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Ecrm Rip For Windows NT: Operator Guide

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Ecrm Rip For Windows NT: Operator Guide

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ECRM RIP for Windows NT

Operator Guide
Eclipse Release

November 2002

AG12325 Rev. 5

Copyright and Trademarks Eclipse Release November 2002 Part number: HK6.0OEMNECLIPSE Copyright 19922002 Global Graphics Software Limited. All Rights Reserved. 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 Limited. The information in this publication is provided for information only and is subject to change without notice. Global Graphics Software Limited and its afliates 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. ECRM is a registered trademark of ECRM, Incorporated. ScriptWorks is a registered trademark and Harlequin, the Global Graphics Software logo, Harlequin RIP, ColorPro, EasyTrap, FireWorks, FlatOut, Harlequin Color Management System, HCMS, Harlequin Color Production Solutions, HCPS, Harlequin Color Proong, HCP, Harlequin Error Diffusion Screening plugins 1 bit and 2 bit, HEDS1 and HEDS2, Harlequin Full Color System, HFCS, Harlequin ICC Prole Processor, HIPP, Harlequin Standard Color System, HSCS, Harlequin Chain Screening, HCS, Harlequin Dispersed Screening, HDS, Harlequin Micro Screening, HMS, Harlequin Precision Screening, HPS, HQcrypt, Harlequin Screening Library, HSL, Harpoon, RipFlow, ScriptWorks MicroRIP, ScriptProof, ProofReady, Scalable Open Architecture RIP, SOAR, SetGold, SetGoldPro, TrapMaster, TrapPro, TrapProLite, TrapWorks, PDF Creator and RIPFlow are all trademarks of Global Graphics Software Limited. Portions licensed under U.S. Patents: Nos. 4,500,919, 4,941,038 and 5,212,546. EasyTrap is licensed under one or more of the following U.S. Patents: Nos. 5,113,249, 5,323,248, 5,420,702, 5,481,379. 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 Limited is a licensee of Pantone, Inc. PANTONE Colors generated by the Harlequin RIP are four-color process simulations and may not match PANTONE-identied solid color standards. Consult current PANTONE Color Publications for accurate color. PANTONE , Hexachrome , and PANTONE CALIBRATED are trademarks of Pantone, Inc. Pantone, Inc., 1991.

Other brand or product names are the registered trademarks or trademarks of their respective holders.
US Government Use The ScriptWorks 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 52.22714 Alt III or (ii) FAR 52.227-19, as applicable. Use by agencies of the Department of Defense (DOD) is subject to Global Graphics Softwares 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, 95 Sawyer Road, Waltham, Massachusetts 02453.

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Table of Contents
Preface ............................................................xv Introduction to the Harlequin RIP ...................1
1.1 What is the Harlequin RIP? 1 Input and output formats 2 Versions of the Harlequin RIP 2 Why use the Harlequin RIP? 3 The Harlequin RIP in depth 4 Software RIPs compared to hardware RIPs 5 File format and version support 6 Extended color capabilities 8 Color, screening, and Roam functionality 11 Memory management 12 Headless RIP Option 14 FlatOut 14 Screening options 15 Harlequin ColorPro 16 Graphics formats 17 Input and output methods 18 Complex jobs 20 Throughput control 20 Previewing 22 Page buffer compression 22 Fonts and font handling 23 Convenience features 24

1.2 1.3

Running the Harlequin RIP ...........................27

2.1 Machine requirements Performance 28 28

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Ability to RIP a job 30 Driving a printer effectively

2.2 2.3 2.4

2.5

2.6

Installing printer interface cards 33 Harlequin RIP folder structure 34 Starting up the Harlequin RIP. 39 The menus 40 The tool bar 41 Menus affected by optional features 45 ColorPro menus 45 TrapPro and TrapProLite 46 Media Saving 47 Stopping the Harlequin RIP 47 Quitting the Harlequin RIP 47 Stopping the computer 48

Getting Started with the Harlequin RIP ....... 49

3.1 A simple Harlequin RIP session 49 Creating a page setup 50 Creating a simple job 53 Previewing the image on screen 55 Outputting to a real device 57 Sending a job to the Harlequin RIP 60 A more complex use of the Harlequin RIP 62 Saving a page setup 62 Associating a page setup with an input 64 Using the Harlequin RIP with a spool folder 64 Monitoring the Harlequin RIP 66

3.2

3.3 3.4

Harlequin RIP Output Methods .................... 69

4.1 4.2 4.3 Historical overview 69 Page buffering modes 70 Operating modes 71 The throughput system 73 Output Controller 73 Job management 80 Page buffers produced by older versions of the Harlequin RIP
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4.4

4.5

Advanced details of page buffering modes 88 Multiple (Parallel) mode 88 Multiple mode 89 Single mode 90 Single (if required) mode 91 Multiple (Parallel) compared to Single (if required) mode 92 Page buffering modes: a summary 93

Configuring Output Formats .........................95

5.1 5.2 Creating and managing page setups 95 Page Setup Manager dialog box 96 Controls and actions 97 Reordering page setups 98 Selecting several page setups 98 Closing the Page Setup Manager 99 Edit Page Setup dialog box 99 Closing the Edit Page Setup dialog box 101 Closing the New Page Setup dialog box 101 Selecting different devices 102 Setting the resolution 103 Image interpolation 104 Sending output to the screen 107 Using the Preview device 107 Using the None device 108 Roam and Preview windows 109 Output to Preview 112 Output to None 112 Output to TIFF 113 TIFF file location and naming options 114 TIFF file format options 116 TIFF file post processing 117 Sending output to a printer 121 ProofReady plugins 122 Using ProofReady plugins 123 Multiple device output plugins 124
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5.3

5.4

5.5

5.6 5.7 5.8

5.9 5.10 5.11

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Installing and using multiple device plugins

125

5.12 5.13 5.14

5.15 5.16 5.17 5.18 5.19 5.20

5.21 5.22

5.23

5.24 5.25

Output plugin dialog boxes 128 Separations, Screening and Color 128 Media saving option 129 The Media Saving dialog box 131 Media Saving dialog box example 136 Media and time saving using optimization 137 Other options that save media 137 Default page size 138 Margins 138 Printing effects 140 Scaling the image 141 Features 141 Using features 141 Adding other features 144 Cassette management 144 Page Setup Options 145 PostScript Language compatibility level 145 Run prep at start of job 146 Remove color operators 146 Fast patterns 147 Emulate old imagemask behavior 147 Add showpage at end of job if necessary 147 Abort if calibration on, and the selected cal set does not match job 148 Abort the job if any fonts are missing 148 Preserve monochrome and preseparated jobs 148 Number of copies to print 149 Page Setup Option Extras 149 Adobe Photoshop features 150 Adobe Illustrator features 151 QuarkXPress features 153 Macromedia FreeHand features 154 PDF Options 155 Calibration 155 Device calibration 155

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Press calibration 156 Use of a different printing press Tone curves 157

156

5.26

Other page setup options

157

Screening ......................................................159
6.1 6.2 6.3 6.4 Managing separations styles 159 Separations Manager dialog box 160 Edit Style dialog box 161 Halftoning 162 Dots, halftone cells, and screens 163 Dot shape 165 Spot function screens 166 Threshold screens 166 Halftone options 167 Dot gain 168 Suggested background reading 168 Screen angles 169 Changing angles for separations 170 Dot shapes 171 Common dot shapes 172 Other dot shapes 174 Halftone frequency 175 Changing the halftone frequencies 176 Screening options and number of gray levels 176 How many gray levels can you see? 176 How many gray levels do you get? 177 How many gray levels do you need? 178 Gray level controls 180 Job settings and Harlequin RIP settings 181 Harlequin Precision Screening 183 Controlling extra grays in HPS 183 Using the HPS controls 184 Possible problems with output 188 HPS and pattern screens 190 Increasing HPS performance 190
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6.5 6.6

6.7 6.8

6.9 6.10

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6.11

6.12 6.13

Harlequin Screening Library 192 Switching on HSL 192 Selecting an HSL screen set 193 Harlequin Chain Screening (HCS) 193 Harlequin Dispersed Screening (HDS) 194 Harlequin Micro Screening (HMS) 199 Troubleshooting HSL 200 Automatic detection of color separations 201 Using Harlequin Harpoon PCI 201

Configuring the RIP ..................................... 203

7.1 7.2 Configure RIP dialog box 204 How the Harlequin RIP controls files 204 Workspace folder 205 Page buffer folder 205 Control of page buffering modes 206 How to choose the page buffering mode 206 Using a printer that can stop / start 206 Compressing page buffers 208 Band size for printing buffer 208 Minimum compression ratio 209 Job timeout 209 Threads and parallel processing 210 Network buffer size 210 Increasing throughput 210 Freeing the sending application 210 Printer buffer size 211 Extras 212 Specifying prep files 214 Automatic prep loading 214 Startup prep 214 Harlequin RIP memory allocation 214 Minimum free disk space 216 Disable sounds 216 Resetting the Harlequin RIP to default values Choosing the user interface language 217

7.3

7.4 7.5 7.6

7.7 7.8 7.9

7.10 7.11 7.12 7.13 7.14

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Requirements and limitations Procedure 218

217

Configuring Input .........................................221

8.1 8.2 Input management 222 Managing input plugins 224 Turning on the input system 226 Adding a new input source to the list 226 Copying an input plugin 227 Editing the details for an input source 228 Configuring an input plugin 228 Deleting an input source 228 Enabling and disabling input sources 228 Using the AppleTalk input plugin 229 Configuring an AppleTalk input source 229 Using the NT Print input 230 Installing the plugin 230 Configuring an NT Print input 231 Creating a printer under Windows NT 232 Using the printer from Windows NT 234 Printing from a DOS command prompt 234 Troubleshooting NT Print 235 Using the NT Pipe input 236 Installing the plugin 236 Creating an NT Pipe input 237 Configuring the named pipe 237 Connecting an application to the Harlequin RIP 239 Using the Spool Folder input folder 240 Configuring a Spool Folder input source 241 Using the Socket input plugin 245 Requirements 247 Configuration preliminaries 247 Configuring a Socket input plugin 250 Using the Asynchronous Socket plugin 253 Creating an asynchronous socket input 253 Sample job 254
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8.3 8.4

8.5

8.6 8.7

8.8

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8.9 8.10

8.11 8.12 8.13 8.14

8.15 8.16 8.17

8.18

8.19

8.20

Using the Asynchronous Socket Quit plugin 254 Using the Serial input plugin 255 Overview 255 Establishing a serial link 256 Configuring a Serial input plugin 257 ASCII and binary modes 259 Using more than one method 261 Using the Print File command 262 Printing several files 263 Printing PostScript-language files 263 Printing PDF files 264 Printing PDF version 1.4 265 Working with transparency 265 AcroForms 267 Related documentation 269 PDF Options dialog box 269 Usage 274 Limitations and special treatment 275 Printing JPEG and JFIF files 276 Limitations 276 Printing GIF files 277 Printing TIFF/IT files 277 General 277 Installation and requirements 279 Usage 280 Printing TIFF 6.0 files 282 Procedures 282 Limitations and extensions 283 Printing page buffer files 284 Requirements and preparation 285 Printing procedure 286 Entering PostScript-language code by hand 287

Media Management ..................................... 289

9.1 Why manage your media? 289 Overview of the Harlequin RIP capabilities 290
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Suitable devices 291 What you need to do 292

9.2

9.3

9.4

Advancing and cutting media interactively 292 Device menu 293 Using the Device menu 293 Advancing and cutting media automatically 294 Automatic use 295 Enabling and disabling media management 297 Cutting media 297 Feeding media 298 Interaction with other Harlequin RIP options 300 Monitoring media 300 Setting up the monitoring system 300 Cassette Manager and Edit Cassette dialog box 301 Using media management 305 Using media management with multiple setups 305 Low media warnings 306 Hardware feeds 306 Online developers or processors 308 Monitoring your media 309

Fonts .............................................................311
Supplied fonts 312 Types of font 312 The DLD1 format 313 Installing fonts in the Harlequin RIP 314 Install Fonts command 316 Downloading fonts to the RIP 317 10.5 Pre-loading fonts 318 10.6 Producing a list of installed fonts 319 10.7 Proofing fonts 319 10.8 Removing fonts 321 10.9 Composite fonts 322 10.10 Font substitution 323 10.1 10.2 10.3 10.4

Calibration ....................................................325
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11.1 11.2

Why calibration is needed 325 Calibration and linearization 327 Non-linear devices 328 11.3 Calibration in the Harlequin RIP 329 Accessing calibration functions 330 Calibration sets 330 11.4 Example procedure 330 Devices and requirements 330 Choosing the correct exposure 333 Creating a calibration set 337 Entering the data 339 Applying the calibration 341 11.5 Editing calibration sets 342 Establishing a workflow 342 Variations on the Edit Calibration dialog box 344 Choosing and labeling calibration sets 345 Saving calibration sets 346 11.6 Consistency of calibration 346 Checking calibration 346 Assessing attainable accuracy 347 11.7 Tone curves 348 Creating and using tone curves 349 11.8 Press calibration 349 How does press calibration work? 350 Alternative uses of press calibration 352 Direct to press 353 Version history: Linear and None 353 11.9 Using a combination of calibration sets 354 11.10 Print Calibration dialog box 355 Buttons 355 Other controls 356 11.11 Calibration Manager dialog box 357 List headings and entries 359 Buttons 362 11.12 Edit Calibration dialog box 363 Entry methods and variations 364

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Checks in the Edit Calibration dialog box 365 Warning Criteria panel 365 Other controls 366 Values 369 Test strips and data boxes for patches 369 Controls 369 Exiting the Edit Calibration dialog box 373

Color Separation ..........................................375

12.1 Introduction 376 Alternative process color systems 377 Spot colors 378 Types of color jobs 379 Harlequin RIP 379 Harlequin ColorPro 380 What color separations are 380 Knockouts and overprinting 381 Producing color images from separations 384 How color separations are produced 386 Color PostScript-language jobs 387 Preseparated jobs 387 Creating and managing separations 388 Separations Manager dialog box 389 Controls and actions 389 New Style dialog box 391 Selecting several separations styles 392 Closing the Separations Manager 392 Edit Style dialog box 393 Producing separations 395 Other options 398 Recombination 399 Recombination and composite jobs 401 Closing the Edit Style dialog box 401 Color Setup 401 Define color setups (no color management) 402 Overprinting controls 409
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12.2 12.3 12.4

12.5 12.6

12.7

12.8

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Black generation and undercolor removal Black generation 410 Ink densities 413

409

12.9 Color separation angles in job 413 12.10 Trapping features 414 Trapping and QuarkXPress 414 Controls in the Harlequin RIP 415 12.11 Pages in the Output Controller 415 Roaming separations 416 Roaming composite pages 416 Changing the color in Roam 417

Appendix A Appendix B Appendix C Appendix D

Troubleshooting Jobs Containing Color Management Data Using Genlin Harpoon PCI Screening Accelerator

419 441 445 453

Chapter 12, 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. Appendix C, Harpoon PCI Screening Accelerator describes a combination of hardware and special control software able to provide screened output at rates higher than those possible with software alone. Finally, the Glossary explains terminology used throughout the manual.

Assumptions
The Harlequin RIP runs in the MicrosoftWindows NT, Windows 2000 and Windows XP environment. It is important that you are familiar with the appropriate operating system, at least to the level of using the le Explorer and a simple text editor or word processor such as Notepad or WordPad. If you are not, please refer to the Microsoft Help or manuals. 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 conguration and occasional maintenance of such installations.

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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 le 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 efciently. For example, the RIP accepts jobs from various

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sources, handles previewing and output of processed pages, and performs the associated le handling.

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 conguration of the RIP. The range of input formats includes: PostScript-language and Encapsulated PostScript (EPS) les, Portable Document Format (PDF) les, TIFF/IT-P1 les, TIFF 6.0 baseline les, and JPEG and JFIF les. The Harlequin RIP supports modern versions of these les including PostScript LanguageLevel 3, PDF version 1.4, and derived standards such as PDF/X. The RIP also has controls for special handling of older versions of these les if necessary. The Harlequin RIP can produce output in a variety of formats, to suit various physical output devices and le formats. The ability to produce TIFF 6.0 les is a standard feature but it is easy to add output options for other formats such as TIFF/IT-P1 les and CIP3 PPF les. Similarly, there are options for output to many proong printers and nal output devices.

1.1.2 Versions of the Harlequin RIP

The Harlequin RIP is available in different congurations and is able to operate on different computer platforms. The conguration 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: Power Macintosh computers running Mac OS 8/9 and Mac OS X; computers (PCs) using Intel or compatible processors and running Windows 98 and ME, Windows NT, Windows 2000 and Windows XP (home and pro); computers based on the Digital Alpha processor and running Windows NT; and various computers running the UNIX operating system. The GUI version of the Harlequin RIP may be used on both single and multiple processor machines running the UNIX, Windows NT, Windows 2000 or Windows XP operating systems. This manual describes the GUI version of the Harlequin RIP for Windows NT, Windows 2000, and Windows XP.
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1.2 Why use the Harlequin RIP?

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 PostScript-language compatible interpreter, and more. There are many reasons for choosing it above other similar interpreters, the most important of which are discussed here. The Harlequin RIP is effective, compatible, and robust; and shows real benets 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 re-interpretation. The Harlequin RIP is compatible because it is kept up to date with: PostScript, PDF, and font specications; image le formats; and relevant standards from independent bodies. Note: The Harlequin RIP is able to use proprietary extensions internally for quality of output, speed, and efciency 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 congure the Harlequin RIP to override poor settings in incoming jobs (and avoid ofce printer quality screening on expensive media), use its ability to detect poorly labeled color separations, and so on. The Harlequin RIP is exible enough to support many workows, including: composite or preseparated color; PostScript, PDF, or TIFF/ITP1. Some of these input formats require the Harlequin RIP options.

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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 software-only procedures. You can add more output options with software plugins to support imagesetters, platesetters, proong and display printers, and workow integration. A PostScript-language programmer can add simple fragments of PostScript 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.

Section 1.3 discusses many of these features in more depth.

1.3 The Harlequin RIP in depth

Section 1.2 on page 3 described some of the advantages of using the Harlequin RIP. This section describes the features that contribute to those advantages.
4

Characteristics of a software RIP. See page 5. File format and version support. See page 6. Extended color capabilities. See page 8. Screening options. See page 15. Harlequin ColorPro. See page 16. Graphics formats. See page 17. Input and output methods. See page 18. Complex jobs. See page 20.
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Throughput control. See page 20. Previewing. See page 22. Page buffer compression. See page 22. Fonts and font handling, including composite fonts. See page 23. Convenience features. See page 24.

1.3.1 Software RIPs compared to hardware RIPs

Many PostScript-language-compatible interpreters are based on hardware rather than software. That is, most PostScript-language 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 purposesyou 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 rmware upgrade. Both of these options incur considerable time and expense. Doing the same thing for a software RIP is much simpler and cheaperimproved 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 PostScript 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.

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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 le formats and maintains this support across the widely-used versions of these formats, as well as the latest versions. Note: The Harlequin RIP limits all user created names or le 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. 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 code specic to common image creation and page layout applications.

The reason for supporting older versions of les and applications is that almost all PostScript-language and PDF 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. The PostScript language was rst 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, workdespite any bugs in the interpreters which may have existed at the time. 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 efciently 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.

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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 xed in a widely-used PostScript language interpreter? Newer RIPs and applications no longer have to cope with that bug, but problems arise if you wish to interpret old PostScript language page descriptions (generated with an application written before the bug was xed) 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 PostScript language les (and indeed your application if you still use it) are useless. The input le formats that the Harlequin RIP supports are: PostScript LanguageLevel 3, Level 2, and Level 1. PDF versions up to and including PDF 1.4 les. PDF/X-1a:2001 and PDF/X-3:2002. JPEG and JFIF. TIFF 6.0 and optionally TIFF/IT-P1. GIF. PCL4.

See Section 5.22 on page 153 and Chapter 8, Conguring Input on page 227 for more details. Note: RIP versions 5.3 and 5.5 included support for PDF/X-1:1999, this has been dropped in the Eclipse Release of the Harlequin RIP, and replaced with support for PDF/X-1a:2001 and PDF/X-3:2002. The Harlequin RIP can also enable substitution of high resolution images for PostScript-language jobs, using an in-RIP implementation of the Open Prepress Interface (OPI), versions 1.3 and 2.0, and Desktop Color Separation (DCS), versions 1.0 and 2.0. See Section 5.20 on page 149 for details. Additionally, the Harlequin RIP can be congured to support special featurescolor management, font substitution, duotones, and vignettesof jobs

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produced by several image creation and page layout applications. These applications include: Adobe Photoshop Adobe Illustrator QuarkXPress

Macromedia FreeHand

See Section 5.23 on page 158 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 simplies the management of spot colors in the RIP.

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.

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The Harlequin RIP version 5.0 and later uses this color space to extend separations management, Roam, and plugin capabilities. Depending on your specic device and workow, 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 through 4) 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 5.0 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 congure the Harlequin RIP to generate these spot color separations for this to work. For more information see Section 5.23.1, Adobe Photoshop features.

1.3.3.3 Patterns and Smooth Shades

LanguageLevel 3 implements new features that improve the quality of PostScript-language lls. 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 PostScriptlanguage 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 version 5.0 and later 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 efcient fashion. This mask technique also improves performance by eliminating the need for a detailed PostScript-language clipping path. This feature is best suited to lower-resolution output devices and workows.

1.3.3.5 settrapparams
LanguageLevel 3 includes a new software interface that allows the description of trap settings within a PostScript-language le. The Harlequin RIP version 5.0 and later 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 specication.

1.3.3.6 Type16 halftones

The Harlequin RIP 5.0 version and later 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 PostScript Level 1 compatible RIPs. In the Harlequin RIP version 5.0 and later, this support for more shades of gray is also accessible using the LanguageLevel 3 constructs.

1.3.3.7 Idiom recognition

The Harlequin RIP version 5.0 and later uses idiom recognition to detect PostScript-language procedures and replace procedures that are bound when dened. This extends to procedures some of the benets that Harlequins shadowop operator provides for operator redenition. Once the PostScriptlanguage 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 le and replacing it with LanguageLevel 3 code.

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1.3.3.8 Type 32 fonts

RIP version 5.0 and later recognizes and supports Type 32 fonts.

1.3.3.9 Other operators

RIP version 5.0 and later supports the LanguageLevel 3 operators that are dened in the 3010 LanguageLevel 3 specication. The Harlequin RIP accepts PostScript-language output from applications using these LanguageLevel 3 operators. PostScript LanguageLevel 33015operators setoverprintmode and currentoverprintmode were included starting with 5.5r1a version RIPs.

1.3.3.10 File lters

The Harlequin RIP supports the required le lter additions documented in the 3010 LanguageLevel 3 specication.

1.3.4 Color, screening, and Roam functionality

RIP version 5.0 and later contains several new 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 new functionality is applicable to all output devices or workows. You will nd some features more relevant than others for particular output devices and workow instances.

1.3.4.1 Color API

Harlequin RIP version 5.0 and later 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 proles, without a user interface.

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1.3.4.2 Spot color screening and calibration

The Harlequin RIP version 5.0 and later has the capability to calibrate and screen spot colors as well as process colors. This feature greatly simplies 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 device-dependent input data to be translated to a deviceindependent CIE color space. The input colors are mapped to the device-independent color space using an input prole. 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 specied 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 proles

When ColorPro is enabled, the Harlequin RIP can detect and use ICC proles embedded in Photoshop EPS, TIFF, or JPEG images. See the ColorPro Users 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. A new architecture has been put into place within the Harlequin RIP 5.0 and later for the Windows, UNIX (IRIX, Solaris), and Macintosh platforms. This architecture not only provides the groundwork for future memory features and enhancements, but also allows for a level of dynamic memory management within the Harlequin RIP.
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There are new 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 signicant difference. In previous versions, the Harlequin RIP put a claim on the entire amount of memory specied so that the operating system and other applications could not use this memory even if the Harlequin RIP did not require it at a particular time. (The Macintosh implementation, because of operating system differences, varied slightly with respect to this functionality.) With the new implementation, the specied 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 new 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

With the Eclipse Release of the Harlequin RIP, garbage collection has been implemented. Garbage collection is performed when memory is low and reclaims the memory occupied by composite objects that are no longer accessible to the PostScript program. This helps some jobs that allocate a lot of memory, but not all. Some jobs that could not partial paint will now need signicantly 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.

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For more information on garbage collection, see section 3.7.4 of the The PostScript Language Reference (3rd Edition).

1.3.6 Headless RIP Option

The headless RIP functionality that was introduced in Harlequin RIP versions 4.5 and 4.6 is also available in Harlequin RIP 5.0.

1.3.7 FlatOut
RIP version 5.0 and all subsequent Harlequin RIP 5 releases are capable of stitching single-page PGB les into a predened at. This feature enables the development of page-based workows around the Harlequin RIP. Three components are required to produce a stitched at: 1. A background PGB le. 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 at background contains a slot for each page. This background may contain sluglines, crop marks, and so on. 2. Single-page PGB le(s). For example, to produce an eight-page at, eight single-page PGB les must be generated. 3. A at description le. This le describes the location of the background and single-page PGB les on disk. The at description le also indicates the positioning of pages on the at. The at description le is presented as an input to the Harlequin RIP and the PGB les are stitched into a single at for output to the specied output device. The Harlequin RIP version 5.0 and later accepts PGB les from Harlequin RIPs version 4.5. It also accepts PGB les from any other Harlequin RIP platform. This extends the ability to interchange PGB les between Windows platforms, which was introduced in the Harlequin RIP 4.5. For additional information on how to generate a at description and more on PGB stitching, please refer to the FlatOut User Guide.

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1.3.8 Screening options

The Harlequin RIP has several screening features and options, designed to produce high quality output on devices ranging from imagesetters to inkjet proong 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 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 specied using PostScript LanguageLevel 3 constructs.

1.3.8.1 Harlequin Precision Screening

For very high quality output, Harlequin Precision Screening (HPS) has been produced. This is a proprietary feature that eliminates objectionable moir patterning when producing color separations. Once correctly set up, and with sufcient 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.

1.3.8.2 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 Graphicss patented Frequency Modulation (FM) screening technology. Moir patterning is impossible with HDS, and it gives ner detail for a given device resolution.

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Also included are Harlequin Chain Screening (HCS), which is particularly good at creating smooth at 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.

1.3.8.3 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.

1.3.9 Harlequin ColorPro

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techniques can help maximize the rate of producing useful output. The Harlequin RIP can use these techniques, collectively called throughput control, when either of the multiple page buffering modes is selected. See Section 4.2 on page 78 for more details of multiple and single page buffering modes. 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 limitationsby 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 t 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 timeif 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 computer, 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.

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1.3.14 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 ne detail. The remaining functionality depends on the page buffering mode. (Section 4.2 on page 78 describes page buffering modes.) 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 nal 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.

1.3.15 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 benet. (See the description of data underrun on page 98, which explains one problem that page buffer compression can help avoid.)

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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 details of the amount of disk space you need to reserve for page buffers, see Ability to RIP a job on page 38. From version 5.5 les 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.

1.3.16 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. (See page 300 for a description of the supplied fonts.) 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 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 font into its own format, DLD1. DLD1 fonts consume much less memory and disk space than normal Type 1 descriptions, and so reduce processing timebut with no change in output quality.

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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.

1.3.16.1 Composite fonts

The Harlequin RIP supports composite fonts, in both Original Composite Format (OCF) and Character Identier (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.

1.3.17 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 code. These fragments, page features, can do such things as labelling output or performing basic imposition and media saving. Most of these facilities require little or no knowledge of the PostScript language.

1.3.17.1 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 lm 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
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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 dene how much space should be left between pages, between jobs, and between lm cuts. It will even save media by automatically rotating pages to use the minimum amount of lm. New for version 5.5 is a Media Saving feature. For more information see Section 5.14 on page 138.

1.3.17.2 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 needsyou may want to produce a special copy of a document while it is at draft stageit 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 Section 5.20 on page 149 for details. As with plugins, you can add new page features by placing them in a particular folder. .

1.3.17.3 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

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fragments of PostScript-language 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.

1.3.17.4 Page imposition

Page imposition is the process of laying out several pages of a document on one large sheet of paper or lm. 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 mediapages can be orientated so as to use the optimum amount of paperand 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.

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2.1.2 Ability to RIP a job

Depending on what page buffer mode you choose, the Harlequin RIP will usually create one or more page buffers on disk when you process any job (see Chapter 4, Harlequin RIP Output Methods, for full details). This allows the RIP to print any job on a machine of any performance, 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 sufcient 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 le, or even less. However, you do not have to compress page buffers if you do not wish to. See Chapter 7, Conguring 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 gures are for halftone

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page buffers holding a monochrome page or one separation of a separated page. All gures are given in MB.
US Letter Resolution
300 dpi 400 dpi 600 dpi 800 dpi 900 dpi 1200 dpi 1524 dpi 2400 dpi

A4 U
1.00 1.80 4.10 7.40 9.30 17.00 27.00 68.00

Tabloid C
0.20 0.37 0.83 1.50 1.90 3.40 5.40

A3 U
2.10 3.70 8.30 15.00 19.00 34.00 54.00

Broadsheet C
0.41 0.74 1.70 3.00 3.70 7.20

U
1.00 1.70 4.00 7.10 9.00 16.00 26.00 64.00

C
0.20 0.36 0.80 1.40 1.80 3.20 5.20 12.80

U
2.00 3.60 8.00 14.00 18.00 32.00 52.00

C
0.40 0.71 1.60 2.90 3.60 6.40 10.40

U
4.60 8.20 19.00 33.00 42.00 74.00

C
0.93 1.60 3.70 6.60 8.30 14.80 24.00 59.20 96.00

10.80 120.00 27.20 296.00 43.20 480.00

13.60 128.00 21.60 208.00

25.60 136.00 41.60 216.00

3048 dpi 104.00

20.80 108.00

Table 2.1 Typical free disk requirements for page buffers 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 gures 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 lled 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 gures shown above. (Whenever possible, the Harlequin RIP uses RAM in preference to disk space.) If you have spare memory after allocating memory for the considerations described in Performance on page 28 and in the separate ECRM RIP Getting Started Guide, you may be able to 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
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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.

2.1.1 Driving a printer effectively

The machine requirements discussed so far have concerned the production of a page buffer. Meeting these requirements is sufcient for you to view the page buffer on screen or for the Harlequin RIP to convert it into a le 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 32, shows examples of required data transfer rates (in kilobytes per second) for typical output devices supported by the various versions of the Harlequin RIP.
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

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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 successfullythe 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 Congure RIP dialog box: see Chapter 7, Conguring the RIP.

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 ECRM RIP Getting Started 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 les. The SW folder contains the les that the RIP needs in order to run, such as device driver les, PostScript-language header les, and fonts. You can install new device drivers, features, and so onin many cases by placing the relevant folders or les directly into the appropriate folder, but it is safer to use a supplied installation program if there is one. Warning: Do not delete any les 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 reconguration 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 rst use the Output > Print Calibration menu option to print a calibration target, and is updated as you print more targets. This folder holds les and folders describing the printed targets. If you use the Genlin program to measure a printed target, it generates a le of results in this folder. The categories folder contains the categories resource. The charstrings folder contains the le StandardCharStrings, which contains the standard name-to-character mappings used by most fonts. Other mapping les may also be stored here. The CIDFont folder contains fonts dened in the CID (character identier) 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 dened in the Harlequin RIP. The Complete folder is provided as a default location for the spool folder input to place les that it has successfully processed.
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The Config folder contains all the conguration les for the Harlequin RIP. These include les detailing such things as the current page setup and Congure RIP settings, as well as folders for information including the conguration for available devices, default color proles, and target denitions. In the Config folder, the Factory Settings subfolder contains the default conguration 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. The Devices folder contains all the output plugin les (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 les that it cannot process. The Extensions folder can contain folders or les used to implement extensions to the RIP. The FlatPgbDir folder provides space for the page buffer les 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.

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The halftones folder contains halftone resources. Note: The comments in these halftone resources les show how you can dene custom dot shapes in capable graphics and layout applications, and have these dot shapes linked to Harlequin screens in the generated PostScript-language les.

The icccrd folder contains the color rendering dictionaries (CRDs) produced from ICC proles. The IdiomSet folder contains idiom set resources. Each idiom set in this folder is loaded when the RIP starts. The Inputs folder contains all input plugin les (Spool, and any others). The Messages folder has been moved to the same level as the SW folder and contains localized message les. The appropriate le is selected the rst time the RIP is started The MediaSavingDir contains page buffers that are marked for media saving. The NamedColor folder is the location of les dening a resource type /NamedColor, which stores color values referred to by name. It is accessed by the Install ICC Prole dialog box present when using ColorPro, as well as by the Harlequin core RIP. The NamedColorOrder folder contains les dening the orders in which resources of type /NamedColor, are searched when the Harlequin RIP is looking for the denition of a named color. The Page Features folder contains all the PostScript-language header les that are available in the Enable Feature drop-down list of the Edit Page Setup dialog box. This menu is generated dynamically from the les available in this folder. If a feature is turned on in the relevant page setup, the appropriate le is run at the beginning of the job. Additional example page features are available in the folder called Examples within this folder. The example les 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 les. You can add your own les if you wish.

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The PageBuffers folder provides space for rendered pages that are written to disk. The Passwords folder may be empty but is available for les 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 les to be used by the RIP, les with numeric extensions (.001, .002, and so on) have been installed, and les with extension .pwx are les that the Harlequin RIP has failed to install. The patterns folder contains resources for PostScript-language patterns. The PrepFiles folder contains all the prep les 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 specic applications are held here, as well as calibration test jobs. The ReproductionCriteria folder is the location of les dening 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-specic startup le, and Bootlist, a list of les to be executed upon booting (starting) the Harlequin RIP. This folder also contains HqnProduct, which contains
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PostScript-language startup code specic to that product, and HqnOEM, which may contain additional startup PostScript-language startup code created by the RIP supplier (or OEM). The targeteps folder contains any EPS les that are incorporated in custom calibration targets (and potentially other targets). This folder is referred to from target denitions while interpreting a target le, especially in response to the Print Calibration dialog box. The tmp folder is used as a location for temporary les. The TrapParams folder is used for PostScript LanguageLevel 3 trapping parameters. It may be empty. The Usr folder contains several les needed by the Harlequin RIP. The Utilities folder contains les, each of which can perform a useful function when run as a job (using the Print File menu option):
BackupConfiguration.ps

This le enables you to make a backup le containing all your conguration settings for an installation of the Harlequin RIP.
BackupFonts.ps

This le enables you to make a backup le containing all your fonts, both the standard set and any additional fonts that you have installed. You can store such a backup le elsewhere for security and, for example, use it as a simple way to restore a complex conguration if you need to reinstall the same version of the Harlequin RIP. (You can restore backedup fonts to a newer version of the RIP but you can only restore conguration settings to the same version of the RIP.) The WorkSpace folder provides space for any temporary workspace les created by the RIP. The LOGFILE le contains a record of all transactions with the Harlequin RIP monitor. This le can be saved and its size restricted. For more information see Section 3.4, Monitoring the Harlequin RIP.

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The les FILERED.PS and FILEMAP.DAT (replacing FILEMAP.PS, which is still present for short-term compatibility) contain important information for use in le name mapping. The RIP manages these les automatically: you must not change these les manually. File name mapping is necessary because PostScript-language le names can be very long, can contain characters that have special meanings for le systems on the computer running the Harlequin RIP, and are case sensitive. For each PostScript-language le name that could be a problem, the RIP creates a unique and acceptable le name in the le system and records both le names together as a mapping in FILEMAP.DAT. You may nd it useful to inspect FILEMAP.DAT, if you need to associate a particular le name with the other name in its mapping. For example, this is a typical mapping (between Press and PRESS):
(Press)(PRESS)M

Note: The le names are all uppercase, exactly as shown in this manual. It is possible for Explorer in Microsoft Windows to display these names with only a leading capital letter. The version le 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.

You should refer to the installation guide for your platform for details on how to install and congure the Harlequin RIP. To start up the Harlequin RIP application, choose the Harlequin RIP entry from the Start menu, or double-click the Harlequin RIP icon in the install folder:
<company>.exe

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 rst 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

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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 Harlequin RIP > Language menu option, as described in Section 7.14 on page 223. Select your chosen language and click 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 le if the installation process for the plugin supplied one. If the RIP reads a password le, 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 dialog boxes asking you which settings you wish to reset. See Section 7.13 on page 222 for details of how to do this.

When the RIP has nished loading, a window containing the following menu items appears:

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 the Harlequin RIP. The remainder of this chapter introduces the menus, tool bar, and status bar; and describes how to stop the RIP.

2.4.1 The menus

There are several menus: The Edit menu contains the common window-based edit facilities of Cut, Copy, Paste, and Clear.

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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 40, 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 le in a particular format, such as TIFF. You can nd out more about these options in Selecting different devices on page 110.

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 Section 2.5.1. 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 le, and contains commands allowing you to control printing of that le.

All standard commands in these menus are described in later chapters of this book together with the situations and operations that require you to use them. See Section 2.5 on page 45 for details of menus affected by optional features in the Harlequin RIP.

2.4.2 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 Section 2.4.2.1 on page 42. The status area shows what the RIP is doing, as described in Section 2.4.2.2 on page 44. The tool bar is part of the main window.

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2.4.2.1 Tool bar buttons

These tool bar buttons have the following uses:
Print File

Displays the Print File dialog box, where you can choose a le to print. This is equivalent to the Harlequin RIP > Print File command.

Print Calibration

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 Harlequin RIP > Start Inputs command when the inputs are stopped.

Start Inputs

Stop Inputs

Stops any enabled inputs. This is equivalent to the Harlequin RIP > 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 Harlequin RIP > Page Setup Manager command. Displays the Device Manager dialog box, where you can instantiate (create) and congure devices driven from a multiple device driver. This is equivalent to the Harlequin RIP > Device Manager command.

Device Manager

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Separations Manager

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. 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 Section 12.8 on page 388 and Harlequin ColorPro User Guide for details. This is equivalent to the Color > Color Setup 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. Displays the Input Controller dialog box. Also, this button hides the controller if it is already displayed. This is equivalent to the Harlequin RIP > 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.

Color Setup Manager

Calibration Manager

Cassette Manager

Input Controller

Media Manager

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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.

2.4.2.2 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 nal one shows the most recently used output device. Figure 2.2 shows some typical contents of the status area.
1

Figure 2.2 The status area of the tool bar

The meanings of these example status bars are:

1 Idle 2 Scanning 3 Interpreting 4 Printing

The RIP is not looking for jobs on its inputs. The RIP is looking for input but none is arriving. The RIP is interpreting a job. The RIP is sending a job to an output device.

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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 les 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 59. If you want to stop the RIP, see Stopping the Harlequin RIP on page 47.

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. The major features that have this effect are: Harlequin ColorPro. See Section 2.5.1. 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 and TrapProLite. See Section 2.5.2. Media Saving. See Section 5.14.

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.

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Color Setup Manager

A standard set of options is available with the Color Setup Manager without ColorPro including Black generation and 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 proles, rendering intents and press emulation.
Install ICC Prole

This command supports the use of industry-standard color prole les which enable portable denitions of the characteristics of printers, printing processes, presses, scanners, and other equipment. It appears when Harlequin ColorPro is enabled.
Uninstall ICC Prole

This command uninstalls ICC proles and appears when Harlequin ColorPro is enabled.

2.5.2 TrapPro and TrapProLite

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.
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 Section 12.10, Trapping features for details.
Ink Set Manager

This command displays a dialog box where you can congure various types of ink including normal, opaque and transparent.

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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 ats being created and view, roam or delete the various pages used to make up the ats. See Section 5.14, Media saving option 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 Harlequin RIP 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.

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Figure 3.2 Edit 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: rst choose the Congure RIP option from the Harlequin RIP menu and check that the option shown against Page buffering is Multiple (Parallel); then dis-

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play 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 (Parallel) mode. If you are using one of the single modes, see Sending output to the screen on page 115 for more details about previewing pages. 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 les 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.)

After killing a job and depending on what stage the job had reached, you may see a PostScript-language error message in the Harlequin RIP window. 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 proong fonts, then move to the next section, Sending a job to the Harlequin RIP on page 60.) To send output to a physical device: 1. First display the Harlequin RIP menu and choose the Page Setup Manager option (which this manual often describes as choosing the Harlequin RIP > 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 52.

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3. Select your preferred physical device from the Device drop-down list. Note: If the device is not listed in the Device drop-down list, you may need to congure it using the Device Manager, available from the button next to the Device list and described in Chapter 5, Conguring 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 drop-down list and, for some devices, a cassette name from the Cassette drop-down list. 5. Click Save As; the RIP displays the Save Setup dialog box. In the Save As text eld type a name: Default to Printer is suitably descriptive, so type that name then click Save. 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 congure the media management before using itthat topic is covered 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 Harlequin RIP 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 ll 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 ll 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).

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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 properlyit 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 Congure RIP dialog box available from the Harlequin RIP > Congure 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 nished 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 recongure the RIP or the host machine. (To help you identify a problem, the text window in the Harlequin RIP 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.

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.

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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 le, you can do so directly by choosing Print File from the Harlequin RIP menu and specifying that le. Try printing a le now, if you have a small le available: for example, a PostScript-language le. The RIP interprets the le and sends it to the printer or on-screen preview, according to the page setup that you choose in the Print File dialog box. Section 8.12 on page 268 describes this method and the following sections describe other types of les 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 AppleTalk, and publish a printer visible to Macintosh computers on your network. For more details on supplying jobs to the RIP, see Chapter 8, Conguring Input.

3.1.5.1 Publishing a setup with AppleTalk

Note: AppleTalk is not always enabled in the Windows operating system. The ECRM RIP Getting Started Guide describes how to install and enable AppleTalk. If AppleTalk is not already enabled or you do not have a suitable Macintosh computer, you can create the page setup described here but use a spool folder input as described in Section 3.3 on page 64. First, if you are outputting to an imagesetter and want to produce color separations, you should turn on HPS, Global Graphics proprietary high-quality screening system. To do this: 1. In the Page Setup Manager select the page setup that uses this output devicewe suggested Default to Printerand 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.

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4. In the Edit Style dialog box, select the check box marked Use Harlequin Precision Screeningthis 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 rst 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 Section 5.2 on page 108. 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. Note: The RIP may fail to publish an AppleTalk input. If so the relevant entry in the Status column of the Input Controller dialog box shows Stopped. 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 dis-

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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.

4.2 Page buffering modes

The Harlequin RIP overcomes these limitations by allowing you to choose one of four different modes of operation. Depending on the job involved, and the conguration 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 RIPmultiple and single. Multiple modes allow you to write each interpreted page to disk, ready for later printing and reprinting. Single modes only interpret one page before printing must occur (and hence make the RIP operate in a more traditional manner). The four specic 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 Single (if required) Behavior Only buffers a page to disk if the page is too complex to process in working memorydeletes this buffer after printing. Otherwise, sends output directly to the output device. Single Always buffers a page to disk before printing it. Deletes the page after printing. Multiple Always buffers a page to disk before printing it. Retains on disk all pages created for a job, for ease of reprinting.

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Table 4.1 Comparison of page buffer modes

Mode Multiple (Parallel) Behavior 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, Conguring the RIP, for details of how to select different page buffering modes in the RIP.

4.2.1 Operating modes

Figure 4.1 presents an overview of the behavior of the Harlequin RIP in the single and multiple modes.

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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.

Single Modes
Interpreter
....../manualfeed exch def /paperheight exch def

Multiple Modes
Interpreter
....../manualfeed exch def /paperheight exch def

Jobs Page buffer le

Jobs

Page buffer les

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 printingallowing a range of benets, which are described below. See Section 4.3, The throughput system. 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.

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Even though the increase in job throughput is signicant when in Multiple (Parallel) mode, there may be casesusually because of hardware limitationswhen 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 rate may mean that working in Multiple (Parallel) mode becomes impractical. See Section 4.3 for more details.

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 available when either of the multiple modes is selected (see Section 7.3, Control of page buffering modes, for details on how to change the page buffer mode). 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 Ctrl+O. It will appear as a separate window on your screen, as shown in Figure 4.2. If you want to remove it,

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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 rst. The Held Queue contains pages which are being held on your hard disk. They may have already been printed, or you may have moved them there yourself. (See Section 4.3.1.3). The number of items in a queue, together with the amount of disk space they use, is displayed below each queue. 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 ow 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

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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.

4. Print page buffer 3. Place page buffer in Active Queue 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 nd 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.

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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. To move a page buffer, do the following: 1. Select the desired le. 2. Holding down the left mouse button, drag the le 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 rst one, then hold down the Shift key and select the last one.
Ctrl

You can also select several page buffers which do not form a contiguous block. Hold down the Control 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 rst to ensure that none of them are inadvertently printed before you are able to move them.

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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 74 to see examples of this. The following items of information are displayed: 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 congure 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 80, for details on deleting pages automatically, and Operations on buffered pages on page 81, 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.
xThe page is locked and cannot be deleted automatically

(no mark) The page is unlocked and can be deleted automatically

There are two general methods of controlling these attributes: conguring the RIP so that it carries out certain tasks automatically, and changing them yourself.

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 lls 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 drop-down list 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 Section 4.3.2.4, Locking important pages, 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 systemsee Chapter 7, Conguring 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 have been locked before printing was completed. (See Section 4.3.2.4, Locking important pages, for details of

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how to lock pages.) When switching to 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 ll 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 possiblethe 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 lled 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 Harlequin RIP 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.

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.

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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 Harlequin RIP version 5.0 and later can read page buffers created by version 4.5. The mark ( < ) in front of the name of an older buffer is there to remind you that there are some limitations on what you can do with earlier versions of page buffers: see Section 4.3.3 on page 87 for details.

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 lm 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 Control 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 117.

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 Dont 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 described on page 77.

Figure 4.4 Info dialog box

You can delete any buffers from the hard diskwhether locked or notby 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 specied number of copies will be produced, with the number in the Copies to print text

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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 specied in the page setup for the selected job; for instance, if the page setup species negative printing, you can use this option to produce a positive copy. See Chapter 5, Conguring Output Formats, for details of page setups and how they are dened. 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 Getting rid of 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 value is specied in the page setup for the selected job. See Chapter 5, Conguring Output Formats, for details.

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 drop-down lists 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 these options is the one specied in the page setup for the selected job. See Chapter 5, Conguring Output Formats, for details. Only output devices suitable for the page buffer are shown in the Info dialog box.

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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 documentation for your output device to nd appropriate exposure values, and also see Chapter 11, Calibration.

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 button to use the Change Roam Color dialog box, as described in Section 12.11.3 on page 404. 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. It is the same as the Page Layout dialog box

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that you can display by clicking Page layout in the Edit Page Setup dialog box, as described in Default page size on page 146.

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 drop-down list. 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 elds in the Info dialog box may not be editable, depending on the type of device.

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

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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. 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 version 5.0 and later can read and print page buffers created by version 4.5. 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 Harlequin RIP > Congure 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 le names as ones already in the destination folder.

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You can leave the page buffers in the page buffers folder of the older version of the RIP. In the newer RIP version, choose Harlequin RIP > Congure RIP, then click Change to change the folder used to hold page buffers. Note: If you use Reduced Roam on a page rst 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 difcult, you can specify a different mode in the Congure RIP dialog box, described in Chapter 7, Conguring the RIP. Recall that a page is buffered to disk into a le of rasterized data, produced as the RIP interprets the data on the page. When the page has been interpreted, the data in the buffer le is sent to the output device and printed. Using buffers on disk means that complex pages can be interpreted without requiring large amounts of working memory. This section provides more specic details than the brief description in Section 4.2 on page 70. You may nd this section useful if you wish to experiment with running the RIP in different modes.

4.4.1 Multiple (Parallel) mode

Multiple (Parallel) mode is a highly efcient 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
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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 modepriority 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 ll 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 lls up, the Harlequin RIP 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 Section 4.3.2.1 on page 80 for details.

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 fullyou 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 mediawith 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 Harlequin RIP with such printers, see Using a printer that can stop / start on page 212. See also Printer buffer size on page 217.

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 specied 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.
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Note: The RIP does not display the Output Controller/Monitor in Single mode and Single (if required) mode. In this mode, the Output menu, on the main Harlequin RIP window, contains a Hold and Reprint option. (You can also select this option by pressing Ctrl+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 pageasking if you want to reprint the page. You can answer: Yes, in which case the RIP reprints the page and redisplays the dialog box; or No, in which case the RIP deletes the page buffer and interprets the next page. Note: As a side effect of using Hold and Reprint, the RIP displays a harmless error message in the Harlequin RIP 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 lled 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 relaAG12325 Rev. 5 ECRM RIP Operator Guide 91

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tively 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 on the main Harlequin RIP window, 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 benet from the overlapping of outputting and interpreting) or if 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.

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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.

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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. 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 Harlequin RIP menu, or when you type Ctrl+S. (You must stop inputs before you can display the Page Setup Manager: if necessary, choose the Harlequin RIP >

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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 Section 5.3 on page 99 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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New

Click this button to create a new page setup and edit it in the New Page Setup dialog box. See Section 5.3 on page 99 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.

Copy

Delete

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.

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.
Ctrl

To select several setups, regardless of whether they form a continuous range, hold down the Control key while selecting the setups you wish to delete.

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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.

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 Section 5.3.2, Closing

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the New Page Setup dialog box 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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Section 5.4 on page 102 through Section 5.26 on page 157 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.

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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

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 drop-down list 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

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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 drop-down list and a cassette name from the Cassette drop-down list 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). 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 drop-down lists. 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.

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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.

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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. 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; and is only 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 will be deactivated. Image interpolation only ever takes place if the Interpolate flag in an image or mask dictionary is set to true and this is set by the generating application. 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.

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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. 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 only 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 will be deactivated.

5.4.2.3 Alphamask and Interpolation

When specifying an alphamasked image, any interpolation setting in the mask dictionary is ignored; instead the interpolation setting in the image data dictionary is applied to both the image and mask. Since alphamasks are contone, they are interpolated in the same way as image data. Image and mask data (that is, contone and binary data) are normally interpolated differently.

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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 109. You can hide one or more separations when previewing a composite image. See Section 5.5.3.1, Roam Options and Preview Options dialog boxes for details.

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 88.) By setting the output device to None, you can carry out test runs, and preview pages and separations. You have already seen an example of screen roam in Section 3.1, A simple Harlequin RIP session on page 59. As you saw in that example, when you print to the 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

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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 Control keys. 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 one separations are hidden. See Section 5.5.3.1 on page 110 for details. You can choose to display a separation in any color (in the Info dialog for that separation) before starting to roam it. See Section 12.11.3 on page 404 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
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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 Section 5.5.3.1 for details. Shift Hold down the Shift key to see cross hairs marking the location of the view, in proportion to the size of the Roam window. For example, if the cross hairs are shown in the bottom right of the window, the window contains the bottom right portion of the page. Hold down the Shift key and click the mouse (Shift-click) to jump to another part of the page. For example, if you Shift-click on the middle of the window, the window scrolls to show the middle of the page.

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 5.5 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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You can use this dialog box to choose the separations that are displayed. Select a separation, or use the Shift or Control keys to select multiple separation names, then click one of these buttons:
On Off

Displays the selected separation or separations. 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

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 drop-down list. (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 drop-down list.

Hand speed

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. Shift If you Shift-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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Shift If you Shift-drag with the mouse (hold down Shift 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.

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 drop-down list 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 107 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. Under Separations, Screening & Color, the Style drop-down list contains all the separations styles created for the None device. The choice of separations style determines the color space and format of the output.

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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 107 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. Under Separations, Screening & Color, the Style drop-down list 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 Congure 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 Congure Device in the Info dialog box of that page buffer.

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Figure 5.6 shows the TIFF Configuration dialog box.

Figure 5.6 TIFF Conguration 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 le 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 open the folder in the list and then click OK. The TIFF Configuration dialog box then shows the path to the folder that you chose. If Path includes resolution is selected, the RIP places any TIFF files created in a subfolder of your chosen folder with the name of that subfolder set to the resolution of the job: for example, 300 or 2400. 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.

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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 Sufx 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 jobname 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 prex 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. In earlier versions, the plugin constructed the output file name 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 old, safe 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. To recap, the full path and name of a TIFF file can be as complex as the following example:
D:\RIP\TIFF_Folder\300\1jobnamepsM00.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.

5.8.2 TIFF le format options

All the remaining options in the dialog, with the exception of Anti-Aliasing and the Post Processing section, 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.

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You can choose the basic internal format used for the file from the TIFF Format dropdown list. TIFF files can either contain the image data in a Single strip (all in one chunk) or Multiple strips (several chunks). Use the Style drop-down list in the Edit Page Setup dialog box to choose the color space and interleaving style. To produce TIFF files with reverse bit ordering, select the Reverse bit order 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 drop-down list. 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 dropdown list. 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 AntiAliasing drop-down list box. 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.

5.8.3 TIFF le post processing

You can use this section of the dialog box to define extra actions after the RIP has created each TIFF file. These actions depend on commands supplied with Microsoft Windows.

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To do this, you type text specifying a command and its options in a way similar to typing in a Windows command prompt 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 post-processing. Check this box to display a Windows 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. Section 5.8.3.1 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.

Create Window

Command

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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 5.8.3.2 The Harlequin RIP recognizes the substitution codes shown in Table 5.1.
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.Checking the command Table 5.1 Post processing substitution codes
Code %c 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 format YYMMDD, with a default string length of 6. For example: 26 October 1998 becomes 981026. The job exposure, as entered in the Page Setup dialog box. For example: 221. The output TIFF le name, not including the full path. For example, based on jobname and not suppressing the page number: 1ColdfacepsC05.TIF. 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 le 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.

%d %e %f

%j %n %o

%p %r

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Table 5.1 Post processing substitution codes

Code %s %t Meaning The current jobname, after removal of characters that would be illegal in a le name. For example: Coldfaceps. 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 le name sufx. For example: TIF. The current le name stem, taken from the Stem text eld or from the jobname if Use jobname as stem is selected. For example: if Stem is set to TIFF, %z can produce TIFF00, TIFF01, and so on.

%x %z

string
The RIP reports each command and the working folder (directory) in the main window, in the following form. Italics show which text can vary with different jobs and page setups.
Running post-job command "C:\RIP\myproc.bat C:\S\TIFF\Coldfaceps.TIF" in directory C:\S\TIFF\

For a more thorough test of how the command behaves when used at the command prompt of the operating system, select the Create window box and try creating a batch (.BAT) file with these contents and using the name of the batch file as the application in your command string.
echo %1 %2 %3 %4 %5 %6 %7 %8 %9 pause

Note: If you have problems with a command, also test it outside the RIP by opening a command window and running the command manually. If you think that you have used any substitution code from which the RIP might generate an element containing characters with a special meaning to Windows, try surrounding that code with double quotes. For example, use "%f" in the Command field rather than just %f. If there are no special characters involved, look at the number of substitution codes that you are using and the length of the command string both before and after expansion of the substitution codes. The limit on the length of the expanded command string varies

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with the Microsoft Windows environment but you should have no problems with up to 125 characters in the string after expansion.

5.9 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 drop-down list. 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 47) 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 124. 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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Under Separations, Screening & Color, the Style drop-down list 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
Congure Device button. When this is the case, the Style drop-down list 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 if it has an exposure control. Choosing the correct exposure is described in Chapter 11, Calibration . 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 144.

5.10 ProofReady plugins

ProofReady plugins allow the RIP to provide page images to a supported printer and work in a different way to other plugins. 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

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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. 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.

5.10.1 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 ProofReady 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, noncompatible 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.

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5.11 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 drop-down list in the Edit Page Setup dialog box. 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. 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).

Device type

Output plugin

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.

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Figure 5.7 shows you the configuration of an imaginary system using both single and multiple device drivers.

Device Driver

Multiple Device Driver

U
Device1

U
Device2

U
Device3

E
Device4

E
Device5

Ultre Devices (marked U)

ExxtraSetter Devices (marked E)

Figure 5.7 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.

5.11.1 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 Section 5.9 on page 121. The plugin then appears as one of the options in the Device Manager dialog box, shown in Figure 5.8. 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,

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which is the icon button under Output Device in Edit Page Setup. The Device Manager is also available from the Harlequin RIP menu.

Figure 5.8 Device Manager dialog box

The Plugin drop-down list shows the multiple device output plugins currently installed in the RIP. You can install several multiple device plugins, and this dropdown list 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 5.8 the dialog box lists devices linked to the MultiDev multiple device plugin. Note: Both the name MultiDev and the values entered for each device are fictitious and 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. A typical real multiple device plugin is HQMulDev. 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 then use the Device Manager Edit dialog box. You must give the copy a new name.

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To delete a device from the current multiple device driver, select it in the Device Manager and click Delete. This removes the driver immediately.

When you click the New, Edit, or Copy button, the RIP displays the Device Manager Edit dialog box shown in Figure 5.9.

Figure 5.9 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 drop-down list in the Edit Page Setup dialog box, and elsewhere. Choose the device type from the Type drop-down list 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.

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5.12 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 5.6, page 114). If the driver does not have any configurable options, the Congure Device button is disabled. Some output plugins allow you to set the color generation mode using the Congure Device button. In these cases, the Style drop-down list 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.

5.13 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 drop-down list 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 Congure Device button. In this case, the Style drop-down list 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.

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Separations Manager

This icon button is next to the Style drop-down list. It opens the Separations Manager dialog box, from which you can create or edit a separations style. See Chapter 12, 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 drop-down list 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 Section 12.8 on page 388 or the separate manual Harlequin ColorPro User s Guide.

Color Setup Manager

This icon button is next to the Color drop-down list. 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. The Color Setup Manager is independent of the Edit Page Setup dialog box. You can create or edit a color setup in the Color Setup 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 color setup, select the color setup in the Color Setup Manager and click the Select button.

5.14 Media saving option

5 Configuring Output Formats

The following examples illustrate the difference between the by separation, page position and by separation, page position, job options. Table 5.2 Media saving example 1
Incoming Job

by separation, page position

position 1 position 2 K4 C4 M3 Y3 Y4

by separation, page position, job

position 1 K1 C2 M2 Y2 C4 Y4 K4 position 2 M3 Y3

Flat No.

, , , K1 C2, M2, Y2, , M3, Y3, C4, , Y4, K4

K1 C2 M2 Y2

Flat 1 Flat 2 Flat 3 Flat 4 Flat 5 Flat 6 Flat 7

Table 5.2 shows an example where four incoming jobs are placed on flats differently according 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 (K1) which is placed on the first flat in position 1. The second job (C2, M2, Y2) contains no black separation and therefore creates three new flats (2, 3, and 4). The third job contains only magenta and yellow separations (M3, Y3).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, (C4, Y4, K4). There is space on black flat 1, position 2 for K4, and also space on cyan flat 2, position 2 for C4. 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 (K1) is placed on the

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first flat in position 1. The second job (C2, M2, Y2) creates three new flats (2, 3, and 4). And the third job (M3, Y3) finds space on existing flats on, magenta flat 3, position 2 and also yellow flat 4, position 2. The fourth job contains cyan, yellow and black separations, (C4, Y4, K4). Even though there is space on black flat 1, position 2 for K4, 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 o 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. Table 5.3 Media saving example 2
Incoming Job

by separation, page position

position 1 position 2 C3 M2 Y2 M3 Y3

by separation, page position, job

position 1 C1 M1 C3 M3 Y3 position 2 M2 Y2

Flat No.

C1, M1, , , M2, Y2, C3, M3, Y3,

C1 M1

Flat 1 Flat 2 Flat 3 Flat 4 Flat 5 Flat 6

Table 5.3 shows an example where three incoming jobs are placed on flats differently according 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 a cyan and magenta separation (C1, M1) which are placed on flat 1 and 2, position 1. The second job, (M2, Y2) 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 (C3, M3, Y3).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
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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 (C1, M1) which are placed on flat 1 and 2, position 1. The second job, (M2, Y2) 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 (C3, M3, Y3).There is space on flat 1 for the cyan separation, on flat 1, position 2 but it is not used because the next flats do 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.

5.14.1 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 5.12 Example ats

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.

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5.15 Media and time saving using optimization

The Harlequin RIP provides media and time saving options in the Optimization dropdown list 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. The media saving described in this section is different to the Media saving option described under Section 5.14 and does a different job. Using the two options together may give unpredictable results. The Optimization drop-down list 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 drop-down list, 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).

5.15.1 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. 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 drop-down list 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
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by side in the length of media that would otherwise be used by one page. See Features on page 141 for a fuller description.

5.16 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 drop-down list to the right of the Page width box. When you have specified a nonstandard size, the RIP displays Other in the Paper size drop-down list.

5.17 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 5.13 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 drop-down list. 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

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any margin. For example a -1.0 inch left margin would clip 1 inch off the left hand side of the page.

Figure 5.13 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. 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 89). 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 .

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5.18 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 drop-down list 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 11, 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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5.19 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. 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.

5.20 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 drop-down list, 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.

5.20.1 Using features

5 Configuring Output Formats

5.20.2 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 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.

5.21 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 drop-down list in the Edit Page Setup dialog box. Note that if you change the

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5.22 Page Setup Options

Device, you have to choose a cassette name from the Cassette list, unless media man-

agement is disabled for that device. See Chapter 9, Media Management , for more details.

5.22 Page Setup Options

The Page Setup Options dialog box, shown in Figure 5.14, 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 applications: see Section 5.23 on page 149 for details.) This section describes each option in the dialog box.

Figure 5.14 Page Setup Options dialog box

5.22.1 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.

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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.

5.22.2 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 220, for details. If the box for this option is selected, and a prep file chosen from the drop-down list, 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.

5.22.3 Remove color operators

This option also provides 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 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.

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 Section 12.7.1, Producing separations on page 381 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 Section 1.3.3.2, Duotones, tritones, and quadtones By default, this option is selected. Note: Photoshop images saved to EPS always include the input prole 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.

5.23.2 Adobe Illustrator features

These options control handling of features found in jobs from Adobe Illustrator.
Dont let les 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. 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 and EPS files from Illustrator. By default, this option is selected.

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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 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 Section 12.7.1 on page 381 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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5.23.3 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 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 Section 12.7.1 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.

Act on XPress page comments when recombining...

Select this option if you wish to recombine preseparated jobs submitted directly from QuarkXPress, where there may be missing separations. When you select this option, the RIP is able to recombine QuarkXPress jobs by analyzing comments in the job. For example, the RIP can detect which separations to recombine into a page when given a sequence of separations such as MYKCMYK Leave this option unselected if you are processing jobs that do not come directly from a file created by QuarkXPress, for example after being assembled in an imposition package after output from QuarkXPress. By default, this option is not selected.

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Replace XPress graduated lls with smooth shading

Select this check box to replace graduated fills produced by QuarkXPress 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.

5.23.4 Macromedia FreeHand features

This option controls handling of features found in jobs from Macromedia FreeHand.
Separate spot color vignettes to the spot color plate

The PostScript-language code generated by FreeHand 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. There is one limitation: all vignettes appear in process color separations when the job submitted to the RIP is a PostScript file printed directly from FreeHand. Use the EPS file format to enable this option to work correctly. For this option to take effect, select a 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 Section 12.7.1 on page 381 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.

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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. See Section 8.14, Printing PDF files on page 270 for details.

5.25 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. 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 multicolor 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 11, Calibration , for more information.

5.25.1 Device calibration

The Calibration drop-down list 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
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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.

5.25.2 Press calibration

The Actual Press drop-down list 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 11, Calibration .

5.25.3 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. 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 drop-down list 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

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 conguring 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 conguring 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 dene 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
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Separations Manager icon button next to the Style drop-down list in the Edit Page Setup dialog box, or by choosing the Color > Separations Manager command.

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 12, Color Separation. 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 congured 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

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style, unless you are using external screening, such as the Harpoon PCI screening accelerator. Some proong 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.

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 specic to the Harlequin RIP.
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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 exible, because it allows a single function to dene 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 benets 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 dened in terms of a xed 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 exible because of their resolution dependence and absence of rotation to a specied angle (at least in their simplest form). Neither kind of screen is suitable for describing non-tessellating screening techniques, such as error diffusion.

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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 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 specied within the page description itself.

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These are the three main features that are affected by the halftone strategy you choose: The shape of the dots created. See Section 6.6, Dot shapes, for the relevant controls. The frequency and angle of the dot pattern created. See Section 6.7, Halftone frequency, on page 175, 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 Section 6.10, 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 ow 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 signicant amount of dot gain, images tend to appear too dark. For more details, see Chapter 11, Calibration.

6.4.7 Suggested background reading

If you do not have a reasonable grounding in halftoning systems then you may nd the following books helpful. This is by no means an exhaustive list and you can probably nd 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 PostScript halftoning.

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PostScript Screening: Adobe Accurate Screens (Peter Fink, Pub: Adobe Press, ISBN: 0672485443) A very good introduction to digital halftoning, which then continues into discussion of process work and advanced screening techniques. Some of the book is specic 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 lm 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: 0962045306) 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 moir 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 moir without unduly limiting the choice of screen angle and frequency. See Harlequin Precision Screening on page 183 for details.

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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. Note: The angles shown in the Edit Style dialog box (shown in Figure 6.2, page 161) 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

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new value in the Angle text box. For details of the other options, see Section 12.7, Edit Style dialog box on page 379. 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 moir 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 inuence 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 drop-down list, 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. Note: The PostScript language allows you to specify an arbitrary dot shape by dening a spot function. This offers great exibility 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 dened 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

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6.6.2.3 Square Euclidean

Another form of square dot shape. To use square Euclidean dots, choose Square1 from the Dot shape drop-down list.

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 drop-down list.

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 drop-down list.

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. However, the more you increase the frequency, the fewer gray levels you can print. Section 6.8, Screening options and number of gray levels, discusses how many gray levAG12325 Rev. 5 ECRM RIP Operator Guide 175

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els you can obtain and how many are required for various types of graphic elements. See also Section 6.10.1, Controlling extra grays in HPS, on the extra grays feature available when using 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 species 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 consider selecting this box if you use HPS. (See Section 6.10, 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 dened viewing conditions and the exact denition of what constitutes a distinguishable difference. The most worrying aspect of these
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studies is that most of them are correctunder 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 realworld 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 offthat is, white). This number is given by the expression:
2 resolution ---------------------------------------- + 1 screen frequency

Thus at 100 lines per inch (lpi) and 2540 dots per inch (dpi) you get 646 gray levels

2540 + 1 = 646 ---------- 100

but at 175 lpi and 1270 dpi you get only 53 gray levels:
2

1270 + 1 = 53 ---------- 175

If you switch on Generate extra gray levels in the Edit Style dialog box then you get as many gray levels as you dene with the Limit number of distinct gray levels drop-down list. It is a feature of HPS that the number of levels can exceed the maximum dened 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 expressionthough it is possible to establish a rough correspondence between each HDS setting and a conventional screen of a particular frequency at a particular resolution.

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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.

6.8.3.1 Flat tints

If you are using a few at 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 at tints.

6.8.3.2 Contone scans

If you are using a small desktop at-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 benet 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 at-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 outputPostScript 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,
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and to reduce the information loss inherent in tonal adjustment, than for passing on to the nal 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 reect these changes adequately. Although applications such as Adobe Photoshop allow transfer functions to be saved in EPS les, they apparently intend this for device linearization rather than for tone curve control. Note: Adjusting tonal data in image manipulation software often benets 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. Thus a vignette from 20% to 70% tint that is 6 inches long requires at least 400 gray levels:

100 6 ---------------------- --------- = 400 ( 70 20 ) 0.03

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 sufcient.

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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 stepsthe RIP cannot add more steps into the blend. You may also need to use 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 rst two cases it may be worth switching on extra gray levels in the RIP if you are using a low resolution or a ne (high frequency) screen. In the last case you gain no benet 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 161, 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 list 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 list is disabled when Generate extra gray levels is not selected. With this list disabled out: When using HPS, the RIP produces the number of gray levels required to attain the specied accuracy of screening, as set in the HPS Options dialog box, shown in Figure 6.6, page 184. 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 Section 6.10.1 on page 183 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, respectively, Section 6.6 on page 171, Section 6.7 on page 175, and Section 6.5 on page 169. These sections also describe how to override any conicting settings made in a job.

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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 Section 6.12 on page 201. 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. 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 Section 6.10.2 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 xed set of angles, so it also ignores the angle setting.

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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 moir 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 (dened 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 moir 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 Section 6.10.3, Possible problems with output on page 188, is intended to help in adjusting values if you think that it is necessary.

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 benets in eliminating stepping in vignettes and avoiding posterizing. Gray level controls on page 180 describes the use of the gray level controls in the Edit Style dialog box, including the effect of switching on or off HPS.

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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 generationset 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 lms, 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

Section 6.9 on page 181 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 frequencythe 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 difcult to achieve the desired angle accuracy, while a nearby frequency does not have

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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 species the greatest deviation from the requested frequency that is allowed. The RIP selects the individual frequencies for the Cyan, Magenta, and Black screens such that they are within the specied 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 specied 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 specied 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 moir 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.

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6.10.2.2 Maximum frequency deviation

Increasing the value in the Maximum frequency deviation box gives the RIP more freedom in nding an optimal screen set and can reduce patterning or moir, at the expense of possibly giving nal 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 lms, but this may also increase the likelihood of moir 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.

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 signicant 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

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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 signicant 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 nd 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 nd 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. 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).

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6.10.3 Possible problems with output

There are two main kinds of problem to avoid with HPS output: Patterning on individual lms. Patterning caused by the interaction of two or more lms from separated output (often called moir).

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 engines scan lines (across the lm 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 lms 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 frequenciesoften 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 Moir between two or more lms

Many people make the mistake of placing four process separated lms on top of each other on a light table, and being horried by the moir displayed. Moir is always visible if you view all four plates in this way. If you want a quick assessment of the moir on a nal print job, view just the Cyan, Magenta, and Black lms. Adding the Yellow lm as well can be useful in assessing variations in the marginal moir added by the Yellow plate, but should not be included in your standard viewing. Eliminate two other sources of moir 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 at tints in certain colors show moir 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 moir. The best route is to switch off such features in the sending application if possible, or to set up a PPD (or other conguration le) which uses the same screen frequency for all separations, and a standard set of angles: for example, 0, 15, 45, and 75.

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If modifying the input le is not possible then, in the HPS Options dialog box, select Snap angles to nearest 7.5 degrees and, in the Edit Style dialog box, select Override frequency in job. 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 les, 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. HPS does not alter these pattern screens in any wayangles, frequencies, and dot shapes are left unchanged and no extra gray technology is used with them.

6.10.5 Increasing HPS performance

The rst 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 rst 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-dened spot functions as well as those with recognized functions. These spot functions are not processed quite as rapidly as the built-in functions the rst time that they are used but when

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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 Harlequin RIP window saying that insufcient memory is available and that performance is being affected then you should increase the amount of RAM available to the RIP to obtain signicant 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 dened 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 signicantly more memory. If you are imposing several separations onto one output lm, the relative positions of the plates which do not use 0 and 45 degree angles (usually Cyan and Magenta) can make signicant 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 nal lm can pass through both a Cyan plate and a Magenta plate. If all four CMYK separations are to be produced on a single lm then the best default conguration is a two by two square with Cyan and Magenta in diagonally opposite corners, because lm rotation cannot then cause these plates to appear on the same scan line.

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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 specic 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. 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 Harlequin RIP window. This example report is for a ctitious serial number:
Serial number: 1234-56

6.11.1 Switching on HSL

You enter the passwords in a dialog box accessed from the Congure RIP dialog box. Click Extras in the Congure RIP dialog box to display the Congure RIP Extras dialog box. There is one entry in the list within the Congure RIP Extras dialog box for each of the HSL screen sets. (There is a second entry for HDS, titled HDSLight: this entry provides a limited use of HDS, restricted to lower resolution output devices such as proong 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 elsewhere in this manual: see Section 7.8 on page 218 for a summary of other entries. 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
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Feature dialog box that appears, enter the password supplied to you for that set, then click on OK to return to the Congure RIP Extras dialog box and OK again to return to the Congure RIP dialog box. You can change a password already entered by selecting the appropriate entry in the list on the Congure 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 dropdown list 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

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pattern and produces a very ne 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 moir than, for example, Euclidean dots if the subject of the image contains ne patterns. HCS is also very good at creating smooth, at 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 HCSat 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 moir, it has better denition 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 xed 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 alter194 ECRM RIP Operator Guide AG12325 Rev. 5

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native process color systems discussed in Section 12.1.1 on page 363. 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 ner 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 ne 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 nal copy is produced directly: for example, laser or inkjet printers. HDS Super Fine:

HDS Fine:

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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.
Imagesetter/platesetter resolutions dpi HDS Super Fine 1x1 pixel HDS Fine 2x1 pixels HDS Medium 2x2 pixels HDS Coarse 2x3 pixels HDS Super Coarse 4x4 pixels 1016 25 35 50 61 100 1200 21 30 42 51 84 1800 14 20 28 34 56 2400 11 15 21 26 42 3600 7 10 14 17 28

Table 6.1 Spot sizes in microns of a 20% HDS screen 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 denition 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 sufcient and you should therefore specify a range of frequencies likely to cover any line frequency which might be set in the screening dialog boxes
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or 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 m), then HDS Coarse has a dot gain on lm 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 nal 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 ne detail on lm for the rst 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 denitive 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 lm 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 sufcient to give solids with densities in the range 3.5 through 4.0. However, this may not be applicable to every imagesetter.

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When making plates and proofs, take great care to ensure that the lm is clean and dust free and make any other adjustments that help to ensure intimate contact between the lm 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 ner 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 selected, but uses the automatic color separation detection, described in Automatic detection of color separations on page 201. 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 signicantly 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 les 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 ne, b for ne, 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

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uses C, and Black uses D. Installer applications supplied by Global Graphics for use with the RIP automatically install all appropriate cache les. 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 efcient 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.

6.11.1 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. 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 ner
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screens then HMS should allow you to output at signicantly 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 dened 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.

6.11.2 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 setthe ability to select a HSL screen does not necessarily imply that the number entered is correct for use with the specic 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.

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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. 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 function with all PostScript-language les generated by applications. See Section 12.7.2 on page 384 for details about the Recombine preseparated jobs option.

6.13 Using Harlequin Harpoon PCI

Halftone screening is computationally intensive and can dramatically slow down the rendering of a page. One solution to this bottleneck is off-loading halftone screening calculations to specially-designed hardware. See Appendix C, Harpoon PCI Screening Accelerator for details.

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7

Conguring the RIP

Chapter 3 through Chapter 6 describe how you can use the Harlequin RIP to congure the appearance of any page of output sent to a printer or the screen. This chapter shows how you can also congure 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 les 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 Congure RIP dialog box or subsidiary dialog boxes. You can also reset the RIP to its factory settings, as described in Resetting the Harlequin RIP to default values on page 216, or choose a different language to be used in dialog boxes, menus, and messages, as described in Choosing the user interface language on page 217.
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7.1 Congure RIP dialog box

The Congure RIP dialog box is displayed when you choose Congure RIP from the Harlequin RIP menu or type Ctrl+R . (If there is an Input Queue menu, you must stop the input queues before you can choose Congure RIP: choose Stop Input Queue from the Input Queue menu.)

Figure 7.1 Congure RIP dialog box

Section 7.2 through Section 7.7 on page 211 describe the use of items in this dialog box. Section 7.8 on page 212 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 part of Section 7.3 on page 206; and in Section 7.9 on page 214 through Section 7.12 on page 216.

7.2 How the Harlequin RIP controls les

You can congure the RIP so that certain les are always kept in particular folders on your machine. You can specify the following: Workspace folder. Page buffer folder.

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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 les 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 Congure RIP dialog box and specifying a folder of your choice. 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 les, 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 Congure RIP dialog box. 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.

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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 Congure 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 Congure 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 ow of data when they are imaging 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 congured with a sufciently 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 Congure RIP Options dialog box to allow the page to output.

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7.3 Control of page buffering modes

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 Congure RIP Options dialog box, as shown in Figure 7.2. Display this dialog box by clicking on the Options button on the main Congure RIP dialog box.

Figure 7.2 Congure 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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7.3.3 Compressing page buffers

The box labeled Compress page buffer in the Congure 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 spacethe compressed page buffers are smaller. It is likely to be fastthe computer running the RIP is likely to be able to produce image data faster than the disk can receive it. Writing smaller les 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 Congure RIP Options dialog box, as described in Section 7.3.5. 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 Band size for printing buffer

The Band size for printing buffer option in the Congure RIP Options dialog box also has an effect on the performance of driving an output device. The value species the size in kilobytes (KB) of the bands into which the RIP divides a page for rendering, in the slow scan direction. Larger bands mean the page is divided into fewer pieces. Changing the size will alter performance characteristics. Large pages (either in area or bits-per-pixel) mean that many fewer scan lines can be accommodated in each band and this can slow down the system. On the other hand, too many scan lines in a band means that each band takes longer to process and could lead to stalling the output device.

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7.4 Job timeout

The value you should enter depends on the conguration of your machine. Typical values are 128 KB for black and white output, and more for output in color, perhaps 256 KB. Adjust these values according to experience with your conguration.

7.3.5 Minimum compression ratio

This option in the Congure RIP Options dialog box has an effect only when you have selected the check box Compress page buffer in the Congure RIP dialog box. It allows you to limit the use of compression to cases where there is a signicant 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 gure 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 innite loops in PostScript-language code. If there is an innite loop in a job, it will never nish processing. Using a timeout ensures that, after a set period of time, the RIP will stop processing such jobs. 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.)

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7.5 Threads and parallel processing

The Threads option in the Congure RIP dialog box is disabled in versions of the RIP that can use only a single processor. In a symmetric multiprocessing (SMP) version of the Harlequin RIP running on a suitable hardware platform, you can use this control to set the number of parallel processes used by the RIP. In all normal use, 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.

7.6 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.

7.6.1 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 PostScript-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 nished. Without a network buffer, when one page is nished, the RIP would have to wait for 8 MB to be read slowly from the input before it could be processed.

7.6.2 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 appli-

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within the RIP. See the separate TrapPro User Manual for full details.
HDLT, to enable Harlequin display list technology. PostScript and PDF, to enable PostScript-language and PDF input. 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.

If there is insufcient 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.

If there is still not enough memory to give the RIP at least 4096 KB, the RIP will display a warning and quit.

7.11 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 modesMultiple and Multiple (Parallel)that can produce multiple buffers, where it ensures that the disk is not completely lled up with an unlimited number of page buffers. The default value of the Disk space left for system option is 5 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 les regularly created or copied on the relevant disk. Try using 50 MB, if this size is difcult to predict.

7.12 Disable sounds

Select this box in the Congure RIP Options dialog box to suppress the system beep normally generated when the RIP encounters an error.

7.13 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, choose the Revert to Factory Settings option in the Start menu. If you did not add the RIP commands to the Windows Start menu when you installed the RIP, open a command (DOS) window in the folder holding the RIP application and type this:
C:\PATH>ScriptWorks -RESET

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Note: In the command line, change ScriptWorks to the exact name of the application that you are using. 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 conguration. Click No if you wish to keep all of the current conguration. (the RIP starts up normally.)

If you click Yes, the RIP displays several dialog boxes that allow you to reset specic parts of the conguration, one after the other. For each dialog box, click the Yes button to reset all the conguration information described in that dialog box. Click No to keep that part of your conguration. The RIP allows you to reset most parts of the conguration in this manner, including page setups, RIP conguration, media management information, and window positions. After the last dialog box, the RIP starts up normally.

7.14 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 rst time. Later, you can check the exact language in use or change the language, for most combinations of languages.

7.14.1 Requirements and limitations

There is no problem in changing language if both languages are chosen from English and most Western European languagestechnically 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 Simplied 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 les and a password from your supplier before you can change the language used by the RIP. If

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you have to install any les, restart the operating system and the RIP before proceeding.

7.14.2 Procedure
To check which languages are available or to switch to another available language, choose the Harlequin RIP > Language menu option. The Select User Interface Language dialog box appears, as shown in Figure 7.3.

Figure 7.3 Select User Interface Language dialog box

8 Configuring Input

tion 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 les (PS) and Encapsulated PostScript les (EPS), both described in Section 8.13 on page 263. Portable Document Format (PDF) les, described in Section 8.14 on page 264. JPEG and JFIF les, described in Section 8.15 on page 276. TIFF/IT-P1 les, described in Section 8.17 on page 277. TIFF 6.0 les, described in Section 8.18 on page 282. Harlequin RIP page buffer les, described in Section 8.19 on page 284.

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 conguration forms the bulk of this chapter.) A PostScript device on which you can open a le and read or write from a PostScript-language job. (This is not seen by the end user.) A lter 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. Section 8.2 on page 224 describes the way

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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. See Section 8.3 on page 229 for more details. NT Print. This publishes the RIP as a printer available to the Windows NT print services. See Section 8.4 on page 230 for more details. NT Pipe. This provides a named pipe allowing high speed communication with an application such as an Open Prepress Interface (OPI) server. See Section 8.5 on page 236 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 les in these folders and prints each one automatically. See Section 8.6 on page 240 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 Section 8.6 on page 240 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 Section 8.6 on page 240 for more details. 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 Section 8.12 on page 262 for more details.

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Serial port, on PCs and platforms running the UNIX operating system. This supports the Adobe Serial Lines Protocol, and lets you connect two machines by their serial lines, so that input can be accepted by a RIP running on one of them. See Section 8.10 on page 255 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.

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 Harlequin RIP > 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

The Input Controller is similar to the Device Manager, described in Section 5.11, Multiple device output plugins. The main list shows the input sources currently available. Each input source can be turned on or off individually using the buttonsthe 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.
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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. 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 Controllerpossibly by executing PostScript-language commands in conguration les that the RIP used when starting upand 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 222. 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 nished 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 Harlequin RIP > Input Controller menu option or the tool bar button.

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8.2.1 Turning on the input system

To start receiving jobs from the congured and enabled inputs, choose Start Inputs from the Harlequin RIP menu, or type Ctrl+I . When you do this, there is a delay of a few seconds as the various dened 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 ashlight 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 nished. Abort Input Queue. This aborts the job currently processing and then

turns off the input system.

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 AppleTalk input sources. 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 ll in the details for this source.

Figure 8.2 Input Channel Edit dialog box

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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 inputs a printer of this name becomes available on the AppleTalk network. 3. Choose the plugin type from the Type drop-down list. 4. Choose a saved page setup from the Page Setup drop-down list: 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 Congure button to display an input plugin Conguration dialog box, allowing you to specify details relevant to the plugin you have chosen. The Conguration 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 associated with the source. See Section 8.1 on page 222 for a list of input types and page references to their conguration and use. 7. When you have specied 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 Conguration 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 Conguration dialog box. For example, only one active input can use a particular 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.

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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 selected plugin. For full details of using this dialog box, see Section 8.2.2 on page 226.

8.2.5 Conguring an input plugin

Conguring 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 congure an existing input plugin, select it in the Input Controller and click Edit. The RIP displays the Input Channel Edit dialog box. Click Congure to see the Conguration dialog box for the selected input. See Section 8.1 on page 222 for a list of input types and page references to their conguration 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.

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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 Harlequin RIP > Start Inputs or click the tool bar button that has a picture of a green arrow and trafc light. (See Section 8.2.1, Turning on the input system.) To stop all enabled inputs, choose Harlequin RIP > Start Inputs again or click the tool bar button that has a picture of a red arrow and trafc light.

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 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.

8.3.1 Conguring an AppleTalk input source

To congure 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 Congure button. The AppleTalk conguration dialog box appears, as shown in Figure 8.3.

Figure 8.3 AppleTalk Conguration dialog box

Wait timeout

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.

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Abort on error

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 ushed (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 NT Print input

This input publishes the RIP as one or more printers available to the Windows NT print services. Once fully installed and congured, each printer has a name visible to Windows NT. There are several stages to installation and conguration, which you must carry out in this order: Installing the plugin. Conguring the RIP to make the input available. Conguring Windows NT to associate a printer with the RIP input.

Section 8.4.1 through Section 8.4.3 describe these stages in detail.

8.4.1 Installing the plugin

The installation is a two stage process; you run the Harlequin RIP Product installer to unload the NT Print les, you then run the NT Print install wizard. 1. The NT Print plugin requires the Harlequin RIP to be installed on the target machine. If the RIP is not installed then you may add it at the same time as you add the NT Print plugin. 2. Insert the Harlequin RIP CD-ROM and access its contents. At the top level of the CD run the Install.exe setup program. 3. In the Product Installer window specify location for the plugin les by selecting the Harlequin RIP folder.
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4. From the Package menu choose Optional Plugins, and from the Products menu choose NTPrint Plugin, 2.0r3. 5. Click Add to add the plugin to the list of products to install, and click Install to begin copying the les from the CD. When the plugin is installed the Installation complete message appears. 6. After installing the les, close the Product Installer window. The Product installer places the NT Print plugin install wizard in the
Plugins\Ntprint folder, which is at the same level as the SW folder.

You should now use the NT Print install wizard which places the plugin le in the Plugins\SW\Inputs folder and prepares Windows NT so that you can create a printer using the plugin. To use the install wizard: 1. Exit all running applications. Run the le Setup.exe, found in the Plugins\Ntprint folder. 2. When the installation program asks you, choose the folder in which the Harlequin RIP is installed. (To help you identify it, remember that this folder contains both the Plugins and SW folders.) 3. Wait for the installation process to nish. Reboot the computer. Now that the plugin is installed, you can create a Harlequin RIP input.

8.4.2 Conguring an NT Print input

To create and congure a new socket input: 1. Click New in the Input Controller. The RIP displays the Input Channel Edit dialog box. Choose NT Input from the Type drop-down list. Give the input a suitable name and select a page setup. Select the Enabled box.

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2. Click the Congure button. The NT Print Conguration dialog box appears, as shown in Figure 8.4.

Figure 8.4 NT Print Conguration dialog box

The dialog box contains controls to allow for the situation where RIP inputs have started up before the Windows NT spooler systemthis is possible on fast machines. The default is to accept failure, in which case the printer will be unavailable without some user intervention. You can make the RIP keep trying, within a time limit, by using the controls.
Enable

Select this box if you want the RIP to retry making a connection to the Windows NT spooler after initially failing.
Retry delay

Enter the time, after the initial failure, for which you wish the RIP to continue retrying. A retry delay of 60 seconds is likely to be enough on all machines. Too long a delay means delaying jobs on other inputs, so reduce this gure if you have no problems. Click OK to close the conguration window. 3. Click OK again to close the Input Channel Edit dialog box 4. Use Harlequin RIP > Start Inputs to start inputs. You now have a RIP channel that forms a port visible to the Windows NT printer conguration software.

8.4.3 Creating a printer under Windows NT

You have two options. Either you can create a new printer to use the RIP channel, or you can connect an existing printer to the RIP channel. The procedures are different for Windows NT version 4.0 and Windows 2000.

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8.4.3.1 Windows NT version 4.0

To create a printer for Windows NT version 4.0: 1. Choose the menu option Start > Settings > Printers. In the Printers window, open Add Printer. 2. Select My Computer and click Next. 3. Click Add Port. 4. In the Available Printer Ports list, select ScriptWorks and click New Port. A list box appears, showing the names of all unconnected RIP channels. Select one of these and click OK. Click Close to close the Printer Ports window and click Next. 5. Congure the printer. To do this choose a manufacturer and printer model from the lists or click Have Disk if you have a special driver for the printer you wish to emulate with the RIP. If you do not have a special driver, choose one for a PostScript-compatible printer that supports the features you require. 6. Name the printer, and click Next. Choose whether or not to share the printer, giving it a shared name if you do share it, and click Next. 7. Choose to print a test page and click Finish. Windows copies some conguration les and prints the test page. You should see the RIP become busy on the NT Input in the Input Controller. To use the printer, see Section 8.4.4. If you later want to reassign the printer to another port, do this: 1. Choose the menu option Start > Settings > Printers. 2. In the Printers window, select the printer, right-click and choose Properties. 3. In the Properties window, click the Ports tab. Choose a new port by selecting its box in the list of ports. Click OK to conrm the changes.

8.4.3.2 Windows 2000

To create a printer for Windows NT version 4.0:

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1. Using the Harlequin RIP Input Controller, create a new input channel of the type NT INPUT. Use Start Inputs to start it. 2. In the Settings > Printers window, select Add Printer. 3. In the Add Printer Wizard click on Next. 4. Select Local printer, and ensure the Automatically detect and install my Plug and Play printer checkbox is unchecked, then click on Next. 5. Select Create a new port, and select ScriptWorks from the drop down selection box. Click on Next. 6. A list box is then displayed showing the names of all unconnected ScriptWorks Channels. Select one of these and OK. 7. Congure the printer and name it.

8.4.4 Using the printer from Windows NT

The new printer is now connected to the RIP. Any printer output sent to the new printer will be routed to the RIP. The Windows NT spooler will remember the names of the printers between reboots of the computer running the Harlequin RIP. If an attempt is made to send a le to a printer attached to a RIP channel that is not currently running, a warning is displayed and the user is given the chance to retry the job. If you start the RIP input channel before the user retries the job, the job will restart successfully.

8.4.5 Printing from a DOS command prompt

You can send a single PostScript-language or PDF job direct to the RIP from a DOS command prompt, provided that the RIP is the default printer. Note: While this is a simple method of testing NT Print, we do not recommend this method for routine use. There can be problems, for example, if you attempt to copy multiple les or les of an inappropriate type. For PostScriptlanguage les, at least, there are free, shareware, and commercial utility programs that handle multiple les and provide other useful features such as printing only selected pages.

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1. Make the printer the default printer for your computer, using the appropriate method: For Windows NT version 4, choose the menu option Start > Settings > Printers. In the Printers window, select the required printer icon then right-click to display the menu and choose Set As Default. 2. From a DOS command window (on the computer running the RIP), type:
copy file.ps \\.\SCRIPTWORKS

This command spools the le file.ps into the Windows NT printer system, from where the job goes to the RIP input channel specied by the default printer.

8.4.6 Troubleshooting NT Print

Jobs may fail to reach the RIP. Check that the relevant RIP input is running and has the same name as used by the Windows NT printer system. If a job reaches the RIP, it is likely to process successfully but you may see a message similar to this, with <name> replaced by the name of the NT Print input.
%%[Error: interrupt; OffendingCommand: s; File: %ip:<name>% ]%% %%[Flushing: rest of job (to end of file) will be ignored ]%% Job Not Completed: <name>

This can happen if you choose a driver for a printer that supports multiple page description languages. For example, jobs sent to HP LaserJet printers that support both PCL and PostScript languages can include problematic control statements at the start and end of the job. The simplest cure is to pick a driver that produces only PostScript-language code when printing to the RIP printers. Prior to release of the NTPrint plugin v2.0r3, jobs received on an NT print input were named by the input channel, and not the job. A page feature was provided to overcome this. From the release of the NTPrint plugin v2.0r3 (shipped with Harlequin RIP, Eclipse Release), the page feature is incorporated within the NT input plugin and thus will use the name within the job. The new version of the plugin will work with Eclipse Release and later RIPs.
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8.5 Using the NT Pipe input

A number of third party applications, most notably Open Prepress Interface (OPI) servers, are able to communicate with PostScript-language compatible RIPs running under Microsoft Windows NT using named pipes. A named pipe is an interprocess communication method that allows two Windows NT applications to exchange large amounts of data very efciently. Note: In a typical OPI workow, high resolution images are stored on the OPI server machine, are included into print jobs, and are transferred over the network to output devices. This operation frees workstations from moving large image les, but large les must still travel from the OPI server to the RIP. The NT Pipe input plugin for the RIP allows OPI servers or other applications to supply data to the RIP via named pipes. There are two possible cases: The RIP and a suitable application can share a single multiprocessor machine, and use a named pipe to communicate. This allows the other application to deliver jobs to the RIP at much faster speeds than it can deliver jobs to a networked printer (provided by the Harlequin RIP). With a single processor machine or an application that cannot share a multiprocessor machine, the RIP and the other application must run on separate Windows NT systems connected through a network. Even in this case, using named pipes can deliver much better performance than printing over an AppleTalk network.

8.5.1 Installing the plugin

To use the RIP named pipe support, you need a plugin le in the SW\Inputs folder. The le name is different for different kinds of processor: For Intel 486 and Pentium processors, and compatible processors, the plugin le is called ntpipe.i32. For Digital Alpha processors (now available from Compaq), the plugin le is called ntpipe.axp.

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Quit the RIP if it is running. If the plugin has been supplied with an installation program, use that and follow the instructions. If you have no installation program, drag the appropriate plugin le into the SW\Inputs folder.

8.5.2 Creating an NT Pipe input

When you have an installed plugin le, start the RIP and follow this procedure: 1. Click New in the Input Controller. The RIP displays the Input Channel Edit dialog box. Choose NT Pipe from the Type drop-down list. 2. Give the input a suitable name and select a page setup. Select the Enabled box. Note: The name you choose forms the last part of a longer network name for the pipe. We suggest that you choose a name that uses letters and numerals only (a - z and 0 - 9) and that is a convenient length: do not include punctuation, space characters, or the wildcard characters ( ? and * ). 3. For most applications, you can now click OK to close the Input Channel Edit dialog box. You can now read Section 8.5.4 on page 239 to see how to connect an application to this pipe. If you have difculty, or know that you need to change the default conguration, read Section 8.5.3.

8.5.3 Conguring the named pipe

The Conguration dialog box allows you change another part of the name for the pipe and to allow more than one connection to the same named pipe. When conguring a front-end or server application to send data to the RIP using named pipes you must enter the full name of the pipe. The format for the name is:
\\<machine>\pipe\<pipe prex>\<name>

To get an actual name, replace <machine> with the name of the computer running the RIP, replace <pipe prex> with the name entered in the Named Pipe

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Plugin dialog box, and replace <name> with the name you entered in the Input Channel Edit dialog box. If the RIP is running on a Windows NT system named BRICK, and the channel has been dened in the RIP with the name Fred, the pipe name would be:
\\BRICK\pipe\ScriptWorks\Channel\Fred

Figure 8.5 Named Pipe Plugin dialog box

Pipe Prex

If you wish to use a different scheme for pipe names you can change the prex by clicking on the Congure button in the Input Channel Edit dialog box. The RIP displays the Named Pipe Plugin dialog box. For example, entering RIP in the Pipe Prex eld would make the full pipe name:
\\BRICK\pipe\RIP\Fred

Pipe instances

Windows NT allows a named pipe to have a number of instances. This means that, for each pipe of a given name, Windows NT will allow more than one client (application) to open the pipe at any one time. The RIP plugin can then service the clients in sequence, one at a time. Some clients, for example Color Central from Imation Publishing Software (formerly Luminous Technology), always expect to be able to connect to a named pipe. For this reason you should normally create at least two pipe instances. This allows the client software to reconnect to the pipe, in order to send the next job, while the RIP nishes processing the previous job.

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If you wish to change the number of pipe instances from the default value of two you can do so in the Named Pipe Plugin conguration dialog box, as shown in Figure 8.5 above.

8.5.4 Connecting an application to the Harlequin RIP

Several applications include support for named pipe output. This is a general discussion: refer to the manual for your application for details. Once the RIP has been congured to accept named pipe input, you must congure the other application to use a named pipe for communication with the RIP. Typically, you do this: 1. Add a new printer to which the application can send data. 2. Select named pipe as the method of communicating with the printer. 3. Identify the particular named pipe to use, giving a name that matches one you have created in the RIP. The general form of the name is:
\\<machine>\pipe\<pipe prex>\<name>

For example, when the machine is called BRICK, the pipe prex is the default ScriptWorks\Channel, and the name (as entered in the Input Channel Edit dialog box) is Fred, then the full pipe name is:
\\BRICK\pipe\ScriptWorks\Channel\Fred

A period ( . ) can serve as a shortcut for the name of your local machine. If the supplying application and the RIP are on the same computer, the pipe name could be:
\\.\pipe\ScriptWorks\Channel\Fred

4. Give whatever other information the application requires, and complete the procedure that makes the printer available for use with the application. If you have multiple copies of the RIP, or have published multiple NT Pipe input channels from a single installation of the RIP, you can repeat the same sequence for each channel.
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8.6 Using the Spool Folder input folder

A spool folder input source regularly scans a specied disk folder (directory), and processes any PostScript-language les (and other suitable les) that are placed there. Normally these les are deleted after successful processing. The spool folder can be on a network le server, or the local machine. Users create les from their applications. These applications can create the les directly in the spool folder, or can create them elsewhere (for example, on the local system) for later transfer into the spool folder. The RIP can process some or all of the following le types using a spool folder: PostScript-language (PS), Encapsulated PostScript (EPS), Portable Document Format (PDF), TIFF 6.0, single TIFF/IT-P1 subles or TIFF/IT-P1 le groups if supplied in order, JPEG and JFIF les. 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 conguration of the RIP. Note: You cannot use a spool folder for printing FP TIFF/IT-P1 les without special care, because FP les reference subles and the RIP must image the data in these les in a set order. If, in a spool folder any of the CT, HC, LW, or FP les may arrive rst, then the result may be partial images. The spool folder can accept TIFF/IT-P1 les if the order of arrival and le naming can be controlled so that all subles arrive before the FP le and you select the TIFF/IT-P1 option described on page 245. If the order of arrival or naming is unsuitable or unpredictable, using Print File from the Harlequin RIP menu is the simplest reliable method of ensuring that the RIP images the intended le or combination of les. The RIP ignores types of les that it cannot print, and any les that you exclude intentionally by conguring the spool folder input. You can exclude les based on their names. You may want to exclude les that resemble real jobs, but that actually contain accounting or housekeeping information for the software that delivers les 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 le names have a recognizable prex. You specify which folder the RIP uses in the input plugin Congure dialog box, available from the Input Controller. By default, this folder is called Spool

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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 les are normally deleted as soon as they are printed, it is important to ensure that the RIP has permission to delete les in the spool folder, particularly if the spool folder is on a network le server. See Appendix A, Troubleshooting, for more details. The les 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 les have been queued, the RIP determines the order of those jobs by the date stamps on the les.

8.6.1 Conguring a Spool Folder input source

To create and congure 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 Congure button. The Spool Folder Conguration 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

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the number of exclusions, that is the number of prexes that it will ignore. See the description of the Filenames prex list option on page 244 for details.

Figure 8.6 Spool Folder Conguration dialog box

This dialog box contains the following control items:

Spool Folder

The current spool folder is shown in the text eld alongside this button. This location is where the RIP detects the arrival of les and considers them as possible jobs, by looking at the type of le and any le names excluded in the Filenames prex list. Note: Choose a folder that is dedicated to receiving jobs. In particular, avoid using folders where other les are arriving or changing. (For example, the SW folder is a bad choice, because the log le changes with every job.) Click the Spool Folder button to change this folder using the standard le browsing dialog box. Alternatively, you can type a full path name in the text eld but be aware that any typing errors can cause an error or the creation of a new folder.

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Create spool folders if they do 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 Harlequin RIP > Start Inputs or enable the input channel before it becomes fully available.
Warn if spool folders do 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.
Error Folder

If a le fails to print, the RIP moves it to the error folder specied unless the Delete on error box is selected. If a le prints successfully, the RIP moves it to the Complete folder specied unless the Delete on completion box is selected. Select this box if you want the RIP to delete les that the Spool folder fails to print. Leave this box clear if you want failed les to be moved to the Error Folder. Note that a le is treated as an error if you abort it while it is being processed.

Delete on error

Complete Folder If a le successfully prints, the RIP moves it to the loca-

tion specied in the text eld alongside this button unless the Delete on completion box is checked. Click the Complete Folder button to change this location using the standard le browsing dialog box.
Delete on completion

Select this box if you want the RIP to delete les that the Spool folder succeeds in printing. Otherwise the RIP moves these les to the Complete Folder.

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Filenames prex list

This text eld species les to ignore when they arrive in the spool folder, if you have also selected the Exclude prex list box. The specication is based on the rst part or prex of the le names. Prexes are case sensitive. For example, if you type in the prex ab, the RIP ignores all the arriving les whose names begin with ab. Examples of les that the Harlequin RIP would ignore for this prex 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 les and allows the les to remain in the spool folder until removed by a user or other software. Note: If you remove or disable a prex while the spool folder is still active, the RIP processes any les previously excluded by that prex but still present in the spool folder. You can enter several prexes. Separate multiple prexes by commas without surrounding spaces. (If you add spaces after a comma, the RIP treats the spaces as part of the following string.) Each prex can include alphanumeric characters, the underscore character, the period character, and spaces. For example, this is a valid list of three prexes:
aaab_c,BAC,4.4
Exclude prex list

Select this box to make the prex list active. Leave this box empty to disable the prex list without deleting the list of prexes.
Scan spool folder every <n> seconds

The value in the text box species how often the RIP checks the Spool folder for new les to be printed.
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Time to wait for le to stabilize

The value in the text box species the number of seconds that the Spool folder waits for the size of an arriving le to remain the same before assuming that it has been fully written and is therefore ready to be printed.
Treat TIFF/IT les as a single output group

Select this box if you want to process TIFF/IT-P1 les as a group, but only if you can predict that both the le names and the order of arrival follow these conditions. All related les must have the same le name stem. For example, this is a valid group of les: myfile.ct, myfile.lw, myfile.hw, and myfile.fp. All subles must be in the spool folder before the FP le arrives and is ready to print. After processing a TIFF/IT-P1 group, the RIP moves or deletes all the related les 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 les as they become available. Note: When producing TIFF/IT-P1 les as output using the optional TIFF/IT-P1 output plugin, the RIP satises the rules for having the related les treated as a group.

8.7 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 machines running the UNIX, Windows 98 and ME, Windows NT, or Windows 2000 operating systems. 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 com-

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puters and machines running the UNIX or appropriate Microsoft Windows operating systems. The benets of using network sockets are: Transfer of jobs between different types of machines occurs at network speedstypically 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 nish one job before starting another, including jobs from other types of input plugin.) All sending machines are congured in the same way. Given an existing network, there is no requirement for extra hardware or shared le 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, difculties with socket input: It requires a small amount of central network management, or user access to conguration les, 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.) Jobs without names may be named only after the name of the input socket, making it difcult to identify jobs that need re-sending. If a job does not provide a name itself, set jobname in statusdict, before the job is run. For example:
statusdict /jobname (a_filename.ps) put

sets the jobname to a_filename.ps. Note: Most machines running sockets can support several independent types of communication and there is usually ongoing communication for processes
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including mail, printing, and le transfer. The different types of communications are kept separate by assigning each to a different port, usually identied 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 specic 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 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.

8.7.1 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, Windows 98 and ME, Windows NT, or Windows 2000 operating systems. Macintosh computers need the following: Open Transport, an operating system extension that comes as standard on Power Macintosh computers with software support for PCI expansion buses. Open Transport is compatible with operating system versions from System 7.1 onwards. The computer must be a Power Macintosh, that is, it must not be based on the 680x0 processor family.

8.7.2 Conguration preliminaries

Before attempting to congure 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 conguring the RIP socket input.

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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 PostScriptlanguage interpreterprogress and other messages as displayed in the RIP Monitor Harlequin RIP windowavailable to the application sending the job.

8.7.2.1 Server machine

To congure 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 exibility 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 nd ports that are available for use. In the UNIX operating system, the services database is the le:
/etc/services

Under Windows NT 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 xed relationship to this location. For example, if the operating system is installed in \winnt then the services database is the le:
\winnt\system32\drivers\etc\services

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Under Windows 98 and ME, the services database is installed if you install TCP/IP networking. Typically, the services database is the le:
\windows\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 le before editing it in any way.

8.7.2.2 Sending machines

To congure 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 Conguration dialog box. For example, you may need to congure the sending software to receive the PostScript-language status messages.

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We recommend that you congure 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 congure the RIP to receive input on more than one socket inputfor 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 signicant delay.

8.7.3 Conguring a Socket input plugin

To congure 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 SocketInput from the Type pop-up menu drop-down list. Click the Congure button. The Socket Conguration dialog box appears, as shown in Figure 8.7.

Figure 8.7 Socket Conguration 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.
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8.7.3.1 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 le 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 le 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. 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 le), and listens on the chosen port.

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When Socket Type is Local, the socket communication is made by using a socket-style le on the le-system. Enter the le name in the Address eld.

8.7.3.2 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 congure the Output Socket Details).
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. This box is irrelevant if Bi-directional comms is not selected.
Use Xinet protocol (not present on Macintosh computers)

Do not select this option unless you know that all the sending machines are using the Xinet PapConnect protocol. In particular, 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.

8.7.3.3 Output socket details

These details are only relevant when you have selected the Use Separate Output Socket box and the Bi-directional comms box.
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Choose these values in the same way as for the server socket, described in Server socket details on page 251. You must choose a different 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 249 explained why it is advisable to close the sending socketthe one connected to the RIP Server socket.)

8.8 Using the Asynchronous Socket plugin

The asynchronous socket input is not for use as a source of routine jobs. It is a special case of the socket plugin, designed to run jobs immediatelyregardless of what the RIP is already doing. This input provides a way of controlling and monitoring the RIP from without using menus and dialog boxes. These jobs are restricted in what they can do if jobs from other inputs are to have the intended result. To prevent unintended interaction with a running jobs, each job submitted to the asynchronous socket input should start by performing a save and end with a restore. Also, the job should not use any painting operators or otherwise alter the graphics state. Permissible tasksthose that do not interfere with other jobs at the interpretation stageinclude querying the availability of fonts and manipulating page buffers in the throughput system. The one exception where interference with another job is allowed, and necessary, is that it is possible to kill the currently running job.

8.8.1 Creating an asynchronous socket input

It is possible to create an asynchronous socket input in the Input Controller, and subsequently to edit or delete it. Note: The expected way of creating an asynchronous socket input is by including PostScript-language statements in the les that the RIP executes when starting up. An asynchronous socket input created this way is likely to

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be a protected channel, optionally viewable in the Input Controller but not editable. To create and congure an asynchronous socket input: 1. Click New in the Input Controller. The RIP displays the Input Channel Edit dialog box. 2. Choose SocketInputAsync from the Type drop-down list. Give the input a suitable name and select a page setup. Select the Enabled box. 3. Click the Congure button. The Socket Conguration dialog box appears. Make the settings you wish, and click OK. (See Appendix 8.7.3, Conguring a Socket input plugin for details.) 4. Click OK again to close the Input Channel Edit dialog box. The asynchronous socket input becomes active, as you click OK or when you next start inputs. All other aspects of its use and conguration are as described in Section 8.7 on page 245.

8.8.2 Sample job

This example shows how a short PostScript-language job can kill the current job.
% This code kills the currently running job. //errordict /interrupt get exec

8.9 Using the Asynchronous Socket Quit plugin

The SocketInputQuit type is a special case of the asynchronous socket input, with the single purpose of causing the RIP to quit. Connecting to a socket of this type makes the RIP quit without the need to send a PostScript-language job containing the appropriate commands. To create an input of this type, follow the procedure for the asynchronous socket, described in Section 8.8.1 on page 253, but choose SocketInputQuit in the Type drop-down list. You can select any page setup for use with this input. There is no need to specify a return channel.
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The Serial Line input plugin handles PostScript-language jobs passed to it over a serial line (RS232 or V24 standards). The benets of offering serial line input are: The Harlequin RIP can become an immediate replacement for a PostScript-compatible printer that was used exclusively over a serial line. Remote computers can submit jobs to the RIP through a serial line without being part of the same network as the computer running the RIP.

The use of a RIP input using a spool folder or network protocol is preferable in almost all cases. The advantages of these methods are greater speed and robustness than using a serial line.

8.10.1 Overview
This is a brief introduction to creating and using a serial input to the Harlequin RIP. There is more detail in later sections. The rst stage of using a serial input to the Harlequin RIP is to nd available serial ports on the remote computer and on the computer running the RIP and to establish a reliable serial link between them. This requires a null modem cable with suitable connectors for the ports: Section 8.10.2, Establishing a serial link species the cable more fully and suggests how you or your supplier may need to test the link. Next you must congure the RIP input. To congure a Serial input, choose the source in the Input Controller and click the Congure button. The Serial Comms Conguration dialog box appears, containing several controls, described in Section 8.10.3, Conguring a Serial input plugin. Set the controls to the desired values and click OK, then enable the input in the Input Controller dialog box and again click OK. When you select Start Inputs from the Harlequin RIP menu (or immediately if inputs are already started), a message appears in the Harlequin RIP window of the general form:
Publishing Serial Input printer <serial_name>

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puter running the RIP to show that the plugin is reading data. (There is no progress box because the plugin cannot nd out the total size of the job until it has read all of it.)

8.10.2 Establishing a serial link

Note: This section is necessarily technical. The null modem cable must connect the lines for send data, receive data, and signal ground (earth). Depending on the handshaking method, the cable may also need to connect control lines. If you wish to use hardware handshaking, the cable must also have the RTS and CTS control lines connected. Software handshaking does not require these control lines because it uses the XON and XOFF characters, sent over the data lines. For both forms of handshaking, this is a minimum requirement: the program on the remote computer may require other control line connections or links between pins, even if you are using software handshaking. (If the remote computer and program require extra control signals, it may help to know that the RIP controls the DTR line and ignores the DSR line.) For testing, you have two options: Use a communications or terminal emulation program on both computers. Use a communications or terminal emulation program on the remote computer and the RIP on the local computer. (You must congure a Harlequin RIP serial input rst.) Send a carriage return character to the RIP to make the RIP react as if it is receiving a job: if the link is good, the RIP loads a page setup and displays a message in the Harlequin RIP window. (Like most PostScript-language compatible interpreters, the RIP does not by default echo characters to the remote computer.)

There are many commercially available communications programs but the Terminal program supplied with Microsoft Windows, and the tip program supplied with the UNIX operating system are adequate. You can start testing by typing short messages (PostScript-language jobs if you are sending to the RIP input plugin). Do not consider the link fully tested

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until it can transfer les of about 10 KB without any corruption. Find the highest speed at which the link works reliably.

8.10.3 Conguring a Serial input plugin

To create and congure a new serial source: 1. Click New in the Input Controller. The RIP displays the Input Channel Edit dialog box. 2. Choose Serial Input from the Type drop-down list. Give the input a suitable name and select a page setup. Select the Enabled box. 3. Click the Congure button. The Serial Comms Conguration dialog box appears, as shown in Figure 8.8. Make the settings you wish, and click OK. 4. Click OK again to close the Input Channel Edit dialog box. The serial input becomes active, now or when you next start inputs.

Figure 8.8 Serial Comms Conguration dialog box

Most controls in the Serial Comms Conguration dialog box set shared communications parameters, which must match those in use by the sending computer and application. Alter these communications settings only if you understand their meaning and you can ensure that the remote computer is recongured to use the same settings.

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The remaining items also affect communication but are specic to the computer running the Harlequin RIP and are fully described here.
Device

Set this to be the serial port on the computer running the RIP to which the remote computer is connected. The entries in the list include COM1 and COM2.

Baud rate

A shared communication settingset it to match the setting on the remote computer. A shared communication settingset it to match the setting on the remote computer.

Parity

Character Bits

A shared communication settingset it to match the setting on the remote computer.

Stop bits

A shared communication settingset it to match the setting on the remote computer. There are three possible choices: ASCII, Adobe binary, and Binary. Choose Binary unless you know that the sending application requires a different mode. See Section 8.10.4 on page 259 for more details on the different modes.

Mode

Job Output

This setting controls the destination of error messages and status information about jobs. Select Remote to send information down the serial line to the remote computer. Select Local to have the normal RIP behavior where these messages display only in the Harlequin RIP window: the normal behavior of the RIP for other inputs.

Handshake

This is a shared communications setting which limits the possibility of the remote computer sending data too fast for the plugin to handle correctly. The setting on the
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computer running the RIP must match the one in use on the sending computer. (Software handshake uses the XON/XOFF characters and Hardware handshake uses the CTS/RTS control pins.) Select only one handshake method.
Link Timeout

This setting has an effect only when the plugin is using binary mode. The value is the time in seconds that the input plugin waits without receiving new data before considering that the job has nished. The RIP accepts values in the range 1 through 1000. Set the value to be larger than any pauses you expect in the data from one job, but small enough to have the RIP recognize the end of job in a reasonable time. The remote application must wait for this time between sending the end of one job and starting to send the next job, so an overlong value reduces throughput. In particular, you may want to set a large value (100 seconds or more) if you are testing a link by typing PostScript-language statements through a terminal emulator program: in this case, the value must be larger than any pause in your typing.

8.10.4 ASCII and binary modes

The input plugin can treat data arriving from the serial line in one of several ways. You choose which way the plugin uses by selecting one of the following modes: Binary. ASCII. Adobe binary.

We recommend that you select Binary, unless there is a strong need to use one of the other modes.

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ASCII and Adobe binary are very similar modes, where the input plugin treats some characters specially. The application sending the data must send one of these special characters to signal the end of the job and can send other characters to control and monitor the job in progress. The end of this section lists the special characters (for example: ^C). In detail, the modes are:
Binary

The RIP passes all data to the core RIP and detects the end of job by observing that no data has arrived within a timeout period. (The remote application must use at least the same timeout period between sending jobs.) All data is passed to the core RIP for processing, except for special characters. The special characters are ^C, ^D, and ^T. ASCII mode resembles Adobe binary mode with the exception of not supporting ^A.

ASCII

Adobe binary

All data is passed to the core RIP with the exception of special (control) characters dened by the Adobe binary communications protocol (BCP). The special characters are all control characters: characters which you can send from within a terminal emulator program by holding down the Control key while typing a normal character key. For example, you can type Control-T (shown as ^T) by holding down the Control key while typing the letter T. The characters most likely to be useful in testing are those supported by ASCII mode.
Character ^A Meaning Treat the following character so that it passes to the core RIP as a control character which would otherwise have been stopped and taken as a control. ^A is not supported in ASCII mode.

Table 8.1 Special characters in ASCII and Adobe-binary modes

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Character ^C ^D ^T

Meaning Generate an interrupt. This terminates the job immediately, with an error. Signal a normal end of job. Request a job status. The job status is returned down the serial line as a message enclosed in square brackets. For example, this might be one such message: %%[job: Test-job; status: Waiting]%%

Table 8.1 Special characters in ASCII and Adobe-binary modes

8.11 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.

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8.12 Using the Print File command

When you select Print File from the Harlequin RIP menu, the dialog box shown in Figure 8.9 appears.

Figure 8.9 Print File dialog box

Choose an appropriate page setup for printing the les, from the Page Setup drop-down list. Note: If you do not choose a page setup, the RIP uses the one that you chose last time you printed a le. If you have not printed a le in this RIP session, the rst page setup in the drop-down list is used. To change the order of this listing, see Reordering page setups on page 106. The Print File dialog box shows all PostScript-language les in the current folder. (To show les of a different type, or all les, use the Files of type dropdown list.) If you want to choose a le that is not in the folder shown, use the dialog box to move to the correct folder. Use the Look in drop-down list to use other folders or drives. Note: To select all les in the list, click anywhere in the central list of les and type Ctrl+A. While any le is being processed, an additional Print File menu appears on the menu bar of the main RIP window.

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Alt

You can abort the current job by choosing Kill Current Job from this menu, or by typing Alt+ (a period character).

8.12.1 Printing several les

To print out several les at once, just select more than one le from the Print File dialog box before clicking Print. The following keys make this possible:
Shift

You can select a contiguous block of les by selecting the rst le in the block, then selecting the last le in the block while holding down the Shift key.
Ctrl

You can select several non-contiguous le names by holding down the Control key while making your selection. Note: The list of les to print can include les other than PostScript-language, PDF les, TIFF 6.0, and TIFF/IT-P1. The RIP ignores types of les that it cannot print.

8.13 Printing PostScript-language les

The RIP can print PostScript-language les and Encapsulated PostScript (EPS) les using the Print File command or managed inputs. You can also enter PostScript-language code interactively using the Harlequin RIP > Executive command. You can submit PostScript-language jobs to the RIP using any of the managed input methods: AppleTalk, NT Print, NT Pipe, Spool 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 specic applications. Other options deal with more general fault conditions or are convenience features. For example, some PostScript-language le formats,

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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 Section 5.3 on page 107 for details. When ColorPro is enabled, the RIP can detect and utilize an ICC prole embedded in an Encapsulated PostScript le. See the Harlequin ColorPro Users Guide for details.

8.14 Printing PDF les

The RIP can print Portable Document Format (PDF) les that conform to the PDF 1.4 specication or earlier, or PDF/X versions listed below. The PDF Options dialog box allows you to set up strict or exible workows using these versions of PDF jobs. The Harlequin RIP support for PDF 1.4 includes: transparency, JBIG2, 128 bit encryption, output intents, and referenced PDF. Note: RIP versions 5.3 and 5.5 included support for PDF/X-1:1999, this has been dropped in the Eclipse Release of the Harlequin RIP, and replaced with support for PDF/X-1a:2001 and PDF/X-3:2002. The Harlequin RIP supports verication of the following PDF/X versions: PDF/X-1a:2001 If a PDF/X le nominates itself as PDF/X-1:2001, it is treated as if it were as PDF/X-1a:2001 le PDF/X-3:2002 The PDF Options from the page set up manager allows the user to select from a range of PDF/X verication settings, see Section 8.14.5.2 on page 272 The aim is to reproduce with high quality all the features of PDF les that can be rendered on paper or lm. You can also preview pages printed from PDF les, 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 dening a subset of PDF, designed for trouble-free use where the creator sends the PDF le to an external printer or other prepress consumer. For example, a PDF/X-1 le can use OPI references to external le types only if a le stream of that external le is included in the

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PDF/X-1 le. Another example is that a PDF/X-1 le cannot use some color spaces (for example, DeviceN) that are allowed in PDF version 1.3.

8.14.1 Printing PDF version 1.4

There are a few applications that can save les in version 1.4 of the Portable Document Format (PDF), these include Illustrator 9 and 10 , Acrobat 5 , InDesign 2.0 and Photoshop 7.0.

One of the major features of this new 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.

8.14.2 Working with transparency

In the Eclipse Release of the Harlequin RIP, the InstallInFlight procedure has been withdrawn and replaced with InstallTransparencyCheck and a BackDropRender Selector. A number of switches are available and the following messages will appear depending on the switch settings:

8.14.2.1 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 1.4 TRANSPARENCY ]%%

8.14 Printing PDF files

To enter a page range, enter the numbers of the rst 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.

When printing a PDF job, the RIP displays a message for each page that is not printed because of being unlisted in this eld. This is a typical message:
%%[ Warning: Skipping page 1 - not in requested page range ]%%

Page size bounding box

PDF version 1.3 offers several options for dening a rectangular area that is the area of interest for a PDF page. A PDF le may set values for one or more of these areas, to be used as appropriate to the different ways that the PDF le can be used: viewing, ofce 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 le, but the other areas inherit default values from MediaBox. The options in this list are fully dened in the Portable Document Format Reference Manual, Version 1.3. The default is MediaBox.
MediaBox

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 printers marks and parts of the bleed objects outside this area.

BleedBox

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TrimBox

The size of the page as intended for delivery to the reader, after trimming any printers 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.) Rectangle specifying the default clipping region for the page when displayed or printed. Acrobat Exchange sets this when cropping a page.

ArtBox

CropBox

8.14.5.2 PDF Types

Accept type(s)

This list allows you to dene how strictly the PDF le must conform to various standards and specications for PDF jobs. You can use the On error list to dene what the RIP should do if the job does not meet the requested specication. 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 le according to the type labeling within the job. (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 le.)
Any PDF <= 1.3 as basic PDF

Print any job with a recognized PDF version; that is, version 1.3 or less, including non-compliant jobs labeled as PDF/X-1 but not actually complying with the standard. This is the most relaxed setting.

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Only PDF/X-1a:2001

If the le does not name itself as PDF/X-1a:2001 (or PDF/X-1:2001), treat it as less than PDF 1.3.
Only PDF/X-3:2002 or X-1a:2001

If the le does not name itself as PDF/X-3:2002 or PDF/X-1a:2001, treat it as less than PDF 1.3. Note: For information on PDF 1.4 see Section 8.14.1 on page 265.
On error

The options in this list dene the action you wish to occur if there is an error: for example, if the PDF le 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 accept as PDF 1.3

Report errors and print the job as if it is PDF version 1.3. The errors reported are for the type as explicitly set in the Accept type(s) eld or as detected when the setting is Auto-detect types. There is one exception; in a PDF/X-1 job, if the OPM (overprint mode) ag is set then its presence and value are ignored, without producing an error. There may be problems with the printed results if the job is newer than version 1.3 or badly constructed.
Reject if invalid PDF type

Report errors and reject (abort) the job. Where a condition in the PDF le is encountered which does not conform to the appropriate PDF/X specication, a warning message is displayed. Unless you have selected the Reject if invalid PDF type option, processing of the PDF le continues as normal.

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8.14.5.3 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 eld. 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 specication allows for les 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 rst 32 characters are signicant. If you have any way to inuence 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 Section 12.8 on page 388 for more details. To make fullest use of jobs containing device-independent color denitions, enable a TrapPro option in the Congure RIP Extras dialog box.

8.14.6 Usage
The simplest way to use PDF les is using the Harlequin RIP > Print File command. To see a listing of PDF les in the current folder, use the PDF Files or All Files option in the Files of type drop-down list of the Print File dialog box. Select the page setup that sets the correct PDF options from the Page Setup drop-down list.

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You can also supply PDF les to the RIP using spool folder inputs and all forms of network protocols: AppleTalk, sockets, and so on. See the summary of managed inputs in Section 8.1 on page 222. If necessary, set the PDF options in the page setup corresponding to your chosen managed input.

8.14.7 Limitations and special treatment

The RIP can always print PDF les that are designed to be printed. There are some minor differences compared to the way in which the RIP handles PostScript-language les. Also, the emphasis on printed output and limited interactivity means that the support of some optional content in PDF les is missing or modied, compared to the support in a dedicated PDF viewer. These features are: Embedded fonts and font substitution The Harlequin RIP supports the use of fonts embedded in PDF les 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 identier) composite fonts, and Compact Font Format (CFF) fonts. The RIP aborts the job when there are any missing fonts requested by a PDF job. (For PDF jobs, the RIP ignores the setting of the Abort the job if any fonts are missing check box in the Page Setup Options dialog box.) Security settings The creator of a PDF le can limit access to a PDF le, 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 les where the creator has forbidden printing.

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Document Information The Harlequin RIP window displays the PDF version number and general information about the document, as supplied by the author or creating application. Notes PDF Notes (text annotations) do not appear in the output, neither as icons nor as textual content. The RIP ignores all extended content (for example, multimedia content and private data) that is labeled as such according to the PDF specication.

Extensions

8.15 Printing JPEG and JFIF les

The RIP can print JPEG and JFIF les using the Harlequin RIP > Print File command, or from a spool folder. The simplest way to print JPEG and JFIF les is using the Harlequin RIP > Print File command. To see a listing of JPEG and JFIF les in the current folder, use the JPEG Files or All Files option in the Files of type drop-down list of the Print File dialog box. You can also supply JPEG and JFIF les to the Harlequin RIP using spool folder inputs. See Section 8.6, Using the Spool Folder input folder for details. When ColorPro is enabled, the RIP can detect and utilize an ICC prole embedded in a JPEG le. See the Harlequin ColorPro Users Guide for details.

8.15.1 Limitations
A JPEG le 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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8.16 Printing GIF les

The Harlequin RIP can print GIF (Graphics Interchange Format) les using the Harlequin RIP > Print File command, or from a spool folder. The easiest way to print GIF les is using the Harlequin RIP > Print File command. To see a listing of GIF les in the current folder, use the GIF Files or All Files option in the Files of type drop-down list of the Print File dialog box.

8.17 Printing TIFF/IT les

The Harlequin RIP supports the imaging of TIFF/IT Prole 1 les, generally referred to as TIFF/IT-P1 les, a common method of transferring images for use in advertising. This section summarizes the history of the le format and its uses before describing how to enable and use imaging of these les in the RIP. The description of use starts with Section 8.17.1 on page 279. See also Printing TIFF 6.0 les on page 282.

8.17.1 General
The Tag Image File Format (TIFF) is a well-established and popular le format for raster images. There have been a number of published standards for the format of TIFF les, each successive standard generally being more complex than the last. This growing complexity has reected the format increasing in exibility and providing for private extensions to the format. The result has been that TIFF now represents a family of le formats and there are many programs that implement only the more popular parts of these formats. The RIP supports the imaging of TIFF/IT Prole 1 les, generally referred to as TIFF/IT-P1 les, 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).

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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 les can contain many different types of data but, in general, a single TIFF/IT-P1 le contains only one kind of data from a total of six possibilities, each known by a two-letter abbreviation as listed in Table 8.2. The exception is the FP le, which includes layout information and the details of some combination of les, each containing CT, HC, or LW datait is convenient to call these other les subles of the FP le. The data may appear in any order within the FP le but applications must image it in a set order. There must be at least one suble in an FP le, but no more than one of each type. For example, an FP le cannot contain more than one CT le and it is typical for FP jobs to contain only a CT suble and an LW suble. The full list of data types with their typical uses is: Table 8.2 TIFF/IT data type codes and usage
Data type FP CT LW HC BL BP MP Usage Final Page (layout for CT, HC, and LW) Contone, typically low resolution Line Work High resolution Contone Binary Line work (not an FP suble) Binary Picture (not an FP suble) Monochrome Picture (not an FP suble)

Some of these data types are partly compatible with the corresponding denitions in the TIFF 6.0 standard. The largest difference with TIFF 6.0 is that TIFF/IT has only one image per le. The FP le format can have up to four Image File Directories (IFDs), but only one imagethe preview image for the FP layout.
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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 le by rendering the referenced CT, HC, and LW subles, in that strict order. Order is signicant because the HC and LW suble types can include transparent regions able to reveal images rendered from previous subles. When the RIP renders subles as part of an FP job, it uses extra information in the FP le to determine the overall size of the page, and position each suble (which can be smaller) within that page. The RIP can also image a single CT, HC, or LW le independently of an FP le. For each of these les, the RIP locates the image origin at the PostScript-language originrelative to coordinates (0,0) at the bottom left of the page. For example, this provides a limited proong capability but be careful to avoid printing a partial image when the subles are available before the FP le. When ColorPro is enabled, the RIP can detect and utilize an ICC prole embedded in a TIFF le. See the Harlequin ColorPro Users Guide for details.

8.17.1 Installation and requirements

You must enable the RIP to print TIFF/IT les, 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 Congure RIP dialog box and click Extras. 2. In the Congure 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 Congure RIP Extras dialog box, and OK again to return to the Congure RIP dialog box.
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If you attempt to print TIFF/IT-P1 les 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 le that it recognizes as TIFF. This is unlikely to produce the desired result. TIFF/IT les 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 les may arrive rst: the result may be partial images. The spool folder can accept TIFF/IT-P1 les but only if the order of arrival and le naming can be controlled. See page 245 for details of conguring the spool folder for a specially controlled source of TIFF/IT-P1 les. If the order of arrival or naming is unsuitable or unpredictable, using Print File from the Harlequin RIP menu is the simplest reliable method of ensuring that the RIP images the intended le or combination of les.

8.17.2 Usage
To print a TIFF/IT le, rst 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 Harlequin RIP menu. Figure 8.9, page 262, shows the dialog box that appears. Display the contents of the folder holding the le that you want to print. Choose the le that you want to print. Typically, this is an FP le if you are imaging a nished page but you can specify a suble: for example, to proof it alone. There is no enforced le name convention but the two letters of the data type usually appear in the name. For the example of a CT le with name le, you may see any of:
le.ct le.ict le.CT le.ICT

To make sure that you see all les, choose All Files (*.*) in the Files of
type drop-down list.
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Select the le you want to print, and click Print. If you are printing an FP le, the RIP displays a progress dial while reading each of the les referenced by the FP le and the Harlequin RIP window shows text similar to the following example:
% tiffdev: reading "H:\Suites\Tiffit\66.fp" as 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 TIFF/IT-P1 CT (low-resolution contone) subfile % tiffdev: reading "H:\Suites\Tiffit\66.lw" as TIFF/IT-P1 LW (linework) subfile of an FP job Interpretation time: 40 seconds . . . a

a of an FP job a

If you are printing a suble (data types CT, HC, or LW), you see less text after clicking Print:
% 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 les 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 le that it recognizes as TIFF. This is unlikely to produce the desired result. See also Printing TIFF 6.0 les on page 282. In the following example a TIFF/IT-P1 le is processed as a TIFF 6.0 le.
% 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 . . .

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However, if the TIFF 6.0 input option does not recognize any part of the le as TIFF, you will see the message:
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 les that do not conform to the TIFF/IT-P1 prole.

8.18 Printing TIFF 6.0 les

The RIP accepts TIFF 6.0 baseline les, with the exceptions and extensions listed under Section 8.18.2 on page 283. This support extends to all TIFF les produced by the Harlequin RIP TIFF output plugin, with the exception of les produced with these settings: In the Harlequin RIP version 5.0 through 5.5r0b, where Style in the Edit Page Setup dialog box has been set to RGB Composite (Band) or CMYK Composite (Band). In the Harlequin RIP version 4.5 and earlier, where TIFF format in the TIFF Conguration dialog box has been set to PlanarConf=2/multiple strips.

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 les.

8.18.1 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.)

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Copy the TIFF le 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 le name or make sure that the RIP is displaying all les in the list of les. TIFF les often have the le name extension .TIF but this is not required. This extract from the text displayed in the Harlequin RIP window shows the messages produced when successfully processing a TIFF 6.0 le.
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.

8.18.2 Limitations and extensions

The Harlequin RIP accepts TIFF 6.0 baseline les, with the following differences. Not supported: LAB color. 16 bit Images. Multiple IFDs (images) per le (the RIP images only the rst). PhotometricInterpretation = 4 (transparency mask). PlanarConguration = 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 PlanarConguration = 2.

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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 specication. The JPEG compression that Photoshop uses is a new version of JPEG data in TIFF les which is also not part of the TIFF 6.0 specication.

8.19 Printing page buffer les

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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 congure 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 290 shows a possible printing environment. This environment can produce 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.

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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 lm 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.

Online processor

Take-up bin

Multiple feed cassettes for lm 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.

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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-specied 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. A media saving feature is also available. For more information see Section 5.14 on page 138.

9.1.2 Suitable devices

You will gain some benet from using media management with most types of output device. Media management performs most efciently when the following assumptions are satised: 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 cassetteby 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 separationproviding each technology with its own output device type is a likely solution.
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9.1.3 What you need to do

Media management reduces and simplies 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 rell 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 rell one). 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.

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 automatic procedures to reduce your need for
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the interactive options: see Advancing and cutting media automatically on page 294. The interactive options (and any manual controls 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 amenu in the main Harlequin RIP window, 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 rst 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 boxand thus of the Device menuare 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 can have its own version of the Device menu: in technical terms, the menu is specied in the relevant output plugin at the time of software manufacture.)

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For example, if a device takes a long time to load lm, there could be a preload command allowing you to load lm 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 Ctrl+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 295, for details of how to set this length. If you choose Cut media no feed, or type Ctrl+L, the RIP will cut the lm 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 nd 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 306.

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. The manual options remain useful for use with unusual jobs or special tests: see Advancing and cutting media interactively on page 292.

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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.
Flow of exposed media

Job 3

Job 2

Job 1

Advance and cut only between jobs

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 devicesthis will prevent the RIP issuing meaningless warnings about low media levels.
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Display the Media Manager dialog box by choosing Media Manager from the Output menu. Figure 9.3 shows the RIP Media Manager dialog box. This dialog box allows you to congure 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 drop-down list. 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 conrmed 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 conrm 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.

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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 300). Leave the box clear to enable media management.

Note: After enabling or re-enabling media management, you must verify the contents of each cassette used on that output device. For details, see Setting up the monitoring system on page 300.

9.3.3 Cutting media

With media management enabled, you can choose when the RIP will make automatic cuts. Note: Any cut operation disables output, unless the output device is using an online processor (developer). Typically, you will need to t 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.

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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 numberwhich must be a whole numberin 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 drop-down list 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. Feed the media before every cut.

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See below for a fuller description of these policies and some of the possible reasons for wanting extra media feeds in each of the specied 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 dropdown list above the OK buttonthe 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 lm near a cut being exposed to external light. The RIP feeds the amount of media you specify here before performing any of the automatic cuts described on page 297, or a cut that you have requested by choosing Cut media with feed from the Device menu. See also Hardware feeds on page 306.

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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 drop-down lists of the Edit Page Setup dialog box. See Media saving option on page 138 and Features on page 149 for a fuller description of these options.

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 lm or paper, and you may keep two cassettesone loaded with lm 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.

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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. 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.

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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 306. 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 drop-down list in the Edit Page Setup dialog box. The name is purely for your own convenienceyou 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 nd 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 specic types of media then you might name these cassettes: UltreFilm1 and

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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. Note: The symbol > in front of the cassette name indicates the cassette in use on the current or most recently used output device.
Media type

The type of media held in the selected cassette. It lets you tell quickly whether, for instance, the cassette holds paper or lm. The eld Cassette Name is purely for your own convenienceyou can change it to anything you like. The entry No Media means that no one has yet specied a type of media for the cassette.

Media width

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 148.) 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 nonimageable 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.

Imageable width

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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 rell 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 cassettethe RIP suggests an unused number, but you can use any other unused number. The units used in the measurement elds in this dialog box. Use this drop-down list to choose any convenient unit. The RIP converts any gures already displayed to the units you choose.)

Units

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 300).

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 conrm all the changes you have made in this use of the Edit Cassette dialog box. This conrmation is provisional: you must also click OK in the Cassette Manager to nally 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.

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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 output device, in the Edit Page Setup dialog box (as described in Cassette management on page 153). When printing a job, the RIP uses the cassette selected in the saved page setup 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 rell 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. Always inform the RIP when you physically change cassettes, by selecting a page setup that uses the new cassette.
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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 rst warning is greater than for the second, which itself is made greater than the nal 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 drop-down list immediately below the Length warnings text boxesthe options available are feet, inches, meters, or centimeters. Note: Once you have relled 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.

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Perform the set up by selecting the output device in the Device drop-down list 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. 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.

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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 drop-down list 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 elds. 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 301, 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 benet 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 imagesfor 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, rst 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 drop-down list 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 sufcient 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.

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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 elds:

Name

The name of the feed cassette. A series of asterisks ( *** ) in this eld shows that the current output device has media management disabled.

Type

The type of media in the feed cassette. A series of asterisks ( *** ) in this eld has the same meaning as in the Name eld. The entry No Film, No Media, or a blank entry, means that no one has dened the type of media, not that the cassette is empty.

Pages

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 eld in this dialog box.

Length

Exposed

The amount of media that has been exposed since a cut was last performed. This is also the amount in the takeup cassette. The units of measurement for gures in the Length and Exposed elds. Choose any convenient unit from those listed.

Units

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Fonts

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 rst, or they must be embedded in the job that uses them. Installation is a once-only process where the RIP congures 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 efciently. 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.

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Table 10.2 Installing fonts in the Harlequin RIP

Font type Type 3 fonts Multiple Master fonts TrueType fonts Type 0 (composite) fonts Character identier (CID) fonts Character map (CMAP) les Compact Font Format (CFF/Type 2) fonts Type 42 fonts Type 32 fonts Install Fonts Download to RIP Other

PDF

PDF PS PS

The Install Fonts command and downloading fonts to the RIP are described in the next two sections. See Removing fonts on page 321 for details about deleting the fonts you have installed.

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10.4.1 Install Fonts command

When you choose Install Fonts from the Fonts menu, the RIP displays the Install Fonts dialog box shown in Figure 10.1.

Figure 10.1 Install Fonts dialog box

To install a single font, do the following: 1. Select a font in the list box. 2. Click Install. Note: Normally, only LaserWriter font format les and PC format les with a .pfb or .pfa extension are visible in the upper list box. If your fonts are not in this format, select All Files from the Files of type drop-down list. Use the Look in drop-down list to use other directories or drives. You can also select several fonts and install them together.
Shift

To select a block of several les, select the rst le in the block, and then hold down the Shift key and select the last le in the block.
Ctrl

To select several unconnected les, hold down the Control key while making your selection. A successfully installed font produces the message:
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10.4 Installing fonts in the Harlequin RIP

The Install Fonts command will install into the RIP Type 1 (excluding multiple master fonts), Type 3 and single-byte PC format TrueType fonts or OpenType fonts with TT outlines. There is no support for double-byte fonts, Macintosh format (resource fork) fonts, or OpenType fonts with CFF outlines. If you try to install a le 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 le in any waythe RIP just refuses to install it. All fonts installed are placed in the fonts folder in SW. If a font is of Type 1, it will be converted into DLD1 format before being added to the folder. This can then be loaded into the RIP whenever necessary. Installation is performed on a copy of the font, so your original font le remains intact.

10.4.2 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 les. Contact your font supplier for more detailed information about using particular composite fonts with the RIP. FireWorks, the Harlequin font downloader, can considerably ease the task of installing some composite fonts. If you would like more information about FireWorks, please contact your supplier. TrueType fonts Some downloaders are available for installing TrueType fonts on RIP disks. Such downloaders will work with the Harlequin RIP.
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CID fonts If your CID font is supplied with a downloader, install the font and any relevant CMAP le over AppleTalk using the supplied downloader. If no downloader is supplied, use the Install Fonts command.

All installed fonts are placed in the SW/fonts folder, except for CID fonts and CMAP les, which are placed in the CIDFont and CMAP folders respectively. The leaf fonts of many composite fonts are also installed elsewhere.

10.5 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 considerableif a job requires a composite font, the RIP could be waiting for up to 40 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 317. To pre-load a font, add a new line to the Harlequin RIP initialization le, HqnOEM, and restart the RIP. This initialization le 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.

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10.6 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. This list will appear in two places: The Harlequin RIP windowthis lets you see immediately whether or not fonts are installed. The le LOGFILE in the SW folderthis provides a more permanent record of which fonts were installed at a particular time.

The date and time accompanies every list.

10.7 Proong fonts

Sometimes you may want to produce a formatted listing of all the characters in a particular fontknown 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 cannot proof CID fonts. If you request such a proof, the RIP uses a substitute font, which is Courier unless your supplier has congured a different substitute.

Palatino-Italic
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQR 1234567890-=!@#$%^&*()_
Figure 10.2 An example of font proong

You can proof fonts, either on a printer or on your screen, by choosing Proof Fonts from the Fonts menu. The RIP produces the proof using your choice of page setup and ts as many fonts as possible on a page. Figure 10.2 shows an example of a short-format proof for one font.

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When you choose Proof Fonts, the RIP displays a dialog box that lists all of the fonts currently installed, as shown in Figure 10.3.

Figure 10.3 Proof Highlighted Fonts dialog box

First, choose an appropriate page setup for proong the fonts, from the Page Setup drop-down list. 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 rst page setup in the listing is used. To change the order of this listing, see Reordering page setups on page 106. Select the fonts you want to proof, and click Proof. You can select as many fonts as you like.
Shift

To select a block of several fonts, select the rst font in the block, and then hold down the Shift key and select the last font in the block.
Ctrl

To select several unconnected fonts, hold down the Control key while making your selection. The RIP constructs a PostScript-language job and then runs it, as if you had used Print File to print an existing le. If other jobs are pending, the proof takes its place in the queue.

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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.

10.8 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 xed number of installs. CID fonts If your CID font is supplied with a downloader, remove the font using that downloader. Otherwise, delete the CID font from the CIDFont folder in the SW folder. 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 rst; and then the CID font, if you choose to delete again. When you choose the Delete Fonts command from the Fonts menu, the RIP displays a dialog box, as shown in Figure 10.4, 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 rst have to reinstall it. There is no conrmation dialog box. Before click-

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ing Delete be sure that you have the original le from which you can reinstall the font.

Figure 10.4 Delete Fonts dialog box

10.9 Composite fonts

The RIP provides full support for composite fonts. Because of their size, composite fonts are treated specially. You cannot install them as you would Type 1 fonts, for example, and there are certain considerations you must make if they are to be used efciently. See Section 10.4.2 on page 317 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 nd its denition 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 rst 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 nd the result immediately in the cache store. Signicant 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

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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 318. Pre-loading makes the RIP slower to start up, but saves a great deal of time when processing jobs that use those fonts.

10.10 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 le. In such cases the only solution is to substitute with a font that is very similar in design to the original specied 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 Section 5.22.8 on page 157. 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 y is the best solution because all occurrences of a font are guaranteed to be substituted. In the RIP, the le SW/Config/FontSubstitution is automatically run as the RIP boots. You can congure the following information in that le: Default font to use. Default CID font to use. Font substitution table. CID Font substitution table.

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In all cases the FontSubstitution le has many comments and is intended to be self-documenting.

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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 specication 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. The way calibration is applied has been changed for Harlequin RIP version 5.5r1. For more information see Editing calibration sets on page 342. 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, Conguring Output Formats, describes how you can choose different calibrations when producing output.

11.1 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 lm, and from
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one media manufacturer to another. Also, laser dots are never square (as in an idealized raster), 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. 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 11.1. It shows an example of the kind of response typically seen from red-sensitive paper on a Helium/Neonbased 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 at 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 ll in and highlights will lightenand the more necessary calibration becomes. Color process work brings the problem into at 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 nal apparent color well away from that intended. Note: Calibration is important in color work, but it is not a complete answer. Calibration is sufcient only where the originally requested colors are prepared with the nal output device in mind; calibration can adjust the individual color values but not the hues of those colors. A color management system

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is required to make adjustments which change hues, as for example in digital proong. The RIP allows calibration sets to be built for particular congurations. 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

Gray level measured from paper ( % )

100

Gray level requested ( % )

Figure 11.1 Response of red-sensitive paper on a Helium/Neon-based imagesetter

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may be satised 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 proles and your own calibration sets. Note: You can tell apart supplied calibration proles and calibration sets that you have created because most supplied calibration proles 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 rst time your page setup must use a supplied calibration prole for the device. To edit your own calibration set your page setup must use that calibration set.

Once you have identied 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 Section 11.10 on page 355 for details of all these options. 3. Prepare your printerfor 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 prole or set was created in order to obtain an accurate calibration set.

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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. You can then follow the rest of this overall example procedure from Section 11.4.3 on page 337.

11.4.2 Choosing the correct exposure

For devices such as imagesetters where calibration is performed with respect to dot area coverage, the rst 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 lm, 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 signicantly. However, the media and the chemistry of the developer used can make a big difference: stable developer chemistry is very important for accurate calibration.

11.4.2.1 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 exposure is unimportant at this stage: you will override it to make the test print. Section 11.4.3 on page 337 describes how to create a calibration set for this page setup. Note: If you are using a drum device with variable lm feed, you will usually want to rotate the page or select lm saving when printing test strips. See Media saving option on page 138 for details.

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Choose Output > Print Calibration. The RIP displays the Print Calibration dialog box, shown in Figure 11.2.

Figure 11.2 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 rst page setup in the list is used. To change the order of this listing, see Reordering page setups on page 106. Note: Some settings in the chosen page setup are ignored or alterednotably 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 manufacturers 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.

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11.4.2.2 Messages
From version 5.5 calibration is installed differently however, the end result is the same as previous versions with the exception of a few extra 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 data in setcalibration and various color management operators. Therefore, calibration and color management must be setup normally for this information to be present. A manifestion 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:
Setup loaded: "Default Page Setup" Starting Job On Tuesday, April 24, 2001 10:27:13 AM 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.

11.4.2.3 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 rst 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

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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 lm surface, take care in selecting the settings for this dialog box. If necessary, print out two sweepsfor example, 225 through 230 and 100 through 120.

11.4.2.4 Checking the target

Each of the test pages should look like that in Figure 11.3 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 11.3 Uncalibrated exposure sweep test page

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 lm, 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 ne detail in the bottom left of the page, and select the exposure that gives clear, ne white detail in black areas and vice versa. As an additional guide, you should be able to tell the differ336 ECRM RIP Operator Guide AG12325 Rev. 5

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ence between the 0% and 2% tint panels, and between the 98% and 100% panels. (These gures are for lm 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.

11.4.3 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 manufacturers specication for the device. Choose Harlequin RIP > 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 11.4. This button is next to the Calibration and Tone Curves dropdown lists. 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 rst 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 drop-down list and, if necessary, select a color space from the Color Space drop-down list.

Figure 11.4 Calibration Manager dialog box

The column headings are various properties of a calibration set. The rst 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 warning criteria in the Edit Calibration dialog box. See Calibration Manager dialog box on page 357 for full details. Click New to create a new calibration set for the rst time. The RIP displays an appropriate version of the Edit Calibration dialog box. Subsequently, you will probably edit the set, as described in Editing calibration sets on page 342.

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11.4.4 Entering the data

When you edit a calibration set, the RIP displays the dialog box shown in Figure 11.5.

Figure 11.5 Edit Calibration dialog box

For version 5.5r1 the way calibration works has been changed. All calibration sets created before v5.5r1 will work in the same way they always have. However, if you decide to edit a calibration set created before v5.5r1 with a v5.5r1 RIP (or later) or create a new calibration set, the values will be automatically adjusted to account for the application of the default curve to the calibration. The default curve is a linearization prole of the output device. Previously, the default curve was only taken into account when the calibration set was rst created and not after editing. From v5.5r1, the default calibration curve is always taken into account. 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

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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 363 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. 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 333 and enter these values into the labeled boxes for calibration data. (The Import button allows you to import data values taken from a le, which can be generated by a separate program, Genlin. See Appendix C, Using Genlin on page 437 for use of the program and see page 371 for details of how to read the le.) Note: Each value you enter must be consistently greater than the preceding value (or less than it if you are using a negative lm 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 non-monotonic a warning will appear when you try to exit from the dialog.

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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 multi-color device, you can create a separate calibration curve for each color, to take account of the different screen angles.

11.4.5 Applying the calibration

You must select a calibration set from the Calibration drop-down list 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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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.

11.5.2 Variations on the Edit Calibration dialog box

When you edit a calibration set, the RIP displays the dialog box shown in Figure 11.5, page 339. This dialog box lists the resolution, dot shape, screen frequency, and so on that this calibration set is intended to work with. You can change these settings as necessary. See Edit Calibration dialog box on page 363 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 dene 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 drop-down list in the Calibration Manager. When you edit the calibration set for a printing press, the differences are: The presence of a Press drop-down list in the Warning Criteria panel. In this case the default calibration set is determined by the selected prole.

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The types of measurements available in the Measurements as dropdown list.

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.

11.5.3 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 conict with these criteria. By setting a page setup option, you can tell the RIP to abort any job that fails the criteria. See Section 11.12.3 on page 365 for details. Name the calibration set carefully, so that you can identify all the parameters associated with it. For example, it may not be sufcient 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 usefor example, 85, 100, 112, 120, 133, 150, 175 lpi, and so on. You can then create ranges centered on each of these valuesfor 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 frequenciesyou may nd, 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 frequenciesfor example, 100300 lpi. You must inform the RIP about the various combinations of positive and negative output and measuring devices. The Measurements as drop-down list allows you to tell the RIP which densitometer mode you used when performing your density readings. Some densitoAG12325 Rev. 5 ECRM RIP Operator Guide 345

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meters 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 screening.) When this check box is not selected, the RIP uses the calibration set only for positive or negative, as set in Negative media.

11.5.4 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.

11.6 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.

11.6.1 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,

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which may vary from twice a day to once a monthdepending 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 changesfor example, when you load lm, 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.)

11.6.2 Assessing attainable accuracy

It is relatively easy, using these procedures, to maintain the accuracy of calibration data on an imagesetter using lm. 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 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 lm.) 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 lm cannot be expected to be able to produce work calibrated more closely than this.

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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 signicantly affect calibration results include the following: The temperature (especially the consistency of the temperature) at which the imagesetter and the lm processor are maintained. The length of time and the temperature at which lm, paper, or ribbons are stored. Whether the processor is used for other materials (for example, duplication lm) as well as imagesetter lm. The time between photographic processing and measurement. Many lms 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 signicantly 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.

11.7 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 workow you should have little need to use tone curves but you may nd that they offer a quick and effective way of working around short-term
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difculties 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 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.

11.7.1 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 drop-down list 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.

11.8 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 lm) used to prepare printing plates.
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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 lm. 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 ner 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. 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 lm as 70% reads 90% (which is equivalent). Readings can be estimated from a small number of data points supplied by the manufacturer.

11.8.1 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 lm to which the resulting raster will be rst directed is linearized, that is if the job requests a 25% gray value, a densitometer would read 25% on that area of the lm.
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The press will gain furthera lot further usuallyand 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 lm 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 lm 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 rst 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 Users 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 rst 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.

11.8.2 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 lm, will be linear. The RIP provides a special (None) calibration set which can be used as the intended press for use in this situation.

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11.8 Press calibration

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. Note: Earlier versions of the Harlequin RIP used (Linear) not (None), as explained in Section 11.8.4 on page 353. A special case of linear scans is device-independent color dataimages 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 device-independent colors rst by ColorProin 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 signicantly different processes (a proong device and a press for example, or two entirely different kinds of press), the colors cannot be accurately reproduced using only calibration.

11.8.3 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).

11.8.4 Version history: Linear and None

In versions of the Harlequin RIP up to and including version 5.1 revision 0, the list of options for Intended Press and Actual Press included the (Linear)
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entry. In all usage, selecting the (Linear) entry had the same effect as choosing (None). The Harlequin RIP version 5.1 revision 1 and later do not have a (Linear) setting The default options for Intended Press and Actual Press are (None). Note: If you use the Migrate utility to transfer settings from a Harlequin RIP installation of version 5.1 revision 0 or earlier to a RIP installation of version 5.1 revision 1 or later, any use of (Linear) is mapped to (None).

11.9 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 specied 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 specied 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 Users Guide. The calibration set specied in Actual Press is always used. From version 5.5r1 the default curve, which is a device correction curve, is applied before any other calibration.

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11.10 Print Calibration dialog box

Choose Output > Print Calibration to display the Print Calibration dialog box, as shown in Figure 11.2, page 334. 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 alterednotably 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 drop-down list. 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.)

11.10.1 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 Section 11.10.2. The options are:
Print uncalibrated target

Prints a target without using a calibration seteven if the selected page setup has one or more calibration sets associated with it.

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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 calibration set and that produces separated output. See Press calibration on page 349 for more details.
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 seteven if the selected page setup has one or more calibration sets associated with it.

11.10.2 Other controls

These controls affect the contents and number of calibration targets produced by the buttons described in Section 11.10.1.
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.
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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 rst, 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 rst 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.

11.11 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 11.4, page 338. 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.

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Calibration sets are grouped by device and by color space. When you select a device from the Device drop-down list, 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 drop-down list. The list of color spaces contains all the color spaces in which a separations style is dened for the device. For example, if the device has separations styles dened 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 devicesimagesetters, platesetters, proong printers (and some preview options and le 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 dened for the current device and current color space, in the Calibration drop-down list. 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 specied 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 lm to press. In general, you do not create calibration sets for a pressthough this would be possible, but expensive, once you had created a calibrated output path to lm or plate. A more common way of working is to

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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 prole as supplied with the RIP. You apply a calibration set for the press that you are using by choosing its name in the Actual Press drop-down list in the Edit Page Setup dialog box. You can also adjust a job prepared for a different press; do this by choosing a supplied prole or measured calibration for that different press in the Intended Press drop-down list, 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 drop-down list 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 prole 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.

11.11.1 List headings and entries

The column headings are the various properties of a calibration set. The rst 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 conicting values. You should create a calibration set for each combination of media and settings for resolution, dot shape, range of screen frequencies, exposure, and

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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)

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.
Name Resolution Dot shape

The name of the calibration set. The resolution setting. 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

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if the calibration is for only one of positive or negative

Prole (ColorPro only) or Press

Entries in the Prole column are n/a except when ColorPro is enabled, when each entry shows which prole to associate with the calibration set. When Printing Press is selected in the Device drop-down list, this column is labeled Press, but the behavior is the same. The default calibration set is determined by the selected prole. Note: A prole is used in ColorPro options to dene 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 prole 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 U E D

for data from a calibrated strip 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 workow on page 342 for a discussion of why you might use different types of target.
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.

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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.

11.11.2 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.

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Copy

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 eld 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. Note: You cannot delete a calibration set if you open the Calibration Manager from within the Edit Page Setup dialog box.

Delete

Conrms 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 conrms 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.

Select

Cancel

Closes the Calibration Manager, canceling all changes made since you displayed this dialog box.

11.12 Edit Calibration dialog box

Figure 11.5, page 339, shows the Edit Calibration dialog box. There are various ways of entering this dialog box, and corresponding variations in its contents.

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11.12.1 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 nd 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 targetsaving both time and media. 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 prole. Without ColorPro, the RIP uses the Linear prole. 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 Section 11.5.2 on page 344).

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11.12.2 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.

11.12.3 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 conict with these criteria. In addition, when processing the job, the RIP warns you if the settings in the job conict 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 dialog box, you can tell the RIP to abort any job that fails the criteria. See Section 5.22.7 on page 156 for details. Otherwise the RIP displays the warning messages in the Harlequin RIPwindow. 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:
Prole (not illustrated)

This warning criterion is available only with ColorPro and appears only if your output device has more than one prole available. There is no check box associated with Prole: if present, the prole is always used as a criterion. The choice of prole determines the default calibration set.

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Press (not illustrated)

This drop-down list appears in the Edit Calibration dialog box only if you are editing the calibration for a printing press. There is no check box associated with Press: if present, the press prole is always used as a criterion. The choice of press prole determines the default calibration set. If ColorPro is not enabled, the RIP uses the Linear prole.
Resolution Dot shape Screen freq

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 drop-down list. The exposure setting, if software controllable by the RIP.

Exposure

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 drop-down list to show whether you are measuring with a positive or negative reading densitometer.

11.12.4 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.

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Channel

This drop-down list contains the names of the channels dened 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 3-color 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 specied 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 described in Exiting the Edit Calibration dialog box on page 373. 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.

Add

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 drop-down list 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.

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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.
Copy

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, rst select the Magenta Channel and click the Copy button. Then, in the Copy Channel Data dialog box, select the Cyan channel from the drop-down list 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.

Delete

You can delete any spot color channel from the Channel drop-down list by selecting the spot color channel and clicking the Delete button. If you have not dened any spot color channels, the Delete button is not available.

Measurements as

Use this drop-down list to declare what kind of measurements you are entering in the data boxes. The entries available in this 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 Prole which uses an alternative measurement system, a Measurement system ...not found warning is displayed and the correct system for the newly chosen prole is automatically selected in this menu.
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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 proles that require it to appear.

11.12.5 Values
You can enter values in any form offered to you in the drop-down list 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*)

11.12.6 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 le of data values.

11.12.7 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.

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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 pressesthis will ensure that colors dened as solid in the incoming PostScript le will be imaged as solid. For Gravure work this option should be unchecked. This option does not apply to calibration test strips, only jobs. 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 Harlequin ColorPro Users Guide.
Smooth

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

Extrapolate

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source of values is a manufacturers 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.)
Clear

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

Reset

displays the default curves for the device (and prole, if ColorPro is enabled). For a multi-channel device, it resets all channels; not just the channel whose curve is displayed.
Import

To import the data from a le rather than typing numbers into the boxes, click the Import button. The RIP displays the Import Measurements dialog box, shown in Figure 11.6.

Figure 11.6 Import Measurements dialog box

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Note: The data in the le is provided in the correct format by a separate utility program, Genlin, which supports the use of various automated densitometers. See Appendix C, Using Genlin on page 437 for details. The import le 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 dened in the calibration set, including the (Other colors in job) channel, if appropriate. When you select the Channel drop-down list in the Edit Calibration dialog box, you see the same list of dened channels. (You can dene a spot color channel using the Add button in the Edit Calibration dialog box: see page 367 for details.) The drop-down list under the Measured Channel column contains the names of all the measured channels in the import le, 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 the drop-down list 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 le does not identify the data in the way expected by the RIP.

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Note: The RIP may detect a mismatch between the expected device, prole or measurement system and display a warning dialog box. This protects you from importing incorrect data.

11.12.8 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. 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 conrmation 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 havent 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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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 conguring 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 conguring 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 dened for a specic 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: The Separations Manager and Edit Style dialog box. See Section 12.5 on page 388 for details of the choices you make for all separations. (See Chapter 6, Screening for details of the screening options for halftone separations.)
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The Color Setup dialog box. See Section 12.8 on page 401. This dialog box contains the controls for black generation and undercolor removal, trapping, and overprinting. Use of the Output Controller to view superimposed color separations. See Section 12.11 on page 415. The Output Controller is available in either of the multiple modes.

This chapter describes how you can dene separations styles, while Chapter 5, Conguring Output Formats, describes how you can choose different separations styles when producing output.

12.1 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 (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.

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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.

12.1.1 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 xed 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 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
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using the new software facilities. Also, some conguration of the les in which the RIP stores colorant databases may be needed before rst 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 conguration.

12.1.2 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 dene effects other than coloring: for example, to place varnishes and glues.

12.1.2.1 The PANTONE MATCHING SYSTEM

The Harlequin RIP is able to make use of the latest PANTONE MATCHING SYSTEM. Previously, Pantone colors were identied as CV (coated) and CVU (uncoated). For example PANTONE 533 CV and PANTONE 533 CVU. With the new system, colors are identied as M (matte), C (coated) and U (uncoated). For example, PANTONE 533 M, PANTONE 533 C, and PANTONE 533 U. Both the new and previous set of names will produce correctly on the output device. All the Pantone Databases can be found in SW\NamedColor. To use the PANTONE MATCHING SYSTEM the color names must match exactly the names used in the job. For information on how to include color separations see Section 12.7.1, Producing separations. The Pantone Process database has been released in the Harlequin RIP v5.5r3 As previously stated, all the Pantone Databases are in SW\NamedColor. The new PantoneProcess Database is found in the SW\NamedColor\Examples folder.

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To make this database work, it must be referenced in one of the les in SW\NamedColorOrder. You do this by editing Intercept, Recombine and Roam.
PantoneProcess should be put before PantoneU if all Pantone colors should

be produced by their CMYK equivalents. Putting it at the end (that is, after PantoneMatte) will mean only the new PC Pantone colors will be found. (that is, PantoneU and PantoneV colors will still be converted to XYZ).

12.1.3 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 preseparated job. These pages may be parts of one job or separate jobs.

Composite jobs offer the greatest exibility in handling jobs and targeting them to different output devices, but many workows are built around preseparated jobs. The RIP can recombine many preseparated jobs, provided that the separations are supplied as one job. (Section 12.4.1 on page 387 and Section 12.4.2 describe the details of using composite and preseparated jobs with the RIP.)

12.1.4 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 specication: for example, the ability to recognize spot colors in documents dened using the PostScript Level 1 language.

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12.1.5 Harlequin ColorPro

Harlequin ColorPro extends the color handling capabilities of the RIP. For example, you can use ColorPro to intercept CMYK color denitions and convert them to device-independent color using input proles. The extra facilities and changes of procedure associated with ColorPro are described in the separate manual Harlequin ColorPro Users Guide.

12.2 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 12.1 shows how four single-color images can be combined to produce an image in different colors. In this grayscale gure, different shades of gray represent the various colors.
Separations produced in four process colors Cyan Magenta Yellow Black
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Figure 12.1 How separations can form a color image

Figure 12.4 Color separations for a simple image, with black overprinting

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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 inuence 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 nding gaps in the nal 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.

12.3 Producing color images from separations

In the RIP, depending on the output format, you can print separations together as a composite page, colored 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? 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 moir patterns. Once each separation has been produced, the nal 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 rst, then magenta, cyan, and nally black. Figure 12.5 and the fol384 ECRM RIP Operator Guide AG12325 Rev. 5

12.3 Producing color images from separations

lowing gures show the stages involved when printing color in this way for the example image in Figure 12.1, page 380.

Blank paper

Yellow separation

Yellow

Figure 12.5 Yellow separation

Figure 12.5 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 416. 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.

Yellow

Magenta separation

Yellow + Magenta

Figure 12.6 Yellow and (empty) Magenta separations

Next, the cyan ink for the cyan separation is printed. To the eye, the pattern of cyan and yellow dots in the area of land will appear green as simulated in Figure 12.7.

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Yellow + Magenta

Cyan separation

Yellow + Magenta + Cyan

Figure 12.7 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 12.8.
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Yellow + Magenta + Cyan Black (K) separation

Full CMYK image

Figure 12.8 Yellow, Magenta, Cyan, and Black separations

12.4 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 specied, 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.

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12.4.1 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, fullcolor 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 proong systems, can accept continuous tone input. 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 option described on page 399. 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.

12.4.2 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 399 for details.
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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 proong (or nal 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 device-dependent, preseparated jobs to the RIP if you wish, and it will process and output them correctly.

12.5 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 dened for a specic 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.

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12.6 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 12.9 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 drop-down list. When you use a device for the rst 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.

12.6.1 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 doubleclick a separations style.

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Note: To rename a separations style, copy it and save the copy with the desired name, before deleting the original.
New

Click this button to create a new separations style. The New Style dialog box appears, as described in Section 12.6.2. Once you have set the color space and output format, you cannot change them for the named separations style.

Copy

Select a separations style and click this button to edit a copy. The New Style dialog box appears, as described in Section 12.6.2. 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.

Delete

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 conrms 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.

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12.6.2 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.

Figure 12.10 New Style dialog box

Style name

Type in a name for the separations style. The style name must be unique and can be up to 30 characters long. Select the color space from the drop-down list. 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 specied in the separations style. The output format species how the colorants will be printed on the output device. Once you have selected the color space, select an output format from the drop-down list. This species how to generate the output on the target device. The available

Color space

Output format

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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 Section 12.7 on page 393. Click Cancel to discard your changes immediately.

12.6.3 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 rst style in the block, then, while holding down the Shift key, select the last style in the block.
Ctrl

To select several separations styles, regardless of whether they form a continuous range, hold down the Control key while selecting the styles you wish to delete.

12.6.4 Closing the Separations Manager

You must close the Separations Manager before you can use any tool bar buttons or menu options in the RIP.

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Click OK to conrm 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 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 Select, the new style will remain even if you click Cancel in the Edit Page Setup dialog box.

12.7 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 override 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 12.11. 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 Section 12.8 on page 401.) Also, trapping options are available from

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the Separations, Screening, and Color section of the Edit Page Setup dialog box. (See Section 12.10 on page 414).

Figure 12.11 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 12.11 there are separations for the four process colors in the CMYK color space. 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 specic spot color. The order in the list denes the order of production of separations on output. If the output device can generate separations in a different order, you can move a selected color up and down the list by selecting it and dragging to the new position. 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 efciency 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 dened in spot colors. Also for example, if you need to reprint just a

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single separation (and it is not saved in the Output Controller), you can turn off all the other separations. The Print option in the Edit Style dialog box determines which separations are produced. The RIP produces all those separations marked as Yes and the nonblank 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 colors by using the screening options in the Edit Style dialog box. See Chapter 6, Screening for a description of these options. 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.

12.7.1 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 the screen angle of the process color or spot color separation. See Section 6.5.1, Changing angles for separations for details.
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 sufxes. For example: a typical Pantone specication is PANTONE 386 CV but applications may report this in different ways.
Print

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 dened 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. If you want to produce a separation for a specic spot color and to convert all other spot colors which may be included in the job to process colors, set the specic 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.

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Angle

This box appears only if you are editing a halftone (screened) style. Enter the screen angle you want to use for this separation. See Section 6.5 on page 175 for more details of screen angles. Note: This box denes 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 own Ink Set Manager. TrapPro and the Ink Set Manager options are fully described in the separate TrapPro User Manual.
New

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 rst text box below the list, to replace the text New Color. If required edit the settings for Print. 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 sufxes. For example: a typical Pantone specication is PANTONE 386 CV but applications may report this in different ways.

Delete

Use this button to delete the selected spot color separation. The separation disappears from the list. You cannot delete process color separations.

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12.7.2 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 specication. It is a widely used convention that was dened 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 dening 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. This check box has an effect only when producing spot colors.

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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 Section 6.5 on page 175 for more details.
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 proong on a full-color device or retargeting from one kind of nal output device to another kind. See Section 12.7.3 for details of the suitable jobs. 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.

12.7.3 Recombination
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. The limitations are: The job must consist of process separations, suitable spot colors, where suitable is dened in this section, or both. (It also possible to submit most composite jobs to a page setup using recombination, but see the comments in Section 12.7.4 on page 401. This ability minimizes the number of page setups that you must create and maintain but has no intentional effect on the composite jobs.)

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The names of suitable spot colors must be unambiguous. If the job supplies a CMYK equivalent for a spot color, that is sufcient for the name to be unambiguous. When the job does not contain a process equivalent for a spot color, the name is still unambiguous if the RIP can nd a correct equivalent. The RIP searches several les in the SW/NamedColor folder for an equivalent. These les dene 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 dened in PANTONE Colors. Note: Some common namesfor example, Pink or Mauvecan have slightly varying denitions in different jobs, because either the creating application or the designer has used a conicting denition. One solution is to add a CMYK equivalent in the job where such a name occurs.

The job must contain all the required separations in one le or AppleTalk connection. It is not possible to recombine jobs where each separation is in its own le. Where the job contains more than one set of separations, separations from each set (page) must appear contiguouslyfor example, KCMYDEKCMYDEKCMYDE and so on, where D and E represent spot colorsrather than ordered by colorant. For example: the order KKKCCCMMMYYY DDD EEE is not allowed. Where there is only one set of separations in the job, the order of separations in the job is unimportant: for example, CMYKDE and KCMYED are both acceptable.

The additional settings for recombined jobs are these: If you are recombining separations for output to screened output, select the Override angles in job option, also in the Edit Style dialog box and set the angle you require for each separation. See Section 6.5 on page 175 for details. You can also override other screening features if you wish.

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12.7.4 Recombination and composite jobs

Recombination is a powerful capability of the RIP and it is as accessible and trouble-free as possible. 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. Among the cases needing separate page setups are: The use of recombination and use of the HqnImpose procset. This includes use of the page features: Fill Film, 2 up, 2 across, and several example page features. (The RIP detects when this combination is attempted and warns the user.) In a composite job, black objects intended to knockout may actually overprint if submitted to a recombining page setup. (This happens without any warning message from the RIP.)

Note: If you have recombine on you may have problems with composite les that contain a setpattern command. An error message similar to the following may appear:
%%[Error: setpattern disabled while recombining - Aborting page]%%

The solution to this is to turn recombine off.

12.7.5 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 conrm all the changes you have made in this use of the Edit Style dialog box, including any deletions. This conrmation is provisional: you must also click OK or Select in the Separations Manager to nally save your changes. Click Cancel to discard your changes immediately.

12.8 Color Setup

In the Harlequin RIP, Eclipse Release, the Color Setup options have been changed. The Color Options button is removed from the Page Setup dialog
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box and is replaced by a Color Setup Manager and Color Setup dialog box. The trapping controls appear in the Trapping section of the Edit Page Setup dialog box. This method allows each color setup to be saved and used with any number of page setups. The location of these controls in an independent dialog box allows for UCR and trapping when producing composite color pages (for example when driving a color device directly), as well as in separated output. It also allows for the controls to be made unavailable when inappropriate. If you wish to create a setup with Color management including, ICC proles, 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.

12.8.1 Dene 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 12.12 Color Setup Manager dialog box

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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. 4. At this point you have the option to select either, New No Color Management setup, or New ColorPro setup (which is only available by use of a password). If you can select New ColorPro setup, you should consult the Harlequin ColorPro User Guide for more details.

Figure 12.13 New Color Setup dialog box

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The following tables describe the options available in this dialog.

Table 12.1 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 prole, 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 dened in device-independent color. See Appendix B, Jobs Containing Color Management Data for details.

Override overprint mode in job

There is a new PostScript operator called setoverprintmode which is the PostScript equivalent of the PDF gstate OPM ag. 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. This is what the Override overprint mode in job option controls. 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 setting will be used as the default value.

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Table 12.1 Input Document Controls in the New Color Setup dialog box (Continued)

Fields
Overprint process colors

Description

If this option is selected and overprinting is switched on for an object, the RIP overprints any process color component dened 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.

Drop white objects

When Overprint process colors is selected, Drop white objects determines how the RIP handles white objects: objects dened 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 12.1 Input Document Controls in the New Color Setup dialog box (Continued)

Fields
Overprint grays

Description

Select this object to enable the Cyan, Magenta, and Yellow colorants to be overprinted rather than knocked out when a color is specied 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 dened 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. When this option is selected, the RIP overprints 100% black rather then 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 featurein 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.

Overprint 100% black

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Table 12.1 Input Document Controls in the New Color Setup dialog box (Continued)

Fields
Image only black

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 dened as non-zero in the CMYK color space (or not 1 in the RGB color space). Process color components dened as 0 in the CMYK color space or 1 in the RGB color space are always overprinted.

Table 12.2 Input Separation Detention angles in Job options in Color Setup dialog box

Fields
Cyan Magenta Yellow Black

Description

The angles specied in these elds 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 30.00, and the incoming job has Cyan at 15, you will encounter problems.

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Table 12.3 Output Controls for RGB options in the New Color Setup dialog box

Fields
Black generation

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.

Override black generation in job

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 specied 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 specied explicitly as black are not affected by this setting. Some applications, and especially Microsoft Word, use RGB colors for everything, including solid blackcoded 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.

Max. ink

Max. black

Convert RGB to true black

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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 conrm 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.

12.8.2 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 381 for an introductory discussion.)

12.8.3 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.

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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 Users Guide for details. When converting color descriptions expressed in RGB (or in HLS, deviceindependent 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 rst converting to a device-independent color space.

12.8.4 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 Section 12.8.5 on page 413) and printing media. The scheme used is controlled by the Black generation drop-down list. The options are: Ignore

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Maximum None (the default) Light, Medium, and Heavy UCR

Sections 12.8.4.1 through 12.8.4.5 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.

12.8.4.1 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.

12.8.4.2 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 Section 12.8.5 on page 413.

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12.8.4.3 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 blackrather than as a mixture of red, green, and blue, or as device independent colorto be rendered on the black separation.

12.8.4.4 Light, Medium, and Heavy

Light
K CMY

Medium
K

Heavy
K ucr

CMY ucr

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, specied in the adjacent boxes. See Section 12.8.5 for details of controlling these ink densities.

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12.8.4.5 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 Section 12.8.5 for details of controlling these ink densities.

12.8.5 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.

12.9 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 identiers that give the answer directly and unambiguously. Where there is not an obvious identier, 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. Under the label Color separation angles in job, set the Cyan, Magenta, Yellow, and Black text elds to the screen angles that the incoming job uses for these colors.

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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.

12.10 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 or TrapProLite by obtaining a keyword and selecting the TrapPro or TrapProLite item while following the procedure described in Section 6.11.1 on page 199 of this manual.) 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.

12.10.1 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 les. 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 le declaring that the RIP supports this feature. Using this option allows QuarkXPress to generate more compact PostScript code, which saves disk space and may lead to faster interpretation by the RIP.

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12.10.2 Controls in the Harlequin RIP

The Trapping drop-down list 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 Section 12.10.1 for details of how to produce 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.

12.11 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 picture.ps picture.ps picture.ps (C) (M) (Y) (K)

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.

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12.11.1 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 rst 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 Section 12.11.3 For more information on roaming, see Section 5.5.3 on page 117.

12.11.2 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 window using the Roam Options dialog box. See Section 5.5.3.1 on page 118 for details.

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12.11.3 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. Figure 12.14 shows the dialog box that appears. Note: You cannot inspect or change the roam color while you are roaming a page buffer from any page in the same job.

Figure 12.14 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.) 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. This is the blue component of the roam color, in the range 0 (zero) through 1.0.

Red

Green

Blue

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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, rst 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 drop-down list 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 select Other: it shows only that you have edited the RGB values to a color not in the list. 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 drop-down list, edit the values in the elds for Red, Green, and Blue. Once you have edited a value then, as soon as you move to another eld (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
A

Troubleshooting

This appendix provides solutions to common problems that can occur when running the RIP. The rst 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 Harlequin RIP window, 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 specic topics. Section A.4 on page 430 contains information on imposition and media saving. Section A.5 on page 431 describes Seybold test timings.
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Section A.6 on page 431 describes solutions to problems when imaging TIFF/IT les. Section A.7 on page 433 describes solutions to problems when imaging PDF jobs. Section A.8 on page 439 describes solutions to network problems when conguring the RIP. Section A.9 on page 440 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.

A.1.1 Problems with starting the Harlequin RIP

Table A.1 Start-up messages Message
The RIP failed on bootup

Problem
An error has occurred while the RIP was starting up. An error occurred while starting up the RIP.

Things to try
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.

The RIP startup failed

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Table A.1 Start-up messages (Continued) Message

Superpro, C Plus or Activator dongle not plugged in or invalid Fatal error: Fatal security device failure

Problem
Something concerning the dongle is incorrect.

Things to try
Check that the dongle is installed and plugged-in correctly. Check that the Sentinel device drivers have been installed and started. If you have both a Sentinel C-Plus and a Sentinel SuperPro dongle connected to the same parallel port to protect the RIP and another application then they must be connected in the order Computer: C-Plus: SuperPro If this does not help, shut the PC down, disconnect the dongle completely, and reconnect it. Powerup the PC again. If these suggestions fail, you may have an invalid or a failed dongle.

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A.1.2 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.

Things to try
Reset the RIP to the factory defaults. Move a copy of the device driver into SW\Devices. Reset the RIP to the factory defaults. Reinstall the RIP.

Could not access a Setup resource There are no devices installed in the setup le

The setup le has been corrupted or is missing. There are no devices installed in the devices folder.

A.1.3 Problems with les

Table A.3 File messages Message
Could not open the newly created RIP setup le File too deeply buried inside directories Move it somewhere else

Problem
This probably means that there are too many other les open. The le pathname is too long for the RIP to cope with.

Things to try
Close some les.

Move the le that you are trying to access to a point higher up in the le system so that the full pathname becomes shorter. Find and install a copy of the correct setup le that was supplied with the version of the RIP that you are running (this le must be placed in the SW folder) or reinstall the RIP.

Incompatible version of the RIP setup le used/ Old RIP setup le used

The setup le you are using is associated with a different version of the software.

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Table A.3 File messages (Continued) Message

Problem nding le maybe disk is damaged

Problem
The RIP cannot nd a le.

Things to try
Try running a disk repair utility.

A.1.4 Problems with networks

Network troubleshooting is a necessarily technical operation. Consult your network manager if you have any doubts about your abilities in this area.

A.1.5 Problems with sockets

Table A.5 Socket messages Message
No communication

Problem
Suspect a bad conguration 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 congured in the Socket Conguration dialog box. Next check the network connectivity using ping or an equivalent network utility program.

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Table A.5 Socket messages (Continued) Message

Bad jobs at the receiving end

Problem
The sending application may not be using the correct protocol.

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 PostScript-language job. Check that the sending application is using the expected protocol.

Missing, bad, or corrupted status messages at the sending machine

The Socket plugin or the port is not congured correctly.

Check that the RIP Socket plugin is congured 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.

Poor transfer rates

An inappropriate protocol may be in use.

Deselect the Xinet protocol in the Socket Conguration dialog box and the sending application. Xinet PapConnect does signicant error checking, which slows transfers and may be unnecessary for most jobs.

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A.2 Warnings in the Harlequin RIP window

The following warnings all appear as messages in the Harlequin RIP window. Again, the warnings are grouped here according to the type of problem.

A.2.1 Problems involving disk space

Table A.6 Disk space messages Message
System warningInsufcient 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 Congure RIP. If this does not help, free-up some disk space.

System Warning: Free disk space gone below requested limit

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 les. Turn on page compression in the Congure RIP dialog box. Recongure the PageBuffers folder by placing it on another disk with more free space. Ensure that there are no locked pages in the Output Controller.

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A.2.2 Problems involving fonts

Table A.7 Font messages Message
Error: invalidfont; Offending Command: <command>

Things to try
Check that the RIP has installed the font correctly. Try proong 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.

<FontName> Font not found; using Courier Courier Font not found; using Courier

The font specied in the PostScript-language le 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.

A.2.3 Problems involving les

Table A.8 File messages Message
ERROR IN CONFIG FILE

Things to try
The RIP failed to nish interpreting the le. For example, you will see this message if you try to print a TIFF le that is corrupt, unsupported, or of an unrecognized type. This can also occur if a le in the spool folder is locked by another application. Close the le and try again.

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Table A.8 File messages (Continued) Message

Inappropriate compression

Things to try
This message appears if you try to print a le that has an inappropriate compression format. For example, a color or grayscale TIFF le with CCITT compression. CCITT compression is only suitable for monochrome TIFF les.

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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 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

Table A.9 Progress box messages (Continued)

A.4 Page imposition and media saving

On wide printers, using the media saving option (described under Printing effects on page 148) 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 t on the media. See Monitoring media on page 288 for details of how to set this information.

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Some pages may have surplus white space at the sides, and this could mean that lm 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 ll a large sheet of lm with pages. This form of imposition only works within a single job.

A.5 Seybold timings

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 le.
****** 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 le, 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 les as well as the basic PDF content of a PDF/X-1 job. Note: RIP versions 5.3 and 5.5 included support for PDF/X-1:1999, this has been dropped in Eclipse Release and later RIPs, and replaced with support for PDF/X-1a:2001 and PDF/X-3:2002.
****** PDF/X-1 Warning: Clipped out 'stroke' operator in EPS

The job deviates from the le PDF/X-1 standardin this example because of a PostScript-language operator used in a referenced EPS le. (The operator is illegal in an EPS le 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 le uses a compression method not allowed by PDF/X-1. Many TIFF les use LZW compression, which is not allowed. Ask the creator of the le to recreate the le using an allowed compression method; PDF/X-1 allows an embedded TIFF le to be compressed using the CCITT or (new) JPEG methods. 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 specication. The new method was designed (by the Independent JPEG Group) to overcome severe problems in the method of JPEG compresAG12325 Rev. 5 ECRM RIP Operator Guide 435

sion as described in the TIFF 6.0 specication, dated 1992. The old scheme used the TIFF tag value Compression=6 and several related but separate elds.
****** PDF/X-1 Error: Vector painting operator in EPS: stroke

An embedded EPS le uses a vector painting operator. PDF/X-1 does not allow embedded EPS les 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 colorspace. PDF/X-1 places restrictions on the alternativeSpace of Separation colorspaces and the base colorspaces of Indexed colorspaces in embedded EPS les.
****** PDF/X-1 Error: LZWDecode in EPS

An embedded EPS le 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 le must specify the type of an EF object (embedded le) 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 le.
****** PDF/X-1 Error: Invalid TIFF PhotometricInterpretation

The PDF job references a TIFF le of an illegal type. Embedded TIFF les must be CMYK, monochrome, or gray scale. PDF/X-1 does not allow RGB, Lab, or other color spaces.

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****** 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 le type that is illegal for PDF/X-1. The PDF/X-1 standard allows only TIFF, EPS, DCS, or TIFF/IT-P1 les 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 specication 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 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 le that prevents you printing it at all; in such cases, you must use a different PDF le.)
****** 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.

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****** 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 les 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.
****** PDF/X-1 Error: invalid filespec ****** PDF/X-1 Error: invalid embedded filespec

Files referenced through OPI in a PDF/X-1 le must be embedded within the PDF/X-1 le itself. The job includes OPI references to les that are not embedded.
****** PDF/X-1 Error: invalid external file

PDF/X-1 jobs can use external les only for OPI. The job has tried to use an external le for some other purpose.
****** PDF/X-1 Error: invalid embedded file

PDF/X-1 jobs can embed a limited number of le types. The job has a le specication that is badly specied for Macintosh, UNIX, or DOS

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platforms, is not embedded, or where the Subtype of the le indicates that the le is not TIFF/IT, EPS, DCS, or TIFF.
****** PDF/X-1 Error: invalid PS XObject

A PDF/X-1 job cannot contain a PostScript XObject (PostScript code embedded in the PDF page description).
****** PDF/X-1 Error: missing characterised printing condition ****** PDF/X-1 Error: multiple characterised printing conditions

All data in a PDF/X-1 job must be prepared for exactly one characterized printing condition, which is identied using embedded ICC proles. (A job can embed multiple ICC proles and each must contain a characterized printing condition but all conditions must be the same.) The RIP reports the rst 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 conguring the Harlequin RIP.

A.8.1 Harlequin RIP fails to publish

If the RIP is not publishing on the network, check the following.

A.8.1.1 Network connections

Ensure that the network cable is connected correctly to your . The easiest way to do this is to check that the PC can see other things on the network. For example, are there any printers on the network visible in the Print Manager? If not, check that connections have not been broken due to connectors being removed. Restart the RIP once you have checked the connections and corrected any problems with the network cable PC. Start the RIP, make sure that there is an

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AppleTalk channel dened in the Input Controller that is On, and then choose Harlequin RIP > Start Inputs.

A.8.1.2 Is the system software installed correctly?

It is difcult to check the correctness of an installation. If you have checked for faulty connections, the most reliable procedure is to reinstall the software.

A.8.2 The Harlequin RIP is not picking jobs up correctly

The software on either the printing PC or the RIP PC may need reinstalling. 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 specic 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 le server, you must ensure that the RIP has permission to access the shared folder and all enclosed folders.

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Appendix B
B

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 inuence this processing and explains which setting takes precedence in each particular case. Section B.1 on page 443 summarizes this information. 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 color space array? Is the UseCIEColor parameter set to true in the job?

See Section B.0.1 and Section B.0.2 for details. When processing jobs containing PDF les: Is the Override color management in job option select in the Color Setup dialog?

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B.0.1 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 color space array (Photoshop EPS les 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 ColorSpace 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.0.2 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 ColorSpace 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.

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B.1 Summmary of options

Override color management in job
Selected

Image contains a color space array

Job contains UseCIEColor set to

True

Result

Use the DefaultGray, DefaultRGB or DefaultCMYK ColorSpace resources to transform image colors Treat job as CMYK or RGB Use the CSA to transform the image

False or no value Not selected Yes No True

Use the DefaultGray, DefaultRGB or DefaultCMYK ColorSpace resources to transform image colors Treat job as CMYK or RGB

False or no value

Table B.1 Current page setup does not use a color management option

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 les produced by Adobe Photoshop. Section B.3 on page 444 describes the cases specic to PDF jobs.

B.2 PostScript-language jobs and image les

The Harlequin RIP checks the following when processing jobs containing Photoshop EPS images or TIFF/JPEG images containing embedded ICC proles: Does the current page setup use a color management option?

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Is the Override color management in job check box selected in the Color Setup dialog box? Does the image contain a PostScript color space array? (Photoshop EPS les only) Does the image contain an embedded ICC prole? Is the UseCIEColor parameter set to true in the job?

B.3 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 les use the CalGray and CalRGB color spaces and PDF version 1.3 les use the ICCBased color space but these usages are under the control of the creating applications see the Job Options dialog box: for the Advanced tab in Distiller 3.0; for the Color tab in Distiller 4.0. Full use of device-independent color requires ColorPro to be enabled.

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Appendix C
C

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 DTP 32 X-Rite DTP 34 (using the DTP 32 driver) X-Rite DTP 12 X-Rite 938

Note: If you wish to use the X-Rite DTP 34 measuring instrument, you must choose X-Rite DTP32 from the Instrument menu in the Conguration dialog box. We hope to fully support the use of the X-Rite DTP 34 device, including the USB version, in future releases of Genlin.

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The remaining sections show how to set up and use Genlin, and how to troubleshoot any problems. Section C.2 describes set up and use Section C.3 on page 450 describes troubleshooting

C.2 Using Genlin

The use of Genlin involves these stages: Starting a work session with Genlin. This section describes the connections and checks to make before you start measuring targets. Measuring each target. This section describes the steps involved in using Genlin to measure a target.

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 using a serial interface (typically, the COM1 or COM2 communications port). 2. If necessary, recalibrate the measuring instrument using the correct calibration plaque or other reference. Follow the manufacturers advice about recalibrating the measuring instrument after periods of storage or heavy use. 3. Start Genlin by opening the application le located in the Harlequin RIP application folder.

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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 > Congure to display the Conguration dialog box, as shown in Figure C.1.

Figure C.1 Conguration dialog box

Select your desired settings, as explained here, and then click OK.
RIP Folder

Identies 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 Change and use the le 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).

Instrument

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.

Measure

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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 proong printer. A list of the interface ports available on your computer. Choose the port to which your measuring instrument is connected.

Port

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 lter 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 lters and measurement types in the menu below the Measure As column. For example, choose Cyan Status T (X-Rite), then click OK. See Section 11.12.5 on page 357 for details of measurement types. 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 450. Follow the screen prompts to measure the target.
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Strip-readers and other semi-automatic instruments 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 nished measuring the target. At this point, Genlin has created a data le containing all the linearization data for the target, which you can import into the RIP. (The le is named import and is located in the caldata folder within the RIP SW folder.) 6. Use the menu option Output > Calibration Manager and, in the Calibration Manager, choose the appropriate Device and Color Space for the target. (See Section 11.11 on page 345 for details of the Calibration Manager.) 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 Prole menu in the Edit Calibration dialog box, choose the supplied calibration prole that you used to print the target. Enter a Name for the new calibration set. You can use the same name

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as the supplied calibration prole, but omitting the enclosing parentheses( )that supplied calibration proles use; this makes the link between the two proles more obvious. 8. Click Import; see the description on page 359 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 le (or copy the data le to another location) before measuring another target for the same RIP installation. Genlin uses the same le name for every data le so any existing measured data is lost when you measure a new target. Start again from Section C.2.2 on page 447 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: Returned data not recognised

There is a mismatch between the Instrument setting in the Conguration dialog box and the measuring instrument that you are using. Check that you are using the correct Instrument setting for your instrument.

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Error: Open (interface details) error 0

There is a mismatch between the Port setting in the Conguration dialog box and the port interface to which your measuring instrument is connected. Try changing the Port setting or connecting your measuring instrument to the specied interface port.
Error: No responding device attached to selected serial line

This message 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: 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 the Symptoms section.

C.3.2 Symptoms
Failure to communicate with the measuring instrument This may be due to a mismatch between conguration 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 Conguration 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-conguration of the interface port by another application. If you think this is the case, close the application that you suspect is causing the conict. If necessary, shut down and restart your computer.
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Failure to read the correct data from the target A problem in this area is most likely to be a mismatch between the Target le 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 stripreader. Finally, the target may be incorrectly printed or the measuring instrument may need recalibration. Failure to transfer correct data to the RIP Ensure that the RIP Folder specied in the Conguration 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 folderyou 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 Conguration 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 le and trying to read it with Genlinreprint the target and measure the new print.

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Appendix D Harpoon PCI Screening Accelerator

Harpoon PCI is a screening accelerator for the Harlequin RIP consisting of hardware and special control software. The combination of the Harlequin RIP and this hardware and software is able to provide screened output at rates higher than those possible without hardware assistance. Harpoon PCI supports all of the screening types available in the Harlequin RIP: HPS, HDS, and so on. Harpoon PCI can be used with any screened output (bitmap) plugin. The Harpoon PCI hardware is one full length card for the PCI bus. The PCI bus is one of several possible buses used to add expansion cards inside modern computers. You should also have Harlequin RIP software with support for Harpoon PCI.

D.1 Requirements
The main requirement is a computer with a PCI bus slot capable of receiving the Harpoon PCI card, and otherwise suitable for running the Harlequin RIP. There are no signicant changes in the required disk space and memory (RAM) when using Harpoon PCI.

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D.2 Installation
Install both the Harpoon PCI card and, if required by your output device, the appropriate interface card into the computer. Follow the normal precautions for personal safety and prevention of electrical damage: these are outlined in the ECRM RIP Getting Started Guide, but use specic guidance from the manufacturer of your computer. All communication and control is through the PCI bus connector. Other connectors are for use in manufacturing and test. There are no switches or links on the board that can be set by the user. There are some mechanical and electrical considerations that can affect where and how you install the card: There is a plastic extension bracket tted to one end of the card: this bracket can stabilize the card in some machines, mostly those tted with both EISA and PCI buses. You may need to remove the bracket to t Harpoon PCI into more compact machines. The Harpoon PCI card is tted with a memory card (a SIMM) providing on-card memory. This SIMM may clash with a full length card in the next slot, but the SIMM is sited to make it possible to use a short card in the next slot. In all types of machines with more than three PCI slots, there may be minor performance differences between slots. This is because of the electrical implementation of the bus. Try using Harpoon PCI in different slots to determine if there is a difference, and to establish which slot gives the best performance. Currently, the Macintosh and compatible computers with this conguration are: the Apple Power Macintosh 9500 and 9515; and some congurations of the PowerWave 604 machines.

Use only Harlequin RIP version 4.1 or later with Harpoon PCI. All earlier versions of the RIP cannot use the Harpoon PCI hardware.

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D.3 Choosing when to screen

Without hardware assistance, the RIP screens jobs at a xed point in the output process, as shown in Figure D.1. All data becomes a screened bitmap at the earliest possible stage.

Core RIP

Output manager B B

Device plugin

Output card

Printer / imagesetter

Disk* KEY: * Use of the disk buffers is optional, depending on the Single or Multiple mode in use B Screened data (Bitmap)

Figure D.1 Software screening

With assistance from Harpoon PCI, the RIP can screen jobs in two different modes, which differ by screening at different times within the process that produces physical output. By choosing the correct mode, you can select: maximum speed of output; or a lesser degree of acceleration with a guaranteed minimum output rate, which is useful when the output device is sensitive to stop/ start operation.

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R/S B Core RIP B

Screening accelerator manager B

R/S

Screening plugin

R/S

Harpoon PCI card

B Device plugin B

B Output card B Printer / imagesetter

Output manager B B

KEY: Disk* * Use of the disk buffers is optional, depending on the Single or Multiple mode in use R/S RLE contone data and screen information Screened data (Bitmap)

Figure D.2 Hardware screening replacing software screening

The rst mode, shown in Figure D.2, performs screening at the same stage as software screening: in the applicable modes, this is before producing the page buffers on disk. The second mode, shown in Figure D.3, screening at output time, takes place when outputting to the chosen output device, after producing the page buffers on disk. This mode does not involve the core RIP in screening, freeing it to process the next job submitted to the RIP.

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Screening accelerator manager R/S Core RIP R/S Output manager R/S B B

R/S

Screening plugin

R/S

Harpoon PCI card

B Device plugin B

B Output card B Printer / imagesetter

R/S

KEY: Disk* * Use of the disk buffers is optional, depending on the Single or Multiple mode in use R/S RLE contone data and screen information Screened data (Bitmap)

Figure D.3 Hardware screening at output time

When running the RIP in Single or Single (If Necessary) mode, both screening modes are equivalent (and you should choose screening at the same time as software). In Multiple and Multiple (Parallel) modes, you can use either screening mode, but screening at output time is usually faster and is preferred if the output device is not sensitive to stop/start operation. One of the major differences when you delay screening until the time of output is in the size and format of the page buffer (PGB) les on disk. For screening at the same time as software, the page buffer contains bitmap data, which can be large and potentially slower to transfer, but the rate is guaranteed. For screening at output time, the page buffer contains run length encoded (RLE) data, which is often smaller than the corresponding bitmap and faster to transfer, but with no guaranteed minimum transfer rate.

Apart from different sizes and transfer rates, another consideration is whether you wish to view the output screening. The RLE page buffers are contone images: that is, unscreened.

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Note: The RIP requires more memory to roam an RLE page buffer than a bitmap page buffer, and is slower to display the image. When the RIP is short of memory during roaming, you see the message:
Not enough memory to roam this many seps try using fewer seps or allocate more PrintBuffer

To cure this problem, increase the gure labeled Printer buffer in the Congure RIP dialog box. Doing this means that you are reducing the memory available to other processes performed by the RIP and you may need to increase the total amount of memory available to the RIP, as described in Chapter 7, Conguring the RIP. If you wish to roam a particular buffer that provokes this message and you cannot allocate more memory for use by the RIP, switch to software screening or clear the box labeled Screen at output time in the Acceleration Options dialog box, then run the job again. Choosing whether to screen at the same time as the RIP software screening or at output time is most appropriate varies from job to job. If a job can be output successfully using screening at output time without a stop/start, then it will normally be faster than screening at the same time as software. You can make both choices of screening time available to usersthe screening strategy used is determined by the page setup.

D.4 Using Harpoon PCI with the Harlequin RIP

Start up the Harlequin RIPthis will take slightly longer than usual (less than 5 seconds extra). The ashing dots will stop updating for a few seconds while the driver loads. Select your output device in the Edit Page Setup dialog box and make any required settings. The Edit Page Setup dialog box contains a button labeled Accelerate. The button is grayed out when you have chosen an inappropriate output device or there is no screening plugin.

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Choose an appropriate output device and click the Accelerate button to see the Acceleration Options dialog box, as shown in Figure D.4.

Figure D.4 Accelerate Options dialog box

The Acceleration Options dialog box allows you to choose: Software screening Hardware screening at the time of software screening Hardware screening at output time

To use software screening, leave both of the check boxes clear. This disables Harpoon PCI entirely To enable Harpoon PCI for screening at the time of software screening, select only the box called Enable hardware screening accelerator. Run a job as normal. You should see the following message in the Harlequin RIP window as the job is processed. (The message continues to appear once for each job making the same use of Harpoon PCI.)
Screening accelerator enabled

To enable Harpoon PCI with screening at output time, select the box labeled Screen at output time. Run a job as normal. You should see the following messages in the Harlequin RIP window:
Screening accelerator enabled Screening deferred until output

The Device drop-down list and the Congure device button enable future expansion such as a choice of alternative accelerator devices and conguring your use of alternative or multiple devices. With only a single Harpoon PCI card installed, there is only one entry for Device. (The name of the entry is different on different platforms.) At this release, there are no extra options so the Congure device button is always grayed out.

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Whenever you are using hardware screening with Harpoon PCI, you may see one of two messages. If you are using Generate extra gray levels in the Edit Style dialog box, and limiting the number of gray levels to 128 or 256, you see:
Using 8 bit RLE

This message is harmless and means that the RIP is using a more compact form of RLE page buffer to conserve memory and allow faster transfers. There is no loss of image quality, compared to software screening with the same settings. For other use of Limit number of distinct gray levels, to 512 or 1024 levels, the RIP uses 10 bit RLE page buffers, again without loss of quality but without displaying a message. Any attempt to use more than 1024 gray levels results in truncation to 1024 levels and the message:
Warning: Screening accelerator limited to 1024 gray levels

D.5 Performance gains

Using Harpoon PCI has two possible benets. Harpoon PCI can reduce the latencythe time taken to start sending output to the output deviceand it can increase job throughput sustained over a number of back-to-back jobs. It is important to realize that Harpoon PCI accelerates only screening, just one of the several processes that transform a PostScript-language job into physical output. In summary, these processes are: interpretation, rendering (of which screening is a part), and output. There are combinations of jobs, (slow) output devices, and settings in the RIP that can reduce or hide the performance gains possible from using Harpoon PCI.

D.6 Choice of output mode

Harpoon PCI can provide acceleration in all output modes. For testing, the best repeatability is likely to come from using Single (When Necessary) and output to the None plugin, because this choice eliminates several areas of

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background activity that may mask the gain. For output to a real recorder, use the mode that you know works best. You can perform timing tests using Harpoon in two ways: with the None plugin, or with an actual recorder plugin. To make a representative test with the RIP, you must be careful to set an appropriate value for Band size of printer buffer in the Congure RIP Options dialog box. Choose the value you have established as being reasonable for software screening. After changing any setting in the Congure RIP Options dialog box, exit and restart the RIP to make sure that the new setting is in use before carrying out any tests. None plugin Using the None plugin shows the true throughput of Harpoon with any test page because the recorder speed is not an issue.

Recorder plugin The best test jobs for judging Harpoon are jobs that take longer to render than to output to the recorder. With these jobs, you see the throughput increase when using Harpoon PCIbecause the recorder no longer has to wait for the RIP to prepare the page.

D.7 Troubleshooting
You may see the following effects or messages when using Harpoon PCI.
Accelerate button grayed out (in the Edit Page Setup dialog box)

There may be no screening plugins installed or the output device may accept unscreened output only. No screens visible when roaming a buffer You are looking at a contone image such as the RLE images produced when you use Harpoon PCI to screen at output time.

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Warning: Screening accelerator limited to 1024 gray levels

This message can appear in the Harlequin RIP window when the RIP is interpreting a job. The maximum number of gray levels that the RIP can support when using Harpoon PCI is 1024. This limit applies whether the higher number of gray levels results from the screen having a naturally high number of gray levels or is the result of using Harlequin Precision Screening (HPS) and the Generate extra gray levels option. If a job requests more than 1024 gray levels, the RIP will issue a warning and continue the job using 1024 levels. There should be no signicant loss of quality.
%%[Error: ioerror; Offending command: renderbands; File: jobnam]%% %%[Error: ioerror; Offending command: showpage; File: jobnam]%%

Either of these messages can appear in the Harlequin RIP windowfollowed by the RIP aborting the jobwhen the RIP is rendering a job using screening at output time. If, at the same time, the Output Controller shows that the free disk space has fallen to zero, it is likely that a temporary screening le has lled the disk and the RIP cannot complete the job. (The RIP displays the free disk space gure near the bottom center of the Output Controller, followed by the word available.) To allow sufcient space, you have two options: use one of the following cures and then reprint the job. For a permanent cure, display the Congure RIP Options dialog box and change the gure shown after Disk space left for system. If the previous gure is below 10 MB, add 5 MB to it. If the gure is already much higher than 10 MB, leave it at the higher gure. For a temporary cure, delete enough les to free 10 MB of disk space and ensure that no more les are created until after the job has completed.
%%[Error: limitcheck; Offending command: showpage; File: jobnam]%%

This message can appear in the Harlequin RIP window when the RIP is starting to render a job.
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See the next message for a combined explanation.

Error: Screening Accelerator failed to open (output)

This message can appear in the Harlequin RIP window when the RIP moves a page buffer to the active queue in the Output Controller. Both this message and the preceding one, accompanied by failure to render a job, can arise because of other reasons but one cause to consider when hardware screening with Harpoon PCI is that there may be too many screens in use within the page (or set of imposed pages). There is a xed limit on the amount of memory that Harpoon PCI can devote to generating screens. This limit is very large compared to typical memory allocations in an unassisted RIP but it is possible to exceed the limit with some jobs. Each screen uses a variable amount of memory so the point at which Harpoon PCI runs out of memory cannot be given as an exact number of screens. Nevertheless, check the number and types of screens being used in the job. It is worth trying to simplify the screens rst. For example, when using HPS: reduce the number of gray levels to 256; relax the required accuracy by altering the angle and frequency accuracy settings in the Harlequin Precision Screening Options dialog box, as described in Using the HPS controls on page 190. If these simplications fail to make the job render when using Harpoon PCI, try switching to software screening.

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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 specied in the page setup for the job. See also menu device. 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
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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 stopstart successfully. black generation The process of adding black to CMYK images in variable amounts according to printing effects required. cassette A container for output media. This cassette contains a roll of lm 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. See also current cassette. 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 les 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 le format called Job Description Format (JDF).

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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 represented 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. 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).

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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 specied 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. See also current cassette. 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, otherwise data underrun may result. You can nd out the data rate for a particular imagesetter 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 Incs 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 communicate 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 RIPs 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 RIPs own font format, into which most fonts can be converted. Operations with DLD1-formatted fonts can be performed signicantly 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).
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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. 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 difcult to use for high resolution or color output, where the irregularity makes it difcult to predict moir 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 physi-

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cal 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, specied using the Edit Page Setup dialog box. 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 Chapter 6, Screening. halftone cell A single dot in a halftone image. hard copy A physical copy of a document, on media such as paper or lm.
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hardware feed Some imagesetters will automatically feed through media whenever a job is completed. In versions where the Harlequin RIPs 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 signicant 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 gure 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. See also font. 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. HPS (Harlequin Precision Screening) A proprietary technique used to reduce the effect of moir interference and improve the quality of a color separated image when using halftones. See Chapter 6, Screening.

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Abort if calibration on page setup option 148 Abort the job if any fonts are missing page setup option 148 Accelerate Edit Page Setup option 157 See also Harlequin Harpoon accelerators hardware processor for the Harlequin RIP 6 keyboard equivalents for menus xx Accurate color display 111 AcroForms 267 active device 465 Active Queue 74 Add Channel dialog 367 Add showpage at end of job page setup option 147 adding a new input plugin 226 a new page feature 144 See also installing adjusting tone curves 157 Advance n inches command 294 advancing media 292 Allow stop start Configure RIP option 206 Allow use of all available memory 215 Always, delete option in Output Controller 80 angles screens expected in incoming job 413 screens for process colors 170 anti-aliasing defined 465 AppleTalk 229 displayed job names 78 input plugin 223 aspect ratio 465 asynchronous actions 222 Asynchronous Socket input plugin 223 Asynchronous Socket Quit input plugin 223 Automatic Prep loading Configure RIP option 214

for printing buffer 208 banding 465 black generation 410, 466 overriding in job 411 Bootlist file 37 bromide. See media Buffer full message 427 Buffer space low message 427 buffers network 210 page, defined 475 printer 211 Busy message 427 Busy or off-line message 427

C
caldata folder 34 calibration and color process work 326 calibration sets 330 creating a calibration set 337 densitometer use 336 entering data 339 factors affecting accuracy 348 for positive and negative 345 maintenance strategies 342 printing a target 331 printing presses 349 screen frequencies 345 smoothing 340 stopping output without calibration set 148 turning on in Edit Page Setup dialog 155, 156, 157 Calibration Manager dialog 341, 357 saving calibration sets 346 calibration sets copying 363 creating from imported files 371 creating from published data 370 editing 344 naming 366 operating on several sets 362 saving 346 status in Calibration Manager 361 Cassette Manager dialog 300, 301 Cassette Manager Edit dialog 302 cassettes 466 changing 84 creating or deleting 301 media management 290 setting up monitoring 300 ECRM RIP Operator Guide 483

B
background reading 168 band size

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categories folder 34 CFF fonts 313 chain screening 193 Change roam color button in Info dialog 417 dialog 417 channels in calibration sets 367 character identifier fonts 313 charstrings folder 34 choke 466 CID fonts 313 CIDFont folder 34 CIP3 and PPF files 466 defined 466 CMap folder 34 CMYK 17, 381, 386, 467 color changing 85 colorrenderings folder 34 device-independent, and ColorPro 353 operators 146 color management in a PDF job 441 instructions in a job 441 supplied with an output plugin 156 with ColorPro options 16 Color menu summarized 45 color process work need for calibration 326 color separation 163, 467 controlling separations 393 for HCS and HDS 201 identifying in the Output Controller 77 knockouts 382, 409 labeling pages in Output Controller 415 misregistering separations 382 overprinting 384 producing color images 384 roaming color images 416 roaming in false colors 416 trapping 414 using Level 1 spot colors 398 color separations overprinting 409 Color Setup Manager dialog 402 color space 467 converting with ColorPro 380 in PostScript-language jobs 387 reproducing 376 484 ECRM RIP Operator Guide

colored separations 392 ColorPro and press calibration 350 device-independent color 353 introduction to color management 16 memory required 29 menu commands 45 colors accuracy in Roam and Preview 111 colorspaces folder 34 Communications failed message 427 compact font format fonts 313 compatibility setting for PostScript LanguageLevel 145 Complete folder 34 composite fonts 24, 312, 322, 467 CID 313 efficient use of 322 installing 317 memory required 28 preloading 318 compressing page buffers 22, 208 setting required compression ratio 209 Config folder 35 configuration settings backing up 38 Configure RIP dialog 204 compressing page buffers 425 Configure RIP options Allow stop / start 206 automatic prep loading 214 band size for printer buffer 208 minimum compression ratio 209 minimum free disk space 216 Startup prep 214 Configure RIP Options dialog 207 configuring Configure RIP dialog 203 extras in Configure RIP 212 for features of output devices 128 input plugins 228 minimum free disk space 216 number of parallel processes 210 output to TIFF files 113 Spool folder 241 Control key xx controlling inputs 224 output of jobs 73 separations 393 conventions AG12325 Rev. 5

fonts xx instructions in text xxi copies number printed from page buffer 84 number to print 83 Copy Channel Data dialog 368 core RIP 467 Cover open message 428 Crdgen folder 35 crop marks 467 current cassette 467 current color space 468 current device 468 Cut media no feed command 294 Cut media with feed command 294, 299 cutting media in Media Manager 298 Cyan, Magenta, Yellow, Black See CMYK

D
data rate 468 Data transfer failed message 428 data underrun and printer buffer size 211 avoiding with Multiple mode 90 defined 468 Data underrun message 428 DCS defined 468 Delete Fonts command 321 deleting fonts from the Harlequin RIP 321 input plugins 228 jobs after printing 80 page buffers 80, 205 densitometer using for calibration 336 Desktop Color Separation. See DCS developer online processor 309 deviated frequency 185 device driver 124, 469 Device Manager dialog 125 Device menu 41 device type 124, 469 device-independent color in PDF jobs 444 devices None 112 output, defined 475 Preview 108, 112 AG12325 Rev. 5

TIFF 113 Devices folder 35, 422 dial, progress 54 dialogs language used in 217 directories structure used by the RIP 34 See also folders Disable output check box 75 disabling individual inputs 228 media management 297 output of jobs 75 stopping all enabled inputs 229 Disk space left for system option 216 disks failure to RIP to disk 425 preserving free space 216 required data rate 33 DLD1 fonts 313, 469 Dont let files silently substitute Courier for missing fonts check box 151 dot gain 469 and screening options 168 compensated by calibration 328 dot shapes 470 elliptical 174 line 175 round Euclidean 172 setting in Screening Setup 171 square 174 square Euclidean 175 dpcm (dots per centimeter) 470 dpi (dots per inch) 470 dpmm (dots per millimeter) 470 Draft printing on each page 144 drum recorders 289, 295 time saving 137 duotones in Photoshop EPS files 150

E
Edit Calibration dialog 339, 363 Edit Page Setup dialog 99, 302 Accelerate button 157 retargeting press calibration 156 turning on calibration 155, 330 turning on press calibration 156 turning on tone curve calibration 157 types of option 100 Edit Plugin dialog 226, 228 ECRM RIP Operator Guide 485

Edit Style dialog 393 extra grays 180 with screening options 161 editing calibration sets 339, 344 EDS. See error diffusion elliptical dot shapes 174 Emulate old imagemask behavior page setup option 147 emulsion up/down. See mirrorprint Enable Feature dialog 279 enabling extra features in the Harlequin RIP 192 extra grays in HPS 183 input plugins 228 optional features 213 Encapsulated PostScript (EPS) 470 encodings folder 35 EPSF format files 147 error diffusion defined 470 in output plugin 161 Error folder 35 errors. See problems excluding file names for spool folder 244 executive 25 defined 471 starting up 287 Executive window 287 exposure 471 changing 85 choosing for calibration 333 Edit Page Setup option 122 exposure sweeps printing 334 Extensions folder 35 Extra grays enabling 183 Extras enabling optional features 213

F
Factory settings reverting to 216 Factory Settings folder 35 Fast color display in Roam and Preview 111 Fast patterns page setup option 147 Feature check box 141 features 141, 471 486 ECRM RIP Operator Guide

See also page features feeding media in the Media Manager 298 file names mapping 39 prefix list for spool folder 244 FILEMAP.DAT file 39 FILEMAP.PS file 39 FILERED.PS file 39 files adding showpage to EPSF jobs 147 initialization (HqnStart) 318 name mapping from PostScript names 39 film. See media FireWorks font downloader 317 FlatPgbDir folder 35 FM screening 194 folders caldata 34 categories 34 charstrings 34 CIDFont 34 CMap 34 colorrenderings 34 colorspaces 34 Complete 34 Config 35 Crdgen 35 Devices 35, 422 encodings 35 Error 35 Extensions 35 Factory Settings 35 FlatPgbDir 35 fonts 35, 317 FontSet 35 forms 35 halftones 36 icccrd 36 IdiomSet 36 Inputs 36 MediaSavingDir 36 Messages 36 NamedColor 36 NamedColorOrder 36 Page Features 36 Page Setups 35 PageBuffers 37, 205, 425 Passwords 37 patterns 37 PrepFiles 37 procsets 37 AG12325 Rev. 5

ReproductionCriteria 37 Screenin 37 Screens 37 Separation Features 37 Spool 37 structure used by Harlequin RIP 34 SW 205 Sys 37 targeteps 38 tmp 38 TrapParams 38 Usr 38 Utilities 38 WorkSpace 38, 205 font conventions in this manual xx instructions in text xxi fonts 23, 471 CFF 313 CID (character identifier) 313 compact font format 313 composite 24, 312, 318, 322 composite fonts 312 DLD1 format 313 downloading with FireWorks 317 folder 35, 317 hinted 312 installing 314 installing composite fonts 317 listing 319 minimum font set 426 preloading 318 problems with 426 Proof fonts in long format option 321 proofing 319 removing from the RIP 321 response to jobs with missing fonts 148 saving a backup file 38 TrueType 313 Type 0 fonts 312 Type 1 fonts 312 Type 3 fonts 312 Type 32 313 Type 4 fonts 312 Type 42 313 types of 312 FontSet folder 35 forms folder 35 Frequency Modulation. See FM frequency, deviated 185

G
Garbage collection 13 Genlin configuring 447 introduction 445 GIF (Graphics Interchange Format) 277 gray levels increasing number with HPS 183 introduction 176 limiting number of 180, 184

H
halftone 471 cells 164, 471 deviated frequency (HPS) 185 frequency 326 strategies 162 halftones folder 36 halftoning 384 description 162 See also screening Hand speed option 111 hard copy 471 hardware feeds 472 using 306 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 Harpoon configuring 459 installation 454 requirements 453 screening modes 455 troubleshooting 461 using 201, 458 Harlequin RIP failure to appear on the network 439 folder structure 34 monitoring 66 quitting 47 resetting to standard configuration 217 starting up 39 Harlequin RIP window 66, 215, 319 Harpoon. See Harlequin Harpoon HCS introduction to Harlequin Chain Screening 193

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HDLT password 213 HDLT (Harlequin Display List Technology) defined 472 HDS compared to lpi measures 197 HDS-Light 192 introduction 194 varieties of 194 height page default 138 Held Queue 74 Hex N-color system 377 Hexachrome PANTONE Color System 377 HiFi color N-color system 377 hinted fonts 312, 472 HMS calibration for 200 introduction to Harlequin Micro Screening 199 varieties of 199 Hold and Reprint command 91 HPS 472 and gray levels 183 background reading 168 enabling HPS 2.0 186 introduction to Harlequin Precision Screening 183 memory required 28, 29 options dialog 184 performance 190 problems and cures 188 used with pattern screens 190 HqnOEM initialization file 318 HqnOEM file 38 HqnProduct file 37 HqnStart file 37 HSB 386 HSL enabling screen sets 192 introduction to Harlequin Screening Library 192 problems and cures 200 selecting screen sets 193 Hue, Saturation, Brightness. See HSB

I
ICC profiles, defined ICC profiles definition 17 icccrd folder 36 IdiomSet folder 36 Image interpolation 104 image replacement 142 imagemask emulating old behavior of 147 images previewing 55 printing color 384 roaming 55 scaling 141 imagesetters linearization 327 required data rate 32 selecting output devices 103 See also output devices Import Measurements dialog 371 imposition 141 See also page imposition Info dialog 84 access to Page Layout dialog 139 Ink low message 428 Ink out message 428 Input Channel Edit dialog 228 Input Controller dialog 224 input methods JFIF files 276 JPEG files 276 Input Modes printer problems 439 input plugins 473 adding new 226 configuring 228 deleting 228 editing 228 enabling 228 introduction to 18 managing 224 types supplied 222 Input Queue mode 62, 66 input sources. See input plugins inputs disabling individual inputs 228 starting up 61 stopping 42 stopping all enabled inputs 229 Inputs folder 36 AG12325 Rev. 5

488

ECRM RIP Operator Guide

Install Fonts dialog 316 installing composite fonts 317 fonts 314 printer interface card 33 installing Harlequin RIP ability to RIP a job 30 printer data rates 32 instructions in text xxi Interface card failed message 428 interface cards installing 33 International Color Consortium. See ICC Invalid clipping message 428 Invalid resolution message 428

J
JDF and CIP4 466 JFIF files input methods 276 printing 276 Job Description Format See JDF jobs altering parameters 82 altering parameters for all pages 87 deleting automatically after printing 80 preserving from deletion 83 reprinting 76 screen settings and overrides 181 timeouts 209 JPEG files input methods 276 printing 276

Laser diode failed message 428 Level 1 PostScript language jobs compatibility setting 145 Level 2 PostScript language jobs compatibility setting 145 Level 3 PostScript language jobs compatibility setting 145 Limit number of distinct gray levels 184 Limit screen levels 184 line screening in halftoned images 175 linearization 327 See also calibration List Fonts command 319 localization language in user interface 217 locking page buffers 83 LOGFILE 319 in SW folder 38 messages from Harlequin RIP 66 low media warnings 306 Low power message 428 lpcm (lines per centimeter) 473 lpi (lines per inch) 473 lpmm (lines per millimeter) 473

M
margins setting in Page layout 138 measurements choice for calibration data 368 media 473 advancing 292 cutting 292, 293, 295, 298, 307 feeding 293, 295, 298 hardware feeds 306 low media warnings 306 monitoring 300, 309 remaining length 304 saving (optimization) 137 saving film 144 type 303 width 303 media management 24 configuring 144 disabling 297 introduction 289 Media Manager dialog 296 Media Monitor 310 MediaSavingDir folder 36 memory allocating 214 ECRM RIP Operator Guide 489

K
keyboard accelerators xx, 473 keyboard shortcuts xx knockouts 382, 409

L
language choice at first use 39 used in user interface 217 LanguageLevel 1 setting compatibility 145 LanguageLevel 2 setting compatibility 145 LanguageLevel 3 145 setting compatibility 145

AG12325 Rev. 5

increasing 214 requirements for disk space 30 requirements for RAM 28 temporary allocation 214 Memory for RIP option 214 Memory reserve for RIP option 215 menu device 473 menus changes in displayed commands 45 description of 41 language used in 217 messages in LOGFILE 66 language used in 217 warnings and errors 420 Messages folder 36 Microsoft Windows Help and manuals xix Minimum free disk space Configure RIP option 216 Minimum memory left for system option 214, 215 Mirrorprint Edit Page Setup option 140 mirrorprint 474 misregistering separations effect 382 minimizing effect 414 missing fonts aborting jobs with 148 modes Multiple 89 Multiple (Parallel) 88 page buffering in the Harlequin RIP 70 Single 90 Single (If Required) 91 moir pattern 474 reducing 169 reducing with HPS 183 monitoring Harlequin RIP 66 media 300, 309 monochrome separations 392 Multiple (Parallel) Mode page buffer modes compared 71 Multiple (Parallel) mode advanced details 88 and data underrun 211 and Media Monitor 310 compared to Single (if required) 92 multiple copies printing 83 490 ECRM RIP Operator Guide

multiple device drivers 124 adding a new device 126 changing configuration 126 defined 474 deleting a device 127 Multiple mode advanced details 89 and Media Monitor 305 page buffer modes compared 70 multiprocessing number of parallel processes 210

N
named pipes as inputs 236 NamedColor folder 36 NamedColorOrder folder 36 N-color defined 474 N-color systems distinct colorant 377 HiFi color 377 in job specification 386 introduction 377 output support for 17 photo-ink 377 negative calibrating for output 345 printing in 84 networks Harlequin RIP fails to publish 439 problems with 423 Never, delete option in Output Controller 81 New Page Setup dialog basic use 100 example of use 50, 63 No cassette message 429 No power message 429 No take-up cassette message 429 None device 112 NT Pipe input plugin 223 NT Print input plugin 223 Number of copies to print page setup option 149

O
Off-line message 429 online developer 309

AG12325 Rev. 5

Open Prepress Interface see OPI 474 OPI defined 474 OPI, support for 142 optional features enabling 213 Output Controller disabling output 75 labeling of color separation pages 415 warning messages in 427 Output Controller dialog 73, 139 Always option 80 identifying color separations in 77 locked pages in 425 low media warnings in 306 Never delete option 81 numbering of separation pages in 78 warning messages in 427 When necessary delete option 80 output devices 1 changing 84 defined 475 Harlequin Harpoon 201 printing to 121 selecting 103 output plugins defined 475 introduction to 18 multiple, defined 474 overprinting 384, 409 controls 409 Override angles in job 182, 399 Override black generation in job box 411 Override dot shape in job 172, 182 Override frequency in job 176, 182 Override separations in job 398 overriding job settings 181, 398

P
Pack Drum 144 page buffers altering all in job 87 altering parameters 82 compressing 22, 208 defined 475 deleting 80, 205 from older versions of the Harlequin RIP 87 locking 83 modes 70 moving in Output Controller 76 AG12325 Rev. 5

resubmitting 144 roaming 82 summary of modes 93 page features adding 144 Draft 144 Image replacement 142 imposition 141 OPI 142 Pack Drum 144 PGB hot folder 144 printing Draft on each page 144 reporting on spot colors 141 resubmitting page buffers 144 saving film 144 Page Features folder 36 page imposition 26, 141, 430, 475 Page Layout dialog 85, 138 page setup definition 476 Exposure 122 Mirrorprint effect 140 Negative effect 140 Rotate effect 140 saving configurations 101 saving setups 20 TIFF output device 113 Page Setup Manager dialog 96 reordering list of page setups 98 Page Setup Option Extras dialog 149 Page Setup Options dialog 145 abort if calibration does not match 148 abort if fonts are missing 148 add showpage 147 emulate old imagemask behavior 147 fast patterns 147 number of copies to print 149 remove color operators 146 run prep at start of job 146 setting the LanguageLevel 145 Page Setups folder 35 page size specifying default 138 Page stop-started message 429 PageBuffers folder 37, 205, 425 Pantone Matching System 378 Paper jam message 429 Paper low message 429 Paper out message 429 paper. See media partial page buffer 20, 215 defined 476

ECRM RIP Operator Guide

491

Passwords folder 37 patterns folder 37 PDF files color management 441 input methods 275 printing 264 Printing PDF version 1.4 265 setting options 269 special treatment 275 two definitions 476 PDF jobs color management in 444 PDF Options dialog 269 PelBox. See imagesetters performance Rainbow Islands test image 92 requirements 28 Seybold Musicians test image 31 PGB hot folder 144 Photo-ink defined 477 photo-ink N-color system 377 Photoshop images processing jobs containing 441, 443 pica 477 pipes named pipes as inputs 236 pixel 477 plug-in module 477 point 477 Portable Document Format. See PDF files 264 positive. See negative post processing TIFF files after output 117 PostScript language access from executive 287 applied to jobs in page features 141 handling Level 1 language jobs 145 handling Level 2 language jobs 145 PostScript Printer Description. See PPD PPD defined 477 PPF file format and CIP3 466 precision screening. See HPS prefix list 244 preloading composite fonts 318 fonts in the Harlequin RIP 318 492 ECRM RIP Operator Guide

prep file 478 PrepFiles folder 37 preseparated jobs recombining 399 rejecting 399 Preserve monochrome and preseparated jobs page setup option 148 press calibration alternative uses 352 in Edit Page Setup dialog 156 introduction 349 See also calibration preview defined 478 images 22, 55 See also roaming Preview window 109 Print calibrated press target 356 Print calibrated target 342, 347, 356 Print Calibration dialog 334, 355 Print exposure sweep 356 Print File command 262 Print File dialog 262 Print File menu 262 Print Production Format See PPF Print uncalibrated press target 356 Print uncalibrated target 355 printer buffer 211 and data underrun 212 and roaming large page buffers 212 Printer Caught Up message 430 printers installing interface cards 33 required data rate 32 See also output devices Printing draft on each page 144 printing calibration targets 355 color images 384 exposure sweeps 334 files 262 in mirror image 140 in negative 140 in rotated orientation 140 JFIF files 276 JPEG files 276 multiple copies 83 PDF files 264 PostScript-language files 263 AG12325 Rev. 5

setting PDF options 269 several copies 149 several files 263 size of buffer for band 208 TIFF/IT files 280 using a different press 156, 329 using special effects 141 problems curing 419, 431 failure to RIP to disk 425 with fonts 426 with HPS 188 with HSL 200 with networks 423 with TIFF/IT files 431 process colors changing the angles 170 process work. See color processor, online developer 309 procsets folder 37 profiles ColorPro feature 361 defined 478 progress box 58, 79 media management 305 warning messages in 427 progress dial 54, 61 progressive proofs defined 478 progressive separations 392 Proof Fonts dialog 54, 320 proofing fonts 319 in long format 321 proofs defined 479 progressive, defined 478

Q
queues active 74 held 74 transferring pages between 76 quitting Harlequin RIP 47

R
RAM. See memory Raster Image Processor defined 479 Read dial 55 recombination

features requiring 388 Recombine preseparated jobs and composite jobs 401 check box 399 memory requirements 29 suitable jobs 399 Red, Green, Blue. See RGB Reduced Preview window 109 reduced roam 56, 83, 109 Reduced Roam window 109 reject preseparated jobs 399 remaining length of media 304 Remove color operators page setup option 146 removing fonts from the RIP 321 rendering 479 reordering page setups 98 reprinting jobs 76 ReproductionCriteria folder 37 requirements data rate to printer 32 disk data rate 33 disk space 30 minimum font set 426 RAM 28 resetting Harlequin RIP 217 RIP configuration 216 Resetting the Harlequin RIP 216 resolution 479 setting 104 resubmitting, page buffers 144 reverse. See negative Revert to Factory Settings 216 RGB 17, 479 in color composites 386 right reading. See mirrorprint RIP defined 479 RIP configuration PageBuffers folder 205 resetting 216 WorkSpace folder 205 ripping to disk failure 425 Roam button 55, 82 Roam Options dialog 110 Roam window 109 roam, defined 480 roaming

AG12325 Rev. 5

ECRM RIP Operator Guide

493

accurate color display 111 and disable output 82 changing the displayed colors 417 description of Reduced Roam window 109 description of Roam window 109 hiding separations 110 images 55 large or multiple pages and printer buffer 212 options 110 reduced roam 56, 83, 109 separations 416 setting hand speed 111 several pages 82, 109 rosette 480 Rotate page setup effect 140 round Euclidean dot shapes 172 RS232. See Serial Run prep at start of job page setup option 146

S
Save Setup dialog 63 saving a backup of all fonts 38 all configuration settings 38 media or time 137 page setup configurations 101 separations styles 401 scaling the output image 141 screen angles definition of 164 expected in incoming job 413 glossary entry 480 screen frequency 164, 480 and calibration sets 345 and gray levels 177 overriding 176 specified in job 176 screen levels limiting 184 screen sets selecting 193 screening 168 and separations style 159 chain 193 error diffusion 161, 470 extra gray levels 183 FM 194 494 ECRM RIP Operator Guide

HDS 194 HMS 199 HPS 183 HSL 192 overview of methods 15 Screenin folder 37 spot functions 171 with Harlequin Harpoon accelerator 455 screens defined 164 Screens folder 37 searching for input symbol 226 Separate spot color duotones, tritones & quadtones to spot color plates check box 150 Separate spot color vignettes to the spot color plate Illustrator 6 152 Illustrator 7 152 QuarkXPress 153 Separate spot color vignettes to the spot color plate check box Macromedia FreeHand 154 Separation Features folder 37 separations 163 changing color 85 colored 392 features needing recombination 388 monochrome 392 page numbering in Output Controller 78 progressive 392 style and screening 159 Separations Manager dialog 389 Serial input plugin 224 Setting the PostScript LanguageLevel 145 settrap 415 Seybold Musicians test image 31 Rainbow Islands test image 92 Shift key xx shortcuts keyboard xx showpage operator 147 Single (if required) mode 91 compared to Multiple (Parallel) 92 page buffer modes compared 70 Single mode advanced details 90 page buffer modes compared 70 SMP number of parallel processes 210 AG12325 Rev. 5

Socket configuring the input plugin 250 input plugin 223 See also sockets sockets as input to the Harlequin RIP 245 requirements for use with the Harlequin RIP 247 special effects applied to jobs using page features 141 applied to jobs using page setup 140 specifying default page size 138 image scale 141 Spool folder 37 configuring 241 excluding files from processing 244 input plugin 223 multiple inputs 20 Spool Folder Configuration dialog 241 spot colors exact names required 396, 397 reporting on screen 141 spot functions 171 See also dot shape spread 480 square dot shapes 174 square Euclidean dot shapes 175 StandardCharStrings file 34 starting up executive 287 Harlequin RIP 39 inputs 61 output of jobs after earlier disabling 75 Startup prep Configure RIP option 214 status area in tool bar 44 of a calibration set 361 stop / start defined 480 Stop Executive command 287 stopping a print job 263 all enabled inputs 229 all inputs 42 Harlequin RIP 47 output of jobs temporarily 75 the computer running the Harlequin RIP 48 stripping. See page imposition substitute fonts

in jobs from Illustrator 151 or aborting the job 148 SW folder 205 symmetric multiprocessing 210 Sys folder 37

T
Take-up full message 430 Take-up space low message 430 targeteps folder 38 TCP/IP 223 testing calibration sets 342 serial line input 256 Threads option in Configure RIP dialog 210 throughput control 21 defined 481 system 73 ThroughPut Info dialog 82 TIFF (Tag Image File Format) 18, 113 configuring files 113 creating files 113 naming files 114 output device 113 post processing output files 117 See also TIFF/IT files TIFF 6.0 input 282 TIFF/IT files data types 278 format and history 277 installation and requirements 279 password 213 printing 280 printing with spool folder 245 troubleshooting 431 time saving (optimization) 137 timeouts on jobs 209 tmp folder 38 tone curves adjusting 157 creating and using 349 in Edit Page Setup dialog 157 introduction 348 Toner low message 430 Toner out message 430 tool bar introduced 41 status area 44 Transparency 265 ECRM RIP Operator Guide 495

AG12325 Rev. 5

TrapParams folder 38 trapping defined 481 in QuarkXPress jobs 414 in the Harlequin RIP 414 TrapPro menu commands 46 Trim Page check box in Page Setup dialog 137 Trim page check box in Info dialog 84 troubleshooting. See problems TrueType fonts 313 Type 0 fonts 312 Type 1 fonts 312 Type 3 fonts 312 Type 32 fonts 313 Type 4 fonts 312 Type 42 fonts 313

delete option in Output Controller 80 width of media 303 page default 138 Windows See Microsoft Windows workflows for maintaining calibration 342 WorkSpace folder 38, 205 wrong reading. See mirrorprint

U
UCR 408, 410 Ultre. See imagesetters undercolor removal 408, 410 uninstalling fonts 321 units of measurement dpcm 470 dpi 470 dpmm 470 lpcm 473 lpi 473 lpmm 473 pica 477 point 477 Unknown error message 430 Usr folder 38 Utilities folder 38

V
version file in SW folder 39 vignettes defined in spot colors 149 virtual memory 481 allocating for the Harlequin RIP 215 setting 29

W
Warming up message 430 When necessary

496

ECRM RIP Operator Guide

AG12325 Rev. 5

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