DOCSLIB.ORG

Harlequin RIP OEM Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

0RIPMate for Windows operating systems Harlequin PLUS Server RIP v9.0 June 2011 AG12325 Rev. 13 Copyright and Trademarks Harlequin PLUS Server RIP June 2011 Part number: HK‚9.0‚ÄìOEM‚ÄìWIN Document issue: 106 Copyright ¬© 2011 Global Graphics Software Ltd. All rights reserved. Certificate of Computer Registration of Computer Software. Registration No. 2006SR05517 No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, elec- tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Global Graphics Software Ltd. The information in this publication is provided for information only and is subject to change without notice. Global Graphics Software Ltd and its affiliates assume no responsibility or liability for any loss or damage that may arise from the use of any information in this publication. The software described in this book is furnished under license and may only be used or cop- ied in accordance with the terms of that license. Harlequin is a registered trademark of Global Graphics Software Ltd. The Global Graphics Software logo, the Harlequin at Heart Logo, Cortex, Harlequin RIP, Harlequin ColorPro, EasyTrap, FireWorks, FlatOut, Harlequin Color Management System (HCMS), Harlequin Color Production Solutions (HCPS), Harlequin Color Proofing (HCP), Harlequin Error Diffusion Screening Plugin 1-bit (HEDS1), Harlequin Error Diffusion Screening Plugin 2-bit (HEDS2), Harlequin Full Color System (HFCS), Harlequin ICC Profile Processor (HIPP), Harlequin Standard Color System (HSCS), Harlequin Chain Screening (HCS), Harlequin Display List Technology (HDLT), Harlequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS), Harlequin Precision Screening (HPS), HQcrypt, Harlequin Screening Library (HSL), ProofReady, Scalable Open Architecture (SOAR), SetGold, SetGoldPro, TrapMaster, TrapWorks, TrapPro, TrapProLite, Harlequin RIP Eclipse Release and Harlequin RIP Genesis Release are all trademarks of Global Graphics Software Ltd. Protected by U.S. Patents 5,579,457; 5,808,622; 5,784,049; 5,862,253; 6,343,145; 6,330,072; 6,483,524; 6,380,951; 6,755,498; 6,624,908; 6,809,839. Other U.S. Patents Pending Protected by European Patents 0 803 160; 0 772 934; 0 896 771; 672 29 760.8-08. Portions licensed under U.S. Patent No. 5,212,546; 4,941,038. TrueType is a registered trademark of Apple Computer, Inc. The ECI and FOGRA ICC color profiles supplied with this Harlequin RIP are distributed with the kind permission of the ECI (European Color Initiative) and FOGRA respectively, and of Heidelberger Druckmaschinen AG (HEIDELBERG). The IFRA ICC profiles supplied with this Global Graphics Software are distributed with the kind permission of IFRA and of GretagMacbeth. International Cooperation for Integration of Processes in Prepress, Press and Postpress, CIP4, Job Definition Format, JDF and the CIP4 logo are trademarks of CIP4. Adobe, Adobe Photoshop, Adobe Type Manager, Acrobat, Display PostScript, Adobe Illustrator, PostScript, Distiller and PostScript 3 are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries which may be registered in certain jurisdictions. Global Graphics Software Ltd is a licensee of Pantone, Inc. PANTONE¬Æ Colors generated by ScriptWorks are four-color pro- cess simulations and may not match PANTONE-identified solid color standards. Consult current PANTONE Color Publica- tions for accurate color. PANTONE¬Æ, Hexachrome¬Æ, 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. Harlequin PLUS Server RIP v9.0: June 2011 AG12325 Rev. 13 iii US Government Use Harlequin RIP software is a computer software program developed at private expense and is subject to the following Restricted Rights Legend: ‚ÄúUse, duplica- tion, or disclosure by the United States Government is subject to restrictions as set forth in (i) FAR 52.227-14 Alt III or (ii) FAR 52.227-19, as applicable. Use by agencies of the Department of Defense (DOD) is subject to Global Graphics Software‚Äôs 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 ‚Äòunpublished‚Äô and licensed with disclosure prohibitions, rights reserved under the copyright laws of the United States.‚Äù Global Graphics Software Incorporated, 31 Nagog Park, Suite 315, Acton MA 01720. iv AG12325 Rev. 13 Harlequin PLUS Server RIP v9.0: June 2011 Contents Preface 1 1 Introduction to the Harlequin RIP 9 What is the Harlequin RIP? 9 Why use the Harlequin RIP? 10 The Harlequin RIP in depth 11 2 Running the Harlequin RIP 27 Machine requirements 27 Installing printer interface cards 31 Harlequin RIP folder structure 32 Starting up the Harlequin RIP 36 Menus affected by optional features 42 Stopping the Harlequin RIP 44 3 Getting Started with the Harlequin RIP 47 A simple Harlequin RIP session 47 A more complex use of the Harlequin RIP 56 Using the Harlequin RIP with a spool folder 58 Monitoring the Harlequin RIP 59 4 Harlequin RIP Output Methods 61 Historical overview 61 Page buffering modes 61 The throughput system 63 Advanced details of page buffering modes 74 Page buffering modes: a summary 78 5 Configuring Output Formats 79 Creating and managing Page Setups 79 Page Setup Manager dialog box 80 Edit Page Setup dialog box 82 Harlequin PLUS Server RIP v9.0: June 2011 AG12325 Rev. 13 v Selecting different devices 84 Sending output to the screen 87 Output to Preview 91 Output to None 91 Output to TIFF 92 Output to PDF Raster 106 Sending output to a printer 112 ProofReady plugins 113 Multiple device output plugins 114 Output plugin dialog boxes 117 Separations, Screening and Color 117 Advanced Media Saving 119 Media and time saving using optimization 126 Default page size 127 Margins 127 Printing effects 128 Control strip 129 Scaling the image 139 Features 140 Cassette management 142 Page Setup Options 142 Page Setup Option Extras 147 PDF Options 150 Calibration 150 XPS Options 152 6 Screening 155 Managing separations styles 155 Separations Manager dialog box 156 Edit Style dialog box 157 Halftoning 157 Screen angles 163 Dot shapes 164 Halftone frequency 167 Screening options and number of gray levels 168 Job settings and Harlequin RIP settings 172 Harlequin Precision Screening 172 Harlequin Screening Library 179 Automatic detection of color separations 186 7 Configuring the RIP 187 Configure RIP dialog box 188 How the Harlequin RIP controls files 188 Control of page buffering modes 189 Job timeout 192 Threads and parallel processing 192 vi OEM Manual Harlequin PLUS Server RIP v9.0: June 2011 Printer buffer size 194 Extras 195 Specifying prep files 196 Harlequin RIP memory allocation 197 Minimum free disk space 198 Disable sounds 198 Resetting the Harlequin RIP to default values 198 Choosing the user interface language 199 8 Configuring Input 201 Input management 202 Managing input plugins 203 Using the AppleTalk input plugin 207 Using the NT Pipe input 207 Using the Spool Folder input folder 210 Using the Socket input plugin 215 Using the Asynchronous Socket plugin 221 Using the Asynchronous Socket Quit plugin 222 Using the Serial input plugin 222 Using more than one method 227 Using the Print File command 227 Printing PostScript language files 229 Printing PDF files 229 Printing XPS Documents 243 Printing HD Photo images 243 Printing JPEG and JFIF files 243 Printing GIF files 244 Printing TIFF/IT files 244 Printing TIFF 6.0 files 248 Printing page buffer files 250 Entering PostScript language code by hand 252 9 Media Management 253 Why manage your media? 253 Advancing and cutting media interactively 256 Advancing and cutting media automatically 257 Monitoring media 262 10 Simple Imposition 271 What is Simple imposition? 271 Input file formats 271 How to activate Simple imposition 272 The Imposition Manager 272 Configuring Simple imposition 273 Example impositions 290 Harlequin PLUS Server RIP v9.0: June 2011 OEM Manual vii 11 Fonts 301 Supplied fonts 301 Types of font 302 The DLD1 format 303 Installing fonts in the Harlequin RIP 303 Pre-loading fonts 306 Producing a list of installed fonts 306 Proofing fonts 307 Removing fonts 308 Composite fonts (Type 0) 309 Font substitution 310 The HqnFontSetStubs start up files 311 Font backup 311 Font Emulation 311 12 Calibration 315 Why calibration is needed 315 Calibration and linearization 317 Calibration in the Harlequin RIP 318 Example procedure 319 Editing calibration sets 328 Consistency of calibration 331 Tone curves 332 Press calibration 333 Using a combination of calibration sets 336 Print Calibration dialog box 337 Calibration Manager dialog box 339 Edit Calibration dialog box 343 13 Color Separation 351 Introduction 351 What color separations are 354 Producing color images from separations 357 How color separations are produced 359 Creating and managing separations 361 Separations Manager dialog box 361 Edit Style dialog box 364 Color Setup 371 Color separation angles in job 383 Trapping features 383 Pages in the Output Controller 384 Appendix A Troubleshooting 389 Appendix B Jobs Containing Color Management Data 407 viii OEM Manual Harlequin PLUS Server RIP v9.0: June 2011 Appendix C Using Genlin 411 Glossary 419 Index 433 Harlequin PLUS Server RIP v9.0: June 2011 OEM Manual ix x OEM Manual Harlequin PLUS Server RIP v9.0: June 2011 Preface The RIPMate-Harlequin RIP, subsequently called the Harlequin RIP, is an interpreter and renderer for multiple page description languages. This manual is a complete guide to using the HarlequinÉ RIP, and provides technical details when necessary. For details of how to install the RIP, see the separate Work- Mates Getting Started Guide. This manual is intended for anyone using or evaluating the graphical user interface version of the Harlequin RIP for PC platforms running Microsoft Windows Server 2003, Windows Server 2008, Windows Server 2008 (R2), Windows XP, Windows Vista and Windows 7.
Recommended publications
  • Color Management

    Color Management

    Color Management hotoshop 5.0 was justifiably praised as a ground- breaking upgrade when it was released in the summer of 1998, although the changes made to the color P management setup were less well received in some quarters. This was because the revised system was perceived to be complex and unnecessary. Bruce Fraser once said of the Photoshop 5.0 color management system ‘it’s push-button simple, as long as you know which of the 60 or so buttons to push!’ Attitudes have changed since then (as has the interface) and it is fair to say that most people working today in the pre-press industry are now using ICC color profile managed workflows. The aim of this chapter is to introduce the basic concepts of color management before looking at the color management interface in Photoshop and the various color management settings. 1 Color management Adobe Photoshop CS6 for Photographers: www.photoshopforphotographers.com The need for color management An advertising agency art buyer was once invited to address a meeting of photographers. The chair, Mike Laye, suggested we could ask him anything we wanted, except ‘Would you like to see my book?’ And if he had already seen your book, we couldn’t ask him why he hadn’t called it back in again. And if he had called it in again we were not allowed to ask why we didn’t get the job. And finally, if we did get the job we were absolutely forbidden to ask why the color in the printed ad looked nothing like the original photograph! That in a nutshell is a problem which has bugged many of us throughout our working lives, and it is one which will be familiar to anyone who has ever experienced the difficulty of matching colors on a computer display with the original or a printed output.
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths

    Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths

    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
  • Cielab Color Space

    Cielab Color Space

    Gernot Hoffmann CIELab Color Space Contents . Introduction 2 2. Formulas 4 3. Primaries and Matrices 0 4. Gamut Restrictions and Tests 5. Inverse Gamma Correction 2 6. CIE L*=50 3 7. NTSC L*=50 4 8. sRGB L*=/0/.../90/99 5 9. AdobeRGB L*=0/.../90 26 0. ProPhotoRGB L*=0/.../90 35 . 3D Views 44 2. Linear and Standard Nonlinear CIELab 47 3. Human Gamut in CIELab 48 4. Low Chromaticity 49 5. sRGB L*=50 with RGB Numbers 50 6. PostScript Kernels 5 7. Mapping CIELab to xyY 56 8. Number of Different Colors 59 9. HLS-Hue for sRGB in CIELab 60 20. References 62 1.1 Introduction CIE XYZ is an absolute color space (not device dependent). Each visible color has non-negative coordinates X,Y,Z. CIE xyY, the horseshoe diagram as shown below, is a perspective projection of XYZ coordinates onto a plane xy. The luminance is missing. CIELab is a nonlinear transformation of XYZ into coordinates L*,a*,b*. The gamut for any RGB color system is a triangle in the CIE xyY chromaticity diagram, here shown for the CIE primaries, the NTSC primaries, the Rec.709 primaries (which are also valid for sRGB and therefore for many PC monitors) and the non-physical working space ProPhotoRGB. The white points are individually defined for the color spaces. The CIELab color space was intended for equal perceptual differences for equal chan- ges in the coordinates L*,a* and b*. Color differences deltaE are defined as Euclidian distances in CIELab. This document shows color charts in CIELab for several RGB color spaces.
  • Harlequinrip 9 Brochure

    Harlequinrip 9 Brochure

    HARLEQUIN RIP Version 9 Benefits If you have a mixed workflow and receive files in more than Color Accuracy Enhancements one format you don’t need to learn different tools for color Version 9 receives updated SWOP, PantonePlus and FOGRA management, trapping, transparency or screening when using profiles which are now built right into the RIP. the RTI Harlequin RIP. The software gives you the ability to print across the network to the RIP through shared printers which means faster output times and less hassle trying to manage jobs into different applications. Versatility and Performance With support for over 300+ output devices, the RTI Harlequin RIP offers a wide variety of options and plugins. The Harlequin RIP also includes the ability to simultaneously RIP and print for faster output. Multi-threaded rendering helps remove RIP bottlenecks in handling raster data and takes full advantage of the new Duo and Quad core technologies. Output Preview PostScript® Level 3 Preview jobs in full composite color or preview each plate Support for PostScript® Level 3 means compatibility with the individually to quickly find and correct mistakes before wasting latest design and printing applications such as Acrobat X, consumables. Adobe CS5.5, Quark XPress 9, Preps, Dynastrip and inpO2. Support for Macintosh OS 10.7 (Lion) Built-in Preflight Profiles Users are now able to run the RIP and print to the RIP from Enfocus PitStop 4.0 lib/v7 preflight profiles are included with Macintosh OS 10.7. the Harlequin RIP. Optimization for PDF files with live Transparency PDF v.1.7 The RTI Harlequin RIP has included native rendering of PDF Support for PDF v.1.7, PDF/X-4, PDF/X-1a, JPEG2000, files that use live transparency since 2002, but doing so takes optional content, cross-reference streams, compressed object significantly more work than processing fully opaque pages.
  • NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production

    NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production

    NEC MultiSync® PA311D Wide gamut color critical display designed for photography and video production 1419058943 High resolution and incredible, predictable color accuracy. The 31” MultiSync PA311D is the ultimate desktop display for applications where precise color is essential. The innovative wide-gamut LED backlight provides 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3, enabling more accurate colors to be displayed on screen. Utilizing a high performance IPS LCD panel and backed by a 4 year warranty with Advanced Exchange, the MultiSync PA311D delivers high quality, accurate images simply and beautifully. Impeccable Image Performance The wide-gamut LED LCD backlight combined with NEC’s exclusive SpectraView Engine deliver precise color in every environment. • True 4K resolution (4096 x 2160) offers a high pixel density • Up to 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3 • 10-bit HDMI and DisplayPort inputs display up to 1.07 billion colors out of a palette of 4.3 trillion colors Ultimate Color Management The sophisticated SpectraView Engine provides extensive, intuitive control over color settings. • MultiProfiler software and on-screen controls provide access to thousands of color gamut, gamma, white point, brightness and contrast combinations • Internal 14-bit 3D lookup tables (LUTs) work with optional SpectraViewII color calibration solution for unparalleled color accuracy A Perfect Fit for Your Workspace A Better Workflow Future-proof connectivity, great ergonomics, and VESA mount Exclusive,
  • FOR IMMEDIATE RELEASE Global Graphics Takes Harlequin RIP To

    FOR IMMEDIATE RELEASE Global Graphics Takes Harlequin RIP To

    FOR IMMEDIATE RELEASE Global Graphics takes Harlequin RIP to new heights at IPEX New features and applications unveiled for Harlequin & Jaws® RIPs, workflow and Jaws PDF technologies New Harlequin RIP features, OSX compatability & world first application Jaws Embedded RIP in desktop application Debut of Jaws PDF Courier™ Latest version of MaxWorkFlow™ Prototype document server Birmingham, UK April 9, 2002 Contacts: Birmingham, 9th April, 2002 - Today at IPEX 2002 Global Graphics® Software, a leading developer and manufacturer of electronic document management Global Graphics: solutions and a division of Global Graphics (Nasdaq Europe: GLGR, Euronext: GLOG), announces important developments in its range of RIP, PDF and Europe workflow technologies and shows several new products and applications in Ruth Clark association with its strategic partners and OEM customers (Hall 4 stand Splash! PR 729/740). Tel: +44 1580 241177 [email protected] Global Graphics Software develops flexible and open technologies and solutions designed to maximise print and document creation, management, production USA and cross-media publishing within the high-end prepress sector and the mid- John Hebert market corporate sector. Its broad range of production technologies are licensed Hebert Communications and commercialised by OEMs, system integrators and value added resellers. Tel: +1 617 232 1161 E-mail: [email protected] NEW RIP DEVELOPMENTS & APPLICATIONS The industry-leading Harlequin RIP features a sophisticated and modular system UK architecture which provides OEMs with a flexible base upon which to build a wide Jill Taylor range of RIP-based products. The Jaws RIP is a compact and highly-efficient Global Graphics kernel interpreter targeted at the middle market including use with wide format Tel: +44 1223 873874 and desktop ink-jet printers, colour copiers, embedded printer controllers and E-mail: [email protected] PDF document creation.
  • John Constantine and the Homoaffective Question: an Analysis of LGBTI+ Representations in Superhero Comics and Animations

    John Constantine and the Homoaffective Question: an Analysis of LGBTI+ Representations in Superhero Comics and Animations

    John Constantine and the homoaffective question: an analysis of LGBTI+ representations in superhero comics and animations JOHN CONSTANTINE AND THE HOMOAFFECTIVE QUESTION: AN ANALYSIS OF LGBTI+ REPRESENTATIONS IN SUPERHERO COMICS AND ANIMATIONS JOHN CONSTANTINE E A QUESTÃO HOMOAFETIVA: UMA ANÁLISE SOBRE REPRESENTAÇÕES LGBTI+ EM QUADRINHOS DE SUPER-HERÓIS E ANIMAÇÕES JOHN CONSTANTINE Y LA PREGUNTA HOMOAFFECTIVE: UN ANÁLISIS DE LAS REPRESENTACIONES LGBTI+ EN CÓMICS DE SUPERHÉROES Y ANIMACIONES Mário Jorge de PAIVA1 ABSTRACT: This article is an analysis of LGBTI + representations in comic books, superheroes, and children's animations. In particular, we will approach the character of DC Comics John Constantine, bisexual, because he is a hero of a major publisher, appearing alongside Batman, Superman etc. Our methodology is qualitative, based on a broad contribution containing: Michel Foucault, Sarane Alexandrian, James Green, João Trevisan, Dandara Cruz among others. Our conclusions involve seeing how there has really been a profound change over time. If before this type of question could not be addressed as much, or could not be addressed explicitly, today there is a greater opening for representations of LGBTI + characters. KEYWORDS: LGBTI+. Comics. Animations. John Constantine. Hellblazer. RESUMO: O presente artigo é uma análise das representações LGBTI+ em revistas de super-heróis e animações. Abordaremos mais a personagem da DC Comics John Constantine, bissexual, por ele ser um herói de uma grande editora, aparecendo junto ao Batman, Superman etc. Nossa metodologia é qualitativa, se pautando em uma análise inicial do campo de estudos e na sequência em uma análise mais aprofundada da própria personagem Constantine. Possuímos um aporte teórico que envolve, entre outros autores: Michel Foucault, Sarane Alexandrian e Dandara Cruz.
  • Unbounded Color Engines

    Unbounded Color Engines

    Unbounded Color Engines Marti Maria; Little CMS; Palamós; Catalonia, Spain Abstract the spec, ICC profiles are no longer limited to 8 or 16 bit, but to A Color Matching Method (CMM), also called a Color the broad range of 32-bit IEEE 754 floating point. That was a huge Engine, is a software component that does the color conversion improvement when regarding precision and dynamic range, which calculations from one device's color space to another. This paper is now only limited by floating point representation and can take as 39 discuses a new working mode for CMMs that allows such software much as 10 components to operate in a way that is not restricted by the gamut of the device encoding, the gamut of the profile connection space or any intermediate step. This allows ICC profiles to be used in new ways for a variety of applications. An open source CMM implementing this mode is also introduced. Background One of the main components of a color management system is the Color Matching Method, (CMM), which is the software engine in charge of controlling the color transformations that take place inside the system. By today, the vast majority of color management Figure 2. KODAK VISION2 500T Color Negative Film 5218 / 7218 systems do use International Color Consortium (ICC) profiles. This addendum, however, introduced another improvement ICC color management is based on device characterization perhaps not so evident but equally important. Floating point profiles. Color transformations can be obtained by linking those encoding has a huge domain, which is nearly infinite, much larger profiles.
  • Evaluating Gamut Coverage Metrics for ICC Color Profiles

    Evaluating Gamut Coverage Metrics for ICC Color Profiles

    International Journal of Chaotic Computing (IJCC), Volume 4, Issue 2, December 2016 Evaluating Gamut Coverage Metrics for ICC Color Profiles Radu Velea1, Noel Gordon2 1Technical Military Academy of Bucharest, Romania 2Google Inc Abstract The color handling characteristics of computer the input media. The objective is to maintain color monitors and other display devices can significantly accuracy across heterogeneous displays. alter the way an image is perceived by the human eye. Modern cameras and software applications can create vibrant color scenes, and can specify the color range (or gamut) of the scene with an embedded ICC profile [1]. During presentation, differences in the color gamut of the image and the display device require color management to help preserve the color Figure 1. ICC v2 color profile transform. fidelity of the image when shown on different displays. Measurements of the color characteristics However, since gamut is a physical device of display devices is thus a topic of interest. This property, if an input color can not be physically paper evaluates the ability of gamut measures, reproduced by the destination gamut, unavoidable including those commonly used in industry, to color distortion results [2], which may be perceived classify display gamuts using a user-contributed by users. It is therefore important to know (a priori, dataset of ICC display color profiles, and if possible) the end-user viewing conditions in which recommends the use of relative metrics for gamut the input media will be displayed. comparison tasks. Motivation- Gamut classification of display 1. Introduction profiles can yield valuable information on the way color is perceived in end-user systems.
  • The Printer's Guide to Expanded Gamut

    The Printer's Guide to Expanded Gamut

    DISTRIBUTED BY TECHKON USA February 2017 THE PRINTER’S GUIDE TO EXPANDED GAMUT Understanding the technology landscape and implementation approach By Ron Ellis Printer’s Guide to Expanded Gamut Page | 1 Printer’s Guide to Expanded Gamut Whitepaper By Ron Ellis Table of Contents What is Expanded Gamut ............................................................................................................... 4 ......................................................................................................................................................... 5 Why Expanded Gamut .................................................................................................................... 6 The Current Expanded Gamut Landscape ...................................................................................... 9 Standardization and Expanded Gamut ......................................................................................... 10 Methods of Producing Expanded Gamut...................................................................................... 11 Techkon and Expanded Gamut ..................................................................................................... 11 CMYK expanded gamut ................................................................................................................. 12 The CMYK Expanded Gamut Workflow ........................................................................................ 16 Conversion from source to CMYK Expanded gamut ....................................................................
  • Native Interpretation in the Harlequin Rip®

    Native Interpretation in the Harlequin Rip®

    WHITE PAPER NATIVE INTERPRETATION IN THE HARLEQUIN RIP® By Martin Bailey, Chief Technology Officer, Global Graphics Software. The UK primary expert on ISO (International Standards Organization) for PDF, PDF/VT and PDF/A. 2 ® NATIVE INTERPRETATION IN THE HARLEQUIN RIP Introduction When Harlequin® RIPs first shipped for production use in 1988, they were “PostScript® language compatible interpreters”. They could read PostScript language files, and render them to rasters that could be used to mark onto film or to other media. In the twenty years since then many new features have been added to the Harlequin RIP, including in-RIP separation, trapping, imposition, color management, font emulation and a host of other functionality to make pre-press production faster, more efficient and easier. Supporting PDF Since 2002 the Harlequin RIP has automatically Amongst those features, support for Adobe®’s Portable Document Format (PDF) recognized when PDF files was added in 1997. At the time our developers had the choice of following the route contain transparency and taken by Adobe, of adding a converter from PDF to PostScript in front of a RIP that generated the correct result. still only understood PostScript, or of building a RIP that could read PDF as well. After much consideration we decided to add a native PDF interpreter, because we believed In fact, unlike other RIPs the that adding an extra conversion step had a very high likelihood of introducing errors Harlequin RIP provides native in the output, and would reduce the performance of the RIP. interpretation of PostScript, Back in 1997 PDF was at version 1.3 (Acrobat 4), and didn’t include any transparency PDF and XPS in a single RIP.
  • How to Use the Engine in Your Applications 2.12

    How to Use the Engine in Your Applications 2.12

    How to use the engine in your applications 2.12 https://www.littlecms.com Copyright © 2020 Marti Maria Saguer, all rights reserved. Introduction 2 Table of Contents Introduction ........................................................................................................................ 4 Documentation ............................................................................................................... 5 Requeriments ................................................................................................................. 6 Include files .................................................................................................................... 6 Basic Concepts .............................................................................................................. 7 Source code conventions ............................................................................................... 7 The const keyword ......................................................................................................... 7 The register keyword ...................................................................................................... 7 Basic Types.................................................................................................................... 8 Step-by-step Example ........................................................................................................ 9 Open the profiles .........................................................................................................