a command needing operator interaction is likely to cause problems.
You can use such post-processing commands to convert the file to a different format or to send the data to a destination that is not directly supported by PDF raster output from the
RIP. There are several other possibilities, such as extracting information for use in reports, limited only by your ability to obtain or create a suitable application and to supply information to it.
The controls in this section of the dialog box are:
Enable
Create Window
Command
Select this check box to enable a post-processing command, as entered in the
Command
text field. Leave it unselected to disable postprocessing.
Check this box to display a command prompt window: for example, to display any messages produced by the post-processing command.
The command window closes at the end of the command so, to read any messages, you may need a timed delay before the command finishes. (A wait for a key-press may be useful for testing but becomes unworkable with many output files.)
The entry in this text field is a string specifying a post-processing application, which must be available on the computer running the
RIP. Optionally, you can supply parameters understood by the appli-
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cation, and data such as the name of the relevant input or output files.
The command string can contain substitution codes. The RIP expands the codes and runs the c?mmand at the end of each output file.
“Post processing substitution codes” on page 113 lists the recognized
substitution codes.
The string should normally include the file extension and the full path name of the application file. However, you can type just the file name if the command file has extension
.EXE
and is in one of the folders specified by the
PATH variable. File names passed to the application as data are assumed to be in the folder receiving the PDF raster files, unless you type a different path name.
5.10 Sending output to a printer
You can use the Harlequin RIP to produce output on a variety of different imagesetters and printers. The options available depend on the device drivers that have been installed with your copy of the RIP.
If any device drivers have been installed, you can select one of these drivers in the Edit Page
Setup dialog box from the
Device
pop-up menu. Selecting
Ultre
,
PelBox
, or
HP650
, for example, sends output to the corresponding printer, provided that somebody has done any necessary configuration to suit the way that the printer is connected and configured.
You can gain the ability to send output to many other types of device by adding other output
plugins. A simple plugin may add a single device driver, and this manual usually talks about the device that the driver supports. Complex output plugins can support several device drivers and provide preconfigured Page Setups, screening, or color management. Such complex plugins can require several steps during installation: hardware installation, system software modifications, software installation in the Harlequin RIP, and enabling specific devices or RIP options with passwords. There is likely to be a separate installation or operator’s manual for such plugins and, perhaps, a special installation program.
Note: It is often dangerous to attempt to re-install or update an installed plugin in the same
copy of the Harlequin RIP, because of file name mapping (described briefly on page 41) and
other issues. It is much safer to make a fresh installation of the RIP, install the new plugin, and then transfer your setting to the fresh installation. The separate Migrate program can help you make this transfer.
Where a plugin supplies a single device type, the device type becomes ready for use as soon as it has been installed and, if necessary, enabled with a password. Multiple device output plugins appear first as one of the options in the Device Manager, where you can choose
which device you want to use. See “Multiple device output plugins” on page 122.
Once installed, the name of a device added with a new output plugin appears as one of the device options in the Edit Page Setup dialog box and you can select it just like any other device.
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5.11 ProofReady plugins
Note to OEMS: OEMs can create their own plugin device drivers. Details of how to do this are available from Global Graphics. Global Graphics also supplies a range of ready-made device drivers for some of the more commonly used output devices.
Under
Separations, Screening & Color
, the
Style
pop-up menu contains all the separations styles created for the current device. The choice of separations style determines the color space and format of the output.
Note: Some output plugins allow you to select the color generation mode using the
Configure
Device
button. When this is the case, the
Style
pop-up menu contains only the separations styles corresponding to the selected color generation mode.
For certain types of output device, a text box labeled
Exposure
becomes active in Edit Page
Setup. By specifying a number in the text box, you can change the exposure of the chosen output device: this varies the power of the laser used to create the image, which in turn makes the image lighter or darker. Refer to the documentation for your output device to see
Media and cassette monitoring and management facilities are available for all continuous feed printers supported by the Harlequin RIP. For details of how to use these facilities, see
Chapter 9, “Media Management”, and “Cassette management” on page 151.
5.11 ProofReady plugins
ProofReady plugins allow the RIP to provide page images to a supported printer.
When you create a Page Setup for a ProofReady device a default color setup is applied, using input and output profiles, and rendering intents defined within the plugin. You must have
ColorPro enabled to use this automatic color management feature. You can also create your own color setup if you do not wish to use the default settings.
ProofReady plugins have the following capabilities:
• Instant color management using supplied profiles
• A choice of resolution for the output page image for all media sizes and types supported by the model of printer in use
• User choice of output quality
• Availability of Harlequin screening techniques
• Preview of the screened output
Using the ProofReady plugin is straightforward. You select the required device, configure it, select a profile from the
ProofReady
menu and then print.
If you would like to improve color accuracy and you have a measurement device available, you can print an uncalibrated target, measure it with Genlin and then import the data and make a new calibration set.
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You then go back to the Page Setup and select this calibration with the ProofReady Setup unchanged and proof using the calibration and the ProofReady setup combined.
5.11.1 Using ProofReady plugins
Each ProofReady plugin is supplied ready to use with preconfigured color management for several types of media.
With a ProofReady plugin, the way that you apply color management is simpler than with
ColorPro because the setups are ready to use. The special color setups appear in the
Proof-
Ready
menu in the
Output Device
section of the Page Setup dialog box, each named for a particular combination of media and resolution. Choosing one of the entries from the
ProofReady
menu, gives you a default color setup that produces good results for most jobs.
When an option is selected from the
ProofReady
menu, the options in the
Separations, Screening and Color
section of the Page Setup dialog are enabled. This allows you to create and edit
ProofReady color setups or separation styles. However, non-compatible separation styles and color setups cannot be selected or created.
If you want to create a calibration set for your printer rather than using the reference calibration profile, you can print an uncalibrated target and import the data using Genlin. Once you have created a calibration set, you must choose it from the
Calibration
menu.
You can also expand the capabilities of a ProofReady plugin, by creating and using custom color setups built upon the same profiles used to create the default color setups.
For more details of ProofReady plugins, see the user guide for the relevant ProofReady plugin.
5.12 Multiple device output plugins
The Harlequin RIP lets you install multiple device output plugins, which allow you to drive a number of different devices without needing a separate output plugin for each one.
Note: Many output plugins intended for use with a range of similar output devices, such as inkjet printers, are multiple output plugins but are supplied with preconfigured devices ready for use in the Edit Page Setup dialog box. You should only need to use the description given here if the installation procedure for a plugin fails to install a device of the type you want.
This discussion uses the following terms:
Device A device is often a physical piece of equipment which produces output. It can also be a way of producing a graphics file in a format like
TIFF. A device can be selected by name from the
Device
pop-up menu in the Edit Page Setup dialog box.
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5.12 Multiple device output plugins
Device type Any particular device is of a certain type. For instance, some printers are of type Ultre, and some are of type ExxtraSetter. Distinguishing different device types is like distinguishing different models of computer. Some options (for example, the resolutions or media types available) depend on the device type.
Output plugin The output plugin is the software you install into the RIP to make it drive a particular device. It tells the RIP the name and type of the devices it drives, as well as the address of the device (that is, where to find the device—in terms of the computer rather than physical location).
With ordinary output plugins, one plugin can drive only one device. If you want to install a large number of devices, you need many different output plugins. This can make configuration of the system cumbersome.
Multiple device output plugins allow you to drive a number of different devices using just one plugin. You can have any number of devices of a particular type.
Figure 5.10 shows you the configuration of an imaginary system using both single and mul-
tiple device drivers.
Device Driver Multiple Device
Driver
U U
Device1 Device2
Ultre Devices (marked U)
U
E E
Device3 Device4 Device5
ExxtraSetter Devices (marked E)
Figure 5.10 The use of multiple device drivers in the Harlequin RIP
Five devices are shown, driven by two output plugins.
Device1 is of type
Ultre
, and is driven by an ordinary output plugin.
However, the remaining four devices are all driven by one multiple device output plugin.
Two of these devices are of type
Ultre
, and two are of type
ExxtraSetter
, so this driver must know about at least two device types—it may well know about others.
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5.12.1 Installing and using multiple device plugins
Install a multiple device output plugin, just as you would for an ordinary output plugin and
as described in “Sending output to a printer” on page 120. The plugin then appears as one of
the options in the Device Manager dialog box, shown in Figure 5.11.
You create and configure devices driven from a multiple device driver using the Device
Manager. To open the Device Manager click the
Device Manager
button, which is the icon button under
Output Device
in Edit Page Setup. The Device Manager is also available from the
File
menu.
Figure 5.11 Device Manager dialog box
The
Plugin
pop-up menu shows the multiple device output plugins currently installed in the
RIP. You can install several multiple device plugins, and this pop-up menu lets you choose between them. The devices driven by the selected plugin appear in the table listing: each line
displays the name, type, and address of one device. For instance, in Figure 5.11 the dialog
box lists devices linked to the ENCAD multiple device plugin.
Note: Both the name and the values entered for each device are used here for illustration only. There are several multiple device plugins but their names and the acceptable values vary greatly, so they are documented separately.The Device Manager has the following uses:
• To change the configuration of a device, select its entry in the list and click
Edit
then use the Device Manager Edit dialog box.
• To add a new device, click
New
then use the Device Manager Edit dialog box.
• To add a device that is similar to an existing device, select its entry in the list and click
Copy
name.
then use the Device Manager Edit dialog box. You must give the copy a new
• To delete a device from the current multiple device driver, select it in the Device Manager and click
Delete
. This removes the driver immediately.
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5.13 Output plugin dialog boxes
When you click the
New
,
Edit
, or
Copy
button, the RIP displays the Device Manager Edit dia-
Figure 5.12 Device Manager Edit dialog box
This dialog box has three fields that you can edit:
• Specify a name for the device in the
Name
text box. This is the name that appears in the
Device
pop-up menu in the Edit Page Setup dialog box, and elsewhere.
• Choose the device type from the
Type
pop-up menu—a list of all the device types that the selected multiple device output plugin supports. The device types are preset during the manufacture of a plugin and are not subsequently configurable. You cannot tell a multiple device driver to look for a device with a type not listed here.
• Use the
Address
text box to type in the address of the device you are adding or editing.
This text box provides device information such as a multiplex address, a SCSI port, or a file name; all highly dependent on the type of device. For details of what to enter here, refer to the documentation (available from your supplier) for the specific multiple device output plugin.
Click
OK
when all values in the Device Manager Edit dialog box are as you want them. This confirmation is provisional: you must also click
OK
in the Device Manager to finally save your changes. If you opened the Device Manager from the Edit Page Setup dialog box, you can also save the changes by clicking the
Select
button. In addition to saving the changes, the
Select
button displays the selected device in the Edit Page Setup dialog box. Click
Cancel
to discard all changes.
5.13 Output plugin dialog boxes
Many devices have features which only apply to that device. For example, a certain printer may be able to print on both sides of the paper, a feature called duplexing. Such features may be controllable, in which case the device driver offers a dialog box unique to that driver containing, for example, a check box to turn duplexing on or off. For example, the device
TIFF
can have its output file name and format configured (as shown in Figure 5.8, page 102). If the
driver does not have any configurable options, the
Configure Device
button is disabled.
Some output plugins allow you to set the color generation mode using the
Configure Device
button. In these cases, the
Style
pop-up menu contains only the separations styles corresponding to the selected color generation mode. Otherwise, the choice of separations style determines the color space and format of the output.
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5.14 Separations, Screening and Color
The options under
Separations, Screening & Color
allow you to choose the separations style and color setup for the current Page Setup.
Style
The
Style
pop-up menu allows you to choose a separations style for the currently selected device. A separations style contains information on separations and screening (where appropriate), which you can use in one or more Page Setups. The choice of separations style determines the color space and format of the output.
Note: Some output plugins allow you to set the color generation mode using the
Configure Device
button. In this case, the
Style
pop-up menu contains only the separations styles corresponding to the selected color generation mode.
If you change the
Device
, you may have to select a corresponding separations style for the new device before you can save the Page Setup.
Click the
Separations Manager
button to create or edit a separations style.
Separations Manager
This icon button is next to the
Style
pop-up menu. It opens the Separations Manager dialog box, from which you can create or edit a separa-
tions style. See Chapter 13, “Color Separation” for details.
The Separations Manager is independent of the Edit Page Setup dialog box. You can create or edit a style in the Separations Manager, even if you do not want to use it in the current Page Setup. If you do want to use a new or changed style for this Page Setup, select the style in the Separations Manager and click the
Select
button.
Color
The
Color
pop-up menu allows you to choose a color setup for the currently selected device and color space. The choice of separations style determines the color space. Click the
Color Setup Manager
button to
create or edit a color setup. See “Color Setup” on page 375 or the sepa-
rate manual Harlequin ColorPro User’s Guide.
Color Setup Manager
This icon button is next to the
Color
pop-up menu. It opens the Color
Setup Manager dialog box, from which you can create or edit a color setup. See the separate manual Harlequin ColorPro User’s Guide.
Separations Manager
This icon button is next to the
Style
pop-up menu. It opens the Separations Manager dialog box, from which you can create or edit a separa-
tions style. See Chapter 13, “Color Separation” for details.
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5.15 Advanced Media Saving
The Separations Manager is independent of the Edit Page Setup dialog box. You can create or edit a style in the Separations Manager, even if you do not want to use it in the current Page Setup. If you do want to use a new or changed style for this Page Setup, select the style in the Separations Manager and click the
Select
button.
TrapPro Manager
The TrapPro Manager is independent of the Edit Page Setup dialog box, and is only available if TrapPro is enabled under
Configure RIP >
Extras
. You can create or edit trapping setups in the TrapPro Manager, even if you do not want to use them in the current Page Setup. If you do want to use a new or changed trapping setup, select the trapping setup in the TrapPro Manager and click the
Select
button.
For more information see “Trapping features” on page 386.
5.15 Advanced Media Saving
Media saving is provided as an extra layered option that allows you to instruct the Harlequin RIP to automatically fit pages onto the output media in a way that makes the most efficient use of the media. For example, when imaging A4 pages they would normally be placed one above the other on the output media. With media saving enabled, the A4 pages could be placed side-by-side thus utilizing more of the media width.
5.15.1 How to activate Advanced Media Saving
To make use of the Advanced Media Saving, you must enter a valid password in the
Configure RIP > Extras
dialog. For more information on how to activate a password protected
option see “Extras” on page 207.
This option is especially useful with Capstan and Drum devices. For more information on
how to select the extra features supplied with the RIP see “Extras” on page 207.
Media saving is enabled for each Page Setup by clicking the
Advanced Media Saving
option situated in the lower left, Cassette & Page section of the Edit Page Setup dialog box.
Figure 5.13 Advanced Media Saving option
With the Advanced Media Saving option selected, jobs processed in the RIP are automatically grouped together with other jobs according to resolution, bit depth, paper type and
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output device. The jobs are only output to the device when the page is full. A collection of jobs on a page is known as a ‘flat’.
For example, you may have a 32 inch roll installed in the output device and a queue of three
A4 sized jobs waiting to be output. Instead of printing a single job along the width of the roll, the RIP will fit all three jobs along the width of the roll—ultimately saving media.
The Media saver works by receiving page buffers from the RIP. In the pagebuffer header there are fields specifying the media width and media height, page width and page height.
The Media saver uses the media width and media height values as the size of the flat and page width and page height value as the size of the page.
If the device supports cassettes, the media width and media height values are defined in the
Cassette manager. If the device is a roll, media height in the page buffer is the same as the page height and is ignored by the media saver.
If the device does not support cassettes, the media width and media height values are those entered by the user in the Page Layout dialog box. Again the roll device rule applies.
Note: A Watermark RIP cannot currently be used in conjunction with the media saving option. For this reason, the Advanced Media Saving check box in the Page Setup dialog box is disabled when using a Watermark RIP.
5.15.2 Tracking media width for automatic cassette selection
From Harlequin RIP Eclipse Release SP3, the width of media used is tracked to aid the use of automatic cassette selectors.
For roll fed devices, the length of the media that needs to be exposed when outputting a flat has always been tracked, with the assumption that the width value is constant. However, because automatic cassette selection devices are starting to be used, it is now important for the RIP to track the width of the media used in addition to the length.
If the width of the flat is reduced, a cassette with smaller width media can be selected leading to a shorter exposure time and saving of media.
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5.15 Advanced Media Saving
When enabled, the RIP
Output
menu contains the
Advanced Media Saving
option, which on selection displays the Media Saving dialog.
Figure 5.14 Media Saving dialog box
5.15.3 The Media Saving dialog box
The Media Saving dialog box displays all the information required for you to keep track of which jobs are being combined into flats. Jobs will only be added to a flat if the resolution, bit depth, paper type and device are all the same—if any of these are different a new flat will be created.
As soon as a flat is full it will be output to the device. A flat is deemed ‘full’ when it reaches that stage where any new page of the same specification will not fit in the flat.
You can send a flat to the output device before it is completed by highlighting the flat to be output followed by clicking the
Print Flat
button.
You can ensure enough space is placed around each job by specifying a value in the
Margin between pages
option. The Media saver ensures that there is the same given margin between
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the edges of the paper and the pages of jobs—it achieves this by absolute positioning of the pages on the flat. Shown below is a diagram illustrating how pages are position on the flat.
Margin between pages value
Cut mark between flats
Figure 5.15 Margin media saving control
Note: If when using media saving you get output that is clipped, you should make the
Margin between jobs
value greater than the value of the unprintable margin for the device.
For a TIFF output device (or any other device with an unlimited media width and height) the media width and height end up being the same as the Page Size, and the size of a TIFF flat would be the same as the first page buffer on the flat.
From Eclipse Release SP4 the
TIFF media width
and
TIFF media height
text boxes are added to the Media Saving dialog. These options are designed for use with the TIFF output device
(and any other device with unlimited width and height). The values in these fields are used to calculate the size of the TIFF flat.
If you want to avoid the possibility of a flat never being output, because there may never be enough page buffers of the same type, you can click the
Time to wait between pages
option and enter either a number of minutes or hours. When an incomplete flat has been displayed in the Media Saving dialog box for the defined time out period, it will automatically be output to the selected device. When
Time to wait between pages
is not checked, partially filled flats will always wait for new pages of the same specification to arrive.
You can Roam individual pages displayed in the Media Saving dialog by selecting them and clicking the
Roam
button. Similarly, you can delete individual pages by selecting them and clicking the
Delete
button.
When a flat is printed, the page buffers that the flat references are deleted from the disk.
Because of this, the
Print Flat
button is disabled when a Roam window is open.
If a flat is going to be printed because the time out period has expired and a Roam window is open, the flat is placed in a queue and is printed as soon as all Roam windows are closed.
By default, if the device is roll fed (for example part drum or capstan), the buffered pages are placed on the flat in one row along the width of the media. The height of the flat is ultimately that of the tallest page placed on the flat, and the width of the flat is as specified in the Page
Layout dialog.
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From Harlequin Eclipse Release SP4 this default behavior can be changed in two ways.
• For part drum devices, the
Fill whole drum (for part drum devices only)
check box controls the behavior that defines the media height as that of the device width, allowing multiple rows of page buffers on the flat, and as such allowing the whole of the drum to be utilized.
• For part drum and capstan devices (that is, roll fed devices), the
Track flat width (for roll fed devices only)
check box controls the width of the flat. If it is checked, the flat width will be the width of the widest row of pages on the flat.
You may encounter problems when you are outputting to a device that specifies a minimum media width. If a flat is submitted which defines a media width that is smaller than the device's minimum media width, the plugin will reject the flat and display the message:
"Error - The media width is less than the minimum allowed" - and the job is aborted.
Also note, that if you are outputting separations and the flat size is being tracked (either width or height), it can occur that the separations will have different sizes. You are therefore unable to Roam these separations together.
From the Eclipse Release SP3 an option to
Switch roam color to black
is added to the Media
Saving dialog. This is only enabled when the
Order of pages on flat
option is set to none
, that is, when more than one separation color is allowed on the same flat. When selected, the
Roam color of the resulting flat is black. This option does not apply to composite output.
From version 5.5r1 an extra media saving option is provided called
Order of pages on flat
. The
Order of pages on flat
option provides a drop-down list with the following options: none
Page buffers are placed on flats if they fit, regardless of color.
by separation
Each flat is dedicated to a particular separation name, therefore page buffers with different separation names cannot appear on the same flat. For example, cyan separations can only appear on cyan flats.
However, once allocated to its flat, a page buffer may be positioned anywhere on that flat.
by separation, page position
Each flat is dedicated to a particular separation name, in the same way as described in the by separation option above. The page buffers for a given job must all be at the same position on their respective flats.
But no consideration is given to what other separations may be on these flats. Therefore, it is not guaranteed that the group of flats that contains all the page buffers for any one job also contains all the page buffers for the other separations on the flat.
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Note: This option will not work for preseparated jobs, because the RIP treats each separation as a different job.
by separation, page position, job
Each flat is dedicated to a particular separation name. The page buffers for a given page must all be at the same position on their respective flats. It is additionally guaranteed that the group of flats that contains all the page buffers for any one job also contains all the page buffers for the other pages on the flat. Empty spaces will be left for separations that are not available or missing.
Note: This option will not work for preseparated jobs, because the RIP treats each separation as a different job.
From the Eclipse Release SP3 a
Name flat after
option is provided in the Media Saving dialog which controls the job name of the flat. The default setting is to name the flat after the
1st
PGB in flat which is how it always has worked. That is, the flat is named after the first job placed on the flat. The alternative option is to name the flat after the flat number
. With this option the job name uses the flat number as it appears in the dialog, so “Flat 1” will have the job name;
1. Flat 1
. Subsequent new flats will be named incrementally. When the RIP is stopped and started the name of the first flat will be;
1. Flat 1 unless an existing flat is detected in the media saving, in which case any new flats will be named incrementally from the name of the detected flat.
Note: If you decide to change this option midway through a RIP session, any previously created flats will not be renamed, that is the change will only affect any subsequent flats that arrive.
The following examples illustrate the differences between the by separation, page position and by separation, page position, job options.
Incoming Job
Flat
No.
—
, — , — , K
1
C
2
, M
2
, Y
2,
—
—
, M
3
, Y
3,
—
C
4
, — , Y
4
, K
4 by separation, page position by separation, page position, job
M
2
Y
2
—
—
— position 1
K
1
C
2 position 2
K
4
C
4
M
3 position 1
K
1
C
2
M
2 position 2
—
—
M
3
Y
3
Y
4
Y
2
C
4
Y
3
—
—
—
Y
4
K
4
Table 5.5 Media saving— example 1
—
—
Flat 1
Flat 2
Flat 3
Flat 4
Flat 5
Flat 6
Flat 7
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5.15 Advanced Media Saving
Table 5.5 shows an example where four incoming jobs are placed on flats differently accord-
ing to the selection of either; by separation, page position or by separation, page position, job
.
With by separation, page position selected, the first incoming job contains only a black separation (K
1
) which is placed on the first flat in position 1. The second job (C tains only magenta and yellow separations (M
2
, M
2
, Y
2
) contains no black separation and therefore creates three new flats (2, 3, and 4). The third job con-
3
, Y
3
).There is space on existing flats for this job, magenta flat 3, position 2 and also yellow flat 4, position 2. The fourth job contains cyan, yellow and black separations, (C
4
, Y
4
, K
4
). There is space on black flat 1, position 2 for K
4
,
4
. However, yellow flat 4 already contains a separation, therefore a new flat (5) is created and the yellow separation is placed in position 2.
It can be seen from this that each flat contains separations in no particular order. A single job can appear on earlier or later flats as long as there is space.
With by separation, page position, job selected, the first three incoming jobs are treated as before. The black separation in the first job (K
1
) is placed on the first flat in position 1. The second job (C
Y
2.
3
2
, M
2
, Y
2
) creates three new flats (2, 3, and 4). And the third job (M
3
,
The fourth job contains cyan, yellow and black separations, (C space on black flat 1, position 2 for K
4
, Y
4
, K
4
). Even though there is
4
, there is no corresponding space in position 2 of flat 3 and flat 4 for the magenta and yellow plates. This is because this option keeps the separations for each job together. Therefore, new flats 5, 6 and 7 are created to accommodate (in position 1), the cyan, yellow and black separations from incoming job 4.
This illustrates that using this option, jobs stay together and appear on consecutive flats.
Incoming Job
Flat
No.
C
1
, M
1
, — , —
—
, M
2
, Y
2,
—
C
3
, M
3
, Y
3,
— by separation, page position by separation, page position, job
—
— position 1
C
1
M
1
—
— position 2
C
3
M
2
Y
2 position 1
C
1
M
1
— position 2
—
M
2
Y
2
M
3
Y
3
C
3
M
3
—
—
—
Y
3
Table 5.6 Media saving— example 2
—
Flat 1
Flat 2
Flat 3
Flat 4
Flat 5
Flat 6
Table 5.6 shows an example where three incoming jobs are placed on flats differently accord-
ing to the selection of either; by separation, page position or by separation, page position, job
.
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With by separation, page position selected, the first incoming job contains a cyan and magenta separation (C
(M
2
, Y
2
1
, M
1
) which are placed on flat 1 and 2, position 1. The second job,
) can use the second position in flat 2 for the magenta and creates a new flat (3) for the yellow. The third job contains cyan, magenta and yellow separations (C
3
, M
3
, Y
3
).There is space on flat 1 for the cyan separation, but no space on flats 2 and 3, position 2 for the magenta and yellow. (The yellow cannot go onto flat 3, position 1 because it would not be in the correct position for registration). Therefore, new flats (4 and 5) are used and the cyan and magenta separations are placed into position 2.
Again, each flat can contain separations in no particular order. A single job can appear on earlier or later flats as long as there is space.
With by separation, page position, job selected, the first two jobs behave as before.
The first incoming job contains a cyan and magenta separation (C flat 1 and 2, position 1. The second job, (M
2
, Y
2
1
, M ) which are placed on
) can use the second position in flat 2 for the magenta and creates a new flat (3) for the yellow.
1
The third job contains cyan, magenta and yellow separations (C
3
, M
3
, Y
3
).There is space on not have space. Therefore, new flats (4, 5 and 6) are created and the cyan, magenta and yellow separations are placed into position 1 on those flats.
This illustrates that using this option, jobs stay together and appear on consecutive flats.
5.15.4 Media Saving dialog box example
The following example of the Media saving dialog box shows a number of flats in various stages of construction:
Figure 5.16 Example flats
In this example there are three flats in construction:
Flat 10 is destined to be output on a
Capstan device and has two jobs called
Box.ps
and
Box1.ps
using 67% of the flat.
Flat 11 is destined for output on a Drum device and has three jobs using 20% of the flat.
Flat 12 is also destined for output on a Capstan device but at a different resolution to
Flat 10
.
5.16 Media and time saving using optimization
The Harlequin RIP provides media and time saving options in the
Optimization
pop-up menu in the Processing section of the Page Setup dialog box. These options are only available if your output device supports them. If your output device does not support these features, the options will not appear in the list.
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5.16 Media and time saving using optimization
The media saving described in this section is different to the Media saving option described
in “Advanced Media Saving” on page 127, and does a different job. Using the two options
together may give unpredictable results.
The
Optimization
pop-up menu allows you to instruct the RIP to rotate pages automatically if doing so saves time or media. For capstan and drum type devices you can choose
Media
Saving
. For drum type devices you can also choose
Time Saving
.
If you choose
Media Saving in the
Optimization
pop-up menu , the RIP rotates the image if it calculates that media can be saved by doing so. You should ensure that the media width is
correctly set within the Cassette Manager to make this option work effectively. (See Chapter
9, “Media Management”.) If the current device is a drum recorder, you can choose
Time
Saving
, which rotates the page in whichever direction takes the least time to output.
Note: Some applications, such as QuarkXPress, generate a page size for the job which is dependent on the media width set in the application. Media saving often cannot work when processing jobs generated by these applications. To avoid this problem, make the media width in the application the same as the width of the page being created (including any crop marks which are to be printed).
5.16.1 Other options that save media
Selecting the
Trim page
check box in the
Effects
section causes the RIP to trim any white space off the top and bottom of each page.
When printing an image which does not contain a
PageSize definition (such as an EPS), and also which is smaller than the currently configured page size, the
Trim Page
feature will trim the page size to that of the image size. For example, printing an A5 image to a Page Setup which has A3 defined as the Page Size would normally result in a roll output device printing onto media A3 in size with an A5 image on it. With Trim Page selected, a roll output device will produce media A5 in size with an A5 image on it. This example illustrates that the amount of media used is considerably reduced.
Note: Trim page will trim to the full size of the image whether or not that image contains white space.
Note: If you are sending output to a device fed with fixed size sheets, such as a typical laser printer, using
Trim page
does not save media and is very likely to alter the registration between pages: for example, when the content of those pages has a variable outline or bounding box.
Several features listed in the
Enable Feature
pop-up menu of the Edit Page Setup dialog box instruct the RIP to use media as economically as possible. In general, these features pack pages together so that, for example, more than one page is imaged side by side in the length
of media that would otherwise be used by one page. See “Features” on page 149 for a fuller
description.
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5.17 Default page size
Normally a job sets its own page size and overrides the default page size. However, in some cases (such as when using the
Proof Fonts
command), the RIP uses the default page size.
You can specify the default page size by clicking
Page layout
(in the Edit Page Setup dialog box) to display the Page Layout dialog box. You can specify either a standard page size by name, or the absolute page width and height.
If you do not want to use a standard page size using
Page size
, specify your preferred values in the
Page width
and
Page height
text boxes. Sizes can be in inches, millimeters, picas, or points, depending on the current selection in the Select units pop-up menu to the right of the
Page width
Paper size
box. When you have specified a nonstandard size, the RIP displays pop-up menu.
Other in the
5.18 Margins
You can specify margins for a job by clicking
Page layout
to display the Page Layout dialog box. This dialog box varies slightly, depending on the type of device. The example in
Figure 5.17 is for a sheet fed device.
You can set the margins by typing values into the appropriate text boxes. Any margins you specify are added to values set within the job.
Choose the units to use from the
Select units
pop-up menu. When you specify the left margin, the right margin is calculated automatically, based on the total width of the media and the size of the image. If you wish, you can specify a negative value for any margin. For example a -1.0 inch left margin would clip 1 inch off the left hand side of the page.
Figure 5.17 A typical Page Layout dialog box
You can center the page on the media by selecting the relevant option. Note that the page is always centered if you choose this option, even if the job itself explicitly sets the page width.
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5.19 Printing effects
If you are using one of the multiple modes, the Page Layout dialog box is also available from the Info dialog box. This dialog box is displayed when you click
Info
in the Output Controller
(see “Operations on buffered pages” on page 78). When chosen from the Output Controller,
the page layout options are specific to the selected page or, optionally, to all pages in the same job. When chosen from the Edit Page Setup dialog box, the options are applied to all jobs subsequently interpreted with that setup.
The output device dimensions are built into the driver for the current device, and cannot be changed. You can set the media width in the Cassette Manager. For details of how to use the
Cassette Manager and other media management facilities, see Chapter 9, “Media Management”.
5.19 Printing effects
The
Effects
options in the Edit Page Setup dialog box allow you to produce output using assorted effects.
The dialog box displays a representation of a page (near the
Effects
label), in which the letters
AB are written. You can either click the
Rotate
,
Negative
, and
Mirrorprint
options to select the effects, or you can click the Effects page to cycle through all the possible combinations of effects.
The Effects page changes as you select any of the options, illustrating the effects of using the selected combination.
The
Rotate
pop-up menu allows you to select 90, 180, and 270 degree rotations. The image itself remains unchanged. If the job was already set to rotate in the opposite direction, the two rotations cancel, giving non-rotated output. Similarly, if the job rotates in the same direction, the two rotations add.
If
Negative
is selected, the page produced is in negative. If the job was already in negative (that is, a negative image is defined in the page description), the two negatives cancel each other out, giving positive output.
Using this option may affect the proper choice of calibration
set—see Chapter 12, “Calibration”.
If
Mirrorprint
is selected, the RIP produces a mirrored image which is reflected about the vertical axis. However, if the job being sent was already reflected, selecting the
Mirrorprint
option cancels this out, giving a non-mirrored image.
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Eclipse Release SP3 and later of the Harlequin RIP includes a
Control Strip
check box in the Effects panel of the Page Setup dialog box.
For more information see “Control strip” below.
5.20 Control strip
If you select this check box, a control strip is added to your job, based on the area available on the output medium. This is particularly helpful when creating proofs, because the control strip indicates the settings used for the job and allows you to analyze the print quality.
Note: The control strip is not suitable for use when outputting to platesetters.
The control strip includes:
• Logos identifying the RIP as a Harlequin RIP, including a Global Graphics Software
(GGS) logo.
Note to OEMs: The GGS logo may be replaced with that of the OEM partner through whom the RIP was sold. (See Technical Note Hqn 054 for more information).
• A color bar for both visual and colorimetric analysis of the print quality.
• A text slugline carrying data about the job file itself and the print configuration.
The color bar printed on cut-sheet media may be constructed using one, two or four lines of color patches, depending on the space available. It may include the following groups of patches:
• Step wedges, containing different numbers of patches at different tint values. These may contain CMYK or spot colors.
Note to OEMs: Although not used in the configuration as shipped, the step wedges may also be set to include all of the colorants rendered on the proofer.
• Graduated linear tints.
• Progressives (secondary and tertiary colors built from Cyan, Magenta and Yellow).
• Neutral patches comparing CMY combinations with plain Black, and using values from a variety of standardized printing conditions, such as SWOP and ISO 12647-2.
• ChipCheck
™
—a patent-pending approach that allows the color accuracy of the proof to be tested quickly and cheaply without requiring the use of a colorimeter.
• PDF/X status, showing whether the job being printed is PDF/X compliant or not, and whether it claims to be.
• Orientation—showing the orientation of the page, and whether or not it is saved in negative in the original document.
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• Feed direction—showing how the output was fed through the printer, as an aid to resolve some kinds of print artifacts.
A sample control strip is shown below:
Harlequin Logo
Page orientation
Paper feed
Registration
Paper measurement
Job name
Job style
Page number
Job file name
ChipCheck
™
File modification date and time
Process step wedges
Output device
Print date and time
Resolution
Page setup name
Color setup name
Screening
Anti-alias factor
Progressives
RIP version
Global Graphics
Software Logo
Serial number
Figure 5.18 Control strip
5.20.1 Control strip elements
The control strip contains some of the following elements, depending on your job configuration and the available space on your media.
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5.20.1.1 Harlequin At Heart logo
Figure 5.19 Harlequin at Heart logo
The Harlequin at Heart logo is always part of a control strip and is located at the left end of the strip.
5.20.1.2 Orientation icon
Figure 5.20 Orientation icon
The orientation icon indicates the orientation of the job, that is, whether the job has been rotated and so on. It also shows as black on white if the incoming job was negative and forced to positive by the RIP.
5.20.1.3 Paper feed icon
Figure 5.21 Paper feed icon
The paper feed icon indicates the direction in which the paper is fed through the printer.
5.20.1.4 Registration icon
Figure 5.22 Registration icon
The registration icon allows you to check for any misregistration errors.
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5.20.1.5 Paper measurement icon
Figure 5.23 Paper measurement icon
The paper measurement icon allows you to take a paper white reading for the purposes of calibrating your measurement device.
5.20.1.6 PDF/X validation icon
Figure 5.24 PDF/X validation icon
When processing a PDF file the PDF/X validation icon will be displayed. If the file claims to be a specific PDF/X version, the RIP will validate that claim during interpretation. The claimed conformance level will be displayed above the PDF/X validation icon, and the characterized printing condition for which it was prepared will be displayed below it.
If the file is a valid PDF/X file the icon to the right will be a tick, otherwise a cross will be shown.
A PDF file that does not claim to be PDF/X compliant will show
Baseline PDF
on the green background.
Files that claim to be PDF/X conformance levels that are not explicitly supported by the RIP will not be validated, and will show a question mark in the black box to the right.This also applies to files that claim to comply with a conformance level which are not fully validated in the current Page Setup. For example, PDF/X files will not be validated if the option in the
Accept Type(s)
basic PDF menu of the PDF Options dialog box has been set to
Any PDF <= 1.4 as
, for instance.
5.20.1.7 ChipCheck
™
strip
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Figure 5.25 ChipCheck
™ strip
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ChipCheck
™ is designed to allow very rapid and easy validation that a proofer has been correctly configured without requiring the use of instruments. It will identify whether an error has been introduced by, for example, the wrong media selection in the RIP interface, or whether the required calibration has not been performed. It can also quickly check whether a stored proof has aged enough to alter the colors significantly.
To read the strip, compare chips from a valid Pantone Coated swatch book with the patches in the color bar under appropriately controlled lighting (typically D50).
For even faster and easier checking of proofs, build a strip of Pantone chips in the correct order to compare with the patches.
5.20.1.8 Process step wedges
Figure 5.26 Process step wedges
The process step wedges allow you to measure the process colors at various increments. The increments used depend on the space available.
5.20.1.9 Progressives strip
Figure 5.27 Progressives strip
The progressives strip allow you to measure color combinations. Each patch has a label above it indicating the colors used in the patch, for example,
CM
is a patch containing Cyan and Magenta. The percentage of each color varies, according to the space available. For
example, the first six patches in the strip in Figure 5.27 contain 100% of each named color,
and the last six patches contain 50% of each named color.
5.20.1.10 Neutrals strip
Figure 5.28 Neutrals strip
The neutrals strip allows you to test the neutral grays produced by your job settings. The neutral patches compare CMY combinations with plain Black, and use values from a variety
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of standardized printing conditions, such as SWOP and ISO 12647-2. The appearance of the neutrals strip varies depending on the space available.
Combined with ChipCheck (see “ChipCheck™strip” on page 141), this provides a very rapid
method of checking the configuration of the proofing device. If the CMY combinations do not match the K tints you may have selected the wrong media in the RIP, or you may need to recalibrate the printer.
5.20.1.11 Company logo
Figure 5.29 Company logo
The company logo always appears on the control strip and represents the distributor of the
Harlequin RIP.
Note to OEMs: The GGS logo may be replaced with that of the OEM partner through whom the RIP was sold. (See Technical Note Hqn 054 for more information).
5.20.1.12 Job name icon
Figure 5.30 Job name icon
The job name icon precedes the job name.
5.20.1.13 Job style icon
Figure 5.31 Job style icon
The job style icons indicate the separations, screening and color
Style
used for the job, as specified in the Page Setup.
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The first icon in Figure 5.31 indicates a composite color job; the second icon indicates an
unrecombined, preseparated job, and the third icon indicates a recombined, preseparated job
(monochrome jobs will be marked as composite).
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5.20 Control strip
5.20.1.14 Page number icon
Figure 5.32 Page number icon
The page number icon precedes the page number. Note that the page number is the page number within the current file. If for example, you have printed to the PostScript language from your design application and chosen to print just pages 7 and 8, then they will be labelled as pages 1 and 2 on the proofs.
5.20.1.15 Job file name icon
Figure 5.33 Job file name icon
The job file name icon precedes the job file name.
5.20.1.16 File modification date icon
Figure 5.34 File modification date icon
The file modification date icon precedes the date and time at which the file was last modified. The file modification date will only be shown if it is recorded in the file.
Note: The brackets and slashes within the control strip delimit different parts of the strip.
The date in the first set of brackets is the file modification date (if available), and the date in the second set of brackets is the print date.
5.20.1.17 Print date icon
Figure 5.35 Print date icon
The print date icon precedes the print date and time.
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Note: The brackets and slashes within the control strip delimit different parts of the strip.
The date in the first set of brackets is the file modification date (if available), and the date in the second set of brackets is the print date.
5.20.1.18 Scale icon
Figure 5.36 Scale icon
The scale icon precedes details of the scale factor, for example,
50.0%
.
5.20.1.19 Clipped icon
Figure 5.37 Clipped icon
The clipped icon is a warning that not all of the 'page' of the job may be shown. This may be due to the fact that the non-printing margins of the output device have not been accounted
for. See “Margins file” on page 148 for more details.
5.20.1.20 File creator icon
Figure 5.38 File creator icon
The file creator icon precedes the name of the person and/or machine that created the or
PDF file. This information is only displayed if it is recorded in the file.
5.20.1.21 Output device icon
Figure 5.39 Output device icon
The output device icon precedes the name of the output device, for example,
TIFF
.
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5.20 Control strip
5.20.1.22 Page Setup name icon
Figure 5.40 Page Setup name icon
The Page Setup name icon precedes the Page Setup name.
5.20.1.23 Color setup name icon
Figure 5.41 Color setup name icon
The color setup name icon precedes the name of the color setup. If the default color setup is being used, then the text
(No Color Management)
is displayed.
5.20.1.24 Screening icon
Figure 5.42 Screening icon
The screening icon precedes details of the type of screening used, for example,
HDS Fine
.
5.20.1.25 Resolution icon
Figure 5.43 Resolution icon
The resolution icon precedes the resolution details, for example,
300.0 dpi
.
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5.20.1.26 Anti-alias factor icon
Figure 5.44 Anti-alias icon
The anti-alias icon precedes the details of the anti-alias factor, for example,
3x3
. The
Anti-
Aliasing
option is available in the Configuration dialog box of various plugins, such as the
TIFF plugin.
5.20.1.27 Serial number icon
Figure 5.45 Serial number icon
The serial number icon precedes the Harlequin RIP serial number details. This allows you to identify the Harlequin RIP that produced the proof.
5.20.2 Configuration
5.20.2.1 Page image positioning
The page image will normally be placed in the lower left corner of the imageable area of the printer (after allowance for the control strip). It can be centered in the imageable area in either dimension using the
Center page on Media Width/Length
check boxes in the Page Layout dialog box. These options will not move the control strip, which will remain along one side of the sheet or roll.
5.20.2.2 Margins file
In some cases, the following warning may be displayed in the RIP Monitor window:
%%[ WARNING: Control Strip: no margins file found, output may be clipped ]%%
If necessary, speak to your plugin supplier for further details on margins files.
5.21 Scaling the image
You may not always want to print your job at its original size. The horizontal and vertical scaling boxes in the Edit Page Setup dialog box allow you to print out any job at a specified scale. This changes the page size.
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5.22 Features
All scales are expressed as a percentage of the original size. Thus, to print out a copy of a job at half the linear size, specify 50 in both the horizontal and vertical scaling text boxes. To print it out at twice the size, specify 200.
You can specify different horizontal and vertical scales if you wish. Note that the aspect ratio of the image changes unless the values in the horizontal and vertical scaling boxes are the same.
Screen ruling is not affected by the scale at which a job is output.
5.22 Features
You may sometimes want to apply a special effect to your jobs that is not otherwise available from the Edit Page Setup dialog box. You can do this in the Harlequin RIP by using features.
These are both powerful and easy to use.
For instance, you can use a feature to perform a simple page imposition that prints two pages side by side (and at reduced-scale if required) on one normal sized page to reduce media consumption when in the draft stages of document production. Another feature scans
PostScript language jobs for the use of spot colors and reports the colors on screen before you print.
You can use features by choosing one from a pop-up menu, without knowing how they work, but with a little knowledge you can add new features. A Harlequin RIP feature is a fragment of PostScript language code which is executed just before a job is run. The fragment specifies the changes to be made to the interpretation of that job, but is completely independent of it.
5.22.1 Using features
Several page features are supplied with the RIP, ready for immediate use. To use one of these features, select the
Enable Feature
check box and select a feature from the pop-up menu.
Make any other settings you wish and save the Page Setup. The feature is applied to all jobs using that Page Setup until you clear the check box.
Many of the features enable you to save media by packing pages on large format devices, or to get more information about jobs and any errors arising from jobs. In addition, one feature
(
Image replacement
) enables substitution of high resolution images for PostScript language jobs, using Open Prepress Interface (OPI) and Desktop Color Separation (DCS) schemes.
The page features currently supplied and supported are:
Error Handler (Long and Short)
Error messages generated by the RIP are generally fairly concise.
These page features make the RIP generate longer and shorter (but longer than normal) error messages.
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Configuring Output Formats
Image Replacement
This will load both OPI and DCS image replacement code. Please note that there is an issue when using image replacement with DCS files.
When a Monochrome color separation setup is employed, only the information from the Black DCS separation is used in the final grayscale image.
List Spot Colors
This lists to the system monitor / console the names of all the spot colors accessible in the current job. Also loads the level 1 separator so all level 1 spot colors are also displayed.
For maximum performance, when using this page feature, set the resolution to the lowest possible value that is supported by the output device.
Print info on error
Use this to add additional information related to PostScript language errors to the output, and to image the page interpreted so far.
Print page on error
Use this file as a page feature (or a boot option in
HqnOEM
) to print partial pages when a PostScript language error other than interrupt or timeout occurs.
Install Annotation
You can if you wish use your own custom annotation files. This is done using this page feature which, when activated via the Page
Setup dialog, allows you to print an EPS file (EPS only), to install that file as a new annotation.It is recommended that the EPS file is wide and low. It will be centered on the selected raster edge. For more infor-
mation see “Annotations” on page 291.
Use Filename as Jobname
From the Harlequin RIP Genesis Release
™ a page feature has been added, which allows users to request that an incoming file name be used for the job name. This page feature is a much cleaner approach than any previously supplied code. It is therefore is highly recommended that this page feature is used rather than any previous code offerings.
Note: Each page feature is a simple text file and contains a similar description, sometimes with more detail, as a comment.
5.22.2 Adding other features
The
Enable Feature
list provides a number of commonly useful features, but there are other supplied examples that you can add to the list and a PostScript language programmer can
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5.23 Cassette management
create many more. One of the supplied examples (
Draft
) prints the word Draft on each page.
Another one (
Pack Drum
) saves film by packing images on a drum recorder in the way that
Fill Film does on a sheet-fed device and
Pack Capstan does on a capstan recorder. Finally,
PGB hot folder enables you to resubmit page buffers to the version of the RIP that produced them.
Note: All page features in the
Examples folder are supplied as an illustration of what is possible with the Harlequin RIP. The page features are believed to work as described but they are not supported as a part of the Harlequin RIP. Page features that appear in the
Enable Feature
list are supported but are documented only in the PostScript language files.
A feature appears in the
Enable Feature
list only if there is a corresponding PostScript language file in the
Page Features folder in the
SW folder where you have installed the RIP.
The name of the feature in the dialog box is the same as the file name.
All the other supplied examples are files in an
Examples folder in the
Page Features folder.
There is also a file called
Read Me that describes the example features and how to create others. To make an example feature available, copy the file from
Examples into the enclosing
Page Features folder and display the Edit Page Setup dialog box.
Similarly, to remove a feature, move it from the
Page Features folder into the
Examples folder.
You can add other, new, features by creating appropriate PostScript language files and placing them in the
Page Features folder.
Note to OEMS: Extensions to the PostScript language have been created which OEMs may want to use when writing their own features. Contact Global
Graphics for the Using Harlequin RIP Extensions manual.
5.23 Cassette management
If you are using the media management facilities to keep track of the amount of media you have left in your output devices, or if you are using media optimization, you must specify the cassette which is to be used with the Page Setup. Do this using the
Cassette
pop-up menu in the Edit Page Setup dialog box. Note that if you change the
Device
, you have to choose a cassette name from the
Cassette
list, unless media management is disabled for that device.
See Chapter 9, “Media Management”, for more details.
5.24 Page Setup Options
The Page Setup Options dialog box, shown in Figure 5.46, provides several options that
affect the way the RIP processes jobs. Display this dialog box by clicking the
Options
button in the Edit Page Setup dialog box.
Several options provide compatibility with jobs using PostScript LanguageLevel 2 or
LanguageLevel 1. Other options deal with more general fault conditions or are convenience features. (Click the
Extras
button in this dialog box to see options specific to job-creating
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applications: see “Page Setup Option Extras” on page 156 for details.) This section describes
each option in the dialog box.
Figure 5.46 Page Setup Options dialog box
5.24.1 PostScript language compatibility level
This option allows you to choose the level of PostScript language compatibility for jobs submitted to this Page Setup. You can choose PostScript LanguageLevel 1, 2, or 3.
By default, this option is set to
3
, because most jobs run correctly and this setting allows the
RIP to use the maximum number of PostScript language features and Harlequin RIP extensions. The result is often faster operation or increased output quality.
You may need to set the value to
1 or
2 for a small number of older jobs to run correctly. For example: if you set this option to
2
, the RIP interprets jobs using the Level 2 PostScript language conventions, together with any non-conflicting Harlequin extensions. This means that level 2 jobs run in exactly the expected environment. Well-constructed level 3 jobs also run but are likely to operate more slowly if they use features better supported in
LanguageLevel 3.
5.24.2 Run prep at start of job
Prep files are libraries of PostScript language routines that can be downloaded into a RIP and used whenever necessary. Many LaserWriter drivers require certain libraries to be loaded
before they can be used. See “Automatic prep loading” on page 208, for details.
If the box for this option is selected and a prep file chosen from the pop-up menu, the chosen prep file is run at the start of every job that is interpreted with the relevant Page Setup.
By default, this option is not selected.
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5.24.3 Remove color operators
This option also provides PostScript language compatibility. There are two cases where you should consider using it.
• One case occurs because of a bug in LaserWriter Driver 6.0. If you are using this driver and get a PostScript language error, especially if the sending application is Freehand
(formerly from Aldus, now Macromedia), then select this option and output the job again.
• Some applications use PostScript language Level 1 extended color operators incorrectly, producing incorrect (for example, blank) output. If you select this option, the
RIP uses basic color operators instead, and output appears correctly.
Note: This option is available only when the
PostScript Language compatibility level
option is set to
1
. Color operators are always available in PostScript LanguageLevel 2 and 3.
5.24.4 Fast patterns
This option enables Level 1 PostScript patterns defined as halftone screens to be processed more quickly, but at a lower resolution than normal. You should not use this option if you require high quality images, since the option makes the output of any user defined patterns have a more grainy texture than normal at resolutions above 300 dpi.
By default, this option is not selected.
5.24.5 Emulate old imagemask behavior
This option is used to overcome a now rarely seen bug in a previous version of the Adobe interpreter. The effects of this bug may still be present in some older files of PostScript language code.
By selecting the
Emulate old imagemask behavior
check box, you can print these old jobs correctly.
By default, this option is not selected.
Consider the case where a page of PostScript language code contains a negative image mask. If the page is itself printed in negative, the image mask appears normal, as illustrated on the left.
In older jobs, negative image masks are still printed in negative, producing the error illustrated on the left. This is because the Post-
Script language code in the job is attempting to rectify a bug that is no longer present.
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5.24.6 Add showpage at end of job if necessary
Certain PostScript language file formats, such as EPS, EPSF, or EPSI (all forms of encapsulated PostScript), do not necessarily include a showpage operator at the end of the job. To print these files directly from a RIP, a showpage may need to be added. If this option is selected, the RIP automatically appends a showpage to jobs when necessary.
Note: If a job containing a PostScript language error is aborted, any partially complete page is processed and output.
Note: With Simple Imposition used in your Page Setup the
Add Showpage at end of job if necessary
option is not required. EPS files will print correctly.
By default, this option is not selected.
Note: If you process an EPS file that contains known errors it will output when using both
Add Showpage at end of job if necessary
Add Showpage at end of job if necessary
error.
and a page feature that uses imposition. If either the or page feature is turned off the page will correctly
5.24.7 Abort if calibration on, and the selected cal set does not match job
If you require job calibration, select this option to prevent the RIP printing jobs with an inap-
propriate calibration set. The calibration set is specified in the Page Setup. See Chapter 12,
By default, this option is not selected.
5.24.8 Abort the job if any fonts are missing
Select this option to ensure that a job is aborted if any font it uses is not available. If you leave this option unselected, the RIP attempts to use a suitable replacement for any missing font.
By default, this option is not selected.
You are able to specify Default fonts in the
SW/Config/FontSubstitution
file. See “Font substitution” on page 314 for more details.
5.24.9 Enable font emulation
If a font is missing from a job, and is not available in the RIP, you can select this option to substitute the missing font with suitable facsimile text based on the characteristics of the missing font in terms of style, spacing, height and width. In this way, a suitable readable font with similar characteristics of the target font is used in place of a missing font.
Font emulation is often acceptable when digital printing, and can be preferable to the file not being produced at all.
For more information see “Font Emulation” on page 315.
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5.24 Page Setup Options
5.24.10 Preserve monochrome and preseparated jobs
Select this option only if it is important to emulate the behavior of a traditional separating workflow when a monochrome or preseparated job is submitted to the RIP using a Page
Setup that is intended for automatic separation of composite color jobs.
When this checkbox is enabled you will generate CMYK separated output when monochrome or preseparated files are input to a CMYK page setup.
Selecting this option ensures that the RIP generates correctly labeled separations. Select this option to make monochrome jobs produce a single black separation, and to make preseparated color jobs produce correctly labeled separations.(Even though correctly labeled, the separations may also be blank.)
Note: You can avoid blank separations by selecting
Not Blank in the
column of the Edit
Style dialog box, as described in “Producing separations” on page 369. That option is slightly
different because if it is used alone on preseparated jobs in a separating workflow then the resultant separation may have the wrong label: for example, a preseparated job for CMYK may produce only four K (black) separations. It can be useful to use both options together.
Warning: When Simple Imposition is being used, the
option must be set to
Yes if you wish to see color patches on either the proofing or the plate colorbars. Using the
Not Blank option will omit color patches for that color.
5.24.11 Number of copies to print
This text box contains the number of copies of a job that are to be printed. You can type a new value into the box to specify a particular number of copies.
By default, this option is set to
1
(one).
5.24.12 Minimum shaded fill levels
With the introduction of PostScript LanguageLevel 3 and PDF version 1.3, it is possible to construct vignettes using Shaded Fills. There are a number of controls available to impact the quality of these Shaded Fills and one which is particularly important is the smoothness setting.
This option essentially controls the number of steps used to produce a vignette. Some applications set smoothness to a value which will not produce good results on some devices
(Adobe Acrobat sets a value of 50). In this case, vignettes are constructed in a way which reveals noticeable banding. Typically, the creating application can be set to use a more sensible default value, however this can be difficult to implement for all creators of PDF files. For this reason the
Minimum shaded fill levels
option is available.
This option allows you to set sensible override values.
Minimum shaded fill levels
sets a limit which controls the minimum number of steps that can be used in constructing a vignette. This is important in ensuring vignettes do not have banding.
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From Eclipse Release SP4 the default
Minimum shaded fill levels
value is
Auto
which optimizes the value to suit the currently selected Page Setup, and in particular the screening setting.
The
Minimum shaded fill levels
option has a drop down menu allowing selection of various pre-configured values. The higher the value you select, the more shaded fill levels are created, and the more work the RIP has to do to create those levels, resulting in reduced output rate. If
Auto
is selected, the RIP automatically optimizes the
Minimum shaded fill levels
to suit the current Page Setup. For example, if the current Page Setup employs screening that allows only 64 shades of gray, the RIP will optimize the
Minimum shaded fill levels
so that it uses only
64 shades. In addition to this, if the Page Setup allowed 256 shades you can make the RIP run faster by manually selecting a lower value, such as 128.
5.25 Page Setup Option Extras
The Page Setup Option Extras dialog box, shown in Figure 5.47, enables you to alter the way
the RIP processes jobs produced by specific applications. The topics include color management, font substitution, and vignettes in spot colors.
Note: The treatment of embedded color management and spot color vignettes is the same whether the job submitted to the RIP is a file produced directly by the named application, or a file produced by a page make-up application and referencing or containing a file from the named application. There are differences in what is possible with different file formats from some applications, as noted for each option. Typically, an EPS file is handled better than a
PostScript language file printed directly from the named application.
Display this dialog box by clicking the
Extras
button in the Page Setup Options dialog box.
This section describes each option in the dialog box.
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Figure 5.47 Page Setup Option Extras dialog box
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5.25 Page Setup Option Extras
5.25.1 Adobe Photoshop features
These options control handling of features found in jobs from Adobe Photoshop.
Note: The
Honor ‘PostScript Color Management’
check box has been removed. The option is now called
Override color management in job
and is part of the
Input Document
Controls
details.
within the
Color Setup Manager
. See “Color Setup” on page 375 for more
To make fullest use of jobs containing device-independent color definitions, enable a color option in the Configure RIP Extras dialog box.
Separate spot color duotones, tritones & quadtones to spot color plates...
This option enables the interception of Photoshop duotones, tritones, and quadtones when encountered in EPS files. Select this box if you want to separate spot color duotones, tritones, and quadtones to spot color separations.
For this option to take effect, select a RIP separations style that creates separations and that enables the relevant spot color separations. The separations style must either specify a separation for each spot color or have
(Other colors in job) set to
Yes
. See “Producing separations” on page 369 for details.
Note: This option is available only when the
PostScript Language compatibility level
option is set to
3
. It is only relevant for Photoshop versions 2.5 through 4; Photoshop version 5 does this automatically if imaged in LanguageLevel 3.
For more information see “Duotones, tritones, and quadtones” on page 15
By default, this option is selected.
Note: Photoshop images saved to EPS always include the input profile from Photoshop, which a job may not want to actually have applied when color managing. For details on overcoming this, see Appendix C of the Harlequin RIP Extensions manual.
5.25.2 Adobe Illustrator features
These options control handling of features found in jobs from Adobe Illustrator.
Don’t let files silently substitute Courier for missing fonts
Illustrator 7 checks for font availability and replaces any unavailable fonts with Courier. This means that changing the default font or selecting the
Abort the job if any fonts are missing
option in the RIP would have no effect.
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If you select this option, the RIP ignores the font substitution in the
Illustrator PostScript language code. You can then change the default font or select the
Abort the job if any fonts are missing
option. This options applies to both PostScript language and EPS files from Illustrator.
By default, this option is selected.
Separate spot color vignettes to the spot color plate...
For both Illustrator 6 and 7 files: if you select this option, the RIP places the spot color vignettes on the appropriate spot color separations, if available.
There are limitations: all vignettes appear in process separations when the job submitted to the RIP is a PostScript language file printed directly from Illustrator; and vignettes from a spot color to a process color appear in process separations even when the job is in EPS format.
For this option to take effect, select a RIP separations style that creates separations and that enables the relevant spot color separations. The separations style must either specify a separation for each spot color or have
(Other colors in job) set to
Yes
. See “Producing separations” on page 369 for details.
For Illustrator 6 files: if you do not select this option, the RIP honors the information in the job and places spot color vignettes on the process color separations rather than the spot color separations.
For Illustrator 7 files: if you do not select this option, the result depends on the separations style and on the information in the job.
If the separations style generates a separation for a particular spot color, the RIP places a vignette in that spot color on the spot color separation.
However, if
(Other colors in job) is set to
Yes the RIP will generate a separation for a spot color if it encounters a flat tint in that color, but not if it encounters a vignette in that color. Once the spot color separation exists, the RIP will add a vignette in that color to the separation. If the spot color separation does not already exist, the RIP places the spot color vignette on the process color separations.
Note: This option is available only when the
PostScript Language compatibility level
option is set to
3
.
By default, this option is selected.
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5.26 PDF Options
5.25.3 QuarkXPress features
This option controls handling of features found in jobs from QuarkXPress.
Separate spot color vignettes to the spot color plate...
The PostScript language code generated by QuarkXPress places spot color vignettes on the process color separations rather than the spot color separations.
If you select this option, the RIP places the spot color vignettes on the appropriate spot color separations, if available. (This option applies fully to PostScript language files printed from QuarkXPress.) For this option to take effect, select a RIP separations style that creates separations and that enables the relevant spot color separations. The separations style must either specify a separation for each spot color or have
(Other colors in job) set to
Yes
. See “Producing separations” on page 369 for details.
Note: This option is available only when the
PostScript Language compatibility level
option is set to
3
.
By default, this option is selected.
Replace XPress graduated fills with smooth shading
Select this check box to replace graduated fills produced by QuarkX-
Press with LanguageLevel 3 smooth shading (shaded fills). Shaded fills generally produce better visual quality and may be faster to generate. You can use this selection if you are using the TrapPro trapping option. This is because TrapPro can handle shaded fills.
Note: This option is available only when the
PostScript Language compatibility level
option is set to
3
.
By default, this option is not selected.
5.26 PDF Options
This button displays the PDF Options dialog box, in which you can set the options for printing PDF files. Using these options you can, for example, print a range of pages rather than the whole file or specify which versions of PDF file to accept. You can also supply a user password, to enable the RIP to print password-encrypted files.
5.27 Calibration
The Harlequin RIP can apply one or more calibration sets to a job. If you are printing to a direct output device, the Page Setup can include a calibration for the output device and a tone curve calibration.
If you are preparing a job for a printing press, the Page Setup can include an imagesetter calibration, a tone curve calibration, and calibrations for the intended and actual presses. If the
Page Setup uses an ColorPro color setup, the intended press calibration is disabled.
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Calibration sets are created for a particular device and color space. You can only select a calibration set for the currently selected device and color space. The choice of separations style determines the color space. Note that, while an imagesetter is not a multi-color device, you can create a calibration curve for each color in the separations style, to take account of the different screen angles likely to be used for the colors.
To create or edit a calibration set, click the
Calibration Manager
button, which is the icon button in the
Calibration & Dot Gain
section of the Edit Page Setup dialog box. See Chapter 12,
“Calibration”, for more information.
5.27.1 Device calibration
The
Calibration
pop-up menu contains a list of all calibration sets for the currently selected device and color space. Select
(None) for no device calibration.
Typically, you select a calibration set that has been prepared for the resolution, screen frequency, dot shape, positive/negative setting, and exposure of the Page Setup that you are editing. The dot shape and screening details are set in the separations style.
Some output plugins—for example, ProofReady plugins—are supplied with reference calibration profiles, typically named in this form:
(Media_name Resolution)
, where
Media_name
and
Resolution
represent values suitable for the output device. These profiles appear in the list of calibration sets and you can use these profiles in the same way as any other calibration set. The additional feature of these profiles is that selecting a reference calibration profile, or a calibration set that you have based upon one, is enough to apply a default color management setup provided that you have enabled an color management option. See the manual for the relevant output plugin or the Harlequin ColorPro User’s Guide for details.
5.27.2 Press calibration
The
Actual Press
pop-up menu contains a list of all calibration sets created for the
Printing
Press device in the current color space. Select
(None) for no press calibration. There is default entry supplied for
(SWOP (CGATS TR001))
, and there may be others.
Note: Some of the press calibration sets may be derived from profiles when you are using
ColorPro. See the Harlequin ColorPro User’s Guide for details. You can add other entries, as
described in Chapter 12, “Calibration”.
5.27.3 Use of a different printing press
If you are not using ColorPro, you can retarget a job from its intended printing press to another printing press, using the
Intended Press
option.
This is a complex topic in the general case, discussed more fully with reference to calibration
in “Press calibration” on page 337.
In summary, the overall effect of press calibration in the output path is to first apply any primary calibration (for example, as required for an imagesetter), to remove compensation for the gain of the
Intended Press
, and then to compensate for the gain of the
Actual Press
.
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5.28 XPS Options
The
Intended Press
calibration is not available when ColorPro is enabled. Instead, several options are provided for processing color data ahead of the transfer to press. These options include emulating the output of one press on another type of press. For details, see the separate Harlequin ColorPro User’s Guide. The calibration set specified in
Actual Press
is always used.
The
Intended Press
pop-up menu contains a list of all calibration sets created for the
Printing Press device in the current color space. If you have a scanned image that was not aimed at a specific press, select
(None) for no intended press calibration. There is a default entry supplied for
(SWOP (CGATS TR001))
, and there may be others.
Note: Some of the press calibration sets may be derived from profiles when you are using
ColorPro. See the Harlequin ColorPro User’s Guide for details. You can add other entries, as
described in Chapter 12, “Calibration”.
5.27.4 Tone curves
Tone Curves allow you to make another set of color adjustments, in addition to the device calibration and the press calibration. The
Tone Curves
pop-up menu contains a list of all calibration sets created for the
Tone Curves device in the current color space. Select
None for no tone curves calibration.
See “Tone curves” on page 336 for more details.
5.28 XPS Options
This button displays the XPS Options dialog box, in which you can set the options for printing XPS files.
Figure 5.48 XPS Options dialog box
Honor PrintTicket DocumentPageRanges
Switching this on enables the RIP to act on the page range settings in the XPS PrintTicket. Leaving the option unchecked means that Page
Setup options continue to override the XPS Document PrintTicket settings.
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Print all pages
Leave this check box selected to print all the pages in the XPS Document. If you wish to print only a subset of the pages from an XPS Document, deselect this check box and enter the desired pages in the
Pages
field.
Reselect this check box when you have finished printing the subset of pages. This enables the printing of all pages from other XPS Documents. (You do not need to delete the entry in the
Pages
field.)
Page(s)
Enter numbers for the page or pages that you wish to print. You can enter individual page numbers or ranges, separating each number or range with a comma (
,
) character.
To enter a page range, enter the numbers of the first and last pages in the range, using a hyphen to separate them: for example,
7-16
. If you wish to print all pages from a particular page to the end of the job, enter a range starting with that particular page and ending with a number that you know to be higher than the last page in the PDF job: for example,
47-10000
.
You can combine individual page numbers and ranges: for example,
1,2,7-16,23,24
.
Pages may be repeated, for example [27, 27, 27] will print three copies of page 27.
Pages may be listed out of sequence, for example [154, 27, 170].
Page size
This enables the RIP to act on page size settings configured in the Page
Setup dialog or XPS Document’s PrintTicket. The default setting is to use the Page Setup
FixedPage width and height
. Alternatively, the
BleedBox or
ContentBox settings can be selected. You can override the Page Setup values by selecting the
PrintTicket PageMediaSize setting.
Blend color space
Selects the blend color space from sRGB
, scRGB
, the
Device blend color space or uses the XPS Document’s
PrintTicket PageBlend-
ColorSpace
setting. All colors are converted to the selected blend space before compositing or gradient blending. If your RIP is outputting an RGB device select sRGB
. If your RIP is outputting to a CMYK device select
Device
.
5.28.1 PrintTickets
The PrintTickets attached to an XPS Document help to define the various printing options such as the Print quality and Paper size. Also, other options such as the Output method and
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5.28 XPS Options
what to do with Digital Signatur?s can be selected. Many applications will attach a Print-
Ticket to the XPS Document when it is printed.
The following PrintTickets are supported by the RIP if they are present within an XPS
Document:
• DocumentPageRanges
• PageBlendColorSpace
• PageMediaSize
• PageResolution
The way that the RIP handles the
DocumentPageRanges
,
PageBlendColorSpace and
Page-
MediaSize
PrintTicket keys depends on the settings of the XPS Options dialog. See “XPS
Options” on page 161 for more information. By default, all PrintTicket settings are ignored,
but these three keys can be honoured if you choose to do so.
The only other PrintTicket setting which might get honoured is
PageResolution
. This will only happen when the
Override resolution in job
option is not checked in the Page Setup
dialog. See “Setting the resolution” on page 92 for more information.
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6
Screening
This chapter describes halftone screening in monochrome and color work, and the different types of screening offered by the RIP. You use the screening options in the RIP in combination with the options that control color separations, to create a combined color separations
style.
The RIP does not restrict the concept of color separation to producing separated output.
When processing any job, the RIP creates a separation for each process colorant and also, where appropriate, for spot colorants. The output format determines whether the separations are printed together as a composite, or separated. By configuring these separations you can control the printing of individual colorants in the job. Although there is only one separation in the monochrome color space, the RIP provides the same options for configuring that separation.
Separations information is saved together with screening information in a separations style, which can be used in several Page Setups. You can keep a number of separations styles that you use regularly, for example to define different screening options.
6.1 Managing separations styles
Separations styles are created and managed in the Separations Manager, as shown in
Figure 6.1. You can open the Separations Manager by clicking the Separations Manager icon
button next to the
Style
pop-up menu in the Edit Page Setup dialog box, or by choosing the
Color > Separations Manager
command.
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Screening
6.2 Separations Manager dialog box
Figure 6.1 Separations Manager dialog box
The Separations Manager displays a list of all existing separations styles for the current device, showing the name of each separations style, the corresponding color space, and the output format.
From the Separations Manager you can create separations styles, and edit, copy, or delete existing separations styles. This chapter describes how to set the screening options for an
existing separations style. For details about creating separations styles, see Chapter 13,
Select a separations style from the list and click
Edit
. The Edit Style dialog box appears. If the output format of the separations style supports screening, the Edit Style dialog box contains
screening options, as shown in Figure 6.2. For example, if you choose a separation style with
an output format of halftone separations, the Edit Style dialog box contains screening options.
The screening options do not appear if the output plugin for the selected output device does not support screening. This usually means that the output device supports continuous tone
(contone) output or that the device accepts contone data and performs its own screening. For devices that can be configured to support either contone or screened output, the screening options in the Edit Style dialog box do not appear when you select a contone separations style, unless you are using external screening.
Some proofing output plugins list two entries (for
Device
in the Edit Page Setup dialog box) for each model of printer that the plugin supports. One entry is for a device that uses the screening options in the RIP, which appear in the Edit Style dialog box for that device. The second device performs its own screening, such as error diffusion screening (EDS), and does not have screening options in the Edit Style dialog box.
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6.3 Edit Style dialog box
6.3 Edit Style dialog box
The Edit Style dialog box (shown in Figure 6.2) appears when you select a separations style
and click
Edit
in the Separations Manager.
Figure 6.2 Edit Style dialog box with screening options
The screening options in the Edit Style dialog box include some familiar to anyone who has used screening and some that are specific to the Harlequin RIP.
• “Halftoning” on page 167, is a quick introduction to concepts if you are unfamiliar
with screening and halftoning.
• “Screening options and number of gray levels” on page 178 describes an area where
the Harlequin RIP technology provides some unconventional and valuable functionality.
The remaining sections in this chapter describe more subtle controls and some optional features of the Harlequin RIP.
6.4 Halftoning
Halftoning is the process of approximating gray levels or color shades with a pattern of dots.
In many halftoning systems, the dots can have only one color value but can vary in size to alter the ratio of dot color to background color. The simplest use of this technique is approxi-
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mating gray levels with a pattern of black dots against a white background, as illustrated in
Here, the size of the dots varies to represent different shades of gray. You see an area of small dots as a light gray, while an area of larger dots (each nearly filling its allowed space in the pattern of dots) is seen as dark gray. More strictly, it is not the size of the dots but the resultant ratio of black area to white area that represents the gray value.
Figure 6.3 An example of halftoning
Color shades are approximated with three patterns of dots, each in a primary color—cyan, magenta, and yellow—used with or without a fourth pattern of black dots. (This description of halftoning assumes three patterns—in fact, the fourth pattern of black dots is almost always used, for technical reasons that do not affect the principles of halftoning.)
Within each color separation, the size of the dots (in relation to their background) is proportional to the amount of the primary color in the composite shade. When the separations are combined, typically by overprinting in registration, they create the illusion of shades of color. The cyan, magenta, and yellow dots cannot be distinguished when viewed from a distance—instead, the pattern of color dots appears to be an area of a shade of color.
6.4.1 Dots, halftone cells, and screens
The dots that this section has discussed are the visible part of halftoning and most halftoning can be described in terms of patterns of these dots. The industry-standard terms used to describe the organization of these dots into manageable structures are halftone cells and
screens.
Each dot is considered to occupy a halftone cell. (Figure 6.4 shows two groups of four halftone
cells.) Every halftone cell is used to represent a gray level or color intensity. A dot can have any area in the range 0% of the area of the halftone cell (a completely white cell) through
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100% of the area of the halftone cell (a completely black cell). Dots of intermediate areas create the illusion of gray levels. The number of pixels in the halftone cell defines how many intermediate areas of dot are possible and, in most systems, this defines the number of reproducible grays.
Cell spacing
(related to screen frequency)
Figure 6.4 Halftone cells, screen frequency, and dot shapes
A screen is an invisible grid that is superimposed on the image—each square in the grid is a halftone cell. For a particular dot shape, the important characteristics of a screen are its spa-
tial resolution, referred to as screen frequency, and the screen angle (as shown in Figure 6.5).
Screen frequency
is the number of halftone cells per inch or centimeter. The corresponding units are lines per inch (lpi), lines per centimeter (lpcm), or lines per millimeter (lpmm). For example, a screen frequency of 100 lpi means halftone cells spaced every hundredth of an inch.
Screen angle
is the angle between one side of the halftone cell and an axis on the output device (not a fixed axis on the page): the reference axis is usually the direction of the slow scan. The screen angle becomes important when you are combining the separate patterns of dots used for color reproduction. The most important consideration is the angular separation of the different screens, not their absolute angles relative to the device axes.
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Note: For most screens, you can use the box
Rotate screens according to page rotation
in the Edit Style dialog box to maintain screen angles relative to the page axes. This may help you diagnose the cause of problems with patterning in the output.
0 °
Screen angle
90 × °
270
× °
180
× °
Figure 6.5 Halftone cells and screen angle
6.4.2 Dot shape
The choice of the shape of each dot that is generated in a halftoned image is essential to the
quality of the eventual image. Figure 6.4 shows circular and elliptical dots, but dots can have
other shapes and need not even form a connected shape within the halftone cell. Indeed, there are screens where the black pixels are distributed (dispersed) around the halftone cell without being joined into one dot. The way in which pixels are produced physically makes it difficult to manage dispersed pixels, though Harlequin Dispersed Screening (HDS) exploits this effectively to produce a less prominent pattern in the output.
There are two common ways of producing dot shapes: spot function screens and threshold screens. Both kinds of halftone work by telling the RIP which pixel within a screen cell to mark next to obtain the next darker gray level.
The Harlequin RIP supports all the screen types defined by The PostScript
®
Language Reference
Manual (2nd Ed) and the non-proprietary types added in The PostScript® Language Reference
(3rd Edition). This means support for
HalftoneType values of 1 through 6, 10, and 16.
Note: If you create a Separations style using Eclipse Release SP1, and you decide to change the Dot Shape used, if both the original and new Dot Shapes are genuine Spot Functions
(such as changing from
Euclidean to
Square
), the screening settings remain as set, that is, they are not reset to the default values.
If however, either or both the original or new Dot Shapes are a Halftone Dot Shape (such as an HDS dot shape), the screening settings, such as the screen angles, and the Yes/No Print?
values are reset to their defaults. The default values are defined in the Screen Names file.
Note: Screen Names files created with the Eclipse Release or later RIPs are incompatible with previous versions. That is, you cannot transfer a Screen Names file from pre Eclipse Release
RIPs to Eclipse Release or later RIPs.
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6.4.3 Spot function screens
Spot functions describe the dot shape using a mathematical function which, given the position of a pixel within a halftone cell, produces a number which says where in the sequence of pixels that pixel should be marked. This technique is very flexible, because it allows a single function to define a halftone cell at any size or angle.
In the Harlequin RIP the common dot shapes are provided by spot function screens. This means that all the screening options in the Edit Style dialog box are available, including the benefits of using Harlequin Precision Screening (HPS).
6.4.4 Threshold screens
As an alternative to a spot function screen, a threshold screen describes a halftone to the Harlequin RIP by providing the order in which to mark pixels explicitly in a table. The table has as many entries as there are pixels in the halftone cell.
A consequence of this is that a threshold screen is always defined in terms of a fixed cell size in pixels, whereas a spot function can be applied to arbitrary sizes of screen dot. This means that the screen cell for a spot function will occupy more pixels, but the same physical area on the output, if either the resolution is increased or the frequency (number of halftone cells per device independent unit distance) decreased, but a threshold screen will get physically smaller and its frequency increase if the resolution is increased.
A further consequence is that HPS and other techniques which vary the actual pixels of a screen cell cannot be applied to threshold screens. On the other hand, threshold screens can be controlled very precisely, pixel for pixel, and are therefore suitable for describing Frequency Modulated (FM) screens if the cell is large enough. While threshold screens can be used to describe conventional “clumped” dots, they are less flexible because of their resolution dependence and absence of rotation to a specified angle (at least in their simplest form).
Neither kind of screen is suitable for describing non-tessellating screening techniques, such as error diffusion.
The PostScript language offers several variations on threshold screens, which allow greater or lesser control over the sizes of the tables involved and the tessellation of the tiles (equivalent to the “angle”) in a spot function.
There are no threshold screens in the standard set supplied with the RIP but it is possible to use threshold screens embedded in a job, or installed in the RIP by your supplier.
6.4.4.1 Using threshold screens
In the Edit Style dialog box, when you have selected a threshold screen in the
Dot shape
list and
Override dot shape in job
is selected, the following options are not available:
•
Frequency
•
Override frequency in job
•
Angles
(for all process and spot colors)
•
Override angles in job
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•
Use Harlequin Precision Screening
•
Rotate screens according to page rotation
Note: If you clear the
Override dot shape in job
check box, these options are enabled, so that you can override some parameters of spot function screens supplied in the job.
For more details of these options, see Section 6.5 through Section 6.7, and Section 6.10.
6.4.5 Halftone options
The Harlequin RIP provides a number of options to control halftone generation. Using them appropriately can improve the quality of your image, depending on the output device, media, and resolution used. You can also override any screening parameters that might be specified within the page description itself.
These are the three main features that are affected by the halftone strategy you choose:
• The shape of the dots created. See “Dot shapes” on page 174, for the relevant controls.
• The frequency and angle of the dot pattern created. See “Halftone frequency” on page
178, for the relevant controls.
• The accuracy of the screens generated. There is no general way of controlling accuracy.
One way of getting good accuracy is to use Harlequin Precision Screening (HPS),
described in “Harlequin Precision Screening” on page 183.
6.4.6 Dot gain
When a halftone image is printed, the ink used to create each dot tends to flow outwards as it is absorbed by the paper. This phenomenon is known as dot gain. Similarly, dots printed on a laser printer tend to spread outward when the toner is bonded to the paper. As a result, any printed dot tends to be larger than the calculated dot size.
Dot gain can affect the quality of printed images. For example, if there is a significant
amount of dot gain, images tend to appear too dark. For more details, see Chapter 12, “Calibration”.
6.4.7 Suggested background reading
If you do not have a reasonable grounding in halftoning systems then you may find the following books helpful. This is by no means an exhaustive list and you can probably find alternatives in a good book store or technical library.
Real World Scanning and Halftones (David Blatner & Steve Roth, Pub: Peachpit Press, Inc.,
ISBN: 1-56609-093-8)
If you ignore the fact that the authors are very insistent that the PostScript language can only produce 256 gray levels, then this is an excellent introductory text for Post-
Script halftoning.
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PostScript™Screening: Adobe Accurate Screens (Peter Fink, Pub: Adobe Press, ISBN: 0–672–
48544–3)
A very good introduction to digital halftoning, which then continues into discussion of process work and advanced screening techniques. Some of the book is specific to
Adobe Accurate Screens™,but many of the concepts are common to HPS as well. This book also has an interesting section on factors affecting device calibration and other causes of poor film and press output.
An Introduction to Digital Color Prepress (AGFA Corporation)
This booklet was produced to sell Agfa imagesetters, but many of the ideas discussed are common to all digital halftoning systems.
Electronic Color Separation (Dr. R.K. Molla, Pub: R.K. Printing and Publishing, ISBN: 0–
9620453–0–6)
This book refers to analog color scanners and does not discuss digital halftoning. The example scanning systems are somewhat dated, but the halftone concept has not changed since the book was written.
6.5 Screen angles
The Harlequin RIP offers you complete control of screen angles for both process and spot colors. There are a number of reasons for choosing screen angles carefully:
• A long-established reason for choosing the screening angles (and frequencies) of color separations has been to pick a set of values that minimize inaccuracies in the screens and consequent moiré patterning when they are superimposed.
This reason is becoming less important as the accuracy of screen generation increases.
For example, the RIP includes Harlequin Precision Screening (HPS), a technology that provides more accurate screening and reduces moiré without unduly limiting the
choice of screen angle and frequency. See “Harlequin Precision Screening” on page 183
for details.
• You may wish to override a set of angles requested in a job. This is especially useful if the job has requested a set of angles that optimize the output quality for a particular output device, such as a laser printer, but that may diminish the quality on other devices, such as an imagesetter.
• You may want consistency: for example, on all pages of a single publication when the jobs come from different sources. Enforcing settings in the RIP is the simplest way of getting such consistency.
A good choice of angles for general use with color separations in offset litho work is a set in which the colors are separated by 30°, for example: 15°, 75°, 0°, and 45° respectively for
CMYK (and related sets using these angles plus or minus multiples of 90°). For use with elliptical dots, a separation of 60° is recommended, leading to angles of 15°, 75°, 0°, and 135° for CMYK.
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Note: The angles shown in the Edit Style dialog box (shown in Figure 6.2, page 167) always
take effect for jobs that contain no screening requests. If the job attempts to set screening, you must select the
Override angles in job
check box if you want to use these values.
6.5.1 Changing angles for separations
The list of separations shows all colorants (including the standard process colors and any spot colors) and their screen angles.
The boxes below the list of separations allow you to control the printing of process color separations, and change the screen angles.
Note: From the Eclipse Release of the Harlequin RIP ink types are decided using the Ink Set
Manager which is only available when one of the TrapPro options are enabled. See the documentation supplied with TrapPro for more information.
If the chosen output format supports additional colorants, you can also control the printing of spot color separations. Any spot color not explicitly listed is controlled by the
(Other colors in job) settings. With the default settings, if a job calls for spot colors not named in the list of separations, the RIP converts those spot colors to the appropriate combination of process colors.
To change the settings for a particular colorant, select the colorant from the list and edit the values in the boxes below. To change the screen angle, type the new value in the
Angle
text
box. For details of the other options, see “Edit Style dialog box” on page 368.
Note: The
Angle
column and text box are both blank when the selected
Dot shape
does not have a controllable angle. Typically, this is because the dot shape belongs to a threshold screen (which does not have a conventional angle) or because the screening is being done in an output plugin or hardware device.
Each colorant has its own screening angle, which allows you to avoid moiré problems when a job has several spot colors used in duotone combinations with each other or with the standard process colors.
The angles shown in the Edit Style dialog box always take effect for jobs that contain no screening requests. If the job attempts to set screening, you must select the
Override angles in job
check box if you want to use the values shown in this dialog box.
6.6 Dot shapes
Manipulating the dot shape generated can greatly influence the amount of dot gain in an image.
The Harlequin RIP offers a variety of dot shapes; your choice between them might depend on the output device, resolution and media used, and the type of image. Dot shapes are controlled from the
Dot shape
, which is one of the screening options in the Edit Style dialog box.
Depending on the output device that you choose, you may see different entries in the
Dot shape
list. Output plugins can modify the contents of this list, either to add screens suitable for the output device or to remove the names of inappropriate dot shapes.
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Note: The PostScript language allows you to specify an arbitrary dot shape by defining a spot function. This offers great flexibility but there are some possible problems as outlined in the The PostScript
®
Language Reference Manual (2nd Ed). One probable consequence of having a spot function defined in the PostScript language is slower rendering of jobs using that spot function: it is almost always preferable to use a dot shape provided by a RIP in place of one implemented in the PostScript language. The RIP includes efficient implementations of many commonly used dot shapes to offer both speed and choice.
Note to OEMS: The term “dot shape” is intended to cover the combined concepts of spot function and halftone dictionary specifying a complete screen. It is possible for new dot shapes to be added. Contact Global Graphics or see the Using Harlequin RIP Extensions manual for details.
Jobs often specify their own dot shape. To force the RIP to use your chosen dot shape instead, select the
Override dot shape in job
check box.
A Euclidean dot-shape strategy produces better saturated grays at gray values above 50%, especially at finer (higher) screen frequencies. Euclidean strategies increase the fill of halftone cells from the corners, instead of the centers, when the gray value exceeds 50%. That is, when the gray value is less than 50%, the dots are black, the background is white, and the dot size increases as the gray value increases; when the gray value reaches 50%, the dots become white, the background becomes black, and dot size decreases as the gray value increases.
6.6.1 Common dot shapes
Sections 6.6.1.1 through 6.6.1.4 describe a number of commonly used dot shapes.
6.6.1.1 Round
This is a commonly used dot shape, but dot gain can be a problem in the shadow areas, since the white diamond at the center of four adjoining circles can easily become filled with black as the dot size grows. However, round dots give a smooth appearance in the highlights and middle tones.
To use round dots, choose
Round from the
Dot shape
pop-up menu.
6.6.1.2 Round Euclidean
This dot shape reduces dot gain in the shadow areas and is good for general-purpose use. (It is common in newspaper production, for example.) To use round Euclidean dots, choose
Euclidean from the
Dot shape
pop-up menu.
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6.6.1.3 Elliptical Euclidean
This dot shape is used to avoid a fairly sharp transition at around 50% that can occur with the round Euclidean dot shape with some imagesetters. To use it, choose
EllipticalP from the
Dot shape
pop-up menu. This is an excellent dot shape for general use.
A variant of
EllipticalP is
Elliptical1
.
Note: The CMYK screen angles used for all elliptical dot shapes must be 60 degrees apart, instead of the normal 30 degrees. This is because of the asymmetry of the elliptical dot.
6.6.1.4 HDS, HMS, and HCS
Global Graphics has developed a number of special screening strategies to provide better quality, control, and performance than standard forms of screening. These are not supplied with the Harlequin RIP by default, but may be purchased separately. For details of Harlequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS) and Harlequin Chain
Screening (HCS), see “Harlequin Screening Library” on page 190 describing the Harlequin
Screening Library.
6.6.2 Other dot shapes
The dot shapes in this section are mostly used only for special effects or purposes; for gen-
eral purpose use, the shapes in “Common dot shapes” on page 175 tend to be better.
6.6.2.1 Elliptical
Elliptical dots generally produce a smoother transition than round dots, because the ellipses initially intersect only along one axis, though this can produce a lined effect. To use an elliptical dot shape, choose
Elliptical1
,
Elliptical2
,
EllipticalQ1
, or
EllipticalQ2 from the
Dot shape
pop-up menu.
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Note: As mentioned for Elliptical Euclidean, the screen angles used for all elliptical dot shapes must be 60 degrees apart, instead of the normal 30 degrees. This is because of the asymmetry of the elliptical dot.
6.6.2.2 Square
Square dots are rarely used, except for particular effects. Images produced with square dots tend to have dot gain problems, particularly in the shadow areas. To use the square dot shape, choose
Square2 from the
Dot shape
pop-up menu.
6.6.2.3 Square Euclidean
Another form of square dot shape. To use square Euclidean dots, choose
Square1 from the
Dot shape
pop-up menu.
6.6.2.4 Rhomboid
This dot shape is very similar to the square Euclidean shape, but generally gives a somewhat smoother result. You should consider using it instead of the square dot shape. To use this dot shape, choose
Rhomboid from the
Dot shape
pop-up menu.
6.6.2.5 Line
Line-shaped dots are generally used only to produce special effects, since there tends to be a lot of dot gain. To use the line dot shape, choose
Line or
Line90 from the
Dot shape
pop-up menu.
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6.7 Halftone frequency
Another way to improve the quality of halftoning is to increase the halftone frequency, the density with which the image is covered by halftone cells. Increasing the frequency is rather like increasing the resolution of an image: more dots are produced and each dot is smaller.
Harlequin Precision Screening (HPS).
6.7.1 Changing the halftone frequencies
In the Edit Style dialog box there is a list of halftone frequencies: one for each device resolution, or for a range of resolutions. The list of available resolutions depends on the chosen output device. The RIP uses the frequency that corresponds to the resolution selected in the
Edit Page Setup dialog box. The controls below the list allow you to change the frequency for the selected row, and to change the frequency and resolution units.
To change the halftone frequency for a particular resolution, or range of resolutions, select the row in the list and type the desired frequency into the text box below. You can change the units for the resolution to dots per inch (dpi), dots per centimeter (dpcm), or dots per millimeter (dpmm). You can change the units for the frequency to lines per inch (lpi), lines per centimeter (lpcm), or lines per millimeter (lpmm).
Sometimes the job itself specifies a screen frequency to use when rendering. If this is the case, the halftone frequency you specify in the Edit Style dialog box is ignored. To force the RIP to use your screen frequency instead, select the
Override frequency in job
check box. Always con-
sider selecting this box if you use HPS. (See “Harlequin Precision Screening” on page 183.)
6.8 Screening options and number of gray levels
It is an occasional requirement to know, and possibly control, the number of gray levels produced on a rendered page.
6.8.1 How many gray levels can you see?
Many studies have been published explaining just how many gray levels the human eye can distinguish, or how many levels a printing press can produce from halftones. The results vary from around a hundred to over a thousand depending on defined viewing conditions
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and the exact definition of what constitutes a distinguishable difference. The most worrying aspect of these studies is that most of them are correct—under the circumstances in which they were carried out, they determined the right result. The only thing to do at this stage is to throw away such studies and build on observations of real-world printing.
6.8.2 How many gray levels do you get?
Conventional screens can produce a maximum number of gray levels linked to the resolution of the output device and the screening frequency.
If you do not enable extra grays you get as many gray levels as the number of laser spots in a halftone cell (plus one for all spots off—that is, white). This number is given by the expression:
2
+ 1
Thus at 100 lines per inch (lpi) and 2540 dots per inch (dpi) you get 646 gray levels …
2
+ 1 = 646
… but at 175 lpi and 1270 dpi you get only 53 gray levels:
2
+ 1 = 53
If you switch on
Generate extra gray levels
in the Edit Style dialog box then you get as many gray levels as you define with the
Limit number of distinct gray levels
pop-up menu. It is a feature of HPS that the number of levels can exceed the maximum defined in this expression.
Some RIP screening options do not follow this expression:
• Harlequin Precision Screening (HPS) is able to produce more gray levels than predicted by the conventional expression.
• HDS does not have a conventional frequency to apply in the expression—though it is possible to establish a rough correspondence between each HDS setting and a conventional screen of a particular frequency at a particular resolution.
6.8.3 How many gray levels do you need?
The number of grays you need depends on what you are trying to produce. Some types of images with varying needs for number of gray levels are:
• Flat tints
• Contone scans
• Graduated tints and blends
Images vary within these categories, but the following discussion of each category should show you the principles to apply in judging how many grays are needed.
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6.8.3.1 Flat tints
If you are using a few flat tints behind text or in a simple diagram then you may not need more than a dozen gray levels. Do not enable extra grays in the RIP solely to reproduce flat tints.
6.8.3.2 Contone scans
If you are using a small desktop flat-bed scanner that is producing contone images for output then you are usually able to work with output producing as few as 64 gray levels. A few scans may benefit from up to 128 gray levels—and the distinction is usually as much to do with which desktop scanner you are using as with the image content. In general, images with very gentle tonal or color graduations (for example: a cloudy, but not stormy, sky) need the most gray levels, but even in these cases the best 6-bit (64 gray levels) scanner can produce better output than many 8-bit (256 gray levels) competitors.
For scans made on a drum scanner or a high-quality flat-bed scanner, you can usually obtain adequate output with this low number of gray levels, but the quality of the output normally increases with up to 256 gray levels. Several scanners are available which produce 10, 12, or even 16-bits-per-channel image data, and it is possible that you can increase the output quality of these images by allowing more gray levels on output—PostScript LanguageLevel 3 includes the facility for 12-bit-per-channel images to be output (4096 gray levels), and this is supported in the Harlequin RIP. The increased number of gray levels from the scanner is intended more to allow input noise to be removed, and to reduce the information loss inherent in tonal adjustment, than for passing on to the final output device.
Finally, any image manipulation software that produces some of its tonal alteration effects by means of the PostScript language operator settransfer
(or any similar mechanism) and which therefore ends up requesting a nonlinear gray scale from the RIP may require an increased number of grays to reflect these changes adequately. Although applications such as Adobe Photoshop allow transfer functions to be saved in EPS files, they apparently intend this for device linearization rather than for tone curve control.
Note: Adjusting tonal data in image manipulation software often benefits from an original scan with as many levels of gray as possible to reduce quantization effects when changing brightness or contrast, but this does not directly affect the number of gray levels that are required from the output device.
6.8.3.3 Graduated tints and blends
It is in these areas that the requirement for extra gray levels really shows. To avoid confusion, the word vignettes is used here to cover both graduated tints and blends.
The minimum number of gray levels required is 256, but some long vignettes, or those over a relatively short range of tints, may require more. The rule of thumb is that no single step in a vignette should be more than 0.03 inches (0.75 mm) wide.
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Thus a vignette from 20% to 70% tint that is 6 inches long requires at least 400 gray levels:
(
100
70 20
)
×
= 400
This rule varies with the screen frequency that you are using, with the particular tint range
(because steps are most obvious in dark graduations), with the hardness of the dots produced by the output device and with the size of the difference in gray levels between steps, but it serves very well as a basic starting point. Because of the variation with the size of the difference in gray levels between steps it is very unlikely that you should ever require more than 1024 gray levels, and in many instances 512 or 256 levels are sufficient.
If you are producing blends in applications such as Adobe Illustrator
® or FreeHand
®
(formerly from Aldus, now Macromedia) then you should make sure that you create blends with enough steps—the RIP cannot add more steps into the blend. You may also need to switch on extra grays and use Harlequin Precision Screening with its ability to exceed the conventional limit of gray levels in order to display all the requested gray levels.
Graduated tints from many older applications do not produce more than 256 gray levels:
• Some applications always produce 256 grays for a 0 to 100% graduation. Examples are
FreeHand and QuarkXPress
®
(version 3.11 and later) when printing to a PostScript
LanguageLevel 2 compatible device.
• Some always produce 256 gray levels in a single blend, even a short one such as 10% to 30%. An example is QuarkXPress version 3.1.
• Some calculate the number of gray levels which the current resolution and screen frequency could produce on a RIP that does not support extra gray level functionality and use that. Examples are FreeHand and QuarkXPress (version 3.11 and later) when printing to a PostScript LanguageLevel 1 compatible device.
In the first two cases it may be worth switching on extra gray levels in the RIP if you are using a low resolution or a fine (high frequency) screen. In the last case you gain no benefit by switching on extra grays.
6.8.4 Gray level controls
There are two screening options in the Edit Style dialog box shown in Figure 6.2, page 167,
that affect the number of gray levels.
These options are applicable to any screen, especially HDS, to limit the number of available gray levels. (For HPS only, the number of levels can also be increased to more than the natural number of levels for the screen.)
Limit number of distinct gray levels
When you have selected the accompanying check box
Generate extra gray levels
, described next, you can choose an entry from list to control the number of gray levels that the RIP produces. There are several different cases.
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With this menu enabled:
• When using HPS, the RIP produces the exact number of gray levels set here.
• When not using HPS, the RIP treats the value chosen here as an absolute upper limit and uses the natural value of the screen or this limit, whichever is lower.
This menu is disabled when
Generate extra gray levels
is not selected. With this menu disabled:
• When using HPS, the RIP produces the number of gray levels required to attain the specified accuracy of screening, as set in the HPS Options dialog box, shown in
• When not using HPS, the RIP produces the natural number of gray levels for the screen. (For HDS, the natural number can be very large and using HDS unlimited can have a performance penalty.)
Generate extra gray levels
There are two possible reasons for selecting this box:
• With all Harlequin RIP screening options, it enables the use of the
Limit number of distinct gray levels
to restrict the number of gray levels produced on the output page.
• With HPS only, it enables the use of more screening levels than needed to get the required accuracy of screen angle and frequency. Generating a large number of screening levels can reduce undesired patterning, even if the number of levels actually used is restricted by the value chosen for
Limit number of distinct gray levels
. See “Controlling extra grays in HPS” on page 184 for the control of extra
screening levels in HPS.
6.9 Job settings and Harlequin RIP settings
The details of how you can choose settings for dot shape, frequency, and angle are given in,
made in a job.
The following summary of what happens when the Harlequin RIP processes a job may be useful.
The RIP determines the screen or screens it will use for a job using the values in the Edit
Style dialog box, and the color of the pages being processed:
• Monochrome jobs use the gray settings.
• The color of pages in preseparated jobs is deduced by a variety of means, as described
in “Automatic detection of color separations” on page 196.
Note: Some jobs which have preseparated spot color pages do not contain any information about the name of the spot color they represent. In these circumstances, the RIP uses the screening angle that corresponds to the
(Other colors in job) entry.
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• Colors of pages are determined from settings in the Edit Style dialog box.
When a job supplies any screens of its own (using the setscreen
, setcolorscreen
, or sethalftone operators) then if the override check boxes in the Edit Style dialog box are all cleared, the RIP uses the frequency, angle, and dot shape of the supplied screen until the job provides another screen or cancels any screens it has supplied.
However, if the
Override frequency in job
check box is selected in the Edit Style dialog box the
RIP continues to use the frequency given in the dialog box instead of the one supplied by the job. Similarly, if
Override dot shape in job
is selected, the RIP ignores the dot shape supplied by the job and uses the one given in the dialog box instead, and if
Override angles in job
is selected, the RIP ignores any angles given by the job in favor of those in the dialog box.
If all three boxes are selected, all screens given by the job are effectively ignored.
If you are using HPS, the frequency and angle values are also subject to slight adjustment to
achieve accurate screening. See “Using the HPS controls” on page 184 for details of how to
limit any adjustment.
Note: HDS screens do not have a conventional screening frequency or angle and ignore the frequency and angle settings. HCS uses a fixed set of angles, so it also ignores the angle setting.
6.10 Harlequin Precision Screening
When placing color separations on top of one another, the angles and frequencies at which those separations are produced should be calculated very accurately so as to reduce moiré patterns. Historically, this required the use of specially selected screens that minimize the patterning effect.
Harlequin Precision Screening (HPS) is a color screening technology that ensures high-quality reproduction with any screening option in the RIP (defined using a spot function). You can enable HPS for a separations style by selecting the
Use Harlequin Precision Screening
check box in the Edit Style dialog box. Once enabled, HPS is a property of the Page Setup which uses this separations style, and the RIP uses HPS for all pages printed with that Page
Setup.
HPS allows you to select any screen frequency and to use the usual CMYK screen angles of
0°, 15°, 45°, and 75° (plus multiples of 90°). To reduce moiré patterning, HPS uses an adaptive screening technique that can adjust each halftone dot so that it is placed within one half pixel of its ideal location.
HPS also allows you to choose how rosettes are formed in the image, and to generate extra gray levels, allowing the use of higher screen frequencies than the resolution would normally allow.
The default HPS settings supplied with the RIP have been carefully chosen to provide good output on most, if not all, output devices. We strongly recommend that you test output using the default settings (in the HPS Options dialog box) before adjusting anything at all. The
information in “Possible problems with output” on page 187, is intended to help in adjusting
values if you think that it is necessary.
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6.10.1 Controlling extra grays in HPS
The ability to generate extra gray levels is a very powerful feature of HPS. It allows you to use more gray levels in your job than are normally available with conventional screening.
This has particular benefits in eliminating stepping in vignettes and avoiding posterizing.
“Gray level controls” on page 181 describes the use of the gray level controls in the Edit Style
dialog box, including the effect of switching on or off HPS.
There is one extra option within HPS.
The extra option,
Limit screen levels
, in the HPS Options dialog box allows you to separate pattern-reduction adjustments from extra gray generation—set the
Limit screen levels
value to a high value and
Limit number of distinct gray levels
, in the Edit Style dialog box, to the number of gray levels that you actually require. If you see patterning on individual films, try increasing the
Limit screen levels
value: if you believe that there is a shortage of memory, then reduce the value.
6.10.2 Using the HPS controls
Figure 6.6 Harlequin Precision Screening Options dialog box
“Job settings and Harlequin RIP settings” on page 182 describes how the RIP arrives at a set
of screening values for a job.
When using HPS, for each screen in a job, the RIP calculates the best set of screen angles and frequencies to use for the set requested. The process starts with the requested frequency— the frequency set in the job or, when
Override frequency in job
is selected, the value in the Edit
Style dialog box. The Edit Style dialog box contains a list of halftone frequencies: one for each device resolution. The requested frequency is the one that corresponds to the resolution selected in the Edit Page Setup dialog box.
Some requested frequencies may require a lot of memory or make it difficult to achieve the desired angle accuracy, while a nearby frequency does not have these problems. If there is a problem with the requested frequency, the RIP can select one of these nearby frequencies as the deviated frequency.
The
Maximum frequency deviation
specifies the greatest deviation from the requested frequency that is allowed. The RIP selects the individual frequencies for the Cyan, Magenta,
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and Black screens such that they are within the specified
Frequency accuracy
away from the deviated frequency.
The angle is snapped to the nearest 7.5
° if you select
Snap angles to nearest 7.5 degrees
.
The angles of the selected screen set are then within the specified angle accuracy of the requested angles.
The following subsections describe some individual options in more detail.
6.10.2.1 Zero degrees frequency adjustment
Once the RIP has calculated a screen set for the Cyan, Magenta, and Black plates (as separations or composite channels within the RIP), it determines the frequency of the Yellow plate using the value specified for
Zero degrees frequency adjustment
. The identity of the Yellow angle is determined either from the color halftone dictionary supplied to the setscreen or sethalftone
PostScript language operator, or is taken as the third entry in
Optimize for angle set
.
The default value of 7% means that the frequency of the Yellow plate is 107% (100% + 7%) of the deviated frequency used for Cyan, Magenta, and Black plates.
A number of printers have discovered that increasing the frequency of the Yellow plate can reduce the residual moiré that is inevitable when using four process plates with halftoning systems. Values typically used are 5% to 11% greater than the frequency of the other plates.
The effect is very similar if the frequency of the Yellow plate is reduced rather than increased, and that this allows the more noticeable Cyan, Magenta, and Black plates to be imaged at a higher frequency when the capability of the plate-maker/paper/ink/press combination is the limiting factor on halftones.
Enter a negative number to reduce the frequency used for the Yellow plate.
6.10.2.2 Maximum frequency deviation
Increasing the value in the
Maximum frequency deviation
box gives the RIP more freedom in finding an optimal screen set and can reduce patterning or moiré, at the expense of possibly giving final output at a screen frequency further from that originally requested. A value of between 5% and 10% is normally acceptable.
Increasing the
Angle accuracy
or
Frequency accuracy
settings (that is, increasing allowable variations from the deviated frequency and angle) also gives the RIP more freedom in selecting a screen, and may reduce patterning on individual films, but this may also increase the likelihood of moiré effects between plates. If you are using HPS to produce extra grays on mono or non-overlapping spot color work then you can safely increase these numbers and may obtain slightly better output. If you are producing process separated work then you should probably not change the default numbers.
If
Abort job if accuracy not achieved
is selected and it is not possible to determine a screening set within the angle accuracy or frequency accuracy requested, then the RIP cancels the job currently being output.
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6.10.2.3 Enable HPS 2.0
Select the
Enable HPS 2.0
box to use features added to HPS. These features can improve the quality of output when using the
Generate extra gray levels
option. Flat tints and vignettes are smoother, particularly in highlights and shadows, because the mottling effects which can be caused by generating the extra gray levels are reduced. (Even without HPS 2.0, these effects are unlikely to be significant until the ratio of resolution to screen frequency is less than 12: for example, you might see mottling with a resolution of 1270 dpi and a screen frequency of
150 lpi, where the ratio is about 8.5.)
6.10.2.4 Generate clear centered rosettes
Figure 6.7 Clear-centered and spot-centered rosettes
Generate clear centered rosettes
is one of the few controls which you might expect to change in the HPS Options dialog box. When color separations are combined, the dots form one of
two rosette patterns as shown in Figure 6.7. Clear-centered rosettes are less likely than spot-
centered rosettes to show a significant color shift if separations are printed slightly out of register, but the output produced is normally less saturated, lighter, and has a more noticeable rosette structure. In general, output at high frequencies, or where the output may be run on presses with poor registration, should use clear-centered rosettes, while output at low screen frequencies or on well registered devices (including most color printers) should use spot-centered rosettes.
If you find that you are not getting consistent clear-centered or spot-centered rosettes across the full width of a page: try varying the requested frequency slightly; or increase
Maximum frequency deviation
, to allow the RIP to find a screen set with better angle and frequency accuracies.
6.10.2.5 Optimize for angle set
It is possible to reduce the amount of memory required by HPS if you can give some guidance to the software about which screen angle sets are to be used in PostScript language jobs, in the
Optimize for angle set
text box. The default set (15, 75, 0, 45) is used for most offset litho work, while settings are also provided for other screening systems.
To decide which entry you should use:
1. Convert all the screen angles your job uses to numbers in the range 0° through 90°. Do this by repeatedly adding 90° to any values less than 0° or subtracting 90° from any values of 90° or greater.
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2. Compare the converted numbers with angles in the menu entries. There are three possibilities:
• If you reach a set of values where all of the numbers are in a single entry in the menu then use that entry.
• If the values do not match an entry exactly then select the closest match.
• If there is no close match then select the default (15, 75, 0, 45).
6.10.3 Possible problems with output
There are two main kinds of problem to avoid with HPS output:
• Patterning on individual films.
• Patterning caused by the interaction of two or more films from separated output
(often called moiré).
In addition there are practical considerations. You usually want your output to be produced as rapidly as possible, and you do not want to have to install excessively large amounts of
RAM in the computer running the RIP.
The following subsections describe how to address these problems.
6.10.3.1 Patterning on individual screens
This can be caused either by the hardware or the software. If you see stripes or bands parallel to the output engine’s scan lines (across the film on a capstan device, along it in a drum device), then try these cures:
• Rotate the page by 90 degrees.
• Select the check box
Rotate screens according to page rotation
in the Edit Style dialog box. (This check box does not affect HDS.)
• Output the page again.
If the bands rotate with the page, the problem can probably be corrected by adjusting settings in the RIP; if they do not, your hardware may be at fault.
If you are seeing patterning on individual films there are two techniques that you can try which may help to reduce the effect:
• Increase the number of screen levels generated. In the HPS Options dialog box, set a high number for
Limit screen levels
. The default value is 65536, which is the maximum value.
• Try slightly different screen frequencies—often a change of only a couple of lines per inch can make a considerable difference to the patterning.
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6.10.3.2 Moiré between two or more films
Many people make the mistake of placing four process separated films on top of each other on a light table, and being horrified by the moiré displayed. Moiré is always visible if you view all four plates in this way. If you want a quick assessment of the moiré on a final print job, view just the Cyan, Magenta, and Black films. Adding the Yellow film as well can be useful in assessing variations in the marginal moiré added by the Yellow plate, but should not be included in your standard viewing.
Eliminate two other sources of moiré before attempting to tune HPS:
• If you are using a dot shape which is not symmetrical when rotated in 90 ° steps (that is, virtually all dot shapes apart from square and round) then all the screen angles used for cyan, magenta and black plates may need to be 60 ° apart rather than the traditional 30 ° apart. Yellow should then be at 30 ° from two of the screens. Suggested angles are 15 ° , 75 ° , 0 ° , and 135 ° for cyan, magenta, yellow, and black respectively.
Whether you need to follow this suggestion or not depends on the content of the image (because flat tints in certain colors show moiré most clearly) and on how extreme the asymmetry of the dot shape is.
• Many older process separating applications (and newer ones using PPDs, PDFs, and so on to optimize for older imagers) include individual screen frequencies and angles for the four process colors which are designed to optimize output on older PostScript language compatible RIPs that are not capable of producing halftone screens at accurate angles and frequencies. Using these frequencies and angles means that the output from the RIP with HPS is no better than without HPS, and indeed may be far more prone to moiré.
The best route is to switch off such features in the sending application if possible, or to set up a PPD (or other configuration file) which uses the same screen frequency for all separations, and a standard set of angles: for example, 0 ° , 15 ° , 45 ° , and 75 ° .
If modifying the input file is not possible then, in the HPS Options dialog box, select
Snap angles to nearest 7.5 degrees quency in job
and, in the Edit Style dialog box, select
Override fre-
. You cannot use this second method if you want several different screen frequencies on a page: for example, for special effects.
6.10.4 HPS and pattern screens
Some applications use the PostScript language halftoning mechanism to produce patterns rather than halftones. However, devices which do not require screens would then reproduce the pattern as a shade of gray. Some applications which do this produce poor PostScript language files, in such a way that they only produce the desired result at resolutions which are multiples of 75 dpi, presumably because they were designed for output at 300 dpi on a laser printer and not for high-resolution imagesetters.
To avoid these problems, the RIP detects such screens and replaces them either with a special screen which does not suffer from resolution problems, or with an equivalent PostScript language pattern, depending on whether the output is halftone or continuous tone.
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HPS does not alter these pattern screens in any way—angles, frequencies, and dot shapes are left unchanged and no extra gray technology is used with them.
6.10.5 Increasing HPS performance
The first time a RIP installation uses a particular HPS screen, the RIP must generate it. This can take a few minutes. However, HPS screen sets are cached to disk, which means that there is very little performance difference from using HPS if the RIP has a large enough memory allocation (and apart from the first time that a particular screen set is used, which is when the RIP builds the disk cache). There may be some performance increase when using screen caches generated during previous jobs.
The RIP caches screen sets with PostScript defined spot functions as well as those with recognized functions. These spot functions are not processed quite as rapidly as the built-in functions the first time that they are used but when previously cached screens are used there is no difference in performance between built-in screen functions and spot functions supplied in PostScript.
High performance screening with HPS in the RIP requires a reasonably large amount of
RAM. As a guide, you should assume that extra memory in the range 8 through 12 MB RAM is required to use HPS effectively.
If messages are produced in the RIP Monitorwindow saying that insufficient memory is available and that performance is being affected then you should increase the amount of
RAM available to the RIP to obtain significant speed increases.
If you are not using extra grays then increasing the freedom of HPS to select from a wider range of screen sets by increasing the
Maximum frequency deviation
,
Angle accuracy
, or
Frequency accuracy
settings reduces the memory requirement. If extra grays are switched on, you can also reduce memory usage by using lower values for
Limit number of distinct gray levels
and
Limit screen levels
.
Ensure that the
Optimize for angle set
value defined in the HPS Options dialog box is correct for the angles that you are using. If the value is set incorrectly then processing a job may require significantly more memory.
If you are imposing several separations onto one output film, the relative positions of the plates which do not use 0 and 45 degree angles (usually Cyan and Magenta) can make significant differences to memory requirements and rendering times. If at all possible, ensure that these two plates do not occur side by side: that is, avoid the case where a single fast scan line on the final film can pass through both a Cyan plate and a Magenta plate. If all four CMYK separations are to be produced on a single film then the best default configuration is a two by two square with Cyan and Magenta in diagonally opposite corners, because film rotation cannot then cause these plates to appear on the same scan line.
Note to OEMs: There are a small number of additional system and user parameters that may be set through PostScript language jobs (either at RIP startup or in additional page features). For details, see the Using Harlequin
RIP Extensions manual, which contains full descriptions of all Harlequin RIP extensions to the PostScript language.
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6.11 Harlequin Screening Library
Several other screen sets can be supplied for use in the Harlequin RIP. They comprise the
Harlequin Screening Library (HSL).
The code to handle all of the screen sets is present in all shipped copies of the RIP, but individual screen sets must be enabled using key numbers (passwords). Each password is tied to both a specific screening style and to the serial number of the RIP for which the option is required. Please contact your supplier for details of pricing on each screen set or bundle of sets (and other options enabled by passwords).
Where the RIP itself is secured with a hardware security dongle the security number of the dongle is used as the Harlequin RIP serial number. Please note: the number printed on the dongle itself and marked as serial number is the dongle hardware serial number and not the same as the Harlequin RIP serial number.
Note to OEMs: The PostScript language operator serialnumber returns the Harlequin RIP serial number. There is an additional routine called checksum in statusdict which may be used to calculate a checksum for the serial number. (The checksum procedure requires an integer argument on the operand stack and replaces it with the checksum for that integer.)
While the RIP is starting up, it reports the serial number and its checksum (a check to reveal errors in copying the digits of the serial number) in the RIP Monitorwindow. This example report is for a fictitious serial number:
Serial number: 1234-56
Note to OEMs: The dot shape for HSL screens returned by currentscreen or currenthalftone is a valid PostScript spot function, to the extent that
PostScript language code which uses common techniques for changing screen frequency by calling currentscreen followed by setscreen does reinstate the same screen set after that code as before.
This is a dummy spot function, however, and is not a true description of the way in which the screen is generated.
6.11.1 Switching on HSL
You enter the passwords in a dialog box accessed from the Configure RIP dialog box. Click
Extras
in the Configure RIP dialog box to display the Configure RIP Extras dialog box.
There is one entry in the list within the Configure RIP Extras dialog box for each of the HSL screen sets. (There is a second entry for HDS, titled HDS-Light: this entry provides a limited use of HDS, restricted to lower resolution output devices such as proofing printers.)
There may also be entries which refer to options in other areas of the RIP: for example,
ColorPro for the Harlequin RIP color management system. These entries are described else-
where in this manual: see “Extras” on page 207 for a summary of other entries.
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The word
Yes after a name indicates that the screen set or option is enabled. To enable a new set or option, select it in the list and click
Add
. In the Enable Feature dialog box that appears, enter the password supplied to you for that set, then click on
OK
to return to the Configure
RIP Extras dialog box and
OK
again to return to the Configure RIP dialog box.
You can change a password already entered by selecting the appropriate entry in the list on the Configure RIP Extras dialog box and clicking on
Add
.
Note: To disable a feature that you have already enabled with a valid password, enter a password of
0
(zero).
The RIP may reject a password when you type it into the Enable Feature dialog box. The main reasons for rejection are:
• The password is wrong, probably because of incorrect transmission or a typing mistake.
• The password is for the wrong option. For example, if you enter an HDS password after selecting HCS then the password is not accepted.
The fact that the Enable Feature dialog box accepts a password does not necessarily imply that the password is correct for that particular screen set on that particular copy of the RIP.
(Remember that the serial number of the Harlequin RIP is set by the dongle.) If you get errors when using an HSL screen, please check that the entered password is correct.
6.11.2 Selecting an HSL screen set
Once enabled, each screen set adds one or more entries to the
Dot shape
pop-up menu in the
Edit Style dialog box. Select the entry for the screen you want to use.
Note: You can select a screen set in the Edit Style dialog box so long as the RIP has accepted a non-zero password entered in the Password dialog box. All attempts to use the screen will fail if the password entered is invalid for the the Harlequin RIP serial number currently in use.
6.11.3 Harlequin Chain Screening (HCS)
Harlequin Chain Screening uses a long ratio elliptical dot. When used for process color separations the angles used are 60° apart, rather than the more common 30° apart used for most offset litho work. This gives an overall triangular pattern and produces a very fine rosette structure. The angles used are -45°, 45°, -15°, and -75° for yellow, magenta, cyan, and black respectively.
When used at high frequencies, this screening set is extremely good at holding detail in continuous tone areas (for example, scanned images), but can suffer from worse object moiré than, for example, Euclidean dots if the subject of the image contains fine patterns.
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HCS is also very good at creating smooth, flat looking tints in process color work even at low screen rulings, although you must take care at the edges of such tints, where patterns can occur unless the tints are bounded: for example, edged with a black rule.
For HCS screens, the RIP uses the screen frequency entered into the Edit Style dialog box, but ignores the entered angle. Instead, the RIP selects an angle automatically based on the color separation being processed, from the set (-45°, 45°, -15°, and -75°).
We recommend that you turn on Harlequin Precision Screening while using HCS—at higher frequencies, also use the extra grays functionality of HPS.
6.11.4 Harlequin Dispersed Screening (HDS)
Harlequin Dispersed Screening is the Harlequin RIP Frequency Modulation (FM) screening technology. The main advantages of using HDS are that it produces no moiré, it has better definition than conventional screening, and registration is less critical. HDS also has a visually pleasing screen structure and is generally more printable than other FM screens. Finally, it should be noted that HDS is intended for use with a wide range of printing processes.
Instead of using a fixed shaped dot structure, HDS uses irregular clusters of pixels to form an irregular HDS dot. The distribution of these dots or clusters through the screen is what gives
HDS its characteristics.
Five varieties of HDS are supplied with HSL, called HDS Super Fine, HDS Fine, HDS
Medium, HDS Coarse, and HDS Super Coarse. (There are also closely related HDS screens for use with output devices supporting the alternative process color systems discussed in
“Alternative process color systems” on page 356. For example, you may see
Hex HDS Super
F as well as
HDS Super F in the
Dot shape
menu of the Edit Style dialog box.)
Warning: Do not use
Hex HDS Super F or other screens whose names start with
Hex when your output device is operating in a conventional (CMYK or RGB) output space. Several output plugins remove the names of inappropriate dot shapes from the
Dot shape
list to help prevent mistaken choices.
These varieties differ in the size and distribution of the HDS dots (clusters) used to create tints. The selection of which to use should be based on the physical characteristics of the imagesetter being used, together with details of the plate making, press, ink, paper, and press environment.
In general, the higher the quality of the entire printing process the smaller the HDS dot that can be used. The finer HDS screens are best used with high quality imagesetters capable of holding single laser spots. The coarser HDS screens are best selected on presses which cannot hold very fine detail, such as high speed web-offset presses. The physical size of the HDS dot created with each of these options varies both with the imagesetter laser spot size, and with the resolution at which it is driven. HDS Super Coarse (
HDS Super C
) is designed to be suitable for use in newsprint applications on imagesetters at mid-range resolutions, that is
1000 through 1600 dots per inch (dpi). HDS Super Fine (
HDS Super F
) is designed for output devices where final copy is produced directly: for example, laser or inkjet printers.
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HDS Super Fine:
HDS Fine:
HDS Medium:
HDS Coarse:
HDS Super Coarse:
Below is a table with the spot sizes in microns for the different HDS models and different output resolutions for 20% HDS screen.
3600 Imagesetter/platesetter resolutions dpi
HDS Super Fine 1x1 pixel
HDS Fine 2x1 pixels
HDS Medium 2x2 pixels
HDS Coarse 2x3 pixels
1016
25
35
50
61
1200
21
30
42
51
1800
14
20
28
34
2400
11
15
21
26
HDS Super Coarse 4x4 pixels 100 84 56 42
Table 6.1 Spot sizes in microns of a 20% HDS screen
7
10
14
17
28
Both the frequency and the angle supplied in the Edit Style dialog box are ignored when using HDS screens, except for calibration.
As with any high definition screening technology, accurate calibration is important for good quality output using HDS, and it may be necessary to create several calibration sets for use with different presses or different paper stocks on a given press. In most circumstances however, a single calibration set is sufficient and you should therefore specify a range of frequencies likely to cover any line frequency which might be set in the screening dialog boxes or
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requested by a PostScript language job. The HDS screens are symmetric, that is, you may use a single calibration set for both positive and negative output.
Though HDS screens do not have the same lines per inch (lpi) characteristic as conventional screening the following rough comparisons may be useful. If we take the case of an imagesetter working at 1524 dpi with a relatively small dot size (less than 20
µ m), then HDS Coarse has a dot gain on film only slightly higher than a conventional 150 lpi screen in the midtones, and holds up better than the conventional screen in the highlights and the shadows. HDS
Medium has a similar correspondence to a 200 lpi screen at 1524 dpi. Finally, HDS Fine has characteristics similar to a 300 lpi screen, and needs similar careful handling to obtain good results. It should be noted that the lpi correspondence changes more or less in proportion to changes in the imagesetter resolution. For example, a rough correspondence to a 100 lpi screen is given by HDS Coarse at 1016 dpi, though if the final press has high dot gain this still has to be taken into account in the calibration.
As can be seen from the above comparison with conventional screening, many people using
HDS screens may become aware of the issues required to print very fine detail on film for the first time. The following hints and suggestions are useful when working with HDS screens, particularly HDS Fine, and also apply to conventional and other screens at very high line frequencies. These hints are not a definitive guide, but do provide a starting point for producing good HDS output.
Consider every stage of the process, including:
• While scanning, choose an appropriate unsharp masking setting. You may need to use unsharp masking settings different from those used for conventionally screened output.
• When producing film positives, try using different laser spot sizes. We have found that the best results are produced if a relatively small laser spot size is used in conjunction with exposures sufficient to give solids with densities in the range 3.5 through 4.0.
However, this may not be applicable to every imagesetter.
• When making plates and proofs, take great care to ensure that the film is clean and dust free and make any other adjustments that help to ensure intimate contact between the film and the proof or plate medium. For example, increase the vacuum pump-down time from, say, 20 seconds to 60 seconds or more.
• When printing on a press with relatively high dot gain, consider compensating for this gain. On such presses, particularly on web-offset, you may have to make an adjustment for the higher dot gain in the highlights and midtones due to the finer detail in the screen. Various schemes are possible and have been used for this; one approach is to calibrate the screen for the press directly, but be aware that images are normally scanned with a modest press compensation already in place and take this into account.
HDS screens have no angle as such, but are rotationally isotropic (they have the same characteristics in every direction). Even though the screen angle is ignored, different patterns are used for each process separation. This does not depend on the screen angle originally
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6.11 Harlequin Screening Library
The screen caches used by HDS mean that HDS output is produced at virtually identical rates to that using other screening systems within the RIP. The caches are reasonably large, although not significantly greater than those used for many combinations of screen frequency, resolution, and angle. Do not select very large values for
Limit screen levels
in the
HPS Options dialog box, unless you have very large amounts of RAM available to your copy of the RIP.
Unlike HPS, HCS, or HMS, the screen caches used by HDS cannot be created by the RIP if they are not present when a screen is selected. Each of the variants of HDS requires cache files to be installed into the
Screens subfolder of the
SW folder. These are saved in folders named in the pattern
HDS-<set>-gen
, where
<set> is replaced by particular values. The
<set> part of the name is a for super fine, b for fine, c for medium, d for coarse, or e for super coarse. Each folder has subfolders, named:
A
,
Ai
,
B
,
Bi
,
C
,
D
,
Default
,
E
, and
F
. These folders allow for up to six independent output colorants, including light and dark versions of two inks, and spot colors. For example, with a conventional four-color device, the mapping is that Cyan uses
A
, Magenta uses
B
, Yellow uses
C
, and Black uses
D
. Installer applications supplied by Global Graphics for use with the RIP automatically install all appropriate cache files.
The RIP ignores the value set for
Rotate screens according to page rotation
(in the Edit Style dialog box) when screening with HDS.
Compression of page buffers is less efficient with HDS than other screening techniques. (It is a general rule of compression that increased randomness in data reduces the amount by which it can be compressed.) You can expect compressed page buffers to be larger when using HDS, and disk performance to become marginally more important to total throughput. It is usually possible to maintain or improve throughput with the same output quality, by exploiting the ability to process jobs at lower resolution.
HDS screens cannot be used if the horizontal and vertical output resolutions selected are not equal.
6.11.5 Harlequin Micro Screening (HMS)
Harlequin Micro Screening uses a Respi screen structure to allow greater highlight gradation even at high screen rulings. It does this by using half the nominal screen between 0% and 5% dot area and between 95% and 100% and the nominal screen ruling between 20% and 80% dot area. Between 5% and 20%, and between 80% and 95%, HMS goes through transition zones.
Two variants of HMS are included in HSL; one where the dot shapes in the 20% to 80% tints are very similar to the standard Euclidean dot shape, and one where they closely resemble the standard Elliptical shape.
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HMS Euclidean:
HMS Elliptical1:
If you have been limiting the screen frequencies that you use because you cannot be certain of holding the small highlight and shadow dots with finer screens then HMS should allow you to output at significantly higher frequencies. However, it does not assist you if you need to limit your screen frequencies because of press registration problems.
HMS may be used to extend the length of print runs in situations where this is normally limited by drop-out increasing as the print run progresses.
HMS acts on both the screen frequency and angle as defined in the Edit Style dialog box in the RIP.
Careful calibration can improve output quality when using HMS. The Euclidean variant of
HMS is symmetrical, but you should normally produce separate calibration sets for positive and negative output of the Elliptical HMS form.
6.11.6 Troubleshooting HSL
An undefinedresult error from setscreen
, setcolorscreen
, or sethalftone is probably due to one of the following:
• An attempt has been made to use a screen set which has not been enabled, or where the password entered for that screen set is incorrect for the current security number.
This can occur if an incorrect password has been entered accidentally or if the dongle has been changed from that for which the password was originally created.
Note: Selection of HSL screens in the Screening dialog box is enabled when any nonzero number is entered in the Enable Feature dialog box for that screen set—the ability to select a HSL screen does not necessarily imply that the number entered is correct for use with the specific dongle connected.
• An attempt has been made to use an HDS screen when HDS has been correctly enabled, but one or more of the appropriate HDS screen caches is not present.
6.12 Automatic detection of color separations
There are several procedures in process separated work where the RIP must know which color is being interpreted:
• Using HCS and HDS correctly.
• Overriding screen angles.
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6.12 Automatic detection of color separations
• Recombining preseparated jobs.
• Warning of an attempt to separate a preseparated job.
Identifying the color in auto-separated jobs is simple, but all versions of the RIP supporting
HSL are also capable of detecting which color is being interpreted in preseparated PostScript from a very wide variety of applications.
While the detection methods used have a very high success rate they are not guaranteed to
Recombine preseparated jobs
option.
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7
Configuring the RIP
Chapter 3 through Chapter 6 describe how you can use the Harlequin RIP to configure the
appearance of any page of output sent to a printer or the screen.
This chapter shows how you can also configure the way in which the RIP works, allowing you to get the best performance from the RIP working with your particular computer, network, and output devices; together with system software and any other applications running on the computer.
You have control over a variety of settings, including the following:
• The folders in which certain files are placed by the RIP.
• The page buffer mode that the RIP uses.
• The use of buffers in memory.
• Job timeouts.
• Memory allocation.
All of the options described here are available from the Configure RIP dialog box or subsidiary dialog boxes.
menus, and messages, as described in “Choosing the user interface language” on page 211.
7.1 Configure RIP dialog box
The Configure RIP dialog box is displayed when you choose
Configure RIP
from the
Harlequin
RIPFile
menu or type Command-R. (If there is an
Input Queue
menu, you must stop the input
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queues before you can choose
Configure RIP
: choose
Stop Input Queue
from the
Input Queue
menu.)
Figure 7.1 Configure RIP dialog box
Section 7.2 through Section 7.6 describe the use of items in this dialog box. “Extras” on page
207 describes the use of the dialog box displayed when you click the
Extras
button. The
Options
button leads to another subsidiary dialog box: described in “Control of page buffer-
To view the current memory configuration select
Harlequin RIPFile > Memory Statistics
. A message of the following type appears in the RIP Monitor window:
Total Memory Available: 3616668 kB
Memory Left For System - Requested: 250873 kB, Actual: 250873 kB
Network Buffer - Requested: 64 kB, Actual: 64 kB
Printer Buffer - Requested: 20480 kB, Actual: 20480 kB
Memory available for RIP: 1887104 kB
7.2 How the Harlequin RIP controls files
You can configure the RIP so that certain files are always kept in particular folders on your machine. You can specify the following:
• Workspace folder.
• Page buffer folder.
7.2.1 Workspace folder
This folder is used as general disk workspace. If there is not enough RAM available, the RIP will create temporary files in this folder to use as workspace. This might occur if you are processing jobs that contain very large images.
By default, the workspace folder is called
WorkSpace
, and is found in the
SW folder. You can specify another location for the workspace by clicking the
Change
button in the Configure
RIP dialog box and specifying a folder of your choice.
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7.3 Control of page buffering modes
The amount of disk space required for workspace will vary a lot from job to job. It is worth remembering that jobs containing large images scanned at high resolution will often produce very large workspace files, amounting even to many megabytes. Simple jobs, however, may require none at all.
7.2.2 Page buffer folder
When the RIP buffers pages to disk, they are placed in the page buffer folder. By default, this is called
PageBuffers
, and is found in the
SW folder. If you want to choose somewhere else, click the
Change
button in the Configure RIP dialog box.
Note: From Eclipse Release SP1 the
MediaSavingDir is located as a subfolder to the
Page-
Buffers folder. Do not select the
MediaSavingDir as the location for page buffers.
Pages are normally compressed when they are buffered to disk, so it is hard to estimate how much space will be needed for the page buffer folder, because compression ratios can vary.
When the RIP is in either of the single modes, any stored page buffer is deleted once the page has been printed.
In one of the multiple modes, old pages can be kept if enough space is available. These pages can be deleted automatically as required, by selecting the appropriate
Delete
option in the
Output Controller. (See Chapter 4, “Harlequin RIP Output Methods”.)
Note: The choice you make for the
Delete
option is remembered between RIP sessions, by recording it in the page buffer folder. Thus, the choice is lost if you choose a new page buffer folder, but is found again if you return to using the original folder.
The page buffer folder should be held on a local disk, rather than on a server. In addition, if you are using an output device with a very high data rate, this disk must be fast enough to keep up with the printer.
7.3 Control of page buffering modes
The options in the Configure RIP dialog box allow you to decide whether or not pages will be buffered on disk, and if they are, whether they will be compressed automatically.
Chapter 4, “Harlequin RIP Output Methods”, gives full details of what happens when you
use the various page buffering modes. The following text tells you how and why to choose a particular mode.
7.3.1 How to choose the page buffering mode
You can choose which mode to run the RIP in by selecting one of the items in the
Page buffering
of the Configure RIP dialog box.
7.3.2 Using a printer that can stop / start
Some background information may help you understand this feature. Several output devices supported by the RIP require a continuous high-speed flow of data when they are imaging
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while others can stop and restart (stop / start) when there is a pause in incoming data, with little or no effect on the produced image. In many of the printers supported by the Harlequin
RIP, stopping has no bad effect and may pass unreported. However, in many imagesetters, stopping can produce some visible difference in the produced image so these imagesetters report to the RIP the fact that they have stopped / started.
Normally when outputting, if the printer reports a stop / start, the page will not be output.
However, when using Single, Multiple, or Multiple Parallel mode, the RIP will always make page buffers on disk, and if your system is configured with a sufficiently fast disk, the printer will never stop / start. If the disk may not be fast enough, then you can set the
Allow stop / start
option in the Configure RIP Options dialog box to allow the page to output.
When using Single (if required) mode, if the printer runs so fast that it catches up with the data being supplied by the RIP, the RIP will create a page buffer containing the data for the current page.The RIP will then reprint that page before carrying on with the next page.
However, if your printer can stop / start, you have two options:
• Allow a page buffer to be created and output again. If the page buffer still cannot be output fast enough to keep up with the printer, the job will be aborted.
• Stop the printer until enough image has been processed, and then start the printer again.
You can choose which of these should be done from the Configure RIP Options dialog box,
as shown in Figure 7.2. Display this dialog box by clicking on the
Options
button on the main
Configure RIP dialog box.
Figure 7.2 Configure RIP Options dialog box
• If you select the box labeled
Allow stop / start
, the second option will be used. If the box is not selected, a page buffer will be created and the page output again. By default, the box is not selected.
Even if your printer allows stop / starting, you may not necessarily want to use this feature.
Stopping and starting some printers will cause a degradation in the image.
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7.4 Job timeout
7.3.3 Compressing page buffers
The box labeled
Compress page buffer
in the Configure RIP dialog box controls whether or not page buffers are compressed as they are created. By default, page buffers will be compressed. The advantages of this are:
• It saves disk space—the compressed page buffers are smaller.
• It is likely to be fast—the computer running the RIP is likely to be able to produce image data faster than the disk can receive it. Writing smaller files to disk for compressed buffers will save time.
• It reduces the possibility of banding in printers that require a very high data rate.
Compressed page buffers allow the RIP to send data to the printer more quickly and prevent banding in the output.
The data rate of a printer is the speed at which it accepts data for printing. Many printers require a data rate in the range 1 through 2 MB per second. On some platforms, this is only possible with compressed page buffers.
For some combinations of processor speed, disk capacity, and disk speed, you may wish to limit the use of compression. You can do this using the
Minimum compression ratio
option in
the Configure RIP Options dialog box, as described in “Minimum compression ratio” on page 203.
There are very few cases where you will always want to use uncompressed page buffers. If you do want this choice, clear the
Compress page buffer
box.
7.3.4 Minimum compression ratio
This option in the Configure RIP Options dialog box has an effect only when you have selected the check box
Compress page buffer
in the Configure RIP dialog box. It allows you to limit the use of compression to cases where there is a significant saving of disk space. For example: if the value you enter here is 60%, the RIP compresses only bands in page buffers that compress to a size smaller than 60% of their uncompressed size.
The value you should enter depends on the details of your system and the relative importance you attach to minimizing disk usage or processing time. Typically, useful values are in the range 50% through 100%. Enter a value of 100% to have all bands compressed. You may want to choose a much lower figure where there is a large amount of fast-access storage and compression is slow in comparison to disk access.
7.4 Job timeout
The job timeout allows you to control when the RIP will stop trying to process a job. This is useful for various reasons:
• It can protect against infinite loops in PostScript language code. If there is an infinite loop in a job, it will never finish processing. Using a timeout ensures that, after a set period of time, the RIP will stop processing such jobs.
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• By altering the timeouts available in the RIP, you can to some extent prevent loss of productivity by timing out complex, but correct, jobs before they consume too much machine time. (Subsequently, you can rerun such jobs under operator control and supervision: for example, with more resources temporarily devoted to the RIP.)
7.5 Threads and parallel processing
Parallel processing is enabled in all RIPs running on a suitable hardware platform. The
Threads
option in the Configure RIP dialog box allows manual configuration of this option.
7.5.1 Multi-threading
The form of multi-processing used by previous SMP versions of the RIP had a number of disadvantages compared to the threaded model in terms of memory usage and communication between processes. As a result, a more suitable multi-processor, multi-threaded model has been developed.
Multi-threading enables the RIP to take advantage of hyperthreading and multi-core CPU architectures as well as multiple processors.Only rendering is multi-threaded: interpretation is not.
A selector has been added to the Configure RIP dialog to allow automatic configuration
(using one thread per processor core) or manual configuration of the number of threads. The default for a multi-threaded RIP is automatic selection indicated by a configuration file value of
0
(zero). If required, you can manually override the automatic setting. You should set this value equal to the number of processors available in your system: this will produce the fastest rendering. Other, smaller, values may be useful in testing or troubleshooting.
Values of threads up to 160 may be entered.
Note: The Watermark RIP is available as a single threaded version only.
Figure 7.3 Threads option
Alternatively, you can select
Per processor core
, in which case the RIP will calculate the optimum number of threads for the processors cores on your machine.
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7.6 Printer buffer size
7.5.1.1 Memory per renderer thread
The
Memory per renderer thread
option in the Configure RIP Options dialog allows you to assign a specific amount of memory to each renderer. This defaults to 2 MB per renderer, is set in an ExtraStart file called
SetMaxBandMemory
, and can be overridden using
HqnOEM
.
7.5.2 Network buffer size
This buffer lets the RIP read data from the input source before actually needing to process it.
Having this ability has two advantages:
• It increases throughput.
• The application that is sending the data to the RIP becomes free sooner.
7.5.3 Increasing throughput
With many jobs, there are large amounts of data to be read, often across slow networks, so it is desirable to use any available time reading in the data, rather than waiting for the RIP.
For example, when printing the Seybold Musicians test job (approximately 32 MB of Post-
Script language code, in four separation pages of 8 MB), a network buffer of 8 MB is desirable, since this means that while one separation is being processed, the next one can already have been read in, ready for processing when the previous one is finished. Without a network buffer, when one page is finished, the RIP would have to wait for 8 MB to be read slowly from the input before it could be processed.
7.5.4 Freeing the sending application
The network buffer also increases productivity in the workplace, by freeing the applications sending jobs sooner. You will be able to work with the application again as soon as the job has been read into the network buffer, even though the RIP may only have processed a small portion of it.
For example, when printing the Seybold Musicians test job, your sending application can be freed in about three minutes if a 32 MB network buffer is used, even though the job might take 10 minutes to output overall. On smaller jobs, such as the Seybold Trout test (approximately 200 KB of PostScript language code), it is possible to free your application in about 30 seconds, even though the job will take up to five minutes to output overall.
To change the size of the network buffer, enter the number of KB you require in the text box labeled
Network buffer
in the Configure RIP dialog box. It is 64 KB by default. If there is not enough memory for the requested network buffer, its size will be reduced automatically.
7.6 Printer buffer size
The printer buffer is used to store processed raster data that is ready to be sent to the printer.
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When outputting, data is always placed in the printer buffer before being copied out to the printer as required. In most cases, if the printer is not continuously fed data, one of the following may happen:
• Banding (gaps) may appear in the output.
• Pages may be aborted (for example, in a laser printer).
• The printer may stop / start.
This is known as data underrun.
To avoid data underrun, the RIP must ensure that the printer buffer never becomes empty.
However at any given time, you cannot guarantee that the RIP is sending data to the buffer—it may be processing the next page of data if you are running in Multiple (Parallel) mode, or there may be other applications running that the RIP has to wait for. If the printer buffer empties and you get data underrun, try making the printer buffer larger.
For example, assume you are sending output to a fast 900 KB/second printer, while using another application at the same time, and that application does a screen update that takes 3 seconds (during which time the RIP is locked out). In that time, the printer could consume
3
×
900 = 2700 KB (2.7 MB) of data. To prevent data underrun, you must ensure that you have a printer buffer at least this big.
In practice, a printer buffer in the range 4 MB through 12 MB is usually adequate. This total includes any buffering memory on interface cards or in the output device, but if there is such memory it needs separate installation or configuration. From the memory that the RIP controls, it allocates a minimum of 20480 KB buffer space by default.
To find the best setting for your system, try starting with the default buffer size, and if you have problems with data underrun, increase the buffer size until the problem goes away. If this fails, you may need a faster disk or more memory. The ability to roam large or multiple page buffers is related to the printer buffer size.
To change the size of the printer buffer, enter the number of kilobytes (KB) you require in the text box labeled
Printer buffer
in the Configure RIP dialog box. If there is not enough memory for the requested printer buffer, its size will be reduced automatically.
The figure you enter is the minimum amount of memory that the RIP will use for buffering output. Sometimes, especially in Single (if required) mode, the RIP will use a much larger amount of memory.
Note: The amount of printer buffer memory needed varies according to job and device resolution, output device speed, computer speed, disk speed, and so on. Experiment with a larger buffer if necessary.
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7.7 Extras
7.7 Extras
The Configure RIP Extras dialog box, available from the Configure RIP dialog box, is used to switch on screening strategies and layered options by entering passwords.
Figure 7.4 Configure RIP Extras dialog
Note: There are other places where you may need to enter a password. Some plugins require you to enter a password elsewhere; read the documentation for the plugin carefully to find out where. Also, some language options for the user interface can require you to enable the
language before you can use it—see “Choosing the user interface language” on page 211 for
details.
See “Harlequin Screening Library” on page 190 for details of how to use the screening
options and how to obtain and enter passwords for all options requiring passwords to be entered in the Configure RIP Extras dialog box.
The other entries in the list can include:
•
ColorPro
, to enable the color management options within the Harlequin RIP. Harlequin ColorPro is described in the separate Harlequin ColorPro User’s Guide.
•
TrapPro to enable the TrapPro trapping options within the RIP. See the separate Trap-
Pro User Manual for full details.
•
HDLT
, to enable Harlequin display list technology.
Note to OEMS: Enabling HDLT has no immediate effect on the RIP menus and dialog boxes, but provides access to extra functionality for software written by OEMs.
•
PostScript
, to enable PostScript language input.
•
, to enable PDF input.
•
XPS
, to enable XPS input.
• Simple imposition. See Chapter 10, “Simple Imposition” for full details.
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•
TIFF/IT
, to enable TIFF/IT-P1 input.
Note: There is an optional TIFF/IT-P1 output plugin. If this plugin is present, it shows the entry:
TIFF/IT-P1, TIFF/IT-P1
. Be careful to select the correct entry for input or output before entering a password.
•
Media Saving to enable the Media saving facilities.
There may also be entries for plugins that require a password. These entries can be the result of:
• Security dongles that require a password before allowing use of plugins.
• Plugins that require a password for each device type that they provide.
• Multiple device plugins that require a password but group several device types so that they can be enabled with a single password.
You should receive appropriate instructions and passwords when receiving these plugins and security dongles.
7.8 Specifying prep files
Prep files are libraries of PostScript language routines that can be downloaded into a RIP and used whenever necessary. Many LaserWriter drivers require certain libraries to be loaded before they can be used.
You can select the following options in the Configure RIP Options dialog box.
7.8.1 Automatic prep loading
This is a built-in mechanism that, if the option is selected, automatically loads the correct prep file whenever it is needed. This can save a lot of time for applications printing over networks, especially when these applications require different prep files. For example, different prep files are used by different LaserWriter drivers on different machines by different applications.
Automatic prep loading is selected by default.
7.8.2 Startup prep
If this box is selected, the prep file selected in the pop-up menu is pre-loaded when you start up the RIP. Select the prep file that is used most often by the jobs sent to the RIP.
You do not have to use this option if automatic prep loading is already switched on, but it can be a useful option if a number of people on the network are using the same LaserWriter driver. If the correct startup prep is already loaded, it can save a few (2–5) seconds on each job.
You can use automatic prep loading at the same time as a startup prep.
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7.9 Harlequin RIP memory allocation
7.9 Harlequin RIP memory allocation
The options in the Configure RIP Options dialog box, allow you to specify the memory allo-
cation for the RIP, see“Configure RIP Options dialog box” on page 202.
The RIP is allocated the amount of memory set in the Info dialog box from the Finder, less the amount specified in the
Minimum memory left for system
field. At present the default values are 24 MB minimum and 27 MB preferred.
Note: When using media saving features and outputting large high resolution flats, you should allocate substantially more than the default memory to the RIP. For information on
media saving see “Advanced Media Saving” on page 127.
By default, 5120 KB of system space will be reserved after the RIP has started up.
If the
Memory for RIP
option is not selected, the RIP is allocated all the available physical memory, less the amount specified in the
Minimum memory left for system
field.
If you want to reduce the amount of memory allocated to the RIP, select the
Memory for RIP
option and enter the value in the text box. The RIP is allocated this amount of memory, less the amount specified in the
Minimum memory left for system
field.
The
Minimum memory left for system
field lets you reduce the allocation for the RIP so that memory is left for the operating system and any other running applications. If this value is too small, the operating system will start paging, which will degrade performance.
Note: If the
Minimum memory left for system
value is higher than the
Memory for RIP
setting, the following warning is issued:
"Warning: The combination of "Minimum memory left for system" and "Memory for
Rip" settings will force the Rip to run with x Kb of memory. This can result in unexpected behaviour. Please consult the "Harlequin RIP memory allocation" section of the documentation." where x is a number.
If a particular job is so large that it cannot all be fitted into memory at once, the RIP starts to paint partial page buffers to disk. To try and avoid this, you can allocate extra temporary memory for the RIP, using the
Memory reserve for RIP
option. This option allows the RIP to use additional physical and virtual memory while completing the job.
Note: If you allocate a large amount of extra temporary memory, the operating system may start paging. Paging would slow the system down more than painting partial page buffers to disk. We recommend that you allocate less than 4 MB of extra temporary memory.
There are some instances when the RIP cannot paint partial page buffers to disk: for example, when recombining preseparated jobs or using TrapPro. The RIP cannot complete the job if it does not have enough memory. In such instances, select the
Allow use of all available memory
option. The RIP will use all the available physical and virtual memory to try and complete the job. Using all the memory may severely degrade performance until the job has finished.
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Note to OEMs: Some output devices need data at a particular rate. If you are generating output for such a device, you should set the
Memory Reserve for
RIP
to
0 and make sure that
Allow use of all available memory
is not selected.
From the total memory allocated to it at startup, the RIP allocates the printer and network buffers. All memory not used for these buffers is used by the RIP for processing jobs.
The final allocations used are reported in the RIP Monitorwindow when the RIP starts up.
If there is insufficient memory to allocate the buffers requested, the RIP tries the following methods of automatic recovery, in the order shown:
• Reducing the network buffer to a minimum of 64 KB.
• Reducing the printer buffer to a minimum of 512 KB.
• Reducing the
Minimum memory left for system
to a minimum of 512 KB
If there is still not enough memory to give the RIP at least 4096 KB, the RIP will display a warning and quit.
7.10 Minimum free disk space
The Harlequin RIP allows you to ensure that it leaves free a minimum amount of disk space, which is good practice and allows for use by other applications. Specifying this reserved disk space is important for use with the two RIP modes—Multiple and Multiple (Parallel)— that can produce multiple buffers, where it ensures that the disk is not completely filled up with an unlimited number of page buffers.
The default value of the
Disk space left for system
option is 50 MB. You may want to increase it to reserve disk space for other applications running on the same machine, such as spooling programs. A reasonable value should be near the size of the largest files regularly created or copied on the relevant disk.
7.11 Disable sounds
Select this box in the Configure RIP Options dialog box to suppress the system beep normally generated when the RIP encounters an error.
7.12 Resetting the Harlequin RIP to default values
If you decide that you want to revert to the default values that the RIP is supplied with, double-click the
Harlequin RIP
icon while holding down the Option key.
A dialog box appears, asking if you wish to return to the factory defaults.
• Click
Yes
if you wish to reset any part of the current configuration.
• Click
No
if you wish to keep all of the current configuration. (the RIP starts up normally.)
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7.13 Choosing the user interface language
If you click
Yes
, the RIP displays several dialog boxes that allow you to reset specific parts of the configuration, one after the other. For each dialog box, click the
Yes
button to reset all the configuration information described in that dialog box. Click
No
to keep that part of your configuration.
The RIP allows you to reset most parts of the configuration in this manner, including Page
Setups, RIP configuration, media management information, and window positions.
After the last dialog box, the RIP starts up normally.
7.13 Choosing the user interface language
You are asked to make a choice of the language to be used in dialog boxes, menus, and messages when you start up the RIP for the first time. Later, you can check the exact language in use or change the language, for most combinations of languages.
7.13.1 Requirements and limitations
There is no problem in changing language if both languages are chosen from English and most Western European languages—technically described, those languages that use encodings of the ISO-Latin character set. There is also little risk in switching from ISO-Latin to a language that uses a two-byte character encodings: for example, Japanese, Traditional Chinese, and Simplified Chinese. There is a higher risk of problems if you attempt to switch
between two languages that use different two-byte character encodings.
The operating system of your computer must support the language you wish to use. You are also likely to require the RIP localization files and a password from your supplier before you can change the language used by the RIP. If you have to install any files, restart the operating system and the RIP before proceeding.
7.13.2 Procedure
To check which languages are available or to switch to another available language, choose the
Harlequin RIPFile > Language
menu option. The Select User Interface Language dialog box
appears, as shown in Figure 7.5.
Figure 7.5 Select User Interface Language dialog box
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The dialog box shows you which languages are available in a multi-column list. A language is available for immediate use if the entries after its name or code (in the
Language
column) are all
Present or
Yes
.
The columns have these meanings
• The
Messages
and
Resources
columns show if parts of the RIP localization are present.
• The
Script
column shows if the operating system supports the language.
• The
Enabled
column shows if the RIP localization is enabled, when the entry is
Yes
; or disabled, when the entry is
No
.
Click
Cancel
if you do not wish to make a change.
You can supply a password to enable a language if the only thing making that language unavailable is a
No entry in the
Enabled
column. Select the row for your chosen language and click
Enable
. In the password entry dialog box, enter your password and click
OK
. You should now see that the language is enabled. Check the password if the language is not enabled. (If you still have problems, click
Cancel
to continue using your previous user interface language while you obtain support from your supplier.)
To use an enabled language, select your chosen language and click
OK
. The RIP displays a dialog box asking if you wish to confirm your choice and quit the RIP. Click
Yes
if you are sure, and then click
OK
to dismiss the second confirmation dialog box.
When you restart the RIP, you should see that it is using your chosen user interface language.
Note: You may still see a small number of options in lists or messages appearing in English or another language. This is normal. For example, the
Feature
and
Calibration
lists in the Edit
Page Setup dialog box display the names of files, which remain unchanged as the user interface language changes. Similarly, the RIP Monitor window displays messages if they are produced directly by PostScript language jobs and, if needed, some very rare and technical error messages.
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8
Configuring Input
This chapter describes the different ways in which the Harlequin RIP can accept its input,
and how to configure the RIP to use each type of input. Chapter 5, “Configuring Output
Formats”, describes the different ways in which you can control output from the RIP, using
Page Setups.
There are several ways of providing input to the Harlequin RIP:
• Using one or more managed inputs, as described in “Input management” on page 214,
and the following sections. This is the preferred method for routine use because, in general, the managed inputs allow users on many machines to submit jobs to the RIP.
• Using the
Print File
of the job types possible on that installation of the RIP. You can use
Print File
while managed inputs are active.
• Entering PostScript language code interactively by typing at a prompt on the machine,
as described in “Entering PostScript language code by hand” on page 256. You must
disable other inputs for the duration of your interactive sessions in order to do this.
When you use managed inputs or the
Print File
menu command, you can print several types of job. The available types depend on the details of your installation of the RIP. Some types have associated settings in Page Setups, may require enabling with passwords, or require other care in use. The possible types, with references to full descriptions of their use, are:
• PostScript language files (PS) and Encapsulated PostScript files (EPS), both described
in “Printing PostScript language files” on page 232.
• Portable Document Format (PDF) files, described in “Printing PDF files” on page 233.
• XML Paper Specification files (XPS) files, described in “Printing XPS Documents” on page 247.
• JPEG and JFIF files, described in “Printing JPEG and JFIF files” on page 247.
• TIFF/IT-P1 files, described in “Printing TIFF/IT files” on page 248.
• TIFF 6.0 files, described in “Printing TIFF 6.0 files” on page 252.
• Harlequin RIP page buffer files, described in “Printing page buffer files” on page 253.
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8.1 Input management
In the same way that the RIP uses output plugins to provide output sources, it uses input plugins to provide input sources.
Global Graphics and OEM programmers can create input plugins, each of which may be used as one of the following:
• Input to the RIP, for example, as a source of jobs. (When installed, these plugins are obvious parts of the RIP: the description of these plugins and their configuration forms the bulk of this chapter.)
• A PostScript language device on which you can open a file and read or write from a
PostScript language job. (This is not seen by the end user.)
• A filter to manipulate data. (This is not seen by the end user.)
• A source of asynchronous actions. (Most of these actions are small, specialized tasks and not directly related to output of a user job. For example, one such action enables the RIP to provide a list of installed fonts while busy with a job for output.)
There are a number of input plugins supplied with the RIP, each providing users with the
ability to submit jobs. “Managing input plugins” on page 215 describes the way in which
you can manage these plugins and the inputs they provide. The supplied inputs are:
• AppleTalk. This lets the RIP accept input from any AppleTalk network connected to the machine running the RIP.
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
See “Using the AppleTalk input plugin” on page 219 for more details.
• Spool Folder. This lets you specify multiple independent folders into which users or applications can place jobs to be printed. The RIP checks for the presence of files in these folders and prints each one automatically.
See “Using the Spool Folder input folder” on page 219 for more details.
• Socket plugin. This allows input to arrive over a network, which can contain different types of computer, using a TCP/IP socket.
See “Using the Spool Folder input folder” on page 219 for more details.
• Asynchronous socket plugin
This is similar to the socket plugin but is only suitable for a limited number of jobs.
Typically, these are small jobs performing control or monitoring functions, rather than imaging.
See “Using the Spool Folder input folder” on page 219 for more details.
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• Asynchronous socket quit plugin
This is similar to the asynchronous socket plugin but has the single purpose of causing the RIP to quit. It does not receive any jobs.
See “Using the Print File command” on page 230 for more details.
Each of these plugins can be thought of as analogous to a multiple device output plugin, except that they provide inputs, rather than outputs.
Note to OEMS: With the off-the-shelf version of the Harlequin RIP, OEMs can add their own input plugins. This means that interfaces to source devices can be written independently of the RIP.
8.2 Managing input plugins
You control input plugins using the Input Controller. Before creating new inputs or changing existing ones, check that you have an appropriate Page Setup to associate with each input.
(While creating Page Setups, you can keep the Input Controller displayed, but not the subsidiary dialog boxes.)
Display the Input Controller dialog box by choosing the
File
>
Input Controller
menu option,
or clicking the tool bar button. Figure 8.1 shows the Input Controller dialog box.
Figure 8.1 Input Controller window
input source can be turned on or off individually using the buttons—the state is displayed in the
Status
column.
Each row in the list represents one particular source, and contains:
• The
Name
for the input source. This is used to identify the source within the RIP. It may also be used by the input plugin itself.
• The
Type
of input. This determines which input plugin the RIP uses.
• The
Page Setup
. This is the Page Setup used by all jobs arriving through this source.
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• The
Enabled
state. This should be
On to make the source available when you start the
RIP or start inputs.
• The
Status
. This can be
Stopped
,
Idle
, or
Busy
.
An input is stopped either because all inputs are stopped, because you have disabled this input in the Input Controller (using
Off
), or because of a problem when trying to start that input. An idle input is ready to receive a job but none is arriving. A busy input is actually receiving a job.
You can also choose to see the same information about items that are not controllable from the Input Controller. The check box below the list gives you this ability:
Show protected channels
Select this box if you wish to see, but not control, the status of protected
channels. This box is grayed out if there are no protected channels.
Protected channels are channels that have been created outside the
Input Controller—possibly by executing PostScript language commands in configuration files that the RIP used when starting up—and marked as being outside routine user control. Typically, a protected channel is not an input source for imaging jobs: instead, it performs
one of the other functions described in “Input management” on page
Below the list of sources are several buttons that allow you to perform the various actions
described in sections 8.2.2 through 8.2.7.
When you have finished making changes in the Input Controller, you can keep it visible as a way of monitoring which inputs are submitting jobs or close it using the
File > Input Controller
menu option or the tool bar button.
8.2.1 Turning on the input system
To start receiving jobs from the configured and enabled inputs, choose
Start Inputs
from the
File
menu, or type Command-I. When you do this, there is a delay of a few seconds as the various defined input sources are initialized, and then the RIP starts to accept jobs from those sources.
The status area of the tool bar shows the searching for input symbol (a torch or flashlight shining on an arrow).
A new menu appears in the menu bar, called
Input Queue
. This menu has these options:
•
Kill Current Job
. This causes the job currently processing to be aborted. It may take a few seconds.
•
Stop Input Queue
. This turns off the input system when the job currently processing has finished.
•
Abort Input Queue
. This aborts the job currently processing and then turns off the input system.
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8.2 Managing input plugins
8.2.2 Adding a new input source to the list
You can create many different input sources for each input plugin. For example, you could create 5 spool folder input sources and 10 socket and AppleTalk input sources.
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
To add a new input source to the list:
1. Click the
New
button in the Input Controller. The RIP displays an Input Channel Edit
dialog box, similar to that shown in Figure 8.2, allowing you to fill in the details for this
source.
Figure 8.2 Input Channel Edit dialog box
2. Type a name for the plugin device in the
Name
text box.
The name is used to identify the source within the RIP. It may also be used by the input plugin itself.If you create an AppleTalk input device, when you start the inputs a printer of this name becomes available on the AppleTalk network.
3. Choose the plugin type from the
Type
pop-up menu.
4. Choose a saved Page Setup from the
Page Setup
pop-up menu: the RIP applies this
Page Setup to each job arriving at the source.
5. If the plugin is to be initially turned on, select the
Enabled
check box.
6. Click the
Configure
button to display an input plugin Configuration dialog box, allowing you to specify details relevant to the plugin you have chosen.
The Configuration dialog box varies according to the type of plugin chosen. It is used to give details about how the input is to be handled, and to set up any hardware associ-
ated with the source. See “Input management” on page 214 for a list of input types and
page references to their configuration and use.
7. When you have specified all the details for the new source, click
OK
.
8.2.3 Copying an input plugin
When you have created an input plugin, you can copy it to create other inputs of a similar type. This can save you some effort, depending on the complexity of the Configuration dialog box.
To copy an existing input, select the entry in the Input Controller and click the
Copy
button.
You must give the copied input a new name and you will probably need to alter some details in the Configuration dialog box. For example, only one active input can use a particular
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spool folder or network input at one time—but you can have two or more inputs using the same source, provided that you enable only one at a time.
8.2.4 Editing the details for an input source
To edit the details for an existing input source, do one of the following:
• Select the entry in the Input Controller and click the
Edit
button.
• Double-click the entry in the Input Controller.
The RIP displays an Input Channel Edit dialog box, allowing you to edit the details for the
8.2.5 Configuring an input plugin
Configuring an input means giving details about how the input is to be handled, and setting up any hardware or software associated with the source.
To configure an existing input plugin, select it in the Input Controller and click
Edit
. The RIP displays the Input Channel Edit dialog box. Click
Configure
to see the Configuration dialog
box for the selected input. See “Input management” on page 214 for a list of input types and
page references to their configuration and use.
8.2.6 Deleting an input source
To delete an input source from the RIP, select it in the Input Controller and click the
Delete
button. (You can select multiple inputs and delete them in one action.)
8.2.7 Enabling and disabling input sources
To enable an input source, select it in the Input Controller and click the
On
button. To disable a source, select it and click the
Off
button. Using these buttons has the same effect as selecting or clearing the
Enabled
check box in the relevant Input Channel Edit dialog box.
When the selected input source is enabled then the
On
button is disabled, and when it is not enabled then the
Off
button is disabled.
You can select several input sources and then turn them on or off together.
When an input plugin is enabled, the RIP automatically publishes it when starting input queues, meaning that the input plugin can be used to send jobs to the RIP.
To make enabled inputs active, choose
File
>
Start Inputs
or click the tool bar button that has a
picture of a green arrow and traffic light. (See Section 8.2.1, “Turning on the input system”.)
To stop all enabled inputs, choose
File
>
Start Inputs
again or click the tool bar button that has a picture of a red arrow and traffic light.
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8.3 Using the AppleTalk input plugin
8.3 Using the AppleTalk input plugin
An AppleTalk input source publishes a name over the network. This name appears in the
Chooser on Macintosh computers running Mac OS 8/9 and Mac OS X when they are connected to the network, making the RIP available just like a LaserWriter. Other, non-Macintosh, computers connected to the network and able to use AppleTalk can also use the RIP as an AppleTalk printer. In complex networks, there may be a need for extra actions before all computers can use a new printer.
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
8.3.1 Configuring an AppleTalk input source
To configure an existing AppleTalk input source, select the source in the Input Controller and click
Edit
. The RIP displays the Input Channel Edit dialog box. Click the
Configure
but-
ton. The AppleTalk configuration dialog box appears, as shown in Figure 8.3.
Figure 8.3 AppleTalk Configuration dialog box
Wait timeout
Abort on error
This value sets the length of time, in minutes, that the input source waits for data. If no data is sent for that length of time and the RIP is waiting for data, the job is aborted.
This control sets the behavior of the input plugin on detecting an error. By default, this box is selected, which means that an error causes an immediate abort. This is not the typical behavior of a PostScript language compatible interpreter but it may save considerable time spent in transferring data which is merely flushed (ignored) by the interpreter.
Clear this box if you encounter problems with network software or wish to ensure full compatibility with other PostScript language compatible interpreters.
8.4 Using the Spool Folder input folder
A spool folder input source regularly scans a specified disk folder (directory), and processes any PostScript language files (and other suitable files) that are placed there. Normally these files are deleted after successful processing. The spool folder can be on a network file server, or the local machine. Users create files from their applications. These applications can create the files directly in the spool folder, or can create them elsewhere (for example, on the local system) for later transfer into the spool folder.
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The RIP can process some or all of the following file types using a spool folder: PostScript language (PS), Encapsulated PostScript (EPS), Portable Document Format (PDF), TIFF 6.0,
single TIFF/IT-P1 subfiles or TIFF/IT-P1 file groups if supplied in order, JPEG and JFIF files.
With some preparation you can also process page buffers from a similar version of the Harlequin RIP. The available options depend on your installation and configuration of the RIP.
Note: You cannot use a spool folder for printing FP TIFF/IT-P1 files without special care, because FP files reference subfiles and the RIP must image the data in these files in a set order. If, in a spool folder any of the CT, HC, LW, or FP files may arrive first, then the result may be partial images. The spool folder can accept TIFF/IT-P1 files if the order of arrival and file naming can be controlled so that all subfiles arrive before the FP file and you select the
TIFF/IT-P1 option described on page 222. If the order of arrival or naming is unsuitable or
unpredictable, using
Print File
from the
File
menu is the simplest reliable method of ensuring that the RIP images the intended file or combination of files.
The RIP ignores types of files that it cannot print, and any files that you exclude intentionally by configuring the spool folder input.
You can exclude files based on their names. You may want to exclude files that resemble real jobs, but that actually contain accounting or housekeeping information for the software that delivers files into the spool folder. You may also want to exclude, or at least delay, real jobs with particular origins or qualities. All this is possible so long as the file names have a recognizable prefix.
You specify which folder the RIP uses in the input plugin Configure dialog box, available from the Input Controller. By default, this folder is called
Spool and exists in the
SW folder. If needed, you can create several spooled inputs, each with its own folder, Page Setup, and exclusion list.
When you specify a folder accessed over a network, make sure that the folder automatically becomes available to the computer running the RIP when that computer is restarted.
Because files are normally deleted as soon as they are printed, it is important to ensure that the RIP has permission to delete files in the spool folder, particularly if the spool folder is on
a network file server. See Appendix A, Troubleshooting, for more details.
The files in the spool folders are processed in the order in which they arrive. However, if there are jobs already in a folder when the RIP is started, or if a very large number of files have been queued, the RIP determines the order of those jobs by the date stamps on the files.
Note: Spool folder input does not work with setups using PostScript LanguageLevel 1 compatibility mode.
8.4.1 Spool input issues
The way the Spool input plugin detects whether a job has failed can be disturbed by the use of page features such as
Error Handler - Long and
Error Handler - Short
. In such cases, even though the RIP monitor may indicate that the job has failed, the Spool plugin may treat the file as
Completed instead.
The same issue may apply to custom error handling code.
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8.4 Using the Spool Folder input folder
If your workflow relies upon the correct error action taking place, you should avoid the use of error-handlers and instead diagnose such problems using different Page Setups.
Closing the spool input channel while files are still open can prevent the plugin moving or deleting those files.
8.4.2 Configuring a Spool Folder input source
To create and configure a new Spool folder source:
1. Click
New
in the Input Controller. The RIP displays the Input Channel Edit dialog box.
2. Choose
SpoolFolder from the
Type
drop-down list. Give the input a suitable name and select a Page Setup. Select the
Enabled
box.
3. Click the
Configure
button. The Spool Folder Configuration dialog box appears.
Make the settings you wish, and click
OK
. Click
OK
again to close the Input Channel Edit dialog box. The spool folder input becomes active, now or when you next start inputs. When the spool folder becomes active, the RIP reports the number of exclusions, that is the number of prefixes that it will ignore. See the description of the
Filenames prefix list
for details.
Figure 8.4 Spool Folder Configuration dialog box
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This dialog box contains the following control items:
Spool Folder
The current spool folder is shown in the text field alongside this button. This location is where the RIP detects the arrival of files and considers them as possible jobs, by looking at the type of file and any file names excluded in the
Filenames prefix list
.
Note: Choose a folder that is dedicated to receiving jobs. In particular, avoid using folders where other files are arriving or changing. (For example, the
SW folder is a bad choice, because the log file changes with every job.)
Click the
Spool Folder
button to change this folder using the standard file browsing dialog box. Alternatively, you can type a full path name in the text field but be aware that any typing errors can cause an error or the creation of a new folder.
Create Spool Folder if it does not exist
Select this box if you want the RIP to create the named spool folders if they do not already exist.
The RIP creates the folders when the input channel becomes available for use. This time can be immediately after you click
OK
in the Input
Channel Edit dialog box for an enabled channel, but you may need to choose
File > Start Inputs
or enable the input channel before it becomes fully available.
Warn if Spool Folder does not exist
Select this box if you want the RIP to issue a warning if a folder named as a spool, error, or completion folder does not exist.
Suppress startup warnings
If you have files present in the Spool Folder and then start the RIP, you will be prompted with a warning that files already exist in this folder which you must acknowledge before the RIP will start. If you would prefer to suppress these startup warning messages and continue to start the RIP, select this option. All files present in the folder will be processed.
HandleTIFF/IT files as one output group
Select this box if you want to process TIFF/IT-P1 files as a group, but only if you can predict that both the file names and the order of arrival follow these conditions.
All related files must have the same file name stem. For example, this is a valid group of files: myfile.ct
, myfile.lw
, myfile.hw
, and myfile.fp
.
All subfiles must be in the spool folder before the FP file arrives and is ready to print.
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8.4 Using the Spool Folder input folder
After processing a TIFF/IT-P1 group, the RIP moves or deletes all the related files together, with the action depending on success or failure and the settings of other controls in this dialog box.
If you leave this box unselected, the RIP processes the individual files as they become available.
Note: When producing TIFF/IT-P1 files as output using the optional
TIFF/IT-P1 output plugin, the RIP satisfies the rules for having the related files treated as a group.
Scan spool folder every <n> seconds
The value in the text box specifies how often the RIP checks the Spool folder for new files to be printed.
Time to wait for file to stabilize <n> seconds
The value in the text box specifies the number of seconds that the
Spool folder waits for the size of an arriving file to remain the same before assuming that it has been fully written and is therefore ready to be printed.
Complete Folder
If a file successfully prints, the RIP moves it to the location specified in the text field alongside this button unless the
Delete on completion
box is checked. Click the
Complete Folder
button to change this location using the standard file browsing dialog box.
Delete on completion
Select this box if you want the RIP to delete files that the Spool folder succeeds in printing. Otherwise the RIP moves these files to the Complete Folder.
Error Folder
If a file fails to print, the RIP moves it to the error folder specified unless the
Delete files on error
box is selected. If a file prints successfully, the RIP moves it to the Complete folder specified unless the
Delete on completion
box is selected.
Delete on error
Select this box if you want the RIP to delete files that the Spool folder fails to print. Leave this box clear if you want failed files to be moved to the Error Folder. Note that a file is treated as an error if you abort it while it is being processed.
Move/Delete All Files
With this option selected the spool plugin will either move to the error folder, or delete any file which it does not recognize (such as badly formed PDF documents). The files are moved or deleted depending on the state of the
Delete on error
check box.
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Warning: If you decide to use this option and you inadvertently choose to point the spool folder at a directory containing important files (such as
C:\windows...
or your
SW
folder), you will remove all files therein, resulting in either a non-functional computer or nonfunctional applications. The plugin deletes or moves all the files it cannot handle.
Move/Delete Valid Files
This option replicates the previous (pre Eclipse Release SP2), behavior of the spool folder plugin. In this case, if a file is encountered which the spool plugin does not recognize it will leave the file in the spool folder and ignore it. Valid files which cause an error will be treated according to the setting of the
Delete on error
check box.
List of prefixes
This text field specifies files to ignore when they arrive in the spool folder, if you have also selected the
Do not process filenames with the following prefixes
box. The specification is based on the first part or pre-
fix of the file names.
Prefixes are case sensitive and separated by a comma.
For example, if you type in the prefix ab
, the RIP ignores all the arriving files whose names begin with ab
. Examples of files that the Harlequin RIP would ignore for this prefix are abacus.pdf
, abandon.ps
, and ab123
. (The RIP would not ignore
ABALONE.PS
,
123ab.pdf
, or
_absence
.) Ignoring means that the RIP does not process the files and allows the files to remain in the spool folder until removed by a user or other software.
Note: If you remove or disable a prefix while the spool folder is still active, the RIP processes any files previously excluded by that prefix but still present in the spool folder.
You can enter several prefixes. Separate multiple prefixes by commas without surrounding spaces. (If you add spaces after a comma, the
RIP treats the spaces as part of the following string.) Each prefix can include alphanumeric characters, the underscore character, the period character, and spaces.
For example, this is a valid list of three prefixes: aaab_c,BAC,4.4
Do not process filenames with the following prefixes
Select this box to make the prefix list active. Leave this box empty to disable the prefix list without deleting the list of prefixes.
8.5 Using the Socket input plugin
A socket is a hardware-independent method of communicating across a network. The RIP
Socket plugin supports TCP/IP on Ethernet for job transfer between any combination of
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machines running the UNIX and Windows operating systems. From socket version 2.1r1 the plugin is supported on Mac OS X.
The RIP Socket plugin also supports a smaller set of features on Power Macintosh computers
(but not 680x0 based Macintosh computers). This smaller set of features is supported between any combination of Power Macintosh computers and machines running the UNIX or appropriate Microsoft Windows operating systems.
The benefits of using network sockets are:
• Transfer of jobs between different types of machines occurs at network speeds—typically much higher than those achieved with serial links.
• One server machine (the one running the Harlequin RIP) can receive input from as many sending machines as can connect to the network. (The RIP must finish one job before starting another, including jobs from other types of input plugin.)
• All sending machines are configured in the same way.
• Given an existing network, there is no requirement for extra hardware or shared file systems.
• A program or user on the sending machine can be informed of the job status as the job progresses.
There are some potential, minor, difficulties with socket input:
• It requires a small amount of central network management, or user access to configuration files, on the sending and receiving machines. This management or user access is required only when setting up the links, not for routine use.
• In general, the socket input plugin accepts only PostScript language and PDF input, sent with a basic TCP/IP stream protocol. This protocol is simple to generate but prohibits the direct use of any extra protocol such as that used by the UNIX lp program.
(The Xinet PapConnect protocol is an option if there is no Macintosh computer involved.)
Note: Prior to the release of the Socket plugin v2.1r3, jobs received on an input Socket were named by the input channel, and not the job. A page feature was provided to overcome this.
From the release of the Socket plugin v2.1r3 the page feature is added to the plugin and thus will use the name within the job.
Note: Most machines running sockets can support several independent types of communication and there is usually ongoing communication for processes including mail, printing, and file transfer. The different types of communications are kept separate by assigning each to a different port, usually identified by number. Port numbers below 1024 are listed in a services database and have registered uses and protocols that enable computers at local and remote sites to communicate according to published standards. Some numbers above 1024 also have agreed uses, but most are available for use in a way specific to a single site, as allocated by the local network manager or system administrator.
Prior to release of the Socket plugin v2.1r3, jobs received on a Socket input were named by the input channel, and not the job. A page feature was provided to overcome this. From the
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release of the Socket plugin v2.1r3 (shipped with Harlequin RIP, Eclipse Release), the page feature is incorporated within the Socket plugin and thus will use the name within the job.
8.5.1 Requirements
All machines need to support TCP/IP over Ethernet and to be linked by a network. This is the only requirement for machines running the UNIX, Mac OS X, Windows Server 2003,
Windows Server 2008, Windows Server 2008 (R2), Windows XP, Windows Vista and Windows 7 operating systems.
8.5.2 Configuration preliminaries
Before attempting to configure a socket you must decide what kind of connection you wish to make and how to implement it. This subsection describes your options and what you need to know before configuring the RIP socket input.
In the simplest case, applications on one or more machines send information to the machine running the RIP and receive no messages about the progress of the jobs.
It is a simple extension to make the standard output from the PostScript language interpreter—progress and other messages as displayed in the RIP Monitor Harlequin RIP window—available to the application sending the job.
8.5.2.1 Server machine
To configure the machine running the RIP, you must know:
• The port on which the socket plugin is to listen for input.
Optionally, you may need to know:
• A second port, if you wish to return the standard output to the sending application and that application requires a separate port.
• Any protocol in use by the sending application. The options supported by the Harlequin RIP are basic TCP/IP socket stream or Xinet PapConnect.
In general, you can ask your network administrator to allocate a port (or ports) and give you the number(s) or name(s) to enter in the RIP. Using a name rather than a number allows the flexibility of changing only the services database if it becomes necessary to start using another port.
If you have no network administrator, you may need to look at the services database yourself in order to find ports that are available for use. In the UNIX operating system, the services database is the file:
/etc/services
Under Windows XP and Windows 2000, the position of the services database can vary between different installations of the operating system. The administrator can choose where to install the operating system (with the chosen location recorded in the environment variable
%Systemroot%
) and the services database is stored in a fixed relationship to this loca-
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tion. For example, if the operating system is installed in
\winnt then the services database is the file:
\winnt\system32\drivers\etc\services
On Macintosh computers, there is no services database. (This means that you must choose ports using
TCP by number
on a Macintosh, but you may be able to inspect the services database on a computer of another type if you are operating on a mixed network.)
Warning: Where used, the services database is an important part of a networked operating system. Make a copy of the services database file before editing it in any way.
8.5.2.2 Sending machines
To configure the machines sending jobs to the RIP, you must know:
• The network address (IP address or hostname) of the machine running the Harlequin
RIP.
• The port on which the machine running the RIP is listening for input.
Optionally, you may need to know:
• A second port, used to return the standard output to the sending application. (The RIP can return this information on the server port: a second port is only needed if the sending application requires a separate port.)
Your network manager should be able to supply these details.
All other settings are dependent on the software used to send the jobs, and must be compatible with those you have made in the Socket Configuration dialog box. For example, you may need to configure the sending software to receive the PostScript language status messages.
We recommend that you configure each sending application to close its sending socket connection at the end of each job, and pause before reopening it to send another job. The reasons are:
• You can configure the RIP to receive input on more than one socket input—for example, to allow the use of different Page Setups. (Each socket must use a different address.) Closing the connection allows the RIP to check for pending jobs on other input channels.
• Certain jobs may require that the server socket is closed before the RIP can start rendering. If the socket is not closed, rendering starts when the next job starts to arrive, which could result in a significant delay.
8.5.3 Configuring a Socket input plugin
To configure a new socket input, click
New
in the Input Controller. The RIP displays the
Input Channel Edit dialog box. Choose a name and Page Setup as normal, then choose
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SocketInput from the
Type
pop-up menu drop-down list. Click the
Configure
button. The
Socket Configuration dialog box appears, as shown in Figure 8.5.
Figure 8.5 Socket Configuration dialog box
You must make settings for the server (input) socket. The other (output and protocol) settings are optional but interrelated: you may need to make more than one choice to have a valid combination of settings.
8.5.3.1 Server socket details
On some the RIP platforms, the
Socket type
control allows you to choose from
TCP by number
,
TCP by name
, and
Local
. The only option available on all platforms is
TCP by number
.
The
TCP by number and
TCP by name options both offer full network access. The options are equivalent in that both identify a numbered port. The only difference is that if you give a name, the name is used to look up the number in the services database, a file which links numbers with names.
A
Local socket works only with the UNIX operating system and only on the host machine: that is, where the sending application and the Harlequin RIP both operate on the same machine. It is provided only for compatibility with older systems.
Server Socket type
Choose
TCP by number or
TCP by name for use across a network
(including from the host machine), and enter the corresponding port name or number in the
Address
box.
Under the UNIX operating system, you can also choose
Local but do so only where absolutely required by the sending application and enter a socket file name in the
Address
box.
Address
There are up to three possible entries in this box, depending on the choice made for
Socket type
, which itself may be limited by the platforms on which the RIP and the sending applications operate.
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When
Socket Type
is
TCP by number
, enter the number of the port.
The socket plugin listens on the chosen port.
When
Socket Type
is
TCP by name
, enter the name of the service.
The socket plugin gets the port number by looking up the name in the services database (
/etc/services or an equivalent file), and listens on the chosen port.
When
Socket Type
is
Local
, the socket communication is made by using a socket-style file on the file-system. Enter the file name in the
Address
field.
8.5.3.2 Bi-directional communications and protocol
These check boxes allow you to specify if and how the Harlequin RIP should return information to the application sending a job.
Bi-directional comms
Select this box when you wish the RIP to pass responses back to the sending application. The RIP passes these responses: on the server socket when
Use Separate Output Socket
is not selected; or on the output socket when
Use Separate Output Socket
is selected (in which case, you must also configure the
Output Socket Details
).
Publish as printer
This option requires a Macintosh running at least Mac OS X v10.4 on the RIP machine. With an input channel published as a printer a new printer named to match the input channel name is listed in the Print
Center on the RIP machine. It can be chosen from the print dialog from any application. If printer sharing is enabled (
System Preferences
-> Sharing -> Services tab
), on the RIP machine, the new printer is visible to other Macintosh computers running Mac OS X v10.4 on the local subnet.
To publish your printer you should add a valid port number in the
Address
text box. What happens is that the socket is published as normal but the
Publish as Printer
option adds some information to the socket to allow it be used as a Mac OS X printer as well. In this case the socket is functioning as normal and still functions as a standard socket input even if it is simultaneously published as a printer.
Unless you are logged in as root
, the port number you should enter into the
Address
box must be
1024
.
Use Separate Output Socket
Select this box to use a separate output socket for responses from the
RIP to the sending application. You must use a separate output socket if the sending application(s) cannot accept responses on the channel used to send jobs.
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This box is irrelevant if
Bi-directional comms
is not selected.
Note: When this option is selected and a port with the same address is used, a
Duplicate Socket Address: already in use error message will appear and the input will not start.
Use Xinet protocol
Do not select this option unless you know that all the sending machines are using the Xinet PapConnect protocol. In particular, Classic Macintosh computers cannot use PapConnect. Also, we recommend that you use this option only for downloading fonts; for general use, leaving this box unselected gives faster transfer rates.
8.5.3.3 Output socket details
These details are only relevant when you have selected the
Use Separate Output Socket
box and the
Bi-directional comms
box.
Address
from the one chosen for the Server socket. It is convenient but not essential to use the same socket type to make it obvious whether or not the addresses are different. For example, choose numbered addresses that differ by 1.
Note: The sending application can continue to listen on the RIP output socket after it has
closed its sending socket. (“Sending machines” on page 227 explained why it is advisable to
close the sending socket—the one connected to the RIP Server socket.)
8.6 Using more than one method
The RIP can use any combination of the above input types and listen on all active inputs.
When several inputs want to send data, only one job can reach the RIP at a time but the other inputs may be able to receive and buffer data for later rendering.
To accept input from several sources, create and enable the sources you want in the Input
Controller. The RIP automatically monitors all enabled sources as soon as the input system is started with the
Start Inputs
menu option.
8.7 Using the Print File command
The RIP supports both the
Print file
menu option, and drag and drop printing from the Mac-
intosh Finder. For details of drag and drop printing, see Section 8.7.1 on page 232.
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8.7 Using the Print File command
When you select
Print File
from the
File
menu, the dialog box shown in Figure 8.6 appears.
Figure 8.6 Print File dialog box
Choose an appropriate Page Setup for printing the files, from the
Page Setup
pop-up menu.
Note: If you do not choose a Page Setup, the RIP uses the one that you chose last time you printed a file. If you have not printed a file in this RIP session, the first Page Setup in the
pop-up menu is used. To change the order of this listing, see “Reordering Page Setups” on page 89.
The Print File dialog box shows all files in the current folder.
If you want to choose a file that is not in the folder shown, use the dialog box to move to the correct folder.
You can print a one or more files in a folder. To do this use the following instructions:
• To print any single file, select it in the list box and click
. To enter a folder, select it and click
Open
. (The button changes its label, depending on whether you have selected a file or a folder.)
• To move to a folder higher up in the file structure, choose the folder you wish to move to from the pop-up menu above the list box.
• To move to another drive, press the Hand icon button—the list shows the contents of the desktop, including any other drives (such as floppy disk drives or external file servers).
While any file is being processed, an additional
Print File
menu appears on the menu bar.
You can abort the current job by choosing
Kill Current Job
from this
Print File
menu or by typing Command–
•
(a period character).
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When
Kill Current Job
is selected, the current job is stopped but subsequent jobs will be processed.
By selecting
Stop Printing File
, the current file will complete but any jobs queued after the current job will not print.
Selecting
Abort Printing File
will stop the current job and also stop all subsequently queued jobs from ripping.
8.7.1 Drag and drop printing
From the Macintosh Finder, you can drag a file and drop it onto the Harlequin RIP icon to print the file. You can also drag a folder onto the Harlequin RIP icon to print all printable files in that folder.
When printing a dropped file, the RIP always uses the page setup at the top of the list in the
Page Setup Manager dialog box. You can reorder this list, so the top page setup is not necessarily the one named
Default Page Setup
.
If the RIP is not running, it starts up automatically but requires you to dismiss the copyright and trademark notices.
If the RIP is already running, it prints the file(s) as soon as possible, subject to finishing other jobs or you closing any dialog boxes that prevent the RIP from producing output: the Page
Setup Manager is an example of such a dialog box.
8.7.2 Printing several files
To print out several files at once, select more than one file from the Print File dialog box before clicking
. The following key makes this possible:
Shift
You can select as many files as you wish by selecting the first file, then selecting any other files while holding down the Shift key.
Note: The list of files to print can include files other than PostScript language, PDF files, TIFF
6.0, and TIFF/IT-P1. The RIP ignores types of files that it cannot print.
8.8 Printing PostScript language files
The RIP can print PostScript language files and Encapsulated PostScript (EPS) files using the
Print File
command or managed inputs. You can also enter PostScript language code interactively using the
File > Executive
command.
You can submit PostScript language jobs to the RIP using any of the managed input methods: AppleTalkSpool Folder, sockets, and serial input.
The Page Setup Options dialog box provides several options that tailor the way the RIP processes jobs. Some options provide compatibility with jobs using PostScript LanguageLevel 2 or LanguageLevel 1, or produced by specific applications. Other options deal with more
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general fault conditions or are convenience features. For example, some PostScript language file formats, such as EPS, do not always include a showpage operator at the end of jobs. One of these options adds showpage
to the end of a job, if necessary. See “Edit Page Setup dialog box” on page 90 for details.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in an
Encapsulated PostScript file. See the Harlequin ColorPro User’s Guide for details.
8.9 Printing PDF files
The RIP can print Portable Document Format (PDF) files that conform to the PDF 1.7 specification or earlier, or PDF/X versions listed below. The PDF Options dialog box allows you to set up strict or flexible workflows using these versions of PDF jobs.
The Harlequin PLUS Server RIP supports the following PDF/X versions:
• PDF/X-1a:2001
• PDF/X-1a:2003
• PDF/X-3:2002
• PDF/X-3:2003
• PDF/X-4
• PDF/X-4p
• PDF/X-5g
• PDF/X-5pg
These are the only versions supported; any previous support for earlier versions has been dropped.
The “PDF Options” from the page set up manager allows the user to select from a range of
PDF/X verification settings, see “PDF Types” on page 243
The aim is to reproduce with high quality all the features of PDF files that can be rendered on paper or film. You can also preview pages printed from PDF files, but the RIP does not provide a fully interactive hypertext viewer or editor: there are no search, cross-reference, or annotation facilities.
Note: PDF/X is a standard defining a subset of PDF, designed for trouble-free use where the creator sends the PDF file to an external printer or other prepress consumer.
Note: A PDF/X-3 file containing an
OutputIntents dictionary will be color managed using the ICC profile indicated by the
OutputIntents dictionary as long as the job uses a device independent color space and the
Override color management in job
option is not selected. For
more information see “PDF/X Color management” on page 235.
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8.9.1 PDF/X standards
With the growth in the use of PDF for transferring graphic arts content files between sites and between companies it is clear that the flexibility of the PDF format does not allow robust and predictable exchanges of prepress data.
To overcome this problem a family of standards has been developed to define restrictions on the content and use of PDF files to make PDF output more predictable.These standards are collectively called PDF/X, each with a suffix to differentiate the specifications defined for different sets of market needs.
The PDF/X standards defines the elements that must be included in a PDF, and those that must not.
PDF/X-1a:2001 is designed to provide the most robust and, to some extent, least flexible delivery of PDF content data. It requires that the color of all objects be expressed in CMYK or spot colors, prepared for the intended printing conditions. Elements in RGB or Lab color spaces or tagged with ICC profiles are prohibited. It also requires that all fonts used in the job be embedded in the supplied PDF file.
PDF/X-3:2002 allows slightly more flexibility in that color managed workflows are also supported—elements in Lab, and with attached ICC source profiles may also be used.
PDF/X-4:2008 supports color-managed, CMYK, gray, RGB or spot color data, as well as optional content and PDF transparency.
PDF/X-4p can be used with an externally supplied ICC Profile for the output intent.
PDF/X-5g is an extension of PDF/X-4 that allows the use of workflows similar to those used with OPI. That is, the ability to reference externally supplied files.
PDF/X-5pg is an extension of PDF/X-4p that allows the use of workflows similar to those used with OPI, together with a reference to an external supplied ICC Profile for the output intent.
Support for PDF/X-4p, PDF/X-5g, PDF/X-5pg requires the ability for the RIP to find external files (ICC color profiles for PDF/X-4p and PDF/X-5pg and reference XObjects for
PDF/X-5g and PDF/X-5pg).
Support for PDF/X-4, PDF/X-4p, PDF/X-5g and PDF/X-5pg allows a digital front end to be constructed which is compliant with PDF/VT-1, PDF/VT-2 and PDF/VT-2s.
Note to OEM: For more information on how to build a PDF/VT solution around the
Harlequin PLUS Server RIP see Technote 079.
The specifications also set out how a PDF/X file should be processed by the receiver of the file. If different approaches to overprinting, for instance, are taken at different sites then it will not be possible to predict the exact appearance of the final printed piece from a pretransmission proof.
This section describes how a Harlequin RIP should be configured in order to produce
PDF/X compliant output.
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8.9.1.1 PDF/X Color management
PDF/X files all include data describing the characterized printing conditions for which the job was prepared. That data is collectively described as the output intent. It includes an identifier that may refer to a characterization held in a registry maintained by the ICC (International Color Consortium). In many cases the output intent will also include an embedded profile to support accurate color proofing, both on screen and on hard copy.
The ColorPro™option can be used to perform in-RIP color management with the Harlequin
RIP. It can be used for many purposes, including color proofing, or for adjusting plates to enable a press to better match a characterized printing condition such as SWOP. For more information see the ColorPro™documentation.
With regard to the output of PDF/X files, the Harlequin RIP output will match the Altona test suite and the GWG test suite output when auto-detecting PDF/X files.
You can adjust the behavior of the RIP to match other mainstream applications by turning off
the auto-detection of PDF/X and adjusting the RIP overprint settings. See “PDF Types” on
page 243 and “Color managed overprints for DCS” on page 382.
8.9.1.2 Trapping
The TrapPro™options add in-RIP trapping functionality to the Harlequin RIP. If these have been enabled, trapping parameters may be defined in the user interface and automatically applied to all jobs submitted to the RIP. If a PDF or PDF/X file is labeled as having already been trapped (by setting the Trapped flag to True), the in-RIP trapping will automatically be disabled while processing that file to prevent traps being applied twice.
For more information see the TrapPro™documentation.
8.9.1.3 Workflow notes
When processing PDF/X files it is important that your whole prepress workflow provides a result that complies with the standard, including placement of partial-page submissions on a page and so on. You should also test all routes by which an incoming file may pass through your complete workflow. Tools such as the Kensington Suite and the Global Graphics
PDF/X Overprint test strip can assist in this testing. see the Global Graphics web site for more information.
8.9.2 Printing PDF version 1.4
One of the major features of this revision is the ability to mark objects as being partially transparent, so that other objects in the background are visible through them. This feature aids the creation of many special effects, including drop shadows, ghosting back of image areas behind text blocks and soft edges to silhouetted pictures.
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8.9.3 Printing PDF version 1.5
The Harlequin RIP Genesis Release
™ are: will print PDF v1.5 files. Some of the features included
• ICC profile handling.
• Support for JPEG 2000 and ability to decompress JPEG 2000 images
• 16 bit images.
• Annotation types.
New line end styles for Line annotations, fine positioning of Square and Circle annotations, new annotation types – Polygon & Polyline, Caret annotations.
• Cross reference tables.
• Layers.
Used for versioning, as “layers” in, for example, a packaging workflow. Each group of optional content may be flagged with separate settings to display on-screen in a PDF reader and to print. The provision of layers within PDF 1.5 allows the support for different languages within a single file.
8.9.4 Printing PDF version 1.6
The Harlequin RIP Genesis Release
™ included are: v7.1 will print PDF v1.6 files. Some of the features
• Encryption enhancements.
• Specification of the size of the unit in default user space.
• Support for NChannel color spaces.
• More flexible and locking of optional content groups.
Optional content is supported in the Harlequin RIP. However, optional content in nested PDF documents is not supported.
• New facilities for embedding OpenType fonts in PDF files.
The Harlequin RIP supports embedded OpenType fonts, with either TrueType or Post-
Script language glyphs.
• Grouping of markup annotations.
• The specification of objects, such as watermarks, that stay at a constant size regardless of the page size.
• The ability to accurately specify relationships between the dimensions of objects on a page and their real-world counterparts.
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• PDF files can now display three-dimensional graphical data, using the U3D format, in a PDF file.
Documents containing U3D Artwork annotations will be processed to completion by the Harlequin RIP. However, the resulting output will only display the 2D static representation that is supposed to accompany the 3D graphic. If the 2D graphic is missing, that part of the document will be blank.
Note: The Harlequin RIP does not support some types of JPEG 2000 files where a soft mask channel is included in the image. A job of this type will fail.
8.9.5 Printing PDF version 1.7
The Harlequin RIP v8.0 Release and later will print PDF v1.7 files. Some of the features included are:
• Unicode string support.
Since the publication of the PDF v1.7 specification a number of extensions have been developed to support various new features including those in Acrobat 9 and 9.1. These extensions are published as Adobe Supplement to the ISO 32000, BaseVersion: 1.7”. The Harlequin
PLUS Server RIP v8.2 and later supports ExtensionLevel: 3.
8.9.5.1 PDF Check Warning
With PDF Check Warning enabled the following message appears at the start of every PDF job using transparency:
%%[ WARNING - THIS JOB USES PDF TRANSPARENCY ]%%
This message indicates that the PDF 1.4 transparency checker procset has identified an element marked as transparency in the job. The procset then switches the RIP from “Normal” mode into “Backdrop Rendering” mode.
Normal mode means the RIP functions normally, and you should not notice any significant changes in behavior in terms of performance, memory usage and so on.
In Backdrop Rendering mode there are significant changes. Interpretation time will be broadly similar as in no?mal mode however rendering time will be increased. This is because the RIP does the compositing in the render phase and this process is computationally intensive. The compositing phase currently requires memory to be allocated and so vmerrors may occur. In terms of results, the objects are composited at full device resolution, there is no downsampling like that produced by pre-flatteners. Areas of the page which have only opaque objects are optimized to render faster and thus performance depends on how much of the page is covered by objects which are transparent.
8.9.5.2 PDF Check Abort
With the PDF Check Abort switch enabled all jobs using transparency will be aborted and the following message is displayed:
%%[ WARNING - THIS JOB USES PDF TRANSPARENCY - ABORTING JOB ]%%
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8.9.5.3 PDF Page Alert
With the PDF Page Alert switch enabled the following alert appears when interpreting every page that uses transparency.
%%[ THIS PAGE USES PDF TRANSPARENCY ]%%
Using the page-by-page check allows the RIP to switch between Normal and Backdrop Rendering mode on a page by page basis. This improves performance because backdrop rendering a page containing no transparency is much slower than normal rendering.
Note: When a PDF file references another PDF file via transparency the second PDF is now checked while determining if the page containing the reference has any transparent object on it.
Also, not all applications that provide a user interface to define “transparency” do so using
PDF structures. Macromedia FreeHand has support for transparency, but it is done in a different way. Also Acrobat Distiller
® cannot make transparent objects.
For more information see the Harlequin RIP Extensions manual.
8.9.6 AcroForms
A PDF file can contain information which is additional to the standard PDF format. When viewed using an interactive application such as Adobe Acrobat, this additional information provides interactive features making the page more like a form. These files are called Acro-
Forms.
With features such as text input fields, multiple choice option lists and clickable buttons, a
PDF file that features an AcroForm is used to provide comprehensive electronic form filling functionality.
You interact with the form via the usual mouse and keyboard actions. The AcroForm can be programmed to respond to events (such as clicking on a button) to provide various levels of automation.
8.9.6.1 Print Ready PDF AcroForm files
An AcroForm is generally created for interactive use via an interactive program like Adobe
Acrobat. However, you may want to print these files. The Harlequin RIP is, of course, not interactive and is only concerned with rendering the contents of the PDF file for printed output. This creates a number of issues about exactly which of the essentially interactive features (such as, buttons and lists) should be printed and how they should appear.
When the form is completed (that is, all the required text input fields are filled in) using
Adobe Acrobat, the PDF file is re-saved by Acrobat to save the entered information. When this is done, Acrobat creates additional content in the PDF file called Appearance Streams which render the filled-in text input fields. It also marks the PDF file’s AcroForm as being
“complete” (by setting the
NeedAppearances
key in the AcroForm dictionary to
false
).
We refer to a file that has been completed in this way as being print-ready.
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Prior to being made print ready, a PDF AcroForm may be incomplete to various degrees. For example, the form could be blank in the sense that none of the fields contain any userentered information. Alternatively, a PDF AcroForm file could have been partially completed by a database program (for example) which can provide values (content) for some or all of the text input fields but still not yet completing the file. This completeness refers to two things:
• The fields’ appearance streams may not be present in the PDF file, even though the fields may have been given values (that is, the actual text to display in the input fields).
• The AcroForm will be marked as incomplete by virtue of the
NeedAppearances
key in the AcroForm dictionary being set to
true
.
When the Harlequin RIP is given the job of printing a PDF AcroForm, it has to be sensitive to whether or not the form has been completed and is print-ready.
The Harlequin RIP uses the following rule:
• If the
NeedAppearances
key in the AcroForm dictionary (in the PDF file) is
false
(or is absent), the AcroForm will be printed such that all fields (and only those fields) with appearance streams given will be displayed. Otherwise, if
NeedAppearances
is
true
, the Harlequin RIP will reconstruct appearance streams for all the fields it finds.
What this means for the Harlequin RIP is that, unless the PDF file has been made complete and print-ready, the final appearance of the various fields of the AcroForm could be displayed slightly differently than they might appear in the viewing application (for example,
Acrobat).
8.9.6.2 PDF AcroForms and the Harlequin RIP
When a PDF AcroForm has been completed and saved and is therefore print-ready, the Harlequin RIP will print all AcroForm field types (text fields, choice list boxes, buttons, and signature fields). However, this is conditional upon the manner in which the fields have been defined in the AcroForm. For example, some button fields may have been flagged (by Acrobat) as “not to be printed”. In this case the Harlequin RIP will not print such items.
If the PDF AcroForm has not been saved as print-ready, the Harlequin RIP still supports the rendering of text input fields (both single-line and multi-line).To do this, the RIP constructs
(or reconstructs) the fields’ appearance streams according to the field values and other information contained within the AcroForm. It should be noted however that there is a degree of licence with respect to how a viewing application may format the items (such as text and buttons), and so results between different viewing applications may differ.
If the AcroForm is not print-ready, the Harlequin RIP also attempts to support other field types (such as buttons and choice lists) but their final appearance may be different to the intended result (by a greater or lesser extent). It is therefore highly recommended that all
AcroForm files to be submitted to the Harlequin RIP are saved as print-ready first.
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Note to OEMs: You are granted a certain amount of control over how the Harlequin
RIP supports AcroForms, particularly with respect to how fields are formatted and rendered when the PDF file is not print-ready. This control is provided through a number of parameters specified in a portion of a PostScript language file submitted to the RIP as part of its configuration.
The PostScript file containing the AcroForm parameters is called
HqnPageSetupConf
and resides in the
SW/procsets folder.
For more information on how to control Interactive AcroForms see
Section 14 of the Harlequin RIP PostScript Extensions manual.
8.9.6.3 Implementation of PDF 1.4 Annotations
Support for PDF Annotations, as defined in the PDF 1.4 specification, is implemented in the
Harlequin RIP. Annotations are defined in section 8.4 of the specification, however, they also refer to AcroForm fields (which merge with annotation “widgets”). AcroForms are defined in section 8.6 of the specification entitled “Interactive Forms”.
Support for AcroForms has already been implemented for PDF 1.3.
Most PDF Annotation types are supported as long as they meet the following conditions:
• their “Normal” appearance streams are present and correct in the PDF file and,
• they have their “Print” flag set.
Excluded annotations are:
• Link and Movie annotations, because they do not present a normal appearance stream in the standard way
• Popup annotations, because they only apply to interactive applications (that is, popping up a window)
• TrapNet (also known as, trap network) annotations.
Note: From Eclipse Release SP3 the RIP ignores (in non-strict mode only), PDF documents with “FreeText” type annotations which contain invalid PDF content.
8.9.7 Related documentation
The following documents may help you understand AcroForms:
• Graphic technology—Prepress digital data exchange—Use of PDF for composite data—Part 1:
Complete exchange (PDF/X-1), American National Standard CGATS.12/1-1999. This document is available from NPES; see
http://www.npes.org/
for purchasing details.
• Portable Document Format Reference Manual, Version 1.4. Adobe Inc.
• Harlequin ColorPro User’s Guide, Global Graphics Software.
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8.9 Printing PDF files
8.9.8 PDF Options dialog box
Figure 8.7 shows the dialog box that appears when you click
PDF Options
in the Edit Page
Setup dialog box. (This view shows some settings that are not at their default values.)
If you need to print PDF files with different options, for example with different passwords, you can create a number of PDF Page Setup configurations.
Figure 8.7 PDF Options dialog box
The options are in sections for page selection, PDF type acceptance and passwords.
8.9.8.1 Page selection
Print all pages
Leave this check box selected to print all the pages in the PDF document. If you wish to print only a subset of the pages from a PDF job, deselect this check box and enter the desired pages in the
Pages
field.
Reselect this check box when you have finished printing the subset of pages. This enables the printing of all pages from other PDF jobs. (You do not need to delete the entry in the
Pages
field.)
Page(s)
Enter numbers for the page or pages that you wish to print. You can enter individual page numbers or ranges, separating each number or range with a comma (
,
) character.
To enter a page range, enter the numbers of the first and last pages in the range, using a hyphen to separate them: for example,
7-16
. If you wish to print all pages from a particular page to the end of the job, enter a range starting with that particular page and ending with a number that you know to be higher than the last page in the PDF job: for example,
47-10000
.
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You can combine individual page numbers and ranges: for example,
1,2,7-16,23,24
.
Pages may be repeated, for example [ 27, 27, 27] will print three copies of page 27.
Pages may be listed out of sequence, for example [154, 27, 170].
If not all pages in the document are printed the RIP will display a warning similar to the following:
%%[Warning: Page range restricts printing to the following page(s):5, 27, 156-
163, 210, 210, 120, 196 from an availalable N pages.] where
N
is the number of pages in the document.
If the range is such that no page in the job fits the following warning is displayed:
%%[ Warning: No pages found within range]%%
When printing a PDF job, the RIP displays a message for each page that is not printed because of being unlisted in this field.
Page size bounding box
PDF version 1.3 offers several options for defining a rectangular area that is the area of interest for a PDF page. A PDF file may set values for one or more of these areas, to be used as appropriate to the different ways that the PDF file can be used: viewing, office printing, imposition, commercial printing, and so on.
The RIP looks for the values of the option chosen in this list and makes a page buffer of the size set by that option. Only
MediaBox must be present in a file, but the other areas inherit default values from
MediaBox
.
When using Simple imposition the option chosen in this list is used to calculate the position of trim marks and page furniture. Any bleed specified within Simple imposition will be filled with objects outside that trim box, and the Page buffer will normally
The options in this list are fully defined in the Portable Document Format Reference Man-
ual, Version 1.3. The default is
MediaBox
.
MediaBox
BleedBox
TrimBox
ArtBox
The size of the media, which may be larger than the page imaged upon it.
The size of the page whose edges must be reached by bleed objects, though the trimmed size of the page may be smaller. There may be printer’s marks and parts of the bleed objects outside this area.
The size of the page as intended for delivery to the reader, after trimming any printer’s marks and excess bleed areas.
The size of the rectangle to be used when placing a PDF graphic. (Typically, this is the bounding box of the graphics plus a possible allowance for captions or blank margins.)
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8.9 Printing PDF files
CropBox
Rectangle specifying the default clipping region for the page when displayed or printed. Acrobat Exchange sets this when cropping a page.
8.9.8.2 PDF Types
By default all PDF files will be accepted by the RIP, whether they conform to the PDF/X standards or not.
The RIP will recognize PDF/X-1a, PDF/X-3, PDF/X-4, PDF/X-4p, PDF/X-5g and PDF/X-
5pg files, apply the necessary additional checks to validate that they comply with the full details of the standard, and automatically change any configuration settings (such as overprinting) that do not match the requirements for rendering them correctly.
Accept type(s)
This list allows you to define how strictly the PDF file must conform to various standards and specifications for PDF jobs. You can use the
On error
list to define what the
RIP should do if the job does not meet the requested specification.
The options in this list are as follows:
Auto-detect types
This is the default option. The RIP makes the best possible attempt to print the file according to the type labeling within the job. PDF/X files will be recognized automatically. If the job claims to be PDF/X-1 but does not meet that standard, the RIP treats that as an error but may still be able to print the file.
With regard to the output of PDF/X files, the Harlequin RIP output will match the Altona test suite and the GWG test suite output when auto-detecting PDF/X files.
You can adjust the behavior of the RIP to match other mainstream applications by turning off the auto-detection of PDF/X and adjusting
the RIP overprint settings. See “Color managed overprints for DCS” on page 382.
Any PDF <= 1.7 as basic PDF
All PDF and PDF/X files will be accepted, with no special treatment of PDF/X files. With this setting the RIP will print any job with a recognized PDF version; that is, version 1.7 or less, including non-compliant jobs labeled as PDF/X-1, but not actually complying with the standard. This is the most relaxed setting. By using this option you are explicitly telling the RIP not to override any overprint settings for a
PDF/X file.
Any PDF/X-1a
Only PDF/X-1a:2001 and PDF/X-1a:2003 files will be accepted. See below for the action taken when other files are received.
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Any PDF/X-3 or 1a
Accept any supported PDF/X variant, that is; PDF/X-1a:2001,
PDF/X-1a:2003, PDF/X-3:2002, and PDF/X-3:2003.
PDF/X-4, 3 or 1a
Accept any supported PDF/X-3 and X-1a variant, that is; PDF/X-
1a:2001, PDF/X-1a:2003, PDF/X-3:2002, and PDF/X-3:2003, and only
PDF/X-4 (that is, not PDF/X-4p).
PDF/X-4p, 4, 3 or 1a
Accept any supported PDF/X-3, X-1a and X-4 variant, that is; PDF/X-
1a:2001, PDF/X-1a:2003, PDF/X-3:2002, PDF/X-3:2003, PDF/X-4 and
PDF/X-4p.
PDF/X-5g, 5gp 4p, 4, 3 or 1a
Accept any supported PDF/X-3, X-1a and X-4 variant, that is; PDF/X-
1a:2001, PDF/X-1a:2003, PDF/X-3:2002, PDF/X-3:2003, PDF/X-4 and
PDF/X-4p. In addition, PDF/X-5g and X-5gp are accepted (not
PDF/X-5n).
On error
The options in this list define the action you wish to occur if there is an error: for example, if the PDF file is an unrecognized type or if it fails to meet the condition set in the
Accept type(s)
list. The actions are as follows:
Report errors and continue
The errors reported are for the file type as explicitly set in the
Accept type(s)
field or as detected when the setting is
Auto-detect types
.
There may be problems with the printed results if the job is newer than version 1.5 or badly constructed.
Any PDF/X validation errors will be reported in the RIP’s system log, but the file will still be processed and output.
Abort job
Report errors and reject (abort) the job. If a file being processed does not conform to the file type selected, the job will be aborted, and no output will be produced.
Where a condition in the PDF file is encountered which does not conform to the appropriate
PDF/X specification, a warning message is displayed.
8.9.8.3 Non-conforming rendering
To force the RIP to apply your own configuration (for example, overprint settings), to a
PDF/X file; select
Any PDF <= 1.4 as basic PDF in the
Accept type(s)
menu. This option may also be used to print a file that claims to be PDF/X compliant, but that does not correctly conform to the standard.
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8.9 Printing PDF files
8.9.8.4 Password
Use password to print protected documents
Select this option when you wish to print a document that has been protected by a password, and enter that password in the text field. Enter one password only.
For maximum security, remove the password after use. This removal is optional if your other PDF jobs do not have password protection.
Note: The PDF specification allows for files to have Owner and User (reader) passwords. The RIP checks the password that you enter against both of these passwords, and allows printing if either password produces a match.
Passwords can be any length but only the first 32 characters are significant. If you have any way to influence the choice of password used in jobs supplied to you, suggest that it uses only ASCII characters: the letters
A-z and
A-Z
, the numerals
0-9
, and punctuation marks such as
[]{} and
;
. For example, there may be problems in entering the password if the password uses characters that are not in the English alphabet. Avoid multiple white space characters, accented characters, and characters that require a double-byte representation.
Note: The
Honor ‘PDF Color Management’
check box has been removed. The option is now called
Override color management in job
and is part of the
Input Document Controls
within the
Color Setup Manager
. See “Color Setup” on page 375 for more details.
To make fullest use of jobs containing device-independent color definitions, enable a
TrapPro option in the Configure RIP Extras dialog box.
8.9.9 Usage
The simplest way to use PDF files is using the
File > Print File
command. Select the Page
Setup that sets the correct PDF options from the
Page Setup
pop-up menu.
You can also supply PDF files to the RIP using spool folder inputs and all forms of network protocols:AppleTalk (if supported), sockets, and so on. See the summary of managed inputs
in “Input management” on page 214. If necessary, set the PDF options in the Page Setup cor-
responding to your chosen managed input.
8.9.10 Limitations and special treatment
The RIP can always print PDF files that are designed to be printed. There are some minor differences compared to the way in which the RIP handles PostScript language files. Also, the emphasis on printed output and limited interactivity means that the support of some optional content in PDF files is missing or modified, compared to the support in a dedicated
PDF viewer.
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These features are:
Embedded fonts and font substitution
The Harlequin RIP supports the use of fonts embedded in PDF files as well as fonts already available to the RIP for use with PostScript language jobs. The embedded fonts can include TrueType (Type 42) fonts,
CID (character identifier) composite fonts, and Compact Font Format
(CFF) fonts.
When fonts requested by a PDF job are missing, the RIP obeys the setting of the
Abort the job if any fonts are missing
check box in the Page
Security settings
The creator of a PDF file can limit access to a PDF file, by requiring a password of the reader or forbidding changing, copying, or printing of the content. The only function relevant to the Harlequin RIP is the ability to forbid printing. In general, the RIP does not print files where the creator has forbidden printing.
Document Information
The RIP Monitor window displays the PDF version number and general information about the document, as supplied by the author or creating application.
Most PDF Annotation types are supported but only if: their “Normal” Appearance streams are present and correct in the
PDF file; and they have their “Print” flag set.
Excluded annotations are:
Link and Movie annotations, because they do not present a normal appearance stream in the standard way.
Popup annotations because they only apply to interactive applications
(that is, popping up a window)
TrapNet (also known as, trap network) annotations.
Extensions The RIP ignores all extended content (for example, multimedia content and private data) that is labeled as such according to the PDF specification.
Note to OEMS: OEMs can configure the PDF input functionality using Harlequin extensions to the PostScript language. For example, you can specify the password for printing password-encrypted PDF files. Contact
Global Graphics for the Using Harlequin RIP Extensions manual.
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8.10 Printing XPS Documents
8.10 Printing XPS Documents
The RIP can print XML Paper Specification (XPS) files that conform to v1.0 of the XPS specification.
The following PrintTickets are supported if they are present within an XPS Document:
• DocumentPageRanges
• PageBlendColorSpace
• PageMediaSize
• PageResolution
The way that the RIP handles the
DocumentPageRanges
,
PageBlendColorSpace and
Page-
MediaSize
PrintTicket keys depends on the settings of the XPS Options dialog. By default, all PrintTicket settings are ignored, but these three keys can be honoured if you choose to do so.
The only other PrintTicket setting which might get honoured is
PageResolution
. This will only happen when the
Override resolution in job
option is not checked in the Page Setup dialog.
For further information see “XPS Options” on page 161.
8.11 Printing HD Photo images
From v8.0 the RIP supports direct ripping of v1.0 HD Photo images (previously WMPhoto).
The RIP can print HD Photo files using the
File > Print File
command, or from a spool folder.
To view *.wdp files (HD Photo images) in the file selection dialog, select All Files *.* in the
“Files of type” field and browse to the required file.
In compliance with v1.0 of the XPS specification, the RIP supports v1.0 HD Photo images and XPS Documents containing v 1.0 HD Photo images are processed correctly.
8.12 Printing JPEG and JFIF files
The RIP can print JPEG and JFIF files using the
File > Print File
command, or from a spool folder.
The simplest way to print JPEG and JFIF files is using the
File > Print File
command.
You can also supply JPEG and JFIF files to the Harlequin RIP using spool folder inputs. See
Section 8.4, “Using the Spool Folder input folder” for details.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in a JPEG file. See the Harlequin ColorPro User’s Guide for details.
8.12.1 Limitations
A JPEG file in Progressive format (a format option in Adobe Photoshop) cannot be printed by the Harlequin RIP. Progressive format is often used for web downloads.
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8.13 Printing GIF files
The Harlequin RIP can print GIF (Graphics Interchange Format) files using the
File > Print
File
command, or from a spool folder.
The easiest way to print GIF files is using the
File > Print File
command.
8.14 Printing TIFF/IT files
The Harlequin RIP supports the imaging of TIFF/IT Profile 1 files, generally referred to as
TIFF/IT-P1 files, a common method of transferring images for use in advertising.
This section summarizes the history of the file format and its uses before describing how to
enable and use imaging of these files in the RIP. The description of use starts with “Installa-
tion and requirements” on page 250. See also “Printing TIFF 6.0 files” on page 252.
8.14.1 General
The Tag Image File Format (TIFF) is a well-established and popular file format for raster images. There have been a number of published standards for the format of TIFF files, each successive standard generally being more complex than the last. This growing complexity has reflected the format increasing in flexibility and providing for private extensions to the format. The result has been that TIFF now represents a family of file formats and there are many programs that implement only the more popular parts of these formats.
The RIP supports the imaging of TIFF/IT Profile 1 files, generally referred to as TIFF/IT-P1 files, a common method of transferring images for use in advertising. The International Standards Organization (ISO) Draft International Standard 12639 describes the TIFF/IT and
TIFF/IT-P1 formats. Relevant earlier standards are ANSI IT8.8 and the Aldus TIFF 6.0 standard (now maintained by Adobe).
The TIFF/IT-P1 format is being promoted by a body called Digital Distribution of Advertising for Publications. It provides a clean interface for the proprietary color electronic prepress systems (CEPS) formats such as the Scitex CT/LW format.
TIFF files can contain many different types of data but, in general, a single TIFF/IT-P1 file contains only one kind of data from a total of six possibilities, each known by a two-letter
abbreviation as listed in Table 8.1.
The exception is the FP file, which includes layout information and the details of some combination of files, each containing CT, HC, or LW data—it is convenient to call these other files
subfiles of the FP file. The data may appear in any order within the FP file but applications must image it in a set order.
There must be at least one subfile in an FP file, but no more than one of each type. For example, an FP file cannot contain more than one CT file and it is typical for FP jobs to contain only a CT subfile and an LW subfile.
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8.14 Printing TIFF/IT files
The full list of data types with their typical uses is:
Table 8.1 TIFF/IT data type codes and usage
Data type
BL
BP
MP
FP
CT
LW
HC
Usage
Final Page (layout for CT, HC, and LW)
Contone, typically low resolution
Line Work
High resolution Contone
Binary Line work (not an FP subfile)
Binary Picture (not an FP subfile)
Monochrome Picture (not an FP subfile)
Some of these data types are partly compatible with the corresponding definitions in the
TIFF 6.0 standard.
The largest difference with TIFF 6.0 is that TIFF/IT has only one image per file. The FP file format can have up to four Image File Directories (IFDs), but only one image—the preview image for the FP layout.
The major restrictions on TIFF/IT-P1 compared to TIFF/IT are that TIFF/IT-P1:
• Uses CYMK only (when appropriate).
• Is pixel interleaved (when appropriate).
• Has a single choice of image orientation.
• Has a single choice of dot range.
The Harlequin RIP images an FP file by rendering the referenced CT, HC, and LW subfiles, in that strict order. Order is significant because the HC and LW subfile types can include transparent regions able to reveal images rendered from previous subfiles.
When the RIP renders subfiles as part of an FP job, it uses extra information in the FP file to determine the overall size of the page, and position each subfile (which can be smaller) within that page.
The RIP can also image a single CT, HC, or LW file independently of an FP file. For each of these files, the RIP locates the image origin at the PostScript language origin—relative to coordinates (0,0) at the bottom left of the page. For example, this provides a limited proofing capability but be careful to avoid printing a partial image when the subfiles are available before the FP file.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in a TIFF file. See the Harlequin ColorPro User’s Guide for details.
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8.14.2 Installation and requirements
You must enable the RIP to print TIFF/IT files, by entering a password or key number issued to you by your supplier. Note that TIFF 6.0 input is always enabled.
1. Display the Configure RIP dialog box and click
Extras
.
2. In the Configure RIP Extras dialog box, select the item
TIFF/IT in the list.
3. Click the
Add
button. In the Enable Feature dialog box that appears, enter the key number issued to you for use with TIFF/IT, and then click
OK
to return to the Configure RIP Extras dialog box, and
OK
again to return to the Configure RIP dialog box.
If you attempt to print TIFF/IT-P1 files when the
TIFF/IT option is not enabled, then depending on the input method chosen, the TIFF 6.0 input option may attempt to process the parts of the file that it recognizes as TIFF. This is unlikely to produce the desired result.
TIFF/IT files can result in very large page buffers and, potentially, cause painting to multiple partial page buffers. We recommend that you allocate 128 MB of memory to the RIP if possible, with an absolute minimum allocation of 64 MB RAM.
It is not possible to run a simple spool folder where any of the CT, HC, LW, or FP files may arrive first: the result may be partial images. The spool folder can accept TIFF/IT-P1 files but
only if the order of arrival and file naming can be controlled. See page 222 for details of con-
figuring the spool folder for a specially controlled source of TIFF/IT-P1 files. If the order of arrival or naming is unsuitable or unpredictable, using
Print File
from the
File
menu is the simplest reliable method of ensuring that the RIP images the intended file or combination of files.
Note to OEMs: It is possible that you will implement a method of referencing TIFF/IT files by generating very short PostScript language control files which are usable with the spool folder, socket input, and so on. As well as controlling imaging of the TIFF/IT files, the PostScript language file must also handle the subsequent movement or deletion of the TIFF/IT files according to the success or failure of the job. Modify this section
(such as Usage) appropriately if you provide such a method: for example, the user will not need to show all files because they will be using a
PostScript language file. See also “Using the Spool Folder input folder” on page 219.
8.14.3 Usage
To print a TIFF/IT file, first choose a Page Setup with a large enough imaging area and an appropriate resolution for the high resolution data types.
Next, choose the option
Print File
from the
File
menu. Figure 8.6, page 231, shows the dialog
box that appears. Display the contents of the folder holding the file that you want to print.
Choose the file that you want to print. Typically, this is an FP file if you are imaging a finished page but you can specify a subfile: for example, to proof it alone. There is no enforced file name convention but the two letters of the data type usually appear in the name.
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8.14 Printing TIFF/IT files
For the example of a CT file with name
file
, you may see any of:
file.ct
file.ict
file.CT
file.ICT
On Macintosh platforms, the RIP displays all files in the folder without you taking any action.
Select the file you want to print, and click
.
If you are printing an FP file, the RIP displays a progress dial while reading each of the files referenced by the FP file and the RIP Monitorwindow shows text similar to the following example:
% tiffdev: reading "H:\Suites\Tiffit\66.fp" as a
TIFF/IT-P1 FP (Final Page) standalone file
Starting Job On 24 April 1998 08:51:42
Using Color Setup "(None)"
Using default device calibration
% tiffdev: reading "H:\Suites\Tiffit\66.ct" as a
TIFF/IT-P1 CT (low-resolution contone) subfile of an FP job
% tiffdev: reading "H:\Suites\Tiffit\66.lw" as a
TIFF/IT-P1 LW (linework) subfile of an FP job
Interpretation time: 40 seconds
. . .
If you are printing a subfile (data types CT, HC, or LW), you see less text after clicking
:
% tiffdev: reading "H:\Suites\Tiffit\66.ct" as a
TIFF/IT-P1 CT (low-resolution contone) standalone file
Starting Job On 24 April 1998 08:51:42
Using Color Setup "(None)"
Using default device calibration
Interpretation time: 37 seconds
. . .
If you attempt to print TIFF/IT-P1 files when the
TIFF/IT option is not enabled, then depending on the input method chosen, the TIFF 6.0 input option may attempt to process the parts of the file that it recognizes as TIFF. This is unlikely to produce the desired result.
See also “Printing TIFF 6.0 files” on page 252. In the following example a TIFF/IT-P1 file is
processed as a TIFF 6.0 file.
% tiffdev: reading "H:\Suites\Tiffit\test.tif" as a
TIFF 6.0 baseline (with extensions) standalone file
Starting Job On 24 April 1998 08:51:42
Using Color Setup "(None)"
Using default device calibration
% tiffdev: TIFF6: compression is None
% tiffdev: bits per sample = 1
% tiffdev: samples per pixel (planes) = 1 (bilevel or grayscale)
Interpretation time: 0 seconds
. . .
However, if the TIFF 6.0 input option does not recognize any part of the file as TIFF, you will see the message:
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open: the TIFF 6.0 or TIFF/IT file is either corrupt, unsupported, of an unrecognised type or the appropriate file type is not enabled in Configure RIP / Extras
The RIP displays the same message if you attempt to image TIFF/IT data types that it does not support or to image files that do not conform to the TIFF/IT-P1 profile.
8.15 Printing TIFF 6.0 files
The RIP accepts TIFF 6.0 baseline files, with the exceptions and extensions listed under
“Limitations and extensions” on page 253.
This support extends to all TIFF files produced by the Harlequin RIP TIFF output plugin.
Note: From v 5.5r1 the Harlequin RIP can handle
RGB Composite (Band) or
CMYK Composite (Band)
Style
but only with the tiffexec operator.
tiffdev still does not support these styles.
Note: The Eclipse Release and later RIPs support Palette color (Index color) TIFF files.
8.15.1 Procedures
TIFF 6.0 input is always enabled, but operates only with Spool Folder input and the
Print File
command. (It is also possible to use TIFF 6.0 input from PostScript language instructions.)
Copy the TIFF file to the correct folder for Spool Folder input, or select it in the dialog box shown when you choose
Print File
. If you use
Print File
, type the file name or make sure that the RIP is displaying all files in the list of files. TIFF files often have the file name extension
.TIF
but this is not required.
This extract from the text displayed in the RIP Monitorwindow shows the messages produced when successfully processing a TIFF 6.0 file.
Setup loaded: "tiff"
Ripping file %H%/Suites/PEOPLE/68.tif as TIFF.
% tiffdev: reading "H:\Suites\PEOPLE\68.tif" as a
TIFF 6.0 baseline (with extensions) standalone file
Starting Job On Thursday, January 29, 1998 08:48:48
Using Color Setup "(None)"
Using default device calibration
% tiffdev: TIFF6: compression is None
% tiffdev: bits per sample = 8
% tiffdev: samples per pixel (planes) = 4 (CMYK)
Interpretation time: 32 seconds
. . .
The remaining text (not shown here) is related to rendering and output, not to the input.
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8.16 Printing page buffer files
8.15.2 Limitations and extensions
The Harlequin RIP accepts TIFF 6.0 baseline files, with the following differences.
Not supported:
• Multiple IFDs (images) per file (the RIP images only the first).
• PhotometricInterpretation = 4 (transparency mask).
• PlanarConfiguration = 2 ( tiffdev
). This option is offered by the Harlequin RIP TIFF output plugin, as composite RGB or CMYK output with band-interleaving in the Harlequin RIP version 5.0 and later.
Note: From Harlequin RIP version 5.5r1 the tiffexec operator supports PlanarConfiguration = 2.
Note: From Harlequin RIP Eclipse Release SP4, 16-bit images are supported.
Note: From Harlequin RIP Genesis Release v7.1 CIELab colorspace files with a given or default whitepoint (D50) are supported.
Ignored:
• GrayResponseCurve.
• GrayResponseUnit.
Restrictions:
• 1, 2, 4, 8, or 16 bits per plane.
Additionally, the RIP supports the following full TIFF 6.0 extensions to TIFF 6.0 baseline:
• CCITT T.4 compression (group 3 2-D) (1 bit per pixel or bpp).
• CCITT T.6 compression (group 4) (1 bpp).
• LZW compression, including Differencing Predictor.
• CMYK (including DotRange != 0, 255).
• JPEG compression.
Note: If you are attempting to RIP images which you have prepared using Photoshop and saved using ZIP or JPEG compression, the RIP may generate a rangecheck error.
This occurs because ZIP compression is not a recognized TIFF compression format, and as such is not documented in the TIFF 6.0 specification. The JPEG compression that Photoshop uses is a new version of JPEG data in TIFF files which is also not part of the TIFF 6.0 specification.
8.16 Printing page buffer files
The RIP can print page buffer files produced by another similar installation of the RIP. This is a convenient way of setting up a simple workflow able to transfer pages from one RIP installation to another.
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One example of how this ability can be useful is where you have several RIPs with a single, fast, final output device, and perhaps various slower proofing printers. It is easy for a single
RIP working alone to keep a slow proofing printer supplied with jobs. On the other hand, it may require many of the Harlequin RIPs interpreting jobs and producing page buffers to keep your fast output device busy. One solution is have the interpreting RIPs all pass their final output page buffers to a single machine running a RIP, whose only function is to accept page buffers and pass them to the fast output device as quickly as possible.
Note: The separate FlatOut User Guide describes this situation and other, more complex, possibilities in greater detail.
The method described here is designed for the rerouting of complete and valid page buffers, using
Print File
or spool folder inputs.
8.16.1 Requirements and preparation
There are some requirements on the installations involved and you must prepare the receiving and supplying Harlequin RIP installations before use.
The requirements are:
• The RIP installation printing (receiving) the page buffers must have the same installed version of the same output plugin as used to produce the page buffers.
• This sending and receiving RIP installations must be running in
Multiple or
Multiple (Parallel) modes.
• The sending RIP installations must be version 4.5 or later.
• All the RIP installations must be running on the same platform: for example,
Mac OS X.
• It must be acceptable to have the original page buffers destroyed after output.
The preparation of the receiving RIP installation is to enable use of the
PGB hot folder page feature and create a Page Setup. Optionally, you can use the Page Setup with a spool folder input.
1. Enable the page feature, by copying the
PGB hot folder file from the
SW/Page Features/Examples folder to the
SW/Page Features folder.
Note to OEMs: You can enable this functionality in other ways. Either add the Post-
Script language code in the page feature file to the file
SW/Sys/HqnOEM or copy the entire page feature file into the folder
SW/Sys/ExtraStart
.
2. Create an appropriate Page Setup and choose the
PGB hot folder entry in the
Enable
Feature
pop-up menu in the Edit Page Setup dialog box.
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3. Optionally, if you wish to use a spool folder as input, create a new spool folder input and, in the Input Channel Edit dialog box, choose the Page Setup that you created in
step 2. Configure and name the spool folder, as described in “Configuring a Spool
Folder input source” on page 221, then make sure that it is enabled and that the inputs
are started.
The preparation of the supplying RIP installation is simpler. Create Page Setups that use the output device plugin with resolution and other settings that match those you have chosen in the receiving installation. You do not need to select the
PGB hot folder page feature.
8.16.2 Printing procedure
Depending on how you prepared the system, there are two possible methods. You can use both methods together.
• Supply page buffer files to a spool folder if you have set up one as part of the prepara-
tion described in “Requirements and preparation” on page 254.
Note to OEMs: It is recommended that you do not use a spool folder input monitoring the folder managed by the Output Controller/Monitor of the supplying RIP. More robust methods include creating a daemon process to transfer page buffers after creation or use of page buffer redirection where the supplying RIP creates selected page buffers in another folder. Page buffer redirection requires RIP version 5.0 or later. The method used for Page buffer redirection has changed since v5.0. For more information see the Using Harlequin RIP Extensions: Guide for
OEMs.
• Choose
File > Print File
, navigate to the relevant folder, select the wanted files and click
. (Page buffer files have the extension
.PGB
so be sure that you are displaying all files in the folder.)
Warning: For both methods, the receiving RIP effectively deletes the supplied page buffer file, at the same time as it creates a new page buffer in its own
PageBuffer folder and makes it visible in the Output Controller / Monitor. Even if you use a spool folder input and leave
Delete on completion
unselected, the completed files copied into the Complete Folder are no longer valid page buffers.
When printing a page buffer file, the RIP displays a message in the RIP Monitor, similar to this example, where text in italic varies according to the file and plugin:
Introducing new pagebuffer: %C%/my_folder/00000003.PGB
Pagebuffer created for device: my_device
Page name: 2. fontlist (K)
Total time: 1 seconds
Job Completed: 00000003.PGB
The receiving installation of the RIP does not check whether each page buffer was created for an output plugin that the receiving installation has installed. Any page buffers created by a
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plugin that is not installed either fail to appear in the Output Controller/Monitor, or trigger the error: could not access a resource for a plugin device driver
8.17 Entering PostScript language code by hand
If you would like to type code directly into the RIP and see the results interpreted, you can use the Executive, which allows you to type PostScript language code, and have it interpreted immediately by the RIP.
If the input system is running, you must stop it using the
File > Start Inputs
menu option.
When you choose
File > Executive
, the RIP asks you to select a Page Setup for use with the
Executive.
Note: If you do not choose a Page Setup, the RIP uses the one that you chose last time you used the Executive. If you have not used the Executive in this RIP session, the first Page
Setup in the pop-up menu is used. To change the order of this listing, see “Reordering Page
The RIP then displays a window where you can enter PostScript language code by typing or cutting and pasting. Any PostScript language code that generates output when executed produces page buffers exactly like other jobs processed using the same Page Setup. It is wise to hold these page buffers for inspection in the Output Controller, where you can view or manipulate the page buffers, before sending any suitable pages for output. The Output Controller is available in either of the multiple page buffer modes.
Note: If you intend to keep page buffers produced from the Executive for any significant time, set a job name that helps you identify the page buffers.
To generate an interrupt, choose
Interrupt
from the
Executive
menu.
To quit the Executive window, type quit or Command-W at the prompt, or choose
Stop
Executive
from the
Executive
menu.
Whenever you quit the Executive, the RIP Monitorwindow displays the following, harmless message:
Job Not Completed: jobname
Remember to restart inputs if you stopped them before using the Executive.
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9
Media Management
This chapter describes how the RIP provides ways of monitoring and managing the use of media in a range of output devices. It also describes how you can configure these ways to suit your operation.
9.1 Why manage your media?
In a typical printing environment, you might have access to a number of different imagesetters, each of which takes one of several feed cassettes, or drum recorders, each of which holds a roll of continuous media. You may use several feed cassettes on one imagesetter, or share one between several imagesetters. You may even do both.
Figure 9.1 on page 258 shows a possible printing environment. This environment can pro-
duce several operational needs.
Suppose that you want to produce output from the RIP on a particular output device, using one of the cassettes available to you. Which cassette should you use? You do not want to use one that is low on media, in case it runs out before the job is printed.
At the same time, you want to make the most economical use of media. If a cassette contains just the right amount of the correct media for a job, it makes sense to use it instead of another one, so that media is not wasted.
The output (take-up) cassette is also worth monitoring. You may want to process all of a job together and need to know how much more media the output cassette can accept. Equally, if the output goes to an online processor, you may need to know that there is enough film output for the processor to handle satisfactorily.
In addition, there may be times when you want to cut the media in a particular cassette, or feed extra media. If you are working at your computer, and the output device is not located nearby, doing this by hand might be inconvenient.
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Online processor
Take-up bin
Multiple feed cassettes for film and paper
Imagesetters Take-up cassette
Figure 9.1 Using multiple output devices and cassettes
9.1.1 Overview of the Harlequin RIP capabilities
The Harlequin RIP media management can meet all these needs, subject to operating with suitable output devices and getting a minimal amount of information from the operator.
These requirements are explained in later parts of this section.
The RIP can manage up to sixteen feed cassettes at once, using as many suitable output devices as are connected.
For each cassette (or roll-fed device) it can: monitor the media remaining, display the amount of media for the particular cassette in use, and issue automatic warnings when this amount is low.
The RIP can also instruct the output device to perform cut and feed operations, both automatically (at pre-specified intervals and events) and interactively, on request (when you choose menu options). The physical device itself must support software control of these functions.
You can still perform manual operations while using the RIP media management. The purpose of media management is to reduce the need for routine manual operation and record keeping.
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9.1.2 Suitable devices
You will gain some benefit from using media management with most types of output device.
Media management performs most efficiently when the following assumptions are satisfied:
• The physical output devices are roll fed from cassettes. The RIP media management is not suited to, or necessary for, sheet-fed devices.
• When you change a feed cassette, you also mount an empty output cassette—by changing or emptying the full one.
• There is only one feed cassette mounted at a time. This is the usual case.
There is at least one imagesetter which can have several input cassettes mounted at one time.
• Each physical device is represented by one Harlequin RIP output device. This is the usual case.
The possibility of having multiple output devices arises because there are some physical devices which can provide multiple types of output. One example provides a dual technology (dye sublimation and thermal transfer) engine in one unit. These technologies have different characteristics and require separate strategies regarding calibration and color separation—providing each technology with its own output device type is a likely solution.
9.1.3 What you need to do
Media management reduces and simplifies your routine work but you need to perform a small amount of setting up for each cassette or media source before starting to use media management. This setting up includes:
• Specifying when automatic cuts or feeds and warnings should occur.
You do this in the Media Manager dialog box.
• Naming cassettes and specifying their initial contents.
You do this in the Cassette Manager dialog box.
After this setting up, all you have to do is tell the RIP when you change something that affects its records of media use:
• Which cassette is in use.
You do this in the Edit Page Setup dialog box, using the
Cassette
menu.
• How much media you have put in a cassette when you refill it, and when you perform a manual operation that affects the amount of media.
You do this in the Cassette Manager dialog box.
Note: Any management system that monitors the amount of media remaining relies upon knowing the amount that was available when the system was set up, since there is usually no automatic means of detecting this. It is therefore essential that you inform the RIP how much media is available to each cassette whenever it changes (for instance, when you refill one).
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You must also ensure that the cassette being used to process a job is the same one the RIP thinks is being used. You can check this by seeing which cassette is chosen in the selected
Page Setup.
Note to OEMS: Alternatively, the RIP is capable of accepting media management information directly from the relevant output plugin. OEMs can contact Global Graphics to find out more about writing plugins that can handle this information.
9.2 Advancing and cutting media interactively
You can use the interactive options described in this section immediately, without performing any preparation.
This can be useful when you are starting to use a new system. Once you have established the effects of the options and decided which of these you want to use regularly, you can set up
on the output device) remain useful for unusual jobs or special tests.
9.2.1 Device menu
Each interactive option is a Harlequin RIP menu command which affects the selected device and the cassette mounted in that device.
The commands are in a menu which appears between the
Edit
menu and the
Color
menu.
The menu changes its name to indicate the currently selected output device.
Note: For simplicity, this manual refers to this menu as the
Device
menu. The commands available in this menu can vary to suit the currently selected output device.
The first option in the
Device
menu is
Select Device
. Choose this option to see the Select Output Device dialog box, where you can see a list of available output devices. Select a device and click
Select
.
The possible names in the Select Output Device dialog box—and thus of the
Device
menu— are exactly the same as the ones you can choose from the
Output device
list in the Edit Page
Setup dialog box. For example, the name might be UltreP or ExxtraSetter if the RIP is driving only one imagesetter, or only one of each type of imagesetter. If you are driving two imagesetters of the same type, there might be names such as Ultre_1 and Ultre_2: you can choose a name for each device when you set it up in the Device Manager.
9.2.2 Using the Device menu
For most output devices, the
Device
menu contains commands to advance (feed) the media and to cut it.
On some output device types, there may be extra commands or some of the default commands may be grayed out. (Any output device that you choose from the Device Manager
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can have its own version of the
Device
menu: in technical terms, the menu is specified in the relevant output plugin at the time of software manufacture.)
For example, if a device takes a long time to load film, there could be a pre-load command allowing you to load film during the processing of a page to avoid delay once the page is ready to image.
• To advance the media in the current device, choose one of the
Advance
menu options, when available.
There are usually three options to advance the media, allowing you to feed 1, 3, or 6 inches of media through the imagesetter. (The relevant output plugin can be written to offer any number of similar options, specifying other lengths or units.)
• To cut the media in the current device, choose one of the
Cut
menu options. There are commands to cut with or without feeding media.
If you choose
Cut media with feed
, or type Command-K, the RIP will feed a predetermined length of media through the imagesetter, and then cut. You can specify the
amount of media to feed through, in the Media Manager. See “Automatic use” on page
261, for details of how to set this length.
If you choose
Cut media no feed
, or type Command-L, the RIP will cut the film without feeding any extra media.
Note: Some output devices, for instance the PelBox, always perform a feed before a cut.
The RIP cannot override this feed, but it can keep a record of how much media is fed. If you use such a device, read its manual to find out this feed length, and enter the value in the box labeled
Built in cut length
in the Media Manager dialog box. See “Hardware feeds” on page 270.
9.3 Advancing and cutting media automatically
The automatic options described in this section reduce the number of times you need to use the RIP menu commands or front panel buttons on the physical output device. You must do some setting up to make sure that the automatic options do what you want.
9.3.1 Automatic use
The RIP can advance the media in a cassette or drum recorder automatically. With many imagesetters, the RIP can also cut media, although this depends on the particular device you are using.
Figure 9.1 shows two possible schemes for advancing and cutting media automatically. The
RIP supports these schemes and many others.
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Flow of exposed media
P2 P1 P3 P2 P1 P4 P3 P2 P1
Job 3 Job 2 Job 1
Advance and cut only between jobs
P2 P1 P3 P2 P1 P4 P3 P2 P1
Advance every page and cut between every 4 pages
Figure 9.2 Some options for handling output media automatically
Using the Media Manager, you can make the RIP perform media cuts and feeds automatically, choosing when and how much media to feed through and when to cut.
You can also disable or re-enable all media management facilities as often as you wish. (Harlequin RIP output plugins designed for sheet-fed devices disable media management on those devices automatically.) You will probably want to disable media management when you share feed cassettes between different devices—this will prevent the RIP issuing meaningless warnings about low media levels.
Display the Media Manager dialog box by choosing
Media Manager
from the
Output
menu.
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Figure 9.3 shows the RIP Media Manager dialog box. This dialog box allows you to config-
ure and control media.
Figure 9.3 Media Manager dialog box
The RIP displays the name of the current device at the top of the dialog box, in the
Device
pop-up menu. All selections that you make in this dialog box apply to the displayed device
(and to all cassettes that you use on this device). These selections are not confirmed until you click
OK
.
You can select another device using the
Device
list, then set up different options for managing media in the new device.
Click
OK
to confirm your media management choices for the device(s) that you have edited.
Click
Cancel
to abandon all changes made to media management (on any device) in the current use of the Media Manager.
9.3.2 Enabling and disabling media management
In the Media Manager dialog box, there is a check box labeled
Disable media management
.
• Select this box to turn off the automatic media management facilities for the output device. If you turn off media management, there will be no current cassette selected in
the Cassette Manager (See “Setting up the monitoring system” on page 266).
• Leave the box clear to enable media management.
Note: After enabling or re-enabling media management, you must verify the contents of
9.3.3 Cutting media
With media management enabled, you can choose when the RIP will make automatic cuts.
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Note: Any cut operation disables output, unless the output device is using an online processor (developer). Typically, you will need to fit a new take-up cassette before re-enabling the
RIP outputs: the RIP displays a message to remind you of this.
You can choose from three different policies, available on the left of the Media Manager, in the section labeled
Cut
. The three choices are:
• Cut the media after each job.
• Cut the media after a certain number of pages.
• Cut the media when (or slightly before) a certain length of it has been exposed.
To use any of these options, select the check box labeled appropriately and, if there is a text box alongside the label, type a suitable value in that box.
If you choose a combination of conditions for a cut, the RIP will cut whenever any one of those conditions becomes true, and will then reset all counts of length or pages.
To cut the media:
After every job printed select the check box labeled
after job
. The RIP will automatically cut the media after every job output on the current device.
After a number of pages select the check box labeled
after pages
and enter the number—which must be a whole number—in the adjacent text box. The RIP will automatically cut the media after that number of pages has been printed.
At a certain length select the
before length
check box and specify a length in the box. This length is the maximum that will be exposed. For example, you might choose a length that is convenient to process.
You can select the units you wish to use for length from the
Select units
pop-up menu in the bottom left of the Media Manager. The options available are feet, inches, meters, and centimeters.
Note: The RIP never cuts the media while part of the way through printing a page. Where a cut at the exact length would fall within a page, the RIP performs the cut before outputting the page. This occurs even if, for example, you specify a length of 12 inches and a page is 18 inches long.
9.3.4 Feeding media
The options on the right of the Media Manager let you specify when the RIP will feed media automatically. There are three feed policies under
Paper feed
:
• Feed the media around each page.
• Feed the media between jobs.
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• Feed the media before every cut.
See below for a fuller description of these policies and some of the possible reasons for wanting extra media feeds in each of the specified situations. (The remaining entries in this section of the dialog box describe characteristics of the output device.)
To use any of these options, type the feed length that you want in the text box alongside the appropriate label. Type 0 (zero) into the text box if you do not want an automatic feed.
You can choose which units to use for the lengths from the
Select units
pop-up menu above the
OK
button—the available units are feet, inches, meters, centimeters, picas, and points.
Some reasons, and the details, for each feed policy are as follows:
Around each page
Feed through some media around every page that is produced, perhaps so that you can perform cuts by hand more easily. Half of this amount will be fed before the page and half after it.
Between jobs Feed through some media after every job that has been processed, perhaps to make it easier to see where one job ends and the next starts.
Note: This feed after a job will not occur if there is a cut after the last page of the job, caused by either of the
cut after pages
or
cut after job
settings.
Before cut Feed through some media before making any cut, perhaps to stop film near a cut being exposed to external light.
The RIP feeds the amount of media you specify here before perform-
ing any of the automatic cuts described on page 263, or a cut that you
have requested by choosing
Cut media with feed
from the
Device
menu.
See also “Hardware feeds” on page 270.
9.3.5 Interaction with other Harlequin RIP options
The description just given of automatic cutting and feeding is accurate but there is also a degree of interaction with the RIP options to use media as economically as possible. These options either reorient pages or pack them together so that, for example, more than one page is imaged side by side in the length of media that would otherwise be used by one page.
The results are that the page length can vary or that the RIP treats several pages as one unit
(and that this unit is treated as a page by the media management software). This may be unexpected but it should not cause any problems.
The relevant options occur in the
Optimization
and
Enable Feature
pop-up menus of the Edit
Page Setup dialog box. See “Advanced Media Saving” on page 127 and “Features” on page
149 for a fuller description of these options.
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9.4 Monitoring media
When you start monitoring media, you must tell the RIP how much media is in each cassette.
Thereafter, the RIP maintains a record of how much media remains, and will warn you when any cassette is running low.
9.4.1 Setting up the monitoring system
The RIP monitors the feed cassette providing the media, rather than the output device used.
This is because any one output device may take several different feed cassettes. For instance, you may have an imagesetter that can produce output on either film or paper, and you may keep two cassettes—one loaded with film and one loaded with paper.
Note: If you have an output device that uses a roll feed, you can monitor its use of media by treating it as a device with a permanently mounted cassette.
Before processing any jobs, you need to tell the RIP about the cassettes you are using and give details of the media currently in each cassette. You do this from the Cassette Manager dialog box. Click the
Cassette Manager
button in the Edit Page Setup dialog box or choose
Output > Cassette Manager
to open the Cassette Manager dialog box, as shown in Figure 9.4.
9.4.2 Cassette Manager and Edit Cassette dialog box
The main window of the Cassette Manager lists each available cassette, so that you can see and compare the information relating to different cassettes.
A new installation of the Harlequin RIP lists one cassette in the Cassette Manager. You can add more cassettes at any time, and subsequently edit their information or delete their entries using the
Edit
,
New
,
Copy
, and
Delete
buttons.
There is a related Edit Cassette dialog box in which you can alter the information for a particular cassette.
Figure 9.4 Cassette Manager dialog box
The information in the Cassette Manager also appears in the Edit Cassette dialog box: each category is listed below.
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There are two buttons which appear in the Cassette Manager only. Use these buttons to tell the RIP when you have performed a manual operation. (On some output devices, a manual operation may be the only option or it may be quicker than an operation driven by the RIP.)
Manual Cut Done
Click this button when you have cut the media in the current device.
Manual Feed Done
Click this button when you have performed a manual feed of media in the current device.
Before using one of these buttons, you must set up the amount of media used in the corresponding manual operation. These quantities are labeled
Manual feed length
and
Manual cut length
in the Media Manager. See “Hardware feeds” on page 270.
To set up or change the details for a cassette, select the relevant cassette in the Cassette Manager window and click the
Edit
button. Figure 9.5 shows the Edit Cassette dialog box that
appears, containing the details for the selected cassette.
Figure 9.5 Edit Cassette dialog box
The RIP displays the following values in both the Edit Cassette dialog box and the Cassette
Manager. You can only change these values from within the Edit Cassette dialog box.
The RIP displays the information about a cassette in columns in the Cassette Manager and in corresponding text boxes in the Edit Cassette dialog box.
Cassette name
An identifying name. This name will be displayed on the
Cassette
pop-up menu in the Edit Page Setup dialog box. The name is purely for your own convenience—you can change it to any name you like.
Choose a name that allows you to identify the cassette and that suits your situation and your procedures. You might find it helpful to attach a label with this name (and the type of media) to the actual cassette.
For example, if you use two cassettes only on an Ultre imagesetter and only for specific types of media then you might name these cassettes:
UltreFilm1 and UltrePaper2. An alternative solution in the same situation might be Ultre1 and Ultre2, with a separate record of the type of media. If you use the same cassette to hold paper and use it for proofs on different output devices then you might call it PaperProof.
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Media type
Media width
Imageable width
Note: The symbol
>
in front of the cassette name indicates the cassette in use on the current or most recently used output device.
The type of media held in the selected cassette. It lets you tell quickly whether, for instance, the cassette holds paper or film. The field
Cassette Name
is purely for your own convenience—you can change it to anything you like.
The entry
No Media means that no one has yet specified a type of media for the cassette.
The width of the media in the selected cassette or drum recorder. The
RIP uses this value when calculating in which orientation to print a page if you are using the
Media Saving option in the
Optimization
menu. (See “Printing effects” on page 137.)
You must set this value to the actual width of media that can be printed on (the imageable width) because some output devices cannot image right up to the edge of the media. If you enter the total width of the media and the output device has a smaller imageable width then some large pages are likely to extend into the non-imageable area and those output pages will be clipped or visually corrupted when the RIP attempts to output them. The illustration to the left shows an example of clipping where a page (the rectangle) is wider than the imageable width (arrowed): only the area shown shaded is imaged successfully.
Remaining length
The amount of media left inside the cassette. The RIP updates this value whenever it advances or prints media. (The RIP also tests the updated value against your choice of threshold values so that it can warn you when the media is running low.)
You must type in the length that you have loaded whenever you refill a cassette with media.
Number
A unique number that the RIP uses to keep track of the cassette. You can edit this number only when creating an entry for a new cassette— the RIP suggests an unused number, but you can use any other unused number.
Units
The units used in the measurement fields in this dialog box. Use this pop-up menu to choose any convenient unit. The RIP converts any figures already displayed to the units you choose.)
Note: The unit of measurement that you choose here is also used to display media usage in
the Media Monitor window: see “Monitoring media” on page 266).
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9.4.2.1 Closing the dialog boxes
You must close the Cassette Manager before you can use any tool bar buttons or menu options in the Harlequin RIP.
Click
OK
to confirm all the changes you have made in this use of the Edit Cassette dialog box. This confirmation is provisional: you must also click
OK
in the Cassette Manager to finally save your changes. The
OK
button saves the changes you have made and closes the
Cassette Manager. If you opened the Cassette Manager from the Edit Page Setup dialog box, you can also save the changes by clicking the
Select
button. In addition to saving the changes, the
Select
button displays the selected cassette in the Edit Page Setup dialog box.
Click
Cancel
to discard all changes.
Note: If you open the Cassette Manager from the Edit Page Setup dialog box, changes that you make in the Cassette Manager are independent of the Edit Page Setup dialog box. For example, if you create a cassette, and close the Edit Cassette and Cassette Manager dialog boxes with
OK
or
Select
, the new style will remain even if you cancel the Edit Page Setup dialog box.
9.4.3 Using media management
When using media management, you must select both the feed cassette to be used and the
associated with the input source providing the job.
When you perform a manual operation on the output device, use the
Manual Cut Done
or
Manual Feed Done
buttons in the Cassette Manager dialog box.
When you refill a cassette, you must use the Edit Cassette dialog box to inform the RIP how much media is now in the cassette.
9.4.4 Using media management with multiple setups
Sometimes you will need to process a job on a device that had previously used one cassette and now must use another. This is quite likely to happen when using a number of different
Page Setups.
When a change of cassette is required, the RIP will warn you that the correct cassette is not in the current device, and will halt printing until you have loaded it. This ensures that you will never waste time or media by printing jobs on the wrong cassette.
If you are running the RIP in a Multiple mode, the warning will appear in the progress box of the Output Controller. If you are running in a Single mode, it will appear in a separate progress box on the screen.
Note: The RIP cannot tell which cassette is loaded on the output device, so it will issue a warning even if you have changed to the correct cassette after the previous job was produced.
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Always inform the RIP when you physically change cassettes, by selecting a Page Setup that uses the new cassette.
9.4.5 Low media warnings
The RIP can warn you when the amount of media in the current feed cassette is low and before the media actually runs out. You can specify thresholds for up to three warnings using the Media Manager.
In the section labeled
Length warnings
, type values into the
First
,
Second
, and
Final
text boxes.
The RIP sorts the three values so that the length for the first warning is greater than for the second, which itself is made greater than the final threshold. All three warnings appear in the Output Controller: they are Media low, Media very low, and MEDIA VERY LOW.
Choose the units used for these lengths from the
Select units
pop-up menu immediately below the
Length warnings
text boxes—the options available are feet, inches, meters, or centimeters.
Note: Once you have refilled a cassette, you must update its details in the Cassette Manager if you want media management to continue to work correctly.
9.4.6 Hardware feeds
Some imagesetters automatically feed the media a certain amount before printing any page or before performing a cut; and they also may have front panel buttons that trigger these or similar actions. The RIP cannot override these hardware feeds but it can record them and calculate their effects on the amount of media left in any input cassette.
If you have an imagesetter that issues hardware feeds, and you use media management, you must tell the RIP how much media is fed through when a hardware feed is performed, so that it can take this into account.
This involves two stages: set up and routine use.
Perform the set up by selecting the output device in the
Device
pop-up menu in the
Media Manager. The relevant options are on the right of the Media
Manager:
Built in feed length
Type into this text box the amount of media that the output device feeds when it receives a software feed request.
The Media Manager will add this amount to its record of the amount of media consumed for every job processed, and deduct it from the details of the relevant cassette. This is used in addition to the
around each page
feed value.
Built in cut length
Type into this text box the amount of media that the output device feeds before a cut triggered by software.
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Whenever a cut is issued, the RIP will subtract this amount from its record of the remaining length of media for the current cassette. This is used in addition to the
before cut
feed value.
Manual feed length
Type into this text box the amount of media that the output device feeds when a front panel button triggers a media feed.
The RIP adds this amount to its record of the amount of media consumed, and deducts it from the details of the relevant feed cassette.
Manual cut length
Type into this text box the amount of media that the current output device feeds before a cut triggered by a front panel button.
Whenever you inform the RIP that you have performed a cut, the RIP subtracts this amount from its record of the remaining length of media in the current cassette.
For these options, you can choose units from the
Select units
pop-up menu at the bottom of the dialog box. The units available are feet, inches, meters, centimeters, picas, or points.
Note: The feed lengths for built-in and manual operation may be the same. If they are the same, enter the same value in the two fields.
In routine use, there are two cases:
• The RIP takes account of the values you set up when calculating the effects of any automatic operations and ones that you request from the
Device
menu. You do not need to do anything extra.
• If you perform a manual operation by using controls on the output device, you must inform the RIP. Display the Cassette Manager and click the button
Manual Cut Done
or
Manual Feed Done
whenever you perform the corresponding manual operation. See
Figure 9.4, page 266, and the following description of the buttons.
9.4.7 Online developers or processors
If you are using an online developer with a particular output device, you must inform the
RIP so that it can handle that device correctly.
There is an obvious benefit to using an online developer because media that emerges from the output device is fed directly to the developer, which produces the image automatically.
However, online developers need to be fed a certain amount of media before they can develop any images—for example, a particular online developer may require a minimum of two feet of media. If the RIP or an operator performs a cut before the required amount of media has been exposed, then any images on the exposed media will not be developed automatically, and there may be a media jam in the developer. It is easy to avoid this problem.
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To set up the RIP to drive an output device with an online developer, first make that device current and display the Media Manager. Make these two settings:
Using online developer
Select this box to show that you are using an online developer.
Minimum length before cut
Enter in this text box the minimum length of media that the online developer requires for processing.
You can choose the units for this length from the
Select units
pop-up menu immediately below. The units available are feet, inches, meters, centimeters, picas, and points.
In routine use, you do not need to do anything extra. The RIP will make an automatic cut only if there is sufficient exposed media to enable the online developer to work effectively. If you need to force a cut, select
Cut with feed
from the
Device
menu. This command feeds enough media to pad the output to the
Minimum length before cut
value, and then performs a cut.
When using an online developer, the RIP does not issue warnings to change take-up cassettes, and does not disable output after a cut.
9.4.8 Monitoring your media
When you are using media management, the RIP can display information about media usage on your computer screen and keep the information up to date as jobs are output.
Choose
Media Monitor
from the
Output
menu to display the information.
The information appears in the Media Monitor, shown in Figure 9.6. By default, when in
Multiple (Parallel) mode, the RIP displays both the Output Controller and the Media Monitor.
Figure 9.6 Media Monitor window
The media information is presented in the following fields:
Name
Type
The name of the feed cassette.
A series of asterisks ( *** ) in this field shows that the current output device has media management disabled.
The type of media in the feed cassette.
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Pages
Length
Exposed
Units
9.4 Monitoring media
A series of asterisks ( *** ) in this field has the same meaning as in the
Name
field. The entry
No Film
,
No Media
, or a blank entry, means that no one has defined the type of media, not that the cassette is empty.
The number of pages exposed since the last cut was performed.
The amount of media left in the current feed cassette.
This length is shown in the unit of measurement that you can choose in the
Units
field in this dialog box.
The amount of media that has been exposed since a cut was last performed. This is also the amount in the take-up cassette.
The units of measurement for figures in the
Length
and
Exposed
fields.
Choose any convenient unit from those listed.
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10
Simple Imposition
This chapter describes Simple Imposition, the in-RIP imposition option provided with the
Harlequin RIP Genesis Release
™ onwards.
10.1 What is Simple imposition?
Harlequin RIP Simple imposition provides facilities to impose incoming pages using some of the most common imposition layout schemes used for smaller format presses. This is achieved by the selection of various options within an Imposition setup dialog. You are able to create and save as many imposition configurations as you wish. In addition to this, once an imposition configuration is created, you can apply that configuration to any Page Setup by selecting it from a menu in the Edit Page Setup dialog. When you have created an imposition setup you can use that setup as the basis for further imposition setups.
10.2 Input file formats
The Harlequin RIP can accept various file formats. Table 10.1 shows which input file formats
are compatible with, and can be used with, which imposition schemes:
Input file format Imposition schemes
PDF, TIFF, JPEG, EPS All schemes
PostScript Language files One-Up, single-sided
N-Up, single-sided
Table 10.1 File format compatibility
Note: Simple imposition is not compatible with jobs submitted through JDF.
Of all the schemes, only
One-up, single-sided and
N-up, single-sided may be used when processing PostScript language files. PDF files may be submitted to any scheme, and single page formats such as TIFF, EPS and JPEG may be submitted to any scheme, but only really make sense for use with
One-up, single-sided and
Step and repeat, singlesided schemes, because all others are intended to be applied to multiple pages.
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Note: PDF files with mixed orientation and pages sizes cannot be processed with Simple
Imposition. If an attempt is made to process files of this type the following error will occur.
%%[ Error: while running imposition Response procedure ]%%
%%[ Error: rangecheck; OffendingCommand: HqnLayout; Info: Simple imposition requires that all pages are the same size and orientation; File: ]%%
Note: Some EPS files containing errors will continue to output if the
Add Showpage at end of job if necessary
and
Crop marks
page feature options are turned on. If either of these options are turned off then an error will occur on input.
10.3 How to activate Simple imposition
To make use of the standard Simple imposition setups you do not need a password. However, if you would like to create new and copy and edit existing setups, you must enter a valid password in the
Configure RIP > Extras
dialog. For more information on how to activate
a password protected option see “Extras” on page 207.
10.4 The Imposition Manager
The Imposition Manager allows you to select, create, edit, copy and delete imposition schemes. To display the Imposition Manager, click the Imposition Manager icon from the toolbar or the Page Setup dialog, or select
Output > Imposition Manager.
Figure 10.1 The Imposition Manager dialog box
Note: The Imposition Manager dialog contains listings when it first appears. The setups within brackets are those supplied as standard. These setups are derived from Page features used in pre v7.0 Release RIPs, and have names that reflect their intended use. These options cannot be copied and changed or new setups created unless you have activated Simple
Imposition with a password. Imposition schemes are selected from the Page Setup dialog.
Please note that the imposition setups provided as standard cannot be edited. You may however, use the
Copy
option to create a duplicate setup which you can then change to suit your requirements.
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The following options are available from the Imposition Manager dialog box:
Units
Before creating any imposition setups you should choose your preferred units. All imposition setups use the same units, and any existing imposition setups will convert any values to the currently selected units.
Edit
New
Select an existing imposition setup and click
Edit
to change the imposition settings. When you have finished editing the setup, click
OK
to save your changes. Please note that the supplied imposition schemes cannot be edited, they can however be copied to a new name and then edited.
Click
New
to create a new imposition setup. In the Imposition setup dialog choose your imposition options and then click
Save as
. Enter a unique name for your setup followed by selecting
Save
.
Copy
Delete
Select
This option allows you to copy an existing setup or use an existing setup as the base for a new setup. Select an existing imposition setup and click
Copy
. In the Imposition Setup dialog make any changes to the setup and then click
Save as
. Enter a new name followed by clicking
Save
.
Select an existing setup and click
Delete
to remove it from the Imposition Manager. If a Page Setup is using an imposition setup that is selected for deletion, it will not be removed, and a message will appear stating this. To remove an imposition setup the setup must not be used by any Page Setup.
If you have accessed the Imposition Manager from the Edit Page
Setup dialog you can highlight one of the existing Imposition setups, and click
Select
. This will apply the selected imposition to the current
Page Setup configuration.
10.5 Configuring Simple imposition
This section describes how to use Simple imposition. Before choosing your imposition scheme you should consider:
• The binding method. The common options are:
• Perfect binding as used for most books. The pages are collated then cut and glued together with a spine.
• Saddle-Stitching as used for newspapers and magazines. The pages are stapled together along the center-fold. (The front page is printed next to the back page.)
• Cut and stack. The printed pages are trimmed to the correct size, collated and then bound.
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• The size of the printing surface (raster).
• Whether the reverse side of the surface can be printed, and how the page is turned on the printing device.
• How the job is folded or cut.
• Simple imposition acts on the
Page Setup > PDF Options > Page size bounding box option
, see “PDF Options dialog box” on page 241 for more information. Therefore,
before configuring your Simple imposition scheme you should consider how the incoming PDF is constructed in terms of its trim box, bleed box and so on. For example, you can configure the Page Setup to use
TrimBox
, and then configure Simple imposition to add bleed from outside the trim. Setting the correct Page size bounding box is essential to the successful imposition of PDF files. The recommendation when using Simple imposition is to set the
Page size bounding box
option to
TrimBox because the size of the page is as it is intended for delivery to the reader, after trimming any printer’s marks and excess bleed areas. With this selection you can add your trim marks and page furniture using the Simple imposition options.
The New/Edit Imposition setup dialog is used to configure the imposition setups. You can access this dialog through the Imposition Manager.
Figure 10.2 Simple imposition setup dialog
Note: The imposition setup graphic shown above is displayed as it first appears.
The following sections describe the various options within the imposition setup dialog.
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10.5.1 Schemes
Choosing the correct scheme is important as its selection determines which of the other options in the imposition setup dialog are available. The following imposition schemes are available:
Scheme Name Description
One-up, single-sided
One-up, two-sided
N-up, single-sided
Single-sided, one page per surface.
Two-sided, one page per surface.
Each surface of this single-sided layout contains a grid of pages, all at the same orientation. This can be used for laser printer N-up printing, and for media saving. The number of pages in the grid can be set manually, or can be calculated automatically for best fit.
In conventional print, it can also be used for two-sided printing using either Work & Turn or Work & Tumble
(depending on plate orientation in the press) for two-up surfaces that will be cut to produce single-surface, unbound jobs.
N-up, two-sided
Step and repeat, single-sided
Step and repeat, two-sided
Each surface of this double-sided layout contains a grid of pages. It is intended mainly for laser printing, and for the media saving of unbound jobs in conventional printing.
Note that neither of the N-up schemes provide support for generalized conventional imposition; they all take pages in reader order from the supplied content file, rather than taking pages out-of order as is required for perfect binding, etc.
Single-sided, multiple copies of the same page are imposed in a grid.
Two-sided, multiple copies of the same page are imposed in a grid. This differs from the single-sided variant principally in allowing different surface margins, slug lines, and so on, or the front and back of the surface.
Two-up, saddle-stitched
Step and repeat, saddle-stitched Step and repeat of Saddle-stitched page pairs. This option places one or more identical copies of each booklet side-by-side on the surfaces. The surfaces are cut before gathering, then folded and trimmed to produce booklets. The binding side is defined by the setting of the
Binding edge parameter.
Cut and stack, single-sided
Two-up Saddle-stitched production. Surfaces are gathered after printing, then folded and trimmed to produce booklets. The binding side is defined by the setting of
Binding edge parameter.
Single-sided, multi-up imposition for jobs that will be bound with wire, comb binders and so on, and therefore will be trimmed to single pages. Once printed and stacked, each set of surfaces will be cut, and stacked on top of the other to give a full set of pages in order.
Cut and stack, two-sided As Cut and stack, single-sided, but for two-sided work.
For an example see “Cut and stack, two-sided— 12 page booklet, A4, ring bound”on page 295.
Table 10.2 Simple imposition schemes
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Scheme Name Description
Four-up, saddle-stitched Saddle-stitched, four-up printing which is folded once before gathering and stitching. The Binding edge, Spine fold and Geometry options define the layout on the surface.
Four-up, perfect binding Four-up printing for perfect binding. The Binding edge,
Spine fold and Geometry options define the layout on the surface.
Table 10.2 Simple imposition schemes
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10.5.2 Previously supplied schemes
Some of the schemes present in the Genesis Release v7.0 were changed for v7.1. If you migrate the imposition setups from v7.0 to v7.1 they will work correctly. The following table shows the relationship between the deprecated Genesis Release v7.0 schemes and the schemes present in the Genesis v7.1 Release:
Old
Scheme
New
Scheme
Binding-
Edge
Spine-
Fold
HorGutter
Vert-
Gutter
Pages-
Up
Pages-
Across
SaddleStitch_
Left_1
SaddleStitch_
Right_1
SaddleStitch_
TopA_1
SaddleStitch_
TopB_1
SaddleStitch_2 Left
SaddleStitch_2 Right
SaddleStitch_2 TopA
SaddleStitch_2 TopB
Auto
Auto
Auto
Auto
SaddleStitch_
TopC_1
SaddleStitch_2 TopC
SaddleStitch_2x
_Left_1
SaddleStitch_
S&R_1
Left
Auto
Auto
Right Auto SaddleStitch_2x
_Right_1
SaddleStitch_
S&R_1
SaddleStitch_2x
_TopA_1
SaddleStitch_
S&R_1
TopA Auto
SaddleStitch_2x
_TopB_1
SaddleStitch_
S&R_1
TopB Auto
GutterB GutterA 0
GutterB GutterA 0
GutterB GutterA 0
GutterB GutterA 0
GutterB GutterA 0
GutterA GutterB 1
GutterA GutterB 1
GutterA GutterB 1
GutterA GutterB 1
0
0
0
0
0
2
2
2
2
SaddleStitch_2x
_TopC_1
SaddleStitch_
S&R_1
TopC Auto GutterA GutterB 1 2
Table 10.1 Migration of deprecated Simple Imposition schemes
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10.5.2.1 Changes from 7.1 to 7.2
Note: Migrate will set
PageRotate to
Rot0 for all bound schemes.
Warning: A bound work setup with page rotation set to anything but
0
(zero) migrated to 7.2
will change the output. All PDF files should have their orientation set correctly.
10.5.3 Surface
The
Surface
options define the size of the raster to be created, that is, the maximum size, outside of which nothing will be printed. The following options are available:
Size
The size options are:
From media
: (the default option) where the size of the output is taken from the size of the media loaded. This of course depends on the
device and type of media. See the Table 10.3 below for more details.
From job
: where the size of the output is taken from the size of the incoming job (plus any margins).
Custom
: where the size of the output is defined in the
Width
and
Height
fields.
Note: All imposition schemes are constructed on the assumption that the image width > height. If the image height > width, the whole layout is rotated. Thus, if the sheet is rotated, the layout design is calculated as if it had been rotated, which is then applied to the media at 90 degrees to what you might otherwise have expected. For one-up layouts the only effect is that the page is rotated by 90 degrees in such cases. This may not be visible if
BestFit is selected for the page rotation
.
Device Width Height
Capstan (including roll-fed proofers)
Drum
Partial drum
When there is a media selection on the Page Setup Layout dialog, the width is taken from that, otherwise it is taken from the cassette width.
As Sheet (below)
Width is taken from the job.
For N-Up and Step & Repeat with automatic page counts, only one column will ever be produced.
Height is taken from the job.
For N-Up and Step & Repeat with automatic page counts, only one row will ever be produced.
As Sheet (below)
The height is taken from the cassette width.
Sheet When there is a media selection on the Page Layout dialog, the width is taken from that, otherwise it is taken from the default Page size option on the
Page Layout dialog.
When there is a media selection on the Page Layout dialog, the height is taken from that, otherwise it is taken from the default Page size option on the
Page Layout dialog.
Table 10.3 Width and height definition when using
From Media option
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Device Width Height
Unlimited devices including TIFF
Width is taken from the default
Page size option on the Page
Layout dialog.
Height is taken from the default Page size option on the
Page Layout dialog.
Table 10.3 Width and height definition when using
From Media option
Flip on
This option is only available with two-sided imposition schemes, and allows the surface to be flipped on either its
Long edge or
Short edge
.
When used for conventional printing, select the option that matches how the paper lifts are turned for the second side to be printed, or how each sheet is turned automatically in a perfecting press. When used for driving a digital printer, select the option that matches the duplex capability of the printer for the paper size to be used.
The selection of
Long edge is where the first surface is printed, and the media is then flipped from top to bottom. The top and bottom are switched, and the right and left edges remain in the same position for both surfaces.
The selection of
Short edge is where the first surface is printed, and the media is then turned from side to side. The right and left edges are switched, and the top and bottom remain in the same position for both surfaces.
Simple Imposition can get the page size from the Media, the Custom layout or from the Job. All Simple Imposition schemes are constructed on the assumption that the image width > height (landscape). If the image height > width (portrait), the whole layout is rotated and the top of the page is effectively at the right-hand side.
In normal circumstances when making plates the page size would be set as Custom or to come from the media.If however the page size is set to come from the job, a portrait page is configured such that the top of the page is actually at the top. This causes the
Flip on long edge
and
Flip on short edge
options to behave in the opposite way to how you would expect.
Flip on long edge short edge
causes the page to flip top/bottom (in effect on the short edge), and
Flip on
causes the page to flip Left/Right (in effect on the long edge).
10.5.3.1 Work & Turn, Work & Tumble, and Perfecting
Work & Turn, Work & Tumble, and Perfecting are common imposition schemes.
A Work & Turn imposition scheme uses a single plate to print on both sides of the paper.
When the first side of the sheet is printed, the paper is then flipped over from side-to-side and fed through the press again using the same gripper edge. The top and bottom remains in the same position for both sides, that is the top of the first side remains as the is the top for the second side.
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A Work & Tumble imposition scheme again uses a single plate to print on both sides of the paper using opposite grippers. When the first side of the sheet is printed the leading edge is gripped. The paper is then “tumbled”, that is, the top of the first side becomes the bottom of the second side and the trailing edge of the paper is gripped. The left and right edges of the sheet remain in the same position for both sides.
Perfecting is when you can print on both sides of the sheet in one pass through the machine.
These imposition schemes can be achieved using Simple imposition. It does however depend on which edge of the sheet is fed into your printer.
If your press is fed with the short edge first and you have
Long edge configured as the
Flip on
setting, you are in effect, using a Work & Turn scheme.
If your press is fed with the short edge first and you have
Short edge configured as the
Flip on
setting, you are in effect, using a Work & Tumble scheme. This method can be utilized for a Perfecting press configuration.
If your press is fed with the long edge first and you have
Short edge configured as the
Flip on
setting, you are in effect, using a Work & Turn scheme.
If your press is fed with the long edge first and you have
Long edge configured as the
Flip on
setting, you are in effect, using a Work & Tumble layout. This method can be utilized for a
Perfecting press configuration.
10.5.4 Pages
These options define the settings that affect individual pages within a layout. The following options are available:
Layout of pages
N-up, Step and repeat, and Cut and stack page schemes can use an
Automatic or
Custom layout of pages. When
Automatic is selected the number of pages on a surface is calculated automatically.
You can specify the number of pages on each surface using the
Custom option. You define the number of page columns by entering a value in the
Across
field. You define the number of page rows by entering a value in the
Up
field.
To define the order in which pages fill the layout use the Page fill
order option, see “Front and back options” on page 289 for more infor-
mation.
Rotate
The rotate options define whether pages within a layout can be rotated. The
Best Fit option will rotate pages as needed (for Nup,
StepRepeat, Cut & Stack only) so that they fit the layout.
Note:
Best Fit will be treated as
0 if
Width = 1
.
This option defines how individual pages are rotated within the page grid. The
0 to
270 options rotate the individual pages by the elected amount.
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Page flip
Bleed
0
90 as in the supplied job.
is rotated 90 degrees.
180
270 is rotated 180 degrees.
is rotated 270 degrees.
By selecting
Landscape all pages will be rotated by 0 degrees unless the pages are supplied as portrait in which case the pages will be rotated by 90 degrees.
By selecting
Portrait all pages will be rotated by 0 degrees unless the pages are supplied as landscape in which case the pages will be rotated by 90 degrees.
The whole grid (and its accompanying annotations) can be rotated using the
Rotate
options from the Page Setup dialog.
Note that PageRotate is ignored for bound-work schemes, and the final page rotation is defined by the spine direction, binding edge and geometry.
How the front and back of each page within the sheet are turned relative to each other.
If
Left/Right the final trimmed page should be flipped left to right to move from the front to the back.
If
Top/Bottom the final trimmed page should be flipped top to bottom to move from the front to the back.
Schemes: OneUp_2s_1, NUp_2s_1, StepRepeat_2s_1, CutStack_2s_1.
The value in this field is added to the overall page size.
The value entered here will not affect page positioning in any way, but if there is any graphical content on the page that extends off the page, this much of it will be printed.
If the bleed value extends more than halfway across a gutter, the content is trimmed at the gutter centre.
If pages don’tfit
If the group of pages do not fit within the surface size, you have the following options:
Abort job will abort the job and issue a warning message.
Crop will crop one or more edges of the raster. The Page Grid posi-
tioning options (see “Page Grid positioning” on page 290 for more
information), decide the alignment of the page grid within the available space, and therefore the edges that are cropped.
The various
Trim options crop one or more edges of the raster. The edges to be trimmed are manually selected.
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Page padding
The
Scale to fit option will scale the pages and all associated gutters and crop marks. This option is intended for use when proofing and digital printing and would not generally be used when imaging plates.
Tile allows the same page grid to be imaged over several rasters, each with different offsets so that the rasters may used together to create the entire image.
Note: The
Tile option cannot be used with PostScript language files.
Also, the use of the
Tile option with the
Layout of pages
option set with
Up
and
Across
equal to zero, with multiple page, Step and repeat and Cut and stack schemes will only ever produce one tile unless a single page will not fit in the image size available.
This option decides what to do if the number of pages in the job do not divide exactly by the number of pages required to fill a sheet. The options are:
Abort job if pages don’t fill surfaces which will cause a warning to be issued and no output will be produced.
Add blank pages after last page last page and
Add blank pages before which will add blank pages as specified.
Add blank pages before cover which will add blank pages before the next to last page (that is, before the back cover of a two-sided job).
The affect of the
Split before end option, available for two-sided
Cut and stack schemes, depends on the number of blank pages. If one blank page, the result will be the same as
Add blank pages before the last page
. If two blank pages the result will be the same as
Add blank pages after the last page
. If three blank pages, one blank page will be added before the last page, and two after it.
The
Split before cover option is only available for two-sided Cut and stack schemes. This will be the same as
Add blank pages before the last page
, but will insert pages before the last-but-one page as necessary.
These options lead to a booklet containing an even number of pages, with the last page of the content files on the outside of the back cover, and then a number of blank sheets behind the booklet after cutting and stacking.
10.5.5 Binding
The Binding options determine how the booklet is bound and folded.
Binding edge
For saddle-stitched and perfect binding schemes these options decide the binding edge.
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Spine fold
Geometry
Work and T
Left bound is used for booklets bound on the left, the most common form for Latin text.
Right bound
, suitable for use with right-to-left scripts such as Arabic and Hebrew. This scheme is also appropriate for use with Japanese text (even though that is not written right to left).
Top bound A is designed for use in items such as calendars, which are hung open so you can see two pages at a time.
Top bound B is designed for use in items that will be hung (if a calendar) closed by the binding edge, and where page 2 is on the reverse of page 1.
Top bound C is designed for use in items that will be hung (if a calendar) by the binding edge, and where page 2 is on the front of the second surface.
For saddle-stitched and perfect binding schemes these options decide the direction of the fold that will become the spine. This is the fold with any creep applied.
Vertical is used for portrait (tall) pages.
Horizontal
, is used for landscape (wide) pages
Automatic
, select between the vertical or horizontal options based on the Page size, available space, Binding edge and Geometry.
This option is automatically set to
None for normal flatwork. so that any applied gutters work correctly.
For four-up, saddle-stitched and perfect binding schemes these options decide if the gutter (other than the Spine fold) is head-to-head or foot-to-foot. These options change the orientation of the pages on the surface.
Head to head places the tops of the page pairs together
Foot to foot
, places the foot of the page pairs together.
Left to right
, place the left and right sides of the page pairs together.
Right to left
, places the right and left sides of the page pairs together.
Automatic
, either head to head or left to right is automatically selected depending on the aspect ratios of the pages and the available raster. This option can only be used if
Automatic is selected n the
Spine fold
field.
For all two-sided schemes, these options allow you to select a Work &
Turn or Work & Tumble layout.
None, no Work & Turn or Work & Tumble.
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Gutter
Min
Left to right
/
Right to left
, are available when
Short edge is selected in the
Flip on
option and is used with Work & Turn schemes, with the paper turning either way.
Top to bottom/Bottom to Top
, are available when
Long edge is selected in the
Flip on
option and is used with Work & Tumble schemes, with the paper tumbling either way.
This is the amount of space between the two “sides” of the layout produced when
Work and t
is set to something other than
None
.
This is the minimum gutter value between the two “sides” of the layout produced when
Work and t
is set to something other than
None
, which is the most common configuration.
10.5.6 Gutters
The gutter is the space between pages on a layout. The options in this section define the size of the gutter. The following options are available:
Vertical gutter
/
Horizontal gutter
The value in these option define the optimum horizontal and vertical gutter. If there is sufficient space within the layout these values are used. If there is not enough space, the gutter is size reduced as necessary, but to a value not less than the value specified in the
Minimum
field.
Note: The vertical gutter runs vertically, from top to bottom.
Creep
Creep occurs on saddle-stitched and perfecting bindings where the inside pages extend beyond the image area of the outside pages. This option compensates for this effect, and specifies the amount to be removed from the gutter (often called shingling).
Creep Style
The following Creep Styles are available:
Push out: means that the inner-most surface uses the set gutter value, and every outside surface has a larger gutter increased by the
Creep value, each page is pushed the amount of creep away from the centre line.
Pull in: means that the outside surface has the set gutter value, and each inside surface has a gutter size decreasing by the Creep value, each page is pulled in by the amount of creep towards the centre line, until the minimum gutter size is reached, at which point the gutter will stay at the minimum size for all remaining surfaces.
Center line: means that the middle surface in the stack has the set gutter value, those inside it will have smaller gutters and those outside it will have larger gutters.
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10.5 Configuring Simple imposition
10.5.7 Front and back options
These options define the way in which the layouts are filled with pages, and allow the specification of various page furniture items such as annotations, registration marks and crop marks. For two sided schemes you have the option to define the front pages, and then, by leaving the
Use front options for back
option selected, you can use those same values for the back pages. Alternatively, you can de-select the
Use front options for back
option and define the back pages separately.
If you wish, you may change the current units used by imposition. Changing this option will convert all existing values in this and any other imposition setups.
On selection of either
Front options
or
Back options
the following dialog will appear:
Note: The
left
,
right
,
top
and
bottom
are all relative to the design orientation of the imposition scheme, which assume that the image width is greater that the image height. If this is not the case, or if the surface has been rotated using the Page Setup Rotate option, the orientation is likely to be affected.
Figure 10.3 Front and Back imposition options
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Page fill order
The page fill order options define how pages will fill the layout, and are all described such that the first half of the name describes the “fast scan” axis and direction, and the second half describes the “slow scan” axis and direction. Please note that the example graphic shows how a 2 x 2 layout would be numbered.
10.5.7.1 Page Grid positioning
The
top
,
bottom
,
left
and
right
options define the size of the borders into which control strips and/or slug lines will be placed. The margins must therefore be large enough to accommodate the selected items. Do not confuse the Spacing for marks with the margins specified in the Page Layout dialog which may be used to position the raster produced by the RIP on the printing plate or output media.
Note: From Harlequin Genesis Release v7.1 crop marks and bleed will extend into the margins defined in simple imposition, and will be clipped if insufficient margin is defined. Margins will also not automatically increase if too large a set of annotations is defined on any edge.
Position page grid horizontally
The page grid is horizontally positioned within the area of the raster after Left and Right are accounted for according to this value. Note that the graphic on the user interface indicates the currently selected position.
The options are
Left
,
Center
,
Right
.
Position page grid vertically
The page grid is vertically positioned within the area of the raster after
Top and Bottom are accounted for according to this value. Note that the graphic on the user interface indicates the currently selected position.
The options are
Top
,
Center
,
Bottom
.
If annotations and crop marks do not fit in margins
From v7.1 crop marks and bleed extend into the margins defined within simple imposition. By default, the margins will not grow automatically if too large a set of annotations is defined on any edge; they will be clipped. This can be changed using this option. The available options are:
Clip annotations and crops
: which is the default value.
Enlarge margins
: enlarges the margins to accommodate the annotations.
Abort job
: abort the job if the annotations do not fit.
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10.5 Configuring Simple imposition
10.5.7.2 Marks
These options allow you to define which marks you want placed onto your imposition layout.
Crop Marks
You can make a selection from the various crop marks provided. Crop marks are drawn around every page on the layout.
None:
Small: no crop marks are used.
small trim marks are placed on the layout.
Full: large trim marks, separation names, step wedges and color bars are placed on the layout.
PDF page boxes: trim marks are placed to show the locations of all
PDF pages boxes. For file formats other than PDF this option is the same as
Small
.
Registration Marks
Select the required option to place registration marks on the selected surface:
None: no registration marks are placed on the layout.
Desired: registration marks are placed on the layout if space is available. If space is not available a warning is generated.
Required: registration marks are placed on the layout. If space for those marks is not available the job is aborted.
Fold and/or cut marks
Select this option to place fold or cut marks in all the appropriate gutters on the layout.
Page border
Select this option to draw a page border around every page on the selected surface.
10.5.7.3 Annotations
The Annotations section of the imposition dialog allows you to add slug line text, color bars and proofing strips. You can, using this option, add just about anything extra you wish to your imposition layout.
If required custom annotation files can be used. This is done by using the
Install Annotation page feature which, when activated via the Page Setup dialog, allows you to print an
EPS file (EPS only), to install that file as a new annotation.
Annotation selections draw the following marks:
PlateBar_ISO12647-2_1, PlateBar_SWOP_1
Both draw a more or less standard press color bar, with 25, 50, 75% tints and solids of all the separations rendered, together with trapping
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patches, slug patches, registration test patches and neutrals. These do not include any slug text. The difference between the two is in the neutral patches; one follows the recommendations from the ISO
12647-2 standard, the other from SWOP.
PlateBar_small_1
This draws a secondary press color bar, with smaller patches in order to avoid wasting space; the patches in this bar are not designed to be large enough for measurement using densitometers. Patches include shadow and highlight ramps.
PlateText Writes a slug line, including job name, time and date of interpretation, file time and date (if available), submitter's name (if available) and details of the Page Setup selected.
ProofStrip_1, ProofStrip_2,ProofStrip_4
All draw a combination of color bar and slug text designed to be suitable for proofing. In addition to flat color tints, graduations and neutrals, some patches setting out job meta-data such as PDF/X compliance are included. The three selections differ in the number of rows of color patches included, and therefore the amount of space that they take up.
Spacer_18pt, Spacer_6pt
These do not draw any marks, but may be used to position the other annotations, for example, by moving them away from the edge of the sheet.
PlateBar_G7_1 This option prints a G7 color bar on the output and provides support for the use of Gracol’s G7 print characterization data.
To install your own custom annotation:
1. Create a Page Setup (not using Simple Imposition) and select the
Install Annotation
page feature. For more information on using page features see “Features” on page 149.
2. Print the Annotation (EPS) file using this Page Setup. A message will appear indicating that the annotation is being installed.
3. Go back to the Page Setup using Simple Imposition. You can now select and use the custom Annotation in your Simple Imposition setup. See below for information on how to add an annotation to the imposition layout.
When used as an annotation the EPS file will be repeated along the length of the selected raster edge as many times as it will fit.
Note: If the custom annotation does not fit, there will be no error message.
To add an annotation to the imposition layout:
1. Click
New
.
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Note: An annotation will appear in the list. Do not attempt to delete this. Go straight to step 2.
2. Select your required annotation file from the
Edit selected row
drop-down list. For example, select
PlateText to add slug line information.
3. Select where on the layout you want to add the annotation by choosing either,
Top
,
Bottom
,
Left or
Right from the
Edit selected row
drop-down list.
4. Click
New
to add further annotations. You can add as many annotation files as you wish, but you must ensure your layout has enough room to accommodate them.
The annotations are printed in the order in which they appear in the list, and you can change that order by dragging and dropping them. If two annotations are placed on the same edge of the layout, the first one will be on the edge of the layout, and the second will be moved inwards by the size of the first. Similarly, if an annotation has already been drawn on the left of the layout, a second annotation on the bottom edge will leave room at one end for the first annotation.
You can edit the any annotation in the list by selecting it and then choosing the required options from the
Edit selected row
drop-down menus.
You can remove any annotation file from the list by selecting and clicking the
Delete
button.
When you have completed the front and back options select
OK
to save them. Selecting
Cancel
will abort any change you have made. Similarly, when you have completed all your imposition configuration options select
OK
to save your changes.
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10.6 Example impositions
This section provides same example impositions showing how the pages for each surface are laid out along with the final results.
10.6.1 Saddle-stitched— 16 page booklet
The plates for this imposition will be laid out in the following fashion:
Front surface
16 1 14 3 12 5 10 7
15 2 13 4 11 6
Back surface
Figure 10.4 Saddle-stitched, left bound layout
This extra settings for this imposition scheme are:
Scheme
Two up, saddle stitched
Flip on
Binding edge
Long edge
Left bound
Spine fold
Vertical
The resulting saddle-stitched booklet will look like this:
9 8
15
9
13
11
7
5
3
1
Red numbers denote unsighted pages
Figure 10.5 Saddle-stitched, left bound result
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10.6 Example impositions
10.6.2 Cut and stack, two-sided— 12 page booklet, A4, ring bound
The plates for this imposition will be laid out in the following fashion:
Front
Surface
1 7 3 9 5 11
Back
Surface
2 8 4 10 6 12
Figure 10.6 Cut and stack, two-sided layout
This extra settings for this imposition scheme are:
Scheme
Cut and stack, two sided
Flip on
Long edge
.
The resulting sheets before cutting and the stack after cutting are shown below:
Sheets before cutting Pages after stacking
2
4
1
8
6
7
3
10
5
12
9
11
Blue numbers denote the reverse side
2
4
6
1
8
3
5
10
12
7
9
11
Figure 10.7 Cut and stack, two-sided sheets and stack
The final pages are suitable for hole punching and then ring or wire binding.
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10.6.3 Saddle-stitched— 8 page booklet A5 on B4
The plates for this imposition will be laid out in the following fashion.
Front surface Back surface
Figure 10.8 Saddle-stitched, x2 left bound layout
This extra settings for this imposition scheme are:
Scheme
Step and repeat, saddle stitched
Flip on
Binding edge
Short edge
Left bound
Spine fold
Horizontal
The two resulting saddle-stitched booklets will look like this:
7
1
5
3
7
1
5
3
Red numbers denote unsighted pages
Figure 10.9 Saddle-stitched, x2 left bound result
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10.6 Example impositions
10.6.4 Saddle-stitched, Top bound A, 8 page booklet
The pages for this imposition will be laid out in the following fashion:
Front surface
Back surface
Figure 10.10 Saddle-stitched, Top bound A layout
Note: Page 8 is a special case.
This extra settings for this imposition scheme are:
Scheme
Two up, saddle stitched
Flip on
Binding edge
Long edge
Top bound A
Spine fold
Vertical
The resulting saddle-stitched booklet will look like this:
1
7
4
2
3
5
5
7
Red numbers denote unsighted pages
Figure 10.11 Saddle-stitched, Top bound A result
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10.6.5 Saddle-stitched, Top bound B, 8 page booklet
The pages for this imposition will be laid out in the following fashion:
Front surface
Back surface
Figure 10.12 Saddle-stitched, Top bound B layout
This extra settings for this imposition scheme are:
Scheme
Two up, saddle stitched
Flip on
Binding edge
Long edge
Top bound B
Spine fold
Vertical
The resulting saddle-stitched booklet will look like this:
1
7
4
2
3
5
5
7
Red numbers denote unsighted pages
Figure 10.13 Saddle-stitched, Top bound B result
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10.6 Example impositions
10.6.6 Saddle-stitched, Top bound C, 12 page calendar
The pages for this imposition will be laid out in the following fashion:
Front surface Back surface
Figure 10.14 Saddle-stitched, Top bound C layout
This extra settings for this imposition scheme are:
Scheme
Two up, saddle stitched
Flip on
Binding edge
Spine fold
Short edge
Top bound C
Vertical
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The resulting saddle-stitched calendar will look like this:
1
6
10
11
12
2
5
4
5
6
3
4
Figure 10.15 Saddle-stitched, Top bound C result
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10.6 Example impositions
10.6.7 Four-up, Saddle-stitched— 16 page A4 booklet on B2/SRA2
The plates for this imposition will be laid out in the following fashion.
Front surface Back surface
Figure 10.16 Four-up, Saddle-stitched, 16 page A4 booklet
This extra settings for this imposition scheme are:
Scheme
Four-up, saddle stitched
Flip on
Geometry
Binding edge
Short edge
Head to head
Left bound
Spine fold
Horizontal
The resulting 16 page saddle-stitched booklets will look like this:
13
3
9
15
1
11
5
7
Red numbers denote unsighted pages
Figure 10.17 Saddle-stitched, 16 page A4 booklet result
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10.6.8 Four-up, Perfect-bound— 16 page A4 booklet on B2/SRA2
The plates for this imposition will be laid out in the following fashion.
Front surface Back surface
Figure 10.18 Four-up, Perfect-bound, 16 page A4 booklet
This extra settings for this imposition scheme are:
Scheme
Four-up, perfect binding
Flip on
Geometry
Binding edge
Spine fold
Short edge
Head to head
Left bound
Horizontal
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The resulting 16 page perfect-bound booklets will look like this:
10.6 Example impositions
15
9
13
11
7
1
5
3
Red numbers denote unsighted pages
Figure 10.19 Perfect-bound, 16 page A4 booklet result
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Fonts
11
Whenever the RIP processes a job that uses fonts, they must be available in memory. Fonts are loaded into the RIP from the disk automatically whenever they are required. However, the fonts must have been installed first, or they must be embedded in the job that uses them.
Installation is a once-only process where the RIP configures the font for its use and puts it in the appropriate place. This chapter discusses how fonts are installed and then used by the
Harlequin RIP.
The RIP provides a suite of facilities that let you manage fonts easily and efficiently. This suite includes commands that will:
• Install fonts in the RIP.
• Tell you which fonts are currently installed.
• Produce a proof of any font currently installed.
• Remove fonts from the RIP.
The Harlequin RIP also provides facilities for font substitution and font emulation. For more information see:
• “Font substitution” on page 314.
• “Font Emulation” on page 315.
11.1 Supplied fonts
The Harlequin RIP comes with the 35 standard fonts found in most versions of the Apple
LaserWriter and many other PostScript language capable printers. The RIP font folder also includes several special-purpose fonts:
• The Harlequin font is used only for the Harlequin RIP logo.
• The NotDefFont font is used by composite fonts.
The RIP supplies the 35 standard fonts and the special-purpose fonts installed in the fonts folder in the
SW folder.
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11.2 Types of font
There are several different types of fonts that can be installed and used with the RIP. See
“Installing fonts in the Harlequin RIP” on page 307 for details about installing fonts.
• Type 1 fonts—these are the most commonly used fonts. Type 1 fonts can contain hints that can subtly change the shape of the characters. Hinted fonts can improve the appearance of text rendered at low resolution or at small sizes on higher resolution devices: for example, hints can affect 11 point text at resolutions up to 2000 dpi.
Note: The font downloaders supplied with many Type 1 fonts actually install Type 1 fonts as Type 4 fonts.
• Type 3 fonts.
• Type 0 (composite) fonts—these are special fonts designed to support large character sets such as Japanese or Chinese. Type 0 fonts can use any base font format (Types 1, 3,
4, 32, 42) and CID fonts. Type 0 fonts can support multi-byte character encodings.
Older Type 0 fonts had multiple sub-fonts and as such used a lot of memory however, the new CID-keying method is much more memory efficient.
• Character identifier (CID) composite fonts, together with associated character map
(CMap) files are used to produce CID-keyed fonts, which exist only in the memory of the Harlequin RIP (or other RIPs).
There is not easy method of determining whether a TrueType font should be installed as a CID font or not. If installed as a CID font, the order of characters in the font is not easily predicted. Improvements to this are expected in future releases.
• Single-byte PC format TrueType fonts or OpenType fonts with TrueType outlines.
• The RIP also supports installation of native TrueType, Type 42, raw CFF (Compact
Format) and OpenType/CFF fonts. Multiple-font CFF or OpenType/CFF fonts will be installed as FontSet resources, but these will not appear in the
Proof
or
Delete Fonts
menus, or in the font
List
.
Note: The font resources created when installing CID fonts are CID-keyed fonts and are created automatically by the RIP. These font resources are created when CID fonts or CMaps are installed using the
Install Fonts
option in the Fonts menu, and are deleted when CID fonts are removed using the
Delete Fonts
option from Fonts menu. Font resources may also be created or deleted on startup, if the available CID fonts or CMaps have changed since the last bootup.
Installing a CID font over AppleTalk with a font installer will not automatically create font resources; the RIP must be quit and restarted to do this.
The created font resources may be deleted using the
Delete Fonts
option on the Fonts menu, and will not be re-created by the RIP.
Note: The RIP supports the use of a variety of other fonts, for example, when they are embedded in PostScript language, XPS or PDF jobs. The embedded fonts can include Compact Font Format, Type 42, and Type 32 fonts.
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11.3 The DLD1 format
Note: The font data cache is not configurable, but takes 0.5 MB for all fonts. So, for CID, native TrueType, CFF, and OpenType/CFF fonts, 1 MB extra RAM should be sufficient.
11.2.1 Font resource directories
The Font resource directories can be changed. The default locations are:
• Font resources are installed in
SW/fonts
.
• FontSet resources are installed in
SW/FontSet.
• CID fonts are installed in
SW/CIDFont
.
• CMap files, which are placed in the
SW/CMap folder.
Throughout this section these are the directories referred to when font resources are mentioned.
11.3 The DLD1 format
The Harlequin RIP will convert Type 1 fonts (and Type 1 fonts contained within composite fonts) into its own DLD1 font format.
The DLD1 format stores font data far more efficiently than do standard storage formats.
Access to font data, and operations upon fonts, are made much faster, while the amount of
PostScript language virtual memory consumed by the font is reduced dramatically.
The benefits of using the DLD1 format include: a DLD1 format font occupies less disk space; and this format can require under 10% of the memory space of other formats. This table shows some typical figures for the disk and memory requirements of a font in DLD1 format, and for the corresponding font in Type 1 and Type 4 formats.
Table 11.1 Disk and memory requirements for font types
Font type
DLD1
Type 1
Type 4
Disk space (KB) Memory (KB)
45
100
50
4
50
30
Note: It is difficult to give corresponding estimates for Type 3 fonts because they are inherently so flexible, but they are not particularly efficient.
11.4 Installing fonts in the Harlequin RIP
If a job requires a particular font, the font must already be installed in the RIP before the job is processed, unless the job itself contains the font definition. If the font is not found, the RIP
will instead print the text in a selected substitute base font (see “Font substitution” on page
314), or issue an error message, depending on the setting for
Abort the job if any fonts are
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missing
Depending on the font type, you can install a font into the RIP in one of two ways: by using the
Install Fonts
command or by downloading the font to the RIP.
All fonts may be embedded, and all fonts may appear in the fonts and
CIDFont resource directories. Most font formats can be installed using the
Install Fonts
command, including,
Types 1, 3, TrueType, Type 42, CID Types 0, 1, 2, 4 (same as Type 32), CFF, OpenType and
CMap resources.
The
Install Fonts
command and downloading fonts to the RIP are described in the next two sections.
See “Removing fonts” on page 312 for details about deleting the fonts you have installed.
11.4.1 Install Fonts command
When you choose
Install Fonts
from the
Fonts
menu, the RIP displays the Install Fonts dialog
Figure 11.1 Install Fonts dialog box
A list of files in the current folder is displayed in this dialog box.
To install a single font, do the following:
1. Select a font in the list.
2. Click
Install
.
To install a collection of fonts, do the following:
1. Select a font in the list.
2. Select other fonts, moving to other folders if required.
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11.4 Installing fonts in the Harlequin RIP
Shift
To select several files, hold down the Shift key while clicking to make your selection.
When you have selected all the fonts you want, click
Install
to install them in the RIP.
A successfully installed font produces the message:
Installed font ’font_name’ in TrueType format
Note: The format type will be reported in this way for single-font packages only (not Font-
Sets). The type reported will be TrueType, Type 42, Type 1, DLD1, Type 2, Type 3 and so on.
The
Install Fonts
command will install into the RIP Type 1, Type 3 and single-byte PC format
TrueType fonts or OpenType fonts with TT outlines.
OpenType/CFF is supported. Single-font
1
OTTO packages will install as a single font or
CIDFont as appropriate. Multiple-font packages will install as FontSet resources.
If you try to install a file that does not contain a font, or that contains a font of another type, the RIP displays a message in the RIP Monitor. This will not harm the RIP or the file in any way—the RIP just refuses to install it.
Using the installer, TrueType fonts only install as non-CID fonts. They therefore have to be manually moved to the
CIDFont resources directory to make them appear as CID fonts.
If a font is of Type 1, it will be converted into DLD1 format before being added. This can then be loaded into the RIP whenever necessary.
Installation is performed on a copy of the font, so your original font file remains intact.
11.4.2 Downloading fonts to the RIP
This section describes how to download fonts to the RIP.
• Multiple Master fonts
Multiple Master fonts may be downloaded over AppleTalk from a Macintosh using the downloader supplied with them.
• Composite fonts
Composite fonts vary greatly, and so the procedure for installation is likely to be different for each one: there is no industry standard for this at present. Almost all composite fonts now come with their own AppleTalk installers; however, there is still a small number that are shipped as a collection of self-installing PostScript language files. Contact your font supplier for more detailed information about using particular composite fonts with the RIP.
• TrueType fonts
No downloader is needed for TrueType fonts. Using a downloader makes them less efficient if converted to Type 42 format. TrueType fonts should be installed using the
Install Fonts
command.
1.
OpenType fonts containing CFF data use the tag “OTTO”
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• CID fonts
If your CID font is supplied with a downloader, install the font and any relevant
CMap file over AppleTalk using the supplied downloader. If no downloader is supplied, use the
Install Fonts
command. At present, however, CID fonts have to be manually moved to the CIDFont resources directory to make them appear as CID fonts.
All installed fonts are placed in the fonts resources directory, except for CID fonts and
CMap files, which are placed in the
CIDFont and
CMap resources directories respectively.
Leaf fonts and composite fonts are sub fonts of Type 0 fonts and are installed elsewhere.
11.5 Pre-loading fonts
The Harlequin RIP always pre-loads the 35 standard fonts, since one or more are likely to be used by most jobs. If you frequently use a particular set of other fonts, you can ask the RIP to load them automatically upon start-up.
The RIP will take slightly longer to start-up, but once loaded, the fonts will be in memory when jobs require them. This saves time when processing jobs, since the RIP does not have to stop interpreting to wait for a font to be loaded. The time savings can be considerable—if a job requires a composite font, the RIP could be waiting for a few seconds to load it. By having it pre-loaded, you will save this time with every job that uses it.
Note: You can use this method to pre-load composite fonts, so long as they have been
installed according to the instructions in “Downloading fonts to the RIP” on page 309.
To pre-load a font, add a new line to the Harlequin RIP initialization file,
HqnOEM
, and restart the RIP. This initialization file is in the
Sys folder in the
SW folder.
You must add one line of PostScript language code for every font you want to load. For example, the following lines load ZapfChancery-MediumItalic and ZapfDingbats into the
RIP:
/ZapfChancery-MediumItalic HQNloadfont
/ZapfDingbats HQNloadfont
The RIP may take slightly longer to start up, but any jobs using these fonts will run considerably faster. Pre-loading a composite font takes longer than pre-loading other types of font, but saves more time for each job using it.
11.6 Producing a list of installed fonts
Sometimes you will need to know whether a particular font is currently installed in the RIP.
You can produce a list of all the currently installed fonts by choosing
Fonts > List Fonts
.
Note: The
List Fonts
option does not show FontSet resources.
This list will appear in two places:
• The RIP Monitorwindow—this lets you see immediately whether or not fonts are installed.
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11.7 Proofing fonts
• The file
LOGFILE in the
SW folder—this provides a more permanent record of which fonts were installed at a particular time.
The date and time accompanies every list.
11.7 Proofing fonts
Sometimes you may want to produce a formatted listing of all the characters in a particular font—known as a proof. This would normally entail writing a special PostScript language job to produce the listing, but the RIP allows you to produce a proof of any installed font automatically.
Note: The RIP can proof CID fonts only in long format. Also, the RIP will not use a substitute font in short format. If you do not choose long format, the RIP reports:
CID fonts cannot be proofed - try Proof fonts in long format.
Palatino-Italic
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQR
1234567890-=!@#$%^&*()_
Figure 11.2 An example of font proofing
You can proof fonts, either on a printer or on your screen, by choosing
Proof Fonts
from the
Fonts
font.
menu. The RIP produces the proof using your choice of Page Setup and fits as many
fonts as possible on a page. Figure 11.2 shows an example of a short-format proof for one
When you choose
Proof Fonts
, the RIP displays a dialog box that lists all of the fonts cur-
rently installed, as shown in Figure 11.3.
Figure 11.3 Proof Highlighted Fonts dialog box
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First, choose an appropriate Page Setup for proofing the fonts, from the
Page Setup
pop-up menu.
Note: If you forget to choose a Page Setup, the RIP uses the one that you chose last time you proofed fonts. If you have not proofed fonts in this RIP session, the first Page Setup in the
listing is used. To change the order of this listing, see “Reordering Page Setups” on page 89.
Select the fonts you want to proof, and click
Proof
. You can select as many fonts as you like.
To select all the fonts listed, type Command-A.
Shift
To select a block of several fonts, select the first font in the block, and then hold down the
Shift key and select the last font in the block.
To select several unconnected fonts, hold down the Command key while clicking to make your selection.
The RIP constructs a PostScript language job and then runs it, as if you had used
Print File
to print an existing file. If other jobs are pending, the proof takes its place in the queue.
By default, proofs only show a sample of the full character set in a font. If you want a proof of the complete set of characters, select the
Proof fonts in long format
check box.
Note: CID fonts can be proofed, but only in long format. FontSet resources cannot yet be proofed.
11.8 Removing fonts
You can remove most font types using the
Delete Fonts
command. The two exceptions to this are composite and CID fonts.
• Composite fonts
We recommend that you remove a composite (Type 0) font using the font downloader supplied with it. This will ensure that the leaf fonts are removed. In many cases this is also the only way to recover a font license if the license restricts you to a fixed number of installs.
• CID fonts
CID fonts which you have installed using the
Fonts
menu
Install Fonts
option should be deleted using the
Fonts
menu
Delete Fonts
option.
Note: If there is a CID font and, for example, a Type 1 font with the same name, the name is listed twice. If you delete such a font, the RIP deletes the Type 1 font first; and then the CID font, if you choose to delete again.
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11.9 Composite fonts (Type 0)
When you choose the
Delete Fonts
command from the
Fonts
menu, the RIP displays a dialog
box, as shown in Figure 11.4, where you can select the fonts to remove. As with the Install
Fonts and Proof Fonts dialog boxes, you can select as many fonts as you want.
When you click
Delete
, the RIP removes the fonts you have selected immediately.
Warning: If you remove a font, and then need to process a job that uses it, you will first have to reinstall it. There is no confirmation dialog box. Before clicking
Delete
be sure that you have the original file from which you can reinstall the font.
Figure 11.4 Delete Fonts dialog box
11.9 Composite fonts (Type 0)
The RIP provides full support for composite fonts. Because of their size, composite fonts are treated specially. You cannot install all of them using the
Install Fonts
option, for example, and there are certain considerations you must make if they are to be used efficiently. See
“Downloading fonts to the RIP” on page 309 for information about installing composite
fonts.
Composite fonts are usually very large, and can consume much computer time and memory.
Whenever a character is encountered in a job, a RIP must find its definition in the composite font, and then convert it into a bitmap, before it is printed or previewed. If a RIP does this for every character in the job, it will be very slow.
The RIP minimizes the number of character conversions it has to do by storing the results of conversions in a RAM cache store. This means that the first time a character is seen, it is converted it into a bitmap and stored in the cache. When that character is seen next, the RIP does not need to convert it again because it can find the result immediately in the cache store.
Significant savings in processing time can be made using this method, especially when dealing with frequently used characters.
The RIP is able to cache more character data when more memory is available to it. We recommend you allow extra memory in the range 16 MB through 32 MB. You will need more memory still if you wish to cache several composite fonts. Try experimenting with memory allocation, as requirements will depend on the fonts and types of job you have.
If you are going to use a composite font regularly, you should pre-load it into the RIP. See
“Pre-loading fonts” on page 310. Pre-loading makes the RIP slower to start up, but saves a
great deal of time when processing jobs that use those fonts.
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11.10 Font substitution
Generally, it is preferable to use the exact font that was used in the design of the document.
However, there are times when this is not possible; a font may be corrupt; or the original font may not have been sent with the original file. In such cases the only solution is to substitute with a font that is very similar in design to the original specified font. The customer may ask you to do this to get the job done on time.
If substitution were not available, the RIP would do one of two things: error and refuse to produce the job or substitute a default font, depending on the setting of the
Abort job if any fonts are missing
option, see “Abort the job if any fonts are missing” on page 154. Either
result may be unacceptable.
One solution is to open up all the pages in the original application program and search and replace every occurrence of the problem font. This is not ideal as it is time consuming; you may not have the original application and if you miss one or two occurrences where the font was used, the processing time would be wasted.
Having the RIP do the substitution for you “on the fly” is the best solution because all occurrences of a font are guaranteed to be substituted.
In the RIP, the file
SW/Config/FontSubstitution is automatically run as the RIP boots. You can configure the following information in that file:
• Default font to use.
• Default CID font to use.
• Font substitution table.
• CID Font substitution table.
In all cases the
FontSubstitution file has many comments and is intended to be self-documenting.
A font substitution mechanism has been added which is similar (and in addition), to the existing font substitution mechanism (defined by entries in the
SW/Config/FontSubstitution file).
Whereas the existing substitution mechanism is unconditional, the new mechanism only attempts a substitution if the initially given font name cannot be found. However, if a conditional substitution is made, a message is displayed on the monitor indicating the substitution:
Warning: font <-name-> not found, using <-name-> instead
For example:
Warning: font Arial not found, using ArialMT instead.
You can silence this message by uncommenting the line in
SW/Config/FontSubstitution which specifies the
/SilentCondFontSub key.
For more information see the Conditional Font Substitution section in the
SW/Config/Font-
Substitution text file.
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11.11 The HqnFontSetStubs start up files
11.11 The HqnFontSetStubs start up files
The
Sys/ExtraStart/10HqnFontSetStubs and
Sys/ExtraStart/20HqnCIDFontStubs files are run by the RIP at startup and perform the following functions:
Sys/ExtraStart/10HqnFontSetStubs
Generates stub fonts for FontSet resources. The stub fonts will be installed on the
%fontset% pseudo-device.
Sys/ExtraStart/20HqnCIDFontStub
Generates the CID-keyed resources for newly-installed, and previously undetected CID fonts and CMaps.
Either of these files may be removed if the functionality is not required. The numeric prefix to their names is to force a particular running order; FontSet stubs should be created before
CID font stubs, because FontSet stub files may be CID fonts. The files in
Sys/ExtraStart are run in alpha/numeric order.
11.12 Font backup
The font backup utility allows you to easily transfer fonts from your existing RIP to a newly installed RIP.
To use font backup, select a default Page Setup and RIP the file:
SW/Utilities/BackupFonts.ps
This creates a file which effectively contains backups of font files, (and some other files) from the
SW folder.
A message appears in the monitor window informing you of the name of the PostScript language file created.
When you have installed your new RIP, you should run this PostScript language file to install those font files on your new RIP.
11.13 Font Emulation
When fonts requested by the job are unavailable to the RIP, some work flows benefit significantly from being able to produce acceptable, readable copy using another font. This is particularly true with rapid turnaround work flows typical of digital printing. To achieve this, emulated fonts are used to produce suitable facsimile text based on the characteristics of the font that is being emulated in terms of style, spacing, height and width. In this way, a suitable readable font with similar characteristics of the target font is used in the place of a missing font.
Font Emulation is often acceptable when digital printing, and can be preferable to the file not being produced at all.
Font Emulation is available from the Harlequin RIP Genesis Release characteristics:
™ and has the following
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• The ability to recognize the missing font by name.
• A database of style, spacing, height and width for each font name.
• The database currently contains over 1600 specified fonts.
• Font Emulation only supports the standard Latin characters.
11.13.1 Using Font Emulation
Font Emulation is enabled by checking the
Enable font emulation
option in the Page Setup
Options dialog.
Once enabled, Font Emulation currently catches references to over 1600 fonts. The type of font that can be emulated is not important because fonts are matched by name. If the font
Note: CID Fonts are not emulated.
If a request for a font returns an error, or anything other than the requested font,
Font Emulation
first looks up the font name in the
FontEmulation
dictionary, and then, if necessary, may go on to look up the font in the supplied database on disk.
If Font Emulation fails to emulate a font (for whatever reason), the RIP will behave as if Font
Emulation had not been switched on. That is, if the RIP is configured to abort jobs when a font is missing, the job will abort; if the RIP is configured to substitute Courier for the missing font, Courier will be used.
There are two situations when fonts are emulated these are: when the font requested is not found or when a font error occurs. The following sections describe the two scenarios:
11.13.1.1 Font not found
Font Emulation will be used for PostScript language and PDF files if:
1. The required font is not embedded in the job and
2. The required font is not installed in the RIP and
3. The required font is not handled explicitly by font substitution.
Font Emulation will only regard font substitution as successful if the font name returned by any substitution is exactly the same name as the requested font. Therefore, in most cases Font Emulation will override font substitution. If however Font Emulation fails, the font previously selected for substitution will be used.
Currently there is not automatic way of excluding fonts selected for substitution from being emulated. If you want to use font substitution instead of the emulated font, that font will have to be explicitly disabled in the
/SW/Config/FontEmulation file
.
4. Font Emulation is enabled and
5. The required font is not disabled in
/SW/Config/FontEmulation file and
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11.13 Font Emulation
6. The required font is defined or aliased in
/SW/Config/FontEmulation or defined in the Font Emulation database.
11.13.1.2 Font error
Font Emulation will be used for PostScript language and PDF files if:
1. A font error is encountered attempting to use a font embedded in a job or installed in the RIP (this includes the error produced when selecting
Abort the job if any fonts are missing
in the Page Setup Options window) and
2. Font Emulation is enabled and
3. The required font is not disabled in
/SW/Config/FontEmulation file and
4. The required font is defined or aliased in
/SW/Config/FontEmulation or defined in the Font Emulation database.
Note: PDF files usually include a PDF
FontDescriptor for each font required by the PDF file, even for fonts which are not embedded. If Font Emulation is employed for a PDF file, the
FontDescriptor in that PDF file will be used in place of the emulation data in the RIP.
Also, the
FontDescriptor can be used even if the font is not defined in the Font Emulation database or
/SW/Config/FontEmulation file.
11.13.2 Messages
When a missing font is successfully emulated the following message appears:
%%[ Warning: Font <...> emulated. ]%%
Note:
<...>
is the name of the missing font.
If Font Emulation's attempt to get the required font returned an error, and the font is unable to be emulated, the following error is generated:
%%[ Error: Font <...> not found. (Emulation unknown) ]%%
However, if the font returned is not what was asked for (for example, Courier), and the font cannot be emulated, the following warning is output but the RIP will continue to use whatever font was re?urned:
%%[ Warning: Font <...> not found. (Emulation unknown) ]%%
That is, if a font is missing and it cannot be emulated, an error is only generated with emulation switched on if there would have been an error with it switched off.
If the missing font cannot be found in
FontEmulation
or the database, the following message appears:
%%[ Error: Font <...> not found. (Emulation not known)]%%
If emulation is switched off for a particular font, the following message appears:
%%[ Error: Font <...> not found. (Emulation disabled)]%%
If there is an error in the Font Emulation dictionary the following message appears:
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%%[ Error: FontEmulation syntax /<...> invalid value. ]%%
In the unlikely event of an internal emulation font being replaced by a normal font, the following message appears:
%%[ Error: Font <...> not found. (FontEmulation installation}]%%
11.13.3 Modifying the Font Emulation database
You are able to add to or modify the Font Emulation database using the file
SW/Config/FontEmulation
:
• Aliasing of a font in the database so an identical font with a different name can be emulated.
• Switching Font Emulation off for a specified font. This is useful if a corporate logo is using a font in the database.
• Override a font definition in the database.
• Add a new font definition to the database.
Note for OEM: For more information see the Harlequin Technical Note “Hqn065—
Using and modifying Font Emulation”.
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12
Calibration
This chapter discusses calibration of output devices. Calibration involves the measurement of test images produced on an output device and the use of those measurements to produce stable images with good tonal values: here, good means consistent and usually linearized (in some measurement system). Some devices have a published specification that you can use in place of measured data: this is true of many printing presses. In demanding applications, you may use several different calibrations on the same device, according to the settings on the device or within the RIP.
This chapter describes how you can produce suitable test images (called targets or test
strips), measure their characteristics, then enter or edit calibration data, while Chapter 5,
“Configuring Output Formats”, describes how you can choose different calibrations when
producing output.
A mechanism is provided that enables a third-party application to push calibration sets into the RIP. It is intended to replace the method used by some vendors to emulate the processing performed by Global Graphics’ Genlin tool, and to avoid the need for a final manual step to import the calibration data. Calibration sets may be submitted as a PostScript language file to the RIP, calling the
PushCalibration procedure in the
HqnPushCalibration procset.
Calling this procedure does not trigger any raster output, and files may be submitted through any input channel configured on the RIP, such as hot folders, Unix-style sockets and so on. For more information on this see the “Push Calibration” Harlequin Technical Note
081.
12.1 Why calibration is needed
Regardless of the accuracy of an output device, the media and other consumable items can vary and have an effect on the output. For example, an imagesetter may produce an accurate and stable exposure of the media on which it is imaging but the reaction of that media varies from paper to film, and from one media manufacturer to another. Also, laser dots are never square (as in an idealized raster), they usually overlap, often cannot resolve a single pixel, and cannot always be turned off between adjacent pixels. Similarly, in direct output devices, overlap of toner dots in laser printers or ink spreading in inkjet devices often produces a deviation of some kind between required gray levels and those actually output.
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Whatever the physical reason, the result is variability or non-linearity and some adjustment is almost always necessary to compensate for these physical artifacts. This is called calibration.
Note: In almost all output devices, a solid (100%) black area prints as a 100% black area, and white always prints as white. Any failure to achieve this degree of faithful reproduction usually indicates a problem or maladjustment in the output device, which you must cure before attempting calibration.
Consider the irregular solid line in Figure 12.1. It shows an example of the kind of response
typically seen from red-sensitive paper on a Helium/Neon-based imagesetter. The diagonal dotted line represents the theoretical line that would be shown for a perfect material. The arrowed lines show how if you request a 50% tint you will actually see something like a 65% tint on paper, when measured with a densitometer.
When setting flat tint areas for monochrome print work, variation in gray level is often immaterial because the relatively small tonal variations encountered will not be visible to an untrained eye. But as soon as scanned images are introduced into monochrome work, it becomes apparent that highlight and shadow detail is lacking and, typically, that the image is darker than expected. The higher the halftone frequency used, the more the shadow areas will fill in and highlights will lighten—and the more necessary calibration becomes.
Color process work brings the problem into flat tint work as well, because variations of only a few percent from the requested value in just one of the color plates can throw the final apparent color well away from that intended.
Note: Calibration is important in color work, but it is not a complete answer. Calibration is sufficient only where the originally requested colors are prepared with the final output device in mind; calibration can adjust the individual color values but not the hues of those colors. A color management system is required to make adjustments which change hues, as for example in digital proofing.
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12.2 Calibration and linearization
The RIP allows calibration sets to be built for particular configurations. By choosing appropriate calibration sets, you can make the RIP correct for variations caused by different output devices, line frequencies, exposure values, dot shapes, and negative / positive setting.
100
40
20
80
60
20 40 60 80
Gray level requested ( % )
100
Figure 12.1 Response of red-sensitive paper on a Helium/Neon-based imagesetter
12.2 Calibration and linearization
Linearization is a special case of calibration, commonly used when producing output on an imagesetter.
Linearization is the process of adjusting values on output so that the result is proportional to the values requested, in some suitable measuring system. On film, this is usually a matter of ensuring that the gray levels produced are the ones you request in halftone dot area coverage. For example, if you ask for a 42% tint in your page make-up application then, after linearization, the output device produces that 42% tint correctly.
Note: Calibration can only provide the desired output to the accuracy with which you can
12.2.1 Non-linear devices
It is an established industry practice to accept non-linearity in the transfer from film to printing press. Frequently, whoever performs the scanning or layout design uses their judgement to introduce a compensatory adjustment in the scanner settings or choice of tints, basing the compensation on the kind of printing press to be used.
Calibration is still a valuable process in this scheme but the purpose is to produce a known and repeatable non-linear transfer.
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It is possible to create a single calibration set that compensates for the combined characteristics of an imagesetter and a printing press, but this scheme is inflexible and clumsy where several imagesetters and presses may be used in various combinations. Also, you cannot account for absolute den?ity variations.
A more flexible approach, and one provided by the RIP, is the ability to produce and use a calibration curve for each color of a printing press, applied separately from film linearization. This improves the accuracy and ease of compensating for the dot gain of, for example,
Harlequin Dispersed Screening (HDS). HDS screens gain more on press than conventional screens. Calibrating the press for use with an HDS screen replaces a laborious and approximate compensation previously possible only by changing the film linearity settings or scanning with HDS in mind. Note that although an imagesetter is not a multi-color device, you can create a separate calibration curve for each color, to take account of the different screen angles.
See “Press calibration” on page 337 for details of press calibration.
12.3 Calibration in the Harlequin RIP
The calibration facilities allow several ways of working:
• You can measure calibrated or uncalibrated targets.
This means that you can print a calibration target with the previous calibration applied and enter only the values that are in error—possibly saving time and materials. Alternatively, you can start again with an uncalibrated target as if no calibration exists. See
“Establishing a workflow” on page 332 for a discussion of the advantages and advis-
able controls.
• You can create a separate calibration curve for each channel of multicolor devices, for example color ink jet printers and printing presses. If the output device or printing press supports additional colorants, you can create separate calibration curves for spot colors.
Although an imagesetter is not a multi-color device, you can create a separate calibration curve for each color, to take account of the different screen angles.
• If you are preparing a job for a printing press, you can create separate calibration curves for output to film and output to a printing press. If you are not using Harlequin
ColorPro, you can retarget a job from its intended printing press to another printing press, using a separate calibration set to remove the compensation for the gain of the
intended press. See “Press calibration” on page 337 for a discussion of the background
issues.
Note to OEMS: OEMs can configure the Harlequin RIP to use a different calibration target for each output device.
• Tone Curves allow you to make another set of color adjustments, in addition to the
device calibration and the press calibration. See “Tone curves” on page 336 for details.
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12.4 Example procedure
• You can use different measuring systems, as appropriate for the kind of output device and measuring instruments.
Additionally, these features are arranged so that is easy to add and use the advanced facilities provided by the ColorPro options. The extra facilities and changes of procedure associated with ColorPro are described in the separate Harlequin ColorPro User’s Guide.
12.3.1 Accessing calibration functions
The Harlequin RIP
Output
menu contains the
Print Calibration
and
Calibration Manager
commands. The Calibration Manager is also available from an icon button alongside the
Calibration
pop-up menu in the Edit Page Setup dialog box.
Use the
Print Calibration
command to display the Print Calibration dialog box. From here, you can print test strips (targets) which enable you to measure the characteristics of your output devices.
Note: If calibration strips are used then late color management is disabled. See “Notes on
Use late color management” on page 381.
Use the
Calibration Manager
command to display the Calibration Manager dialog box. This allows you to create and edit calibration sets using measurements from test strips or published figures, and to enable or disable the use of particular calibration sets. The consequence is that you can adjust for day-to-day or printer-to-printer variations in ink density and similar variations in the exposure of imagesetters and platesetters.
12.3.2 Calibration sets
A calibration set is a piece-wise linear curve that maps requested tint levels to actual tint levels and has some associated information including the intended output resolution, exposure, dot shape, range of screen frequency, and negative / positive settings that the calibration set has been prepared for. Whenever you select one or more calibration sets in the Edit Page
Setup dialog box, the RIP uses those calibration sets to output jobs.
12.4 Example procedure
The following procedure outlines basic cases in which you can create and apply a calibration set for a simple monochrome or color device driven directly by the RIP. The same principles apply to more complex cases involving color devices and printing presses.
12.4.1 Devices and requirements
Although an imagesetter is not a multi-color device, you can create a separate calibration curve for each color, to take account of the different screen angles.
To create calibration sets, you need a reliable and accurate densitometer that is reflective for paper and transmissive for film. The densitometer that you select should ideally display dot coverage in percentage terms, rather than simple density readings, since calculating coverage by hand is time-consuming and prone to errors.
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12.4.1.1 Devices requiring exposure settings
The procedure for a device such as an imagesetter needing a correct exposure setting is:
1. Where appropriate, establish the correct exposure for the device.
2. Print and measure a calibration target.
3. Use an Edit dialog box to enter the data and label it with the information describing its use. You may also want to inspect the resulting curve and smooth or edit the data values. This is where you name the calibration set.
4. Apply the calibration set you have created and check that it provides good output.
Section 12.4.2 through Section 12.4.5 describe these steps in more detail.
12.4.1.2 Devices without exposure settings
The procedure is simpler for a device that does not have an exposure control, such as a color inkjet printer supplied with reference calibration sets.
Note: It is very unlikely that you will achieve good results if you try to use an inkjet printer without a reference calibration set (or other control of ink delivery). The typical response of an inkjet printer in its raw state is to produce very dark images and deliver so much ink that there are severe problems with drying time or ink running across the printed page.
Supplied reference calibration sets or calibration profiles define an ideal or ‘reference printer’. Using a reference calibration set greatly improves output, but the response of your printer (the ‘user printer’) may differ from the reference printer because of small but inevitable variations between printers. You may be satisfied with the reference calibration. To obtain the best output you can calibrate the user printer so that it responds in the same way as the reference printer; this produces your own calibration set that you can use in your Page
Setup, and edit or update as required.
When you create a Page Setup the
Calibration
entry must match the combination of device, media, and resolution being used. This is true for both supplied calibration profiles and your own calibration sets.
Note: You can tell apart supplied calibration profiles and calibration sets that you have created because most supplied calibration profiles appear in the Edit Page Setup dialog box with parentheses
( ) around the name shown in the
Calibration
list. See the documentation for the relevant output plugin if you are in any doubt about identifying the entries in the
Calibration
list.
The Page Setup you use to print a target can use either kind of
Calibration
entry:
• To create your own calibration set for a device for the first time your Page Setup must use a supplied calibration profile for the device.
• To edit your own calibration set your Page Setup must use that calibration set.
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12.4 Example procedure
Once you have identified or created an appropriate Page Setup, follow the steps below to print a target using this Page Setup:
1. Use the menu option
Output > Print Calibration
and choose your Page Setup in the
From
Page Setup(s)
list.
2. Choose the type of target that you wish to print from the
Print For
menu.
Process
Colors only
is often suitable. See “Print Calibration dialog box” on page 341 for
details of all these options.
3. Prepare your printer—for example by loading the correct paper and click
Print uncalibrated target
. (Enable output in the Output Controller if necessary to get a printed target.)
Note: You must print the target on the paper for which the calibration profile or set was created in order to obtain an accurate calibration set.
4. Wait for this target to dry thoroughly before attempting to measure it. Even when a target appears dry, It can take ten minutes or more for some combination of inks and media to stabilize completely so that the colors are no longer changing and the target is unaffected by handling.
12.4.2 Choosing the correct exposure
For devices such as imagesetters where calibration is performed with respect to dot area coverage, the first step is to ensure that your output device is set up with the correct exposure.
Attempting to calibrate an imagesetter with badly adjusted exposure settings will waste a lot of time and film, and may lead to undesirable effects at plate-making time, such as variable dot gain. Run a series of test pages at varying exposures to determine the setting required to give a solid black and a clear white.
You are likely to need to select a different exposure for each combination of media and resolution. Halftone frequency and dot shape will not affect required exposures significantly.
However, the media and the chemistry of the developer used can make a big difference: stable developer chemistry is very important for accurate calibration.
12.4.2.1 Printing exposure tests
Choose an appropriate Page Setup. This should set the correct output device, output resolution, and negative / positive settings, dot shape, and screening details if appropriate. The dot shape and screening details are set in the separations style of the Page Setup. The expo-
Note: If you are using a drum device with variable film feed, you will usually want to rotate
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Choose
Output > Print Calibration
. The RIP displays the Print Calibration dialog box, shown in
Figure 12.2 Print Calibration dialog box
Select an appropriate Page Setup in the
From Page Setups
list.
Note: If you forget to choose a Page Setup, the RIP uses the one that you chose last time you used the
Print Calibration
command. If you have not used the
Print Calibration
command in this RIP session, the first Page Setup in the list is used. To change the order of this listing, see
“Reordering Page Setups” on page 89.
Note: Some settings in the chosen Page Setup are ignored or altered—notably those in a
ColorPro color management option that would change the color of a graphic object.
Each button creates a slightly different target (test strip) or series of targets. To create the appropriate series of targets for the example procedure, you need to set up some values and then click
Print exposure sweep
.
Note: If your output device does not support software exposure control, run the tests manually instead, according to your output device manufacturer’s instructions. Typically: set the exposure manually, click
Print uncalibrated target
, and repeat for each exposure value.
Print exposure sweep
uses the values in the associated
From
,
To
, and
Step
text boxes to print test strips at each of several exposures in the range.
12.4.2.2 Messages
Calibration and color management is setup as normal when running a calibration target.
This is different to previous behavior where it was not setup. At the start of the target procset, everything that has to be turned off is turned off.
The target procset now gets information about its environment from PostScript language data in setcalibration and various color management operators. Therefore, calibration and color management must be setup normally for this information to be present.
A manifestation of this is that when running calibration targets the normal messages for calibration and color management are displayed, followed by a number of extra ‘switched off’ messages, for example:
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Setup loaded: "Default Page Setup"
Starting Job On, 10 May, 2011 10:27:13
Using Color Setup "testing"
Using calibration for device "Glossy Photo Hvy 720"
Color management switched off for calibration job
Tone curve calibration switched off for calibration job
Intended press calibration switched off for calibration job
Actual press calibration switched off for calibration job
Device calibration switched off for calibration job
Running Uncalibrated Target for Default CMYK + spot colors target:
Only the relevant messages appear, that is, if color management is not enabled, its ‘switched off’ message will not appear.
12.4.2.3 Acceptable exposure values
The ranges of values that you can enter into the
From
,
To
, and
Step
text boxes are dependent on the output device. On several types of device, the values do not form a continuous range.
Read the manual for your output device carefully before entering any values.
The Harlequin RIP makes exposure tests over a range of exposure values by starting at the first exposure value that you want to produce, and then at regular steps up to and including a last exposure value. For example, if you want to print test pages at exposure settings of 120,
125, 130, and 135, then type 120, 135, and 5 into the boxes. Typically, each test page is just over 2 inches long.
Care: If you are using an output device where increasing exposure values do not necessarily mean increasing laser intensity smoothly at the film surface, take care in selecting the settings for this dialog box. If necessary, print out two sweeps—for example, 225 through 230 and 100 through 120.
12.4.2.4 Checking the target
Each of the test pages should look like that in Figure 12.3 unless you choose a composite
‘Separations, Screening & Color’ Style in which case you will output a vertical exposure test page with all colors on a single page. In addition, if you choose CMYK halftone output you will produce four individual test pages, one for each separation. (Test pages designed for use with densitometers that move the media automatically may look slightly different, often having one strip of patches for each color, and it is possible to have custom targets supplied with each output device driver.)
Figure 12.3 Uncalibrated exposure sweep test page
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If you have a densitometer, select the correct exposure by reading the density values of the two squares labeled D Max/Min on each of the test pages from your exposure sweep. (Measure both squares to check for a uniform exposure across the page.) Optimum density varies from material to material, but generally a densitometer reading of between 3.5 and 4.0 is acceptable for film, and between 1.8 and 2.0 for paper. (The densitometer should of course be switched to give density readings rather than dot percentage readings.)
If you do not have a densitometer, you can still use this page to select an approximate exposure setting: study the fine detail in the bottom left of the page, and select the exposure that gives clear, fine white detail in black areas and vice versa. As an additional guide, you should be able to tell the difference between the 0% and 2% tint panels, and between the 98% and 100% panels. (These figures are for film or bromide: inkjet output can be black from the
80% patch upwards.)
Keep the strip that you decide has the right exposure: you can measure values from it to create the calibration set. If you think a value falling between those used in your exposure sweep might be better, print a new target at that exposure. For example, set
Exposure
in the
Edit Page Setup dialog box and then use
Print uncalibrated target
. You can only set the
Exposure
in the Edit Page Setup dialog box if your output device supports software exposure control, otherwise the option is grayed out.
12.4.3 Creating a calibration set
You can create a calibration set after you have measured data from a target or obtained it elsewhere: for example, from a manufacturer’s specification for the device.
Choose
File > Page Setup Manager
. The RIP displays the Page Setup Manager. Select the Page
Setup for which you printed the exposure test (or single calibration target) and click
Edit
. In the Edit Page Setup dialog box, set the
Exposure
to the chosen value. If your output device does not support software exposure control, the
Exposure
option is grayed out and you may have to set the exposure manually.
Click the
Calibration Manager
button to open the Calibration Manager, shown in Figure 12.4.
This button is next to the
Calibration
and
Tone Curves
pop-up menus.
Calibration sets are grouped by device and by color space. When you open the Calibration
Manager from the Edit Page Setup dialog box, the RIP displays the calibration sets for the current device and current color space, if any have been created. The choice of separations style determines the color space. When you first open the Calibration Manager after installing the RIP, the list box is empty.
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If you open the Calibration Manager using the
Output > Calibration Manager
command, select the appropriate device from the
Device
pop-up menu and, if necessary, select a color space from the
Color Space
pop-up menu.
Figure 12.4 Calibration Manager dialog box
The column headings are various properties of a calibration set. The first column in the list is the name of the calibration set and the last column is the edited or unedited status of the calibration. Each of the remaining columns in the list corresponds to the name of one of the
Click
New
to create a new calibration set for the first time. The RIP displays an appropriate version of the Edit Calibration dialog box.
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12.4.4 Entering the data
When you edit a calibration set, the RIP displays the dialog box shown in Figure 12.5.
Figure 12.5 Edit Calibration dialog box
If you leave the Edit calibration dialog by selecting
Cancel
the new values will not be saved and the calibration will work as before. If however, you decide to save the new values the calibration will work using the default curve and will produce more accurate results.
When you click
New
to create a new calibration set, you enter the Edit Calibration dialog box for an uncalibrated target with all
Warning criteria
boxes empty. The warning criteria list the resolution, dot shape, screen frequency, and so on that this calibration set is intended to work with.
At least, you must:
• Name the new calibration set.
• Show what kind of values you are measuring.
• Provide data values.
You should also use the
Warning criteria
boxes to show which settings the calibration set is intended to work with.
“Edit Calibration dialog box” on page 347 describes how to use all the items in this dialog
box, but this short procedure mentions the essential items:
1. Type a name into the
Name
text box.
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2. Choose the type of measurement you are making from the
Measurements as
pop-up menu drop-down list.
3. Measure the dot coverage percentages from densitometer readings taken from the
target that you chose in the procedure “Choosing the correct exposure” on page 325
and enter these values into the labeled boxes for calibration data. (The
Import
button allows you to import data values taken from a file.
Note: Each value you enter must be consistently greater than the preceding value (or less than it if you are using a negative film or meter).
The
Smooth
button allows you to smooth the ends of the graph (and by doing so, the values of the calibration set) in small steps. If a set of values are out of range or nonmonotonic a warning will appear when you try to exit from the dialog.
4. In the
Warning Criteria
panel, enter the settings used to create the target: resolution, dot shape, screen frequency, exposure, and say whether it applies to both negative and positive settings.
Note: If you create a calibration set from the Edit Page Setup dialog box, you need only select the
Warning criteria
check boxes. The RIP takes the default settings from the Page
Setup you are editing.
Click
OK
to save the calibration set.
You can create a new calibration set, or save all the changes you have made to date by clicking
OK
in the Calibration Manager.
You can create or edit a calibration set in the Calibration Manager, even if you do not want to use it in the current Page Setup. Once you have saved the new calibration set by clicking
OK
in the Calibration Manager, it will remain even if you
Cancel
the Edit Page Setup dialog box.
If you opened the Calibration Manager from the Edit Page Setup dialog box, you can also save the changes by clicking
Select
. In addition to saving the changes, using the
Select
button displays the selected calibration set in the
Calibration
control in the Edit Page Setup dialog box.
If you click
Cancel
in the Calibration Manager, you discard all changes to calibration sets that you have made since you opened the Calibration Manager.
When you edit a calibration set for color data, the procedure is very similar, except that you must enter data for each color channel. Note that although an imagesetter is not a multicolor device, you can create a separate calibration curve for each color, to take account of the different screen angles.
12.4.5 Applying the calibration
You must select a calibration set from the
Calibration
pop-up menu in the Edit Page Setup dialog box in order to use it. Subsequently, you can save the Page Setup and recall both the
Page Setup and its corresponding calibration set as required.
Select your new calibration set in the Edit Page Setup dialog box, and click
OK
to save your changes and close the dialog box. Click
OK
in the Page Setup Manager.
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Return to the Print Calibration dialog box, choose the Page Setup in which you have chosen the new calibration set, and click
Print calibrated target
. You should see improved tonal rendering in the calibrated target.
Measure the tint values on this calibrated target. If the values are wrong in any patches, reread these tint patches on the original exposure sweep target, and edit the values in the calibration set again.
12.5 Editing calibration sets
The procedure described in “Example procedure” on page 323 is adequate for creating new
calibration sets. This section describes how you can choose a strategy to keep calibration up to date, choose which calibration sets to use, and edit existing calibration sets.
There are three more general sections: “Consistency of calibration” on page 335, discusses
establishing and maintaining calibration; “Tone curves” on page 336 describes tone curves
calibration; and “Press calibration” on page 337 describes press calibration.
For details of the individual dialog boxes, see “Print Calibration dialog box” on page 341,
“Calibration Manager dialog box” on page 343, and “Edit Calibration dialog box” on page
12.5.1 Establishing a workflow
There are three possible workflows for maintaining calibration:
• Historical record.
• Recalibrate every time.
• Adjust for drifts in calibration.
It is usually best to use the same method for any one device. It is possible to change from one to the other, but you may see values in the Edit Calibration dialog box which, though correct predictions, are not values you recognize because they have been calculated by the RIP.
Historical Sometimes it is desirable to keep a historical record of calibration sets.
In this case, an uncalibrated strip or target is printed on each occasion when calibration is carried out, and a new calibration set created (with the
New
button). The new calibration set must be selected explicitly in the Edit Page Setup dialog box each time.
Recalibration This is the conventional method. Here an uncalibrated strip is printed each time calibration is required. On the first occasion, a set is created with
New
. On subsequent recalibrations,
Edit from uncalibrated target
is selected and the values in the dialog box changed to reflect the new readings from the strip. Then a calibrated strip is printed and the linearity of the result is checked, and if the linearity is unsatisfactory
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another uncalibrated strip is printed to correct the flaws. (The new calibration values are in the existing set, so there is no need to select a new calibration set in the Edit Page Setup dialog box.)
Adjustment Here a calibrated strip is printed on each occasion (except the first when an uncalibrated strip is printed to enter the values with
New
).
Edit from calibrated target
is selected. This should then show the perfect values. If the device has changed, these values will be a little in error and the new values can be entered. A second calibrated strip can be printed to check the result. (Again, the new calibration values are in the existing set, so there is no need to select a new calibration set in the
Edit Page Setup dialog box.)
Note: When working in density rather than percent dot, it is not immediately obvious what the correct values should be;
Edit from calibrated target
provides this information.
However, whatever method is adopted, the most important rule is to match the edit command to the type of target. To be explicit:
• When entering measurements using uncalibrated test strips, always do so with
Edit from uncalibrated target
(or
New
).
• When using calibrated test strips, always do so with
Edit from calibrated target
.
Calibration will be completely wrong if you do not follow this rule.
12.5.2 Variations on the Edit Calibration dialog box
calibration set is intended to work with. You can change these settings as necessary. See
“Edit Calibration dialog box” on page 347 for details of all controls.
There are variations on this dialog box for calibrated and uncalibrated targets and for tone curves, printing presses, and other devices. These variations include the nature of the values you enter to define the curve and the color channels you can select.
The title of the dialog box changes to show the kind of target and the device. The general form of the title is:
Edit <calibrated/uncalibrated> target for <Device name>
<calibrated/uncalibrated>
depends on which edit button you clicked in the Calibration Manager.
<Device name>
is the selection in the
Device
pop-up menu in the Calibration Manager.
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When you edit the calibration set for a printing press, the differences are:
• The presence of a
Press
pop-up menu in the Warning Criteria panel. In this case the default calibration set is determined by the selected profile.
• The types of measurements available in the
Measurements as
pop-up menu.
When you edit the calibration for tone curves, the differences are:
• The options in the Warning Criteria panel are unavailable (except for the
Use for Pos &
Neg
option for monochrome devices).
• The
Force solid colors
option is unavailable.
12.5.3 Choosing and labeling calibration sets
It is important to choose a calibration set that is appropriate for the job you are processing. If you set the warning criteria for a calibration set, the RIP warns you if the settings in the Page
Setup or job conflict with these criteria. By setting a Page Setup option, you can tell the RIP
to abort any job that fails the criteria. See “Warning Criteria panel” on page 348 for details.
Name the calibration set carefully, so that you can identify all the parameters associated with it. For example, it may not be sufficient to name the calibration set with the chosen resolution, since the dot shape and line frequency could also affect the calibration.
Most settings have obvious single values. Screen frequencies and positive / negative settings need some discussion.
Screen frequencies are given as a range to indicate the range of frequencies for which the set is valid. It is a good idea to start by working out which frequencies you expect to use—for example, 85, 100, 112, 120, 133, 150, 175 lpi, and so on. You can then create ranges centered on each of these values—for example, 75 to 93 lpi, 93 to 106 lpi, and so on. You do not have to create calibration sets for the full range of frequencies—you may find, for instance, that the lower frequencies do not need calibration, either because the output device is fairly accurate at these values, or because the work you do at those frequencies does not demand accurate output. Also, it may be that the same calibration set will apply to a wide range of frequencies—for example, 100–300 lpi.
You must inform the RIP about the various combinations of positive and negative output and measuring devices.
The
Measurements as
pop-up menu allows you to tell the RIP which densitometer mode you used when performing your density readings. Some densitometers read in positive dot, others in negative dot (that is, a clear area may read 0 (zero) or 100).
For a monochrome device, you can specify what kind of output you are measuring using the
Negative media
check box.
The
Use for Pos & Neg
check box allows you to record whether the RIP can use this calibration set for both positive and negative output, or only one. The default setting of this box
(selected) is usually the best to use, but for very accurate calibrations, apply this setting only
to Euclidean dot shapes. (See Chapter 6, “Screening” for a description of Euclidean screen-
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ing.) When this check box is not selected, the RIP uses the calibration set only for positive or negative, as set in
Negative media
.
12.5.4 Saving calibration sets
Click the
OK
button to save the calibration set. You can then edit a different calibration set, create a new calibration set, or save all the changes you have made by clicking the
OK
button in the Calibration Manager. If you opened the Calibration Manager from the Edit Page Setup dialog box, you can also save the changes by clicking the
Select
button. In addition to saving the changes, the
Select
button displays the selected calibration set in the Edit Page Setup dialog box.
If you click the
Cancel
button in the Calibration Manager, you lose all the changes to calibration sets that you have made since you opened the Calibration Manager.
12.6 Consistency of calibration
Once you have produced a number of calibration sets for a device, you must be sure that they continue to be accurate to an acceptable degree, and that you use them appropriately.
This section describes what to do and check in routine use.
12.6.1 Checking calibration
Once you have produced a calibrated output successfully, you need only check that the calibration remains stable. Do this at suitable time intervals, which may vary from twice a day to once a month—depending on your requirement for accuracy and what you learn about the stability of your systems.
Even if you check calibration sets only occasionally, always check them when your imaging or processing environment changes—for example, when you load film, ink, or ribbon from a new production batch, or change your processor speed or temperature. In many cases, it may also be advisable to check exposure settings.
To check the calibration, click
Print calibrated target
in the Print Calibration dialog box and measure the density of the tint panels.
If the value for any tint panel drifts outside your acceptable range, you can use data from the calibrated target to correct the calibration set. You need record only the values that are in error. Display the Calibration Manager dialog box, select the calibration set, and then click
Edit calibrated target
. In the Edit Calibration dialog box, enter the newly measured value or values. (Alternatively, you can click
Print uncalibrated target
in the Print Calibration dialog box, read all the densitometer values from that target, and then use
Edit uncalibrated target
to edit the calibration set appropriately.)
12.6.2 Assessing attainable accuracy
It is relatively easy, using these procedures, to maintain the accuracy of calibration data on an imagesetter using film. This accuracy can be within 2% of a perfect result. The accuracy obtainable with bromide paper is far lower, and it is not feasible to maintain densities closer
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than about 5%. (One reason for having a less accurate requirement for bromide paper is that two densitometers are likely to show much larger differences when measuring the same piece of paper, than when measuring the same piece of film.)
When assessing your required level of accuracy, take into account the accuracy of the imaging engine itself: an imagesetter rated as having a variation of less than 2% across the film cannot be expected to be able to produce work calibrated more closely than this.
Some reasons for inaccurate imaging are:
• A coarse screen may not be able to reproduce an exact percentage value or may provide varying readings depending on where in a patch a density reading is taken.
• Values intermediate between patch values are interpolated. This process is never perfectly accurate.
• Some imaging technologies produce variations in tones depending on where in the page the tones are located, and some produce output that depends on the tones in neighboring areas of the page.
Other, variable, factors that can significantly affect calibration results include the following:
• The temperature (especially the consistency of the temperature) at which the imagesetter and the film processor are maintained.
• The length of time and the temperature at which film, paper, or ribbons are stored.
• Whether the processor is used for other materials (for example, duplication film) as well as imagesetter film.
• The time between photographic processing and measurement. Many films have a colorant that fades rapidly after processing.
• The time and storage conditions between printing and measurement. The output from inkjet and dye-sublimation printers can alter significantly over a period of weeks, or even hours if subjected to bright sunlight.
Reasonable calibration can normally be achieved easily, but for very high quality calibration a considerable amount of care in setting up and controlling the imagesetting environment is required.
12.7 Tone curves
Tone curves allow you to make another set of tone or color adjustments, in addition to the device calibration and the press calibration. In a properly controlled workflow you should have little need to use tone curves but you may find that they offer a quick and effective way of working around short-term difficulties such as lack of calibration facilities or badly formed jobs that you cannot easily correct in the job.
For example, you may have to process a particular set of images where the correct calibration does not produce an acceptable printed result. There are two common cases. You may be able to produce a tone curve using exact data, perhaps coming from a known setting in scanning or later processing. Alternatively, you may wish to emphasize a color or tonal range in
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response to artistic direction, such as a request to boost the mid-tone magenta component by
10%.
In all cases, the tone curve is an exact record of what you have done, kept separate from the device and press calibrations.
12.7.1 Creating and using tone curves
To create tone curves, select the
Tone Curves device in the Calibration Manager. Create the calibration set for the tone curves in the usual way, entering data values for the patches and possibly using
Smooth
.
You apply tone curve calibration sets using the
Tone Curves
pop-up menu in the Edit Page
Setup dialog box.
For the Harlequin RIP version 5.1 revision 1 and later, tone curves behave in the opposite sense to device and actual press calibration curves. This normally means that you enter higher values where you wish to see more output.
For example, assuming a positive-reading system where 0% is no output and 100% is full density or coverage, enter values higher than the nominal values of the patches to produce more output for a given input.
Note: In the Harlequin RIP version 5.1 revision 0 and earlier, tone curves behaved in the same sense as device and actual press calibration curves; in these earlier versions, for the example just given, you had to enter lower values where you wished to see more output.
12.8 Press calibration
Press calibration allows the RIP to make press adjustments to the density of the ink on paper on a printing press independently from the intermediate medium (usually film) used to prepare printing plates.
Press calibration can also be set up to work in absolute density measurements instead of halftone dot area coverage, which means the actual color can be predicted rather than just its relationship to the maximum and minimum densities, as on film.
Press calibration provides these facilities:
• The press can be put into the same state as some reference state.
Though this can often be achieved by adjusting press controls, the RIP provides a finer degree of tuning than just the maximum density or midtone controls common on the press.
• The press can be accurately tuned for Harlequin ColorPro.
• An adjustment can be made for a different press from the one for which the job was originally prepared.
This might be needed because it really is a different machine, or because the dot-gain characteristics have changed over time: for example, as the blankets have worn.
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• An independent adjustment can be made to compensate for changes to the job after scanning and so on, which affect the gain on press, such as substitution of HDS screens.
• The gain of the press can be expressed in relative terms.
This form is common in manufacturers’ documentation: for example 20% at 70%, rather than the more common measure on film as 70% reads 90% (which is equivalent).
• Readings can be estimated from a small number of data points supplied by the manufacturer.
12.8.1 How does press calibration work?
Conventionally, a color job is prepared by combining scanned pictures with application-generated text and graphics. In this process there are two assumptions made:
• The film to which the resulting raster will be first directed is linearized, that is if the job requests a 25% gray value, a densitometer would read 25% on that area of the film.
• The press will gain further—a lot further usually—and the scanner operator takes this into account when preparing a scan. This means the scanner operator must know or guess the gain of the target press. It also means that the colors in application-generated graphics are similarly produced by guesswork, experience, or by reference to samples printed on a similar press (previous work, or more likely chosen from swatches in an appropriate PANTONE Color System or from a system with a similar intent).
The consequence is that if the gain of the press is not as expected, then the job will not print correctly. This might be because:
• It is not the press originally intended.
• The dot gain has changed (or was never known).
• The dot gain was assumed for some particular rendering process, which has changed.
For example, you may be using a HDS screen which gains more on press than conventional screens. The film can be linearized as normal, and a further adjustment made to account for the difference between the HDS screens and the conventional screens. By separating the two adjustments, it is now possible to linearize to film again without having to repeat the whole process.
Whichever of these reasons holds, the job has the gain of the press already accounted for.
This means that the overall effect of calibration in the output path is to first apply any primary calibration to remove compensation for the gain of the intended press, and then to compensate for the gain of the actual press.
Note that the intended press calibration is not available when ColorPro is enabled. Instead,
ColorPro provides several options for processing color data ahead of the transfer to press: these options include emulating the output of one press on another type of press. For details, see the separate Harlequin ColorPro User’s Guide.
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For this reason, the process is split in two:
1. You give the gain (expressed as a calibration set) of the intended press, which may be one of:
• A standard press
Some standard presses are built in to the Harlequin RIP.
• A variation on a standard press
A typical variation is, for example, an extra 5% gain at 50% over SWOP Type 1 printing but with essentially the same shape of gain curve. You can create such calibration sets in the RIP by extrapolation from the standard curves provided with the RIP.
• A real press
This press might be one of a group of similar presses, another of which may be used to print the job. Alternatively, this same press may actually print the job, but can no longer print with the same gain as assumed when making the scans.
2. You give the gain of the actual press. The calibration here is expressing the adjustment needed to put the press back into its reference state (what the press looked like when first calibrated), which is not usually a linear state, but the characteristic dot-gain curve of a printing press.
The RIP can then do the calculations which account for the difference. This separation allows the actual press behavior to be accounted for without needing to remember what differences to apply manually.
12.8.2 Alternative uses of press calibration
It is also possible to work in two alternative ways, which are uncommon at present, but which we expect to become more common in the future:
• Scan to linear
Here the scanned images and application graphics are produced assuming the measured response of the press, rather than the film, will be linear. The RIP provides a special
(None) calibration set which can be used as the intended press for use in this situation.
• Press is linear
Here the press is indeed set up to produce a linear response, but the job is not expecting this. In this situation, the
(None) calibration set would be chosen for the actual press, or more likely some calibration set, derived from
(None)
, that will bring the press back to its required linear state. This is similar to printing to a full-color desktop printer.
Of course, it is possible to work with both of these ways simultaneously.
A special case of linear scans is device-independent color data—images where the colors are expressed in CIE L*a*b* for example, or held on Photo CDs in YCC format. Here, Harlequin
ColorPro is required to accurately reproduce the intended color, and in this case only the
actual press calibration set is used. This is also the case if CMYK colors are converted to
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device-independent colors first by ColorPro—in that case the gain incorporated in the job is accounted for during the conversion by ColorPro.
Lastly, note that press calibration is not a substitute for ColorPro. Calibration can compensate for changes in response of the individual process colors, but it cannot account for variations in colors of inks and dyes. Therefore if the actual and intended presses are significantly different processes (a proofing device and a press for example, or two entirely different kinds of press), the colors cannot be accurately reproduced using only calibration.
12.8.3 Direct to press
There are two ways of calibrating for working direct to press.
• You can assume a linear imagesetter and calibrate for the actual press as normal. In this case, set the device calibration to linear:
(None)
.
• You can assume a linear actual press and calibrate for the device as normal. In this case, set the actual press calibration to linear:
(None)
.
12.9 Using a combination of calibration sets
If you are printing to a direct output device, the Page Setup can include a calibration for the output device and a tone curve calibration. The RIP applies any calibration sets specified in the Page Setup in this order:
1. The
Tone Curves
calibration.
2. The device
Calibration
.
If you are preparing a job for a printing press, the Page Setup can include an imagesetter calibration, a tone curve calibration, and calibrations for the intended and actual presses. The
RIP applies any calibration sets specified in the Page Setup in this order:
1. The
Intended Press
calibration (to remove compensation for the gain of the intended press).
2. The
Tone Curves
calibration.
3. The
Actual Press
calibration (to compensate for the gain of the actual press).
4. The device
Calibration
(the calibration for the imagesetter).
The
Intended Press
calibration is not available when ColorPro is enabled. Instead, ColorPro provides several options for processing color data ahead of the transfer to press: these options include emulating the output of one press on another type of press. For details, see the separate Harlequin ColorPro User’s Guide. The calibration set specified in
Actual Press
is always used.
The default curve, which is a device correction curve, is applied before any other calibration.
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12.10 Print Calibration dialog box
12.10 Print Calibration dialog box
Choose
Output > Print Calibration
to display the Print Calibration dialog box, as shown in
You can select which Page Setup to apply while printing a test strip or exposure sweep by choosing an entry from the list in this dialog box. If you select several entries then, when you click the button to print the appropriate target, the RIP prints one test strip or exposure sweep for each Page Setup you have selected.
Note: Some settings in the Page Setup are ignored or altered—notably those in a ColorPro option that would change the color of a graphic object.
There may be different, distinct targets for each output device or type of device.
If the output format supports additional colorants (spot colors), you can choose to print the calibration for
Process Colors only
,
Spot Colors only
,
Process & Spot Colors
, or for
Monochrome only by selecting from the
Print for
pop-up menu. The output format is determined by the separations style of the Page Setup.
The
Monochrome only option supports calibration of a monochrome device such as an imagesetter. Choose this option to print a single calibration strip for a Page Setup that normally generates separations. (This ability removes any need to produce a Page Setup used only for calibration.)
12.10.1 Buttons
Clicking a button prints at least one calibration target, and more if you have selected several
Page Setups using the
From Page Setups
list, as described in “Other controls” on page 342.
The options are:
Print uncalibrated target
Prints a target without using a calibration set—even if the selected
Page Setup has one or more calibration sets associated with it.
Print calibrated target
Prints a target using the calibration set or sets associated with the selected Page Setup. If the output device has not changed since the calibration set was created then the nominal density values and the measured ones should be the same.
Print uncalibrated press target
Prints a target for a printing press without using a calibration set. You must select a Page Setup that produces separated output.
Print calibrated press target
Prints a target using the calibration set or sets associated with the selected Page Setup. You must select a Page Setup that uses an
Actual
Press
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Note: The Default CMYK targets supplied with the RIP for Uncalibrated Target and Uncalibrated Press Target have the same number of patches.
Print exposure sweep
Uses the values in the associated
From
,
To
, and
Step
text boxes to print test strips at each of several exposures in the range. This button prints an exposure sweep for each selected Page Setup, so be careful you do not produce more targets than you intend. This prints an exposure sweep without using a calibration set—even if the selected Page Setup has one or more calibration sets associated with it.
12.10.2 Other controls
These controls affect the contents and number of calibration targets produced by the buttons
described in “Buttons” on page 341.
Print for
Choose the set of colors you wish to have printed on print test strips.
You may see just one option, usually
Process Colors only
, in this list if your output device and the selected Page Setup do not support spot colors.
If the output format supports additional colorants, you can also choose to print the calibration for
Spot Colors only
,
Process &
Spot Colors
, or for
Monochrome only
. The output format is determined by the separations style of the Page Setup.
From Page Setups
Select one or more Page Setups from this list, if desired.
From
/
To
/
Step
Print exposure sweep
uses the values in these text boxes as, respectively, the first, last, and increment values of exposure when producing an exposure sweep. Take care to enter values so that the complete sweep corresponds to valid exposure values for your output device.
For example, values of
100
,
120
, and
5 produce a sweep with exposures of 100, 105, 110, 115, and 120.
To recap, the
From
box is the first exposure setting, the
To
box is the last exposure setting and the
Step
box is the size of the step. With values of,
From
100
,
To
150 and
Step
5
. You will get 11 exposures from
100 to 150 in steps of 5.
Change the
Step
5 to
Step
10 and you will get 6 exposures from 100 to 150 in steps of 10.
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12.11 Calibration Manager dialog box
12.11 Calibration Manager dialog box
Click the
Calibration Manager
button in the Edit Page Setup dialog box or choose
Output > Calibration Manager
to display the Calibration Manager dialog box, as shown in Figure 12.4, on page 329.
This dialog box helps you create new calibration sets and manage your existing calibration sets. You can edit sets to keep them accurate by entering data from new targets or to adapt a copy of an existing calibration set: for example, to make it apply to a related group of settings. Finally, you can delete any entry in the list by selecting it and clicking
Delete
.
Calibration sets are grouped by device and by color space. When you select a device from the
Device
pop-up menu, the dialog box shows a list of calibration sets for that device and the currently selected color space. If necessary, select the appropriate color space from the
Color Space
pop-up menu.
The list of color spaces contains all the color spaces in which a separations style is defined for the device. For example, if the device has separations styles defined in the Monochrome and
CMYK color spaces, then you can create calibration sets in the Monochrome or CMYK color space.
Most entries in the
Device
list are direct output devices—imagesetters, platesetters, proofing printers (and some preview options and file formats)—but there are also special entries for
Printing Press and
Tone Curves
.
The ways in which you create and use calibration sets for these types of entry vary.
Direct output devices
The way to create the calibration set is to print and measure a calibration target, as described in this chapter.
To use a calibration set, in the Edit Page Setup dialog box, you can choose any calibration set that was defined for the current device and current color space, in the
Calibration
pop-up menu . The choice of separations style determines the color space.
Although an imagesetter is not a multi-color device, the calibration set for an imagesetter contains a calibration curve for each color specified in the separations style, to take account of the different screen angles used for these colors.
Note: A special example is the CIP3 output plugin. Its behavior with respect to calibration is like that of a printing press, because its purpose to provide ink-key data for use with printing presses.
Printing Press
You can use this special device to calibrate the transfer from film to press. In general, you do not create calibration sets for a press—though this would be possible, but expensive, once you had created a calibrated output path to film or plate. A more common way of working is to adjust the press to conform to one of the standard references such as SWOP (CGATS TR001) or a BVD-FOGRA standard and to use the corresponding calibration profile as supplied with the RIP.
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You apply a calibration set for the press that you are using by choosing its name in the
Actual Press
pop-up menu in the Edit Page Setup dialog box. You can also adjust a job prepared for a different press; do this by choosing a supplied profile or measured calibration for that different press in the
Intended Press
pop-up menu, and making the normal choice for the press that you are using in
Actual Press
.
Tone Curves
This special device allows you to make another set of color adjustments in addition to the device calibration and press calibration. Typically, you might create a tone curve calibration by estimating the required change at one or two tonal values and then extrapolating and smoothing to obtain the other data values.
You apply a tone curve calibration set using the
Tone Curves
pop-up menu in the Edit
Page Setup dialog box.
For the special devices,
Tone Curves and
Printing Press
, the
Color Space
listing contains all the color spaces for which a profile exists.
To edit an existing calibration set, select it in the list and then click either
Edit from uncalibrated target
or
Edit from calibrated target
, as appropriate.
12.11.1 List headings and entries
The column headings are the various properties of a calibration set. The first column in the list is the name of the calibration set and the last column is the edited or unedited status of the calibration. Each of the remaining columns in the list corresponds to one of the warning criteria in the Edit Calibration dialog box.
The values in the columns for warning criteria show the intended values for use of each calibration set, as set in the Edit Calibration dialog box. The RIP will warn you if you select the calibration set for a Page Setup with conflicting values. You should create a calibration set for each combination of media and settings for resolution, dot shape, range of screen frequencies, exposure, and negative/positive that you expect to use with each kind of device. Use narrow ranges if you want high accuracy.
In the columns for warning criteria, you may see the following entries:
(Any)
Name
Shows that any value is allowed, so the RIP will not warn if you select the calibration set. This corresponds to clearing the check box for the warning criterion in the Edit Calibration dialog box.
(n/a)
(not applicable)
Shows that the type of entry is not relevant to the device. For example:
Exp
(exposure) is
(n/a) if the device does not support exposure control.
The individual columns are as follows, with the names used in the Edit Calibration dialog box following in parentheses.
The name of the calibration set.
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12.11 Calibration Manager dialog box
Res (Resolution)
The resolution setting.
Dot (Dot shape)
The halftone screen dot shape or spot function.
Freq (Screen freq)
The halftone screen frequency.
Exp (Exposure)
The exposure setting, if software controllable by the RIP. For example, this option is not available for the None or Preview devices.
+ / - (Use for Pos & Neg)
This tells you whether the calibration set can be used for both positive and negative output, as set by the state of the check box labeled
Use for Pos and Neg
in the Edit Calibration dialog box.
The possible entries are:
Y if you can use the calibration set for both
N if the calibration is for only one of positive or negative
Profile
(ColorPro only) or
Press
Entries in the
Profile
column are n/a except when ColorPro is enabled, when each entry shows which profile to associate with the calibration set. When
Printing Press is selected in the
Device
pop-up menu, this column is labeled
Press
, but the behavior is the same. The default calibration set is determined by the selected profile.
Note: A profile is used in ColorPro options to define the color performance of a combination of output device, media, and colorants.
If you create calibration sets in the RIP without ColorPro and subsequently enable ColorPro, the RIP associates the
Linear profile with the existing calibration sets.
Status
The
Status
column tells you about the source and whether the current data for the given calibration set came from an uncalibrated target or a calibrated target.
The possible entries are:
C for data from a calibrated strip
U
E
D for data from an uncalibrated strip if you have edited the data since entering the Calibration
Manager if you have viewed the default curve without editing it
See “Establishing a workflow” on page 332 for a discussion of why
you might use different types of target.
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E is an important entry in the
Status
column because it shows that you have uncommitted changes for that calibration set, which affects the valid commands and the values you see in the Edit Calibration dialog box.
If you select a calibration set with status
E
, you can only further edit the values in the same way, so only the edit button that you have already used on that set is enabled. If you edit the set, you see the entries you made in the previous edit.
When you click
OK
or
Select
in the Calibration Manager, the RIP commits the changes in all edited calibration sets. Once committed, the status reverts to
C or
U
, both edit commands are enabled, and you see the perfect curve when you next view the calibration curve using
Edit from calibrated target
. (Perfect, in this context means linear only in some measurement systems.)
Once you have committed changes, the RIP can show you either the calibrated or the uncalibrated curve, for any future updating of the calibration.
Note: The same calibration set can have status
U or
C depending on the last target (and the corresponding edit command) used to update it.
12.11.2 Buttons
Most buttons operate on multiple calibration sets. Only the two edit buttons require just one selected calibration set.
Edit from uncalibrated target
Click this button to enter the Edit Calibration dialog box for an uncalibrated target produced on an output device or printing press.
Edit from calibrated target
Click this button to enter the Edit Calibration dialog box for a calibrated target produced on an output device or printing press.
New
Click this button to create a new calibration set. You enter the Edit Calibration dialog box for an uncalibrated target with all
Warning criteria
boxes empty. At least, you must name the new calibration set and provide data values.
Copy
Delete
Click this button to copy a calibration set. The RIP creates a new name for the copy by adding characters (for example,
~[1] or
~[2]
) after the original name. If the name is longer than about 13 characters then you can see the added characters only in the
Name
field of the Edit
Calibration dialog box, where you can also edit the name to be more meaningful.
Click this button to delete the selected calibration set or sets. The RIP generates a warning if the selected calibration set is used in a Page
Setup.
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12.12 Edit Calibration dialog box
OK
Select
Cancel
Note: You cannot delete a calibration set if you open the Calibration
Manager from within the Edit Page Setup dialog box.
Confirms the changes you have made and exits the dialog box.
This button is available if you opened the Calibration Manager from the Edit Page Setup dialog box and if a calibration set is selected.
The
Select
button confirms the changes you have made and closes this dialog box. In addition, using the
Select
button displays the selected calibration set in the Edit Page Setup dialog box.
Closes the Calibration Manager, canceling all changes made since you displayed this dialog box.
12.12 Edit Calibration dialog box
Figure 12.5, on page 330, shows the Edit Calibration dialog box.
There are various ways of entering this dialog box, and corresponding variations in its contents.
12.12.1 Entry methods and variations
There are three ways to enter the Edit Calibration dialog box, corresponding to buttons in the Calibration Manager:
•
New
•
Edit from uncalibrated target
•
Edit from calibrated target
These ways of entry allow you to follow most working practices. The choice is yours.
When you use the
New
or
Edit from uncalibrated target
buttons, the RIP creates a calibration curve directly from the uncalibrated data values you enter.
When you use the
Edit from calibrated target
button, the RIP creates a calibration curve more indirectly. In some circumstances and with some devices, this indirect approach can lead to values that never settle to an error too small to measure; you may find that the residual errors are acceptable or you may prefer to use
Edit from uncalibrated target
.
One way of regarding the process for
Edit from calibrated target
is to say that the RIP uses the data values you enter from a calibrated target to detect imperfections in the existing calibration and adjusts the calibration to remove them. Typically, these imperfections and the corresponding adjustments are small (compared to those for uncalibrated targets) and may provide a better calibration curve than working from uncalibrated targets. Another advantage of working from a calibrated target is that it may allow the use of one fewer target—saving both time and media.
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The RIP is supplied with default calibration curves for some output devices, each curve representing the linearized state of a typical device of the same kind. If you are using ColorPro, the default calibration set is determined by the profile. Without ColorPro, the RIP uses the
Linear profile.
There are two special devices, shown in the Calibration Manager as
Tone Curves and
Printing Press
. When you edit a calibration set for one of these devices, the Edit
Calibration dialog box offers slightly different options (as described in “Variations on the
Edit Calibration dialog box” on page 333).
12.12.2 Checks in the Edit Calibration dialog box
There are various checks on the validity of the calibration curves as you change settings or enter data, and more as you exit the dialog box. The RIP displays an appropriate warning message if any of the checks suggest a problem.
12.12.3 Warning Criteria panel
It is important to choose a calibration set that is appropriate for the job you are processing. If you set the warning criteria for a calibration set, the RIP warns you if the settings in the Page
Setup conflict with these criteria. In addition, when processing the job, the RIP warns you if the settings in the job conflict with those in the calibration set. By setting the
Abort job if calibration is on, and the selected cal set does not match job
option in the Page Setup Options dia-
displays the warning messages in the RIP Monitor window.
Most of the controls in this panel are paired: a check box and a setting control. To make the calibration set apply to a particular value or limited range of values for the setting, select the corresponding box and then enter the value or values. If you do not select the box, the setting is not tested and the Calibration Manager shows
(Any) in the column for that setting.
Note: If you create a calibration set from the Edit Page Setup dialog box, the RIP takes the default settings for the
Warning criteria
from the Page Setup you are editing.
The warning criteria are:
Profile
(not illustrated)
This warning criterion is available only with ColorPro and appears only if your output device has more than one profile available. There is no check box associated with
Profile
: if present, the profile is always used as a criterion. The choice of profile determines the default calibration set.
Press
(not illustrated)
This pop-up menu appears in the Edit Calibration dialog box only if you are editing the calibration for a printing press. There is no check
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12.12 Edit Calibration dialog box
Resolution
Dot shape
Screen freq
Exposure
box associated with
Press
: if present, the press profile is always used as a criterion. The choice of press profile determines the default calibration set. If ColorPro is not enabled, the RIP uses the
Linear profile.
The resolution setting.
The halftone screen dot shape or spot function.
The halftone screen frequency. You can enter the lower and upper limits of a range of frequencies and choose the units in the accompanying pop-up menu.
The exposure setting, if software controllable by the RIP.
Use for Pos & Neg
Select this box to show that the calibration set is suitable for both positive and negative output. (This can apply only to monochrome devices.)
Also select the
Negative media
box if you are measuring from negative output, and use the
Measurements as
pop-up menu to show whether you are measuring with a positive or negative reading densitometer.
12.12.4 Other controls
Name
The name of the calibration set. If you alter the name shown here you are renaming the set, not creating a new set.
This box is empty if you enter this dialog box by clicking the
New
button in the Calibration Manager. You must enter a name before leaving this dialog box.
Channel
This pop-up menu contains the names of the channels defined in the calibration set. Depending on the device, there may be one or several channels. A monochrome device has a single channel, while a color device has several channels labeled with the names of the colors. For example:
Cyan
,
Magenta
, and
Yellow are possible channels for a 3color device. If the output device can support additional colorants, you can add a channel for a spot color. The channel
(Other colors in job) allows you to specify a calibration curve for any spot colors that do not have a separate calibration curve. Note that although an imagesetter is not a multi-color device, you can create a separate calibration curve for each color, to take account of the different screen angles specified in the separations style.
You must specify a separate calibration curve for each process color channel to produce a valid calibration set. The RIP reminds you to view the data for each channel to assess if it needs editing, as
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350
Add
Copy
Delete
described in “Exiting the Edit Calibration dialog box” on page 353.
Note that you can also
Copy
the data from one channel to another channel.
The RIP does not allow you to change to another channel if the calibration curve for the current channel is unreasonable. One example of an unreasonable curve is a non-monotonic one that rises but then falls before rising again. In such a case, the RIP warns you and prompts you to correct the curve before you can change to another channel.
To add a channel for a spot color, click the
Add
button. In the Add
Channel dialog box, select the name of the spot color from the pop-up menu and click the
OK
button. The list of spot colors contains all the spot colors named in the separations styles for the selected device and color space.
Note that in the special case of the
Tone Curves and
Printing Press devices, the list includes all the spot colors named in separations styles for any device in the selected color space. This is because tone curve and press calibration can be used with any Page Setup.
If the data for one channel is similar to another channel, you can copy the data and then edit it, rather than having to enter it again. For example, to copy the data from the Cyan channel to the Magenta channel, first select the Magenta
Channel
and click the
Copy
button.
Then, in the Copy Channel Data dialog box, select the Cyan channel from the pop-up menu and click the
OK
button.
For some devices, for example with an imagesetter, you might feel that the calibration of the black channel is also adequate for the color channels. In this case, use the
Copy
command to copy the black channel data to the other channels.
You can delete any spot color channel from the
Channel
pop-up menu by selecting the spot color channel and clicking the
Delete
button. If you have not defined any spot color channels, the
Delete
button is not available.
Measurements as
Use this pop-up menu to declare what kind of measurements you are entering in the data boxes. The entries available in this menu can vary with the type of output device. Two examples are
Status T
, a standard measure of absolute density, and
% Dot
, the area coverage of halftone output.
Note that if you choose to edit a different
Profile
which uses an alternative measurement system, a
Measurement system...not found warning is displayed and the correct system for the newly chosen profile is automatically selected in this menu.
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12.12 Edit Calibration dialog box
Max density
(not illustrated)
This control allows for conversion between percent dot and density. It appears only for the
Printing Press device and for ColorPro profiles that require it to appear.
12.12.5 Values
You can enter values in any form offered to you in the pop-up menu labeled
Measurements as
. Examples are:
• Percent dot (0 through 100%)
• Dot Gain (relative values expressed in ± values from a perfect transfer curve)
• Status-T Density
• Visual or ISO Visual (which is the same as the Visual channel of Status-T)
• L* (from CIE L*A*B*)
12.12.6 Test strips and data boxes for patches
Each output device can have its own pattern of test strip and there can be varying numbers of patches on test strips for different devices. If the target uses fewer patches than the maximum (36) then the remaining data boxes appear empty and unlabeled.
You can exit this dialog box only when all labeled boxes have entries. You can provide entries by typing, by using
Extrapolate
, or by using
Import
and a file of data values.
12.12.7 Controls
Negative media
Select the
Negative media
check box to show that you are measuring data from negative output media. Leave it clear when you are using positive media.
Force solid colors
This check box is available only when you are using halftone devices.
When you select this box, any color in a job that uses the maximum density of any channel is represented by the maximum amount of that colorant available on the output device: this guarantees a solid color that is the maximum deliverable by the output device, rather than a lower density color (achieved by screening) that calibration has established as 100%.
The default setting of this option is selected and should be left for work on most presses—this will ensure that colors defined as solid in the incoming PostScript language file will be imaged as solid. For Gravure work this option should be unchecked.
This option does not apply to calibration test strips, only jobs.
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Smooth
Extrapolate
Clear
Reset
Import
For example, this is a desirable setting where you wish to avoid screening black text, but using it means you do not have an exact colorimetric match for the color when using ColorPro. See also the Harle-
quin ColorPro User’s Guide.
This button smooths the values near the ends of a curve: typically, to approximate a smooth curve where the limited resolution of a measuring device may have truncated similar values to be the same.
This button is enabled when you are calibrating for a printing press or when the output device supports extrapolation. There also needs to be at least one empty data value.
You can use
Clear
to empty all data values, enter a limited number of values, and then press
Extrapolate
to have the RIP calculate the remaining values. A typical source of values is a manufacturer’s data sheet, for example, giving press gain in the form: a gain of 15% at 50%.
In rare cases, extrapolation may not be able to produce a reasonable curve: the RIP displays an error message to tell you if this has happened. (One example of an unreasonable curve is a non-monotonic one that rises but then falls before rising again.)
Click this button to clear all the boxes. This is intended as a preliminary to entering data in a small number of boxes and using the
Extrapolate
button to calculate values for the other boxes.
Reset
deletes all entered data for the calibration set and displays the default curves for the device (and profile, if ColorPro is enabled). For a multi-channel device, it resets all channels; not just the channel whose curve is displayed.
To import the data from a file rather than typing numbers into the boxes, click the
Import
button. The RIP displays the Import Measure-
ments dialog box, shown in Figure 12.6.
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Figure 12.6 Import Measurements dialog box
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12.12 Edit Calibration dialog box
Note: The data in the file is provided in the correct format by a separate utility program, Genlin, which supports the use of various auto-
mated densitometers. See Appendix C, “Using Genlin” on page 413
for details.
The import file contains measured data for some or all of the channels in the calibration set. For each calibration channel, you can choose to import the measured data for that channel, to import data that was measured for a different channel, or to leave the current data for the calibration channel unchanged. By default, the RIP uses the measured data for a channel, where available. If there is no measured data for a channel, the RIP defaults to the
(No Change) option.
The
Calibration Channel
column contains the names of all the process and spot color channels defined in the calibration set, including the
(Other colors in job)
Channel
channel, if appropriate. When you select the pop-up menu in the Edit Calibration dialog box, you see the same list of defined channels. (You can define a spot color channel using the
Add
button in the Edit Calibration dialog box: see page 350
for details.)
Thepop-up menu under the
Measured Channel
column contains the names of all the measured channels in the import file, together with the
(No Change) option.
To change the setting for a particular calibration channel, select the corresponding row and then select the name of a measured channel or
(No Change) from the available list. For example, select the
Yellow row and then select
Cyan from thepop-up menu to import the data measured for the Cyan channel to the Yellow calibration channel. A more realistic example might be to select an available measured channel, perhaps
Default
, for a
Black or
Gray calibration channel when the measurement file does not identify the data in the way expected by the RIP.
Note: The RIP may detect a mismatch between the expected device, profile or measurement system and display a warning dialog box.
This protects you from importing incorrect data.
12.12.8 Exiting the Edit Calibration dialog box
You must specify a separate and valid calibration curve for each process color channel to produce a calibration set, unless you want to accept the default curve. The RIP carries out checks on the data before it saves the calibration set.
If you exit the Edit Calibration dialog box without editing any calibration data, the RIP closes the dialog box and saves the calibration set with a status of
D
. This shows that you have viewed the default curve without editing it.
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If you have edited the data for one of the process color channels, but not all of them, the RIP warns you and asks for confirmation that you want to exit without editing the other channels.
In this context, “editing the data” for a channel means at least viewing the data to assess if it needs editing. The RIP keeps a record of which process color channels you have edited and queries you if you have not edited all of them.
For example, if you edit only the Cyan channel of a 4-color device, the RIP will query you about the Magenta, Yellow, and Black channels. The following message is typical:
You haven’t viewed the following channels: Magenta, Yellow, Black. Finish editing anyway?
The RIP does not allow you to save an unreasonable curve. One example of an unreasonable curve is a non-monotonic one that rises but then falls before rising again. If you try to save an unreasonable curve, the RIP warns you and prompts you to correct the curve before you can save it.
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13
Color Separation
This chapter describes some basic concepts of color reproduction and the related parts of the
Harlequin RIP.
The concept of color separation is no longer restricted to producing separated output. When processing any job, the RIP creates a separation for each process colorant and also, where appropriate, for spot colorants. The output format determines whether the separations are printed together as a composite, or separated. By configuring these separations you can control the printing of individual colorants in the job. Although there is only one separation in the monochrome color space, the RIP provides the same options for configuring that separation.
Separations information is saved together with screening information in a separations style, which can be used in several Page Setups. A separations style is defined for a specific device, color space, and output format. Selecting a separations style in the Edit Page Setup dialog box determines the color space of the Page Setup.
These are the related parts of the Harlequin RIP:
Chapter 6, “Screening” for details of the screening options for halftone separations.)
• The Color Setup dialog box. See “Color Setup” on page 375. This dialog box contains
the controls for black generation and undercolor removal, trapping, and overprinting.
multiple modes.
ducing output.
13.1 Introduction
To produce a color image, many reproduction systems take advantage of the fact that there are small sets of colors that, when mixed in the correct proportions, can produce any of a very wide range of other colors. For example, combinations of red, green, and blue inks
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(commonly known as RGB), or cyan, magenta, and yellow inks (CMY), can between them produce thousands of different hues.
Color printing more commonly uses CMY colors, with the addition of a black ink to account for imperfections in the printing process. This manual uses the term CMYK for the system of color representation using these four inks (Cyan, Magenta, Yellow, and blacK). These inks are the commonly used process colors. There are several other terms in common use, some terms using B for Black or referring to the order of printing each ink by reordering the letters:
YMCK, YMCB, and KCMY are typical.
Black ink is used for several practical, economic, and quality reasons:
• Black appears very often: for example, in text.
• Black ink is cheaper than colored inks.
• Mixing CMY inks produces an impure black, probably tinged with brown, and can result in objectionable colored fringes on small objects such as characters in body text.
Additionally, one application of black ink replaces three applications of colored inks so drying time can be reduced.
• Black can be used to extend the range of colors and tints available from mixing CMY inks.
There are ways to improve reproduction quality or economy beyond the levels possible with
CMYK process inks. There are two general approaches: to vary the number of process inks
(HiFi or N-color printing), or to add spot colors. Each approach has its own advantages.
13.1.1 Alternative process color systems
N-color printing uses a different number of process colors: fewer for economy in simple jobs such as forms printing or more for high quality. For high-quality printing, or HiFi color, at least two distinct types of color schemes are growing in popularity: for convenience in this discussion we shall call them distinct colorant and photo-ink.
Distinct colorant printing uses a combination of different process colors. For example, in the
PANTONE Hexachrome Color Selector system there are six inks: cyan, magenta, yellow, black, orange, and green. (Other schemes of six or seven distinct colors are possible but this system is well known.) These colors are chosen as a set to provide a wider gamut than provided by colorants in the established CMY or CMYK schemes so, for example, the cyan in a six-color system is unlikely to be the same as the cyan in a typical CMYK system. To avoid confusion a different naming scheme is needed. There is not a single fixed set of names:
HexC or HexCyan are equally valid names for the cyan ink and may be used by graphics applications creating jobs.
Photo-ink technologies use a different approach. There are different densities (light and dark versions) of one or more colorants. A capable system is then able to use the light ink in highlight areas and the dark ink where more colorant is required. A typical set of colors is light cyan, dark cyan, light magenta, dark magenta, yellow, and black. As in distinct colorant systems, these are not the same inks as used in the CMYK system and it is important to distinguish between the two systems. Various naming schemes are possible: a possible example is
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13.1 Introduction
PhotoCyan Light, PhotoCyan, PhotoMagenta Light, PhotoMagenta, PhotoYellow, and PhotoBlack.
The Harlequin RIP provides facilities for screening and calibrating both of these color systems, but the actual availability for use of a distinct colorant or photo-ink color space depends upon there being an installed output plugin using the new software facilities. Also, some configuration of the files in which the RIP stores colorant databases may be needed before first use. For example, the Harlequin RIP allows for jobs to use any of the different color naming schemes discussed for distinct colorant and photo-ink systems and to link these to the internal naming scheme used by the RIP. Each new naming scheme requires some configuration.
13.1.2 Spot colors
Spot colors are used in a job when a particular color is used very heavily or must have a better quality than is available by mixing the process colors. Typical uses of spot color include colored text, company logos, and colors that are outside the range available from mixing process colors. Spot colors may also be used to define effects other than coloring: for example, to place varnishes and glues.
13.1.2.1 The PANTONE MATCHING SYSTEM
®
The Harlequin RIP is able to make use of the PANTONE MATCHING SYSTEM. Colors are identified as M (matte), C (coated) and U (uncoated). For example,
PANTONE 533 M
,
PANTONE
533 C
, and
PANTONE 533 U
. Previously, Pantone colors were identified as CV (coated) and
CVU (uncoated). For example
PANTONE 533 CV and
PANTONE 533 CVU
.
From v8.0 The Harlequin RIP is able to make use of the PANTONE
® system.
Goe
™ coated color
From v8.1 The Harlequin RIP is able to make use of the PANTONE
® system.
Goe
™ uncoated color
All the Pantone Databases can be found in
SW\NamedColor
.
To use the PANTONE MATCHING SYSTEM the color names must match exactly the names
As previously stated, all the Pantone Databases are in
SW\NamedColor
.
The
PantoneProcess database is found in the
SW\NamedColor\Examples folder. To make this database work, it must be referenced in one of the files in
SW\NamedColorOrder
. You do this by editing the
Intercept
,
Recombine and
Roam files. If you want to produce all Pantone colors by their CMYK equivalents, put
PantoneProcess before
PantoneU in the files. Putting
PantoneProcess at the end of the file (that is, after
PantoneMatte
) will mean only the
PC Pantone colors will be found (that is,
PantoneU and
PantoneV colors will still be converted to XYZ).
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13.1.3 Types of color jobs
There are two common types of color jobs:
• All the color information is in one job. This is a full-color job, also known as a color composite.
• The color information has been separated into a page for each color ink. This is a prese-
parated job. These pages may be parts of one job or separate jobs.
Composite jobs offer the greatest flexibility in handling jobs and targeting them to different output devices, but many workflows are built around preseparated jobs. The RIP can recom-
bine many preseparated jobs, provided that the separations are supplied as one job. (“Color
PostScript language jobs” on page 363 and “Preseparated jobs” on page 364 describe the
details of using composite and preseparated jobs with the RIP.)
13.1.4 Harlequin RIP
This chapter describes how you can produce output from documents for use in CMYK color printing. You can also produce output for other color systems, such as RGB and N-color, and output for jobs that include spot colors. The Harlequin RIP accepts either full-color jobs or preseparated jobs as input, and outputs them correctly.
The Harlequin RIP also provides some extensions to the PostScript language specification: for example, the ability to recognize spot colors in documents defined using the PostScript
Level 1 language.
13.1.5 Harlequin ColorPro
Harlequin ColorPro extends the color handling capabilities of the RIP. For example, you can use ColorPro to intercept CMYK color definitions and convert them to device-independent color using input profiles. The extra facilities and changes of procedure associated with
ColorPro are described in the separate manual Harlequin ColorPro User’s Guide.
13.2 What color separations are
Color printing using this color-mixing method is done using color separations. These are sets of single-color images that yield a full-color image when combined appropriately.
Figure 13.1 shows how four single-color images can be combined to produce an image in dif-
ferent colors. In this grayscale figure, different shades of gray represent the various colors.
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13.2 What color separations are
Cyan
Separations produced in four process colors
Magenta Yellow Black
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Overlay process yields full color images
The Magazine a weekly review
Figure 13.1 How separations can form a color image
The image in the figure shows the cover page of a fictional magazine. It is mostly black, but has a small color illustration on the right that consists of some land (in green), over which there is a road (in pure black), and in the sky (not colored) the sun (in pure yellow) is shining.
Color images are not produced from separations by mixing inks before application to the page. Instead, the illusion of a full-color image is produced by seeing different proportions of the four inks laid together on the page. Each separation adds one color component to the image—cyan, magenta, yellow, and black in turn—and, when they are overlaid correctly, they form a full-color image.
A color separation is, strictly speaking, a monochrome (that is, one color) image. It is called a
color separation because it is the result of separating one color from the others in the color system. For example, the yellow separation in CMYK is a version of the image that shows only the yellow part of it, separated from the cyan, magenta, and black. (You can control how colors will be separated from the others in an image.)
Seen in isolation, a single separation may not look much like the full-color image of which it will form a part but it is usually possible to identify some features of the final image. In
Figure 13.1, the yellow separation shows the sun, which is pure yellow. It also shows a small
amount of yellow in the ground part of the image, which will combine with the cyan separation to form the grass color. However, it does not contribute to the road or the text, and so it is empty in those places.
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13.2.1 Knockouts and overprinting
Suppose we have a very simple image that is a pure magenta background with a pure yel-
low square in the middle. The separations produced will be those in Figure 13.4.
Separations for a yellow square on a magenta background
Cyan Magenta Yellow Black
Figure 13.2 Color separations for a simple image, with knockouts
Since the yellow and magenta inks can portray yellow and magenta quite adequately on their own, the cyan and black separations are empty.
The yellow separation shows a square in the middle and nothing else. The square signifies the presence of yellow in the image at that point. The magenta separation shows a white square on a magenta background. So, magenta will be printed in every part of the image except for that square.
Because magenta will not be printed in the white square, only yellow will appear there when the separations are put together. This is important, since if magenta was printed there too, it would mix with the yellow, and produce a square that was not pure yellow, but red. Equally, no other inks will overlap the magenta background, because no separations other than the magenta one contribute any color to that region.
An area of a separation that is made empty so that it does not interfere with a graphic object represented by a color or colors in other separations is called a knockout. This is because the colored area has been knocked out of the separation.
One problem with using knockouts is that if the separations are not overlaid accurately
enough, there may be a white gap at the edge, as shown in Figure 13.3. This effect is the
product of misregistering the separations, that is, misaligning them when they are combined.
Nevertheless, in cases where printing one ink on top of another would produce the wrong color, producing separations with knockouts is essential. Generally, graphic and page design applications produce knockouts automatically.
Inaccuracies caused by misregistered knockouts can be overcome by using special printing
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Figure 13.3 Misregistered separations with white gaps
Suppose we have another simple image that is a pure magenta background with a black
square in the middle. Figure 13.4 shows the separations that can be produced.
Separations for a black square on a magenta background
Cyan Magenta Yellow Black
Figure 13.4 Color separations for a simple image, with black overprinting
In this case, we do not need to make a knockout on the magenta separation, because the black ink should be strong enough to overcome the influence of the magenta ink beneath it.
So we may choose not to let the black separation cause a knockout in the magenta separation. This effect is called overprinting, and is the opposite of a knockout. Overprinting eliminates the risk of finding gaps in the final output, but cannot be used unless the overprinted ink is strong enough to overcome the effects of the ink or inks beneath it. When overprinting is not possible, trapping remains a possibility.
13.3 Producing color images from separations
In the RIP, depending on the output format, you can print separations together as a composite page, colore? separations, or each separation as a monochrome page.
If you print a set of monochrome separations for use in the printing process, these separations can be put together to form a color image. The separations are carefully placed one on top of the other until all the color details can be seen. How is this achieved?
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Typically, color pictures do not consist only of areas drawn in full-intensity primary colors.
Most of the picture is usually be in various shades and tints. Most printing presses require screened halftones, so these varying intensities are achieved by using halftone dots. Each
separation, therefore, is usually composed of a pattern of halftone dots. (See Chapter 6,
“Screening”, for details of halftoning.)
In halftoning strategies, continuous tone gray or colored images are imitated by combining dots of different sizes and colors. They are combined in such a way that, to the human eye, they mix, and the observer sees the intended color image.
To ensure that the colors combine correctly, the positions of the dots on each separation are calculated carefully. The grids, or halftone screens, for each separation are aligned at different angles, to avoid moiré patterns.
Once each separation has been produced, the final image can be constructed by printing the separations directly on top of each other. The intermediate stages are progressive proofs. In the
CMYK model, this is usually done by printing yellow first, then magenta, cyan, and finally
black. Figure 13.5 and the following figures show the stages involved when printing color in
this way for the example image in Figure 13.1, page 359.
Blank paper Yellow separation
Figure 13.5 Yellow separation
Yellow
Figure 13.5 shows how yellow ink for the yellow separation is printed on blank paper. You
can also preview separation printing on screen in the RIP. See “Roaming separations” on page 388.
Next, the magenta ink for the magenta separation would be printed on the paper, but since the separation is empty for this image, nothing is printed.
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Yellow Magenta separation Yellow + Magenta
Figure 13.6 Yellow and (empty) Magenta separations
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13.4 How color separations are produced
Next, the cyan ink for the cyan separation is printed. To the eye, the pattern of cyan and yel-
low dots in the area of land will appear green as simulated in Figure 13.7.
Yellow + Magenta Cyan separation Yellow + Magenta + Cyan
Figure 13.7 Yellow, Magenta, and Cyan separations
Finally, the black ink for the black (K) separation is printed. All of the separations have been
combined, producing a full-color image as simulated in Figure 13.8.
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Yellow + Magenta + Cyan Black (K) separation Full CMYK image
Figure 13.8 Yellow, Magenta, Cyan, and Black separations
13.4 How color separations are produced
Each job may specify color images in one or more different color spaces, for example: CMYK,
RGB (red, green, and blue), HSB (hue, saturation, brightness), or an N-color space. No matter how a job is specified, the RIP separates that job into one output format, to suit the output device. Again, in this discussion we will concentrate on CMYK separations as an example.
13.4.1 Color PostScript language jobs
Composite color jobs are not described as a series of separations. Instead, each object on the page is described just once, in full color.
Importantly, the PostScript language method of describing color is device independent. That is, no matter what color space is used to describe an image, it can be rendered on any properly color-calibrated output device that your RIP supports. The same color job can thus be used to produce, for example, full-color output on an RGB color printer, or a set of monochrome separations ready to be used in the printing process. Some devices, typically desktop printers and proofing systems, can accept continuous tone input.
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Note: If you have ColorPro available, you can apply it to CMYK separations as well as to color composite CMYK jobs. The separations must be suitable for use with the
Recombine preseparated jobs
The RIP can take full-color jobs as input, and interpret them once to produce separation information for each color in the space. In CMYK, this creates four monochrome output pages, each corresponding to a different color separation. When the full-color image is to be produced, the colored parts of a separation show where inks should be applied, and the white parts where not. Alternatively, the RIP can print the separations together as a composite.
13.4.2 Preseparated jobs
Having the RIP produce separations from composite color jobs is not the only means of producing separations. The job could be separated into one or more PostScript language documents before it reaches the RIP. This might be done by the application program in which the job was composed, or by a special separator program that took the output of the composition program and produced PostScript language separations from it.
However, these methods are not optimal. If you preseparate the job, you commit yourself to printing the job on a device that can recombine the separations it produced: the documents become device dependent. A process that commits a job to a particular device is not desirable, because you may need to output your job on a number of different devices. The RIP can recombine certain classes of preseparated jobs: see the description of the
Recombine preseparated jobs
option on page 372 for details.
There some circumstances where you must use recombination with preseparated jobs in order to use features of the RIP, and some of these circumstances apply even when you wish to produce separations. These features are:
• Output to a composite proofing (or final output) device.
• Color management, using ColorPro.
• Trapping, with the in-built options in the RIP.
• Output to progressive separations.
• Output of separations in a different order.
All these features require the RIP to have access to the complete color of all objects on a page.
To ensure that this is possible for preseparated jobs, select
Recombine preseparated jobs
.
Alternatively, where other settings in the Page Setup prohibit recombination, select
Reject preseparated jobs
.
Note: Both colored separations and progressive separations require the output color space to match that of the separations. For example, it is not possible to produce colored separations or progressive separations from a job preseparated to CMYK if the output device uses the
PhotoInk color space.
The RIPs separation facilities allow you to preserve device independence in your jobs right up until you wish to interpret it for output on a particular device. However, you can present
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13.5 Creating and managing separations
device-dependent, preseparated jobs to the RIP if you wish, and it will process and output them correctly.
13.5 Creating and managing separations
Separations information is saved together with screening information in a separations style, which can be used in several Page Setups. A separations style is defined for a specific device, color space, and output format. Selecting a separations style in the Edit Page Setup dialog box determines the color space of the Page Setup.
Separations styles are created and managed in the Separations Manager.
13.6 Separations Manager dialog box
The Separations Manager appears when you click the
Separations Manager
button in the Edit
Page Setup dialog box, or choose the
Color > Separations Manager
command.
Figure 13.9 Separations Manager dialog box
The Separations Manager displays a list of all existing separations styles for the current device, showing the name of each separations style, the corresponding color space, and the output format.
To display the list of separations styles for a different device, select a device name from the
Device
pop-up menu. When you use a device for the first time, the RIP generates a set of separations styles for that device. Some devices can support simple styles only. Others, like
TIFF, can produce many different styles, so the names of the styles are chosen to avoid ambiguity.
You can edit these separations styles to suit your installation or create new ones.
13.6.1 Controls and actions
The controls below the list allow you to create separations styles, and to edit, copy, or delete existing separations styles.
Edit
Select a separations style and click this button to edit it in the Edit
Style dialog box. A shortcut is to double-click a separations style.
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New
Copy
Note: To rename a separations style, copy it and save the copy with the desired name, before deleting the original.
Click this button to create a new separations style. The New Style dia-
log box appears, as described in “New Style dialog box” on page 366.
Once you have set the color space and output format, you cannot change them for the named separations style.
Select a separations style and click this button to edit a copy. The New
Style dialog box appears, as described in “New Style dialog box” on page 366.
Delete
Select one or more separations styles and click this button to delete them together. You cannot delete a separations style if it is used in a
Page Setup.
You cannot delete the only separations style in a list.
Select
This button is available if you opened the Separations Manager from the Edit Page Setup dialog box and a separations style is selected.
The
Select
button confirms the changes you have made and exits the dialog box. In addition, the
Select
button displays the selected separations style in the Edit Page Setup dialog box.
You can also select separations styles and reorder them by dragging them to new positions in the list. The order in the Separations Manager is the order of appearance in menus where you choose a separations style.
13.6.2 New Style dialog box
The New Style dialog box appears when you click the
New
or
Copy
button in the Separations
Manager.
Note: If you clicked
Copy
to display this dialog box, you can change only the style name: this ensures that the new style is a true copy of the original. Once you have named the copy and clicked
Create
, you can modify individual settings in the Edit Style dialog box.
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Style name
Figure 13.10 New Style dialog box
Type in a name for the separations style. The style name must be unique and can be up to 30 characters long.
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13.6 Separations Manager dialog box
Color space
Select the color space from the pop-up menu. You can select any color space known by the RIP, not just the color space of the target device.
Monochrome, RGB, and CMYK are always available. If you have installed an N-color device, you can also use its color space, even if you are not printing to that N-color device. This choice determines the process colorants specified in the separations style. The output format specifies how the colorants will be printed on the output device.
Output format
Once you have selected the color space, select an output format from the pop-up menu. This specifies how to generate the output on the target device. The available options depend on the selected output device and the setting for
Color space
. For example, with a typical
CMYK device operating in its own color space, you can generate output as monochrome separations, as colored separations (either single or progressive proofs), or as a composite. For an RGB output device, you can convert CMYK or N-color separations to RGB output, and so on. When an arrow appears in the output format name, it indicates that the color space does not match that of the output device.
Note: Once you have set the color space and output format, you cannot change them for the named separations style.
Click the
Create
button to open the Edit Style dialog box, described in “Edit Style dialog box” on page 368. Click
Cancel
to discard your changes immediately.
13.6.3 Selecting several separations styles
You can select multiple separations styles when you want to delete or reorder them. Use the following keys:
Shift
To select a block of separations styles that appear together in the list, select the first style in the block, then, while holding down the Shift key, select the last style in the block.
To select several separations styles, regardless of whether they form a continuous range, hold down the Command key while selecting the styles you wish to delete.
13.6.4 Closing the Separations Manager
You must close the Separations Manager before you can use any tool bar buttons or menu options in the RIP.
Click
OK
to confirm all the changes you have make in the Separations Manager and Edit
Style dialog boxes. The
OK
button saves the changes you have made and closes the Separations Manager. If you opened the Separations Manager from the Edit Page Setup dialog box, you can also save the changes by clicking the
Select
button. In addition to saving the
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changes, the
Select
button displays the selected style in the Edit Page Setup dialog box. Click
Cancel
to discard all changes.
Note: If you open the Separations Manager from the Edit Page Setup dialog box, changes that you make in the Separations Manager are independent of the Edit Page Setup dialog box. For example, if you create a separations style, and close the Edit Style dialog box with
OK
, and the Separations Manager with
OK
or click
Cancel
in the Edit Page Setup dialog box.
Select
, the new style will remain even if you
13.7 Edit Style dialog box
The Edit Style dialog box appears when you create or edit a separations style in the Separations Manager. It contains the options related to separations and, where appropriate, to screening. There are two forms of the dialog box:
• If the output format of the separations style supports screening controlled by the RIP, the Edit Style dialog box contains options that allow you to set up defaults and over-
ride the screening parameters requested in a job. See Chapter 6, “Screening” for a
description of these screening options: try starting with Figure 6.2, page 167.
• Otherwise, a more compact dialog box displays only the options for separations, as
shown in Figure 13.11. This form of the dialog box suits contone output and also
output to devices and processes that do their own screening.
The remainder of this section describes the separations options appearing in both forms of the dialog box.
Note: There are also controls for black generation for CMYK output and overprinting in the
Color Setup dialog box, accessed from the
Color Setup Manager
or the Separations, Screening,
and Color section of the Edit Page Setup dialog box. (See “Color Setup” on page 375.) Also,
trapping options are available from the Separations, Screening, and Color section of the Edit
Page Setup dialog box. (See “Trapping features” on page 386).
Figure 13.11 Edit Style dialog box
This dialog box contains a list showing the separations that the RIP can produce. There are
initially separations for the process colors in the selected color space. In Figure 13.11 there
are separations for the four process colors in the CMYK color space.
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13.7 Edit Style dialog box
If the chosen output format supports additional colorants, you can control the printing of spot color separations using the
(Other colors in job) entry, or you can add a separation for a specific spot color.
You can rename or delete spot color separations. You cannot delete the standard process color separations from the list, nor can you change their names. You may, however, ask the RIP not to produce a certain separation.
For particular jobs, you may want to vary the settings in the interests of efficiency or to ensure compatibility with PostScript language code that uses Level 1 operators. For example, the default settings produce separations for all process colors, so you may want to turn off some process colors if a job is mainly defined in spot colors. Also for example, if you need to reprint just a single separation (and it is not saved in the Output Controller), you can turn off all the other separations.
The
option in the Edit Style dialog box determines which separations are produced. The
RIP produces all those separations marked as
Yes and the non-blank separations marked as
Not Blank
.
Note: If you are printing a preseparated job, and you wish to not produce some separations, select
Recombine preseparated jobs
, even if you then wish the RIP to produce output separations. The RIP produces all separations of a preseparated job except when recombining.
If you are producing screened separations, you can control the screening of process and spot
Note: The separations shown in this dialog box always take effect for jobs that do not specify their own separations. If the job attempts to specify separations, you must select the
Override separations in job
check box if you want to produce the separations shown here.
13.7.1 Producing separations
The boxes below the list of separations allow you to control the printing of process color separations and change the ink type. If the chosen output format supports additional colorants, you can also control the printing of spot color separations. Any spot color not explicitly listed is controlled by the
(Other colors in job) settings. With the default settings, if a job calls for spot colors not named in the list of separations, the RIP converts those spot colors to the appropriate combination of process colors.
To change the settings for an existing colorant, select the colorant from the list and edit the values in the boxes below.
Note: If the output format of the separations style supports screening, you can also change
Separation
The name of the separation. To rename a spot color separation, type the new name into the text box. You cannot rename process color separations.
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Warning: The name you enter for the spot color must match the one used in the job in every respect: upper and lower case, use of embedded space characters and any trailing
CV or
CU suffixes. For example: a typical Pantone specification is
PANTONE 386 CV but applications may report this in different ways.
If this option is set to
Yes
, a page will be produced for the separation, even if the separation is blank. If this option is set to
No
, the page will be omitted, although any effects it might have on the others are still calculated. You might use this feature to suppress process color separation for a job using spot colors only. If the option is set to
Not Blank
, the RIP will produce a page for that separation as long as the separation is not blank.
For example, to produce only the process colors and convert all colors defined as spot colors in the job to process colors, set each process color to
Yes and set
(Other colors in job) to
No
. These are the default settings.
To produce a separation for every spot color requested in the job and for each of the process colors, set each process color to
Yes and set
(Other colors in job) to
Yes
. Then any calls for unlisted spot colors in a particular job mean that the RIP produces the required separations automatically for that job.
Warning: When Simple Imposition is being used, the
option must be set to
Yes if you wish to see color patches on either the proofing or the plate colorbars. Using the
Not Blank option will omit color patches for that color.
If you want to produce a separation for a specific spot color and to convert all other spot colors which may be included in the job to process colors, set the specific spot color to
Yes and set
(Other colors in job) to
No
.
Of these ways, the one you choose is likely to be dictated by the characteristics of your output device and process, such as the number of inks available in one pass.
Angle
This box appears only if you are editing a halftone (screened) style.
Note: This box defines a default value, used if the job does not set its own screen angles. If you wish to use angles entered here even when the job requests other values, select the check box
Override angles in job
, also in this dialog box.
Note: If you have one of the optional TrapPro features enabled, you can create sets of trapping rules and apply them within the RIP. From the Eclipse Release of the Harlequin RIP, the ink set options have been removed from the Edit Separations dialog and placed within their
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13.7 Edit Style dialog box
own Ink Set Manager. TrapPro and the Ink Set Manager options are fully described in the separate TrapPro User Manual.
New
Delete
Use this button to add a separation for a spot color to the list. A new row appears in the list of separations. Type the name of the spot color into the first text box below the list, to replace the text
New Color
. If required edit the settings for
.
Warning: The name you enter for the spot color must match the one used in the job in every respect: upper and lower case, use of embedded space characters and any trailing
CV or
CU suffixes. For example: a typical Pantone specification is
PANTONE 386 CV but applications may report this in different ways.
Use this button to delete the selected spot color separation. The separation disappears from the list. You cannot delete process color separations.
13.7.2 Other options
There are some other controls in the Edit Style dialog box, not linked so closely to individual separations.
Override separations in job
The separations shown in the Edit Style dialog box always take effect for jobs that do not specify their own separations. If the job attempts to specify separations, you must select the
Override separations in job
check box if you want to produce the separations shown here.
Use Level 1 spot colors
Spot color is not a standard part of the PostScript Level 1 specification.
It is a widely used convention that was defined later. If you wish to separate composite jobs using this spot color convention, select this box.
Warning: We strongly advise you not to select this box when defining a separation style to which you will supply preseparated jobs. The box is only enabled if you using a CMYK separation style and not recombining, but you might use a style with these settings and submit preseparated jobs in order to override screen angles or other settings. (You cannot select this box when you are using a monochrome separation style or you have selected the
Recombine preseparated jobs
box.)
When you select this box, the RIP converts conventional representations of spot colors in PostScript Level 1 language documents to the current
PostScript Language compatibility level
. By default, the RIP converts the spot colors to LanguageLevel 3. To convert the spot colors to
LanguageLevel 2 style, change the
PostScript Language compatibility level
in the Page Setup Options dialog box.
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This check box has an effect only when producing spot colors.
Override angles in job
This box appears only if you are editing a halftone (screened) style.
Select this box if you want to ignore any screen angles set in the job.
See “Screen angles” on page 173 for more details.
This option is automatically selected when
Recombine preseparated jobs
is checked.
Reject preseparated jobs
If you select the
Reject preseparated jobs
check box, the RIP will not process preseparated jobs. If this check box is selected, then the
Recombine preseparated jobs
check box is disabled.
Recombine preseparated jobs
The
Recombine preseparated jobs
check box allows you to recombine certain classes of preseparated jobs. Recombining may be useful or necessary in a variety of cases: for example, when proofing on a fullcolor device or retargeting from one kind of final output device to
another kind. See “Recombination” on page 372 for details of the suit-
able jobs.
From Eclipse Release SP3, this option will activate Recombine 2.
Note: When using this option, the RIP cannot paint partial page buffers; expect jobs with pages requiring large amounts of memory to fail if you have not allocated enough physical memory. Also when
Recombine is enabled the PDF Retained Raster feature is disabled and a warning message is displayed.
13.7.3 Recombination
From the Harlequin RIP Eclipse Release a single method of recombination known as
“Recombine 2” is used. Recombine 1 is replaced completely with Recombine 2 which uses both object and raster methods where appropriate.
Recombine version 2 provides the following main benefits:
• Improved accuracy of object placement.
• Improved accuracy of the recombined color.
• Considerable performance improvements for complex jobs.
• Improved accuracy of color management—color management happens after overprints and recombination has occurred.
The additional functionality may result in a performance overhead proportionate to the area covered by those objects present in sepa?ations which are not being output and instead converted to process.
Recombine 2 is active as the default.
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There are some limitations on the jobs that the RIP can recombine. There are also some classes of jobs where you should make additional settings.
Note: When Recombine is enabled the PDF Retained Raster feature is disabled and a warning message is displayed.
The limitations listed below apply to Recombine 2:
• The job must consist of process separations, suitable spot colors, where suitable is defined in this section, or both. (It is also possible to submit most composite jobs to a
must create and maintain but has no intentional effect on the composite jobs.)
• The names of suitable spot colors must be unambiguous. If the job supplies a CMYK equivalent for a spot color and the name is recognized by the RIP, that is sufficient for use with recombine.
• When the job does not contain a process equivalent for a spot color, recombine can still be used if the RIP can find a correct equivalent name in a RIP named color database.
The RIP searches several files in the
SW/NamedColor folder for an equivalent. These files define several commonly used names, including: other process colors, such as
Red, Green, and Blue; spot colors produced by some common job-creating applications; and the
CV and
CVU names defined in PANTONE Colors.
Note: Some common names—for example,
Pink or
Mauve
—can have slightly varying definitions in different jobs, because either the creating application or the designer has used a conflicting definition. One solution is to add a CMYK equivalent in the job where such a name occurs.
In short, CMYK equivalents for spot colors must exist either in the job or in a RIP named database.
• The job must contain all the required separations in one file or AppleTalk connection.
It is not possible to recombine jobs where each separation is in its own file.
• Where the job contains more than one set of separations, separations from each set (or page) must appear contiguously—for example each page (or set) should appear in the order, KCMYDE (where D and E represent spot colors). That is, KCMYDE for the first page, KCMYDE for the second page and so on. The pages must not appear ordered by colorant. For example: the order KKK…CCC…MMM…YYY… DDD… EEE… is not allowed. Where there is only one set (or page) of separations in the job, the order of separations in the job is unimportant: for example, CMYKDE and KCMYED are both acceptable.
• When Recombine is enabled and a preseparated PDF job is provided that contains
SeparationInfo objects (a dictionary containing color separation information for the page from PDF v1.3), the RIP will treat each set of separations as a logical page. For example, a job containing 16 separations of CMYK, CMYK and so on, is handled as four (recombined) pages. If
SeparationInfo is missing or Recombine is disabled, the
RIP will treat the job has having 16 pages.
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The additional settings for recombined jobs are:
• The
Override angles in job
option is automatically selected when
Recombine Preseparated jobs
is selected. It is highly recommended you leave it selected. In the Edit Style
dialog box set the angle you require for each separation. See “Screen angles” on page
• It is highly recommended that the
Override dot shape in job
option is selected.
• It is highly recommended that the
Override frequency in job
option is selected.
• You can also override other screening features if you wish.
Note: Multi-page imposition cannot be used with recombine. However,
Crop Marks
, or other uses of the
One-Up, single-sided imposition scheme, (for example, when adding a color bar), can be used with recombine.
13.7.4 Recombination and composite jobs
Recombination is a powerful capability of the RIP. In many cases, it is possible to submit both composite and preseparated jobs to a Page Setup that has
Recombine preseparated jobs
selected. However, there are cases where the nature of the job or other settings made within the RIP mean that it is necessary to create separate Page Setups for composite and preseparated jobs.
13.7.5 Recombine 2 issues
This section contains points to note when using Recombine v.2. It uses much of the same code as is used for PDF 1.4 Transparency and therefore has similar issues:
• Color management of
DeviceRGB colors with equal color values, that is
R=G=B
, are color managed using the CMYK input profile and not the RGB input profile for all object types except images and shaded fills.
• When recombining preseparated files the
Overprint process colors
options have no effect, even if selected.This means that the
OverprintProcess
,
OverprintWhite
,
OverprintGray and
OverprintBlack user parameters are not applied to recombined objects. Instead, the overprint effect is equivalent to the result of outputting the separations of the job on a press. That is, the separations are individually processed (without recombine) and the results are overprinted—much the same as using ROAM for all separations for a given page together.
• When recombining composite files (that is, composite files that have been input to a recombine setup), the settings of the
Overprint process colors
options in the GUI are obeyed.
• If composite jobs are put through a recombined setup using Recombine v2 and color management, the color management is implemented after any compositing for transparency and after any overprints have been resolved.
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13.7.6 Closing the Edit Style dialog box
You must close the Edit Style dialog box to save your changes. You must also close the Separations Manager before you can use any other part of the RIP.
Click
OK
to confirm all the changes you have made in this use of the Edit Style dialog box, including any deletions. This confirmation is provisional: you must also click
OK
or
Select
in the Separations Manager to finally save your changes. Click
Cancel
to discard your changes immediately.
13.8 Color Setup
If you wish to create a setup with Color management including, ICC profiles, custom rendering intents or perform press emulation on a proofer, you should use the Harlequin ColorPro option. This option is activated by a password and you should contact your dealer for more information.
If you do have Harlequin ColorPro activated in your Harlequin RIP and you wish to create a setup with color management, you should consult the Harlequin ColorPro User Guide.
13.8.1 Define color setups (no color management)
Follow these steps to create a customized color setup. Note that a color setup corresponds to a particular device and color space.
1. Choose
Color > Color Setup Manager
. The Color Setup Manager dialog appears.
Figure 13.1 Color Setup Manager dialog box
2. In the Color Setup Manager dialog box, select the device for which you want to create a color setup. If you are creating CMYK Separations (halftone), you should select
Printing Press in this option.
3. If necessary, select the color space for which you want to create this color setup. Note that when you create a Page Setup, the separations style you choose determines the color space of the Page Setup.
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4. At this point you have the option to select either,
New ‘No Color Management’setup
, or
New ‘ColorPro’setup
New ‘ColorPro’setup
details.
(which is only available by use of a password). If you can select
, you should consult the Harlequin ColorPro User Guide for more
Figure 13.2 New Color Setup dialog box
The following tables describe the options available in this dialog.
Table 13.1 Input Document Controls in the New Color Setup dialog box
Fields
Override color management in job
Description
Select this check box to override any color management supplied in the job and use the options set in this dialog box.
If you do not check this box, the Harlequin RIP searches the job for a color space array, embedded
ICC profile, or a color space resource. If there is such an element, the Harlequin RIP uses it to transform the relevant object on the page and then treats the object as defined in device-independent color.
See Appendix B, “Jobs Containing Color Management Data” for details.
Note: A PDF/X-3 file containing an
OutputIntents dictionary will be color managed using the ICC profile indicated by the
OutputIntents dictionary, as long as the job uses a device independent color space and the
Override color management in job
option is not selected.
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Table 13.1 Input Document Controls in the New Color Setup dialog box (Continued)
Fields
Override overprint mode in job
Overprint process colors
Drop white objects
Description
A PostScript language operator called setoverprintmode which is the PostScript language equivalent of the PDF gstate
OPM flag.
If an object is set to overprint and
OPM or setoverprintmode is on, the Harlequin RIP drops any colorants which have a zero value. This is called
“implicit overprinting”.
If the
Override overprint mode in job
option is checked, the
Overprint process colors
option
(described below) is always honored and any overprintmode and
OPM parameter in the job is ignored. If it is not checked, any overprintmode and
OPM parameter in the job will be used and the
Overprint process colors
default value.
setting will be used as the
If this option is selected and overprinting is switched on for an object, the RIP overprints any process color component defined as
0 in the CMYK color space, or as
1 in the RGB color space. That is, the component is treated as transparent.
When this option is not selected, a process color component produces a knockout on the separation.
However, if overprinting is switched on for an object, the RIP overprints colorants that are explicitly set to overprint using the Harlequin extension to setcmykcolor
.
When
Overprint process colors
is selected,
Drop white objects
determines how the RIP handles white objects: objects defined as
0 0 0 0 setcmykcolor
,
1 setgray
, or
1 1 1 setrgbcolor
.
If this option is selected and overprinting is switched on for that object, the white object simply disappears from the separations.
If this option is not selected, the white object knocks out underlying objects, even when overprinting is switched on.
By default, this option is not selected.
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Table 13.1 Input Document Controls in the New Color Setup dialog box (Continued)
Fields
Overprint grays
Overprint gray images
Overprint 100% black
Description
Select this object to enable the Cyan, Magenta, and
Yellow colorants to be overprinted rather than knocked out when a color is specified as gray (with the PostScript language setgray operator or spot color converted to a gray level) and the job requests overprinting. This behavior is not defined by the
PostScript language, and though it is unusual for a job to rely on it, sometimes a job will assume this, especially when the gray tint arises from a named
Black spot color which is converted to process.
Overprint behavior changed from Harlequin RIP version 4.1 to 5.x and beyond. While the old behavior is deemed incorrect, there is a desire to selectively use the old behavior because of the unpredictability of some graphic applications and to provide for end-users the ability to handle legacy work.
The user parameter is called
OverprintGrayImages
, with a default of true which when set overprints gray images. If it is set to false
, gray images will knock out of CMY backgrounds.
When this option is selected, the RIP overprints
100% black rather than generating knockouts in the other separations. The black channel or separation is generated as normal but, depending upon the characteristics of the other inks, may need to be applied last in the combination process so that it overprints all colors necessary. If this option is selected, overprinting occurs regardless of whether overprinting is switched on for that graphics object.
How the overprinting of the other separations is done depends on the
Image only black
option.
There is no performance penalty incurred by using this feature—in fact, it may be slightly faster to overprint, given that knockouts do not have to be calculated.
This feature only applies to black objects, not to individual pixels of a continuous tone image that happen to be 100% black.
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Table 13.1 Input Document Controls in the New Color Setup dialog box (Continued)
Fields
Image only black
Use late color management
Description
This option controls whether solid black objects appear in the process color separations other than
Black when the
Overprint 100% black
option is selected. If this box is selected, the RIP ignores the other process color components of black objects and no trace of the objects appears in those separations.
If this box is not selected, then the other process color components are taken into account. If this box is not selected, the objects appear in any separation where the color component is defined as non-zero in the CMYK color space (or not
1 in the RGB color space). Process color components defined as
0 in the
CMYK color space or
1 in the RGB color space are always overprinted.
Color management modules prior to the Harlequin
RIP Genesis Release
™ instigated color management at the front-end of the process, (with the exception of recombine jobs where color management was applied at the back-end of the process). Applying late color management gives better quality results with blended colors.
Note that late color management is disabled when calibration strips are printed.
See “Notes on Use late color management” on page
Table 13.2 Input Separation Detection angles in Job options in Color Setup dialog box
Fields
Detect input separations by screen angle
Description
The RIP sometimes needs to identify which colors are represented in jobs: for example, when recombining a preseparated job. Most pre separated jobs have PlateColor comments. Therefore, separation detection by angle has been turned off by default.
Where there is not an obvious identifier, most likely in legacy jobs, the RIP can use the screen angle as one of the items that the RIP analyzes.
Turn this option on to detect separations by screen angle.
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Table 13.2 Input Separation Detection angles in Job options in Color Setup dialog box
Fields
Cyan
Magenta
Yellow
Black
Description
The angles specified in these fields help the
ColorPro application detect the individual plates within a job. The default angles will usually work.
If you do change one of these values, for example
Cyan to 30°, and the incoming job has Cyan at 15°, you will encounter problems.
Table 13.3 Output Controls for RGB options in the New Color Setup dialog box
Fields
Black generation
Override black generation in job
Max. ink
Max. black
Description
This is the process of computing how much, and where, black should be added to the image.
This option determines how much black ink should be used to reproduce colors. Select
Ignore,
Minimum
,
Light
,
Medium
,
Heavy
,
Maximum or
UCR from the menu.
Undercolor removal (UCR) is the process of reducing the amount of other colors present where the black is added.
Rarely, a job will specify black generation itself. You can force the scheme set in the Color Setup dialog box to override those set by the job, by selecting this check box.
This value constrains the maximum amount of all four CMYK colors that will be generated in the conversion process. Similarly, colors specified explicitly as black are not affected by this.
This value is the maximum amount of black ink that will be generated by the color conversion process. Note that colors specified explicitly as black are not affected by this setting.
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Table 13.3 Output Controls for RGB options in the New Color Setup dialog box
Fields
Convert RGB to true black
Description
Some applications, and especially Microsoft
®
Word, use RGB colors for everything, including solid black—coded as
0 0 0 setrgbcolor
(or
0 0 0 in a
DeviceRGB color space). You should choose this option to force the RIP to intercept blacks coded in this way and convert them to (
0 0 0 1 in) a CMYK color space.
After setting options in the New Color Setup dialog box, click
Save As
and assign a name to this color setup. The Color Setup Manager dialog box displays the new color setup that you have created. Note that you can also Edit, Copy, and Delete color setups from the Color
Setup Manager.
5. Click
OK
to confirm all the changes you have make in the Color Setup Manager and
New Color Setup dialog boxes.
The
OK
button saves the changes you have made and closes the Color Setup Manager. If you opened the Color Setup Manager from the Edit Page Setup dialog box, you can also save the changes by clicking the
Select
button. In addition to saving the changes, the
Select
button displays the selected color setup in the Edit Page Setup dialog box. Click
Cancel
to discard all changes.
13.8.2 Notes on Use late color management
The
Use late color management
option has been introduced in the Harlequin Genesis Release
™ to overcome problems with color managing blended colors. In this context, blended colors means both the compositing of transparency in PDF jobs, and also the overprinting of opaque objects in PostScript language and PDF files.
In order to color manage blending correctly, the blending must be performed in the same color space that the designer worked in when creating the job. For example, SWOP with a range of Pantone colors. In theory, if this type of job is printed on a SWOP press that supports all the Pantone colors present in the job, the rendering of the blends will be correct.
Problems arise when the job is printed to a device with different characteristics to the color space the designer worked in. A typical usage is the need to color manage the job when printing to a proofing device. In this case, to reproduce the blending the designer intended, the blending should be performed in SWOP and result then color managed to the proofing device. Historically, this has been difficult to do accurately without using a form of “double pass” RIP processing. That is, the job is RIP processed once to (for example) TIFF, in which the blending is in SWOP. The second RIP pass then color converts the TIFF and outputs the result to the proofing device.
When the
Use late color management
option is off, the Harlequin RIP will perform color management of colors in the job before blending of either transparency or overprints. The RIP
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performs blending by using the available information to make a “best guess” at the blended colors, but at a late stage in the RIP process and without full knowledge of the color values and other graphics state attributes. This method usually makes the blended regions visible, although they are not correctly color managed. And if spot colorants are converted to process colors, overprinting of these objects is disabled by default.
When the
Use late color management
option is selected, color managed blending is performed in a single pass of RIP processing with its obvious efficiency benefits. The Use late color management option is available on both ColorPro and
No color management
color setups.
The option is available in
No color management
setups to achieve better rendering of overprinted spot colors. For accurate proofing of jobs containing transparency and/or overprints, it is recommended that the
Use late color management
option is used.
Please note the following points when using late color management:
• The definitions of tint transforms of spot colors in the job (which are used to derive the
CMYK equivalents) will only be used to derive the CMYK equivalent of the 100% color value. Tints will be rendered with CMYK values derived from the 100% spot.
• If a job contains multiple color spaces of the same spot color, and where there are multiple definitions of the tint transform, only the first tint transform encountered will be used; as above.
• Special treatment of
DeviceRGB and device independent colors in the job is currently required. That is, the RIP will first color manage these color spaces to a CMYK color space defined by the CMYK input profile. If this is not defined, or a
No color management
setup is used,
SWOP (CGATS TR001
) will be used. The downside of this method is that the CMYK input profile may restrict the gamut of the colors in the job for these color spaces to less than the gamut of the output device.
• Late color management is forced on when used with recombine and also when outputting to a
DeviceN device, such as a Hexachrome device.
• Late color management is disabled when calibration strips are printed.
• Using the
Preserve 100% process black
option at the same time as
Use late color management
will sometimes give undesired results.
13.8.3 Overprinting controls
Where 100% process black is present and in other circumstances, you may wish to perform overprinting rather than causing knockouts in the other separations. This applies both to
composite color output and to screened output. (See “Knockouts and overprinting” on page
360 for an introductory discussion.)
13.8.3.1 Color managed overprints for DCS
DCS (Desktop Color Separation) jobs that contain spot color data must be overprinted for good quality output. If the output device does not support those spot colorants, the resulting output will be inaccurate, with a warning that the spot color is missing.
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With the introduction of backdrop rendering the RIP has the ability to interpose a virtual device which does support those spot colors, and where correct overprinting will result. The
RIP can then color convert the backdrop to the final output producing accurate results.
A way of using backdrop rendering is to set Recombine within the RIP user interface. For
more information see “Recombination and composite jobs” on page 374. You should note
that RIP performance is affected by backdrop rendering because the RIP implements color managed overprints by compositing rather than direct rendering.
13.8.4 Black generation and undercolor removal
With regard to the CMYK color space, in principle, all colors can be represented with cyan, magenta, and yellow. In practice, however, the theoretically correct combination of these three colors will not produce the color expected when printed, because of the limitations of inks.
To overcome this practical problem, pure black ink is used to improve color reproduction on the printed page. This is the role of the K or black separation. Black is added to produce pure black on the page, because using a combination of cyan, magenta, and yellow usually gives dark brown, rather than black, when printed. Therefore, black text is printed with black ink.
Black is also added in color regions of an image to strengthen color tones. The application of black can often be very effective for improving an image. The amount used can be varied according to the effects you wish to achieve.
Black generation is the process of computing how much, and where, black should be added to the image.
Note: If you have Harlequin ColorPro available, it is able to add black in ways more subtle than the controls described here, using Color Rendering Intents. See the separate Harlequin
ColorPro User’s Guide for details.
When converting color descriptions expressed in RGB (or in HLS, device-independent color, or other spaces which end up as RGB) to CMYK for printing, the RIP must decide how much of a color is to be represented by black ink, and how much by the others. Because a perfect theoretical description of the color image is provided by the CMY components, if black is added without the appropriate removal of some of the cyan, magenta, and yellow, the color produced on the printed page will not be the one intended.
Undercolor removal (UCR) is the process of reducing the amount of other colors present where the black is added. The legend ucr represents undercolor removal in the graphs later in this section.
Note: The black generation settings in this dialog box operate in the RIP without Harlequin
ColorPro. With ColorPro enabled, an alternative method is normally used. The settings made here are used with ColorPro only when sending RGB data direct to a four-color device, without first converting to a device-independent color space.
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13.8.5 Black generation
You can specify how black generation and undercolor removal should be done in the New
Color Setup dialog box. The settings in this dialog box control the way the RIP will apply black by constructing internal calls to the PostScript language operators setblackgeneration and setundercolorremoval
. The dialog box offers a number of black generation schemes. Factors that you should take into account when selecting a scheme include the
qualities of the various inks (discussed in “Ink densities” on page 386) and printing media.
The scheme used is controlled by the
Black generation
pop-up menu. The options are:
• Ignore
• Maximum
• None (the default)
• Light, Medium, and Heavy
• UCR
Sections 13.8.5.1 through 13.8.5.5 describe these options.
Rarely, a job will specify black generation itself. You can force the scheme set in the dialog box to override those set by the job, by selecting the
Override black generation in job
check box.
13.8.5.1 Ignore
This option does not set black generation and undercolor removal. It replaces as much color as possible with black, while maintaining the intended color, irrespective of ink densities.
Because no PostScript language code for performing undercolor removal is generated, it is the fastest method.
13.8.5.2 Maximum
K, ucr
CMY
This option introduces a lot of black, taking into account the maximum black ink density.
Specify the maximum black ink density in the adjacent
Max black
text box as a percentage
value, as described in “Ink densities” on page 386.
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13.8.5.3 None
CMY
K, ucr
This option performs no black generation or undercolor removal. Black is represented as a mixture of cyan, magenta, and yellow, leaving only those colors expressed explicitly in the
PostScript language job as black—rather than as a mixture of red, green, and blue, or as device independent color—to be rendered on the black separation.
13.8.5.4 Light, Medium, and Heavy
Light
K
Medium
K
CMY
CMY ucr ucr
Heavy
K ucr
CMY
These options introduce black gradually, according to exponential functions, with proportionately smaller amounts of black added and color removed for the lighter colors than the darker ones. This is again subject to the constraints of maximum ink densities, specified in
the adjacent boxes. See “Ink densities” on page 386 for details of controlling these ink densi-
ties.
13.8.5.5 UCR
K
CMY ucr
Instead of an exponential curve, this option adds no black until the maximum colored ink density is reached and then adds black linearly up to its maximum. The maximum colored ink density is the maximum ink density value minus the maximum black density value. See
“Ink densities” on page 386 for details of controlling these ink densities.
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13.8.6 Ink densities
Most of the black generation styles are affected by the ink densities set in the two Max ink and Max black options in the black generation section of the Color Setup dialog box.
You should select these values with consideration for paper and press characteristics.
13.9 Color separation angles in job
The RIP sometimes needs to identify which colors are represented in jobs: for example, when recombining a preseparated job. Often there are well structured identifiers that give the answer directly and unambiguously, and most pre separated jobs have PlateColor comments. Therefore, separation detection by angle has been turned off by default.
Where there is not an obvious identifier, most likely in legacy jobs, the RIP analyzes the contents of the job to decide a likely color. The screen angle is one of the items that the RIP analyzes.
A switch labelled
Detect input separations by angle
on the New Color Setup dialog (with or without color management), allows you to turn separation detection by angle on.
Set the
Cyan
,
Magenta
,
Yellow
, and
Black
text fields to the screen angles that the incoming job uses for these colors.
Note: The angles in this section are the screen angles expected in the incoming job, not the angles used for output. The angles used on output are set in the Edit Style dialog box, and can be entirely different.
13.10 Trapping features
Trapping options are found in the
Trapping
section of the Edit Page Setup dialog box and gives some control over trapping; that is, overprinting edges of objects in the output to avoid white gaps showing when printed due to slight misregistration.
If your copy of the RIP has the one of the optional TrapPro features enabled, you can create sets of trapping rules and apply them within the RIP. TrapPro is fully described in the separate TrapPro User Manual. (You must enable TrapPro by obtaining a keyword and selecting the
TrapPro
item while following the procedure described in “Switching on HSL” on page
Making full use of trapping in the RIP can require the choice of appropriate options both in the applications creating the PostScript language job and in the RIP.
From Harlequin RIP Eclipse SP1, PDF jobs containing PJTF (Portable Job Ticket Format) structures that detail trapping parameters are supported with respect to making the parameters available to TrapPro. Previously, PJTF structures were ignored. Therefore, if TrapPro is enabled (that is, just the password entered, not necessarily any parameters set established via the GUI), a PDF job containing trapping parameters (via PJTF structures), will be trapped as dictated by those parameters.
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13.11 Pages in the Output Controller
13.10.1 Trapping and QuarkXPress
The Harlequin RIP supports trapping facilities provided by QuarkXPress and its settrap
PostScript language extension.
QuarkXPress has the ability to generate arbitrary trapping. It can do so in either of two ways:
• By including explicit overprinted borders in the PostScript language page description it produces. This method works on all RIPs but may produce large job files.
• By indicating that a capable RIP should generate the trapping. The RIP can do this if you select the settrap (Quark) option. The QuarkXPress operator must use a printer description file declaring that the RIP supports this feature. Using this option allows
QuarkXPress to generate more compact PostScript language code, which saves disk space and may lead to faster interpretation by the RIP.
13.10.2 Controls in the Harlequin RIP
The
Trapping
pop-up menu in the
Trapping
section of the Edit Page Setup dialog box always provides the following options:
None
This option performs no trapping.
settrap (Quark)
Use this option to have the RIP generate overprinted borders according to instructions embedded in suitable jobs by QuarkXPress. See
“Trapping and QuarkXPress” on page 387 for details of how to pro-
duce suitable jobs.
If your copy of the RIP has one of the optional TrapPro features enabled, there may be extra entries in this list and you also can create new sets of trapping rules that also become entries in this list, as described in the separate TrapPro User Manual.
13.11 Pages in the Output Controller
In general, the RIP treats separations the same way whether they are the result of processing a preseparated job or the result of separating a composite color job within the RIP.
Depending on the separations style, each page of a composite color job can produce several pages, one for each separation. Once these pages are in the Output Controller, the RIP handles them in the same way as any other pages.
The pages are tagged with their color, which appears after the name in the Output Controller. For example, the job picture.ps
separated for CMYK printing would have four entries in the queue, as follows: picture.ps (C) picture.ps (M) picture.ps (Y) picture.ps (K)
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Color Separation
Cyan, magenta, yellow, and black are abbreviated to C, M, Y, and K respectively. Red, green, and blue are abbreviated to R, G, and B respectively. Spot color separations are tagged with the full name of the separation.
13.11.1 Roaming separations
When you view a separation on a color display, using
Roam
, it is displayed in the appropriate color, at least until you choose to change that display color. The Roam window also displays the title of the page, an abbreviation for the color, and the resolution. Cyan, magenta, yellow, and black are abbreviated to C, M, Y, and K respectively. Red, green, and blue are abbreviated to R, G, and B respectively. An asterisk character (
*
) indicates a spot color separation, and a percent character (
%
) indicates grayscale.
Shift
You can view a block of several separations at once. Click to select the first one, then hold down the Shift key and click to select the last one.
When you view multiple separations, the colors are overlaid to give an impression of how they will look when combined on paper. For example, in a high-resolution screened picture,
you should be able to see the rosettes of the screen pattern. (See Chapter 6, “Screening”, for
more discussion of viewing superimposed screens.)
You can roam a separation in a different color, which can be useful, for example, if you want to see the differences between two separations of the same color. To highlight the differences, change the roam color of one page and then roam the pages together. For details of changing
the roam color, see “Changing the color in Roam” on page 388
For more information on roaming, see “Roam and Preview windows” on page 97.
13.11.2 Roaming composite pages
When you view a composite page using Roam, by default the RIP shows all the separations in the composite page together.
You can reduce the number of separations that you can see in the Roam or Reduced Roam
13.11.3 Changing the color in Roam
You can inspect and change the colors displayed in the Roam window for the colorants in individual separations and composite page buffers. To do this, select a page buffer in the
Output Controller, click
Info
, and in the Info dialog box click
Change roam color
shows the dialog box that appears.
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13.11 Pages in the Output Controller
Note: You cannot inspect or change the roam color while you are roaming a page buffer from any page in the same job.
Figure 13.12 Change Roam Color dialog box
The Change Roam Color dialog box appears with a table displaying all the colorants present in the selected page buffer. The columns in the table are:
Colorant
This is the name of the colorant in the page buffer. In a separation, there is only one colorant. In a composite page buffer, all the included colorants appear. (Typical composite page buffers contain only process colors but, for a small number of output plugins, there can also be spot colors.)
Red
Green
This is the red component of the roam color, in the range 0 (zero) through 1.0.
This is the green component of the roam color, in the range 0 (zero) through 1.0.
Blue
This is the blue component of the roam color, in the range 0 (zero) through 1.0.
Roam Color
This is the name of the roam color. In an unchanged page buffer this is the same name as appears in the
Colorant
column. In a changed page buffer, the color is the last one chosen for this colorant. You can substitute any other color by choosing from a list of common colors or by typing new values.
To change a color, first select it by clicking on its row in the table. The boxes at the foot of the table display the RGB values and the name of the roam color for the selected colorant. You can choose named colors from a list or specify any other color by RGB values:
• To select a named color, use the pop-up menu for
Roam Color
. The listed values are any special colors represented in this page buffer, a list of default colors for the RGB and CMYK spaces (
Default Red and so on), and an entry called
Other
. You cannot
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Color Separation
select
Other
: it shows only that you have edited the RGB values to a color not in the menu. To return to the original roam color for a colorant, use the list to select the name that appears in the
Colorant
column.
• To specify any color not in the pop-up menu, edit the values in the fields for
Red
,
Green
, and
Blue
. Once you have edited a value then, as soon as you move to another field (or select a different row in the table), the
Roam Color
name for the edited colorant changes to
Other
. If you want to edit another color, click on its row. (You can do this for all colorants if you wish; each can have its own value for
Other
.)
Click
OK
in this dialog box and
OK
again in the Info dialog box to save your changes to roam colors. Click
Cancel
in either dialog box to abandon your changes.
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Appendix A
0
Troubleshooting
This appendix provides solutions to common problems that can occur when running the RIP.
The first sections contain information about the warning messages that can appear. They are grouped according to where the messages appear in the RIP.
Section A.1, “Warning messages and what to do”, gives a list of some of the major error
messages that may occur when running the RIP. All of the messages in this section appear in dialog boxes.
Section A.2, “Warnings in the RIP Monitor”, describes the warnings that appear in the
system monitor. They are grouped according to the type of problem.
Section A.3, “Warnings within the progress box”, describes the messages that appear in
the progress box. The progress box is part of the Output Controller in either of the multiple modes, or a separate window in either of the single modes. This list does not include the warnings generated by output plugins.
The remaining sections provide additional information on specific topics.
“Page imposition and media saving” on page 400 contains information on imposition
and media saving.
“Seybold timings” on page 400 describes Seybold test timings.
“TIFF/IT troubleshooting” on page 401 describes solutions to problems when imaging
TIFF/IT files.
“PDF troubleshooting” on page 402 describes solutions to problems when imaging
PDF jobs.
“Network troubleshooting” on page 406 describes solutions to network problems
when configuring the RIP.
“Spool folder problems and considerations” on page 407 describes how to set the
access permissions for the spool folder.
A.1 Warning messages and what to do
The following is a list of some of the major error messages that may occur when running the
RIP. All of the messages in this section appear in dialog boxes.
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A.1.1 Problems with starting the Harlequin RIP
Table A.1 Start-up messages
Message
Disk needs DiskFirstAid
Problem
The hard disk may have been corrupted.
Eve Dongle not plugged in
Fatal error: Fatal security device failure
The RIP has not detected a valid dongle.
The RIP failed on bootup An error has occurred while the RIP was starting up.
The RIP startup failed An error occurred while starting up the RIP.
Things to try
Use DiskFirstAid to carry out any repairs necessary.
DiskFirstAid is supplied with your Macintosh operating system.
Check that the dongle is installed and plugged-in correctly, and that the EvE
Init start-up document is installed in the system folder. If this does not help, shut the Macintosh down, disconnect the dongle completely, and reconnect it. Power-up the Macintosh again.
Reset the RIP to the factory defaults.
Reset the RIP to the factory defaults. Reboot the machine. If this does not help, reinstall the RIP.
A.1.2 Problems involving memory or disk space
Table A.1 Memory or disk space messages
Message
Application size is too small
Problem
The RIP has been configured with a default memory size of less than
15360 KB.
Things to try
Change this by choosing Get Info… from the
Finder menu, or by pressing Command-I, with the RIP icon selected.
It is theoretically possible to run the RIP with a memory size of smaller than 15360 KB, but performance may decline. The amount can be increased to much higher values if necessary.
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Table A.1 Memory or disk space messages (Continued)
Message
Not enough memory to run the RIP
Warning:
Memory is getting low and your RIP is running out of system memory. Therefore
… (continues)
Problem
The system and other software running on the Macintosh are consuming too much memory.
The RIP cannot obtain enough memory
(RAM) to operate correctly.
Warning: The underlying fault condition can occur in all previous revisions, without a message appearing but causing a variety of problems.
Things to try
Reduce the amount of memory being used.
The warning message describes the best corrective action: display the Configure RIP Options dialog box by clicking Options. in the Configure RIP dialog box; increase the Minimum memory left for system (512 KB is the suggested minimum), quit the RIP, and restart the
Macintosh before restarting the RIP again.
Alternatively, you can reduce the required memory (specifically the heap) by removing any plugins which are installed but not actually being used.
A.1.3 Problems with resources
Table A.2 Resource messages
Message
Could not access a resource for the current plugin device driver
Problem
The plugin driver for the current device seems to have been moved.
Could not access a Setup resource
There are no devices installed in the setup file
The setup file has been corrupted or is missing.
There are no devices installed in the devices folder, and the application resource fork has been corrupted.
Things to try
Reset the RIP to the factory defaults.
Move a copy of the device driver into the Devices folder in the SW folder.
Reset the RIP to the factory defaults.
Reinstall the RIP.
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A.1.4 Problems with files
Table A.3 File messages
Message
Could not open the newly created RIP setup file
File too deeply buried inside folders
Move it somewhere else
Incompatible version of the RIP setup file used/
Old RIP setup file used
Problem finding file— maybe disk is damaged
Problem Things to try
This probably means that there are too many other files open.
The file pathname is too long for the RIP to cope with.
The setup file you are using is associated with a different version of the software.
Close some files.
Move the file that you are trying to access to a point higher up in the file system so that the full pathname becomes shorter.
Find and install a copy of the correct setup file that was supplied with the version of the RIP that you are running (this file must be placed in the SW folder) or reinstall the
RIP.
The RIP cannot find a file. Try running a disk repair utility.
A.1.5 Problems with sockets
Message
No communication
Table A.4 Socket messages
Problem
Suspect a bad configuration in the receiving or sending application.
Things to try
Check that both applications are using the same port and that the sending application is using the expected protocol: basic
TCP/IP socket stream or
Xinet PapConnect, as configured in the Socket Configuration dialog box.
Next check the network connectivity using ping or an equivalent network utility program.
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Table A.4 Socket messages (Continued)
Message
Bad jobs at the receiving end
Missing, bad, or corrupted status messages at the sending machine
Problem
The sending application may not be using the correct protocol.
The Socket plugin or the port is not configured correctly.
Things to try
Check that the sending application is using the expected protocol: basic
TCP/IP socket stream or
Xinet PapConnect. Check that no other machine is already using the same port and sending something that is not a Post-
Script language job.
Check that the sending application is using the expected protocol.
Check that the RIP Socket plugin is configured to return the PostScript language standard output on the correct port
(Address).
Check that no other machine is already using the same port and sending something that is not the standard output from a PostScript language job.
A.2 Warnings in the RIP Monitor
The following warnings all appear as messages in the RIP Monitor. Again, the warnings are grouped here according to the type of problem.
A.2.1 Problems involving disk space
Table A.5 Disk space messages
Message
System warning—Insufficient Disk workspace
Things to try
Create more free disk space before reprocessing the job that gave the warning.
Error VMerror Offending
Command: renderbands
This appears after a partial paint fails.
Make sure that compression is turned on in Configure
RIP.
If this does not help, free-up some disk space on the
Macintosh.
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Table A.5 Disk space messages (Continued)
Message
System Warning: Free disk space gone below requested limit
Things to try
The RIP waits for some disk space to be freed.
This is not a fatal error. It can happen, for example, if the RIP is outputting pages, or has pages waiting to be output in the Active Queue. When these pages have been output, they are deleted automatically and the
RIP continues with its current job.
If there are no pages waiting to be output, free up disk space by doing some of the following things:
Delete some files.
Turn on page compression in the Configure RIP dialog box.
Reconfigure the PageBuffers folder by placing it on another disk with more free space.
Ensure that there are no locked pages in the Output
Controller.
A.2.2 Problems involving fonts
Message
Error: invalidfont;
Offending Command:
<command>
<FontName> Font not found; using Courier
Courier Font not found; using Courier
Table A.6 Font messages
Things to try
Check that the RIP has installed the font correctly.
Try proofing the fonts using the Proof Fonts option on the Fonts menu. If the font fails to proof it may be corrupt. If the fonts proof correctly, the job itself may be corrupt.
If any job requires a particular font which is not installed, the RIP attempts to use Courier as a substitute.
The font specified in the PostScript language file is not actually loaded into the RIP. Courier is the default font in this case.
If this message appears, the RIP currently has no fonts loaded at all. Use Install fonts to install some fonts— the minimum font set that must be installed is Courier,
Times, Helvetica, and Symbol. Alternatively, reinstall the RIP.
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A.2.3 Problems involving files
Table A.7 File messages
Message Things to try
ERROR IN CONFIG FILE The RIP failed to finish interpreting the file.
For example, you will see this message if you try to print a TIFF file that is corrupt, unsupported, or of an unrecognized type.
This can also occur if a file in the spool folder is locked by another application. Close the file and try again.
Inappropriate compression
This message appears if you try to print a file that has an inappropriate compression format. For example, a color or grayscale TIFF file with CCITT compression.
CCITT compression is only suitable for monochrome
TIFF files.
A.3 Warnings within the progress box
When appropriate, the progress box may show the following warning messages, together with the accompanying icons. The progress box is part of the Output Controller in either of the multiple modes, or a separate window in either of the single modes.
Output plugins can supply their own warnings and icons, which are not listed here.
Table A.8 Progress box messages
Buffer full
The page buffer on the output device is full
Buffer space low
The output device is running out of buffering memory
Busy
The output device is working on another job
Busy or off-line
The output device is either busy or off-line
Communications failed
Communication between the RIP and the output device has either been broken or was never established
Cover open
The cover of the output device is open
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Table A.8 Progress box messages (Continued)
Data transfer failed
Image data transfer between the RIP and the output device has either been broken or was never established
Data underrun
The output device has not received data from the RIP when it was expected
Deleted cassette
The required cassette has been deleted, in the Cassette
Manager.
Ink low
The ink supply to the output device is running low
Ink out
The ink supply to the output device has been exhausted
Interface card failed
Communication between the RIP and the interface card in the machine has either been broken or was never established
Invalid clipping
An invalid clipping was requested of the output device
Invalid resolution
An invalid image resolution was requested of the output device
Laser diode failed
The laser diode of the output device is not working satisfactorily
Low power
The output device is low on power
Misplaced cassette
The required cassette is in another output device.
Missing cassette
There is no cassette in the output device
No cassette
The input media cassette requested is not available
No power
The output device has no power
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Table A.8 Progress box messages (Continued)
No take-up cassette
There is no take-up cassette for the output device
Not ready
The device is not ready, for an unspecified reason— perhaps unknown or too complex to show. Look for an extra message in the Monitor window.
Off-line
The RIP cannot communicate with the output device
Page stop-started
The RIP has supplied data quickly enough, but the device has stop/started
Paper jam
Media has jammed in the output device
Paper low
The paper or film supply to the RIP output device is running low
Paper out
The paper or film supply to the output device has been exhausted
Printer caught up
There was a data underrun, and stop-start was either not selected or is not supported by the printing device
Take-up full
The take-up cassette is full
Take-up space low
Space in the take-up cassette for the device is running low
Toner low
The toner supply to the’output device is running low
Toner out
The toner supply to the output device has been exhausted
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Table A.8 Progress box messages (Continued)
Unknown error
An unknown condition has caused an error
Warming up
The output device is preparing itself for communication with the
RIP
Wrong cassette
The wrong cassette is in the output device
A.4 Page imposition and media saving
On wide printers, using the media saving option (described under “Printing effects” on page
137) can save both time and media. You must ensure that you set the media width for the
cassette being used correctly, because it is the media width that is used to determine if the
rotated page would fit on the media. See “Monitoring media” on page 266 for details of how
to set this information.
Some pages may have surplus white space at the sides, and this could mean that film saving will not rotate the page. You can force the rotation in the Edit Page Setup dialog box, and also tell the RIP to center the page if appropriate, so that only the white space is clipped.
It is possible to set up automatic operations such as printing 4-up or 8-up. This is done by adding fragments of PostScript language code into the system that specify where to lay out the pages. This could, for example, automatically fill a large sheet of film with pages. This form of imposition only works within a single job.
A.5 Seybold timings
The Seybold test timings have to cover a large range of resolutions, so, for example, two printers, with resolutions of 2000 and 2540 dpi respectively, would be compared to one another directly. However, remember that there is more data in a higher resolution bitmap— a 2540 dpi bitmap contains 62.29% more data than a 2000 dpi bitmap. The time taken to generate the 2540 dpi job, while probably not as much as 62% longer, is certainly substantially longer.
If you really must reduce timings to be comparable across different resolution printers, the only solution is to use the lowest resolution possible.
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A.6 TIFF/IT troubleshooting
Various problems may occur and warning messages may appear when imaging TIFF/IT files with the RIP. These are described and explained below.
Missing, duplicated, or partial images
A typical page is described by several files, which can go missing or be in unexpected places. The RIP finds files most quickly if the FP file and the subfiles are in the same folder. It helps to use the correct file extension for each file type.
Duplicated (partial) images may be the result of printing subfiles independently. Select only the FP file, not its subfiles, when you want to print a final page.
Poor image quality
Files have an embedded resolution, which the RIP must match in its Page Setup if you want high-quality results. The best way to find the embedded resolution (and page size) is to use a dedicated TIFF file analyzer.
If you try to use too high an output resolution, you will see the following message:
Output resolution too high for this file. It should be no greater than <number>
DPI
Note to OEMS: If you modify the default installation to allow the job to continue, the user will see the following message:
%% WARNING: job continuing regardless.
Media wastage is possible.
Clipped images
The RIP does not take a page size from TIFF/IT files. You must select a suitable Page
Setup before printing the file. Use a TIFF analyzer to discover the page size.
Failure to produce output open: the TIFF 6.0 or TIFF/IT file is either corrupt, unsupported, of an unrecognised type or the appropriate file type is not enabled in Configure RIP / Extras
The RIP displays this message if you attempt to image TIFF/IT data types that it does not support or to image files that do not conform to the TIFF/IT-P1 profile.
If you attempt to print TIFF/IT-P1 files when the
TIFF/IT option is not enabled, then the TIFF 6.0 input option may attempt to process the parts of the file that it recognizes as TIFF. If this message appears then the TIFF 6.0 input option does not recognize any part of the file as TIFF.
Poor performance / Long imaging times
Text in the TIFF/IT file can lead to large numbers of line segments and very large files.
See the comments made in “Installation and requirements” on page 250.
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Also, if the computer running the RIP is running other applications at the same time, the other applications may be using memory that the RIP could use to operate more quickly. Shut down any programs that you do not need, then stop and restart the RIP to be sure that it is using as much memory as possible.
Problems with SCID files
Standard Color Image Data (SCID) primary data files are incompatible with the
TIFF/IT support in the RIP, but SCID alternate data is compatible. SCID primary data
dot ranges and other differences between the primary and alternate formats, but the next paragraph is sufficient to identify both types of data.
Primary data files are named N1 through N8 and S1 through S10, and each is visibly labeled ISO 400 in the image. The alternate data is calculated from the primary data, has a lower spatial resolution, and is visibly labeled ISO 300 in the image. The names of the alternate data files end in the letter A, resulting in the names N1A, S1A, and so on.
A.7 PDF troubleshooting
The methods of control provided by the PDF Options dialog box mean that it is possible to reject PDF files that are valid, but that fail to meet strict criteria such as the PDF/X-1 specification. It is also possible for PDF jobs to be badly constructed or for required external files to be missing or in the wrong location. Always inspect the RIP Monitor window or log file if you see problems with printed output.
You may see the following effects or messages.
No pages printed
Check in the PDF Options dialog box that the PDF job is of the required type (for
Accept type(s)
) and that it contains at least one page matching the pages or ranges in the
Pages
field.
Poor color matching
Check that you have an appropriate match of color spaces and management in the PDF job and in the Page Setup in use. If the problem appears in an image, also check that it is not a low-resolution OPI preview being used to substitute for a missing OPI highresolution image.
Areas missing from the page or printed at low resolution
Check that any files referenced by OPI are present and that OPI is enabled in the RIP.
(Files referenced by OPI must be embedded in a PDF/X-1 file.)
%%[ Warning: Skipping page 1 - not in requested page range ]%%
This is not an error. It is a reminder that the options chosen in the PDF Options dialog box have caused a page to be omitted from the PDF job being printed. This omission may be intentional.
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%%[ Error: invalidaccess; Offending command: pdfexec ]%%
The PDF files may have been saved with security settings that require a password to be entered for printing. Obtain the password (from the supplier of the PDF job) and enter the password in the text field in the
Password
section of the PDF Options dialog box.
Passwords are case-sensitive.
If you enter the correct password (in the Harlequin RIP) and still see this error, check that you have not entered one or more white space characters at the end of the password. Another possible cause of this error is that the password uses characters from an extended (non-ASCII) character set. The way in which these characters are represented can vary from platform to platform and the PDF password may have been set on a platform different from the one on which you are running the RIP. Request a new file using a simpler password.
Finally, the PDF file may be damaged. Try using another application to view or print the file, taking note of any messages given by that application.
High resolution file is embedded in PDF job file.
This is not an error nor a warning. It is information about the structure of an OPI job.
This message is most likely to occur when processing a PDF/X-1 job, but could occur for a basic PDF file.
****** PDF/X-1 Error: text explaining the reason
The job is not a valid PDF/X-1 job. See the following messages for explanations of the various reasons that can appear in messages of this form. The RIP may be able to process the job as a PDF 1.3 file, if you have allowed this by a choice in the
Accept type(s)
list.
Note: If you have used a creating or editing application that claims to be compliant with PDF/X-1:1999, you should report these errors and warnings to your supplier of that tool. The RIP performs strict checking of referenced files as well as the basic PDF content of a PDF/X-1 job.
****** PDF/X-1 Warning: Clipped out 'stroke' operator in EPS
The job deviates from the file PDF/X-1 standard—in this example because of a Post-
Script language operator used in a referenced EPS file. (The operator is illegal in an EPS file referenced from a PDF/X-1 job but harmless in this context.) Any message starting
“PDF/X-1 Warning:
” has some problem, for the reason given in the rest of the message, but will not cause the RIP to abort the PDF job.
****** PDF/X-1 Error: Invalid TIFF compression
An embedded TIFF file uses a compression method not allowed by PDF/X-1. Many
TIFF files use LZW compression, which is not allowed. Ask the creator of the file to recreate the file using an allowed compression method; PDF/X-1 allows an embedded
TIFF file to be compressed using the CCITT or (new) JPEG methods.
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Note: The new JPEG method is given the TIFF tag value Compression=7 and is expected to be adopted as part of the forthcoming TIFF 7 specification. The new method was designed (by the Independent JPEG Group) to overcome severe problems in the method of JPEG compression as described in the TIFF 6.0 specification, dated
1992. The old scheme used the TIFF tag value Compression=6 and several related but separate fields.
****** PDF/X-1 Error: Vector painting operator in EPS: stroke
An embedded EPS file uses a vector painting operator. PDF/X-1 does not allow embedded EPS files to contain vector painting operators: stroke
, fill
, show
, and so on.
****** PDF/X-1 Error: Invalid alternativeSpace in Separation colorspace
****** PDF/X-1 Error: Invalid base colorspace in Indexed colorspace
The PDF job uses an illegal color space. PDF/X-1 places restrictions on the alternative
Space of Separation color space and the base color spaces of Indexed color spaces in embedded EPS files.
****** PDF/X-1 Error: LZWDecode in EPS
An embedded EPS file uses LZW compression, which is illegal in PDF/X-1.
****** PDF/X-1 Error: Missing Subtype in EF object
****** PDF/X-1 Error: Unknown Subtype in EF object
****** PDF/X-1 Error: Subtype incorrect for embedded file
The PDF/X-1 file must specify the type of an EF object (embedded file) using the Subtype key. The Subtype key can be TIFF, EPS, DCS, and so on. The RIP checks that the
Subtype key is present, is one of those allowed, and matches the actual type of the file.
****** PDF/X-1 Error: Invalid TIFF PhotometricInterpretation
The PDF job references a TIFF file of an illegal type. Embedded TIFF files must be
CMYK, monochrome, or gray scale. PDF/X-1 does not allow RGB, Lab, or other color spaces.
****** PDF/X-1 Error: PDF referenced from PDF/X-1
****** PDF/X-1 Error: JPEG referenced from PDF/X-1
The PDF job references a file type that is illegal for PDF/X-1. The PDF/X-1 standard allows only TIFF, EPS, DCS, or TIFF/IT-P1 files to be embedded.
The following messages can appear as
Errors or
Warnings
. They appear as
Errors if you have set up the RIP to accept only PDF/X-1 jobs.
In most cases, understanding the messages requires detailed knowledge of the PDF specification but all the messages indicate that the job is not PDF/X-1 compliant. If you see these errors when printing PDF/X-1 jobs, you have two alternatives: one alternative is to ask for the job to be re-created in a form that is compliant with PDF/X-1 and wait for that job to be
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supplied to you; the other alternative is to use a Page Setup that accepts basic PDF (using the option
Any PDF <= 1.3 as basic PDF
) and print the non-compliant version. (In rare cases, there may be a more fundamental error in a PDF file that prevents you printing it at all; in such cases, you must use a different PDF file.)
****** PDF/X-1 Error: unknown PDF/X version
****** PDF/X-1 Error: unexpected PDF/X version
****** PDF/X-1 Error: obsolete PDF/X version
****** PDF/X-1 Error: unexpected PDF version
The PDF version number is too low, too high, or otherwise unsuitable for use with this version of the RIP and the settings in use.
****** PDF/X-1 Error: missing Info dictionary
****** PDF/X-1 Error: invalid Info dictionary
PDF/X-1 jobs must have a valid Info dictionary.
****** PDF/X-1 Error: missing trailer ID key
PDF/X-1 jobs must have an ID entry in their trailer object.
****** PDF/X-1 Error: invalid encryption
If encrypted, PDF/X-1 jobs must have a blank User password.
****** PDF/X-1 Error: invalid operator
****** PDF/X-1 Error: invalid HTP in ExtGState
****** PDF/X-1 Error: invalid TR in ExtGState
****** PDF/X-1 Error: invalid RI in ExtGState
****** PDF/X-1 Error: invalid TransferFunction in halftone
****** PDF/X-1 Error: invalid colorspace
****** PDF/X-1 Error: invalid file compression
****** PDF/X-1 Error: invalid function type
****** PDF/X-1 Error: invalid halftone type
****** PDF/X-1 Error: invalid pattern type
PDF/X-1 files have restrictions on the allowed PDF operators, parameters in the graphics state, transfer functions, color spaces, methods of compression, halftones, and patterns. The job has tried to use an invalid option.
****** PDF/X-1 Error: missing embedded font
PDF/X-1 jobs can use only embedded fonts. The job has tried to use a font without embedding it.
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****** PDF/X-1 Error: invalid filespec
****** PDF/X-1 Error: invalid embedded filespec
Files referenced through OPI in a PDF/X-1 file must be embedded within the PDF/X-1 file itself. The job includes OPI references to files that are not embedded.
****** PDF/X-1 Error: invalid external file
PDF/X-1 jobs can use external files only for OPI. The job has tried to use an external file for some other purpose.
****** PDF/X-1 Error: invalid embedded file
PDF/X-1 jobs can embed a limited number of file types. The job has a file specification that is badly specified for Macintosh, UNIX, or DOS platforms, is not embedded, or where the Subtype of the file indicates that the file is not TIFF/IT, EPS, DCS, or TIFF.
****** PDF/X-1 Error: invalid PS XObject
A PDF/X-1 job cannot contain a PostScript language XObject (PostScript language code embedded in the PDF page description).
****** PDF/X-1 Error: missing characterized printing condition
****** PDF/X-1 Error: multiple characterized printing conditions
All data in a PDF/X-1 job must be prepared for exactly one characterized printing condition, which is identified using embedded ICC profiles. (A job can embed multiple
ICC profiles and each must contain a characterized printing condition but all conditions must be the same.) The RIP reports the first condition to the Monitor window, in a message similar to this example:
Prepared for printing condition "CGATS TR 001".
A.8 Network troubleshooting
This section covers solutions to network problems when configuring the Harlequin RIP.
A.8.1 Harlequin RIP fails to publish
If the RIP is not publishing on the network, check the following.
A.8.2 Network connections
Ensure that the network cable is connected correctly to your Mac. The easiest way to do this is to check that the Mac can see other things on the network. For example, are any LaserWriters on the network present? If not, check that connections have not been broken due to connectors being removed.
Look particularly for connectors being removed from either of:
• the Printer Icon socket (LocalTalk)
• the thick/thin net connector from the EtherTalk socket.
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A.8.3
Restart the RIP once you have checked the connections and corrected any problems with the network cable. Start the RIP, make sure that there is a network channel defined in the Input Controller that is
On
, and then choose
File > Start Inputs
.
Is the Macintosh system software installed correctly?
It is difficult to check the correctness of an installation. If you have checked for faulty connections and other causes, the most reliable procedure is to reinstall the software.
The installer offers you the choice of installing over the running system software or doing a full installation as if on an empty disk. Try the first option since it is simple and quick to do: if there is no improvement, do a full installation.
A.8.4 The Harlequin RIP is not picking jobs up correctly
The System software and network drivers on either the printing Macintosh or the RIP Macintosh may need reinstalling. Try reinstalling the System software and any special drivers for your network hardware.
If the RIP is published on the network, but jobs do not get processed correctly, check the following:
Spooler problems
Some spoolers check for a specific product name. The RIP is set to
LaserWriter-Sim
. If the spooler does not recognize this, it may not send the job to the printer. This name has been chosen to minimize such problems.
A.9 Spool folder problems and considerations
In cases where the spool folder is on a file server (for example, a folder accessible from file sharing or using an AppleShare file server), you must ensure that the RIP has permission to access the shared folder and all enclosed folders.
Access permission for both file sharing and an AppleShare file server means one of the following:
• The RIP is a registered user on the file server, and is granted access to the folder
• The RIP is a registered user in a group on the file server, and the group is granted access to the folder
• The RIP is a registered user on the file server, and the RIP user is the owner of the folder
• The RIP is either a guest user or classed as everyone
, and the folder has full access permissions
In all cases the granted permissions for the folder must be
Read & Write
, or on earlier systems:
See Folders
,
See Files
, and
Make Changes
. Enclosed folders must also have the same permissions: click the relevant
Copy
button if your operating system displays one.
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Please consult your AppleShare file server administrator guide or file sharing guide for more details.
Also, due to System 7 file sharing performance, it is best not to share the spool folder from the RIP Macintosh. File sharing can slow down the RIP Macintosh, and cause printer stop/starts. Sharing a spool folder that is remote from the RIP Macintosh is the best strategy.
File sharing may also cause conflicts with the RIP’s network server mode.
If you are using a TOPS network, the disk with the spool folder on it must be published read/writ
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Appendix B
0
Jobs Containing Color
Management Data
Settings within the RIP, in the job, and in the images themselves can all control the processing of images in a job. This appendix describes the settings that influence this processing and
Important: Different rules apply when you are using Color. See the Harlequin ColorPro Users’
Guide for details.
If you are not using ColorPro, the RIP checks the following for Photoshop and PDF jobs, and allows independent control of what happens.
When processing jobs containing Photoshop EPS images:
• Is the
Override color management in job
option selected in the Color Setup dialog?
• Does the image contain a PostScript language color space array?
• Is the
UseCIEColor parameter set to true in the job?
See Section B.1 and Section B.2 for details.
When processing jobs containing PDF files:
• Is the
Override color management in job
option select in the Color Setup dialog?
B.1 Override color management in job not selected
The Harlequin RIP checks for color management information in the image and the job in the following strict order.
• If the image contains a PostScript language color space array (Photoshop EPS files only):
The Harlequin RIP uses the color space array (CSA) to transform the image. It treats the image as a device-independent color image.
• Otherwise, if the
UseCIEColor parameter set to true in the job:
The Harlequin RIP uses the
DefaultGray
,
DefaultRGB
, or
DefaultCMYK color space resources to transform the image colors. It treats the image as a device-independent color image.
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Otherwise, if the
UseCIEColor parameter is set to false or has no value in the job, the
Harlequin RIP treats the job as CMYK or RGB.
B.2 Override color management in selected job
• If the current Page Setup does not use a color setup:
The Harlequin RIP checks the setting of the
UseCIEColor parameter in the job.
• If the
UseCIEColor parameter is set to true in the job:
The Harlequin RIP uses the
DefaultGray
,
DefaultRGB
, or
DefaultCMYK color space resources to transform the image colors. It treats the image as a device-independent color image.
• Otherwise, if the
UseCIEColor parameter is set to false or has no value in the job:
The Harlequin RIP treats the job as CMYK or RGB.
B.3 Summary of options
Table B.1 Current Page Setup does not use a color management option
Override color management in job
Selected
Image contains a color space array
Job contains
UseCIEColor set to
True
Result
Not selected Yes
No
False or no value
True
Use the DefaultGray,
DefaultRGB or
DefaultCMYK color space resources to transform image colors
Treat job as CMYK or
RGB
Use the CSA to transform the image
Use the DefaultGray,
DefaultRGB or
DefaultCMYK color space resources to transform image colors
Treat job as CMYK or
RGB
False or no value
Settings within the Harlequin RIP, in the PostScript language or PDF job, and in the images themselves can all control the processing of images in a job.
Note: Some options apply only to EPS files produced by Adobe Photoshop.
“PDF color management” on page 411 describes the cases specific to PDF jobs.
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B.4 PostScript language jobs and image files
The Harlequin RIP checks the following when processing jobs containing Photoshop EPS images or TIFF/JPEG images containing embedded ICC profiles:
• Does the current Page Setup use a color management option?
• Is the
Override color management in job
check box selected in the Color Setup dialog box?
• Does the image contain a PostScript language color space array? (Photoshop EPS files only)
• Does the image contain an embedded ICC profile?
• Is the
UseCIEColor parameter set to true in the job?
B.5 PDF color management
PDF jobs can use a variety of color spaces, including device-dependent spaces such as
DeviceCMYK
.
Typically, when using device-independent color spaces, PDF version 1.2 files use the
Cal-
Gray and
CalRGB color spaces and PDF version 1.3 files use the
ICCBased color space but these usages are under the control of the creating applications — see the
Color
tab in
Distiller 7.0.
Full use of device-independent color requires ColorPro to be enabled.
Note: A PDF/X-3 file containing an
OutputIntents dictionary will be color managed using the ICC profile indicated by the
OutputIntents dictionary, as long as the job uses a device independent color space and the
Override color management in job
option is not selected.
Note to OEMs: Photoshop images saved to EPS always include the input profile from
Photoshop, which a job may not want to actually have applied when color managing. For details on overcoming this, see Appendix C of the
Harlequin RIP Extensions manual.
B.6 XPS color management
The XPS RIP component provides the following color management:
• An ICC v4 compatible color management engine is integrated within the RIP component. This allows color management of XPS Documents to an output color space.
• Input color is supported as described in the XPS Specification.
• Vector, text and image data defined in sRGB, scRGB, N-Color and ICC tagged color spaces is supported and color managed to the output space.
• For RGB output the output color space is sRGB.
• For output the output color space is SWOP (CGATS TR001).
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• Output color is 1 or 8-bits per color per pixel.
• All XPS input image formats are supported.
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Appendix C
0
Using Genlin
Genlin is a utility provided with the Harlequin RIP to read calibration targets generated by the RIP.
C.1 Introduction
Genlin supports these measuring instruments:
• X-Rite 408
• X-Rite DTP41 series
• X-Rite DTP32
• X-Rite DTP34
• X-Rite DTP12
• X-Rite 938
• Gretag Macbeth Eye-One
The remaining sections show how to set up and use Genlin, and how to troubleshoot any problems.
• “Using Genlin” on page 413 describes set up and use
• “Troubleshooting” on page 417 describes troubleshooting
C.2 Using Genlin
The use of Genlin involves these stages:
• “Starting a work session with Genlin” on page 414. This section describes the connec-
tions and checks to make before you start measuring targets.
• “Measuring each target” on page 414. This section describes the steps involved in
using Genlin to measure a target.
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C.2.1 Starting a work session with Genlin
Follow these steps to start a session using Genlin:
1. Connect your measuring instrument to the computer via USB, or using a USB to serial adapter cable.
Note: USB support is available for the Eye-One, DTP41, and DTP34 devices. If you need to connect to a serial device, use a USB to serial adapter cable. One example is the
Keyspan USA-28X USB twin serial adapter. With this adapter, ensure that you set the
Port
in the Configuration dialog box to the name of the device, as set up by the adapter.
Note: When using the Eye-One device, you must choose
Custom from the
Port
menu in the Configuration dialog box. This is because Genlin communicates with the device via third-party software.
2. If necessary, recalibrate the measuring instrument using the correct calibration plaque or other white reference tool.
You should calibrate the first time you use an instrument with Genlin, or whenever you change measuring instruments. You should also recalibrate the measuring instrument after periods of storage or heavy use.
Note: When using the Eye-One device, Genlin sends a request to the spectrophotometer to calibrate itself so that Genlin can accurately read a new target. This means that you must place the Eye-One device on its holder, which contains a built-in white reference, whenever you begin the process of reading a target. Otherwise, Genlin will display a
Calibration failed...
error message when trying to read the target, as
3. Start Genlin by opening the application file located in the Harlequin RIP application folder.
C.2.2 Measuring each target
Note: This procedure assumes that you printed an uncalibrated target.
Follow these steps to measure a target using Genlin:
1. Choose
File > Configure
to display the Configuration dialog box, as shown in Figure C.1
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Figure C.1 Configuration dialog box
Select your desired settings, as explained here, and then click
OK
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RIP Folder
Instrument
Measure
Identifies the
SW folder of the RIP installation that you are using to print targets and import data.
You can read targets that have been created by the RIP running on another computer if you have network access to the corresponding
SW folder. If you want to do this, click
Browse
and use the file browser to select the
SW folder of the remote the RIP installation.
The default is the relative path to the
SW folder of the the RIP with
which Genlin is supplied (as shown in Figure C.1).
A list of supported measuring instruments. Choose your desired measuring instrument and ensure that the correct
Port
setting is selected.
Measurement types supported by your chosen measuring instrument.
Choose a suitable measurement type.
Media
A list of types of media that targets are printed on, including press and imagesetter media. Choose the type of media that your target is printed on. For example, choose
Press Paper when using a proofing printer.
Port
A list of the interface ports available on your computer. Choose the port to which your measuring instrument is connected.
2. Choose
File > Read Target
, select the number of the target that you are reading (printed as
Reference Number: N on the target) and click
OK
.
3. In the Read Target dialog box, choose which channels you wish to measure, as well as the filter type and measurement type that you wish to use.
Figure C.2 Read Target dialog box
To do this, select the channel you wish to edit and choose
Yes or
No from the menu below the
Read?
column. If both your measuring instrument and target support more than one measurement system you may also have a choice of alternative filters and measurement types in the menu below the
Measure As
column. For example, choose
Cyan % Dot
, then click
Read
. See “Values” on page 351 for details of measurement
types.
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4. Measure the target by referring to the details for your type of measuring instrument. If
you have repeated problems reading a patch or strip see “Troubleshooting” on page
In particular, you must follow the screen prompts to measure the target. Note that when using the DTP32 and DTP34 devices you must click
OK
in the Confirm to proceed dialog before loading the target. For DTP41 devices, you should click
OK
after
inserting the target.
Strip-readers and other semi-automatic instruments
Ensure that you scan the target in the right direction. When reading strips, the instrument should be positioned so that approximately an inch of blank paper is available at the end of each strip. Try to avoid any marks outside the area of the patches, such as the strip numbers.
You may see a
Bad reading message appear if the instrument has been unable to correctly measure the strip: if so, click
OK
. If you wish to retry reading the strip, click
Yes
, align the strip with the instrument and click
OK
. Click
No
if you wish to abandon measuring the target.
Manual instruments
Follow the screen prompts to measure the target. If you are using a manual instrument such as the X-Rite 938 you will also see prompts in the display panel of the instrument to read individual patches within strips. For example, the prompt
Move to: C100 means read the 100%
Cyan patch.
Choose
File > Abort Target
if you wish to abandon reading a target.
5. Click
OK
when you have finished measuring the target.
At this point, Genlin has created a data file containing all the linearization data for the target, which you can import into the RIP. (The file is named import and is located in the caldata folder within the RIP’s
SW folder.)
6. Use the menu option
Output > Calibration Manager
and, in the Calibration Manager, choose the appropriate
Device
and
Color Space
7. The next action depends on whether you are updating an existing calibration set or creating a new one. Choose the appropriate action:
• If you are updating an existing calibration set, select it in the table listing. This
must be the calibration set that you used to print the target. Click
Edit from uncalibrated target
. The Edit Calibration dialog box appears. Go to step 8.
• Click
New
if you are creating a new calibration set. Then, if there are entries in the
Profile
menu in the Edit Calibration dialog box, choose the supplied calibration profile that you used to print the target. Enter a
Name
for the new calibration set.
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You can use the same name as the supplied calibration profile, but omitting the enclosing parentheses—
( )
—that supplied calibration profiles use; this makes the link between the two profiles more obvious.
8. Click
Import
; see the description on page 352 for more details. After importing the data
and making any other settings, exit the Edit Calibration dialog box and Calibration
Manager by clicking
OK
.
Warning: You must read the values from the data file (or copy the data file to another location) before measuring another target for the same RIP installation. Genlin uses the same file name for every data file so any existing measured data is lost when you measure a new target.
Start again from “Measuring each target” on page 414 to read another target.
Note: If you no longer need to measure any of the targets that you have printed using the
RIP, you can choose
File > Purge
. This means that the numbering of targets can restart from
1
.
C.3 Troubleshooting
This is a list of some possible error messages and symptoms that you may see, together with suggestions for avoiding them.
C.3.1 Error messages
All error messages are preceded by the details of the measuring instrument. For example, you might see this full message when there is a problem with an X-Rite 938 instrument:
X-Rite 938 Error: No responding device attached to selected serial line
Error: The USB device cannot be found
This message appears if Genlin is unable to locate the chosen USB device. Ensure the measuring device is connected to the USB port and is powered on. Ensure also that you have selected the correct
Instrument
and
Port
in the Configuration dialog box.
Error: No responding device attached to selected serial line
Error: The USB device is not responding
Either of these messages may appear if the measuring instrument does not have any power supply. Check the power supply to the measuring instrument and ensure that it is switched on. If the problem persists there may be a fault with the power adapter or cabling.
Error: Number samples received, but Number expected
This message appears if the Eye-One software was unable to correctly detect the boundaries of each of the patches on the calibration target. That is, the number of patches read does not match the number of patches expected. You may have scanned the calibration target too quickly or confused the software by scanning part of the number at the top of a strip, and so on.
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When reading strips, the guide should be positioned so that approximately an inch of blank paper is available at the end of each strip. Try to avoid any marks outside the area of the patches, such as the strip numbers.
Error: Calibration failed - place the device on its white reference and start again
This message may appear when calibrating the Gretag Macbeth Eye-One spectrophotometer. You must place the Eye-One device on its holder, which contains a built-in white reference, whenever you begin the process of reading a target. This allows
Genlin to accurately read the target. Refer to the documentation accompanying this device for further details.
Error: Unknown
This message may appear if you have used the
File > Abort Target
menu option. This message may also appear if the RIP is unable to recognize the error generated by your measuring instrument. Check any display panel on a manual instrument for more details.
In all cases, you will be asked whether you wish to re-try measuring the target. If the error persists, consider recalibrating the measuring instrument or following advice in
C.3.2 Symptoms
Failure to communicate with the measuring instrument
This may be due to a mismatch between configuration settings and the actual instrument or interface port used. A break in cabling, or a failure in software between the computer and the measuring instrument may also be the cause of a communication failure. Check the connections and settings in the Configuration dialog box. If these appear to be correct, try switching off or disconnecting the measuring instrument for
30 seconds and then reconnecting it.
Alternatively, Genlin may not be able to communicate with the measuring instrument due to the re-configuration of the interface port by another application. If you think this is the case, close the application that you suspect is causing the conflict. If necessary, shut down and restart your computer.
Failure to read the correct data from the target
A problem in this area is most likely to be a mismatch between the Target file selected in Genlin and the type of target you are physically measuring. First make sure that the number you select in the target list after clicking
File > Read Target
matches the reference number printed on the target itself.
If recalibrating, you may have printed the target on the wrong paper type. Otherwise, you may have read the wrong patches when using a manual instrument, or incorrectly aligned the target when using a strip-reader. Finally, the target may be incorrectly printed or the measuring instrument may need recalibration.
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Failure to transfer correct data to the RIP
Ensure that the
RIP Folder
specified in the Configuration dialog box is the path to the
SW folder of the RIP installation into which you are importing data.
If the
RIP Folder
is correct, this problem may be due to a problem with the content of the caldata folder where target and import data is stored. This is very unlikely event but if it happens, delete the caldata folder, which is a subfolder of the Harlequin RIP
SW folder and print the target again.
Note: After deleting the caldata folder you cannot use Genlin to read targets created before you deleted the folder—you must reprint the targets.
The reference number printed on the target does not appear in the list when you click
File > Read Target
This can happen if the target was printed using a different Harlequin RIP installation.
Ensure that the
RIP Folder
setting in the Configuration dialog box is the correct path to the
SW folder of the RIP installation used to print the target.
This can also happen because the caldata folder was deleted between printing the file and trying to read it with Genlin—reprint the target and measure the new print.
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Glossary
This glossary gives a brief description of many of the important terms and concepts surrounding the Harlequin RIP. Italics are used to indicate terms with their own entry elsewhere in the glossary.
active device
The active device is the imagesetter or other output device to which the RIP is sending its output. This is the output device specified in the Page Setup for the job. See also
anti-aliasing
A technique in which intermediate colors or grayscale tones are used to visually smooth boundaries between different colors. Anti-aliasing is most useful at low or medium resolutions and with boundaries between very different colors. The Harlequin
RIP TIFF output plugin can perform anti-aliasing, with a control offering choices between more smoothing and faster preparation.
aspect ratio
The height-to-width ratio of a page.
banding
The white bands which can be produced if interpreted data is sent to certain kinds of
imagesetter too slowly (see also data underrun)—the result is that media continues to
feed through, but no image is available to print, leading to white bands in the output.
The RIP uses a printer buffer which ensures that data is sent to the imagesetter at a steady rate, in order to reduce the chances of this problem occurring.
Banding will only occur in imagesetters which cannot stop–start successfully.
black generation
The process of adding black to CMYK images in variable amounts according to print-
ing effects required.
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cassette
A container for output media. This cassette contains a roll of film or paper and is slotted onto the top of an imagesetter in such a way that the media can be fed through.
Some versions of the Harlequin RIP include the Media Manager which allows you to monitor the amount of media left in many different cassettes automatically.
choke
The process of overprinting a small border on graphics to make them look smaller.
Spread and choke are often used as part of trapping to protect against misregistration of color separations.
CIP3
CIP3 was a group called International Cooperation for Integration of Pre-press, Press, and Post-press (CIP3). The CIP3 group developed the Print Production Format (PPF) for files to contain information about print jobs including administrative data, information about inks and register marks, comments, and preview images. CIP3 has become
CIP4, and maintains a web site at http://www.cip4.org/
.
CIP4 is a similar group called International Cooperation for Integration of Processes in
Prepress, Press, and Postpress, formed to continue the work of CIP3 and to develop a new file format called Job Description Format (JDF).
CMYK
A color representation scheme (or color space) where cyan, magenta, yellow, and black
are combined to create full-color images.
color separation
A monochrome image that describes a component of a color image that has been described using a particular color space. In printing, images are commonly depicted in
the CMYK space, leading to four separated pages for each full-color page.
color space
A scheme of representation for color images, such as CMYK or RGB. Colors are repre-
sented as a combination of a small set of other colors, or by other parameters, for example: hue, saturation, and brightness (HSB).
composite font
A font which consists of more than 256 characters. Composite fonts are indispensable for producing images which contain, for example, Japanese text. However, they need to be treated as separate from ordinary fonts.
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core RIP
The Harlequin RIP PostScript language compatible interpreter. This is the program which takes PostScript language page descriptions as input and produces bitmaps as output.
crop marks
Marks, printed near the edges of an image, which indicate where the paper should be trimmed.
current cassette
The cassette feeding media to the output device receiving commands. This can be the
active device (receiving a job) or the menu device (receiving commands from options in
the
Device
menu).
current device
The term current device is ambiguous, because it can refer to two different devices.
The active device is the imagesetter or other output device to which the RIP is sending
its output. This is the output device specified in the Page Setup for the job.
The menu device is the output device that provides the name of the
Device
menu, and receives the commands generated by choosing options from the
Device
menu.
current color space
When you are creating or editing a Page Setup, the current color space is the color space
of the selected separations style.
data rate
The speed that an imagesetter receives data for imaging. It is important that the RIP sends data to the imagesetter at approximately the data rate of the imagesetter, other-
wise data underrun may result. You can find out the data rate for a particular imageset-
ter from the instructions for that imagesetter.
data underrun
The result of a RIP failing to supply data to an output device quickly enough. If the
output device cannot stop / start successfully, banding or other effects will occur which
may cause a loss of output quality.
DCS (Desktop Color Separation)
DCS is Quark Inc’s method of image substitution in PostScript language jobs. The Harlequin RIP supports both DCS 1.0 and 2.0, and the similar OPI scheme.
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device driver
A piece of software, often provided by an output plugin, that helps the RIP communi-
cate with a particular printer, imagesetter, or other output device. You can link the RIP with any output device, given the correct device driver. This driver could have been produced by you, or by Global Graphics. It is also possible to use device drivers for
input devices; see also input plugin.
device type
The Harlequin RIP’s concept of a multiple device driver means that you can use a single
device driver to run several different imagesetters or other output device, rather than
requiring a separate device driver for each one. One multiple device driver can run several imagesetters which have the same device type. The nature of the device type depends on the multiple device driver, and is likely to consists of groups of imagesetters. For instance, Ultre may be one device type, and Pelbox may be another.
DLD1 font
The Harlequin RIP’s own font format, into which most fonts can be converted. Operations with DLD1-formatted fonts can be performed significantly faster than they would be with normal font descriptions.
dot gain
A printing effect which results in dots being printed larger than they should be. It occurs as a result of ink spreading on the printed page, and if not compensated for, can lead to an image appearing too dark.
dot range
The range of numerical values used to represent color values. TIFF/IT-P1 uses a dot range of zero (0) through 255.
Note: The value 0 may be associated with white and 255 with 100% black or the full density of a particular ink, but this is not essential: in the MP data type, for example, these end values can be associated with particular colors and the intermediate values represent proportionate blends of these two colors.
See also TIFF (Tag Image File Format).
dot shape
The shape in which dots on the image are generated. See Chapter 6, “Screening”.
dpi
Dots per inch. A measure of the resolution of an output device. Dots per centimeter
(dpcm) and dots per millimeter (dpmm) are also offered by the Harlequin RIP.
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Encapsulated PostScript (EPS)
EPS is a subset of the PostScript language which allows images to be described in a format which can be imported into other documents. EPS images are independent of the format of the document, and so may be imported into documents using a wide variety of applications, from within the application itself, or can even be imported into other PostScript language page descriptions.
error diffusion
A technique that can be used to screen contone images into a halftone reproduction.
The technique works by calculating the error between the required (contone) value and the achieved (halftone) value at each point (which might be a single pixel or a halftone cell), distributing that error to neighboring points, and using the error to modify the contone values for those points. This is repeated for the errors at all points. The result is an irregular and non-repeating screening pattern that shows very little color error.
Error diffusion is easy to implement on low resolution devices but can be difficult to use for high resolution or color output, where the irregularity makes it difficult to predict moiré or dot gain effects. Another problem occurs where the image is rendered in bands, which may be processed in an order that is different to their spatial order: this can lead to visible discontinuities.
The Harlequin RIP does not support error diffusion directly but Harlequin Dispersed
Screening has some of the same “random” visual qualities while remaining predictable with respect to behavior on physical output devices. Also, output plugins can implement error diffusion screening in their output, while accepting contone page buffers from the RIP.
executive
A special mode in some versions of the Harlequin RIP which allows you to type in
PostScript language code and to see the interpreted results. You should only use this mode if you are familiar with the PostScript language.
exposure
Some imagesetters (for example, Pelbox) have an exposure setting which can alter the strength of the laser which produces the image. In these cases, the exposure may be set using the Edit Page Setup dialog box.
feature
A section of PostScript language code that may be automatically interpreted with any job, specified using the Edit Page Setup dialog box.
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font
A set of type characters for use in a textual printing job. Fonts typically contain alphabetical and numerical type, as well as common special symbols (such as marks of punctuation). The Harlequin RIP is supplied with the industry standard 35 fonts for
PostScript Level 2, and some special purpose fonts. Users can install third-party fonts as required.
halftone
A complex image which has been broken up into a series of very small dots so as to reproduce it. A newspaper photograph is a good example of a halftone image. See
halftone cell
A single dot in a halftone image.
hard copy
A physical copy of a document, on media such as paper or film.
hardware feed
Some imagesetters will automatically feed through media whenever a job is completed. In versions where the Harlequin RIP’s media management facilities are available, the RIP can take account of any devices that do this.
hinted font
When previewing images on a low resolution screen (or when printing them on a low resolution printer) text can look odd when rendered, because of the size of the output pixels becoming significant when compared to features in the characters. Hinted fonts can improve the appearance of text rendered at low resolution or at very small sizes on higher resolution devices.
This figure shows a simple example for the letter h in low resolution without hinting
(left) and with (right). Here, the hinting has balanced the width of the vertical strokes.
HDLT (Harlequin Display List Technology)
Provides a programmatic interface for customization between interpretation and rendering. HDLT appears as a password-enabled option but is most likely to be used by your supplier as a way of providing functionality that is not otherwise obvious in the
RIP GUI.
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HPS (Harlequin Precision Screening)
A proprietary technique used to reduce the effect of moiré interference and improve
the quality of a color separated image when using halftones. See Chapter 6, “Screening”.
IFD (Image File Descriptor, Image File Directory)
This structure used for each collection of information within a TIFF file, A typical IFD contains several entries, most of which are pairs of tags and values. There can be several IFDs in a TIFF file but the only type of TIFF/IT-P1 file to contain more than one
IFD is the Final Page (FP) file.
See also TIFF (Tag Image File Format).
input plugin
A device driver which controls an input device connected to the RIP.
Note to OEMS: Several input plugins are provided as standard with the Harlequin
RIP, but OEMs can undertake to write their own, or can contract
Global Graphics to do so.
Input plugins have several uses—they are primarily used as methods in which input can be sent to the RIP (for example, using a spool folder), but they can also be used as
PostScript language devices or data manipulation filters, and they can be used to perform asynchronous actions.
JDF (Job Definition Format)
JDF is an XML-based file format that is becoming the industry standard for the definition of job tickets in pre-press workflows. Its main purpose is to facilitate the exchange of information between printing applications and systems.
keyboard accelerator
A set of key presses which have the same effect as a mouse-based operation—such as selecting a menu item—while probably taking less of a user’s time to perform.
lpi
Lines per inch. A measurement of halftone screen frequency. Lines per centimeter
(lpcm) and lines per millimeter (lpmm) are also offered by the RIP.
media
The various materials, such as paper or film, that are used in producing hard copy.
menu device
The menu device is the output device that provides the name of the
Device
menu, and receives the commands generated by choosing options from the
Device
menu.
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mirrorprint
An option in the Edit Page Setup dialog box which allows you to produce a mirror-
image copy of your job. See Chapter 5, “Configuring Output Formats”.
moiré pattern
A printing effect that occurs when a color separation is printed with incorrect screen
angles. It is undesirable and can be minimized by the use of correct screen angles. See
also HPS (Harlequin Precision Screening).
multiple device driver
A device driver which can drive more than one output device. Normally, you need a
separate device driver for each output device you are using. By using a multiple device
driver, however, you can use this one driver to run all devices of the types that it supports. For example, one multiple device driver might support all your Ultre and ExxtraSetter devices.
N-color
N-color is a name representing a family of systems of process colors other than the conventional four-color CMYK system (and CMY and RGB). N represents a variable number of inks, which can be less than four for economy in simple jobs such as forms printing or more than four for high quality or HiFi color. Examples of N-color systems
are the PANTONE Hexachrome Color Selector system and Photo-ink technologies.
OPI (Open Prepress Interface)
OPI stands for Open Prepress Interface and was originally specified by Aldus Corporation. Systems using OPI enable designers to use relatively low-resolution and easy to handle images on design workstations but to have higher quality images substituted for final output. The RIP supports both OPI and the similar DCS scheme.
output device
A computer peripheral capable of producing printed copy of a document, such as an
imagesetter or laser printer. See also active device, menu device.
output plugin
A device driver that controls an output device connected to the RIP.
Note to OEMS: Several output plugins are provided as standard with the RIP, but
OEMs can write their own plugins or commission Global Graphics to produce custom plugins.
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page buffer
A file on disk used to store a page of interpreted output, before it is printed or previewed. Depending on the page buffer mode in which you run the RIP, it can produce page buffers always, or only when required. Once produced, page buffers can either be retained on disk, to allow reprinting; or deleted after printing, to save space on your hard disk.
page imposition
The process of printing several pages, of, say, a pamphlet, on one sheet of media, so as to minimize the amount of trimming that needs to be done. For example, two copies of a four page A5 pamphlet could be produced from a sheet of A3 by printing the A5 pages in the pattern shown in this figure: e 1 Pag e 4 Pag
Page 2 Page 3
The pattern needs to be printed on both sides of the A3 sheet, reversed vertically on one side. Two copies of the pamphlet could then be produced simply by cutting the paper along the horizontal line, and folding along the vertical line. This process is much simpler than producing and trimming each page separately and rearranging them so as to form a booklet.
Imposition is one of the applications dealt with in the PostScript language extensions provided by the Harlequin RIP.
Note to OEMS: See the Using Harlequin RIP Extensions manual for details.
Page Setup
In the Harlequin RIP, a Page Setup is a named collection of settings used to process a
PostScript language job. All Page Setups are visible in the Page Setup Manager, which allows you to create new Page Setups and to copy or edit existing Page Setups. Using the Input Controller, you can create multiple ways of sending a job to the RIP, each with an associated Page Setup, so that any user can choose an input that applies the
desired settings for each job. For full details, see Chapter 5, “Configuring Output Formats”.
partial page buffer
An incomplete page buffer. A partial page buffer does not yet contain all of the details of
the page being rendered. The RIP produces partial page buffers when there is insufficient physical memory to interpret a job while holding a complete page in memory.
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PDF has these meanings:
Portable Document Format. A PDF file describes pages, using graphic capabilities similar to those in the PostScript language. Compared to PostScript language files, PDF files are typically smaller and more portable to different printers while producing more predictable output. This is the most common usage of PDF.
Printer Description File or Printer Definition File. Files, special to a creating application or to the Netware operating system, that define the characteristics of a printer. Many more
applications support PPD files, which have a similar purpose.
Photo-ink
Photo-ink technologies use different densities (light and dark versions) of one or more colorants. A capable system is then able to use the light ink in highlight areas and the dark ink where more colorant is required. A typical set of colors is light cyan, dark cyan, light magenta, dark magenta, yellow, and black.
pica
A unit of measurement in printing. Usually, equal to 12 points or 0.166 inches.
pixel
A single element of a VDU’s display, or of an image.
plug-in module
A software product that can be interfaced with the RIP to provide extra features or customizations.
point
A unit of measurement used in printing. There are 12 points to a pica. Historically, there have been several definitions of the point: a common definition is 0.01384 inches, or approximately 72 points to the inch. The PostScript language uses a default user unit which is exactly 1/72 of an inch (0.01389 inches or 0.3528 mm). This unit is frequently called a point, and this is the definition used by the RIP.
PPD
PostScript Printer Description. Each PPD is a file that defines the characteristics of a printer. When installed correctly, a PPD customizes an operating system printer driver or a creation or page layout application to optimize PostScript language jobs for the printer described by the PPD. Many imagesetter and printer manufacturers provide
PPDs for the printers that they produce.
precision screening
See HPS (Harlequin Precision Screening).
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prep file
A PostScript language header file, which is interpreted before the main job processing in order to provide a standard setup to be used by a range of different jobs.
preview
To view an interpreted job on the screen before producing a hard copy of it.
profile
In printing and color science, a profile is a description of the color performance of an input or output device such as a scanner, printer, or display monitor. With suitable software, it is possible to transfer color definitions between different devices, and to have the same colors appear on each.
There is an open standard for profiles promoted by the International Color Consortium
(ICC), supported by many device manufacturers and vendors of profile creation tools.
The ColorPro color management options within the
RIP are supplied with several profiles and can install additional ICC profiles. There are several types of profile; see the Harlequin ColorPro User’s Guide for more details.
progressive proof
A proof or series of proofs in which (some) intermediate stages of laying down the
colors are shown. For example, a CMYK page is usually printed in the order yellow, magenta, cyan, and finally black. The full set of corresponding progressive proofs would be Y, Y+M, Y+M+C, and Y+M+C+K. If the page is to be printed with two passes on a two-color press, the most useful proofs are likely to be the ones representing the product of each pass on the press: Y+M and Y+M+C+K.
proof
A preview or hard copy of some or all of the characters in a font, or of an image. The RIP
can create various forms of proofs—as composite output, as a set of separations, or as a
progressive proof—to suit the needs of the situation.
Raster Image Processor
rendering
The term rendering refers to the process of creating a bitmap image or raster from the interpreted page description. This bitmap can be used by the output device to produce a visible image.
resolution
The degree of detail with which an image is reproduced, usually measured in dots per
inch (dpi). The higher the resolution, the greater the detail in which the image will be
reproduced. The resolution of a computer screen is usually around 72 dpi, whereas an image detailed enough to print in a magazine may be closer to 2500 dpi.
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RGB
A color representation scheme (or color space) where separations in red, green, and blue
are overlaid to create full-color images. The RGB scheme is usually used by computer monitors and televisions, and by some printers.
RIP
Raster Image Processor. A standard term used to name programs or devices which take an image of some description—text, line (vector) drawings, or photographic images— and convert it into a bitmap for display on a computer screen or output on an imagesetter. The final bitmap is the raster referred to in the name.
roam
To preview interpreted jobs in the Output Controller, available only in either of the
multiple modes. See also preview.
rosette
The pattern in which halftone cells are arranged in a separated image. This figure shows how the RIP can produce rosettes which either have dark centers (on the left of the diagram) or clear centers (on the right of the diagram, with the central dot removed).
screen angles
The angles at which the halftone screens are placed in relation to one another.
screen frequency/ruling
The density of dots on the halftone screen, commonly measured in lines per inch (lpi).
This is sometimes called ‘raster’ or ‘mesh’.
spread
The process of printing a small border just outside the edges of graphics to make them
look bigger. Spread and choke are often used as part of trapping to protect against mis-
registration of color separations.
stop / start
The ability of an output device to stop and restart during printing.
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tag
In TIFF or TIFF/IT files, an Image File Descriptor (IFD) contains a number of entries
(tags), each consisting of an unique tag number from 0 to 65535, and its corresponding value or values. Tag numbers are generally determined by the TIFF 6.0 or TIFF/IT specifications, and each has a specific meaning. (In TIFF 6.0, tag numbers above 32767 are vendor defined.) For example, the tag number for the tag named
DotRange is 336.
throughput
Generally, the efficiency with which images are interpreted and produced. In the Harlequin RIP specifically, throughput is another term for Multiple (Parallel) mode, where interpreting and output are carried out in parallel, and the Output Controller is used to
manage the printing of jobs. See Chapter 4, “Harlequin RIP Output Methods”.
TIFF (Tag Image File Format)
The basic TIFF file format. Without further details, you cannot assume that something described as being a TIFF file conforms to the TIFF 6.0, TIFF/IT, or TIFF/IT-P1 standards.
Note: TIFF/IT is sometimes referred to as Transport Independent File Format for
Image Technology. This name refers to the same format as described in Chapter 8,
trapping
Techniques used to tackle undesirable printing effects caused by misregistration of
printed separations, optical effects, and so on. See spread and choke. See also Chapter 13,
virtual memory
Virtual memory has these meanings:
In PostScript terminology, virtual memory or VM is a pool of memory used for the storage of composite objects such as strings, arrays, and dictionaries. PostScript language compatible interpreters are free to implement VM using all appropriate types of memory in their working environment.
In computer operating systems, virtual memory is disk memory used as an extension to physical memory, built-in memory, or RAM. Many operating systems support the use of virtual memory.
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Index
A
Abort if calibration on
Abort Printing File command 232
Abort the job if any fonts are missing
Accelerators
hardware processor for the Harlequin RIP 13
keyboard equivalents for menus 6
Add showpage at end of job
Adding
Allow stop /start
Allow use of all available memory 209
Always, delete option in Output Controller 77
Angles
screens expected in incoming job 379
screens for process colors 174
Anti-aliasing
AppleShare file permission access 407
Asynchronous Socket
Asynchronous Socket Quit
Automatic cassette selection 128
Automatic Prep loading
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B
,
Buffers
C
Calibration
creating a calibration set 328 densitometer use 328
factors affecting accuracy 336
stopping output without calibration set 154
turning on in Edit Page Setup dialog 160
Calibration Manager dialog 331
Calibration sets
creating from imported files 352 creating from published data 352
status in Calibration Manager 345
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Cassette Manager Edit dialog 267
Change roam color
button in Info dialog 388 dialog 388
Channels
Character identifier fonts 306
CIP3
Color
device-independent, and ColorPro 339
Color management
in a PDF job 409 instructions in a job 409
supplied with an output plugin 160
Color menu
Color process work
,
identifying in the Output Controller 75
labeling pages in Output Controller 387
misregistering separations 360
overprinting 361 producing color images 361
roaming color images 388 roaming in false colors 388
Color separations
Color Setup Manager dialog 375
in PostScript language jobs 363
ColorPro
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Colors
accuracy in Roam and Preview 99
Communications failed message 397
Compatibility setting
for PostScript LanguageLevel 152
Compressing
203 setting required compression ratio 203
Configuration settings
,
,
Configure RIP options
Configure RIP Options dialog 202
Configuring
for features of output devices 125
output to PDF Raster files 115
Controlling
Conventions
fonts 7 instructions in text 7
Copies
number printed from page buffer 79 number to print 79
Cut media with feed command 261
Cutting media
Cyan, Magenta, Yellow, Black
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D
Data transfer failed message 398
Data underrun
avoiding with Multiple mode 84
DCS
Deleting
fonts from the Harlequin RIP 312
jobs after printing 77 page buffers 77
Densitometer
Devices
,
Desktop Color Separation. See DCS
Developer
Device-independent color
Dialogs
Directories
Disabling
stopping all enabled inputs 218
Disk space left for system option 210
Disks
,
Don’t let files silently substitute Courier for missing
compensated by calibration 322
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setting in Screening Setup 174
square 177 square Euclidean 177
dpcm (dots per centimeter) 424 dpi (dots per inch) 424 dpmm (dots per millimeter) 424
Draft
,
Duotones
E
,
retargeting press calibration 161
,
,
, turning on press calibration 160
turning on tone curve calibration 161
Editing
Emulate old imagemask behavior
Exposure sweeps
Extra grays
Emulsion up/down. See Mirrorprint
Enabling
extra features in the Harlequin RIP 190
Encapsulated PostScript (EPS) 425
EPSF
Error diffusion
OEM Manual
437
Extras
enabling optional features 207
F
Fast color display
Fast patterns
Feeding media in the Media Manager 264
File names
Files
adding showpage to EPSF jobs 154
name mapping from PostScript names 41
Folders
caldata 38 categories 38 charstrings 38
CMap 38 colorrenderings 38 colorspaces 38 complete 38
FontSet 39 forms 39 halftones 39 icccrd 39
,
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structure used by Harlequin RIP 38
Font conventions
in this manual 7 instructions in text 7
CID (character identifier) 306 compact font format 306
,
installing composite fonts 309
Proof fonts in long format option 312
response to jobs with missing fonts 154
G
Genlin
GIF (Graphics Interchange Format) 248
Gray levels
increasing number with HPS 184
,
H
,
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Harlequin Chain Screening. See HCS
Harlequin Color Production Solutions. See HCPS
Harlequin Dispersed Screening. See HDS
Harlequin Micro Screening. See HMS
Harlequin Precision Screening. See HPS
Harlequin Screening Library. See HSL
Harlequin RIP
failure to appear on the network 406
resetting to standard configuration 211
HCS
introduction to Harlequin Chain Screening 191
HD Photo files
HDLT introduction to Harlequin Display List Technol-
HDLT (Harlequin Display List Technology)
HDS
introduction 192 varieties of 192
Height
Hex
Hexachrome
HiFi color
HMS
,
introduction to Harlequin Micro Screening 195 varieties of 195
introduction to Harlequin Precision Screening 183
HqnOEM
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HSL
enabling screen sets 190 introduction to Harlequin Screening Library 190
Hue, Saturation, Brightness. See HSB
I
ICC
ICC profiles
imagemask
Images
Imagesetters
Import Measurements dialog 352
access to Page Layout dialog 137
Input methods
Input Modes
configuring 218 deleting 218 editing 218 enabling 218
,
Input sources. See Input plugins
Inputs
disabling individual inputs 218
stopping all enabled inputs 218
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Installing
Installing Harlequin RIP
Interface card failed message 398
Interface cards
International Color Consortium. See ICC
Invalid resolution message 398
J
JDF
JDF (Job Definition Format) 427
JFIF files
input methods 247 printing 247
Job Description Format
Jobs
altering parameters for all pages 81
deleting automatically after printing 77
screen settings and overrides 182
JPEG files
input methods 247 printing 247
K
,
,
L
Language
LanguageLevel 1
LanguageLevel 2
LanguageLevel 3 152 setting compatibility 152
Laser diode failed message 398
Level 1 PostScript language jobs
Level 2 PostScript language jobs
Level 3 PostScript language jobs
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Limit number of distinct gray levels 184
Line screening
Localization
language in user interface 211
messages from Harlequin RIP 66
lpcm (lines per centimeter) 427 lpi (lines per inch) 427 lpmm (lines per millimeter) 427
M
Macintosh
Margins
Measurements
choice for calibration data 350
advancing 260 cutting 260 feeding 260
,
,
,
Media saving
automatic cassette selection 128
Fill whole drum (for part drum devices only) 131
Switch roam color to black 131
Time to wait between pages 130
Track flat width (for roll fed devices only) 131
Memory
requirements for disk space 35
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Memory reserve for RIP option 209
Menus
changes in displayed commands 48
Messages
in LOGFILE 66 in RIP Monitor 66
Minimum free disk space
Minimum memory left for system option 209
Misregistering separations
Missing fonts
Modes
page buffering in the Harlequin RIP 69
Monitoring
Multiple (Parallel) Mode
Multiple (Parallel) mode
compared to Single (if required) 85
Multiple copies
adding a new device 124 changing configuration 124
Multiple mode
N
N-color
N-color systems
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Negative
Networks
Harlequin RIP fails to publish 406
Never, delete option in Output Controller 77
New Page Setup dialog
No take-up cassette message 399
Number of copies to print
O
Open Prepress Interface
OPI
Optional features
Output Controller
labeling of color separation pages 387
identifying color separations in 75
numbering of separation pages in 75
When necessary delete option 77
Output plugins
Override black generation in job box 384
,
,
Override separations in job 371
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P
Page buffers
,
from older versions of the Harlequin RIP 82
moving in Output Controller 74
Page features
Image replacement 149 imposition 149
PGB hot folder 151 printing Draft on each page 151
resubmitting page buffers 151 saving film 151
Page Setup
,
,
Mirrorprint effect 137 negative effect 137
reordering list of page setups 89
Page Setup Option Extras dialog 156
abort if calibration does not match 154 abort if fonts are missing 154 add showpage 154
emulate old imagemask behavior 153 fast patterns 153
run prep at start of job 152 setting the LanguageLevel 152
Page size
,
,
,
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Passwords folder 40 patterns folder 40
PDF files
PDF jobs
PDF Raster
PDF raster
Performance
Seybold Musicians test image 36
Photo-ink
Photoshop images
processing jobs containing 409
Portable Document Format. See PDF files 233
Post processing
PPD
PPF
Preloading
composite fonts 310 fonts in the Harlequin RIP 310
Preseparated jobs
Press calibration
Post processing substitution codes 113
PostScript language
applied to jobs in page features 149
handling Level 1 language jobs 152 handling Level 2 language jobs 152
PostScript Printer Description. See PPD
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Preview
Print calibrated press target 341
Print Production Format
,
Print uncalibrated press target 341
and data underrun 206 and roaming large page buffers 206
Printers
installing interface cards 37 required data rate 37
Printing
in mirror image 137 in negative 137 in rotated orientation 137
,
,
Printing PDF files
Problems
Process colors
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Processor, online developer 272
Profiles
Progressive proofs
Proofs
defined 431 progressive, defined 431
Q
Queues
Quitting
R
Raster Image Processor
Recombination
Recombine preseparated jobs
,
Remove color operators
Removing
Reordering
ReproductionCriteria folder 40
Requirements
data rate to printer 37 disk data rate 37
Resetting
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resolution
Resubmitting, page buffers 151
Right reading. See Mirrorprint
RIP
RIP configuration
RIP Monitor
Ripping to disk
Roaming
changing the displayed colors 388
description of Reduced Roam window 97 description of Roam window 97
large or multiple pages and printer buffer 206
,
,
Rotate
Round Euclidean dot shapes 175
Run prep at start of job
S
Saving
a backup of all fonts 41 all configuration settings 41
Scaling
Screen angles
,
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overriding 178 specified in job 178
Screen levels
Screen sets
Screenin
,
Screens
Searching for input symbol 216
Separate spot color duotones, tritones & quadtones
to spot color plates check box 157
Separate spot color vignettes to the spot color plate
features needing recombination 364
page numbering in Output Controller 75
Separations Manager dialog 365
Setting the PostScript LanguageLevel 152
Seybold
Shortcuts
Page Grid positioning options 290
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Single (if required) mode 85 compared to Multiple (Parallel) 85
Single mode
Socket
configuring the input plugin 227
Sockets
as input to the Harlequin RIP 224
requirements for use with the Harlequin RIP 226
Special effects
applied to jobs using page features 149
applied to jobs using page setup 137
Specifying
excluding files from processing 224
Spool Folder Configuration dialog 221
Spot colors
Square Euclidean dot shapes 177
Starting up
output of jobs after earlier disabling 73
Startup prep
Status
Stop / start
Stop Printing File command 232
Stopping
the computer running the Harlequin RIP 51
Stripping. See Page imposition
Substitute fonts
Harlequin PLUS Server RIP v9.0: June 2011
System 7 file permission access 407
T
Testing
Threads
option in Configure RIP dialog 204
Throughput
TIFF (Tag Image File Format) 21
Configuring files 101 creating files 101
Tone curves
Tool bar
Transparency
Trapping
TrapPro
Trim Page check box
Trim page check box
,
Post processing output files 112
Post processing substitution codes 113
TIFF/IT files
installation and requirements 250
printing with spool folder 222
Time saving (optimization) 135
Timeouts
OEM Manual
445
U
,
Uninstalling
Units of measurement
V
Version
Vignettes
allocating for the Harlequin RIP 209
W
When necessary
delete option in Output Controller 77
Width
Workflows
for maintaining calibration 332
,
Wrong reading. See Mirrorprint
X
XPS Documents
446
OEM Manual Harlequin PLUS Server RIP v9.0: June 2011
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