Studio Rip XF Manual

Copyright © 2000–2014, StudioRIP SRL
StudioRIP and the StudioRIP Logo are trademarks of StudioRIP SRL.

PostScript and Adobe® are registered trademarks of Adobe systems Incorporated. Windows®
is a registered trademark of Microsoft Corporation. Pantone® is a registered trademark of Pan-
tone Incorporated. Epson® is a registered trademark of Seiko Epson Incorporated. All other
company and product names cited are trademarks or registered trademarks of their respective
owners and are used without intention of infringement. Equipment specifications are subject to
change without notification.
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Table of Contents 3
Table of Contents
1 About StudioRIP 13
1.1 Overview 14
1.2 The aim of StudioRIP 14
1.3 Features of StudioRIP 15
1.4 System requirements 16
1.4.1 StudioRIP Server 16
1.4.2 StudioRIP Client 16
2 Installation 17
2.1 Basic concepts 18

2.2 Performing the installation 18
2.2.1 Setting up the print engine 19
2.2.2 Installing an EtherSetter box 20
2.2.3 Legacy systems with interface boards 20
2.2.4 Connecting to a third party TIFF catcher 21
2.2.5 Setting up the network 22
2.2.6 Connecting from the Internet to a StudioRIP Server 22
4 2.2.7 Installing the hard key 23
2.2.8 Installing StudioRIP 23
2.3 Installing Clients 24
2.3.1 Installing PC clients 24
2.3.2 Installing Mac Clients 25
3 Getting started 27
3.1 Starting for the first time 28

3.1.1 Starting Print manager for the first time 28
3.1.2 Connecting the Client 29
3.1.3 Creating special Client shortcuts 30
3.1.4 Starting the Client for the first time 30
3.2 Setting up the network printers 32
User manual
3.2.1 Sharing the network printers 32

3.2.2 Setting up socket input 33
3.2.3 Setting up network printers on PC 33
3.2.4 Setting up network printers on Mac 34
3.3 Setting up the hot folders 34
3.3.1 Setting up the hot folders on a PC 34
3.3.2 Setting up the hot folders on Mac running OSX 35
3.3.3 Setting up the hot folders on a Mac running OS 9 or earlier 35
4 Finding your way around StudioRIP 37
4.1 The main window 39

4.2 Menu items 39
4.2.1 File menu 39
4.2.2 Calibration menu 40
4.2.3 Job menu 40
4.2.4 Imposition menu 41
4.2.5 Proof menu 42
4.2.6 Tools menu 42
4.2.7 Dockers menu 42
4.2.8 Help menu 43
4.3 Standard toolbar 43
4.4 Preview window 43
4.5 Dockers 44
4.5.1 Job browser 44
4.5.2 Calibration manager 45 5
4.5.3 Color profiles 45
4.5.4 Ink manager 45
4.5.5 Imposition styles 45
4.5.6 Job styles 45
4.5.7 Ghostscript console 45
4.5.8 Pre-press marks 45
4.5.9 Print manager 46
4.5.10 Users 46
5 Printing a job 47
Table of Contents
5.1 Opening a job 48
5.1.1 Using the StudioRIP printers 49
5.1.2 Using the socket input system 49
5.1.3 Using the hot folder system 50
5.1.4 Using the Open command of the Client 50
5.2 Processing a job 50
5.2.1 The Job queue 50
5.2.2 Processing phase 51
5.2.3 Preflight warnings 51
5.2.4 The Ghostscript console 51
5.3 Previewing and changing job 51
5.3.1 The viewer window and its controls 51
5.3.2 Separations view 52
5.3.3 Composite view 53
5.3.4 Imposition view 54
5.3.5 Media view 54
5.4 Performing other tasks on the job 55
5.4.1 Exporting to PDF or JPEG 55
5.4.2 Ink duct control 56
5.4.3 Proofing 57
5.4.4 Imposition 58
5.4.5 Retouching 58
5.5 Sending a job to the Print manager 59
5.6 Imaging a job with the Print manager 60
5.6.1 The Print manager docker 60
5.6.2 Receiving jobs in the Print manager 60
5.6.3 Starting the imaging 60
5.6.4 Pause mode 61
6 5.6.5 Changing the job list 61
5.6.6 Finishing the imaging 62
5.6.7 Commands and job flags 62
5.6.8 Print manager history 63
5.6.9 Archiving files 63
5.6.10 Cassette manager 63
5.6.11 Duplex mode buttons 64
6 Configuring StudioRIP 65
6.1 Job styles 66

6.1.1 Job styles manager 66
6.1.2 Job style window 67
6.1.3 Job input task 68
User manual
6.1.4 Interpretation task 68

6.1.5 Sizing task 70
6.1.6 Dispro task 71
6.1.7 Separations task 71
6.1.8 Trapping task 74
6.1.9 Calibration task 76
6.1.10 Screening task 77
6.1.11 Post-processing task 80
6.1.12 Imposition task 81
6.1.13 Proof color management task 82
6.1.14 Proofing task 83
6.1.15 Ink duct control task 84
6.1.16 Export image task 85
6.1.17 Positioning task 85
6.1.18 Saving TIFF task 88
6.1.19 Engine setup task 90
6.1.20 Imaging task 90
6.1.21 Job information task 92
6.2 Color profiles 93
6.3 Calibration 94
6.3.1 Understanding calibration 94
6.3.2 Print calibration page 95
6.3.3 Calibration manager 95
6.3.4 Calibration curve editor 96
6.3.5 Microscope-based dotmeter 97
6.3.6 Negative calibrations 98
6.3.7 Applying a calibration 99 7
6.4 Dot gain compensation 99
6.4.1 Understanding dot gain 99
6.4.2 Why use dot gain compensation? 100
6.4.3 Density based dot gain compensation 101
6.4.4 Spectrophotometer based dot gain compensation 101
6.4.5 Dot gain compensation wizard 101
6.4.6 Checking the dot gain 102
6.5 Ink manager 103
6.5.1 Ink manager window 103
6.5.2 Ink properties window 103
6.6 User management 104
6.6.1 Users window 104
Table of Contents
6.6.2 User properties window 105
6.7 Client options 105
6.7.1 General tab 105
6.7.2 Preflight tab 105
6.7.3 Shortcuts tab 106
6.8 Other settings 106
6.8.1 Server options 106
6.8.2 Connection settings 107
7 Print manager 109
7.1 Configuration 110

7.1.1 History cleanup settings 110
7.1.2 Print engine settings 111
7.1.3 Special settings 112
7.2 Non-standard scenarios 112
7.2.1 Installing Print manager on another computer 113
7.2.2 Installing two Print managers on the same PC using the Device manager 114
7.2.3 Print manager instance index 115
7.2.4 Interface board index 115
7.3 EtherSetter interfaces 115
7.3.1 Multiple EtherSetters per network 116
7.3.2 Default IP assignment 116
7.3.3 Static IP assignment 117
7.3.4 EtherSetter configuration file 117
7.3.5 Establishing connection, step by step 118
7.4 Configuring Epson printers 119
7.4.1 The Epson parameters 119
7.4.2 Printing on inkjet film or photosensitive material 123
8 7.4.3 Registering dead nozzles 124
7.4.4 Head alignment 125
8 Imposition 127
8.1 Understanding imposition 128

8.1.1 Separation, composite and imposition pages 128
8.1.2 Splitting jobs for imposition 129
8.1.3 Combining jobs for imposition 129
8.1.4 The imposition sheet 129
8.2 Imposition styles 130
8.3 Imposition properties 130
8.3.1 Placement tab 130
8.3.2 Gutters tab 131
User manual
8.3.3 Binding tab 131

8.3.4 Sheet tab 132
8.4 Manual imposition 133
8.5 Pre-press marks 134
8.5.1 Pre-press marks manager 134
8.5.2 Pre-press mark properties 134
8.6 Bleed 137
8.6.1 Understanding bleed 137
8.6.2 Using bleed with StudioRIP 138
8.6.3 Using the Crop with bleed command 139
8.7 Examples 139
8.7.1 Simple 2-up 139
8.7.2 Step and repeat 2-up 140
8.7.3 Simple book 4-up with gutters 140
8.7.4 Complex book imposition 140
8.7.5 Saddle stitched magazine 141
8.7.6 Imposition with bleed using PDF files 141
8.7.7 Imposition with bleed using PostScript files 142
8.7.8 Imposition with bleed using PostScript files and the expand with bleed feature 142
9 Screening 143

9.2 Understanding moiré 144
9.2.1 Traditional offset angles 145
9.2.2 The moiré between the cyan, magenta and black screens 146 9
9.2.3 The moiré between the yellow and other inks 147
9.2.4 The moiré between a halftone screen and a raster device 148
9.2.5 The moiré between the halftone screen and image elements 148
9.3 Understanding digital halftones 148
9.3.1 Threshold maps 149
9.3.2 Angle inaccuracy 149
9.3.3 Supercells 149
9.3.4 Patterning of individual colors 150
9.3.5 Limited number of shades 150
9.3.6 Poor highlight and shadow quality 151
9.3.7 Tonal jumps 151
9.4 Understanding stochastic screening 152
Table of Contents
9.4.1 Advantages 152
9.4.2 Disadvantages 152
9.4.3 First order FM screening 153
9.4.4 Second order FM screening 153
9.5 StudioRIP AM screening technique 153
9.5.1 High rendering speed 154
9.5.2 Consistent rosettes 154
9.5.3 Filtering out the patterning 154
9.5.4 Gray enhancement 155
9.5.5 Great highlight and shadow detail 155
9.5.6 Increased highlight quality for flexo 155
9.5.7 Low-pass filtering of the tonal jumps 156
9.5.8 Other advantages of the stochastic technique 156
9.6 StudioRIP FM screening technique 156
9.6.1 Second order stochastic screening 156
9.6.2 High rendering speed 156
9.6.3 Moiré free screening 157
9.6.4 Smooth look 157
9.6.5 Round and rounded dots 157
9.6.6 Different black and white dot size 157
9.6.7 Flexibility 157
9.7 Screening type settings 158
9.7.1 AM settings tab 158
9.7.2 FM settings tab 161
9.7.3 Limits tab 161
9.7.4 Density modulation tab 162
9.8 Test screen window 163
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10 P roofing 165

10.1.1 What is digital proofing for? 166
10.1.2 Contone proofs 166
10.1.3 Halftone proofs 167
10.1.4 Raster proofs 168
10.1.5 Comparison of proofing techniques 169
10.1.6 Color accuracy, ∆E 170
10.2 Setting up the proofing system 170
10.2.1 Spectrophotometer setup 170
10.2.2 Proofer linearization wizard 171
10.2.3 Contone proof wizard 172
10.2.4 Halftone proof wizard 175
User manual
10.2.5 Raster proof wizard 177

10.2.6 Test proof wizard 180
10.2.7 Color checker 181
10.3 Printing proofs 181
10.3.1 The proofing task 182
10.3.2 Proof job styles 182
10.3.3 Print proof command 182
10.3.4 Target ICC for contone 182
10.3.5 Photo printing 183
10.4 Adjusting the speed and quality 183
10.4.1 Light inks 184
10.4.2 Banding 184
10.4.3 Bidirectional mode 185
10.4.4 Comparison table of settings 186
11 Glossary 187
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Table of Contents
1
About StudioRIP 13
About StudioRIP
1.1 Overview
StudioRIP is a PostScript 3, PDF 1.7 (ISO 32000-1:2008), TIFF, JPEG and BMP compatible soft-
ware RIP, designed for high speed and high quality devices like platesetters or imagesetters, ink-
jet devices used for repro (CTP, CTF) or proofing purposes, laser printers or any other raster
printing devices. Unlike other RIP’s, all StudioRIP’s features are written into the core software,
eliminating the potential conflicts which exist in many plug-in workflow solutions.
The PostScript/PDF engine used by StudioRIP is RasterCore, a high performance software
optimized for Intel SSSE-3 compatible platforms. While the PostScript/PDF interpretation is do-
ne by Ghostscript from Artifex Software Inc., RasterCore uses its own code for screening, ren-
dering, trapping, overprint handling, object list management, transparency flattening, multi-
threading etc.
1.2 The aim of StudioRIP
StudioRIP is a high quality, comfortable and powerful pre-press workflow integrated into one
interface. The designers of StudioRIP had the special intention to:
Create an intuitive, easy to use, very visual interface, similar to the DTP applications that
14 the designers are familiar with, allowing jobs to be previewed at all levels of processing (sep-
arations, composite, imposition, media).
Integrate all workflow tasks into the same interface. All different tasks (job processing
and management, trapping, previewing, imposition, proofing, imaging, history) are inte-
grated into one interface, where each can be interacted with and managed from.
Keep the architecture flexible. StudioRIP can be used in small pre-press studios as sin-
gle-computer and single-engine installations, as well as in large publishing houses as multi-
computer and multi-engine installations, where various departments have to control the
workflow.
Offer full control. While various components of StudioRIP can be installed in various plac-
es of the building, designers and operators have full control of the whole workflow process
from their workstations.
Provide accurate color preview with continuous zoom. While some popular alternatives to
StudioRIP still offer two levels of magnification (microscopic and full page) and output col-
ored with over-bright inks without color management, StudioRIP’s preview has ICC color
User manual
management, moiré filtered continuous zoom and four levels (separations, composite, impo-
sition, media).
Match or surpass the speed and quality of the state-of-the-art in the RIP market, offering
several screening types that can be fine tuned for the special needs of each customer.
1.3 Features of StudioRIP
Compatibility: StudioRIP is designed for compatibility with Adobe’s cutting edge imaging
technologies: PostScript 3 and PDF 1.7.
Media saving: Saves potentially wasted material by automatically rotating and collecting
the pages to minimize the media usage.
Remote operation: Control of the rip on the desktop of every designer or operator, from
Mac or PC workstations. As the server application has no visual interface (it is an icon in
the system tray), the client application has full control over the RIP through any network
connection.
Built-in imposition: User definable styles, manual and automatic page arrangement, user
definable pre-press marks, bleed.
Built-in proofing: Dot for dot, contone and halftone proofing systems, simulating line
screens up to 200 lpi (dot for dot and halftone) or offering perfectly smooth output (contone)
with good color accuracy (typical average ΔE = 0.7 for contone and halftone).
Ink duct control: Prints a diagram or exports a PPF, JDF, BMP or JPEG file to control the
ink ducts of the printing press.
Trapping: Based on a raster based proprietary technology, StudioRIP trapping offers high
quality shapes (excellent behavior in junctions, in the proximity of a third color, and with
slightly different colors), speed and stability (due to the fast raster based algorithm), and
features like auto-choke of blacks. spot color traps, special ink handling, narrowed/propor- 15
tional traps, mitered traps, feathered and anamorphic traps etc.
Enhanced preview: Any job can be previewed at different levels (separations, composite,
imposition, media), using ICC-based color management (press and monitor ICC profiles
supported) and continuous zoom.
High speed: StudioRIP is one of the fastest rips available, several times faster than the ma-
jority of rips on the market.
Simultaneous operation: Several designers or operators can work simultaneously with Stu-
dioRIP, by connecting as many client applications as necessary to the server.
Flexible output: StudioRIP is designed to work with imagesetters, CTPs and inkjet print-
ers. It can use the StudioRIP EtherSetter interface or interface boards with imagesetters, and
the TIFF output can be used in conjunction with many CTP systems. It is also compatible
with most of the popular i32-type output plugins.
About StudioRIP
Multiple outputs: StudioRIP can drive multiple output devices simultaneously.
Flexo friendly: Flexo distortion and flexo screens (inlcuding several flexo specific hybrid
screening types) built in. Flexo printers can work with StudioRIP simply and easily, with-
out the need for extra programs.
Consistent rosettes: Our unique screening technique achieves consistent rosettes with a
pleasant look even in very adverse conditions (large page, low resolution, high line screen,
flexography angles).
Extra gray levels: Smooth gradients are guaranteed even on engines with serious technolo-
gy limitations by using more than 4000 gray levels on almost any resolution/frequency com-
binations.
Excellent color stability: Highlights and shadows are protected by our hybrid screening
method: instead of using dot sizes below a certain (user definable) limit, the dots are sto-
chastically removed.
Low-pass filtering: Using more than 4000 shades of grays is not enough for perfectly
smooth gradients, because high dot gain causes linearity problems even after calibration.
Using a stochastic technique, StudioRIP can filter out the linearity problems, offering pleas-
ant, smooth gradients even on old capstan imagesetters.
Protecting skin tones: Using a yellow screen of 30°, magenta and yellow screens will not
produce moiré at all.
Stochastic screening: A high quality second order stochastic screening technique offers
smooth tints with no graininess on individual films, and moiré free results on color jobs.
User-friendly interface: StudioRIP’s interface is easy to understand and simple to use. The
intuitive, attractive and simple interface give the same user experience on Mac and PC
workstations (with object trees, lists, dockers and drag & drop).
1.4 System requirements
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1.4.1 StudioRIP Server
System requirements:
Windows 8, Windows 7, Vista or XP (or newer), 32 or 64 bits, home, professional or server

Processor: SSSE-3 compatible, multi-core architecture recommended
RAM: at least 2 GB, performance may increase up to 16 GB even on 32 bit systems
HDD: at least 100 GB free space, an SSD partition for StudioRIP is recommended
LAN: for optional over-the-net remote client connections, gigabit recommended
1.4.2 StudioRIP Client

System requirements:
PC: Windows 8, Windows 7, Vista or XP (or newer), Mac: OS X 10.7 Lion (or newer)
User manual
Hardware: the performance critical tasks being done on the Server PC, there are no special
requirements, apart from the below
Display: Full HD resolution recommended
LAN: gigabit recommended
2
Installation 17
Installation
2.1 Basic concepts
For performing a simple installation without understanding the StudioRIP architecture or con-
figuring the network or imagesetter, go to section 2.2.8 Installing StudioRIP ‹page 23›. How- StudioRIP
Client, Server & Print Manager
ever, before installation, a general understanding of StudioRIP architecture is recommended.
This is beneficial because the real power of the StudioRIP is only fully realized when it is config-
ured to work in a network.
The StudioRIP package consists of three separate programs (i.e. executables):
Print Engine
(imagesetter, platesetter or printer)
Server, which does the actual processing work of the system, Basic configuration
Print manager, which interfaces with the print engines,
Client, which is the visual user interface for the system.
One, and only one, StudioRIP Server should be installed per site; it is the server that carries the
license (dongle). More than one Print manager can be installed (one for each print engine driv-
Print Engine StudioRIP
en by StudioRIP); and finally, multiple Clients can be installed, possibly one on each worksta- (imagesetter, platesetter or printer) Server & Print Manager
tion, the number determined by the number of simultaneous operators desired at the site. The
three programs of StudioRIP are separate units (executables), therefore each can be installed on
its own separate computer, or they may be grouped in any combination desired. If the StudioRIP
units are located on separate computers, the communication between them is done through the
network connection linking the machines. StudioRIP StudioRIP StudioRIP
Client #1 Client #2 Client #3
Some possible scenarios for installing the StudioRIP system are illustrated here: Recommended configuration
Basic configuration: the Client, Server and Print manager all run on the same computer,
and the print engine is connected directly to this computer.
Recommended configuration: there is a dedicated computer for the server application, but Internet
the clients are placed on different workstations and connect through the network with it. In StudioRIP
Client #1
this scenario each workstation is running a copy of the client, giving each operator full con-
trol over the RIP and the jobs they are sending to it. The Print manager is running on the
same machine as the Server.
StudioRIP
Advanced configuration: more than one Print manager is installed, possibly more than Server
one per computer (each Print manager has to be running on the computer where the inter-
face card is installed for the print engine connected to it, unless using EtherSetter interfaces StudioRIP
Print Manager #1
StudioRIP
Print Manager #3
which communicate through a network interface); clients, in addition to the regular intranet Print Manager #2
network connections, can connect over the internet also.
2.2 Performing the installation

StudioRIP StudioRIP Print Print Print
Having planned the StudioRIP system, start installing the appropriate parts on the computers. Client #2 Client #3 Engine #1 Engine #2 Engine #3
The recommended installation order is: Advanced configuration

Configure your network so that the different parts of StudioRIP can communicate with each
other (on a typical intranet LAN no modifications are necessary),
Install the interface board (if any),
Connect up the EtherSetter box (if any),
Ensure that the 3rd party TIFF catcher of the engine is running and configured (if any),
Set up the print engine for the connection with StudioRIP (including any Windows drivers
and Windows printer ports),
Install the Print manager(s) (if it will be running on different computers than the Server),
Install the StudioRIP Server (together with the Print manager and Client, if they will run on
the same computer),
Plug in the hard key (dongle),
Set up the print engine on the first launch of the Print manager (the installation process will
automatically prompt the user to do so),
Install the StudioRIP Clients on all workstations where needed,
Set up the job styles on the first launch of a Client (the installation process will automatical-
ly prompt the user to do these).
2.2.1 Setting up the print engine

Some print engines require configuration to enable proper communication with EtherSetter, SC-
SI or third party interface. Refer to the user manuals of these print engines to verify or set the
following: 19
Agfa (EtherSetter, PciAPIS, third party): no settings required.

Ultre (third party): no settings required.
Linotronic (EtherSetter, third party):
LI2 set up to 8/16 MHz Clock, Sender Master, Receiver Clock, By panel and LI5;
LI5 set up to 9600 baud, 8 bits, no parity, CTS/RTS.
Scangraphic (third party):
for HW772 or HW972, LI5 set up to 9600 baud, 8 bits, no parity, XON/XOFF;
for HW773 or HW973, set Data Input mode = FPI.
ECRM (SCSI, EtherSetter, third party):
Installation
Mako & Knockout series: Serial mode set to Overscan Mode = OFF → Image Offset =
100 units, Overscan Mode = ON → Image Offset = 300 units;
VR series with firmware v2.2.1 or newer: Interface set to Serial;
VR series with firmware under v2.2.1 (Highwater only): Interface set to Remote, then
HasSerial parameter in the appropriate file in the StudioRIP\HW folder set to 0.
EXXTRA (third party):
for HW774 or HW974 boards set Any Stop/Start mode except Controlled Backup;
for HW775 or HW975 boards set Stop/Start in Controlled Backup mode only.
Canon BX/JX (third party): Printer must have Canon buffer card installed;
Scitex Dolev (Highwater): see ‹page 11› in the Pci Plugin User Guide manual provided by
HighWater in PDF format on the installation CD.
2.2.2 Installing an EtherSetter box

See section 7.3 EtherSetter interfaces ‹page 115› for more detailed information on configuring
EtherSetters.
Connect the cable from the engine (imagesetter, CTP) to the EtherSetter.
Connect the network cable to the EtherSetter (either through a network switch or directly
from the LAN adapter of a PC).
Turn on the engine and wait for it to boot.
Connect the power cable to the EtherSetter. The power LED should light immediately and
the Ready LED should start flashing.
When the EtherSetter finished booting, after about 1 minute, the Ready LED should light.
20 Now the EtherSetter will establish communication with the imagesetter and having succeed-
ed will light the Engine link LED.
Assuming the StudioRIP has been installed on your PC (see 2.2.8 Installing StudioRIP
‹page 23› below), start the Print Manager for the first time. A wizard will appear to allow
you to choose your imagesetter from the list of available devices. Choose the driver, for ex-
ample EtherAPIS (for Agfa) or EtherLino (for Linotronic).
Once the Print manager is running, the PC link LED on the EtherSetter should light. If im-
mediate communication is not established the first time, try rebooting the EtherSetter and re-
starting the Print manager. For non-standard networks it may be necessary to configure the
EtherSetter manually, see 7.3 EtherSetter interfaces ‹page 115› for details.
2.2.3 Legacy systems with interface boards

Fit the engine interface card into the PC that will connect to the print engine. Connect and start
the print engine, then start the PC. It should say that it has ‘Found new hardware’. Point it to the
appropriate driver on the install CD or folder:
User manual
for a StudioRIP PciAPIS interface card, the driver is in the Drivers\PciAPIS folder,
for a Highwater Designs Ltd PCI interface card, the driver is in the Drivers\HighWater
folder.
2.2.4 Connecting to a third party TIFF catcher
In this scenario the use of the Print manager is optional. Some prefer to send the TIFF files di-
rectly from the Server to the third party TIFF catcher (the advantage being the simplicity and
speed), others prefer to use the Print manager with the TIFF output device driver (the advantag-
es being the History feature of the Print manger, the improved stability in case of unreliable net-
work access, the ability to define multiple output paths, as well as the access to special TIFF set-
tings). In either cases, follow the steps below:
Ensure that the TIFF catcher is running and that its input hotfolder is shared, write privileg-
es have been granted and that it is accessible to the PC running StudioRIP Server.
case of a networked TIFF catcher, try whether the network path of the hot folder is visible
In
and writable from the PC running StudioRIP Server. For example, enter the network path
(e.g. \\TiffCatcher\HotFolder\) into a Windows Explorer window, and check whether files
can be copied into the hot folder.
Write down the tested network path.
If Print manager with TIFF output driver will be used:
In the New print engine wizard of the Print manager (see 3.1.1 Starting Print manager for
the first time ‹page 28›) choose your device, and select DrvTiff.dll from the list of avail-
able drivers; 21
if your device doesn’t appear in the list or doesn’t list the DrvTiff.dll driver, choose the Cus-
tom TIFF output device.
Enter the hot folder path of the third party TIFF catcher into the Driver parameters field;
In the Add print engine wizard of the Client application (see ) connect to the Print manager
(do not modify the TIFF hot folder location setting here!);
In case your device wasn’t listed, and you had to choose the Custom TIFF output device, in
the next step of the wizard set up the device parameters (resolutions, sizes etc.).
multiple paths will be used (e.g. TIFFs of different sizes or resolutions have to go to dif-
If
ferent hot folders), you can set a different path for each job style in the Saving TIFF tab (see
6.1.18 Saving TIFF task ‹page 88› by creating an Output path item with the desired path
as its value.
If no Print manager will be used:
Installation
In the Add print engine wizard of the Client application (see 3.1.4 Starting the Client for the
first time ‹page 30›) choose the No print manager option;
Enter the hot folder path to the TIFF hot folder location field;
In the next step of the wizard set up the device parameters (resolutions, sizes etc.).
2.2.5 Setting up the network
In most cases, StudioRIP installation will require no special configuration of the existing com-
puter network. However, in special cases (interconnected networks, clients connecting from the
internet into a firewalled intranet), the network administrator will find the information below
useful to configure the local network for StudioRIP compatibility.
There are two communication channels that StudioRIP uses between its components:
The Client(s) connects to the Server, by default, through TCP port 4024, therefore the com-
puter running the Server has to expose port 4024 to incoming connections. The port num-
ber can be modified to a new setting, applied to both the Server and the Client. If this setting
does not match on Server and Client, communication is not possible.
StudioRIP Server connects to the Print manager(s) normally through TCP port 4025, but if
2 or more Print manager applications are running on the same PC, further TCP ports will
be used (with port numbers assigned incrementally from 4025, i.e. 4026, 4027, etc.). There-
fore any computer running a copy of Print manager has to expose port 4025 (and 4026, 4027,
etc, whichever apply) to incoming connections.
It is important that these TCP channels are open between the Clients, the Server, and the Print
managers. On a typical internal LAN network, all ports are freely accessible on all machines on
the network, therefore no special configuration is necessary. If there are firewalls or other obsta-
22 cles in the system that could obstruct access to these ports, remove them or configure them prop-
erly. Software protecting individual PCs from outside attack such as the Windows Firewall will
block the ports required by StudioRIP, and they will have to be configured to allow communica-
tion through the above listed ports.
If access to the StudioRIP system from the Internet is required, TCP port 4024 has to be
opened (and forwarded, if the computer does not have a public IP address), to give the Cli-
ents access.
2.2.6 Connecting from the Internet to a StudioRIP Server

If the PC running the Server has a public IP address, then opening port 4024 on the firewall pro-
tecting the network should be sufficient to allow access. If opening port 4024 proves impossible
for some reason, change the TCP port used to some other commonly used port number (such as
the ones used by HTTP, FTP, POP3 etc., which presumably are already open and no further net-
User manual
work configuration will be necessary), on both the clients and on the server (on the server, modi-
fy the connection settings by right-clicking the server icon and entering the Settings menu).
If the StudioRIP Server has a local IP, the router has to be configured to forward TCP port
4024 on its public IP to the local IP address of the PC running the StudioRIP server.
Example: the device acting as a router has the public IP of 83.103.131.214, and the StudioRIP
server is running on the PC with a local IP of 192.168.0.3. To achieve a connection, TCP port
4024 on the device with the public IP 80.103.131.214 has to be mapped to the TCP port on the
PC with the local IP of 192.168.0.3. This will mean that the incoming connections for the Studio-
RIP server will be automatically redirected to the local PC which is actually running it.
If Clients are granted access via the Internet, use StudioRIP’s password control (otherwise un-
authorized people could take control of StudioRIP and the print engine). See 6.6 User manage-
ment ‹page 104› about how to protect StudioRIP with password control.
StudioRIP Server cannot be accessed through a proxy server, only via direct TCP connec-
tion.
2.2.7 Installing the hard key

StudioRIP is protected by a USB hard key (dongle). The hard key protects only the Server appli-
cation; it has to be installed on the computer that runs the Server. It is recommended to plug in
the hard key only after the StudioRIP sytstem has been installed.
A common problem with the hard key is that the USB ports are not installed properly in Win-
dows (this happens quite often with USB 2.0 ports, which may require drivers from the install
CD of the motherboard). If the hard key does not work correctly, carefully check that the USB
port is working properly.
If the hard key is not installed, StudioRIP runs in Demo mode. In Demo mode all the functions
of StudioRIP will work properly, but the a watermark will be printed all over the pages. 23
2.2.8 Installing StudioRIP
The StudioRIP setup program will have to be run on each PC that will have any StudioRIP com-
ponents installed on it. Within the setup program the user can select which components to install
on any given machine. The setup choices are explained below.
Insert the StudioRIP setup CD. It will automatically launch the setup program. The installa-
tion can also be started manually by running Setup.exe from the setup folder.
Before launching the installer, a small dialog box will ask for the language to use. It is de-
faulted to match the language setting of the operating system.
Step 1: Choose which installation type to perform. The options are self explanatory. A com-
mon mistake is to choose full install when no Print manager will be used – pay attention to
chosing the right option.
Step 2: if custom install has been chosen, select which parts of the program to install. Here
Installation
the user can decide whether the three files types (PRN, PS and EPS) will be associated with
StudioRIP.
Step 3: choose the destination folder where StudioRIP will install the data folders and the
executables. It is critical to choose the right location for the data folders, as StudioRIP will
intensively use it – use an SSD partition if possible. It is recommended though to keep the
program files at their default location.
Changing the file locations of an existing installation can be done by running the Setup
and specifying the new location. The data files from the old location will be safely moved
into the new location.
StudioRIP will need large areas of HDD space for storing the 1-bit files. If your PC has mul-
tiple drives or the HDD has multiple partitions, choose the biggest one for the data files.
Step 4: if this installation is a re-install or an upgrade of the Server, choose whether to per-
form a clean install, or to keep some of the old settings.
Step 5: if a previous install of the Print manager is detected, three choices will be offered. 1.
Installing a new instance (for systems with more than one print engine connected to the
same computer). 2. Perform a clean install, or, 3. For re-installations and upgrades, keeping
some of the settings of the previously installed Print manager.
Step 6: after the Setup program performs the installation, there are a number of choices:
Set up the automatic launch of the server applications on startup; this is recommended for
simple installations;
Register the server applications as system services; this is generally not recommended
due to the lack of user control over system services (e.g. no tray icon, starting/stopping is
24 only possible from the Services application of Windows), use it only in justified cases;
Step 7: If the two ‘Launch now’ boxes are ticked, the Server and Print manager will start im-
mediately. On first startup, the Print engine setup wizard will open; follow the instructions
in section 3.1.1 Starting Print manager for the first time ‹page 28›.
2.3 Installing Clients
2.3.1 Installing PC clients

Multiple copies of the Clients can be installed within the network, one on each computer that
may want to control the RIP. In most cases any workstation on the network will require the Cli-
ent.
Normally the StudioRIP Client is automatically installed as part of a full install (together with
User manual
the Server and Print manager). However, on workstations it will have to be installed separate-
ly. Installing StudioRIP Client is extremely easy: start the StudioRIP setup program and choose
the StudioRIP Client option under Step 1 of the installation procedure.
The StudioRIP Client application is not just a remote visualization of the server window; it is
actually a completely independent program that communicates with the server. If two or more
Clients are connected to the server, each can act independently, previewing different jobs, for ex-
ample. The only clue that another Client is also connected to the Server is that sometimes jobs
will be started, stopped, modified etc. So a design studio with designers at 10-20 workstations
can install the Client on each of the workstations. Each designer will be able to control the whole
printing process, viewing their own or others’ jobs from their workstations.
2.3.2 Installing Mac Clients

Starting from StudioRIP XF release, Client can run natively on a Macintosh workstation run-
ning Mac OS X (the minimum requirement is 10.7 Lion). As no specific tasks are necessary on
a Mac Client installation, there is no separate installer app. Instead, just simply copy the con-
tents of the Mac folder from the CD onto the Mac, and the Client will be ready to connect to the
Server.
25
Installation
3
Getting started 27
G etting started
3.1 Starting for the first time
After the installation, when the server programs (StudioRIP Server and Print manager) are
launched, their normal running state is shown by a system tray icon, as these programs don’t
have graphical interfaces (except a few dialogs). The user interface will be provided by the Stu-
dioRIP Client application.
The two server applications can be stopped by right-clicking their icons in the system tray and
clicking Exit. They can be restarted using their Start menu or desktop icons.
If the servers are running as system services, the icons will not appear. Use the Services
administrative tool to stop/start these programs. If settings changes are necessary, stop
them and then restart them as regular applications.
On startup, the Server and Print manager will open their TCP ports to listen for incoming con-
nections (port 4024 for Server and 4025 or higher for Print manager). Some operating systems
or security applications will ask whether these programs should be allowed to open these ports.
Let StudioRIP Server and Print manager open the TCP ports! Otherwise, they will not be
able to work properly. If there are options available for permanently remember this set-
28 ting, check them.
When Print manager is started for the first time, the Print engine setup wizard will be started.
The next chapter describes how this wizard has to be completed.
3.1.1 Starting Print manager for the first time

When StudioRIP Print manager launches for the first time (and any other times it detects that
no print engine is set up, or if the Change print engine menu item is selected), it starts the Print
engine setup wizard. In this section, the term print engine refers to the physical device connected
directly or indirectly to the PC and that will produce the output.
Please select the print engine from the top drop down list. By choosing the print engine to
be used with StudioRIP, the Driver properties box will be automatically filled in with the best
choice. For example, if Agfa AccuSet 1000 is chosen, the choices will be either to drive it with
the StudioRIP’s EtherSetter box, PciAPIS board or HighWater’s HW976 interface board. Stu-
dioRIP will detect which of these boards is present in the system, and will automatically select
User manual
the correct one.

If the interface board is not yet installed, the wizard will warn about it, but will not prevent
completion of the setup process.
If the print engine is connected via a TIFF catcher, and Print manager will be used to transfer
the TIFF files (instead of the direct output from the Server), the Driver parameter should be set
to the network path of the default hot folder of the TIFF catcher (note that several different hot
folders can be used through the Engine setup task of the job style).
If the print engine to be connected to StudioRIP uses a Windows communication port (typi-
cally an inkjet printer), choose the right port in the Communication port box. Normally this is
straightforward, as the port name is similar to the engine name (e.g. SPOOL: Epson Stylus Pro
7900), but it might be difficult if it is driven directly through its USB port (e.g. USB: USB2.0
Printer).
The easiest way to drive Epson printers is through the Windows spooler, thier ports hav-
ing the ‘SPOOL:’ prefix. However, better performance and control can be achieved through
USB or TCP ports.
Devices installed as Windows printers (e.g. inkjet or laser printers) can also be set to use the
Windows print spooler. As a last resort, this option is always available: choose the right print-
er with the ‘SPOOL:’ prefix in the Communication port box. This is necessary when the use of
the communication port is difficult or impossible (the print engine is connected through Ethernet,
Fireware port etc., or the USB port is shared for other functions).
If the print engine to be connected to StudioRIP uses exclusively the Windows print spooler
(i.e. it is a windows monochrome printer, such as a HP LaserJet 4000), the Windows printer box
will become active, allowing the user to choose the printer.
29
Monochrome Windows printers can be driven using the Windows monochrome printer
device, and then choosing the right printer from the list.
3.1.2 Connecting the Client

Once the StudioRIP Server and Print manager are running, the StudioRIP Client can be started
on the local computer or on a workstation on the network:
On the server PC, the Client can be started by its menu shortcuts (Start button → Pro-
grams menu → StudioRIP or desktop icon) or by double-clicking on the StudioRIP Serv-
er icon in the system tray. The Client should start and connect to the Server without error
messages.
On a network workstation, the Client can be started by its menu shortcuts (Start button ›
G etting started
Programs menu › StudioRIP or desktop icon). The first time the client is run an error mes-
sage will appear, because it will be unable to connect to the server on the local machine; click
Cancel, which will bring up the Connection settings dialog box. Fill out the box (normally
only the IP address of the server has to be entered), then click OK. See section 6.8.2 Connec-
tion settings ‹page 107› for more details about the connection settings dialog box.
If StudioRIP Client fails to connect to the Server, the Server is verifiably running, and the host-
name or IP address was entered correctly, then there may be a firewall between the Client and
Server. See section 2.2.5 Setting up the network ‹page 22› for further details.
Antivirus, firewall or other protection software often causes connection problems be-
tween the Client and Server. Connection failure or blocked communication after a suc-
cessful connection can both be caused by such software.
3.1.3 Creating special Client shortcuts

Creating special shortcuts may be desirable in some situations, such as:
connecting to several StudioRIP Servers from the same PC;

logging in as different StudioRIP users to the same Server;
running the Client in various languages.
In such cases a different Client shortcut can be generated for each connection mode using the
Create shortcut button in the Connection settings dialog. Although this is the preferred method
for generating shortcuts, it might be useful to know that the generated shortcuts will use one or
more of the following command line parameters:
30 connect: the host name or IP of the Server;

port: the TCP port number;
compression: the JPEG compression used for sending the preview images over the network
(0 = no compression, 1–100 = quality);
login: the login name
password: plain password;
encodedpassword: encoded password (generated by the Create shortcut button in the Con-
nection settings dialog);
language: the code of the requested language;
fullscreen: starts up the Client in full screen mode.
The usage of the command line parameters is RipClient.exe /ParameterName1: “ParameterVal-

ue1” /ParameterName2: “ParameterValue2” etc.
3.1.4 Starting the Client for the first time

User manual
If the Client successfully connected to the Server, the Add print engine wizard will be launched
automatically for first-time configuration. This wizard can also be launched manually at some
later time from the File menu. As the print engine is already set up in the Print manager, the cli-
ent will first try to connect to the Print manager and to acquire the print engine information.
Therefore the Print manager should already be set up and running at this point (except in the
case when no Print manager will be used).
The following choices are available:
Sharing the same computer with the server: for default setup (one Print manager installed
on the same PC as the Server); no additional settings are needed.
Different computer (name or IP): if the Print manager is on a different computer than the
Server application, it will be necessary to specify the IP number or host name of that com-
puter.
No Print manager: if connecting to a third party TIFF catcher without a Print manager,
speficy the hot folder location of the TIFF catcher. The [StudioRIP] section in the path string
will be replaced by the Server application to the path of the StudioRIP data folder.
Print manager instance index: if more than one Print manager application is running on
the same PC, it will be necessary to specify its instance index (1 for the first one, 2 for the
second one, and so on). Changing the index will also modify the port number and the hot
folder location automatically.
Print manager TCP port number: normally it is automatically changed together with the
Print manager instance index setting, change it manually only if a special setup is needed.
TIFF hot folder location: the path of the hot folder expecting the TIFF files generated by Stu-
dioRIP. Normally the folder name is automatically changed together with the Print manag-
er instance index setting. If Print manager runs on a network computer, the share name of
the hot folder needs to be entered here, see 7.2.1 Installing Print manager on another com- 31
puter ‹page 113›. If StudioRIP will be connected to a third party TIFF catcher without us-
ing the Print Manager, the path of the hot folder needs to be entered here.
The hot folder location is relative to the Server. It may be easier to run the Client on the
Server PC for this setup, to avoid confusion.
If the connection to the Print manager has succeeded, the print engine information will be
retrieved and filled in automatically. If no Print manager is being used, the engine type will
have to be specified at this point;
Print engine properties can also be modified manually, or a custom print engine can be cre-
ated by filling out the fields;
The Short name field is the device name used in StudioRIP’s user interface (so it’s preferred
to be short indeed, e.g. use PT-R 4300 instead of Screen PlateRite 4300);
G etting started
The Available media sizes field is a list of media widths (e.g. 14), media sizes (e.g. 12×18),
sheet sizes (e.g. A3) or plate size (e.g. GTO SM74), separated by comma or semicolon (fol-
lowed by space!). The measuring unit definition is at the end of the line (e.g. in, cm, mm).
More complex definitions are also possible (margins can be defined in brackets after each
size definition), but this is rather designed for pre-defined devices; for custom definitions,
it’s recommended that these are defined later in the Job style dialog.
The Available resolutions field is the list of the avaliable device resolutions, separated by
comma or semicolon, and closed by the measuring unit definition (dpi or dpc).
The Contone device field specifies whether the print engine is, from the point of view of the
RIP, a continous tone device (i.e. expecting grayscale image data for its black/color chan-
nels), as opposed to most pre-press devices (CTP, imagesetter, inkjet and laser printers)
which are generally seen as halftone devices (i.e. the RIP will use a screening technique to
reach continous tone image). For example, StudioRIP’s OKI driver does the halftoning in-
ternally, so the RIP sees it as a contone device, sending 16-bit image data for each CMYK
channel to the driver.
The Composite device field specifies whether the print engine is color (e.g. inkjet printer)
or monochrome (e.g. CTP, imagesetter, laser printer). Note that composite devices may be
used as monochrome, for example inkjet printers with inkjet films, in which case this field
needs to be unchecked.
The Printer inks field specifies the inks (colorants) used by the composite device (on certain
models, in a specific order). Each colorant is described by one of the following characters: C,
M, Y, K, c, m, y, k or l. For example, KCMYcm means that the printer has black, cyan, ma-
genta, yellow, light cyan and light magenta colorants, and it expects the printing informa-
tion to arrive in this order.
The wizard will automatically create job styles for the resolutions and media sizes selected
in the window; check only the combinations that are necessary, thereby avoiding overcrowd-
32 ed lists later.
Further job styles can be created later with the Create copy button of the Job styles docker.
See chapter 6.1 Job styles ‹page 66› for further details.
3.2 Setting up the network printers
3.2.1 Sharing the network printers

By default, StudioRIP will automatically create a shared Windows printer for each job style cre-
ated (these printers can then be used from any Windows application on the PC or from the net-
work). This behavior can be turned off by checking the Limit number of printers box in the Tools
→ Server options dialog, and specifying the maximum number of printers that will be automati-
cally created. The Share the created printers box in the same dialog specifies whether the the cre-
ated printers will be visible from the network by default.
User manual
The settings above affect only the default values that the job styles are set to when a new job
style is created, but they can be changed for each job style at creation time or even later. Also,
the share name of the created printers can be edited in the properties of each job style (see 6.1 Job
styles ‹page 66›). It is recommended that short share names are chosen if workstations run-
ning Mac or older Windows systems are to be connected.
3.2.2 Setting up socket input
In certain cases, accessing network printers might prove to be difficult (Mac users are often com-
plaining of being unable to see shared PC printers). In such cases direct socket input can be the
solution: the PC or Mac workstation will set up a local printer which will print to a TCP port.
This will avoid the use of any network protocols above the TCP/IP layer, thus avoiding potential
compatibility issues. Also, it will let the user install the Postscript driver locally, using only the
PPD file (rather than downloading the driver through the network).
Setting up socket input does not need any special action taken by the user, TCP port numbers
are assigned to StudioRIP printers by default (that is, to each job style that doesn’t have print-
er creation turned off) incrementally from 9100 (the local printers also use the same socket input
system). It is also possible to set up only socket input, without setting up the Windows printer, or
to specify a desired TCP port number rather than the automatically assigned one (see 6.1.2 Job
style window ‹page 67›).
The TCP port number assigned to a job style can be seen in the TCP port field of the job style
window. Note that this field is set to auto when the socket input is set up, and the assigned TCP
port can be seen only on subsequent visualizations.
On client side, create a Postscript printer using a PPD file (which can be created using the
Save PPD file button on the Job styles docker), then connect it to the IP number of the Server PC
and the TCP port number of the job style. StudioRIP socket input uses the Raw protocol – that
is, no protocol is used at all, the Postscript information is written directly to the TCP port, then
the port is closed. 33
When printing form a Mac workstation, the Mac printer Queue can be setup as follows:
open the printer setup utility found within the system preferences;
add a printer (using the plus button);
select the protocol and set up the address (either the server name or IP address followed by
a colon and then the port number);
the Print using field by the appropriate PPD (the one generated from Job styles docker as
fill
shown above is recommended);
Click the Add button to add the printer the Print Manager List. This concludes the printer
setup and it is now ready to be used.
Note: The system of setting up may differ with different versions of Mac OSX but the principle re-
mains the same for all versions.
G etting started
3.2.3 Setting up network printers on PC
Unless the operating system or a firewall is blocking them, the shared printers should be visible
from the workstations. (Depending on which operating system is being used, look in either Net-
work, Network Neighborhood or My Network Places and search for the server PC.) By right-
clicking on its icon and choosing Connect, the drivers will be installed on the local PC, and a lo-
cal printer will be created and connected to the shared printer on the server.
Note: Windows XP or newer systems may detect and install the shared network printers auto-
matically. These will appear in the Printers and faxes window of the workstations. In this case
manual installation will not be necessary.
Once the network printers are installed on the workstation, they can be used just like any oth-
er network printers, and all the jobs sent to them will be captured by the StudioRIP Server ap-
plication.
3.2.4 Setting up network printers on Mac

Mac workstations using OS X can use the shared network printers without modification. Use
the Add printer utility to connect to the printer. Mac workstations using Mac OS 9 or earlier can
also connect without modification if the StudioRIP Server is running on a PC with an NT Serv-
er OS (e.g. Windows 2003 Server), provided this has services for Macs installed (file and printer
sharing). Neither of these cases needs third party applications.
If connecting to a network printer fails, consider using direct socket input (see 3.2.2 Setting up
socket input ‹page 33›).
With Mac OS 9 running on the Mac workstations and XP (or other non-server OS, earlier
than Windows Vista) on the server PC, Miramar PC MacLan or other third party software
will be needed.
34
3.3 Setting up the hot folders
Using the hot folder system is a fast and easy way to send previously created PDF or PS files
from the workstations.
The working principle of the hot folder is the following: there is a root hot folder (located in the
data folder specified during the installation, on Win8/Win7/Vista systems the default is C:\Pro-
gramData\StudioRIP\Hot folder, and on XP systems the default is C:\Documents and Set-
tings\All Users\Application data\StudioRIP\Hot folder), containing one folder for each job
style, bearing the same name as the job style, keeping the same subfolder structure as the job
styles themselves.
If files are dropped into these hot folders, they will be processed using the appropriate job style
(i.e. bearing the same name and being within the same subfolder structure as the job style itself).
For example, if two job styles are being used named 170 lpi offset and a 150 lpi flexo, shortcuts
User manual
can be created on the desktop to these two hot folders (created automatically by the StudioRIP
in the root hot folder), and then any files dropped into these shortcuts will be processed with the
appropriate job style.
3.3.1 Setting up the hot folders on a PC

On a PC, setting up the hot folders is done by a one-button click in the Client:
Start the Client application and connect it to the Server,
Go to the Job styles window,
Highlight the job style to create a hot folder for,
Press the Create shortcut button.
The shortcut to the hot folder will be created on the desktop. It can be moved if necessary.
3.3.2 Setting up the hot folders on Mac running OSX

First create any shortcuts on a PC (if there is no other PCs in the network, launch the Client on
the server and create the shortcuts there). This will force the hot folders to be shared on the net-
work (a folder named HotFolder will appear when browsing the Server from the network).
On the Mac: Use ‘Go → Connect to Server’, then browse to find the StudioRIP Server PC
and its hot folder. Mount HotFolder and/or its subfolders. Each job style has its corresponding
subfolder, bearing the same name. You may want to add aliases to these folders on the Desktop.
3.3.3 Setting up the hot folders on a Mac running OS 9 or earlier

Using PC Maclan (does not work on Vista or Win 7 – XP only) the subfolders of the hot folder
(job styles) must first be shared on the StudioRIP server PC. (This is not the same as the built-
in Windows sharing.) Right-mouse click on the folder to be shared, and select Appletalk sharing.
Moving to the Mac: In the Chooser select Appleshare. The StudioRIP server PC (running Ma-
clan) should be visible. Highlight it and click OK. 35
The shared folders will now be listed. Select the correct folders from the list (ticking Connect
at startup to avoid doing this every time the Mac is restarted). Each selected folder will now ap-
pear as a desktop icon.
G etting started
4
Finding your way 37
around StudioRIP
Finding your way around StudioRIP

Menu bar
Main toolbar
Context toolbar
Preview tabs
Preview tools
Docker
Preview window
38 Ruler
Docker
Preview tools
Status bar
User manual
The entire StudioRIP system is controlled by the Client application(s), which exhibit the inte-
grated graphical user interface of the StudioRIP Server and Print manager applications. This
chapter will present the Client application.
4.1 The main window
As shown on the picture on the next page, the main window contains the following controls:
Menu bar, located at the top of the main window,

Standard toolbar, located under the menu bar, containing buttons for common operations,
such as Open,
Context toolbar, changing its contents depending on the current view (separations, compos-
ite, imposition, media),
Four preview windows for the four views; the view can be changed by the tabs at the top of
the windows,
preview tools to the left of the preview windows,
7
Preview settings bar under the preview windows,
Two holders for dockers to the right of the preview windows (customizable),
Two buttons (Hide/show dockers and Auto-hide dockers) controlling the behavior of the
docker panel, see 4.2.7 Dockers menu ‹page 42›. 39
Status bar at the bottom of the window.

4.2 Menu items
4.2.1 File menu

Open: opens a PostScript, EPS, PDF, JPEG, BMP or TIFF file for processing. The opened
file will be uploaded to the Server through the TCP communication channel, and processed.
Add print engine wizard: starts the Add print engine wizard. See section 3.1.4 Starting the
Client for the first time ‹page 30› for more details.
New job style: adds a new job style by showing the Job style window. See section 6.1 Job
styles ‹page 66› for more details.
Job styles: shows the Job styles (docker) window. This window manages the available job
styles in the StudioRIP system. If this window is docked to a holder, it will be brought to the
foreground. See section 6.1 Job styles ‹page 66› for more information.
Upgrade license: opens the License upgrade window. This window allows the on-site up-
date of StudioRIP. Contact your local dealer for more details on enabling currently disabled
features.
Show licenses: opens the License window. This window shows the options enabled on the
hard key, and therefore available with the current StudioRIP license. Contact your local
dealer for more details on enabling currently disabled features.
Exit: quits StudioRIP client only. The Server will still be running, and other users will be
able to work through other connected Clients.
4.2.2 Calibration menu

New calibration curve: creates a new calibration curve by showing the Calibration curve ed-
itor window. See section 6.3.4 Calibration curve editor ‹page 96› for details.
Print calibration page: opens the Print calibration page window, used for printing calibrat-
ed or un-calibrated test pages. These pages can then be measured with a densitometer to cre-
ate or check calibration curves. See section 6.3.2 Print calibration page ‹page 95› for fur-
ther details.
Dot gain compensation: opens the Dot gain compensation window, used for adjusting the
dot gain of the printing press to match an ICC profile. See section 6.4 Dot gain compensa-
tion ‹page 99›.
Calibration manager: shows the Calibration manager (docker) window. This window man-
ages the available calibration files in the StudioRIP system. If this window is docked to a
holder, it will be brought to the foreground. See section 6.3.3 Calibration manager ‹page
95› for more information.
40 Define new ink: creates a new ink by showing the Define ink window. See section 6.5.2 Ink
properties window ‹page 103› section for details.
Ink manager: shows the Ink manager (docker) window. This window manages the available
inks in the StudioRIP system. If this window is docked to a holder, it will be brought to the
foreground. See section 6.5.1 Ink manager window ‹page 103› for further details and more
information.
Add color profile: adds a new ICC/ICM color profile to the StudioRIP system. See section
6.2 Color profiles ‹page 93› for details.
Color profiles: shows the Color profiles (docker) window. This window manages the avail-
able ICC/ICM color profiles available in the StudioRIP system. If this window is docked to
a holder, it will be brought to the foreground. See section 6.2 Color profiles ‹page 93› for
more information.
4.2.3 Job menu

User manual
Stop job: stops processing the selected job, but the previously processed pages will remain
available.
Delete job(s): deletes the selected jobs in the Job browser window.
Combine jobs: transforms the selected jobs into one job, containing all the pages of the orig-
inal jobs.
Split job: creates a new job, extracting the selected pages from the original job.
Merge plates: merges the selected plates of a job, resulting in one plate. The source plates
will be deleted, except the last one selected (the plate which is visible in the preview win-
dow), which will contain the result of the merge.
Export image: exports one or more pages from the job to JPEG files. See section 5.4.1 Ex-
porting to PDF or JPEG ‹page 55›.
Ink zone calculation: calculates the ink coverage for each ink zone in order to adjust the ink
ducts of an offset press. See section 5.4.2 Ink duct control ‹page 56›.
Job information: displays the Job information window, containing information about the
job, as well as the pre-flight warnings (if any).
4.2.4 Imposition menu

Imposition: opens the Imposition window, used for making new impositions, usually with-
out saving the imposition style. See section 8.3 Imposition properties ‹page 130› for more
details.
Clear imposition: removes the imposition, and initializes the job to its initial state (before
any imposition).
Imposition styles: shows the Imposition styles (docker) window. This window manages the
available imposition styles in the StudioRIP system. If this window is docked to a holder,
it will be brought to the foreground. See section 8.2 Imposition styles ‹page 130› for more
information. 41
Select pages on sheet: selects all the objects (pages and pre-press marks) on an imposition
sheet.
Add page to sheet: adds a new page to an imposition sheet. See 8.4 Manual imposition

‹page 133›.
Delete selected pages on sheet: deletes the selected pages on an imposition sheet. See 8.4
Manual imposition ‹page 133›.
Add prepress mark: opens the Add prepress mark window, used for adding new, user-de-
fined prepress marks. See section 8.5.2 Pre-press mark properties ‹page 134› for more in-
formation.
Prepress marks: shows the Prepress marks (docker) window. This window manages the
available prepress marks in the StudioRIP system. If this window is docked to a holder, it
will be brought to the foreground. See section 8.5.1 Pre-press marks manager ‹page 134› for
more information.
Crop with bleed: shows the Crop with bleed window, used for cropping pages. The cropped
parts will remain available as bleed. See section 8.6.3 Using the Crop with bleed command
‹page 139› for more information.
4.2.5 Proof menu
Proof: prints a raster proof of one or more pages of a job on a proofing device. You need to
have a raster proof job style created first. See sections 5.4.3 Proofing ‹page 57› and 10.3
Printing proofs ‹page 181› for details.
Spectrophotometer setup: connects a spectrophotometer to StudioRIP. Spectrophotome-
ters will be needed for setting up the proofer. As all wizards under the Proof menu will re-
quire an installed spectrophotometer, using the Fake spectrophotometer device could be use-
ful in case you don’t have one, and it is possible to perform an operation without an actual
measurement. See 10.2.1 Spectrophotometer setup ‹page 170› for further details and more
information.
Proofer linearization wizard: calibrates the proofer to give a linear output. See 10.2.2 Proof-
er linearization wizard ‹page 171› for details.
Contone proof wizard: profiles a color printer in contone printing mode, creates the ICC
profile of the printer, and creates a contone proof job style. See 10.2.3 Contone proof wizard
‹page 172› for details.
Halftone proof wizard: profiles a color printer in halftone printing mode for the specified
target job style, creates the ICC profile, and creates a halftone proof job style. See 10.2.4
Halftone proof wizard ‹page 175› for details.
Raster proof wizard: creates a raster proof job style, profiling the printer in raster proofing
mode. 10.2.5 Raster proof wizard ‹page 177› for details.
42 Test proof wizard: tests the color accuracy of an ICC based proof job style. See 10.2.6 Test
proof wizard ‹page 180› for details.
Color checker: compares a reference color (CMYK or Lab values) to a measured color, dis-
playing the ∆E result.
4.2.6 Tools menu

Connection settings: shows the Connection settings window, managing the settings of the
Client–Server connection (such as IP address, JPEG compression etc.). The language of the
Client can also be changed here (i.e. effective only locally). See section 6.8.2 Connection set-
tings ‹page 107› for further details.
Client options: shows the Client options window, managing the settings of the Client appli-
cation (i.e. effective only locally). See section 6.7 Client options ‹page 105› for further de-
tails.
Server options: shows the Server options window, managing the settings of the Server ap-
User manual
plication (i.e. effective globally). See section 6.8.1 Server options ‹page 106› for further de-
tails.
4.2.7 Dockers menu

Hide/show dockers: hides or shows the entire panel on the right side of the Client window,
making the Preview window full width.
Auto-hide dockers: hides the entire panel on the right side of the Client window automat-
ically, making the Preview window full width, but automatically shows it if the mouse is
moved to the right side of the Client window (similarly to the auto-hide taskbar feature of
Windows).
Dockers: show or hide the docker selected in the menu. If this window is floating or docked
to a holder (even if hidden by another docker), it will be closed. If it is invisible, it will be
shown (either as a floating window or as a docker, depending on the default state of the win-
dow).
For the description of the dockers, see 4.5 Dockers ‹page 44›.
4.2.8 Help menu

User manual: downloads and opens the StudioRIP user manual in the embedded PDF view-
er of the default web browser.
StudioRIP on the web: opens the StudioRIP home page.
About: shows the version and copyright information of StudioRIP.
4.3 Standard toolbar
Placing the mouse cursor over a button will trigger the display of the tool tip (a short explana- 43
tion in yellow background) for the button. The standard toolbar contains mostly icons which are
doubling menu items (such as Open, Connect etc.), explained in the previous chapter. However,
there are a few icons and tools that were not described previously:

Zoom drop-down box: sets and displays the zoom of the current preview. Values can be cho-
sen from the list or entered from the keyboard, with or without the ‘%’ sign. Fit page, Fit
width and Fit height values are also available.
Zoom to fit: sets the zoom to fit in the entire page.
Zoom to width/height: sets the zoom to fit the width/height of the page.
4.4 Preview window
The preview window allows jobs to be viewed before they are sent to the print engine. There
are four levels of preview: Separations, Composite, Imposition and Media. The preview win-
dow shows the job or part of the job (e.g. page, sheet) that is currently selected in the Job browser.
See the description of the preview tools and preview settings bar in section 5.3.1 The viewer
window and its controls ‹page 51›. See the descriptions of the four views in sections 5.3.2 on
page 52, 5.3.3 on page 53, 5.3.4 on page 54 and 5.3.5 on page 54.
4.5 Dockers
StudioRIP uses several windows for managing styles, profiles, inks etc. These windows can be
used as floating child windows or as dockers in one of the two holders, located at the right side
of the Client window. The following operations are possible with these windows:
close a docked window: click the × button on the right side of the window’s tab;
create a docked window: click the + button on the right end of the tab area, then choose the
needed window from the list;
close a docker or floating window: uncheck the appropriate item in the Dockers menu;
create a floating window: check the appropriate item in the Dockers menu, or use the ap-
propriate menu items or buttons if available (e.g. the Job styles window can be shown by
its menu item in the File menu). Note that if the window already exists in docked state,
first it has to be closed.
4.5.1 Job browser

This docker manages the jobs in the StudioRIP system. It allows you to:
select a job by clicking on it. After a job has been selected, it can be previewed or other op-
44 erations can be performed on it;
select pages of a job by expanding the node of the job, and selecting a child node. This op-
eration will update the preview window, as well as the current preview mode (e.g. selecting a
composite page will change the preview mode to composite).
check a job by clicking on its checkbox; this will send the job to the Print manager or to the
third party TIFF catcher software for printing;
stop a job by selecting it and then clicking on the Stop button; this will stop processing the
job, but the already processed pages will remain available;
delete a job by selecting it and then clicking on the Delete button or the Delete key of the
keyboard;
combine jobs by selecting them and then clicking on the Combine jobs button; this will
transform the selected jobs into one job, containing all the pages of the original jobs;
split jobs by selecting separations or composite pages of a job, and then clicking on the Split
job button; this will create a new job, extracting the selected pages from the original job;
merge plates by selecting separations pages of a job, and then clicking the Merge plates
User manual
button; the selected plates will be merged into one plate. The source plates will be deleted,
except the first (topmost) plate in the list, which will contain the result of the merge.
drag pages within one job or from one job to another (allowed for separations and compos-
ite pages); this will move the dragged pages, changing their order or moving them from one
job to another;
export JPEG or PDF preview images of one or more pages of a job;
proof of one or more pages of a job by printing it on a proofer;
reprocess jobs, useful if a job needs to be processed with different settings (from the history
or from the root job list), or it’s been stopped;
browse the job history by opening the History node of the job browser, where the printed
jobs are grouped in years, months and days; archived jobs can be reprinted (without repro-
cessing), reprocessed by different settings, previewed etc.
view the pre-flight warnings by clicking on the Job information button
For more information, see the following sections: 5.1 Opening a job ‹page 48›, 5.2 Processing a
job ‹page 50›, 5.3 Previewing and changing job ‹page 51› and 5.5 Sending a job to the Print
manager ‹page 59›.
4.5.2 Calibration manager

The calibration curves can be added, removed or edited in the Calibration manager. See section
6.3.3 Calibration manager ‹page 95›.
4.5.3 Color profiles

The Color profiles window manages the ICC/ICM files present in the system. See section 6.2
Color profiles ‹page 93›.
4.5.4 Ink manager 45

The inks known by the system are managed in the Ink manager window. See section 6.5.1 Ink
manager window ‹page 103›.

4.5.5 Imposition styles
The imposition window manages the imposition styles. Using this window, impositions can be
added, removed or edited. See section 8.2 Imposition styles ‹page 130›.
4.5.6 Job styles

The job styles specify how a job will be processed (resolution, screen frequency, dot size, ge-
ometry, in-rip separations etc.). These styles are managed in the Job styles window. See section
6.1.1 Job styles manager ‹page 66›.
4.5.7 Ghostscript console

This window is the text output of the PostScript interpreter. Details about PostScript errors, as
well as processing times and other information related to processing are available here.
4.5.8 Pre-press marks

Pre-press marks can be added, removed or edited in the Pre-press marks window, allowing the
user to use custom pre-press marks. See section 8.5.1 Pre-press marks manager ‹page 134›.
4.5.9 Print manager
This window is the user interface of the Print manager application(s) in the StudioRIP system. If
more than one Print manager is used in the system, each of them will be represented by a node in
the tree. See section 5.6.1 The Print manager docker ‹page 60›.
4.5.10 Users
The user accounts are managed in the Users window. See section 6.6.1 Users window ‹page 104›.
46
User manual
5
Printing a job 47
P rinting a job
A job’s route through the StudioRIP is as follows:
A job can arrive to the StudioRIP Server in one of four ways: through the StudioRIP print-
ers, through the hot folder system, through the direct socket input system, or by opening it
with the Client;
The job is queued in the Job queue, then processed;
Unless the Do not print until checked option is turned on in the job style, the job will stay in
the job browser list to allow the operator the chance to do tasks like preview, modify, impose,
proof, export JPEG, calculate ink duct information, etc. It will be sent to the Print manager
(or 3rd party TIFF catcher) only after it is marked as checked (by ticking the check box to the
left of the job in the Job browser);
the job is checked, or the Do not print until checked option has been unchecked, the job
If
will be sent to the Print mananger. During this process the imposition, positioning and
ganging are applied (resulting in re-bulit TIFF files), as well as certain workflow tasks (such
as ink duct control, image export etc.) are performed. At the end of the process the job is re-
moved from the root of the Job browser, getting archived into the Job browser’s history, but
arriving in the same time to the Print manager;
Once it arrives at the Print manager, the processed job will be queued and printed (unless
the print engine is not ready for printing, or the Print manager is paused);
Finally, the Print manager version of the job will be archived once again in the Print manag-
er’s history, from where it can be retrieved for reprinting if necessary.
The following chapters will describe in detail the steps above.
5.1 Opening a job
StudioRIP accepts PostScript of PDF jobs, either as PS/PDF files or as PostScript data coming
through the StudioRIP printers.
The typical ways of opening jobs in StudioRIP are:
Printing to a StudioRIP printer from an application;

Exporting a job to a PDF file, and then opening the created PDF file with the Open com-
mand of the Client application or through the hot folder system;
Generating a PostScript file (either by a special command of the DTP application, or se-
lecting the Print to file option and printing to a StudioRIP or another PostScript printer),
then opening the created PostScript file with the Open command of the Client application or
through the hot folder system.
StudioRIP accepts either composite or separations jobs, but in most cases we recommend using
composite: trapping is only possible on composite jobs, there is more control over the separation
process (overprints, for example), the processing speed is higher, and there are no problems with
grouping separation plates into composite pages.
Technically, a job can be passed to the StudioRIP in four ways:
Using the StudioRIP printers,

Using the socket input system,
Using the hot folder system,
Opening the job by the Open command of the Client (or drag & drop over Client program’s
window).
5.1.1 Using the StudioRIP printers

Unless having the Limit number of printers option checked or the Share the created printers op-
tion unchecked, StudioRIP will create and share a printer for each job style as they are add-
ed. For example, if a job style called New job style is created in the StudioRIP system, a printer
called StudioRIP – New job style will be automatically added to the operating system, and be-
comes visible over the network as the New job style network printer. StudioRIP Server captures
all the jobs printed on this printer, and will open them using the job style called New job style. In
effect StudioRIP will act as a PostScript printer, any Windows program will be able to print di-
rectly to it.
Having the shared network printer created automatically, and unless there is a firewall or an
operating system setting blocking the visibility of the printer, it is possible to print to this net- 49
work printer from anywhere in the network.
To summarize, when printing to these printers from any application in the network, the print
job will automatically be processed by StudioRIP. With the proper setup, it can be automatically
printed too, without any user intervention.
5.1.2 Using the socket input system

If connecting to a StudioRIP network printer from a workstation proves to be impossible due to
operating system compatibility issues, try to use the socket input system. This method should
work from any operating system with support for TCP/IP printer ports.
Perform the steps below on the worstation:
Open the job style that you want the printer to send the jobs to from the Job styles dock-
er, and go to the Job input task. If the Enable the TCP port below box is unchecked, check it,
save the job style, then re-open it. Write down the TCP port number.
P rinting a job
Create a PostScript printer on the workstation (launching a PostScript driver installer or the
appropriate operating system command).
during the setup the choice to specify a PPD file is offered, then use the PPD file export-
If
ed with the Save PPD file button on the Job styles docker toolbar (note that when transfer-
ring PPDs from a PC to a Mac, the file extension has to be removed before it will work on
the Mac). Otherwise you may specifiy any generic PPDs, in most cases they don’t have any
influence on the result.
Connect the created printer to a TCP/IP printer port (specifying the host name or IP ad-
dress of the StudioRIP Server PC, and the TCP socket number of job style). As StudioRIP
expects raw Postscript data on the socket input, turn off any optional upper layer protocols
available (such as LPR or SNMP), and select RAW protocol if available (or equivalent).
5.1.3 Using the hot folder system

Using the hot folder system is the recommended way to process PostScript or PDF files, espe-
cially for pre-press studios that deal with files from different customers, all needing different job
styles. Shortcuts to the corresponding hot folders of the job styles can be easily created in the Job
styles docker using the Create shortcut button. See chapter 3.3 Setting up the hot folders ‹page
34› for more information.
Dropping a PDF, PS, EPS, TIFF, BMP or JPEG file into these hot folders (or dragging them to
their shortcuts) will automatically pass the files to the StudioRIP. The files will be opened using
the job style with the same name and under the same subfolder structure as the hot folder the job
has been placed into.
5.1.4 Using the Open command of the Client

50 The Open command of the Client program is the best way to open a job and manually speci-
fy the job style. The job is loaded by the client (which sees the file system of the PC running it
as local) and then it is transmitted to the server through the TCP connection between the Client
and Server. This command may be slower than the hot folder system if the Client and the Server
are on the same computer, because moving the file into the hot folder is normally instantaneous,
while the Open command creates a copy of the file through a TCP channel.
Note: that dragging & dropping the job icon over the Client program’s window has the same ef-
fect as the job would open using the Open command.
5.2 Processing a job
5.2.1 The Job queue

User manual
The PS/PDF engine processes only one job at once. If jobs enter the StudioRIP system while the
engine is busy processing another job, the incoming jobs will be marked as queued and will wait
in the list. When the PS/PDF engine will become idle, it will take the first queued job in the list.
The queued jobs appear in the root of the job browser, having an hourglass icon. The queued
jobs can be deleted or moved (using drag & drop) in order to change their processing order.
5.2.2 Processing phase
A blinking arrow indicates that a job is being processed. To follow the processing progress, select
the job in the Job browser list by clicking on its name. A progress bar and other information will
be then available in the status bar of the Job browser window.
Jobs can be stopped using the Stop button on the toolbar. The job will be stopped instantly.
As the pages of the job are processed, they appear in the job browser tree and can be previewed,
even if there are other pages to process. They can also be deleted, changed, moved etc.
The job can also be sent for printing whilst it is still being processed, though this does not al-
low the possibility of verifying it on the screen or modify it.
5.2.3 Preflight warnings

StudioRIP will warn the user if potential errors are detected regarding a job, such as using the
same screen angle on plates belonging to the same page, job sizes which exceed the media size,
etc.
The preflight warning will appear as an exclamation mark in the job icon, colored background
indicating more serious problem. The preflight warning reporting is fully customizable (typical-
ly a warning can be ignored, but remember that the severity cutoff level may have been changed),
see section 6.7.2 Preflight tab ‹page 105›.
The warning can be viewed by selecting the job with the warning, then clicking on the Job in-
formation button above the window.
51
5.2.4 The Ghostscript console
It is possible to follow the messages of the PostScript/PDF engine in the Ghostscript console
docker. Both %stdout and %stderr outputs are redirected to this window (including PostScript
errors or warnings). In addition, details of processing – e.g. rendering times – will appear here.
5.3 Previewing and changing job
A job can be previewed by clicking on its listing in the Job browser tree view. The preview will
appear in the viewer window on the left.
5.3.1 The viewer window and its controls

On the left of the windows there are 7 tools:
P rinting a job
Arrow tool: used to select or move pages, as well as to adjust the trim and bleed boxes of
pages.
Zoom: the default tool. Use the left mouse button to zoom in. Combining it with the CTRL
key or using the right mouse button will zoom out of the image. Selecting a rectangular area
on the image zooms to that area. Using the mouse wheel combined with the CTRL button
will zoom in and out.
Hand tool: moves the image within the viewing area without using the scroll bars; pressing and
holding the space key will temporarily switch to the hand tool. Scrolling the image is also possi-
ble by using the mouse wheel with (horizontal) or without (vertical) the SHIFT key held down.
Measuring tool: is used to measure the size or angle of a given area or line of the job; se-
lect the area or line to be measured with this tool (without releasing the mouse button). The
width and height of the selected area, as well as the length and angle of the selected line is
shown at the bottom of the window. This tool can be used for checking line screen angles too.
Paint white tool: erases (by painting white) areas on separations or composite pages. Use-
ful for retouching pages (deleting unneeded texts or objects, for example).
Paint black tool: fills (by painting black) areas on separations or composite pages. Useful
for retouching pages (deleting unneeded texts or objects on black background, for example)
Dotmeter tool: measures the dot percentage (halftone) or grayscale value (contone) at the
cursor position. Note that on halftone jobs it averages an area for accurate results, so the dot
percentage of thin objects (small font, line etc.) cannot be determined with this tool. On jobs
with calibration curves applied the tool shows the original percentage (as in the PS/PDF
file), but in paranthesis it shows the actual calibrated value too (as it is measured in the 1-bit
TIFF file).
The preview window has the following controls (located around the window):
52 Horizontal and vertical measures: change the measuring units by clicking the button in the
upper-left corner;
Four view orientation buttons: change the viewing orientation, without changing the job
itself (very useful for checking vertical or upside-down texts);
Page number box and navigation buttons: change which page to view with these controls;
Show in color button: only available for the separated views (separations and media); speci-
fies whether a separation page will be shown as black & white or in its original color;
Labels: show the size of the displayed page, or the results of the measuring tool.
Changing the color view mode or preview orientation does not change the output, these
are just preview options!
5.3.2 Separations view

The separation view shows the pages of the job as separations, in black & white or in their origi-
User manual
nal color. Separated pages can be viewed even if the input job was composite.
Switch to separations view either by clicking the Separations tab above the view window, or
by expanding the Separations node under the node of the job in the Job browser, then clicking on
any separation of the page.
Separation pages can be deleted or moved within the job or to another job. If there are unwant-
ed separation pages in the job, remove them by selecting them in the Job browser and then click-
ing the Delete button on the toolbar or pressing it on the keyboard.
In the separations view, the toolbar contains some general information about the currently
viewed separation:
Resolution (in dpi),

Dot type,
Screen frequency (in lpi),
Screen angle (in degrees).
The separations can be viewed as black and white or in their true colors by the Show in color but-
ton, located at the bottom of the view window.
5.3.3 Composite view

The composite view shows the pages of the job as composite color pages, even if the input job
was pre-separated. Apart from the standard CMYK, custom colors can also be seen in their true
colors. Switch to composite view either by clicking the Composite tab above the preview window,
or by expanding the Composite node under the node of the job in the Job browser, then clicking
on a separation page.
Composite pages can be deleted, moved within the job or to another job. If there are unwanted
composite pages in the job, remove them by selecting them in the Job browser and then clicking 53
the Delete button on the toolbar or pressing it on the keyboard.
If you want to temporarily hide a channel (e.g. to hide the black channel to see whether the
text is black only), click on the button of the channel (in this example, on the button of the black
channel) located on the toolbar. This will just hide the color in the preview rather than modifying
the output in any way. Another click on the button will show the channel again.
It is also possible to change the colors of the channels by clicking on the arrow in the right side
of the channel buttons, and selecting the desired color from the list. This can be useful when the
designer specified wrong colors (e.g. Cyan instead of Pantone 300 C).
A composite page is a collection of separation pages, which can be seen under its Job browser
node. It is possible to delete or drag in/out separations to/from a composite page.
The control bar indicates the settings of the currently viewed composite page. If there are mul-
tiple pages selected in the job browser, any change made on the control bar will be applied to all
selected pages.
When no pages are explicitly selected, the program will treat all the pages in the job as being
P rinting a job
selected, so changes will affect the entire job rather than just the currently viewed page.
Here are a few simple examples of how to change the job with this control:
StudioRIP recognized the pre-separated pages of a CMYK job as monochrome pages: press
the Apply CMYK colors button on the composite toolbar, which will group the separatios
into CMYK pages.
Spot colors were sent as process colors (e.g. Pantone 300 C as cyan), and the process colors
now need to be replaced by the intended spot colors. Choose a previously defined color from
the drop-down list by clicking the arrow near the corresponding button.
5.3.4 Imposition view

The imposition view is intended to show the sheet in the way it will be printed by the press (or
other printing device); in this view it is possible to add pre-press marks or create complex im-
positions.
Note that jobs with bleed may use the trimmed size by default, rather than the full processed
size (depending on the job style settings – checking the Imposition option will do this by de-
fault), in which case neither of the preview windows will show the full processed size (in other
words, the bleed will remain hidden). Only the parts of the bleed that fit on the sheet are visible;
impositions will generally create space for the bleed to show (by increasing the sheet and leaving
gutters). See 8.6 Bleed ‹page 137› for further information.
Switch to imposition view either by clicking the Imposition tab above the view window, or by
expanding the Imposition node under the node of the job in the Job browser, then clicking on a
single page.
For a deeper understanding of how the imposition works, we recommend reading chapter 8 on
page 127.
54
5.3.5 Media view
The media view shows how the jobs will be arranged on the media. Switch to media view either
by clicking the Media tab above the view window, or by expanding the Media node under the
node of the job in the Job browser, then clicking on a single page.
This is the only preview where the effects of the mirror and negative settings are visible,
in order to keep the readability and accurate colors of the other three previews.
The media settings (size, media saving etc.) which influence the placement of jobs on the media
are stored in the job style. However, there are shortcuts to the two most important settings of the
job style that affect the way the jobs are arranged on the media: the page placement, the orienta-
tion and the mirror/negative buttons can be accessed via the controls on the toolbar.
The Show in color button will help visualize how the different colors are placed on the media
(even if on monochrome devices like imagesetters they are really coming out as black).
User manual
Changing the negative state of the job at this level is not recommended if there are cal-
ibration curves involved. Calibration curves must be applied in a different way for nega-
tive jobs during the halftoning process, therefore the negative option needs to be speci-
fied in the job style.
5.4 Performing other tasks on the job
5.4.1 Exporting to PDF or JPEG

StudioRIP is able to export pages of the jobs as PDF files or as BMP or JPEG pictures. The int-
edned use of these files is soft proofing, and aren’t recommended for further processing (the PDF
files will also contain embedded JPEGs – or other bitmap data – rather than vector graphics).
The (embedded) images are the same quality as the onscreen previewing system of StudioRIP:
In case of halftone jobs, they are resampled from the original 1-bit TIFFs, therefore some de-
gree of false moiré can occur, despite of the moiré filtering techniques applied.
If Color managed sRGB output is chosen, the colors come through the ICC-based color man-
agement system, so the image has the color accuracy of a soft proof. However, color accu-
racy is achieved only on low zoom levels where the halftone is invisible, and the calibration
curves are correctly neutralized.
Therefore these pictures can be extremely useful not just for checking the integrity of the page
(texts, images), but also for checking the colors of the job.
The Export image command is in the Job menu, and is enabled if a job is selected. The following
settings are available:
55
Resolution: the resolution of the generated picture, defaulted to 150 dpi. Higher resolutions
are possible, but are not recommended for several reasons (long processing time, large JPEG
file, possible moiré problems).
Exported view: specifies whether the composite, separations or imposition view of the job
will be exported.
Color space:
Color managed sRGB: recommended for color or content proofing. The job will be con-
verted into the standardized sRGB color space, which will be displayed in the same way
on calibrated monitors. In this mode the files will be well compressed and suitable for
sending over the Internet.
CMYK or N-color (PDF only): recommended only if the separations need to be accessed
separately. The separations of the job will be stored unchanged, so the displayed colors
will depend on the CMYK working space setting of the PDF viewer application. As em-
P rinting a job
bedded images are compressed in a lossless manner in this mode, the file size will be sig-
nificantly bigger.
Output type: specifies whether a PDF, BMP or JPEG file will be exported. BMP and JPEG
are available for Color managed sRGB only.
Exported pages: the pages of the job to export (with all pages, current page or page range
options).
Compression: the quality of the JPEG compression, as a compromise between quality and
file size.
After clicking the OK button, the save dialog box will appear.
5.4.2 Ink duct control

The ink duct control feature can make the life of the offset printer much easier, and at the same
time can offer more constant quality. StudioRIP is able to calculate the ink coverage for each ink
zone of the page, belonging to each ink duct, and to:
print a diagram,
export a PPF (CIP 3) or JDF (CIP 4) file (that will control the offset press directly)
export a BMP or JPEG file (that third party software may use to control the press).
The ink duct control feature can be used either through the ink duct task of the job style, or by
the Ink zone calculation command. The Ink zone calculation command is in the Job menu, and
is enabled if a job is selected. The following settings are available:
56 Pages to process: which pages of the job to calculate the ink zone information for (with all
pages, current page or page range options).
Print press style: specifies the cylinder size, number of keys and other parameters necessary
for the ink duct calculations. The dialog allows the management of the print press styles
with the edit, add and remove buttons.
Neutralize calibration: recommended setting is on, to work with the intended shades (as in
the DTP application) rather than the actual shades in the 1-bit TIFF file. Calibration curves
might produce significant differences.
Print press styles can be added using the Add button in the right of the print press style drop-
down box, or edited with the Properties button. The Press profile dialog has the following set-
tings:
Cylinder width: the width on which the ink keys are placed (the width of an ink zone will be
equal to the cylinder width divided by the number of keys).
User manual
Cylinder length: the length is measured on the cylinder circumference.

Number of keys: the number of ink ducts on the offset press. In case of flexography, it is
equal to 1.
Key range: the minimum and maximum levels of ink duct keys. The default values are in
percentages, but older printing presses may use different ranges (e.g. the minimum value is
2, the maximum value is 20). If such values are specified, StudioRIP will perform linear in-
terpolation on the ink duct data to match the specified range.
Perfector: set this option for perfector presses (i.e. printing the front and back of a sheet in
one go), or if your system expects PPF files with the front and back side information spec-
ified and within the same file. Note that the setting doesn’t have effect for diagrams or JDF
output.
Left, right, top and bottom margins: define the area on the plate where the job will be
placed.
Alignment: defines the horizontal and vertical placement of the job on the plate, relative to
the margins defined above.
Orientation of portrait sheets: if the orientation of the sheet in StudioRIP is portrait (that is,
its width is less than its height), then the orientation setting chosen here will be used for the
placement of the given job on the plate.
Orientation of landscape sheets: if the orientation of the sheet in StudioRIP is landscape
(that is, its width is longer than its height), then the orientation setting chosen here will be
used for the placement of the given job on the plate.
Clicking the OK button of the Ink zone calculation dialog, the Ink zone diagram window will
appear, and in a few seconds the diagram(s) will start to arrive from the Server.
57
The following choices are available:
Print: prints the diagram on to a locally installed Windows printer (i.e. on the PC running
the Client).
Export to file: generates a PPF (CIP3), JDF (CIP4), BMP or JPEG file that can be used by
newer models of offset presses.
5.4.3 Proofing
If the StudioRIP proofing system is properly set up, raster proofs of the jobs can be printed with
the Print proof command in the Proof menu. The command is enabled only if a job is selected.
Raster, halftone or contone proofs can be also printed through the Proofing task of the job styles.
The following options are available:
P rinting a job
Proof job style: a special job style created by the Raster proof wizard. See 10.2 Setting up the
proofing system ‹page 170› for further information.
Proofed pages: the pages of the job to proof (with all pages, current page or page range op-
tions).
Send the page(s) immediately to the Print manager: if checked, the pages will start to be
printed immediately. Otherwise the user has the choice to verify how the job is placed on the
media of the proofer.
Progressive proofing: enables StudioRIP to simulate not just the final result of the printing
process, but also the intermediate steps. For example, a printing press can print one ink at a
time (in which case the progressive proofing of a CMYK job will show the four steps of the
printing process: C, CM, CMY and CMYK), two inks at a time (in which case the progres-
sive proofing will show the CM and CMYK steps), etc. The following settings will control
the progressive proofing:
Progressive proofing: will control whether progressive proofing is enabled;

Number of inks printed in one pass: specifies the number of inks that the printing process
can print in one pass;
Print order of inks: specifies the order the CMYK and spot colors are printed. The dig-
its specify the order of the spot colors. For example, the CYMK213456789 string will in-
struct StudioRIP that the CMYK colors are printed in a different order (the magenta and
yellow swapped), as well as the order of the first two spot colors are swapped relative to
their order in StudioRIP.
Print missing process (CMYK) colors: specifies what to do in a case where one or more of
the 4 process colors are missing in the proofed job. The Never setting will not print miss-
ing process colors; the C, M or Y present option will print the missing process colors only
58 if at least one non-black color is present (but will only print K if black is the only process
color); the C, M, Y or K option will print the missing process colors if any process color is
present; the Always option will always print all four CMYK colors, regardless of wheth-
er they are present or not.
The effect of the Print proof command is that the selected page(s) will be copied into a new job
having a proof job style. When sending jobs from proof job styles, StudioRIP will embed all the
necessary information for proofing into the outgoing TIFF file, so that the Print manager will be
able to apply the right color management when printing the job. See chapter 10 on page 165 for
a deeper understanding of how the StudioRIP proofing system works.
5.4.4 Imposition
StudioRIP has a post-RIP imposition system. This means that the imposition is done after the
jobs have been processed, i.e. when they are in the job browser. See chapter 8 on page 127 for a
deeper understanding of how the StudioRIP imposition system works.
User manual
5.4.5 Retouching
Minor retouching tasks (such as erasing unnecessary objects on white or black background) can
be easily done with StudioRIP even after processing.
Note that at this phase the job doesn’t contain vector objects anymore, it is now one high res-
olution bitmap. Therefore retouching isn’t object based (e.g. a text object on a bitmap cannot be
removed); it is only able to paint white or black rectangles over the image.
Retouching works for separations or composite pages. Using it on separations is useful when
only certain plates need to be modified (for example, deleting the CMY components of a text,
keeping just the black one).
There are two tools available for retouching at the left of the preview window:
Paint white tool: erases (by painting white) areas on separations or composite pages. Use-
ful for retouching pages (deleting unneeded texts or objects, for example).
Paint black tool: fills (by painting black) areas on separations or composite pages. Useful
for retouching pages (deleting unneeded texts or objects on solid color background, for ex-
ample).
5.5 Sending a job to the Print manager
After the job has been modified and/or verified, it can be marked as checked. However, if the Do
not print until checked option is off in the job style being used, the job (or page of the job) will be
printed immediately when there are enough pages processed to start printing.
An understanding of what happens to a job when it leaves the job browser is important. This is 59
the phase when all the manual or automatic modifications applied to the job are rendered (such
as pre-press marks, imposition, media saving or automatic rotation). This is also the phase
when the job data finally leaves the Server and is passed to the Print manager or to the third par-
ty TIFF catcher software (which may be installed on another computer) – although a copy of the
job remains stored in the Job browser history.
During this process, the source TIFF files have to be read, combined and written to a single
destination TIFF file. This may take a few seconds for each page (possibly even longer; the trans-
fer time is a function of the connection speed between the Server and the Print manager, the com-
puter’s speed, the file sizes, and the complexity of the rendering operations to perform, such as
rotating a page).
When media saving is turned on, a job will only be sent to the Print manager when there is
absolute certainty that a following page cannot fit on the same piece of media. To achieve this,
the first page will be held until the subsequent page is processed and has been assessed to see
whether it will fit onto the media with the current page.
P rinting a job
Note that media saving only works within a single job. To allow media saving to put two pag-
es, from different jobs, on the same piece of media, it will be necessary combine the jobs with the
Combine jobs button on the Job browser toolbar.
5.6 Imaging a job with the Print manager
5.6.1 The Print manager docker

The recommended way of using StudioRIP is with the Print manager as the interface between
the RIP and the print engine wherever possible. The alternative is to use third party software
that will accept 1-bit TIFF files into a hot folder (a TIFF catcher), in which case the use of the
Print manager is optional (StudioRIP can be configured either to send the TIFF files directly
from the Server to the TIFF catcher, or indirectly, through the Print manager).
If Print manager is being used, it can be controlled directly from the Client, making many use-
ful features available. The Client can control several Print managers in one window, each Print
manager having its own icon in the Client’s Print manager docker. The Client connects to the
Print manager(s) through the StudioRIP Server application, so no additional data channels are
needed even if some of the Print managers are on different computers.
5.6.2 Receiving jobs in the Print manager

The Print manager has a hot folder which it checks for newly arrived jobs. The jobs have to be
TIFF pages, uncompressed or compressed with Packbits, Packwords (StudioRIP’s internal for-
mat for 16-bit contone images), CCITT G4, LZW or CCITT G3-1D schemes. The received jobs
will automatically appear in the job list, so the fact that there are two programs working together,
60 even on different computers, will be completely transparent from the Client workstation.
Pages coming from the StudioRIP Server will contain additional data, which helps the Print
manager recombine them as jobs, recognize their colors, etc. Pages coming from third party ap-
plications will be shown as different jobs.
5.6.3 Starting the imaging

Once received, the job will start to be imaged automatically, provided that all the program parts
are installed and the print engine is ready – no user intervention is needed.
At this point, the Print manager will be in one of the following states:
The job is being printed. Status bar message: Imaging.

The job is waiting in the queue because the Print manager was paused. Status bar message:
Printing paused.
The job cannot be printed because the engine is not in a Ready state. The status bar will
show further explanations (e.g. Engine error, Engine not found, Searching for EtherSetter
User manual
box).
The job cannot be printed because there is no connection with the Print manager. Status bar
message: No Print manager.
5.6.4 Pause mode
Stop Print manager by clicking on its item in the Print manager docker (if there is more than one
Print manager in the StudioRIP system) and then clicking on the Pause button in the toolbar. In
this state the Print manager does not send anything to the engine, allowing time to arrange jobs,
check the print engine, wait for a confirmation, etc., while tt will continue to receive jobs that are
sent to it and StudioRIP will continue to process jobs and put them safely into the Print manag-
er queue. The only way to leave this state is by clicking the Start button.
Note: If there is more than one Print manager, each of them has its own state; stopping one
will not stop the others.
Print manager will automatically enter Pause mode if:
On startup it detects that there are jobs in the queue,

A print engine error occurs,
The last printed job was marked either with a Cut flag or Stop after page flag.
The Start and Pause buttons change the state of the selected Print manager rather than of
the selected job(s).
5.6.5 Changing the job list

The job list in the Print manager window can be manipulated by the user in multiple ways. It is 61
possible to:
Un-check (in order to not print) or check (in order to re-print) entire jobs or pages of the jobs
in the list;
Delete pages or jobs by selecting them and pressing the Delete button;
Move jobs in the list to change their orders with drag & drop;
Move pages with drag & drop, including from job to job;
The tick mark near the job or page icon shows whether the page is ready for imaging or not. By
default the jobs/pages are always ticked when they arrive in the list (i.e. they will be printed
without user intervention), but:
they can be un-ticked by the user in order to prevent printing a page at all, or to wait for a
confirmation,
P rinting a job
pages are progressively un-ticked by the Print manager as they are imaged.
After a page is imaged, the Print manager will search for the first ticked page in the list, and will
start to image it. As they are progressively un-ticked, the pages will be imaged in their natural
order, except when the list has been changed by the user:
a job has been dragged and dropped in front of the currently imaged page,
the currently imaged job has been dragged behind another job,
a page or job has been ticked before the currently imaged page.
5.6.6 Finishing the imaging

If a page has been imaged, the container job will be checked for removal. A job is removed from
the list when one of its pages finished imaging successfully, and there are no more checked pag-
es in the job. This means that:
A job may be removed even if some of its pages may not have been imaged at all (if they were
unchecked by the operator),
Unchecked jobs can stay in the list indefinitely, waiting to be checked.
The imaged jobs will be stored in the History, available under the History node of the Print man-
ager window, grouped based on the year, month and day of printing. These jobs then can be:
Previewed again by the View button (located on the toolbar of the Print manager docker),
Imaged again by the Reprint button (also on the toolbar of the docker),
Searched for in the record of the Print manager even if the job has been physically erased
62 from the hard disk – information like name, size, color, date will be stored and never erased.
5.6.7 Commands and job flags

Jobs or pages of the jobs can be marked with the following flags:
Mirror flag prints the pages of the jobs mirrored in the fast scan direction (wrong reading);
Negative flag prints the pages in negative;
Cut after page flag will cut the media after printing the marked page or the last page of the
marked job. The media will be cut and the Print manager will go into Paused state;
Stop after page flag will put the Print manager into Paused state.
The mirror and negative flags will be passed to the driver, which will try to apply them at hard-
ware level if available (e.g. Agfa imagesetters support both mirrored and negative imaging), oth-
erwise they will be applied directly to the image data.
User manual
There are a few additional commands in the Print manager:
Cut the media manually by clicking the Cut button,

Reset the print engine with the Reset button,
Edit the settings of the print engine by clicking the Engine properties button.
Note that some of these features may not be available on all machines.
5.6.8 Print manager history

Printed jobs are held in the History for a preset period (see chapter 7.1 Configuration ‹page 110›
about the cleanup strategies of the Print manager). Whilst they are held, they can be reprinted
entirely or partially, with no need to re-rip them.
A full list of all the printed jobs (containing their characteristics, such as the size of the job, the
date it was printed, etc.) is never deleted (as it occupies insignificant disc space), but is stored as
a permanent archive of all the jobs imaged through the StudioRIP Print manager. Once the ac-
tual job data has been deleted from the history, its listing will appear as grayed out; these files
cannot be reprinted.
To view or reprint jobs or pages, select them in the history list, and then click the View or Re-
print buttons on the toolbar. This is possible only if the jobs are still on the hard disk (do not ap-
pear as grayed out in the list).
If the media saving has grouped two separations into one TIFF (for example, a cyan and a ma-
genta plate together), then it will not be possible to view it as a single color page. However, if the
plates were kept separately (which is the case of platesetters, for example), the job will be recom-
bined into a color job.
It is not recommended though to reprint jobs by viewing them and then sending them back to
the Print manager, because the positioning system may change (typically shift) the image – use
the Reprint command instead, or use the history of the Job browser. 63
5.6.9 Archiving files
Files from the History can be archived to DVD. The archived job will appear in the History with
a DVD icon, and will be available for reprint or viewing like the regular History jobs, but at any
attempt to access them a window will appear asking for the right DVD to be inserted into the
PC.
To archive jobs from the History, select years, months, days, jobs or pages of jobs, and then
click the Archive button. The Archive jobs window will appear. Choose the DVD writer drive
you want to use, the maximum archive size (i.e. the size of the DVD), and a label that you will
use to identify the DVD later, then click the Archive button.
If the selected jobs do not fit on the DVD, they will be archived only partially. You can then con-
tinue archiving the selected jobs by inserting another blank DVD, the previously archived jobs
will not be archived again.
P rinting a job
5.6.10 Cassette manager
The Cassette manager toolbar can be shown or hidden by the Show cassette manager button on
the toolbar of the Print manager docker.
The Cassette manager is particularly useful if the print engine is roll fed. It shows the amount
of media remaining in the supply cassette, as well as the amount of media inserted in the take-
up cassette (on engines with online processor, this usually shows the amount of media on the
bridge).
When loading a new roll of media, be sure to enter the amount of loaded media by entering the
number in the Supply cassette box, and then pressing Enter.
Note that Cassette manager functionality is print engine dependent and may not, or only par-
tially, work on some engines.
5.6.11 Duplex mode buttons

Certain devices (e.g. OKI printers) support duplex printing. On these devices it is possible to
control whether a page is printed on the front or back side of a sheet. When the back side flag is
specified with a page, the printer will print that page on the back of a sheet even if this means to
leave the front side of the next sheet empty. The front side flag has a similar effect.
These flags can be turned on and off with the two duplex mode buttons located on the Print
manager toolbar.
64
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6
Configuring StudioRIP 65
Configuring StudioRIP
6.1 Job styles
Job styles hold the parameters of how each workflow task (interpretation, trapping, proofing
etc.) has to be performed. It is similar to the page setup or job ticket concepts of other workflows.
Each job in StudioRIP has its job style information attached – either one of the defined job
styles in the StudioRIP system, a job style loaded from file, or edited on per job level after a
manual open command.
The rules of attaching job styles to jobs are as follows:
For jobs coming through a StudioRIP printer, the job style that the printer belongs to will be
attached to the job. For example, printing to the StudioRIP – Offset 170 lpi printer will at-
tach the job style called Offset 170 lpi to the opened job.
For jobs dropped in a subfolder of the hot folder – see 3.3 Setting up the hot folders ‹page
34› – the job style that the hot folder belongs to will be attached to the job. For example,
placing a file into the subfolder called Offset 170 lpi will attach the job style called Offset 170
lpi to the opened job.
For jobs opened with the Open command in a Client, the job style window will appear (if the
Ask for job style on open option in the Client settings is checked), and the settings specified
in this instance of the Job style dialog box will be applied (these settings can be temporary, in
which case there is no need to save them).
In most cases the job styles are stored as a simple list, but in the case of a large number of job
styles, they can be structured in a folder structure. The job styles placed in hot folders are re-
ferred in StudioRIP in an identical way as in Windows, i.e. the container folder(s) will appear
before the job style name, separated by backslash characters (e.g. John\Small plates\175 lpi).
6.1.1 Job styles manager

The job styles are managed in the Job styles window. Though the job styles are arranged and dis-
played in a tree structure (job styles belonging to a group will be displayed under the tree nodes
representing the job style groups), in most cases the tree structure will look like a simple list: by
default no folders are defined, and therefore the job styles will be displayed in the root of the tree.
The following operations are allowed:
Find job styles (useful in the case of a large number of job styles),
Create folder to store job styles or further folderst in. To create a sub-folder of an existing
folder, select the folder in which the subfolder will be added before clicking the Create fold-
er button.
Add, remove or edit job styles by clicking the appropriate buttons in the toolbar of the Job
styles docker.
Create a copy of a job style, useful to create a job style similar to a reference.
Create a shortcut to the hot folder of the selected job style by the Create shortcut to hot fold-
er button. The shortcut will be created to the desktop. If a shortcut with the same name ex-
ists, it will be overwritten.
Print a calibration page with the settings of the selected style by the Print calibration page
button.
Save PPD file: useful in conjunction with the socket input system, when the workstations
will install generic Postscript printers which require a PPD file.
Export a job style: offers the choice of embedding all referenced files into the created job
style file (such as ICC profiles, calibration curves, press profiles etc.), ensuring that the ex-
ported job style will act in the same way on a different StudioRIP installation.
Import a job style: imports job style files exported with the previous command, also offer-
ing the choice of importing the embedded files. The import uses a smart algorithm: if a file
with the same name as the the imported file already exists in the system, they will be com-
pared, and in case they are different, the new file will be imported with a different name.
The job style import/export commands replace the import/export functionality of proof
settings in version 3 of StudioRIP. An exported proof job style will have embedded the
proof linearization curve, ICC profile, color correction profile etc., so it is perfectly portable
from one StudioRIP installation to the other.
When adding or editing a job style, the Job style window will appear. 67
6.1.2 Job style window
The job style window will appear whenever a job style is created or modified, as well as when a
job is opened by the Open command, and the Ask for job style on open option is checked in the
Client options dialog, or when the Properties button of the Job browser docker is clicked (double
clicking a job has the same effect).
The job style window has the following controls:
Job style name: the name of the job style, as it will displayed in the Job style manager, and
as the StudioRIP printers will be created.
Import button: similar to the import button of the Job styles docker, but instead of creating
a new job style item in the Job styles docker, it only fills in the controls of the dialog – useful
in the Open dialog, allowing to open a job with an externally stored job style.
Export button: similar to the export button of the Job sytle docker, but exports the current
state of the job style dialog instead of a saved job style – useful for saving the job style of a
job in the Job browser list.
Workflow tasks: contains the list of the available tasks that will be performed for the jobs
opened with the given job style. Only the checked tasks (i.e. with the check box on the left
of the task name ticked) will be executed. Certain tasks are grayed out because they must be
(e.g. interpretation) or cannot be (e.g. screening for a contone job) executed in the given cir-
cumstances. Selecting a workflow task (i.e. clicking on the name of the task) will show the
properties of that task in the right side of the Job style window.
Workflow task properties: will show the properties of the selected workflow task. Each
workflow task has its own set of properties. For a detailed description of the properties of
each workflow task, see the following sections.
Do not show this dialog box on open: will uncheck the Ask for job style on open option in
the Client options dialog; as a result, the job style window will not appear when executing
the Open command – the default job style will be used instead.
6.1.3 Job input task

Defines the ways a job can arrive into the StudioRIP system.
Enable the TCP port below: specifies the TCP port number of the socket input (see 5.1.2 Us-
ing the socket input system ‹page 49›). The value auto, as well as any non-numeric values
(such as an empty field) will instruct the RIP to choose the first available TCP port above or
equal to 9100. In such cases the subsequent visualizations of the job style will show the port
chosen by the system.
Create Windows printer: if checked, a standard Windows printer called StudioRIP – Job-
StyleName will be created, allowing any Windows application to print directly to the Stu-
dioRIP system.
68 Share the printer over the network: if checked, will set up the printer sharing of the above
defined printer, so then any network workstation can print to the StudioRIP system. If old-
er operating systems are used in the network, it is recommended that a short name is cho-
sen (maximum 8 characters, without special characters). The icon in the right of the box will
show whether the name is considered compatible with older systems.
Enable the hot folder: if checked, will set up the hot folder of the job style. The name field is
read only, showing the network path of the hot folder.
Open copy with job style: if checked, the job will be opened again, with the specified job
style, after the processing is done. It allows chained opening scenarios like job style A link-
ing job style B, which on its turn links job style C. Useful if the same job needs to be printed
twice (e.g. on a platesetter and a special proofing system).
6.1.4 Interpretation task

Resolution: the device resolution, in dpi. In case of raster proof job styles, it is the resolution
of the target device (typically an imagesetter or CTP) rather than the one of the proofer (typ-
User manual
ically an inkjet printer).

Colorants: applies to composite devices only, specifies the colorants (inks/toners) of the de-
vice which can be used by StudioRIP: C (cyan), M (magenta), Y (yellow), K (black), c (light
cyan), m (light magenta), k (light black or gray), l (light light black or light gray). In addi-
tion, the colorants field may have a ‘2’ suffix (e.g. CMYKcm2), specifying the ability of the
device to use a second, smaller dot (droplet) size on the given resolution, improving the qual-
ity of the print in highlights. For example, the Epson Stylus Pro series will use two droplet
sizes on 720 dpi (12.5 pl and 3.5 pl), but only 3.5 pl on 1440 dpi, resulting in a ‘2’ suffix on
720 dpi and no suffix on 1440 dpi.
Composite device: specifies whether the device is used as separations device (typically pla-
tesetter or filmsetter), or as composite (color) device (typically inkjet printers). If a color
device is intended to be used as separations device (e.g. printing on transparency film for
screen printing on an inkjet printer), this option has to be turned off.
Contone output: specifies whether the device driver expects continuous tone data (i.e. with-
out halftoning), either because the device is able to print shades of colorants directly, or –
more likely – the halftoning process is done at TIFF catcher or driver level. For example,
the OKI laser printer driver of StudioRIP expects contone data, as a special high frequency
5-bits halftone is used that is applied on driver level. Contone proofs are also sent by Studio-
RIP Server as contone TIFFs, the halftoning being done by the Print manger.
Page range: specifies the pages of PDF files to process (by default all pages will be pro-
cessed).
PDF password: the user or owner password to be used to open a password protected PDF
file.
Disable unsafe file operations: instructs the PS interpreter module to ignore any file opera- 69
tions that may harm the computer (by design PostScript files are allowed to change or delete
files in the system). Note that in Windows 8, Windows 7 or Vista environments the process-
ing runs without administrator privileges anyway, so cannot harm the OS.
Disable deprecated Do PS directives: Do PS directives allow applications embed native PS/
EPS code in a PDF document. Since PS/EPS code may potentially harm your computer (see
Disable unsafe file operations) these directives are deprecated, hence PDF reference recom-
mends avoiding their usage.
Merge similar Pantone colors: corrects for the very common error of mistakenly including
the same Pantone color with slightly different names (e.g. PANTONE 339 C vs. PANTONE
339 CV). If plates with such names are detected, StudioRIP will automatically merge these
plates into one single plate.
Guess color information: if this option is on, the RIP will try to guess how to assign col-
or information to the pages and how to group the separations in composite pages – in cases
of PostScript files with poor or bad page and color information. This may not always work
correctly, so if using programs which generate good PostScript files, the use of this option
should not be necessary.
PDF flattening: the transparency flattening policy of StudioRIP. It is recommended that it
is left on ‘Auto’ to allow StudioRIP to check whether the job contains transparency or not.
However, if the PDF contains either transparency the StudioRIP checking mechanism can-
not detect or new features which are beyond current PDF handling implementation, it can
be set temporarily to ‘Always’. Skipping the transparency check by setting the usage to
‘Never’ may slightly speed up the job processing but is not recommended for regular use.
Ignore media size warning within rounding tolerance: jobs with sizes that exceed the
specified size only slightly – supposedly due to rounding issues – will be ignored by the me-
dia size warning mechanism.
6.1.5 Sizing task

Turning the sizing task off will instruct StudioRIP to use the default page size. Turning it on, the
following options will be available:
Size: defines the entire processed size of the job (that is, the size of the effectively rasterized
image information saved internally into the TIFF file). If the imposition task is turned off,
this is the displayed and printed size of the job. If the imposition task is turned on, this may
become (depending on the imposition task settings) the bleed size, i.e. displayed and printed
only if the imposition allows it, see more in 8.6 Bleed ‹page 137›.
First matching item from the list: will extract the size of the file from the various size decla-
rations of the PostScript, PDF and EPS files. As their use by the various DTP and pre-press
applications isn’t very consistent, StudioRIP allows the user to fine tune the size extraction
procedure to get the best possible result with their applications. StudioRIP will search for
70 the first definition in the list that is ticked and also present in the PS/PDF/EPS file. The us-
er can change the order of the size definitions, and can check or uncheck them. By default,
the MediaBox definition is the most desirable one (first in the list and checked), but if it is
not present in the file, StudioRIP will search for the CropBox, BleedBox, PageSize etc. defi-
nitions. If no match is found, the Custom size will be defaulted (see below).
Custom: will set the page size directly, ignoring the page size definitions of the file. The
Width and Height fields will define the size of the box, while the OffsetX and OffsetY fields
will define the position of the box on the page (negative values allowed).
Enlarge page by: enlarges the extracted/defined size. Useful for files with missing bleed
definition, e.g. if the defined size is the trim size, enlarging the defined size by 5 mm will pro-
vide the needed bleed.
Scaling: resizes the job by a given percent (100% meaning no resize). Both page size and
page contents will be resized.
Erase border: sets the border the StudioRIP won’t mark outside of – either by using the First
matching item from the list or specifying custom values (press the Border… button to select
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the appropriate option). If the option is unchecked, no portions will be erased.

Overwrite orientation: the job will be rendered using the specified orientation, rather than
using the one specified in the Rotate entry of the Page object.
Note that the following order is observed when performing the different sizing tasks: Size →
Overwrite orientation → Scaling → Enlarge page by → Erase border. That is, scaling applies
on the already rotated page, etc.
6.1.6 Dispro task

The dispro task controls the pre-distortion of the job, necessary in flexography, correcting the
mechanical distortions of engines, etc. Turning off this task will cause no pre-distortion. Turning
it on, the following options are available:
Horizontal: acts in fast scan direction (horizontally in the screen preview);

Vertical: acts in slow scan direction (vertically in the screen preview).
Swap values: swaps the horizontal and vertical distortion values if the defined condition is
true: the job is portrait, landscape (useful for flexography) or rotated automatically (useful
for correcting the mechanical distortions of the engine).
Flexography buttons: bring up a distortion calculator for flexography which makes dispro
calculations easier.
6.1.7 Separations task

Controls the process of color separations with the following options:
Separation profile specifies which ICC/ICM file to use when RGB, Lab or spot colors are 71
converted to CMYK.
Note: manage the separation profiles in the Color profiles window.
This separation profile will be used as the target (simulated) ICC profile for contone proof-
ing, as well as for the on-screen preview.
Rendering intent specifies the color conversion strategy, using the four standard values:
Absolute Colorimetric, Saturation, Relative Colorimetric, Perceptual. Absolute colorimetric
is only recommended for proofing, as it takes in account the paper color too. The other three
settings have influence only on the colors outside of the gamut or close to it (i.e. the colors
that cannot be accurately reproduced by the given colorants and printing technology), but
most of the colors of an average document will not be affected by them. For generic use Rel-
ative colorimetric is recommended.
CMYK information in the PS/PDF/EPS file will not be influenced by the color management
settings. The ICC/ICM file will be used only for converting RGB, Lab or spot colors to CMYK,
or for contone/halftone proofing.
Black point compensation: when the target device is unable to print a dark enough black,
the color management module has the choice to either go either for color accuracy (such as
relative colorimetric does – in which case the details in dark shades will be lost), or for detail
accuracy (such as the perceptual does – in which case colors will be shifted). As generally
users prefer to not lose details in dark shades, the perceptual rendering intent would be their
choice – however, this changes the colors as well. Black point compensation provides a com-
promise: it will preserve dark shade details, while in the meantime will avoid color chang-
es (bascially concentrating the color space distortion to the gray axis, rather than to the en-
tire color space).
Disable color management: many Windows applications are unable to handle CMYK col-
ors (such as the popular text editor, Microsoft Word), printing black text as RGB, which
then are converted to a color that contains all four process components – instead of the ex-
pected pure K. This situation can be addressed by turning off color management for certain
types of objects (typically for texts): these object types then will be converted by a trivial for-
mula from RGB to CMYK, pure RGB colors (such as black, red or green) always transform-
ing into pure CMYK colors – more importantly the RGB black into pure K black. The avail-
able options are:
Text: disables the color management only for text objects, but other vector graphics and
images will keep going through the color management module.
Text and vector graphics: enables color management only for image objects.
Text, vector graphics and images: turns off color management completely.
72
Disable embedded CIE color spaces: PS/PDF/EPS files can contain embedded color pro-
files that will control the color separation of one or more objects in the file (e.g. an RGB pic-
ture may contain an RGB profile of the digital camera that took the picture). Normally the
interpreter transforms these colors into RGB or CMYK, which is then passed to the col-
or management of StudioRIP. Disabling embedded CIE color spaces will pass these colors
through unchanged, treating them as though they were RGB (for colors with 3 components)
or CMYK (for colors with 4 components). Depending on the embedded color space, this can
result in slight color differences (in most cases, as usually the conversion is between two col-
or spaces of the same type, e.g. device RGB to sRGB), but also in completely wrong results
(e.g. blue grass in case of color spaces of different types).
Ignore %%BeginICCProfile comments: Disables the automatic loading and use of an input
color space that is contained in a PostScript file as DSC comments starting with the %%Be-
ginICCProfile comment. ICC profiles are sometimes embedded by applications to convey
the exact input color space allowing better color fidelity. Checking this option may result in
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improved performance at slightly reduced color fidelity.

Disable TN 5044 pseudo operators: TN 5044 pseudo operators are not a part of the official
PostScript specification, however they are defined in Technical Note #5044 Color Separa-
tion Conventions for PostScript Language Programs. Having these operators enabled are re-
quired for some files from QuarkXPress, however some files from Corel 9 and Illustrator 8
will operate properly only if they are disabled.
Convert spot colors to process colors: if this is on, non-CMYK colors in a composite file
will be automatically converted to CMYK, rather than printed as extra separations.
Convert to gray (K) output: forces gray (K) output even if the job contains color (RGB,
CMYK or Lab), offering the following choices:
Color managed gray output: lets the color management module to deal with the color con-
version, ensuring colorimetrically correct results. The drawback of this method is that in-
stead of preserving the K channel, CMYK colors will be converted to Lab and then to K.
Keep K channel only: the alternative to the above solution, preserving the K channel of
CMYK objects.
Always overprint black: overrides the overprint settings of the PostScript jobs, and ensures
that any black objects will be overprinted.
Enable overprint: enables overprint management for composite files (pre-separated files
must have the overprint rendered during the separation process). Turning off this setting
will disable overprinting in composite files, except for the black overprint.
Enable white overprint: enables the overprint of white objects. In most cases white objects
are set to be overprinted only by mistake (as the result is that they won’t be printed), so
keeping this option unchecked is recommended.
Nonzero overprint: in PS versions before 3015.102 an overprinted object leaves untouched
only components that the current paint operation doesn’t contain (e.g. painting with a spot 73
color did not touch the CMYK components), but knocks out all components from the cur-
rent paint operation (e.g. painting with C=100, M=Y=K=0 knocks out all CMYK com-
ponents), while the expected behavior would be to leave all the zero components (M, Y and
K) untouched. From the point of view of the DTP application, the workaround for this
was to define special color spaces (in this example, a color space containing only a cyan
component). However, from the RIP point of view it is possible to define the Force nonze-
ro overprint option, which will knock out only the nonzero components (in case of C=100,
M=Y=K=0, knocking out only the C, as the other 3 components are zero).
Default mode is ‘False’: This is the compatibility behavior (the initial value of NZ Over-
print parameter is ‘False’), though not recommended due to the above shown issues.
Default mode is ‘True’: The initial value of NZ Overprint parameter is ‘True’ but this can
be changed any time by setoverprintmode operator. This is the default behavior from Ac-
robat Distiller and 100% compatible to PS/PDF specifications.
Force ‘True’ mode: NZ Overprint is always true and cannot be changed. This is Studio-
RIP’s default mode and it’s significantly faster than the previous one. The only drawback
is the lack of 100% compatibility, e.g. NZ Overprint is also applied on objects whose col-
ors are derived from RGB (actually a welcomed addition for lots of scenarios).
Treat as registration color: registration colors are special colors that are printed on all plates
of a job. Normally they can be printed as such (being defined in the PS/PDF file as regis-
tration color), but some DTP applications and many designers prefer to draw registration or
other pre-press marks as C = M = Y = K = 100. Identifying registration colors is necessary
for various reasons (they must be printed on spot color plates, trapping must be disabled for
them), so StudioRIP offers the possibility to identify the two frequent cases of intended reg-
istration colors as real registration colors:
All components black: if checked, all colors with all colorants on 100% (e.g. C = M = Y =
K = Pantone 123 C =100%) will be considered registration colors.
Process components black, others white: if checked, all colors with all process colorants on
100% and all other colorants on 0% (e.g. C = M = Y = K = 100%, Pantone 123 C = 0%)
will be considered registration colors.
6.1.8 Trapping task

In high-quality reproduction of color documents, the gaps caused by the misregistration of the
press are commonly avoided by creating an overlap, called a trap, between areas of adjacent col-
or. The trapping parameters defined by the Level 3 revision of PostScript, as well as StudioRIP’s
proprietary parameters, are below:
74 Trap width: the width of the traps for regular colors; see the exceptions below.
Black trap width: the width of the trap when one of the adjacent colors is considered to be
black (see definition of black below).
Step limit: has an influence on deciding whether two adjacent colors need trapping or not.
Increasing this number will cause certain colors not to be trapped.
Black limit: specifies whether a tint can be considered black (and therefore trapped as black),
assuming that its ink is dark enough to be considered black (see below). Typically tints over
95% are considered black.
Black density limit: if an ink has a neutral density above the value specified here, it will be
considered black. Normally only very dark inks have to be considered black.
Sliding trap limit: specifies when the trap will start to be shared between two adjacent col-
ors: if the ratio between the neutral densities of the two colors is above this limit (i.e. the den-
sity of the two colors is close enough), instead of the light color trapping the dark one, they
will share the trap (shifting the trap gradually instead of a jump when trapping vignettes).
Increasing this value will tighten the transition area on vignette traps.
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Density limit: The visual impact of the trap can be minimized by reducing the density of the
trap (i.e. the density of the resulting color in the trapped area) – the closer the resulting den-
sity is to the original density (i.e. the density of the original color in the trapped area), the
smallest the visual impact will be. Setting a non-zero value as the density limit, the densi-
ty of the trap will be limited to the density of the original color increased by the value spec-
ified here (e.g. if the value specified is 70% and the density of the original color is 0.5, then
the maximum density of the trap will be 0.5 × 1.7 = 0.85). If the density of the trap will ex-
ceed the specified value, the components of the trap colors will be proportionally reduced to
match the maximum density.
Anamorphic ratio: the misregistration in the X and Y directions in the printing process
might be different. StudioRIP can compensate for this by applying different trapping in the
X and Y directions. This value will specify the ratio of X and Y directions, in percentages
(100% will mean equal trapping in X and Y directions).
Color reduction: Has a very similar behavior as the Density limit setting, but instead of
specifying a threshold value that the resulting trap cannot exceed, it reduces the density pro-
portinally with the original color, adjusting the trap color reduction with a continuous set-
ting, from no reduction (0%) to full reduction, matching the original density (100%).
Image trapping: Controls the trap between bitmaps and vector objects, offering the follow-
ing options:
Disabled: there will be no trapping between images and vectors;

Image to object: the trap will be created according to the bitmap color in the given area
(e.g. yellow parts of a bitmap will be spread under cyan vectors, but black parts of the bit-
map will be choked by cyan vectors). Note that this option will considerably slow down
processing, although still working on decent speed.
Spread: the image will be spread to the vectors;
Choke: the image will be choked by the vectors; 75
Centerline: the image and vectors will share the trap.
Internal image trapping: Enables trapping between the image elements (e.g. a yellow part
of the bitmap will spred under the cyan part of the bitmap). Note that trap scenarios are un-
likely in real-life photos due to the natural blur that can be observed by pictures taken by
cameras, so this option only makes sense for vector objects converted into bitmap by DTP
applications. Therefore this option is recommended to be used only in very special situations,
especially taking in account that it is extremely slow as well.
Draft quality: will increase the speed of trapping by doing the trapping between two objects
with disregard to the presence of a third color (object) or the white background, while nor-
mally, at the expense of a lower speed, StudioRIP will adjust the trap shape to minimize the
risks of trapping artifacts.
Use ink manager: the ink definitions in StudioRIP hold the trapping parameters of each
(density, opacity etc.). Checking this option, the trapping module will extract the parame-
ters of the inks from the ink manager.
Use the following list: allows the user to override the ink definitions in the ink manager for
a specific job by defining the ink parameters for each ink, in the order they will appear in the
Separations list of the job browser.
6.1.9 Calibration task
The calibration task applies the various curves (device linearization, transfer, desired and actu-
al dot gain curves). If turned off, no calibration will be applied over the job. An unlimited num-
ber of curves can be applied. The curves will be applied in their listed order. For further informa-
tion about calibration curves, particularly the meanings of the various curve types, see 6.3.4 Cal-
ibration curve editor ‹page 96›.
The following buttons are available on the right side of the list:
Create and add: creates a new curve by launching the curve editor (see 6.3.4 Calibration
curve editor ‹page 96›), and adds it to the top of the list (see the reasons below).
Add existing curve: adds an existing curve to the top of the list (see the reasons below).
Remove curve: removes the selected curve from the list of applied curves, without erasing
the curve itself from the StudioRIP system.
Move up/down: change the position of the curve in the list, in order to change the order in
which the curve will be applied (the topmost curve will be applied first).
Edit curve: edits the currently selected curve (see 6.3.4 Calibration curve editor ‹page 96›).
Although for most usual curves (compensating for small dot gains) the order in which they are
applied has little effect, it is highly recommended to apply them correctly in order to have accu-
rate results.
76
The correct order of the curves: Desired dot gain, Actual dot gain, Linearization. In case
of iterated fine tunings of dot gain compensation and/or linearization, the correct order
is: Desired #N, Actual #N, ..., Desired #1, Actual #1, Linearization #M, ..., Linearization #1,
where N is the number of dot gain compensation iterations, M is the number of lineariza-
tion iterations.
The following rules are recommended to be taken in account regarding multiple curves:
Recalibrating devices: as an alternative to the regular linearization method of a device (i.e.

printing an uncalibrated page and then replacing the existing linearization curve), the lin-
earization of an already linearized device can be fine tuned by performing the lineariza-
tion procedure with calibrated test page, and adding the resulting curve before the current
curve(s). This method can be iterated several times, new curves being always added before
the existing ones (although a large number of chained curves isn’t recommended due to
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speed and stability issues).

Dot gain compensation: the recommended way for dot gain compensation is to define the
desired and actual dot gain curves – note that this order is important, the desired curve first
transforms the incoming PS/PDF percent into the desired percent (e.g. 50% into 68%), then
the actual curve finds the right printed percentage that produces the desired measured per-
centage (e.g. 45% being known as printing the desired 68%). This can be done either by the
6.4.5 Dot gain compensation wizard ‹page 101› (that creates the desired and actual curves
based on spectrophotometer measurements), or by entering the desired curve from a library,
and creating the actual curve using a densitometer. Similarly to the linearization, the dot
gain compensation can also be fine tuned by iterating the procedure, in which case the new
desired-actual curve pairs need to be placed before the previous curves.
If linearization and dot gain compensation curves are used together, first do the dot gain com-
pensation, and then the linearization. The general rule is that the order in which the operations
are performed (e.g. exposing the plates and then printing on paper) should be reverted in the list
of curves: put on the top of the list the curve that controls the last operation (e.g. the dot gain
compensation curves that compensates for the dot gain of the press), and put on the bottom of
the list the curve that controls the first operation (e.g. the linearization curve of the CTP). The
same rule applies for the order of recalibrations: new curves are always placed before the old
ones.
To understand the logic behind the counterintuitive rule of inverted order, let’s consider the fol-
lowing example: the dot gain compensation curves require the 50% tint to be printed as 45% in
order to have the desired 68% on the paper (concretely: we must measure 45% on the plate in or-
der to measure 68% on the paper that is expected for an incoming 50% tint), while the lineariza-
tion curve of the CTP tells us that the CTP prints 40% as 45% (concretely: we must have 40%
in the 1-bit TIFF file in order to measure 45% on the plate).
From the point of view of the PS/PDF interpreter, we first need to apply the dot gain compen- 77
sation: assuming that we have a properly linearized plate, we first transform the incoming 50%
tint of the PS/PDF file into 45%, knowing that the subsequent processing will ensure that this
45% will indeed appear on the plate. Then this 45% is passed to the plate linearization curve,
which will transform this 45% into 40%, knowing that a printed 40% measures as 45% on the
plate.
So the order of applying the curves was 50% → 45% → 40%, i.e. first the dot gain compen-
sation (controlling the last operation: the printing), and only then the linearization curve (con-
trolling the first operation: the plate exposure) was applied.
6.1.10 Screening task
The screening task is done for all jobs that are not composite (and naturally turned off for com-
posite job styles). The following options are available:
Frequency: the default screen frequency, in lpi (lines per inch). Can be (and, by default, will
be) used by the Screening type settings dialog.
K (or base) angle: the default angle, in degrees. It is the base angle for building the angle
set. In the case of angles being assigned by color name (e.g. typical color PDF files), this
will normally be the angle of the black. Other angles of the angle set will be derived from the
base angle, typically the cyan will be –30 degrees from the base angle, and magenta +30 de-
grees.
Y correction: the correction ratio, in percentages, of the yellow screen frequency, in order
to decrease yellow moiré (see more about yellow moiré in section 9.2.3 The moiré between
the yellow and other inks ‹page 147›). The default value is +12%, meaning that the yellow
screen frequency is increased by 12% from the default screen frequency (e.g. in the case of
the default screen frequency being set to 175 lpi screen, the yellow screen frequency will be
around 175 + 12% = 196 lpi).
Dot shape: the default dot shape. Can be (and, by default, will be) used by the Screening
type settings dialog.
Screening type: one or more screening types can be defined in a job style: there will be a de-
fault screening type, and there may be one or more screening types triggered either by their
angle or screen frequency values defined as Usage condition. If the angle or screen frequen-
cy of a given object in the PS/PDF/EPS file matches this value, the matching screening
type will be used; otherwise the default screening type will be used. It is possible to assign
a special screen frequency to certain objects in the job in most DTP applications, so using
this feature it is possible to use different screening types for certain objects on the page (e.g.
a given bitmap printed with stochastic screening, the rest of the page with AM screening).
The Add screening type button will add a new screening type item.
The Delete screening type button will remove the selected screening type item, unless it is
the default one.
78 The Screening type settings button will display the Screening type settings dialog. See
more in 9.7 Screening type settings ‹page 158›.
Screen rules:
Override frequency: the frequency specified in the job will be ignored, using the frequen-
cy defined in StudioRIP instead.
Override dot shape: the dot shape specified in the job will be ignored, using the dot shape
defined in StudioRIP instead.
Snap angle to multiple of 7.5°: makes sure that all angles in the job will be a multiple of
7.5° (all common screen sets, including offset, flexo or silk printing, are all using angles
that are multiple of 7.5°). For example, old Level 1 PPDs often defined slightly deviated
angles to reduce moiré (as the RIPs were unable to achieve accurate screen angles), which
obviously are wrong values for modern RIPs and need to be corrected.
Snap to angle set built on K (or base) angle: makes sure that all angles in the job will be in
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the screen set suitable for the given technology (e.g. based on 45° for offset, based on 37.5°
for flexo, etc.). For example, it can automatically transform the angles of a job with offset
angles into flexo angles.
Skin tone protection (place Y angle between C and K): places the yellow angle (or the an-
gle of any color coming on the standard angle of yellow – 0° in offset terms) between the
C and K angles (30° in offset terms). The result will be eliminated M + Y moiré (orange,
skin tones), no change for the C + Y moiré, and an increased K + Y moiré (visible only for
high black generation).
Override colors of separations according to the color table: ignores the colors declared in
the PS/PDF/EPS file, and will replace them, in the order they will be shown under the
Separations item of the job browser, with the items of the Color table tab of this dialog.
For example, if the color information has been lost for a pre-separated CMYK job, check-
ing this option (and using the default CMYK colors of the Color table) will apply (cycli-
cally, if needed) the process colors to the plates of the job.
Override angles of separations using the angle table: ignores the angles defined in the
job, and looks up the angle of the given color in the Angle table. It is possible to use color
names like Unidentified color #N, which will be assigned to the Nth color of the job that
didn’t have a matching color name.
Guess unspecified separation colors by angle according to angle table: if the angle of a
plate is defined in a pre-separated job, but its name isn’t, StudioRIP will assign a color to
the plate by looking up the color of the given angle in the Angle table.
Color table: see the Override colors of separations according to the color table option above.
Colors can be added and removed using the buttons on the right of the table, and the color
can be changed by clicking on the color icon or its arrow.
Angle table: assigns angles to color names, used by the Override angles of separations using
the angle table and Guess unspecified separation colors by angle according to angle table 79
options above. Colors can be added and removed using the buttons in the right of the table;
the color can be changed by clicking on the color icon or its arrow; the angle can be changed
by clicking on the angle text of a selected item, then typing into the editor that appears in
about one second (note that two clicks are necessary to edit the angle of an item that is not
selected). The angle values will be automatically updated if the K (or base) angle field is
changed.
Seamless screen: ensures that the left and the right and/or the top and the bottom edges of
the job will not produce broken halftones on joining. The most important use of this feature
is to produce flexo sleeves that can print continuous, infinite images (e.g. wallpapers), but it
can be useful for imposition as well.
Turning on the Seamless screening option will slightly change the size of the job (up to a
few millimeters for the 150–175 lpi range) in the given direction (e.g. the Join vertically op-
tion will change the job height). The quality of the yellow screen may also become worse.
Test screen: displays the Test screen window, which provides a visual interface for testing
the screening system of the job style. The test is made globally for the entire job style, rather
than for the selected screening type. See more about its functionality in 9.8 Test screen win-
dow ‹page 163›.
6.1.11 Post-processing task
Can perform the following pixel-wise operations on the rasterized image data:
Ink spread compensation: makes vector objects thinner (or in negative imaging, thicker) in
order to compensate the ink spread that occurs during the imaging and/or printing process.
Note that while the dot gain compensation and ink spread compensation are two very differ-
ent strategies that compensate the effects of the same phenomenon: the dot gain compensa-
tion applies curves on the halftones to reach the right color, while the ink spread compensa-
tion changes the shapes of vectors to reach the right line thickness.
Ink spread: the thickness of removed (or in negative printing: added) area on the vector
object edges, in device pixels.
Minimum thickness: the thickness, in device pixels, that a thin line will not be allowed to
fall under. For example, a thin line of 5 pixels would become of 1 pixel with an ink spread
of 2 pixels ( 5 – 2 – 2 = 1), but having a minimum thickness of 3 pixels is specified, on-
ly 1 + 1 pixels would be removed from it, protecting the thin lines from becoming danger-
ously thin.
Compensate shades above: the halftone percentage above which a color is considered dark
(and therefore subject to ink spread compensation). Multi-channel colors must have at
least one channel reaching the limit to be considered dark.
80 Touching light area below: the halftone percentage below which a color is considered light
(and therefore triggering ink spread compensation if it touches a dark object). Multi-
channel colors must have all channels below the limit to be considered a light.
Dot chunk removal: the halftoning process often results in chunks of screen dots. For ex-
ample a sharp text rendered with a 20% halftone pattern will have screen dots falling on
the edges of the characters, in which case only a part of the screen dot will be kept. In unfor-
tunate situations only a very small chunk of a few pixels will remain – a troublesome issue
for certain printing technologies, typically flexography: the thin and weak ‘thorns’ result-
ing from these small chunks will be very unstable – may break, bend, overink etc. Flexog-
raphers usually want to get rid of these chunks – this is what the Dot chunk removal option
does.
Minimum chunk size: defines minimum the size, in device pixels, of a contiguous area of
pixels that is not removed from the final output. For example, if 5 pixels is specified, than
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any contiguous area consisting in 4 pixels of less will be removed.
Black tink texture: many printing technologies have difficulties printing 100% tints. It has
been observed that 99% tints print reacher and more uniform blacks though, the physi-
cal explanation of the phenomenon being that the ‘rough’ surface of the 99% tint can hold
more ink. This lead to the idea of creating specially designed patterns that have the optimal
ink holding properties. StudioRIP offers a variety of patterns to be used as replacements of
100% tints.
Replace 100% tints with texture: specifies the pattern to replace 100% tints with.
Protect edges: the size, in device pixels, of the edge that will be protected (that is, these ar-
eas will left untouched). This feature is important in order to keep the edges of halftone
dots sharp (as well to avoid potential moiré), but it also protects sharpness of small vec-
tor graphic.
6.1.12 Imposition task

Checking the imposition task is necessary for any of the following:
to prepare pre-press marks,

to extract the trim size of the job,
to apply imposition styles automatically.
Trim size: defines the trim size (i.e. the final size of the product, without bleed and pre-press
marks) of the job. With the imposition task turned on, this will become the displayed and 81
printed size of the job, while the size defined in the Sizing task will become the bleed size.
See more in 8.6 Bleed ‹page 137›.
Turning on imposition may change the displayed and printed size of the job, although the
processed size remains the same and available as bleed.
First matching item from the list: will extract the trim size of the file from the various size
declarations of the PostScript, PDF and EPS files. As their use by the various DTP and pre-
press applications isn’t very consistent, StudioRIP allows the user to fine tune the size ex-
traction procedure to get the best possible result with the used applications. StudioRIP will
search for the first definition in the list that is ticked and also present in the PS/PDF/EPS
file. The user can change the order of the size definitions, and can check or uncheck them. By
default, the TrimBox definition is the most desirable one (first in the list and checked), but if
it is not present in the file, StudioRIP will search for the MediaBox, CropBox etc. definitions.
Reduction from page size: the trim size will be computed from the page size defined in the
Sizing task and reduced by a certain amount. For example, a PostScript file may be generat-
ed 5 mm larger than the actual trim size, and then reduced by 5 mm with these controls. The
result will be a bleed of 5 mm.
Prepare pre-press marks option will control whether the RIP will process the pre-press
marks for the given job style in order to allow the use of pre-press marks with the jobs pro-
cessed with this job style. It is a time consuming task only for the first time, then the cach-
ing system will detect that the marks are alreay processed, so uncheck this only if prepress
marks are never used, or job styles are often changed.
Apply style option will apply a pre-defined imposition style (see chapter 8 on page 127)
to the job automatically, and is particularly useful if the same imposition style is used of-
ten. It also means that, if, for example, a color catalog with 128 pages is imposed with a col-
late and cut imposition scheme, with 8 pages on each side of a sheet, the imposition scheme
can be (1) defined before processing the catalog, (2) saved as an imposition style and (3) se-
lected here in the Apply style list. When processing the job, the imposition style will be ap-
plied automatically. The benefit will be that after the first 16 pages are processed, the first
two sheets will be imposed and ready to image immediately, without waiting for the rest of
the pages to be processed.
6.1.13 Proof color management task

This taks performs the color management for proofs. These settings are normally created by the
various proof wizards, changing them manually is only recommended for experts. Note that this
task may hold relevant settings even for non-proof job styles, the various proof wizards store
their partial results in this section of the original job style before creating the proof job styles.
82 Proof type: specifies whether the proof type is contone, halftone and raster. If the Contone
setting of the interpretation task is turned off, only raster proof type is allowed, otherwise
only contone and halftone proof types are allowed.
Maximum light ink coverage: specifies the maximum permitted coverage (density) of a
light ink (e.g. light cyan, typically used by inkjet printers). Increasing this value to 100%
will improve quality, but may cause ink flow problems (as the paper may not support too
much ink). The default value of 70% will, on most inkjet printers, avoid ink flow problems.
Profiling ink limitation: filled in by the Proofer linearization wizard (or otherwise default-
ed to 300%), this is the value that the Contone and Halftone proof wizards will use use to
default the Ink limit field (used to limit the ink quantity on the paper). Has no effect on jobs
printed with the job style, and it is also different from the physical ink limit determined by
the proof linearization wizard (this one takes in account the light inks and the linearization
curves too).
Linearization: holds the linearization information of a proofer device at a specific resolution
and with a specific paper. A linearization profile can be created by running the Proofer lin-
User manual
earization wizard. A linearization file will be necessary to run the Raster, Halftone or Con-
tone proof wizards, and will be copied to the resulting job styles.
Proofer ICC profile: the ICC profile of the proofer in contone mode. It is created by the Con-
tone proof wizard, and for accurate spot color reproduction it is recommended that it is cre-
ated before running the Raster proof wizard. It must be created before running the Halftone
proof wizard.
As StudioRIP has its own rasterization, linearization and ink management modules, it
doesn’t make any sense to use ICC profiles created by other applications as proofer ICC
profile (the result will certainly be inaccurate).
Simulate paper color: specifies whether the proof should simulate the color of the target pa-
per (typically printing a yellowish tint on the bright white proofing paper in order to match
the color of the offset paper). Unchecking this option is not a correct procedure, as the proof
will still remain absolute (possibly resulting in visible white spots in light areas – the light
colors will still have the paper color counted in), but many users prefer it.
Leave process black unmanaged: prints the K = 100, C = M = Y = 0 colors with the full
black colorant of the proofer device, resulting in less accurate but sharper black. This can
improve the sharpness of small text or line art elements.
Target (simulated) job style: specifies the job style that a halftone proof simulates. It is set
up by the Halftone proof wizard, changing it may affect proofing accuracy.
Halftone ICC profile: specifies the ICC profile of the proofer in halftone mode for the given
target job style. It is set up by the Halftone proof wizard, and if the screen settings of the tar-
get job style are changed, it is recommended that the Halftone proof wizard is rerun, creat-
ing a new halftone ICC profile.
Process color halftone optimized for: specifies the sharpness and color accuracy of half-
tone dots. It is set up by the Halftone proof wizard, changing it may affect proofing accuracy. 83
For details, see 10.2.4 Halftone proof wizard ‹page 175›.
Printer resolution: the real resolution of the proof printer for raster proof job styles. Note
that the resolution specified in the Interpretation task is the resolution of the target device
(i.e. imagesetter or CTP) rather than of the real proofer device (i.e. inkjet printer).
Color correction profile: holds the profiling information for a specific combination of target
device, proofer device, screen and calibration settings. It can be created by running the Ras-
ter proof wizard.
6.1.14 Proofing task
This task needs to be used if the job is processed normally (e.g. for a CTP or imagesetter), but a
proof needs to be printed too.
Do not check this task if the only purpose of the job style is to print a proof, otherwise the
proof will be printed twice (as the proof of the proof).
The following controls are available:
Proof type: Raster, halftone and contone proofs can be chosen, assuming that there are
proof job styles of the appropriate type defined in the system. Choose the required proof
type and job style.
The proofing task will be disabled if there are no available proof job styles in the system.
Proofed view:
Composite: the composite view of the job will be proofed, as shown in the Composite pre-
view window.
Imposition: the imposition view of the job will be proofed, as shown in the Imposition pre-
view window (containing pre-press marks, and eventually several pages per sheet).
Do not print until checked: the proof job will stay in the job browser, waiting for confirma-
tion, until it is checked.
Orientation: the orientation of the proof job, as printed on the proofer.
Progressive proofing: simulates the printing passes progressively. See 5.4.3 Proofing ‹page
57›.
6.1.15 Ink duct control task

Calculates the ink coverage for each ink zone of the page, belonging to each ink duct of the off-
84 set machine, and prints a diagram or exports a JDF (CIP 4), PPF (CIP 3), BMP or JPEG file.
Output type:
Diagram printed on: prints an ink zone diagram on the specified Windows printer (typi-
cally a small office printer).
Ink duct file exported to: exports a PPF, JDF, BMP or JPEG file to the specified folder.
Ink duct file type: the type of the exported file: PPF (CIP 3), JDF (CIP 4), BMP (grayscale
Windows bitmap) or JPEG (grayscale JPEG bitmap).
Press profile: the parameters of the print press (cylinder size, number of ink ducts, position-
ing, etc.). Print press styles can be edited, added or removed with the buttons in the right
of the combo box. See 5.4.2 Ink duct control ‹page 56› for further details about defining a
print press style.
User manual
Neutralize calibration: neutralizes the effect of the linearization curve, so that the ink duct
control information will reflect the real image on the film or plate rather than the calibrated
bitmap before exposure.
6.1.16 Export image task
Exports the PDF, JPEG or BMP preview of the job to a specified folder. The following options
are available:
Resolution: the resolution of the generated picture, defaulted to 150 dpi. Higher resolutions
are possible, but are not recommended for several reasons (long processing time, large JPEG
file and possible moiré problems). Use PDF for high resolutions (which uses a banding tech-
nique to generate the image), otherwise the RIP may fail with out of memory error.
Exported view: specifies whether the composite or imposition view of the job will be export-
ed.
Color space:
Color managed sRGB: recommended for color or content proofing. The job will be con-
verted into the standardized sRGB color space, which will be displayed in the same way
on calibrated monitors. In this mode the files will be well compressed, suitable for being
sent over the Internet.
CMYK or N-color (PDF only): recommended only if the separations need to be accessed
separately. The separations of the job will be stored unchanged, so the displayed colors
will depend on the CMYK working space setting of the PDF viewer application. The file
size will be significantly bigger in this mode.
85
Output type: specifies whether a PDF or JPEG/BMP (Color managed sRGB only) file will
be exported.
Compression: the quality of the JPEG compression, as a compromise between quality and
file size.
Export image to: the path the PDF, JPEG or BMP files will be exported to.
6.1.17 Positioning task

This task controls the positioning of the image data on the media. The following options are
avaliable:
Sheet/plate type: contains a list of predefined page sizes. Choosing a predefined page size
will fill the width and length fields automatically.
Transverse: used in conjunction with sheet/plate type, swaps the width and height of the se-
lected sheet/plate.
Width: the width of the media used with the current profile, perpendicular to the feed direc-
tion. In case of roll fed media, this will be the width of the roll.
Length: the length of the media used with the current profile, in feed direction:
for a sheet fed machine, set the height of the sheet/plate;

for a roll fed machine with limited image length (e.g. drum imagesetter), set the size lim-
it (e.g. the drum size);
for roll fed machine with unlimited image length (e.g. capstan imagsetter), set zero;
Ganging (a.k.a. Media saving): StudioRIP can collect consecutive pages on the media width,
to save media (e.g. an A2 imagesetter can print two A4 plates on the media width, so two
consecutive A4 pages can be collected and printed together).
The available ganging strategies are:
OFF: turns ganging off (mandatory for CTP devices);

Collect pages to media width: collects plates in rows that fill the media width, printing
each row as one job. For example if 4 plates fit on the media width, then a job of 8 pages
will printed as 2 jobs (i.e. two TIFF files will be sent to the TIFF catcher, each TIFF con-
taining 4 plates).
Collect pages to entire media: fills the available media size with plates, from left to right
and from top to bottom, saving one TIFF file per media.
Many drum machines have geometrical distortions. Using this feature on these machines
will cause separation pages to have registration errors. It may be advisable to print more
slowly but more precisely by turning this feature off.
86
Horizontal and vertical alignment: specifies the alignment of the job on the media horizon-
tally (left, center, right) and vertically (top, center, bottom). Changing this value will set the
Printed area option of the Imaging task to Entire media.
Bleed: specifies the amount of image around the sheet that may exceed the sheet size. It is
recommended to keep a few millimeters of bleed, for example the the guide mark couldn’t
work properly without this (as it must exceed the sheet size in order to be printed on the
sheet edge).
Unused area: specifies the area, measured from the edge of the media (rather than from the
imageable area), which for various reasons is not intended to be printed on (irrespective of
imageable or not). The grip margin is a typical example of this. Setting a non-zero value will
set the Printed area option of the Imaging task to Entire media.
Non-imageable area: specifies the area, measured from the edge of the media, which cannot
be imaged by the print engine. An exception is the case of the roll fed machines, where Left
and Right specify the non imageable margins, but Top and Bottom act as inter-page gaps.
User manual
Setting a non-zero value will set the Printed area option of the Imaging task to Entire media.
Orientation of portrait/landscape sheets: specifies the orientation of the sheet on the me-
dia, depending on its original orientation. Although roll fed machines can left on automat-
ic, typical CTP setups will specify the exact orientations for portrait and landscape to keep
the positions of the marks in the needed position relative to the gripper edge. The automat-
ic setting finds the orientation that fits on the media. If the job fits the media in both orienta-
tions, chooses the one that is more economical. Note that for single pages it may seem that
it chooses the wrong orientation, but the RIP assumes that usually there will be more than
one page of the same size to be collected on the width of the media (otherwise registration
problems could occur if, when reprinting a color, it has a different orientation than the oth-
er plates).
Fast scan in feed direction: on drum engines the job width is, confusingly, measured along
the media axis (i.e. the jobs are 90° rotated from their normal position), so this option needs
to be checked in order to have the automatic rotation, media saving and media count func-
tionalities working properly.
Check this option for roll-fed drum devices or other devices where the width of the job is
measured along the media length axis.
Leave it unchecked for capstan machines or inkjet printers.
To avoid further confusion, we recommend leaving it unchecked for sheet fed drum devic-
es (e.g. CTP machines), and just swap the plage width and height instead for proper func-
tionality.
The margin and alignment settings will be effective on the output only if the Printed area
option of the Imaging task is set to Entire media, otherwise they will only modify the pre-
view. 87
To understand this, an explanation of how StudioRIP places the image on the print area is neces-
sary. Some print engines provide limited or no control for positioning the image on the media,
therefore StudioRIP offers a simple but effective way to control the position of the image: imag-
ing the maximum imageable area, placing the image on this area according to the settings, and
leaving the areas outside of the image unexposed (or fully exposed, in case of negative printing).
However, this method has several disadvantages:
Imaging the maximum area (including the white borders) is usually slower than imaging
just the effective image. Setting up the print engine (if possible) might yield better speed.
StudioRIP performance might also be affected by creating larger output files.
Setting up the margins with wrong values might cause inaccurate placement or imaging er-
rors.
Therefore, in cases when positioning isn’t very important (such as printing on roll media), Print-
ed area is recommended to be set to Bounding box of contents. On CTP machines, which need
accurate placement of the image on the plate, there are two scenarios:
the TIFF catcher of the CTP will be used for positioning the image: usually this is the fastest
solution, so if there are no technical difficulties with it, this is the recommended setting. In
this case Printed area will be set to Bounding box of contents, but the margin and alignment
controls can be still used for an accurate preview of how the CTP will do the placement.
TIFF cather is not used for positioning the image (typically because it has no interface for
the
positioning, or there are technical difficulties with it): in this case StudioRIP’s interface will
be used for positioning, and Printed area is set to Entire media.
In the second scenario, it is critical that the margin values are used. Pay special attention to fill
in the right values.
6.1.18 Saving TIFF task

Controls the way the TIFF is output to the hot folder of the TIFF catcher software, and optionally
the Pring manager connection settings. The following options are available:
No Print manager: tick this option if no Print manager will be used; in this case, the Print
manager location box will be grayed out.
Print manager location: controls how the Server connects to the Print manager (if it does);
choose Sharing the same computer with the Server option if the Print manager and the
Server are on the same PC, and therefore no IP address is needed;
specify the host name or IP address of the computer running the Print manager to con-
88 nect to if the Print manager and the Server are on different PCs;
specify the TCP port number the Print manager is listening on for incoming connections;
TIFF hot folder location: specifies the folder that the 1-bit TIFF files will be dropped into.
When using third party TIFF catcher software without the use of the Print manager (i.e.
sending the TIFF files directly from the Server to the hot folder of the TIFF catcher), this is
the place to specify as the location of the TIFF catcher’s hot folder. Note that this path is rel-
ative to the Server PC’s file structure.
Overwrite TIFF: when the Server creates the TIFF file, it checks whether a file already ex-
ists with the given name. If it does, it will either overwrite the existing file (overwrite TIFF
checked), or will choose a free name by adding a number suffix to the end of the file name
(overwrite TIFF unchecked).
Compression type: Standard TIFF compression types can be chosen (CCITT G4, CCITT
G3-1D, LZW, Packbits), a special StudioRIP compression type designed for 16-bit contone
data (Packwords), as well as no compression.
User manual
File name format: defines the naming convention of the output TIFF files – especially use-
ful with third party TIFF catchers which may expect a given convention. Note that this is ef-
fective only if no Print manager is used (i.e. the TIFF files are placed into the hot folder of the
TIFF catcher directly by the Server). The format string contains variable fields (such as job
name, sheet name, ink name), written as the name of the field in brackets, e.g. [JobName].
The following fields are defined:
JobName: the name of the job, as it appears in the job browser;
JobShort: the name of the job with any non-alphanumeric characters removed (including
spaces), resulting in a name containing only letters or digits;
FilmName: the name of the piece of media that belongs to the printed TIFF, as appears un-
der the Media node in the job browser.
FilmShort: same as above, but alphanumeric characters only (see also JobShort);
FilmIndex: the index of the output TIFF file within the job. For example, if the film sav-
ing has grouped a CMYK job into two TIFF files, one containing the cyan and magenta
plates, the other the yellow and black plates, the first TIFF file will have the index 1, and
second one will have the index 2.
InkName: the full name of the ink (e.g. ‘Cyan’ or ‘Pantone 368 C’);
InkShort: the short name of the ink (e.g. ‘C’ or ‘P368C’);
Number suffixes for text fields: each text field can have a number attached at the end, this
will ensure that the resulting string will have a fixed length (longer strings will be trun-
cated, shorter strings will be padded with spaces). Example: [JobName6] will return a job
name of exactly 6 characters.
Number suffixes for number fields: number fields can have a number attached at the end,
which will add leading zeroes if the number has less digits than specified. Example: [Film-
Index3] will return ‘001’ for the first TIFF file.
Use PhotometricInterpretation tag for negative: if negative pages are sent out, this option 89
will specify whether StudioRIP will invert the information (resulting in a baseline TIFF con-
taining inverted information, which can be read by all TIFF readers, guaranteed), or it will
be sent out as positive data but with the PhotometricInterpretation tag set to negative (re-
sulting in high speed and efficiency, but possible incompatibility, if the TIFF reader cannot
handle this tag correctly).
Possible reasons for unchecking this option:
Use of third party TIFF catchers, which may not be compatible with this tag;
Only the job area (rather than the entire film/plate) needs to be inverted. Using the tag,
the print engine may be instructed to work in negative mode (e.g. Agfa imagesetters), in-
verting the entire imaged area (e.g. film width) rather than just the job.
Use Orientation tag for wrong reading: if mirrored pages are sent out, this option will spec-
ify whether the mirroring will be rendered by the StudioRIP (resulting in a baseline TIFF
containing mirrored information, which can be read by all TIFF readers, guaranteed), or it
will be sent out as right reading data but with the Orientation tag set to mirrored (resulting
in higher speed and efficiency, but possible incompatibility, if the TIFF reader cannot handle
this tag correctly). If you use third party TIFF catchers, you may want to uncheck this op-
tion.
6.1.19 Engine setup task
Job styles can store engine specific setup information that the Print manager can send through
its drivers to the print engine. For example, a high quality job style for an Epson printer may in-
struct the printer to turn off the bidirectional printing, while a draft quality job style may turn it
on. This can be done automatically, by storing the bidirectinal setting in each job style.
The engine setup task instructs the Print manager to set up the print engine with the settings
contained in the parameter/value table. The rule is that engine parameters listed and recognized
in the table will be set up, all other parameters will be left unchanged.
By default a job style leaves all engine parameters unchanged. If a job style sets up a pa-
rameter (e.g. turns off the bidirectional mode), all other job styles that need a different
value of this setting must set up their needed value (e.g. turning bidirectional mode back
on), otherwise the print engine will act inconsistently (depending on the last used set-
tings).
The engine setup can be modified in the following ways:
The Copy values button extracts the current settings of the engine, filling in the Engine set-
up dialog, which then can be saved into the table.
The Edit values button fills in the Engine setup dialog with the current values of the table.
90 The table can be edited manually – note though that any misspelled values will be ingored.
Note that when it’s launched from the buttons above, the Engine setup dialog will appear with
check boxes before each parameter. Only checked parameters will be set up, unchecked parame-
ters will left unchanged (being removed from the table).
A frequently used print engine property is the Output path parameter of the Tiff output driver:
if jobs coming through different job styles must go into different hot folders, each profile can de-
fine its own hot folder using this interface.
6.1.20 Imaging task

The imaging task controls the way the job will be exposed or printed on the media. The follow-
ing options are available:
Do not print until checked: if selected, StudioRIP will hold the job before sending it out for
printing, allowing modification and verification of the job; if the option is not selected, the
User manual
processed pages will be sent immediately to the Print manager or Tiff catcher;
Mirrored: select if you want to print the job mirrored (i.e. wrong reading), typically for off-
set printing. If you forget to select this option here, you have several further choices to turn
the job into mirrored.
Negative: select if you want to print the job in negative (common in flexography). Though
there are further choices for turning jobs into negatives, this is the only place to do it if there
are calibration curves involved (otherwise the calibration curve will be applied incorrectly).
The mirrored and negative options will show their effect only in media view! This makes
previewing the job easier.
Force CMYK output: prints all process plates even if some of them are empty (or contain on-
ly pre-press marks).
Copies: prints the page in multiple copies. Device drivers that have special support for mul-
tiple copy handling (such as the OKI driver) will send the page once to the device, and will
pass the number of copies as a parameter.
Collate copies: used in conjunction with the Copies field: jobs with multiple pages print-
ed in multiple copies will be collated (e.g. printed as 1, 2, 3, 1, 2, 3 rather than 1, 1, 2, 2, 3, 3).
Reverse order: will invert the order of the pages (i.e. the last page of the job will be imaged
first, and the first page will be imaged last). Useful on printers that, due to mechanical rea-
sons, reverse the page order on printing, so the right order can be achieved by checking this
option.
Duplex printing: will print two consecutive pages on the two sides of the same sheet of pa-
per, if there is driver support for it (such as in the OKI driver).
Turn on leading edge: the basic rule of duplexing is that portrait pages must be turned on
their top edges, landscape pages on their side edges. However, most printers physically turn 91
the page on the leading edge, which is often the wrong edge. This setting simulates the turn
on the side edge rotating the back sides by 180°, so from user point of view, it will act as if
the duplexing edge would be mechanically controlled.
Back offset X, back offset Y: to have a perfect match of the duplexed front and back sides,
the position of the back side can be fine tuned by shifting horizontally and vertically (in pos-
itive or negative direction).
Progressive printing: designed for proof jobs (i.e. the ones that are either generated by jobs
that have the Proofing task checked, or opened directly for proofing). Therefore it is the clone
of the progressive printing settings in 6.1.13 Proof color management task ‹page 82›, see
also 5.4.3 Proofing ‹page 57› for more information.
Variable data printing: can save processing time by merging simple multi-page foreground
jobs (such as a 1000 page job, each page containing a name) with complex background jobs
(such as one page with an image background and an empty box for names). To use this fea-
ture, follow the steps below:
Process the background job with the Variable data printing option set to Master page,
and with the Master page name field set to a unique name identifying this variable data
printing process, and send it to the Print manager. The job will not be printed, but instead
will wait for the variable data pages to arrive.
Process the variable data job with the Variable data printing option set to Merge with
master page option, and the Master page name field matching the name set for the back-
ground page, and send it to the Print manager. The variable data pages will be printed,
being merged with the background page by the Print manager in printing time.
6.1.21 Job information task

The job information settings are designed to carry and collect job specific information such as
date, time, customer name, number of pages, ink usage, etc. The collected information can be
then saved into a folder, e-mailed or printed for accounting or job management purposes.
The job information is a list of items. Each item in the list has a name (e.g. Job name) and a val-
ue. The values can be simple texts, but the power of the job information system is that these they
can contain fields, such as:
Variable fields: the same list of fields is available as for the pre-press marks (see 8.5.2 Pre-
press mark properties ‹page 134›), including date, time, job name, plate ink area, number
of pages, sheets, etc.
Cross-references: references to other items in the list.
Formulas: values starting with the ‘=’ sign will be considered arithmetic expressions that
will be evaluated.
Example: let’s create a field that will calculate the ink needed for printing 1000 pages.
92
First we will define an item called Ink deposit volume (cm3/m2), which will specify the ink
quantity, in cm3, needed for 1 m2 of 100% tint. This is an empirical value, and depends on
the ink, paper type and other parameters. Let’s consider that the value of this item is 16.2.
Then we will define another item, called Pages printed with 1 liter of ink, its value will be the
following formula:
round (1000 / ( [InkDepositVolumeCm3M2] × [PlateInkArea] / 10000)
The formula contains a reference to the PlateInkArea pre-defined variable field, as well as a
cross-reference to the Ink deposit volume (cm3/m2) item (the name is simplified by the insert
cross-reference command).
The job information items can be added or removed by the Add item and Remove item buttons.
The order of the items can be changed by the Move up and Move down buttons. The name of the
User manual
item can be changed by clicking on it.

The value of the item is displayed in the second column of the list, but also in the box below
the item list – this is where it can be edited too. Above this box there are two insert buttons too:
Insert field: inserts a pre-defined variable field, see 8.5.2 Pre-press mark properties ‹page
134› for the list of available fields (the list is identical to the one available for the pre-press
marks).
Insert cross-reference: inserts a cross-reference to another list item. The drop-down list con-
tains the list of the already existing items.
Typically the items are pre-defined in the job style (job name, number of pages, etc.). There may
be other items which are defined, but the values need to be filled by the operator when opening
the job (customer name, requested quantity, offered price etc.).
The result of the job information task is a text report that contains the item names and the eval-
uated values. The job information report will group the values into global, sheet, page and plate
dependent values (e.g. the ink quantity will be displayed for each plate, but the job name will be
displayed only once).
The report can be:
Sent to the specified e-mail address,

Saved as text file to the specified folder,
Printed on the specified Windows printer.
The e-mail settings can be specified in the E-mail setup dialog that can be accessed through
the button at the right side of the e-mail address field.
93
6.2 Color profiles
The Color profiles window manages the ICC/ICM files present in the system. Install a color pro-
file to use for color separation by adding it here. The profiles added are automatically copied to
the StudioRIP folder, with no need to keep the ICM/ICC file in its original location. If the Client
is connected through the network or Internet, the file will be safely uploaded (copied) to the serv-
er through the TCP channel.
The color profiles can be added and removed by the Add and Remove buttons in the toolbar of
the Color profiles window.
The installed color profiles must be CMYK profiles. Monitor calibration or other profiles
will not work, and, if used, may produce unpredictable results.
6.3 Calibration
6.3.1 Understanding calibration

Calibration allows operators to correct for inaccuracies and variations in the dot percentages
that are inevitable in the various pre-press and press processes. Dot gain is a common phenom-
enon in many of these processes, and calibration can correct for this, as well as any inaccurate
dot sizes produced by print engines or any non-linearity in the media. In essence, calibration
pre-distorts the dots in the opposite direction by the right amount to compensate for equipment-
caused distortions. To achieve this, the printed values are measured with a dotmeter or densi-
tometer, and the results entered into a table. This table will be interpolated by StudioRIP, and ap-
plied to the dots.
There are various strategies to calibrate printing systems:
Linearization: platesetters and filmsetters are often linearized (that is, the 50% tint is ex-
pected to be measured as 50% on the plate or film). The goal is to achieve a somewhat ‘stan-
dard’ output that is supposed to behave like other similarly linearized plates/films (al-
though the various chemical, mechanical or optical parameters of the plates or films still will
behave more or less differently). Well linearized plates/films are expected to print with ac-
ceptable color accuracy.
94 Dot gain compensation: this is a more direct strategy with the goal of reaching the expected
percentages on the final print. As the commercial offset CMYK became the industry stan-
dard color space in the pre-press world, generally pre-press operators expect to see offset dot
gains (even if they use completely different technologies like flexography or digital printing).
A dot gain compensated system using similar inks as the commercial offset will print fairly –
although not perfectly – accurate colors.
Profiling: this is the most accurate although the most difficult procedure: a few thousands
of patches are printed and measured, then an ICC profile is built. This is generally only do-
ne for proofers (which are quick and easy to profile), and rarely done for presses (good press
profiles are difficult to create due to the technology issues of offset printing). Assuming a re-
peatable process, profiling results in perfectly accurate colors.
The most common calibration procedure for platesetters and filmsetters is the linearization (of-
ten simply referred as calibration). In StudioRIP it can be done in the following way:
User manual
Check whether the density of the engine (e.g. the density of a 100% tint) matches the pa-
rameters recommended by the manufacturer (try changing chemicals, adjusting the densi-
ty, etc.).
Print an uncalibrated test page (either for black only, or for all process colors).
Add a new calibration curve, or modify an existing one.
Measure the printed calibration page with a densitometer.
Enter the measured results in the table of the added/modified calibration curve (e.g. 40%
measured as 47.5%, etc.). In the case of all process colors, enter the black results to the All
colors tab, then create a tab for the Cyan ink, enter the cyan results there, and so on.
Save the calibration curve (assigning a name to it).
Assign the calibration to the right job style.
Optionally, print a calibrated test page to verify for accuracy, and do a fine tuning if neces-
sary (see 6.1.9 Calibration task ‹page 76› about chained calibrations).
6.3.2 Print calibration page

A test calibration file is included in StudioRIP ready for immediate printing.
Select the Print calibration page item of the Calibration menu. The Print calibration page
window will appear.
Select the job style that the calibration will be made for. The job style holds the printer prop-
erties and screen settings that influence the calibration curve. The last used job style is used
implicitly.
Select whether to print an un-calibrated or calibrated page:
The uncalibrated page has to be printed before the calibration process. This is the page
which will be measured and entered into the table of the calibration curve. 95
The calibrated page should be printed after the calibration, either for verification or for
fine tuning. On the calibrated page the printed and measured values have to match (e.g.
the printed 60% has to be measured as approx. 60%). If they do not, create a new curve in
addition to the existing one, adding it before the existing curve, and enter the measured
values (e.g. 60% printing as 61%).
Select whether to print a single black page or all four process colors.
Select whether to print immediately or preview before printing.
Click print.
6.3.3 Calibration manager
The calibration curves can be added, removed or edited in the Calibration manager. Just creat-
ing a calibration curve is not enough, it will have to be applied to a specific job style – otherwise
it will have no effect. However, the user will be prompted, after finishing defining a calibration
curve, to decide how to apply the new calibration curve; this dialog box is explained below under
the section 6.4.6 Applying a calibration.
To create a new calibration curve, click on the Add button in the Calibration manager window.
To edit an existing calibration, double click on it within the Calibration manager window. The
Calibration curve editor window will appear.
6.3.4 Calibration curve editor
The calibration curve editor allows the user to build several calibration curves (each curve be-
ing assigned to a color) by entering value pairs (typically printed and measured values) into ta-
bles. It is also possible to edit the curves manually by dragging the setpoints on the curve with
the mouse.
The entered values can be integer or decimal values, in the range of 0–100. More value pairs
will result in a better defined calibration curve, especially at the extremes (close to 0 and 100%).
The values entered in the two columns depend on the curve type.
The following tools are available:
Curve name: the name of the calibration curve.

Clear: erases the table of the current tab.
Initialize: fills the table with the default values of the StudioRIP calibration page.
Copy values: copies the table contents of the All colors tab into the currently selected tab.
Dotmeter: launches the microscope based dotmeter window, see 6.3.5 Microscope-based
dotmeter ‹page 97›.
Dotmeter settings: opens the microscope based dotmeter setup dialog.
Curve type: there are four types of calibration curves in the StudioRIP system:
96 Response curve: the most common curve type, use this curve for device linearization. The
columns are filled with the printed value (written on the calibration page) and the mea-
sured value (read on the densitometer). The inverse function of the curve will be applied
over the percentages coming from the PS/PDF file (e.g. if a printed 50% is measured as
60%, then a 60% coming from the PS/PDF file will be transformed into 50%, knowing
that the printed result will be 60%, i.e. the desired value).
Transfer curve: the most straightforward curve type, use this curve for changing the per-
centages coming from the PS/PDF file directly with a curve. The values in the left column
will be transformed to the values in the right column.
Desired dot gain: the first item of a desired-actual curve pair used for dot gain compensa-
tion, use this only in conjunction with an actual curve, and use it only as the first item of
the pair. Contains the printed-measured value pairs of the target press (i.e. the one that is
considered as desirable). Usually these values are taken from ISO standards, but can be
taken from real prints too.
Actual dot gain: the second item of a desired-actual curve pair used for dot gain compen-
User manual
sation, use this only in conjunction with an desired curve, and use it only as the last item
of the pair. Contains the printed-measured value pairs of the actual press (i.e. the one that
needs to be corrected). Use a paper dotmeter or densitometer to fill in the measured col-
umn.
Negative: check this box for negative curves, see the next section for details.
Show the resulting transfer curve: shows, with gray, the actual curve that will be applied
over the percentages coming from the PS/PDF file. For example, for a response curve this
will be the inverse function of the defined curve.
Fill dotmeter result: if checked, pressing the button on the microscope will not just display
the measured value, but will also fill it into the table, jumping to the next row. Note that
holding the CTRL button will average the measured values, entering it as one table item on
the release of the CTRL button.
Add color: pressing the + button on the right side of the tabs will add a new tab for a new
color. Typically a calibration file contains the four curves of the four process colors, but
curves can be assigned to any color (e.g. Pantone 123 C can have its own calibration curve).
The calibration curve in the picture is typical for an average quality CTP device on a relatively
high line screen (175 lpi). As shown, a 50% tint came out as 58% (as measured by the densitom-
eter). With the calibration curve applied to the dot, when a job has a 50% tint in it, the rip modi-
fies this downwards (printing maybe 42%), forcing the print engine to produce an accurate 50%
tint. It does this across the full range of tint values for the dots that it has been applied to.
Printed or measured values of 100% or printed values of 0% will be rejected (the value pair
will disappear after entering it). The reason is that they would lead to wrong results, such as
100% tints having halftone dots: if the ‘98% measured as 100%’ value pair is entered in the ta-
ble, the RIP would – correctly – assume that printing 98% will result in a 100% tint. Indeed, the
densitometer would measure the printed 98% tint as 100%, however, most operators would con- 97
sider this abnormal behavior, and would expect 100% always to be printed as 100%.
On the other hand, this policy will prevent operators from defining such limitations intention-
ally (e.g. limiting the maximum tint to 90%, common in the gravure industry, or knocking out
tints below 2%, common in the flexo industry). These limitations can be defined in the screening
type settings, see 9.7.3 Limits tab ‹page 161›.
6.3.5 Microscope-based dotmeter

StudioRIP can use certain USB microscopes as fairly accurate dotmeters. Not all USB micro-
scopes are supported, the most important requirements are:
webcam-style: the microscope must be able to provide continuously moving image;
snapshot button: pressing this button, the webcam should be able to take a high resolution
still image;
high resolution: a resolution of 1600×1200 is recommended for accurate results;
auto exposure OFF: the camera must allow the automatic exposure controls to be turned
off, otherwise the colors would change depending of the dot percentage, spoiling the results;
stable focus: many cameras, especially the vertical ones, are don’t have stable an even fo-
cus on a flat surface; the focus ring is often very unstable too; microscopes with more contact
points with the flat surface are recommended.
Once the right camera has been chosen, connect it, launch the calibration curve editor, then click
the Dotmeter button. An image preview window should appear on the right side. For setting it
up, follow the steps below:
choose the right camera: press the Dotmeter setup button, then choose the USB micro-
scope from the list of available camera devices. If it isn’t listed, your camera is probably not
compatible with the StudioRIP system.
adjust the focus: the focus lens often has two focal points, at a small and at a high magnifi-
cation. Choose the high magnification position – ideally about 5–15 screen dots of 150-175
lpi should be visible across the image width;
adjust the light: if the light has a potentiometer, use it on the maximum if possible, that way
ensuring that the light intensity won’t change between measurements;
adjust the image controls: press the Filter properties button, turn off everything that is au-
tomatic, then adjust the manual controls until the image has good quality with realistic col-
ors;
calibrate: place the camera over the plate that you wish to use the dotmeter with, on a 40-
60% halftone that has enough areas of both colors; note that the goal of the calibration is to
set up color recognition, so the exact percentage of this tint is unimportant.
choose the right fine tuning curve: the StudioRIP install kit may come with pre-installed
fine tuning curves which can slightly correct the measurement results according to the plate
98 type and used screen type. If no curve is chosen, no correction will be applied (this is the de-
fault).
Once the camera is set up, place the camera over the patch to measure, and click the snapshot
button of the camera. The result should appear above the table. If the Fill dotmeter result box is
checked, the result will be also filled into the table, and the next table row will be focused.
A powerful feaure of StudioRIP’s dotmeter feature is that it can average measurements. Press
and hold the CTRL button, do serveral measurements, then release the CTRL button: the aver-
age of the measurements will be filled into the table (the status bar of the window shows more
useful information during the measurements such as current, minimum, maximum and average
percentages, as well as the maximum deviation from the average).
Pressing the SHIFT button will temporarily override the Fill dotmeter result setting, leaving
the table unchanged, but displaying the measurement result above the table.
6.3.6 Negative calibrations

User manual
A special case of calibration is to calibrate a system that works with negative output. To cali-
brate such a system, do the following:
print a calibration page with the same settings you intend to print your jobs (therefore in
negative),
check the Negative box of the Calibration curve editor dialog,
enter the values just as you read them (e.g. Printed: 10, measured: 95).
6.3.7 Applying a calibration

Once the calibration curve has been created and saved, it can be applied to one or more job styles.
Job styles store references to the curves rather than the curves themselves, so several job styles
can use the same calibration curve. Changing a curve will therefore obviously having effect to
all jobs processed with the job styles using it.
When creating or modifying a calibration curve, pay attention to the following rules:
Curves created with the Create and add button of the Calibration task will obvioulsy be ap-
plied to the edited job style.
Curves created from the Calibration curves docker will need to be applied manually. Use the
Add button of the Calibration task in order to apply them to job style(s).
Curves modified either from the Calibration task or from the Calibration curves docker will
have effect on all jobs processed after the change, assuming that the curve has already been
applied to the used job style.
The Dot gain compensation wizard can automatically add the curves to job styles.
It is also important to use the right order when working with multiple curves:
Curves are applied in the listed order (i.e. a percentage coming from the PS/PDF file will go 99
through the first curve, then the resulting value will go through the next curve, and so on).
New curves fine tuning the old ones should always be added before the old curves.
Dot gain compensation should always be added before the linearization curves.
The dot gain compensation curves shoudl always be in pairs, the desired curve followed by
the actual curve.
For a deeper understanding of the curve orders, see 6.1.9 Calibration task ‹page 76› .
6.4 Dot gain compensation
6.4.1 Understanding dot gain
Dot gain is a widely misunderstood subject. Pre-press operators are usually surprised to find
out that a 50% halftone will become 60-70% on the paper; moreover, it must be 60-70% on the
paper to produce the expected result.
For historic reasons, today’s printing industry has ended up with quite a complicated and diffi-
cult way of controlling the dot gain of printing devices:
The plate or film is linearized with calibration curves; therefore a 50% halftone will be mea-
sured as 50% on the film or plate.
Printing it on the press, a dot gain occurs, and the 50% halftone typically becomes 60-70%
on the media.
The printed result is profiled, and an ICC file will be created that describes the connection
between the device independent Lab color space and the CMYK color space of the press.
When separating a Lab or sRGB color in the DTP application or in the RIP (i.e. converting
it to the CMYK color space of the device), the conversion algorithm will inherently take in-
to account the dot gain of the press, as described in the ICC profile. However, the ICC pro-
file contains the dot gain information only indirectly, as CMYK-Lab value pairs, rather than
as explicit dot gain curves.
The main disadvantage of this method is that the line screen or dot shape settings, the paper
type, the print technology or press type have influence on the dot gain, therefore using the same
ICC profile might produce very different results. On the other hand, profiling a press is so long
and complicated that almost nobody does it; not to mention doing it with all the different paper
types, halftone settings etc.
If the printing industry worked on the principle of linearizing not just the imagesetter/CTP,
but the output too, using a second set of curves (i.e. having the 50% halftone actually 50%
on the paper), life would be much simpler: printers would have better control over the output
(checking for the accuracy of the percentages), and the differences between the various ICC pro-
files would be much smaller (in most cases using the same generic ICC profile would produce
100 satisfactory results after a successful linearization).
Unfortunately the current practice is such that the printing industry doesn’t use linearized
presses; therefore things are much more complicated. To make matters even worse, CMYK be-
came an industry standard in pre-press (i.e. designers convert everything into CMYK, consid-
ering RGB an ‘unprofessional’ color space), without knowing exactly what CMYK color space
are they actually using (but generally using the default offset color space of the DTP applica-
tions).
Dot gain compensation is a method that tries to deal with this unfortunate situation: instead
of linearizing the output device, it tries to reach the dot gain that is expected by the ICC profile
used in the color separation process. In simple terms, it will try to give exactly 68% (or whatever
the printing standards expect) on the paper for the 50% halftone screen.
6.4.2 Why use dot gain compensation?

Though the ideal solution would be to have an ICC profile for each paper type, line screen etc.,
in reality dot gain compensation is the only practical way for most printing houses to correct for
User manual
dot gain problems.

Dot gain compensation is typically used for correcting the slight dot gain variations of the off-
set press caused by technological issues like different plate type, higher halftone frequency, old-
er press machine, etc., trying to match a generic (or ISO standard) offset ICC profile used in the
pre-press process. However, it may be useful even for printing jobs separated using a generic
offset profile on completely different technologies like flexography or silk screen printing – hav-
ing, at least, the right dot gain is usually a great quality improvement.
If any of the printing parameters are substantially different (e.g. stochastic screening instead
of AM), it is almost certain that dot gain compensation will be needed. However, there are so
many parameters involved in the printing process that at least checking whether the dot gain is
correct or not is definitely recommended.
If the dot gain is substantially different, first search for technological faults (non-linear plates,
or film, wrong exposure time, wrong ink density on the paper, etc.). If all the possible technolog-
ical faults are ruled out, dot gain compensation will be needed.
6.4.3 Density based dot gain compensation

The first – and most common – scenario to set up gain compensation is to extract the target dot
gain values (typically from ISO standards), or to measure them with a dotmeter or densitomer
on a press that is considered as having the desired dot gain. The resulting curve is saved as a De-
sired dot gain curve.
Then calibration pages are printed with the system to be set up – either the bult in calibration
pages of StudioRIP, or any other patches with known percentages. Measure the printed results
with a dotmeter or densitometer, build another curve, and save it as an Actual dot gain curve.
Then apply the two curves to a job style, making sure that the curves are in the right position
and order (desired, actual, followed by any linearization curves). From this point on, the printed
results should have the right percentages. 101
6.4.4 Spectrophotometer based dot gain compensation
The second dot gain compensation technique uses a spectrophotometer. Although a spectropho-
tometer is unable to measure dot percentages or densities, it can approximate them from the Lab
measurements. Having both the target and the actual values extracted from Lab measurements,
the density values will be consistent.
The steps of the spectrophotometer based dot gain compensation procedure are as follows:
The target ICC profile is chosen. This is the profile that is used for color separation (typical-
ly ISO coated). StudioRIP extracts the desired dot gain curves from the chosen profile.
dot gain compensation chart is printed (e.g. on the offset press). The chart can be found in
A
the Proof charts folder of the installation CD,
The chart is measured with a spectrophotometer, and StudioRIP will build the actual dot
gain curves.
The curves will be can be added to the desired job style either as separate curves, or as an
equivalent single curve.
6.4.5 Dot gain compensation wizard

The dot gain compensation wizard performs a spectrophotometer based dot gain compensation
(the dotmeter based procedure is simple and straightforward, so it doesn’t need a wizard). The
first step of the dot gain compensation procedure is to print the Dot gain compensation chart
suitable for the installed spectrophotometer, located in the Proof charts folder of the installation
CD. The file has to be printed with the linearization curve applied (if used), but without any dot
gain compensation curves applied.
You will also need a spectrophotometer attached to the StudioRIP system. See 10.2.1 Spectro-
photometer setup ‹page 170›.
If you have the chart printed and the spectrophotometer installed, open the Dot gain compen-
sation window from the Calibration menu. The following settings will be available:
Compensation curve name: the name of the calibration curve. Four curves will be created,
with the ink name appended to the end of the chosen name.
Save as single curve: if checked, StudioRIP will save the actual and desired curves as a sin-
gle equivalent curve.
Add curves to job style: if checked, the created curves will be also to the chosen job style,
otherwise just the curve(s) will be saved.
Target dot gain: specifies how the target dot gain values are initialized in the dot gain table:
Linear: the output device will be linearized (i.e. no dot gain);

Import from ICC: the table will be initialized with the dot gain extracted from the chosen
ICC file.
102
Dot gain table: the dot gain table contains nine columns in three groups:
Printed: the first column, containing the printed values;

Desired: columns 2-5, containing the desired percentage for each of the CMYK inks;
Measured: columns 6-9, containing the actual (measured) percentages for each of the
CMYK inks.
The four strips of the Dot gain compensation chart will have to be read with the spectrophotom-
eter. Then, after reading all four strips successfully, the OK button will become active, and the
curves can be saved. If the Add curves to job style box was checked, the curves will be added to
the chosen job style too.
6.4.6 Checking the dot gain

For dotmeter based dot gain compensation simply use the dotmeter to check the resulting per-
User manual
centages against the desired values. For spectrophotometer based dot gain compensation fol-
low the instructions of the 6.5.4 Dot gain compensation wizard section, with the following dif-
ferences:
If you want to check the accuracy of the previously performed dot gain compensation pro-
cedure, the dot gain compensation curves must be applied (together with the linearization
curves, if any) when printing the Dot gain compensation chart.
compensation curve has to be created, unless the results need further fine tuning.
No
After the values are all read, compare the Desired (1-4) and Measured (5-9) columns. Assuming
that the technologies being used have good color repeatability (e.g. offset), the differences should
not be more than 2-3%. Technologies with worse accuracy (e.g. silk printing) may not be able to
achieve better accuracy than 5-8%.
If the values aren’t accurate enough for the given technology, you may do further iterations of
dot gain compensation, adding the new desired-actual curve pairs before the existing ones, al-
ways applying all curves on the printed calibration charts (including the old curves that aren’t
accurate enough), until the needed accuracy is achieved.
6.5 Ink manager
6.5.1 Ink manager window

The inks known by the StudioRIP system are managed in the Ink manager window. These ink
definitions are used for:
103
on-screen preview of the jobs,
proofing,
trapping.
On installation, StudioRIP’s ink list contains only a few inks. When a job is processed by Stu-
dioRIP, it will be checked for ink definitions, and all new ink definitions will be added to the Ink
manager. Existing inks can be modified or new inks can be added manually using the Add ink,
Remove ink and Edit ink buttons on the toolbar of the Ink manager. The Add ink and Edit ink
buttons will display the Ink properties window.
6.5.2 Ink properties window
The ink properties window enables the user to edit the parameters of an ink. The following op-
tions are available:
Ink name: the name of the ink, as used in the PostScript or PDF file.
Color model: Except for the cyan, magenta, yellow and black colors (which have CMYK
definitions and cannot be edited), specifies the color model used for the definition of the ink.
Lab: this is the most desirable way to define spot colors, as it will ensure the most accu-
rate match on proofers.
RGB: these values are interpreted as sRGB values.
CMYK: these values are device dependent, and will be interpreted according to the ICC
profile specified for the current job (in the Separation profile field of a job style). The val-
ue of the ICC profile box in the right of the Color model box will not be stored, and is used
for local visualization purposes only.
Color values: the definition of the color in the specified color model.
Type: specifies the ink type (normal, transparent, opaque, ignored). This value will be used
by the trapping module.
Neutral density: also used by the trapping module, specifying the darkness of the ink (so
that the lighter tint will always be spread under the darker one).
Custom neutral density: if unchecked, the neutral density will be calculated automatically
based on the color values.
Old and new ink: the preview of the original and the edited ink.
6.6 User management
By default, StudioRIP is configured for a small office network, letting StudioRIP clients connect
without any password protection. In many cases this will be unsatisfactory. Typical reasons are:
104
To prevent unauthorized user access, when StudioRIP’s Server is accessible from the Inter-
net.
restrict access to only a select group in the enterprise when StudioRIP is running within
To
the corporate network.
compartmentalize StudioRIP use, for example, by having a group of users who are only
To
allowed to print jobs, but not permitted to modify the RIP settings.
To overcome these issues, StudioRIP has built-in user management. This restricts access to the
Server by the creation of accounts with user names and passwords, and the removal of unpro-
tected accounts, such as the Default user.
6.6.1 Users window

The user accounts are managed in the Users window. The accounts listed here can be changed
or deleted, and new accounts can be created. At least one account must exist in the system; it is
User manual
not possible to delete an account if it is the last remaining one on the list. When StudioRIP in-
stalls, there is a user named Default user, with a blank password. To add password protection,
the blank password will have to be replaced, or new users created and given passwords, not for-
getting to delete the default user.
To add a new user, click on the Add button in the toolbar of the Users window. To edit an exist-
ing user’s properties, double click on the user name.
6.6.2 User properties window
When editing an existing user account or creating a new one, the User properties window will
appear. Specify the login name and password of the user account, as well as the special rights.
Users who can change both settings and manage users are, in effect, StudioRIP administra-
tors.
Users who can neither change settings nor manage users have full use of the RIP, they can
print jobs, make impositions, etc., however they cannot make any changes which could impair
its functionality.
6.7 Client options
Client options are a set of options stored separately from the global settings of StudioRIP (see
6.8.1 Server options ‹page 106›). Specifically, a set is stored for each client, with the client itself;
therefore each client can have its own settings. Most of these settings are hidden (i.e. non-user
managed, such as the sizes of the dockers), but others can be accessed from the Client settings di-
alog and set manually.
6.7.1 General tab

Measurement units: inch, millimeter, centimeter, point and pixel options; if for some reason
the pixel is undefined (there is no device resolution to calculate with), a default 1000 dpi is 105
used (so 1000 pixels = 1 inch).
Toolbar size: the size of the main toolbar;
Icon color: the color scheme of the icons (any RGB value can be chosen);
Ask for job style on open: if this option is checked, the Job style dialog will always appear
when opening a job with the Client;
Show toolbar button captions: specifies whether the toolbar buttons have texts under the
icon (recommended only for large icons).
Display update window when new update found: StudioRIP checks regularly for updates
on the StudioRIP web site. With this setting turned on, new versions will be reported on the
Client.
Use monitor ICC profile: uses an ICC profile for the monitor of the given workstation, link-
ing the sRGB color space to the device RGB space of the monitor. Note that many monitor
calibration software will apply the monitor ICC on system level, in which case applying it
again here will lead to wrong result.
6.7.2 Preflight tab

The Preflight options let the user customize the severity levels of the preflight warnings. If some
warnings are perceived as annoying by the user, the warnings in question can be set to “Ignore”
to stop it appearing. The action of each warning can be set by clicking on the small triangle near
the item, and selecting the desired action (Ignore, Warning, Critical).
6.7.3 Shortcuts tab
The shortcuts tab allows the user to customize the keyboard shortcuts. Shortcuts can be as-
signed to menu items (such as Open), as well as to other special actions such as changing the
preview tools or zooming.
To assign a shortcut:
Select the action in the action list the shortcut has to be assigned to,
Click in the New shortcut box,
Press the new keyboard shortcut,
Click the Add shortcut button,
If the shortcut has been used in another action, it will be automatically removed,
The new shortcut will be added and will appear in the Assigned shortcuts box.
To remove a shortcut:
Select the action the shortcut has to be removed from,

Select the shortcut to remove in the Assigned shortcuts list,
Click the Remove shortcut button.
106
6.8 Other settings
6.8.1 Server options

The server options are global settings for StudioRIP:
Imposition buffer size affects how quickly a page can be rotated on the final rendering
(when it is sent to the Print manager). A value of 100 MB is usually enough for a good speed,
larger values may cause problems in the memory management of StudioRIP.
Search for updates automatically: enables or disables the automatic internet update fea-
ture of StudioRIP. If turned on, StudioRIP will regularly check for a new version on the Stu-
dioRIP web site, and if available, will propose downloading it and updating the current in-
stallation.
Limit number of printers: by default, StudioRIP creates a shared Windows printer for each
User manual
defined job style. Operators may prefer to avoid this, especially when having a large number
of job styles. Turning on this option will limit the number of created printers by setting the
default value of the Windows printer field to No printer on job style creation, whenever the
number of printers has reached the specified limit. Note that the setting has no effect on the
previously created printers, and it can also be overridden for each job style creation.
Share the created printers: turning this option off, the Windows printers field will be de-
faulted to Local printer (or No printer, see above) on job style creation.
Allow lazy write for TIFF files: when disabled, StudioRIP writes the TIFF files to the HDD
without using the cache system of the operating system (keeping the RAM free). Enabling it
may speed up the RIP, but increases the risk of memory problems (even system freezes).
Server hot folder: the location where the Server creates the hot folder system of the job
styles.
File deletion condition: controls the cleanup rules of the Job browser history (that keeps the
source PS/PDF file, as well as the job in the state it’s been before sending to the Print man-
ager – note that there is another history for the Print manager jobs, that one can be con-
trolled from the Print manager settings). It is very important to use some kind of cleanup
mechanism, otherwise sooner or later StudioRIP will fill up the HDD. The settings can be
combined (for example, if Free space is less than 10 GB and File is older than 365 days are
checked, files will be erased when the free space is under 10 GB, but files older than a year
will be deleted anyway).
History folder is greater than a certain limit (physical size or percent of the HDD). This
option will limit the HDD space occupied by the Print manager to within a certain limit,
providing space for other programs.
Free space is less than a certain limit on the HDD (physical size or percent of the HDD).
This option is useful when StudioRIP runs on a dedicated computer, and maximizes Stu- 107
dioRIP’s use of available HDD space.
File is older than a certain number of days. For example, if this number is set to 7, files
older than a week will be deleted.
6.8.2 Connection settings

The connection settings dialog can be accessed by the Connection settings item in the Tools
menu, or by clicking Cancel after a failed connection attempt.
Available settings:
User name and password: if there are users added to the StudioRIP system, you may use
one of the defined user names and passwords. Otherwise use Default user as user name, and
leave the password box empty.
Language: each Client can run using a different language, as specified here. Note that only
certain languages are supported by the StudioRIP system.
Server host name or IP address: the network address of the computer running the Studio-
RIP Server. This is the setting which usually has to be changed when connecting from a
workstation.
TCP port number: the number of the TCP port used by the Client to connect to the Server. If
it is changed, it has to be done in sync with the Server. The default value is 4024.
Use JPEG compression: if the Client will be connected over the Internet or over some other
slow network connection, it is recommended that JPEG compression be selected to reduce
data traffic and thus speed up response. The compression ratio can be adjusted.
The Create shortcut button will save a Client shortcut to the desktop with the current set-
tings (i.e. visible in the dialog, but not necessarily saved). Several Server applications can be
accessed from one PC by creating a shortcut for each Server (this is useful for support engi-
neers or system administrators who are looking after several StudioRIP systems). See 3.1.3
Creating special Client shortcuts ‹page 30› for further details about the created shortcuts.
After pressing OK, the settings entered in this box will be stored, and the Client will disconnect
and then reconnect automatically with the new settings.
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7
Print manager 109
P rint manager
Print manager is a separate program that outputs the processed pages. It may run on the same
computer as the Server, or on a different computer in the network. More than one instance of
Print manager can also be used for multiple print engines.
Print manager has its own settings interface, but the Print manager docker of the StudioRIP
Client application provides most of its visual interface. The Client connects to the Server appli-
cation, and the Server is connected to one or more Print manager applications, some of them on
different computers. This is daisy-chained communication, and it is not necessary for the Client
to have direct connection to the Print manager(s).
7.1 Configuration
Print manager can be configured by its Settings dialog. This can only be done from the computer
that runs Print manager (the Client is not able to access these settings).
Open this dialog by clicking the small printer icon of the Print manager in the system tray.
If the Print manager is running as a system service, access to this dialog is not possible.
In this case, stop the Print manager service by the Services administration tool, and then
start the Print manager as a regular application.
110
7.1.1 History cleanup settings
The most important configuration settings of the Print manager are the History management
settings. These settings control how the Print manager deletes old files from the history and, by
doing so, keeping the hard disk drive (HDD) from filling up or storing more information than
desired.
By ticking the appropriate boxes, the files will be deleted in chronological order when any of
the following conditions are met:
History folder is greater than a certain limit (physical size or percent of the HDD). This op-
tion will limit the HDD space occupied by the Print manager to within a certain limit, pro-
viding space for other programs.
Free space is less than a certain limit on the HDD (physical size or percent of the HDD).
This option is useful when StudioRIP runs on a dedicated computer, and maximizes Studio-
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RIP’s use of available HDD space.

File is older than a certain number of days. For example, if this number is set to 7, files old-
er than a week will be deleted.
These settings can be combined (for example, if Free space is less than 10 GB and File is older
than 365 days are checked, files will be erased when the free space is under 10 GB, but files older
than a year will be deleted anyway).
It is very important to check one of these options, allowing StudioRIP to keep some HDD
space available for efficiency and for system stability. It is recommended that about 10 GB HDD
space is kept free (the temporary files of StudioRIP might need a few gigabytes).
If you notice that the History doesn’t keep even the recently printed files (they are grayed
out the moment they appear in the list), certainly one of the conditions above is true all
the time (e.g. the HDD space is already less than 10 GB), and therefore StudioRIP tries to
keep the needed HDD space by deleting them immediately.
7.1.2 Print engine settings

The Print engine settings are normally defined when running the Add print engine wizard. How-
ever, if using a print engine that is not listed, the settings will have to be entered manually. Other
settings, such as the take-up cassette alarm settings, would normally be set manually.
Imaging speed and inter-page delay helps the engine to calculate the imaging time; nor-
mally the speed of a laser-based print engine is given by the speed of the spinner and the res-
olution, the spinner speed is same for all the resolutions (so 2400 dpi is twice as slow as 1200
dpi); the inter-page delay is very important on drum machines, where a good part of the time 111
is taken by advancing the media, moving the carriage, or waiting for the on-line processor;
Set feed amount before cut:
Unchecked: Print manager will send a simple cut command, without specifying the
length of the feed to the imagesetter. The settings of the engine or a default value will be
used.
Checked: The feed amount is set by the Print manager, overriding the settings in the en-
gine.
Drum technology option helps the Print manager to display the used media length correctly.
Supply and take-up cassette alarm settings will specify when the StudioRIP Client should
show, by blinking the cassette icons in the cassette manager toolbar, that there is too little
media in the supply cassette or too much media in the take-up cassette.
P rint manager
Stop imaging on take-up alarm: if this option is checked, the imaging will stop when
the amount of media in the take-up cassette reaches the preset level (see above). Until the
cassette is cleared, jobs can only be printed one by one, clicking on the Start button after
each printed page.
Set exposure: if ticked, the rip will set the density of the engine to the exposure value previ-
ously set in the exposure table. This will only happen if the resolution/exposure pairing ex-
ists in the table.
The driver files used for the print engine, interface board and its parameters (typically the com-
munications port) are specified through the Engine driver DLL and Driver parameters fields.
These are engine specific and are normally configured at initial setup. Contact your dealer if
there are problems with these.
7.1.3 Special settings

Further settings available in the Special tab of the Settings dialog:
Hot folder path: Specifies the folder for receiving the incoming TIFF files from the server.
For installations with multiple hard disk drives or partitions, it may be necessary to change
this setting. This is the place where the large amounts of data files are stored. Be sure, when
modifying the location of the hot folder, to also change the setting in the job styles too. Also,
be sure to move the contents of the original hot folder to the new location.
TCP port number: As explained above, this is the port number that the Print manager ‘lis-
tens’ for the Server to connect, the default value is of 4025. For multiple instances of Print
manager on the same computer, this port number will be automatically set to a different val-
ue by the Setup program.
Board index: if there is more than one board in the system, this index identifies them; the in-
dex is allocated by the BIOS of the computer; the boards are numbered from 0; see section
7.2.4 Interface board index ‹page 115›.
112 Priority class and priority value: Print manager, by default, runs at a very high priority in
the system, enabling it to serve the print engines with a continuous flow of data (Priority
class: High, Priority value: Time critical). If there are any engine interruptions, a higher val-
ue should be chosen. Warning: this may result in the PC running Print manager becoming
non-responsive to user actions (effectively, to freeze) whilst outputting to the print engine.
Continue imaging after cut: normally the Print manager enters pause mode after a cut op-
eration, requesting user intervention before continuing working. However, on certain ma-
chines this isn’t necessary, and imaging can continue after a cut operation. Use this option
in such situations.
Launch Print manager on startup: if checked, Print manager will be started automatically
on the system startup.
Run as NT service: used in conjunction with the previous setting. If checked, Print manager
will be started as a system service, but will not have an icon in the system tray, and will be
started before any user logon.
Language: the language of the Print manager application (does not affect the language of
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the Print manager docker in the Client applications).
7.2 Non-standard scenarios
Possible scenarios for placing Print manager relative to the Server:

One Print manager, using the same computer as the Server; this is the fastest and recom-
mended scenario, it is also the default.
Print manager on a different computer, done for several possible reasons (bigger HDD ca-
pacity, logistical reasons etc.);
Two or more Print managers, some of them on the same computer as the Server, others on
other computer(s).
In all of these scenarios, there is one StudioRIP Server that connects to all the Print managers.
The Client application will treat all these Print managers as items in the Print manager list,
controlling them directly and easily.
7.2.1 Installing Print manager on another computer

To install a Print manager on a different computer than the one running StudioRIP Server, run
the Setup program on that computer, choose the Print manager option in the setup wizard, and
follow the steps described in section 2.2.8 Installing StudioRIP ‹page 23›, then set it up as de-
scribed in section 3.1.1 Starting Print manager for the first time ‹page 28›.
Once Print manager is set up and running, the Server has to be connected to it. To do this, start
the Client. If there is no other print engine defined in the system, the Add print engine wizard
will be launched automatically by the Client. If a print engine is already defined, launch the wiz-
ard manually, from the File menu.
Follow the steps described in chapter3.1.4 Starting the Client for the first time ‹page 30›. The 113
most important thing is to choose the Different computer option, specifying the IP address or
host name of the computer, which runs the Print manager to be connected to.
The Server will then try to connect to the Print manager. The connection is done through two
channels:
A control channel through a private TCP port, by default 4025.

A data channel through a shared hot folder.
If the Server and Print manager run on the same computer, these data channels are usually set
up without problems. However, when they run on different computers, the procedure is more dif-
ficult:
Make sure that TCP port 4025 is not blocked on the PC running Print manager (either by
P rint manager
turning off firewalls and antivirus software, or configuring them to let this port in).
Share the hot folder of the print manager. By default, the hot folder on a Windows 8, Win-
dows 7 or Vista system it is defaulted to C:\ProgramData\StudioRIP\Print manager\Hot-
Folder, on an XP computer is in the C:\Documents and Settings\All Users\Application da-
ta\StudioRIP\Print manager\HotFolder. The path can be different if a different data folder
has been specified on setup, or there is more than one Print manager on the same PC. Make
sure to enable write access too.
It is recommended that the functionality of the share is verified (i.e. a file can be successfully
copied into the shared folder from the Server PC, using Windows Explorer).
the first step of the Add print engine wizard, set up the network path of the shared hot
In
folder (e.g. \\WorkstationPM\HotFolder).
If the connection does not succeed (no control or data link), check whether the IP or host name
is correct, whether there is a firewall or other obstacle between the Server and Print manager
computers, the hot folder is properly shared and the share name is properly entered in the
wizard.
7.2.2 Installing two Print managers on the same PC using the Device manager
To run more than one instance of the Print manager on the same computer, the easiest solution
is to run the StudioRIP Device Manager application. For this, launch the application from the
Start menu, or right-click the tray icon of a running Print manager, then click the Device man-
ager menu item.
The StudioRIP device manager will display the currently installed Print manager applications
on the PC. You can add, remove, start and stop Print managers using the buttons in the toolbar.
When a new Print manager is added, the Device manager will automatically assign an index
to the newly created Print manager, configuring the TCP port of the control channel and the hot
folder path accordingly. Then the Print engine setup wizard will be started, see 3.1.1 Starting
114 Print manager for the first time ‹page 28›.
Once Print manager is set up and running, the Server must be connected to it. To do this, start
the client, and launch the Add print engine wizard manually, from the File menu.
Follow the steps described in chapter 3.1.4 Starting the Client for the first time ‹page 30›,
making the following settings:
Print manager instance index has to be set to 2 for the second instance, 3 for the third in-
stance etc. This setting will automatically modify the port number and hot folder path the
Server will try to connect to.
If the Print manager is on a different computer, select the Different computer option, spec-
ifying the IP or host name of the computer that runs the Print manager to connect to, as
well as the name of the shared hot folder (see 7.2.1 Installing Print manager on another
computer ‹page 113›).
The Server will then try to connect to the Print manager. If it does not succeed, check whether
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the IP or host name is correct, or whether there is a firewall or other obstacle between the Server
and Print manager computers.
If it finds a Print manager, other than the one that was expected, check whether the instance
index is specified correctly.
When using the same kind of interface boards for the two or more Print managers, the board
index will have to be set up. See chapter 7.2.4 Interface board index ‹page 115›.
7.2.3 Print manager instance index
One important point to note is that the Print manager instance index (which was specified when
running the Add print engine wizard in the Client) is the instance index of the Print manager on
the computer where it is installed rather than globally, in the StudioRIP system. Here is an ex-
ample:
On the computer called Server1, there is a Print Manager installed; the instance index of it
will be 1, because it is the first Print manager on this computer; it will listen on port 4025,
and its hot folder will be in the Print manager folder;
the same Sever1 computer, another Print manager is installed; its instance index will be
On
2, because it is the second Print manager on this computer; it will listen on port 4026, and its
hot folder will be in the Print manager #2 folder;
another computer, Server2, a third Print manager is installed; its instance index will be 1
On
(and not 3), because it is the only Print manager on this computer, it will listen on port 4025
(and not 4027), and its hot folder will be in the Print manager folder (and not Print Manag-
er #3).
7.2.4 Interface board index

If two Print managers use the same kind of board in the same computer (e.g. two PciAPIS
boards are plugged into the same PC), the two Print managers will distinguish the boards us- 115
ing the board index parameter: one of the Print managers will use board #0, the other one will
use board #1.
Installing a second board later may change the existing board numbering. The newly installed
board may be numbered as 0, and the old one has changed to 1. This is because it is the BIOS of
the computer that indexes these boards. In this situation change the cables, the boards or the in-
dexes.
Not all boards support instance indexes. Ask your local dealer about whether the boards have
support for this feature. If not, the second Print manager will have to be installed on another
computer.
EtherSetter interfaces have a slightly different indexing policy, as they are networked and
therefore may be visible from more PCs running Print managers.
P rint manager
7.3 EtherSetter interfaces
EtherSetters are proprietary StudioRIP interfaces for imagesetters and platesetters. They are
small external boxes, connected by Ethernet to the RIP, and by a device specific cable to the print
engine, implementing its specific hardware and software protocol (e.g. APIS, Pelbox, LI2/LI5,
Speedway).
As they connect through Ethernet, they don’t require Windows device drivers. The only prac-
tical problem connecting them is to create the TCP/IP link between the Print manager and the
EtherSetter box. Usually the link is created automatically, without a setup procedure: the instal-
lation is smooth and easy in almost any network configuration. However, in special situations
(multiple EtherSetters per network, EtherSetter and Print Manager in different LAN segments
etc.), the information below might be useful. For further details see 2.2.2 Installing an EtherSet-
ter box ‹page 20›.
7.3.1 Multiple EtherSetters per network

In case of multiple EtherSetter boxes per network, each Print Manager will choose its own Ether-
Setter box according to the Interface board # setting in the Special tab of the Settings dialog of
the Print Manager application. There are two possibilities at this point:
If default IP assignment is used (see 7.3.2 Default IP assignment ‹page 116›), the number-
ing of the boxes is done in the increasing order of their unique IDs (board #1 in the system
having the smallest ID, board #2 having the next ID etc.). This is a workable scenario only
if all EtherSetter boxes will be turned on when the StudioRIP Print managers boot up.
If static IP assignment is used (see 7.3.3 Static IP assignment ‹page 117›), the numbering
of the boxes is done based on the EtherSetters.ini file, which can assign a static IP to each of
the boxes. This scenario will rule out the unique ID and boot order problems, but requires a
special setup for each EtherSetter box.
116
In case of default IP assignment, it is critical that the procedure below (as well as each launch
of the Print managers) is done with all boxes booted up.
If a new box is introduced into the system, it will not necessarily have a higher index (as
board index is determined by the unique ID of the boxes rather then by the order of ap-
pearance in the network).
When new box(es) are introduced into the system, boot up the Print Managers one by one; if the
Print Manager doesn’t connect to the right box, change the interface board # and try again, un-
til it connects to the right box.
It is very important to have all boxes running when the Print Managers boot up. If box #1
is switched off during the boot-up procedure, box #2 will become box #1.
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7.3.2 Default IP assignment

By default (as well as after a reset operation initiated by pushing the reset button on the box) the
EtherSetter boxes are configured to automatic IP configuration through DHCP. Normally they
will get an IP just as any other computer in the LAN would, avoiding possible IP conflicts, and
no further intervention will be needed (either from the user or from the Print Manager).
If the DHCP request fails, the automatically assigned IP will be 192.168.0.124. If this IP is
outside of the subnet of the Print Manager PC, the Print Manager will choose an IP that is
in the right subnet (e.g. if Print Manager has an IP of 192.168.3.23, then the chosen IP will be
192.168.3.124). If there are more EtherSetter boxes in the system, the last number of the IP will
be increased (e.g. the second board will have an IP of 192.168.3.125 in the previous example),
until a free IP number is found.
7.3.3 Static IP assignment

Static IP assignment may be needed when:
the network administrator wants to control the IP of the box,

the EtherSetter box and the Print Manager are in different LAN segments, and auto-setup
broadcast packages are not propagated between them.
To configure the IP settings of an EtherSetter box, its HTTP service has to be accessed. For this,
the IP address of the box needs to be known:
if there is a DHCP server in the system, find out the assigned IP from the DHCP log or
lease table, or if the Print manager gets an echo reply from the box, from the Event log of the
Print manager;
if there is no DCHP server in the system, the automatically assigned IP will be 192.168.0.124; 117
if the IP of the box is outside of the subnet, modify temporarily the IP address of the PC to
match the subnet of the box.
Typically you will have to access the http://192.168.0.124 page. If the HTTP service of the box
was successfully reached, it will ask for the user name and password, which are both set to ‘ad-
min’ by default. Modify the settings, save them and then restart the box.
Fill in all the fields correctly, not just the IP. The Linux system of the boards will detect
faulty settings (e.g. the gateway being in a different subnet than the IP), and will not work
correctly.
As long as the Print manager can communicate on the set IP with the box, the IP will remain un-
changed. However, in the event of a communication problem the Print manager may attempt to
P rint manager
change the IP of the box. To make sure that the assigned IP will never change, it is recommended
that the EtherSetter.ini file is modified accordingly, see the chapter below.
7.3.4 EtherSetter configuration file

There is a configuration file in the StudioRIP program folder (typically C:\Program files\Stu-
dioRIP\EtherSetter.ini). Normally this file doesn’t need to be changed; however, for static IP
configuration it is recommended, especially in conjunction with multiple EtherSetter installa-
tions. The file contains records like:
[Board #1]
IP = auto
Port = 4023
Leaving the IP setting on auto will allow the Print Manager to negotiate an IP address with the
box; it will keep the current (DHCP-assigned or static) IP of the box if the communication can
be established on it, or will attempt to assign a new IP (by forcing a DHCP request, or on its
failure, assigning one).
When static IP assignment is used, it is recommended that the static IP is entered into the con-
figuration file instead of auto. This will instruct the Print Manager not to send broadcast mes-
sages at all, but rather to try to connect to the given IP directly. This is especially benefical when
multiple EtherSetters are used within the network.
The board number in brackets refers to the Interface board # field of the Print manager (see
7.3.1 Multiple EtherSetters per network ‹page 116›). In case of one board per network, only the
first record will have to be changed.
7.3.5 Establishing connection, step by step

118 In case of problems, a deeper understanding of how the Print manager establishes connection
with the EtherSetter box may be necessary. Here is the step by step procedure:
The Print manager reads the record specified by its Interface board # setting from the con-
figuration file (see 7.3.4 EtherSetter configuration file ‹page 117›). If a static IP is specified,
it will try to connect directly. If auto is specified, it will follow the procedure below.
will broadcast an identification request. All the EtherSetter boxes in the network will reply
It
with their current settings.
It will choose the right box based on the Interface board # setting (see 7.3.1 Multiple Ether-
Setters per network ‹page 116›), and will start to negotiate a suitable IP for it.
the IP of the box is in the right subnet, and isn’t in conflict with other EtherSetter IPs in
If
the subnet, it will connect to it.
the IP is not suitable, it will initiate another DHCP request (assuming that the cable was
If
plugged in later).
the IP is still not suitable, Print manager will assign an IP address, identical to the IP of
If
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the PC, except the last number of the IP address, which is set to 124 (or, in case of multi-
ple EtherSetters per network, 125 or more). For example, if the PC has an IP of 192.168.3.11,
then the 192.168.3.124 will be assigned to the first EtherSetter box, 192.168.3.125 to the sec-
ond one, etc.
7.4 Configuring Epson printers
As Epson printers allow StudioRIP a low level control of the printing process (droplet size, paper
feed, head movement), operators can fine tune the available Epson printing parameters for their
specific needs.
7.4.1 The Epson parameters

The Epson printer parameters can be configured in the Print engine properties dialog of Epson
printer (accessible through the Print engine properties button in the toolbar of the Print manag-
er docker). The following options are available (note that choosing Default for the options below
means that the settings will either not be set (internal Epson settings) or the StudioRIP defaults
will be used (internal StudioRIP settings).
Media type: Epson printers have internal tables storing the optimum values of mechanical
parameters like paper suction, paper feed adjustment, platen gap etc. for each genuine Ep-
son media type. If you work with genuine Epson media, choose the right media type, and
leave the other mechanical settings on default. If you use media from other sources (e.g. off-
set plates for inkjet), all mechanical settings will need to be fine tuned anyway, so the media
type setting won’t have much effect. An exception to this rule is the second set of rollers of
the Stylus Pro 4900 printer which will grip the paper if the media type is set to plain paper,
but will remain inactive if the media type is set to photo paper. Therefore it is recommended 119
to keep the media type on photo paper for custom media.
Platen gap: controls the distance between the media and the head, a critical setting for high
quality jobs. Except for cases when quality isn’t critical, but instead there is a risk that the
head will hit the media, keep this on Minimum. The closer the head is to the media, the bet-
ter the droplet placement quality will be. Note that on the Stylus Pro and SureColor series
the Minimum platen gap setting combined with a media thickness of 0.3 mm or less will re-
sult in an effective platen gap of 0.8 mm (so for example the distance of the head from a 0.3
mm plate will be of 0.8 – 0.3 = 0.5 mm).
Roll tension: controls the power of the motor that pulls the media backwards, against the
media feed mechanism, in order to keep the media tight. It may be critical for high quali-
ty work.
Paper suction: controls the power of the fans that pull down the media through the platen
air ducts. We recommend keeping it on low values, otherwise the feed may become unstable.
P rint manager
Paper path: controls the media source. Keeping it on the default value will let the printer to
use the currently loaded media. However, if you want to avoid situations like printing off-
set plate content on proofing roll paper, or printing proofing content on offset plate, you may
specify the paper path in the proofing and plate printing job styles, and having the wrong
media loaded to the printer will raise an error rather than wasting the wrong media.
Paper feed adjustment: a critical setting, controlling the correction that is applied to the
media feed. Optimizing this setting for a given media type and size, you achieve a job of
one meter to have indeed exactly one meter length. This is important not just geometrically,
but it also greatly affects quality: the wrong feed amount will cause unsharp dots and visi-
ble banding too, beside the wrong length. Set it up by measuring the actual length of a job
of known length, and applying the right correction, in percentages. For example if a job of
one meter prints as 1002 millimeters, then you need the new output length to be 1000 / 1002
= 99.80% of the current output length – in other words, you need a –0.20% feed adjustment.
Note that the feed adjustment has 3 possible modes:
OFF: no feed adjustment is applied;

Absolute: the feed adjustment assigned to the current paper type is ignored, and the spec-
ified value is applied;
Relative: the feed adjustment assigned to the current paper type is used, but the specified
correction value is applied over it.
Paper thickness: specifies the thickness of the used media. With thicknes values less or
equal to 0.3 mm and with the Platen gap parameter set to Minimum the actual head-platen
distance, according to Epson specifications, is 0.8 mm. For thicker materials the printer will
increase the head-platen distance. Note that most professional Epson printers have automat-
ic thickness detection.
Ink(s) used for separations: specifices what ink(s) to be used when the printer is used as a
separations device (e.g. inkjet platesetter or filmsetter). The following values are available:
simple inks (e.g. Black, Cyan etc.): the printer will use the specified ink;
combination of two inks (e.g. Black + Cyan): the printer will use the two specified inks
according to the Second separation ink usage parameter (see below);
twin pairs (e.g. Twin Orange + Green): useful on the 360 nozzles/channel models (e.g.
Stylus Pro 7900) which have a special head design, allowing two channels of 360 nozzles
each to work as one channel of 720 nozzles (either by using refillable cartridges with the
same ink in both channels, or for technologies which don’t care of the actual color of the
ink).
Second separation ink usage: is enabled only if the previous setting is set to a combination
of two inks. The following values are available:
Double ink mode: the two inks will be used on the top of each other, leading to double ink
quantity;
Horizontal twin mode left/right: uses the two channels to emulate double horizontal res-
olution. Useful in 2880 × 2880 dpi mode: the printer will be used on 1440 dpi horizontal
resolution, but as two channels will be working together, the driver effectively controls
2880 droplets per inch. The difference from the real 2880 × 2880 dpi mode is that in the-
ory the placements of the droplets aren’t fully accurate (the first and second droplets of
a scanline are supposed to print to the same position instead of being 8.81 microns away
from each other), but taking in account that the typical nozzle placement inaccuracy of a
printer is around 20 microns, in practice this won’t make much difference. The left/right
suffix of the mode can further improve the situation: if there is a vertical misalignment be-
tween the two channels (e.g. the cyan channel fires 8 microns to the left compared to the
magenta channel), choosing the right suffix can take advantage of this, resulting in a 2880
× 2880 dpi print that is mathematically perfect too. This mode is particularly useful on
Stylus Pro 7700/9700 or SureColor T series models in conjunction with the Black + oth-
er K channel setting, when 4 channels of 360 nozzles each are used together for printing
black, achieving the same speed for printing 2880 × 2880 dpi data as a Stylus Pro 7900
would achieve on 1440 × 1440 using a single channel.
Prefer first channel: the same as above, but with a preferential use of the first channel: if
only one of the two channels need to fire at a certain pixel position, then always the first
channel will be used. Taking in account that the typical ink density used on 2880 × 2880
dpi is around 40% (i.e. more than half of the droplets are removed by the density modula-
tion system), about 90-95% of the droplets will come from the first channel. This has sev-
eral benefits on the quality: on the SureColor T series the matte black channel is more ac-
curate than the photo black (being in the middle of the head), using as few channels as
possible also increases quality, and using genuine Epson ink, the MK ink is generally of
higher quality for repro use (plate, film).
121
Black ink: specifies whether the matte or photo black will be used (or treated as first channel
in the case of Black + other K channel parameter).
Density modulation: a very powerful feature of StudioRIP, allowing the ink density to
change according to the halftone percentage, typically using high density on small dot per-
centages, and decreasing the ink density to higher halftone percentages. Note that due to the
speed and quality issues of the density modulation implemented at this level (the halftone
percentage needs to be computed from the 1-bit data), we recommend the density modula-
tion of the screening module to be used instead. The driver based density modulation is still
functional though for special situations. The avalilable controls are:
Off: no density modulation is performed at this stage (recommended; use the screening
module’s density modulation instead);
Constant: no modulation is performed, but instead a constant density value is used;
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Curve: the density is modulated according to the halftone percentage according to the
specified curve (see below).
Outline protection: specifies whether the outlines (e.g. the edges of screen dots or vectors)
should have different density than the main areas, and if so, an outline of how many pixels
to be treated in a different way.
Density table: defines the density curves for the main areas and the outline. Enter the half-
tone percentage to the left column of the table, and the assigned density to the right column.
For example if you want a 10% halftone to have full density, write 10 to the left column, and
100 to the right column. If you want the the 90% halftone to have 40% ink density, write 90
to the left column, and 40 to the right column. We recommend a smoothly decreasing curve
to be used, with high density values for low halftone percentages, decreasing towards the
optimal ink thickness of the 100% tint. Pay attention to the potential non-linearity caused
by the too steep curves (e.g. a 20% halftone with 70% ink density may print lighter than
a 15% halftone with 100% ink density). Normally the density range goes up to 100%, but
in certain cases (low resolution and high density) you may need higher density than 100%.
The allowed range is up to 300%. Note that using values above 100% will turn on variable
sized droplet printing that works on half speed, so try to increase density by the use of more
channels.
MicroWeaving: controls whether the interlacing (i.e. building the final resolution such as
2880 × 2880 dpi from the printer’s native 360 × 720 dpi by several head passes) is done by
StudioRIP or by the printer firmware. Allowing StudioRIP to do the interlacing offers a
wide range of quality control tools, and is highly recommended for high quality output like
inkjet platesetters or imagesetters.
Quality: suppresses the banding of the printer at the expense of printing speed, see 10.4.2
Banding ‹page 184›. Choose the highest speed that offers a pleasant, banding free output.
Quality enhancement: specifies how many nozzles to disable of the 1 inch head. For exam-
122 ple using just half inch of the one inch head will significantly improve the dot sharpness: all
the geometrical and feed related issues causing inaccurate droplet placement will decrease
together with the distance between teh first and last nozzles.
Pass fading: having the edges of the 1 inch wide band printed by a head pass being faded
(i.e. the head pass will have a faded, blurred look instead of being a band with sharp edges),
the feed inaccuracies will cause much less visible banding: instead of having a thin gap or
overlap between two head passes, caused by the inaccurate feed, the error will be dispersed
over a few millimeters.
Bidirectional mode: specifies whether the print head prints in both directions (achieving al-
most double speed). It is recommended that it is turned off for top quality output (especially
if halftones are printed), but in many cases (typically for contone proofs) the double speed is
more important than the often barely visible quality loss.
Halve resolution: increases speed by using half resolution (horizontally or vertically). Rec-
ommended only for draft quality work. Apart from a few 180 nozzles/channel printers that
are still sold by Epson (e.g. Stylus Pro 3880), most Epson printers have 360–720 nozzles per
User manual
color, so using this option doesn’t make much sense.

DropletType: while changing the Density setting is not recommended for proofing or photo
printing, the DropletType and DropletSize parameters can improve the density witout qual-
ity loss. By defult, StudioRIP chooses the right droplet type and size for the current resolu-
tion. However, in some cases (such as printing on a special media) it may be desirable to use
diferent values. The DropletType setting specifies the printing mode (each Epson model has
several available printing modes, each mode having a specific droplet size, in terms of pic-
olitres, for the small, medium and large droplets). Note that only some of the listed droplet
types will be availabe on a specific printer.
DropletSize: within the current mode, StudioRIP uses one specific droplet size (small, me-
dium or large); in addition, in VSD (Variable Sized Droplet) mode it will also use the small
droplet to improve the quality of highlights. For example, on the Epson Stylus Pro series, in
720×720 dpi mode, the RIP will use VSD 2 mode with medium droplet (i.e. 12.5 pl drop-
lets), the highlights being enhanced by the smallest available droplet type (5.9 pl). The den-
sity can be increased by choosing the large droplet (20.8 pl). Note that in non-VSD (UMD)
mode only the VSD OFF mode is valid.
Borderless printing: prints the image on the media without leaving the default border of a
few millimeters. Some printer models may not support it, support it only partially (e.g. only
horizontally), or only on certain paper sizes.
Drying time per scan: the time, in seconds, that the printer waits between two head scans
so that the ink can dry.
Drying time per page: the time, in seconds, that the printer waits between two jobs so that
the ink can dry.
7.4.2 Printing on inkjet film or photosensitive material 123

Inkjet films or photosensitive materials need use black ink for masking the light, therefore need
high ink density. On old Epson models with few nozzles our recommendation was the use of
variable sized printing. However, the picture has completely changed with today’s Epson print-
ers, especially the high speed ones (SureColor T series): with the right setup, these printers are
fast enough to print on decent speed even on 2880 × 2880 dpi, which places more ink than most
media types would be able to handle; or, if even higher speed is desired, the use of double chan-
nel mode with 1440 × 1440 dpi places again a high quantity of ink which about the maximum
amount that most media types handle. Therefore the variable sized printing is discouraged on
these models (causing half printing speed and less detail).
When setting up the such system, take in account the following aspects:
StudioRIP can print good quality halftones up to 175 lpi on the right quality media, using
2880 × 2880 dpi.
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To reach good speed on this resolution, we recommend the high speed Epson models (Sure-
Color T series), or the use of refillable cartridges with black ink in 2 or 4 channels on the Sty-
lus Pro models.
Always choose minimum platen gap and low paper suction value.
Set up the feed adjustment accurately. Note that the right value might depend on the media
size too (wider media may need higher correction due to the increased friction).
Always use density modulation, starting from 100% density on highlights, and gradually
decreasing towards the density value you need for a 100% tint.
you use 1440 × 1440 dpi, and the 100% density on a 100% tint is still not enough, use two
If
channels together to increase density.
the media accepts only a small amount of ink for a 100% tint (e.g. 15-30%), using a 1 pix-
If
el outline of higher density (40-60%) may increase the dot sharpness.
you get moiré, try other screen frequency or angles. Below some screen sets known as be-
If
ing smooth and moiré free on 2880 dpi:
148±1 lpi, base angle: 45°

178±1 lpi, base angle: 37.5°
The use of the Elliptical asymmetric dot shapes is recommended on inkjets, having the fol-
lowing benefical properties for inkjet:
0–30%: round dots,

30–40%: the round dots turning into rhomboid,
40-50%: the rhomboid dots turning into square,
50%: perfect square,
above 50%: turning into round again, just like the Euclidean dots.
124
To increase repeatability and feed accuracy, use plates in landscape mode (the extra money
for wider printer may be worth for the increased quality).
7.4.3 Registering dead nozzles

There are situations when one or more nozzles of the printer are permanently blocked, software
or hardware head cleaning operations failing to cure the problem. A blocked nozzle (even if it’s
blocked only partially, not placing the droplet in the right way) can seriously damage the quali-
ty of the output.
StudioRIP allows for this possibility by registering one or more nozzles as dead and then not
using them at all for printing. As the microweaving system uses multiple nozzles for one scan-
line anyway, this will be done without any speed or quality loss. Note that this feature is not sup-
ported if the MicroWeaving parameter is set to Printer based.
User manual
The procedure for registering dead nozzles is as follows:
Print a nozzle test page, and search for the dead nozzle(s).
Write down the ink (e.g. Light cyan) and number of the nozzle. For example, on the sample
picture nozzles #137 and #155 are dead.
Open the DeviceSettings.ini file in the Print manager data folder in Notepad.
Create a section called DeadNozzles (see example below) at the end of the file.
Create a line with the name of the ink (C, M, Y, K, LC, LM, LK or LLK) followed by the ‘=’
sign and the numbers of the dead nozzles separated by commas (each comma followed by a
space).
Save the file and restart Print manager.
In the example above, the newly added section will look like this:
[DeadNozzles]
LC = 137, 155
7.4.4 Head alignment

Epson printers may have head misregistration problems (i.e. different inks printed in slightly
different position), causing blurry edges. StudioRIP can be set up to compensate for this regis-
tration error by sending the various separation planes pre-shifted in the opposite direction to the
registration error, so that the result will be a perfect registration.
To align the heads of an Epson printer, follow the steps below:
Print the Inkjet head alignment.pdf file from the Proof charts folder of the installation CD
using a native (i.e. not proof) Epson job style. If the printer does not have some of the light 125
inks, you may delete them by selecting the unnecessary plates in the Job browser and click-
ing the Delete button.
Search for the best registration in each row. Note that there is a row for horizontal (X) and
another one for vertical (Y) registration; look for the best registration match only on the giv-
en axis (e.g. in the LCx row look for the best horizontal registration), ignoring the misregis-
tration on the other axis.
In the example on the picture, the best cyan registration is in the –2 column (vertical misreg-
istration ignored), and the best magenta registration is in the +1 column.
Open the DeviceSettings.ini file in the Print manager data folder in Notepad.
Create a section called HeadAlignment (see example below) to the end of the file.
Create a line for each row with misalignment. For example, in the example above the Cx line
needs a correction of –2, so enter the name of the line (Cx) followed by the ‘=’ sign and the
correction value (–2). Null corrections can be ignored (i.e. their lines can be omitted); very
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small correction values may also be ignored.
Save the file and restart Print manager.
In the example above, the newly added section will look like:
[HeadAlignment]
Cx = -2
Mx = 1
126
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8
Imposition 127
Imposition
StudioRIP has a built-in imposition system, which is able to work with pre-press marks, and is
able to perform complex impositions (saddle stitching, collate and cut etc.).
StudioRIP has a post-RIP imposition system, which means that the pages are first processed,
and the imposition is performed on the processed pages. This has several advantages:
100% certainty that a page will not be changed during the imposition (whilst with PDF/
PostScript based imposition software there is no certainty that problems will not occur, due
to the complexity of PDF/PostScript);
Pages that are step and repeated over a sheet will be processed only once;
Verifying the job during the imposition is possible, right down to pixel level, with no need
to process the job again and again to check if, for example, there is a white hairline between
two pages;
Completely different jobs, with different screen settings, can be combined on the same sheet.
The only disadvantage to this approach is when jobs that have halftones right to the edge of the
page (for example, a page with a 20% gray background) meet. These may have broken halftones
on the touching edges of the pages. This presents problems if there will be a single cut between
the pages. The only practical solution in these cases is to use two cuts between the pages.
128 8.1 Understanding imposition
8.1.1 Separation, composite and imposition pages

StudioRIP builds the final print in three steps:
the separations are grouped into composite pages,

the composite pages are arranged in imposition sheets, and
the imposition sheets are then separated again (if needed), and placed onto the media.
The picture shows how the 8 separation pages are grouped into 2 composite pages, and the com-
posite pages are imposed on one sheet.
StudioRIP imposition works with the composite pages of the job, the ones shown under the
Composite node of the job browser tree. The results of the imposition are the sheets, shown un-
der the Imposition node.
User manual
An imposition can only be made up from pages of the same job. To create an imposition
using pages from different jobs, first combine the jobs.
8.1.2 Splitting jobs for imposition
If different imposition styles will be used on different pages of a job, first split the job (resulting
in two jobs), then each of them can be imposed in its own style.
Here is an example: the color pages of a book will be printed on an A3 press, the black and
white pages will be printed on an A2 press. Therefore, the black and white pages will have a dif-
ferent imposition scheme from the color pages. Select the color pages of the job (under the Com-
posite node) and click the Split job button. The selected pages will be extracted from the job, and
a new job will be created, containing these pages. The new jobs can now be imposed separately.
Use drag & drop to move pages from one job to another (this works only for separation or com-
posite pages).
8.1.3 Combining jobs for imposition

To impose the pages of different jobs into one imposition, first combine them, resulting in one
job containing the combined pages from the two jobs. Then impose them.
Here is an example: two A3 designs from different companies, in different files. It would be
more economical to print them together on an A2 sheet. Open and process all of the files, select
the job items in the Job browser window, then click the Combine jobs button in the toolbar. The
imposition can then be made using the combined pages.
8.1.4 The imposition sheet

The imposition sheets are shown under the Imposition node of the job tree in the Job browser, 129
each imposition sheet having its corresponding node.
An imposition sheet has a user-definable size, and contains one or more composite pages and
pre-press marks. There are controls for the position and orientation of each composite page on
each imposition sheet.
When a job opens, it automatically generates one sheet for each composite page. Initially there
is no difference between the composite pages and the imposition sheets, they are equal in num-
ber, each imposition sheet containing only the corresponding composite page, having the same
size and content as the corresponding composite page.
When making an imposition, the number, sizes and content of the sheets is changed. This can
be done in two ways:
Using the imposition window, which automatically performs the imposition for the stan-
dard imposition schemes, or
Using the controls on the toolbar, which gives manual control of the positions of the pages.
Imposition
8.2 Imposition styles
Using the automatic imposition is the easiest way to create impositions. The automatic imposi-
tion settings can be saved for later use, and can even be applied on-the-fly, in processing time, for
books or catalogs.
The imposition window manages the Imposition styles. Using this window, impositions can
be added, removed or edited. By using the Apply imposition button, the imposition can be ap-
plied to a selected job. The Clear Imposition button will remove any imposition from the current
job, reverting to the initial state of each composite sheet having its equivalent imposition sheet.
8.3 Imposition properties
When adding or editing an imposition, the Imposition properties window will appear. A slightly
modified version of this window will appear too when clicking on the Imposition button on the
main toolbar, or choosing the Imposition menu item.
With this window opened, either apply the imposition settings on the selected job using the
Apply button, or save the settings as an imposition style (Save or OK, depending on which way
the window was opened).
Pushing the Apply button, the RIP will automatically resize the sheets to fit the contents, and
130 will apply the imposition to all the sheets of the current job.
If StudioRIP detects that the imposition scheme is wrong, the Apply button will be disabled,
and an error message will appear under the window, explaining why the RIP considers that the
settings are invalid.
8.3.1 Placement tab

In the placement tab, the following options are available:
Number of rows and columns: the exact number of rows and columns that will appear on
the sheet, taking into account the pages doubled by the work-and-turn and work-and-tum-
ble styles. Example: For a double-sided A4 job, which will be printed with work-and-tumble,
a 1×2 page must be specified instead of 1×1.
Cell size: some technologies use fixed cell sizes for impositions (for example, labels with
fixed sizes). By specifying the cell size, the pages will be centered into these cells, irrespec-
tive of their size.
User manual
Pre-press marks: available only if the Prepare pre-press marks option is checked in the job
style.
Perfector: is particularly important on CTP machines, where the gripper edge must fall in
the same position on the plate for the two sides of double sided sheets. The effect of turn-
ong on this setting will be that the sheet content (except the pre-press marks) of the sec-
ond (back) signature will be rotated by 180°, if necessary: for portrait pages turned on short
edge, or for landscape pages turned on long edge. If the Perfector option is set, the way the
pages are turned must be specified (short edge or long edge), so then the RIP can take the
decision whether the back page needs to be rotated or not.
Transverse: to be used only if the pages have been rotated during the interpretation (normal-
ly turned off, pages are processed in their original orientation, and rotated only when they
are sent to the Print manager). Ticking this option will also rotate the imposition to match
the orientation of the already rotated pages.
Clone pages: Multiple copies of the same page (step and repeat).
8.3.2 Gutters tab

In the gutters tab, specify the horizontal and vertical gutters of an imposition. If the Equal gut-
ters box is ticked, only the first gutter will be editable, and will be applied for all the gutters.
The creep option is useful for saddle stitching (for other binding types it will be grayed out):
the more pages there are in a saddle stitched publication, the more that the inner pages move
out from the binding edge compared to the outer pages (the phenomenon is known as creep). To
compensate for the creep, the gutter is progressively increased on the pages working from the in-
side of the book to the outside, by the amount specified in the creep option.
8.3.3 Binding tab

In the binding box there are the following options:
131
Perfect binding: the output is intended to be cut and collected; on single-sided works, this
means that the pages are numbered simply in their natural order. On sheetwise (double-sid-
ed) works, the even and odd pages are on different sides of the sheet, and the back is num-
bered from right to left to match the front.
Saddle stitching: it is used for publications with few pages (usually not more than 32); the
pages are collected, stitched on the saddle, and then folded on the saddle; typically it is used
only for 2×1 and exclusively for sheetwise schemes;
When using saddle stitching, the number of pages must be specified for the scheme to be
Perfect binding. Single-sided (left), sheetwise (right) applied.
Collate and cut: is the typical imposition scheme for books; the sheet, containing 2, 4, 8 or
more pages on each side, is folded consecutively on the horizontal and vertical axis until the
size of one page is reached, then it is cut on the sides, except on the saddle where it is bound.
It too is an exclusively sheetwise scheme.
Imposition
Custom: To create more complicated imposition schemes, use the custom option, which en-
ables the page list for editing. Each row in the list represents a signature. The pages are num-
bered from left to right and from top to the bottom, the page numbers are separated with
16-page collate and cut. Front (left), back (right)
commas; a T after a page means a 180° rotation, R means a clockwise rotation, L means a
counter clockwise rotation; a # sign before the number means absolute page number, while
the normal numbers are relative to the beginning of each signature cycle, and can be repeat-
ed to the infinite.
The work style describes the way the sheet is feed back into the print machine (if it is). There are 8-page saddle stitching. First sheet front and back, second sheet front and back
the following options:
Single-sided: the sheet goes through the print machine once, it is printed only on one side.
Sheetwise: the sheet is double-sided, and has a front page on one side, and a back page on
the other side.
Work and turn and work and tumble: an old and well-used trick to save time and money. In-
stead of printing the front of the page, then changing the plates on the printing machine and
printing the reverse page, a sheet of double size is used, each side of it containing both the
front and the back. The same thing is printed on both sides of the sheet, but so arranged that
each front page has the back page on the reverse side. The work-and-turn and work-and-
tumble styles can be combined with binding styles: for example, a saddle-stitched job (2×1)
can be printed as work-and-tumble, transforming it into a 2×2 job.
The previous (cut & collate) example written as a custom style
8.3.4 Sheet tab

The Sheet tab controls the final size of the imposition sheet, as well as the positioning of its con-
132 tents. The following options are available:
Automatic (fit all pages and marks): will set the size of the sheet automatically to fit all pag-
es and marks.
Custom size: enables the operator to set the size of the sheet manually with exact width and
height values. Work and tumble (for landscape pages), Work and turn (for portrait pages)
Content placement: specifies the placement of the content of the sheet with the following
options:
Center pages and marks: centers the content of the sheet horizontally/vertically taking
into account the marks too, if any (in other words, centering the bounding box of the en-
tire image, including marks);
Center pages: centers the content of the sheet horizontally/vertically ignoring the marks
(in other words, centering the bounding box of the pages, without the marks);
Align left/right/top/bottom: aligns the content of the sheet horizontally/vertically to the
User manual
left/right/top/bottom of the sheet, ignoring the marks (based on the bounding box of the
pages).
Horizontal/vertical gap: specifies the alignment gap (i.e. the distance between the bound-
ing box of the pages and the specified edge of the sheet). For example, left alignment with
1 cm gap will place the leftmost page at 1 cm from the left edge of the sheet.
8.4 Manual imposition
To make an imposition with unusual page positioning, with pages of different size, or to position
pages manually, or on an exact location, use the manual imposition tools. The changes are ap-
plied to the selected sheets. If there is no sheet selected (which happens by default), the changes
will be applied to all the sheets in the job.
If the selected sheets are not the same, the controls will be disabled.
Controls available are:
Sheet width and sheet height: the size of the sheet;

Add page button: will add a page to the sheet, that can then be changed or moved;
Remove selected pages button: will remove the selected pages, including pre-press marks;
Select all pages button: will select all the pages on the sheet, including pre-press marks;
useful for moving the whole contents of the sheet by drag & drop;
Page placement: the horizontal and vertical positions of the selected page(s) on the sheet,
relative to the top left-hand corner of the sheet;
Page orientation, mirror and negative buttons: applied to the selected page(s);
Pre-press marks: by pushing these buttons, the pre-press marks of the specified type will be
removed, and then added again; releasing the button the marks will just be removed; note
that when moving the pages later, the marks will not follow the pages, they will have to be 133
removed and added again.
In addition to the toolbar controls, using the arrow tool (the first button on the left side of the
preview screen) you can:
Change page numbers: the page numbers are displayed over the page image when the ar-
row tool is used, and can be changed by selecting a page and typing the new page number
on the keyboard.
Adjust crop and bleed boxes: the crop and bleed sizes of a box are displayed and can be ad-
justed by pressing the mouse button when the cursor is on the border of the box, and drag-
ging the edge of the box by holding the mouse button pressed.
Move the pages: the pages can be moved by the mouse. Multiple pages can be moved by se-
lecting multiple pages prior to the move operation. Pages are snapped to sheet or page edges.
Select pages: pages can be selected by drawing a selection rectangle, or by clicking on pag-
es. Multiple pages can be selected by using the CTRL or SHIFT buttons while selecting pag-
Imposition
es.
8.5 Pre-press marks
StudioRIP comes with the most common pre-press marks, but other marks can be defined, or
the existing ones can be changed. The following pre-defined marks are avaliable in StudioRIP:
Calibration bar
Color bar
Color names
Crop mark (internal and external)
Fold mark
Job info (single and double sided)
Registration mark
Proof test
Collation mark
Side guide
8.5.1 Pre-press marks manager

Pre-press marks can be added, removed or edited in the Pre-press mark properties dialog. The
usual controls are also available (create copy, create folder etc.).
134
8.5.2 Pre-press mark properties
When adding or editing a pre-press mark, the Pre-press mark properties dialog will appear. The
Object tab controls the global settings of the mark:
Name and icon;

Distance: this is a variable intended to be used in the Placement tab. It defines the relative
distance of the mark from the page. This variable is used in the default prepress marks in-
cluded with StudioRIP; however, but for newly defined marks it might not work well, if the
distance variable is not used in the proper way.
Scale: resize the mark by changing this value; 100% means the original size;
Applies to: sets whether the mark will be applied to the bounding box of the pages on the
sheet, to each page, or to the sheet itself;
Graphic object: import a PS, EPS or PDF file, as the design for the mark;
Text objects: use texts as pre-press marks, choosing the type, size and style of the font; the
User manual
text can contain one or more special fields:
Job name: the name of the job, as it appears in the Job browser;
Job style: the name of the job style used for the job;
Resolution: the resolution, in dpi, of the job;
Color name: the name of the ink used on the current plate;
Angle: the angle, in degrees, of the current plate;
Line screen: the line screen frequency, in lpi, of the job;
Dot shape: the name of the used dot shape;
Plate ink area: the painted area, in cm2, of the current page (useful for calculating the
used ink).
Plate count: the number of (separated) plates in the job;
Page count: the number of (color) pages in the job;
Sheet count: the number of (imposition) sheets in the job;
Long date and short date: the date in long and short formats (e.g. “April 20, 2005” vs.
“4/20/2005”).
Time: the time when the job was processed.
Page number(s): the page number(s) used on the current sheet,
Sheet number: the number of the sheet, as in the Imposition list (i.e. the back of the first
sheet is sheet #2);
Side index: 1 for even sheet numbers, 2 for odd sheet numbers; for double sided works, it
is intended to mean whether it is a front or back side;
Sheet index: for double sided works, meaning the number of the physical sheet (i.e. the
sheet index of the back of the first sheet is still 1, not 2, as its number is);
Signature index: the number of signature used on the current sheet; on double sided
works, it is equivalent to the side index;
Section index: indicates how many times a signature has been used until the current 135
sheet; for double sided works, it is equivalent to the sheet index;
Primary distortion: the pre-distortion, in percents, applied in fast scan direction;
Secondary distortion: the pre-distortion, in percents, applied in slow scan direction;
Mirrored: returns Right reading or Wrong reading, depending on the mirror setting of
the job;
Negative: returns Positive or Negative, depending on the negative setting of the job.
Color: specifies the way the color of the mark will be handled:
As in the file: the mark will be placed on the sheet as-is (color or monochrome)
Black, or the darkest color: the mark will be monochrome, and the darkest color will be
used (useful for crop marks),
Print on each color of the page: the mark will be monochrome, but will appear on each
color (useful for registration marks),
Alternate the colors: the mark will be monochrome, and printed consecutively in each
Imposition
color, as it is repeated (useful for color bars),
Cyan, magenta, yellow and black;
Print only if it does not touch pages: the mark will be printed only if it does not touch the
pages (but it may touch other marks);
Print only if out of the bounding box of the pages: the mark will be printed only if it out-
side the bounding box of the pages (useful for external crop marks).
Overprint: overprints the mark. If not checked, the imposition module will erase the back-
ground under the entire rectangular area (technically, the page) of the pre-press mark. Rec-
ommended settings are off for color scales, but turned on for crop or fold marks.
The placement tab controls how the mark will be placed on the sheet. Marks usually have sever-
al placements (for example, a crop mark will be placed in 8 different locations, two at each cor-
ner of a page).
A new placement can be added with the Add placement button. Once added, assign it a name
(such as top left), and then define it with the following parameters:
Apply: specifies the conditions of this placement to be applied:
Always | If portrait | If landscape: the placement will only be applied if the orientation of
the page matches the setting. This can be used, for example, to place a mark on the longer
side of the page by adding two placements, one being applied only if the page is portrait
(and will be placed on the left side, for example), the other one being applied only if the
page is landscape (and will be placed at the top, for example).
Always | If front | If back | If first signature of section | If section spine: the placement
will be only applied if the set condition is true. Front and back mean that the current sig-
nature is the front/back page of a sheet within the current imposition scheme. The first
signature of section means that the current signature is the first one within the current
section. The section spine means that the position falls between the first and last page of a
section (which, after folding, will become the spine of the section).
Orientation: the orientation of the mark in the current placement;

Position: this is relative to the bounding box of the pages or to each page (depending on the
setting in the Object tab).
Horizontal and Vertical position. The first pair of fields define what the mark will be po-
sitioned relative to: Left, Center, Right respectively Top, Center, Bottom are self explana-
tory. The Left fold position means the centre of the space between the current page and the
previous one (where usually the fold marks are placed), similarly the Right fold, Top fold
and Bottom fold options mean the centre of the right, top or bottom space. The second
pair of fields can specify custom offsets. The last pair of fields can specify offsets using
the Distance variable, defined in the previous tab. The use of this variable is highly rec-
ommended, because it simplifies positioning.
Alignment: Having defined the horizontal and vertical position lines of the mark (above),
the Alignment defines how the mark will be placed relative to these lines: left, centered,
right, respectively top, centered, bottom.
Step and repeat: using this option, an object can be step and repeated in the following ways:
For each color of the sheet (which for a CMYK job would mean 4, for example),
For a given number of times (which can be specified),
For each page | signature | section: the mark is stepped once for each page, signature
or section. If this option is used, there will be one (or if the placement condition isn’t met,
none) mark per page or sheet (depending on the Applies to field). After the mark reaches
the the end position, its position will be reset, and the mark continues to appear on subse-
quent pages/sheets.
Until touches position: the mark will be repeated until a certain position on the page is
reached;
Direction and spacing: the direction of the step and repeat can also be specified, as can the
spacing between the marks;
End position: when using the Until touches position option, it is the position, which the
mark must not touch. When using the For each... option, reaching this position the mark po-
sition will be reset.
8.6 Bleed
137
8.6.1 Understanding bleed
When a work has design elements touching the edge of the page, a special problem appears:
there can be shift errors of a few tenths of millimeters (but sometimes even a few millimeters) due
to inaccuracies of the printing and the cutting processes: the edge of the cut page will not fall ex-
actly on the edge of the design elements, leaving thin white borders at the margins.
The problem is avoided by the designers using an extra area of a few millimeters around the
page, as an extension of the intended design. This will offer some tolerance with the cutting pre-
cision – even if the cut falls some 1-2 millimeters from the intended place, the white border will
not appear. This area is called bleed.
The pictures here illustrate bleed; the first without bleed, and the second with bleed.
Handling the bleed is extremely important for imposition programs. The imposition module
must know where the intended trim area is (so that it can position the crop marks correctly), plus,
it must be able to handle the bleed area, including it on the final print where it is necessary.
So the ability to handle the bleed does not mean that the RIP will automatically create an ex-
Imposition
tension to the design – this has to be done by the designer, it means that it has to be able to work
with two page sizes: the trim box and the bleed/media box.
The problem with the bleed is that the PostScript language does not have direct support for it
(not even the Level 3 release), i.e. there is no standard way for a design application to create a
Artwork without bleed (left) and with bleed (right) PostScript file, containing both the trim box and media/bleed box sizes – it will contain only the
size of the page. Fortunately the newer versions of PDF have support for bleed, providing a more
automated way of working with it.
The picture above shows how the different boxes are defined in the PDF file. The important
one is the trim box, which stores the size of the intended final size of the printing; this is the box
the imposition relies on.
8.6.2 Using bleed with StudioRIP

It is very important to understand that in StudioRIP the bleed is by default invisible. This is be-
cause the size of the sheet is set to the trim size (i.e. the intended final size of the job), so the bleed
area falls outside the sheet and is therefore invisible. The bleed becomes visible when it is on the
sheet. Normally this happens in all the cases when it is needed, particularly when using pre-
press marks, imposition with gutters, etc.
If there is any doubt about whether there is bleed available in a job, put the crop marks on, and
compare the result to the previous picture (see 8.6.1 Understanding bleed ‹page 137›).
With StudioRIP, there are three ways of working with bleed:
The newer design applications (e.g. InDesign, Illustrator, Corel) are able to create PDFs
with bleed. This means that if the designer has set up the right page size in the design, and
has designed a bleed area around the page, the design application will create a PDF file
which apparently (viewed in Acrobat Reader, for example) will show a bigger page than
the real page size, but will contain the trim box information which will describe the original
page borders. StudioRIP then can open this PDF file, will automatically detect the two dif-
ferent sizes, and will handle the bleed correctly.
Several design applications (e.g. QuarkXPress, InDesign) offer the possibility to set up a
bleed area around the page on printing, adding this extra area to the page size. This will
mean that the original page size will be lost – however, specifying the same bleed size in Stu-
dioRIP, it can be re-calculated. If the design application cannot automatically create a Post-
Script file with bleed, a page size that is equal to the original page size plus the size of the
bleed area, must be specified manually when creating the document. For example, by add-
ing an extra 1 cm bleed area to the page size, the 1 cm bleed can be cropped back in Studio-
RIP, and then treated as bleed area. This can be done when the file is opened (using the Re-
duction from page size option of the Job style window, see 6.1.11 Post-processing task ‹page
80›), or after the file is processed (using the Crop with bleed item of the Imposition menu,
see 8.6.3 Using the Crop with bleed command ‹page 139›).
The third workaround is to specify the original page size on print (without bleed), and then
to instruct StudioRIP’s job style to expand this page size with a certain bleed area. The
problem with this workaround is that several applications, such as the QuarkXPress, place
the design in a clip box, so even if the bleed information exists in the PostScript file, it will
be erased by the clip box. However, there are several applications which work fine with this
approach (CorelDraw, for example). This can be done when the file is opened (using the En-
large page size option of the Job style window, see 6.1.5 Sizing task ‹page 70›).
8.6.3 Using the Crop with bleed command
The Crop with bleed command can be accessed from the Imposition menu, and it will be applied
to the selected job. As its name suggests, this command cannot extend the processed area, so if
bleed information does not exist in the processed data, it has no effect.
It is useful if the processed pages contain the bleed area too, and need to be cropped to the origi-
nal size of the page, effectively transforming the cropped area into bleed area.
The crop will be performed on the entire processed size of the page rather than on the visible
page size. This will have two consequences:
Subsequent crop commands will not decrease the size of the page (accumulating the crop
sizes),
Specifying bleed values of 0 will remove the bleeds, reverting to the original page size.
The command will be applied to the selected job (in this case implicitly to all the composite pag-
es), or to the selected separation or composite pages. If the Mirror margins option is checked, for
pages with even index the Left (outside) value will mean the left side, the Right (inside) value
will mean the right side, while for pages with odd page index the left and right margins will be
swapped.
Having the Equal margins option checked, the same amount will be cropped from the left,
right, top and bottom of the page, as specified in the All margins box.
The Reset all sheets in job option will re-initialize the imposition sheets before the crop oper- 139
ation, such that each sheet will contain one composite page, the size of the sheet being equal to
the page size without the bleed. If left un-ticked, the cropped pages are displayed using the cur-
rent imposition scheme.
8.7 Examples
8.7.1 Simple 2-up

Supposing two A4 pages, without bleed, which have to be put on the same A3 page.
Print both pages, using the intended final print size (A4 in this case), as consecutive pages
of the same job.
StudioRIP will rip the jobs,
Select the processed job in the Job browser window,
Imposition
Click on the Imposition button (on the main toolbar) or menu item, the Imposition style win-
dow will appear,
Set the Number of columns to 2,
Select the pre-press marks to be used,
Press the Apply button,
Check the imposition in Imposition view.
8.7.2 Step and repeat 2-up

Consider the situation above, but with only one A4 page, that – for economical printing – will be
placed as two copies on an A3 sheet.
In this case perform the same steps as above, except Check the Cloned pages box, before push-
ing the Apply button.
8.7.3 Simple book 4-up with gutters

Consider a book with 240 pages of A5, without bleed, with a collate and cut imposition request-
ed, with 0.2 mm vertical and 0.5 mm horizontal gutters.
Print the work on the intended final print size (A5 in this case), including all 240 pages,
Process it in StudioRIP,
Click on the Imposition button or menu item, the Imposition style window will appear,
Set the Number of columns to 2, and the Number of rows to 2,
Set 0.2 mm as Vertical gutter, and 0.5 mm as Horizontal gutter,
Select Collate and cut in the binding box,
140 Select the pre-press marks to be used,
Check the imposition in the Imposition view.
By selecting the Arrow tool (to the left of the preview window), and then selecting the sheets,
two signatures will appear: the odd sheets will have the first signature (pages 5, 4, 8, 1), the
even sheets will have the second signature (pages 3, 6, 2, 7).
selecting the Zoom tool (exiting the signature view), it is possible to see how the print-
By
ed sheets will look.
8.7.4 Complex book imposition

Consider an A5 book being printed on an A2 offset machine, with the following binding scheme:
the double-sided A2 sheets are grouped in pairs (sheet 1 with sheet 2, sheet 3 with sheet 4, and
so on), these pairs of sheets are then folded as in a simple collate and cut scheme, resulting in 32
book pages for each sheet pair. In addition, different vertical gutters will be needed: 0.5 cm in the
middle, 0.2 cm for the left and the right gutters. The horizontal gutter will be 0.5 cm.
User manual
Obviously there will be 4 signatures needed, as shown in the the figure.

As there is no built-in imposition scheme for this situation, Custom binding will have to be used.
Enter the pages of each signature in one line, ignoring the fact that the pages of the signatures
are in several rows. For the pages turned upside down, a T has to be entered after the page num-
ber.
Not forgetting to specify 4 and 2 as the number of columns and rows. As the vertical gutters will
be different, uncheck the Equal distances box, and fill the gutters table:
8.7.5 Saddle stitched magazine

Consider a magazine with 36 pages of A4, with the following binding technique: 9 double-sid-
ed A3 pages, with two A4 pages on each side, which will be collected, stitched at the saddle, and
then folded.
To do this:
From the DTP application, print the job at the intended final print size (A4 in this case).
Process it in StudioRIP,
Click on the Imposition button or menu item, the Imposition style window will appear,
Set the Number of columns to 2,
In the Binding box, select Saddle-stitching,
Enter manually the number of the pages in the job, in this case 36.
Note: This is very important!
Select the pre-press marks to be used,
Check the imposition using the Imposition view. 141
There will be 9 signatures, each one referring to the pages by their absolute page index (i.e. #1
meaning explicitly Page 1, and not the first page of each signature cycle). Use the # sign before
the page number each time when referring to an absolute page number, and not a page index in
the signature.
8.7.6 Imposition with bleed using PDF files

Set the page size in the design application (InDesign, QuarkXPress, CorelDRAW etc.) to
the intended final cropped size of the page, and make the design extend beyond the defined
page size by a few millimeters,
Export the document to PDF, including in the PDF options a few millimeters of bleed (the
picture below shows this setting in CorelDRAW 12):
Open the PDF file with StudioRIP; the bleed area will be automatically detected and pro-
cessed, but it will be hidden (falling outside the sheet, which by default has the size of the
cropped page);
Imposition
putting pre-press marks on the page, making an imposition with gutters, moving the
By
page on the sheet, or performing any other operation which brings the bleed onto the sheet,
without being covered by another page, the bleed will be clearly visible.
8.7.7 Imposition with bleed using PostScript files
Set the page size in the design application (InDesign, QuarkXPress, CorelDRAW etc.) to
the intended final cropped size of the page, and make the design extend beyond the defined
page size by a few millimeters,
the design application is able to handle bleed on print, specify the required bleed (some-
If
thing like 5 mm), and print the job; otherwise, calculate the exact page size of the job with
bleed (in the case of an A4 page and 5 mm bleed, this will become 220×307 instead of the
original size of the A4, 210×297), and specify it in the printer’s page properties,
Open the PostScript file with StudioRIP, or – if working through StudioRIP printer or hot
folder – modify the appropriate job style; in either cases using the same Job style dialog;
check the Imposition task, and in the Reduction from page size fields enter the exact bleed
value specified in the design application;
The bleed area will be cropped from the file, with the final cropped page in the on-screen pre-
view (the bleed area falling outside the sheet);
Instead of specifying the bleed within the job style, it is also possible to use the Crop with
bleed… command of the Imposition menu, after the job has been processed.
putting pre-press marks on the page, making an imposition with gutters, moving the
By
142 8.7.8 Imposition with bleed using PostScript files and the expand with bleed feature
Set the page size in the design application (InDesign, CorelDRAW etc.) to the intended fi-
nal cropped size of the page, and make the design extend beyond the defined page size by a
few millimeters,
print, specify the exact crop page size of the job (so for an A4 job with 5 mm bleed, spec-
On
ify the exact size of the A4, without the bleed, i.e. 210×297 mm),
Open the PostScript file with StudioRIP, or – working through StudioRIP printer or hot
folder – modify the appropriate job style, in either cases using the same Job style dialog;
check the Sizing task, and in the Enlarge page by controls specify the bleed value (5 mm, for
example);
The bleed area will be added to the file, but this will still be invisible in the on-screen preview
(the bleed area falling out of the sheet);
By putting pre-press marks on the page, making an imposition with gutters, moving the
User manual
Some applications, such as the QuarkXPress, put the printed page into a clip box. In this
case this method will be ineffective, as only a white border will be added to the page as
bleed.
9
Screening 143
Screening
9.1 Basic concepts
Unlike the graphics displays of computers, which can electronically control the intensity of col-
ors, most printing equipment is not able to print shades of their colorants (ink, toner etc.) direct-
ly. Offset machines, laser and inkjet printers all use screening techniques to simulate shades.
None of these techniques is a perfect solution technically, all have some trade-offs and often their
combination or customization is necessary for good results. But this technology is in constant
development and as a result output is steadily improving.
Consequently, the screening technique is the ‘soul’ of a RIP: this is the part that has the most
significant effect on the output quality as well as on the processing speed.
There are several ways of simulating shades, but they all rely on two basic screening tech-
niques:
Traditional (Amplitude Modulation, AM) halftones use dots in fixed positions (a grid), and
vary the sizes of the dots to control the intensity of the shade;
Stochastic (Frequency Modulation, FM) screens use dots of a fixed size (usually the small-
est dot size which the print engine can reliably produce), but change the density of the dots
(effectively, the distances between them) to control the intensity of the shade.
Traditional halftones are still the basic screening technique, because they offer two major ad-
144 vantages:
Much better color stability in mid-tones than stochastic screens, bad printing quality affect-
ing mostly the highlight and shadows (while the stochastic screening offers constant color
stability only with good quality printing),
smooth look on uniform colors that stochastic screens can produce only with very fine
A
dots.
So, even though stochastic screening has some clear advantages (eliminating the possibility of
several kinds of moirés, offering good color stability in highlights and shadows, and offering
smooth gradients), today’s printing industry still overwhelmingly employs traditional halftones.
Some RIPs, such as the StudioRIP, use hybrid screening to improve the characteristics of the tra-
ditional half tones (best of both worlds approach).
The big disadvantage of the traditional halftone is its vulnerability to different kinds of moirés,
and these will be discussed in detail in the next section.
User manual
9.2 Understanding moiré
Moiré is a phenomenon recognized by many people but understood by few. Experienced typog-
raphers or engineers have often vague and erroneous ideas of exactly why moiré appears.
The moiré appears when two repetitive patterns are interfering, creating a third (much larger
and therefore more visible) pattern with altering lighter and darker areas. The effect of lightness
or darkness is caused by physically less (or more) ink surface on the media. In the case of moi-
ré between halftone screens, lightness is caused by overlapping dots (i.e. covering less media),
darkness is caused by the lack of overlap (i.e. covering the most possible media).
Unfortunately in the printing industry grids and rasters are very common, so there are many
opportunities for the moiré to occur. The most important ones are:
Interference between halftone screens,

Interference between a halftone screen and a raster device,
Interference between a halftone screen and image elements.
9.2.1 Traditional offset angles

The traditional printing uses 15, 45 and 75 degrees for the cyan, black and magenta screens, and
0 (sometimes 30) degrees for the yellow screen. To understand why these angles were chosen,
there are a few issues to clarify.
Why the halftone screens have to be placed at different angles?
Anyone who has seen two overlapped halftone films on a light table knows that on certain 145
angles the moiré phenomenon becomes visible (the cause of moiré explained above), on oth-
ers it disappears. Strictly speaking, the moiré never disappears, but rather becomes so fine
that the human eye doesn’t perceive it as an upleasant pattern (typically in the 30-60° range).
The angle of zero degrees between two halftone screens is a special case: as long as the
angle is precisely zero, there is no moiré. However, slight rotation can cause moiré, and
a slight shift can cause enormous color changes. This is a huge risk for the printer and
needs to be eliminated. In conclusion, angle sets must be found that will minimize the risk
of moiré or color changes caused by the shifts or rotations of the planes.
Does the ink color influence the moiré?
Pure cyan, magenta and yellow are independent colors in the color spectrum, they should
not interfere with each other: the cyan filters exclusively the red light, the magenta the
green light and the yellow the blue light. However, the inks used in offset printing are im-
perfect, especially the offset cyan, which is very far from pure cyan (also filtering a good
part of the green light), and the magenta is very imperfect too. So in practice there will be
Screening
a interaction between the cyan, magenta and yellow inks, caused by their the overlapping
filtering characteristics.
The black ink – which has to be used for a number of reasons – has a filtering curve that
overlaps all other inks, so it interacts with any other ink;
In conclusion, the strongest moiré phenomenon occurs between the black and other inks.
Also, there is a strong moiré between cyan and magenta. However, the yellow-cyan and
yellow-magenta combinations have relatively little (although still visible) interaction.
Why exactly these angles?
By positioning the halftone screens with 30 degrees between them, moiré is minimized,
producing the so-called rosette pattern;
However, only 3 screens can be placed this way, because the fourth would be placed at 90
degrees from the first one, which means, in practice, that they will have the same angle;
The yellow angle will be placed between the cyan and magenta angles, thus producing a
slightly visible moiré with these two colors (but producing only a rosette pattern with the
black screen).
The black, as the strongest color, is placed at 45 degrees, because this is the most pleasing
angle for the human eye.
9.2.2 The moiré between the cyan, magenta and black screens
Having exactly 30 degrees between the cyan, magenta and black screens produces a moiré
called rosette pattern. Even if de facto this is moiré, it is so fine and pleasant to the human eye
146 that printers do not consider it as being a moiré.
However, small angle or frequency differences in the traditional angle scheme can cause
very disturbing moiré patterns.
On the left picture there is a good rosette, on the right picture there is a flawed rosette. While the
good rosette looks the same on the whole printing area, the flawed rosette is changing its struc-
ture across the printing area, causing shade differences and therefore moiré.
Older RIPs are often unable to produce accurate angles and frequencies, causing moirés for cer-
tain color combinations, especially when the color separation is made with a high black genera-
tion. The picture here is a typical ‘dangerous’ combination for old rips, containing the same per-
centage of cyan, magenta and black.
Modern RIPs are all able to produce relatively accurate screens, so the moiré between the cyan,
magenta and black is usually impossible: using any CMK color combinations; the pleasant ro-
sette pattern will appear instead of moiré.
User manual
Even some of the latest RIPs are unable to achieve the high accuracy needed to avoid
problems. This happens particularly in adverse conditions like flexo angles, high line
screen or low resolution.
When the necessary accuracy is not achieved, the effect is that the same color has different
shades in different corners of the sheet, or, in certain cases, the moiré pattern can be visible on
the page.
9.2.3 The moiré between the yellow and other inks

The yellow ink causes trouble even with the latest RIPs. The moiré caused by the yellow ink is
suppressed, and usually hardly visible for the human eye, but sometimes it becomes visible.
As the yellow is between two other inks (cyan and magenta in the traditional printing), it
causes a regular moiré pattern with the two neighboring colors. This moiré pattern is clearly vis-
ible on films when placed on the light table, respectively, between the yellow and cyan, and the
yellow and magenta films.
On the final print this moiré is usually almost invisible (or at least much less visible than on
the films) because the cyan, magenta and yellow are relatively independent colors (the overlap
between their filtering characteristics is relatively small), so in practice it is only the imperfec-
tion of the inks that are causing the moiré. The first two pictures below illustrate that there is no
big difference between the two extremes of the moiré in the C+Y and M+Y moirés. The moiré is
oscillating between the two extremes – a light and yellowish green, or a light and yellowish pink
–, but as the two extremes are almost the same, so resulting moiré won’t be very obvious.
These differences can be very slight but are sometimes visible, so there are various techniques
used to suppress or avoid this moiré:
147
The frequency of the yellow is increased by approximately 12%; this reduces the moiré peri-
od (making it finer and so less visible), having the same effect as increasing the yellow’s an-
gle compared with its two neighbors (unfortunately a practical impossibility);
Using elliptic dots will reduce the contact surface of the dots, minimizing the differences be-
tween the two extreme colors;
Using higher line screens generally reduces the visibility of the moiré;
For skin tones, the yellow is placed between the cyan and black, avoiding completely the
M+Y moiré (which is often visible on skin colors with the traditional angles), replacing it
with the Y+K moiré.
As the last picture above shows, of the color combinations that create the most noticeable moiré
the worst is the Y+K moiré. Usually this is a rare combination, and the CMYK colors generated
by the color separation profiles are not vulnerable to this effect. However, manually specified
CMYK colors with strong K components may cause moiré when using the skin optimized angle
scheme.
In conclusion, we recommend using the skin optimized angle scheme for works with large skin
Screening
surfaces, as well as for general use, but be aware of the dangers and change to standard yellow
angles when necessary.
Using skin optimized screen set may cause a strong moiré between the black and yellow
inks.
9.2.4 The moiré between a halftone screen and a raster device

This moiré is caused by the interference between the halftone raster (e.g. 170 lpi) and the device
raster (e.g. 2400 dpi). When this moiré occurs, it is visible on individual colors (especially visible
on films, in the dark areas, when viewed on a light table). Typically the cyan or magenta screens
have lines or other patterns in the 80-95% shades.
This phenomenon is exclusively caused by the dot gain of the imagesetter, platesetter or other
printing equipment. If the whole printing chain could keep the pixels as sharp squares, the moi-
ré would not appear.
To examine how this phenomenon occurs, we will consider the case of a typical imagesetter with
a dot size of 20 microns at 2400 dpi. This dot size is twice as big as it should be (mathematically)
for that resolution, and causes the dot distortion shown in the illustration below. The first picture
shows how the RIP makes halftone dots of 5 white pixels each (so mathematically their area is
the same). Once this pattern is imaged, using the oversized laser (which may not be perfectly fo-
cused), the sharp white dots become blurred, and the black runs into the white. Film designed for
imagesetters typically has a very high gamma; the result is sharp dots of different sizes.
Unfortunately, for statistical reasons, the dots tend to be grouped in groups of bigger and small-
148 er dots, and this causes the moiré effect. The dark areas are especially vulnerable, but on poor
quality screen sets it can also appear in mid-tones.
As this problem does not occur on high quality print engines (such as drum imagesetters,
where the dot is perfectly focused and is the right size), some RIPs, designed for such print en-
gines, can afford to ignore this problem.
On capstan devices, a good RIP is necessary – one that provides pattern free screens even
with high dot gain.
9.2.5 The moiré between the halftone screen and image elements
If there are repetitive image elements in a job (radiator of a car, texture of a jacket, window
blinds, etc.), they may produce a moiré with the halftone screen.
This is the typical situation where the stochastic screen comes into its own, because it is abso-
lutely immune to any kind of moiré.
User manual
9.3 Understanding digital halftones
Digitally created halftones have some specific problems, caused by the fact that they are made
by a raster device.
9.3.1 Threshold maps
Most digital halftone systems use a threshold map (halftone map) for generating halftone
screens. The picture below shows a threshold map (a grayscale bitmap), converted into half-
toned black and white bitmaps. The conversion is similar to the usual grayscale to black and
white conversions, but uses the target gray value as the threshold level of the conversion.
If a grayscale bitmap (typically 300 dpi) is to be converted to halftoned monochrome bitmap
(typically 2400 dpi), each of its gray pixels is treated as gray squares of 8 × 8 device pixels (as-
suming the resolutions above).
As the halftone map must match the resolution of the device, the threshold map covering the
entire page would occupy a few gigabytes, even for an average imagesetter or platesetter. Just
storing this sort of information would be a problem, not to mention the time needed to generate
it. So the halftone map is tiled.
A tile for an obliquely angled halftone consists in two squares; the tangent of the side ratio
gives the tiling angle, and this is equal to the ratio of the sides of the two squares.
By storing two bitmaps (corresponding to the two straight squares on the picture) allows the
RIP to reproduce the whole halftone map by tiling (see the oblique rectangles). Because they are
bitmaps, their sides have an entire number of pixels, typically 0-20 pixels.
9.3.2 Angle inaccuracy

It is a simple mathematical fact that with three angles required, with 30 degrees between them,
at least one will result in an irrational ratio between the sides of the squares. For example, to pro- 149
duce a 30-degree halftone, the ratio between the sides should be tan(30), which is an irrational
number (i.e. cannot be a ratio of two integers). In other words, with this tiling technique, an an-
gle of exactly 30 degrees cannot be achieved. Similar problems occur for each different screen
frequency at given angle.
This phenomenon will cause moiré between the colors: as the sides of the squares have to be
whole numbers, and therefore have to be rounded up or down, the resulting screen angles and
frequencies are only rough approximations, with the result that they are vulnerable to moiré.
In the late 80’s the rip manufacturers searched for angle combinations that minimized this moi-
ré effect. At the same time, low black generation became an industry standard when performing
color separations: the black was used only for dark colors, lowering the likelihood of producing
moiré with the other colors.
9.3.3 Supercells
The breakthrough came at the beginning of the 90s, when a few RIP developers succeeded in
dramatically improving the quality of digital halftones by using supercells. This technique soon
became an industry standard, and most of today’s RIPs are using their own version of this tech-
Screening
niques to produce moiré free halftones.
However, the problem was still far from solved. A quote from the user manual of one of the
world’s leading RIPs shows that problems still exist: “If you find that you are not getting consis-
tent dot or clear-centered rosettes across the full width of the page: try varying the requested fre-
quency slightly, or increase Maximum frequency deviation to allow Express RIP to find a screen
set with better angle and frequency accuracy.”
The main source of problems is that these supercell techniques are usually trying to approxi-
mate irrational numbers with rational ones, but the result is still just an approximation (though
there are exceptions too, see later). The moiré effect is usually not completely erased, it is just
pushed outside the page – but sometimes this fails, and the moiré remains on the page. This may
mean a visible moiré pattern (see the quote above), but usually it just means inconsistent ro-
settes (causing color variation within the page).
Theoretically the use of large supercells would solve this problem, as increasing the size of
the supercell would increase the accuracy of the angles. However, large supercells raise not just
speed problems (generating and using large supercells may be slow), but will also increase the
likelihood of patterning (see below).
9.3.4 Patterning of individual colors

Quote from the same user manual: “Decreasing the Angle accuracy or Frequency accuracy
settings [...] also gives Express RIP more freedom in selecting a screen, and may produce
patterning on individual films, but this may also increase the likelihood of moiré effects between
plates”.
The “patterning on individual films” term above is referring to the moiré effect described in
chapter 9.2.4 The moiré between a halftone screen and a raster device ‹page 148›. The quote
150 shows that the problem still exists and is quite serious.
One approach to correct this problem would be to use dots of the same shape, but this would
move the ‘center of gravity’ of the dots from their mathematically ideal place, and the human eye
seems to be very sensitive to this.
Another approach would be to anticipate the distortions and apply a pre-distortion to the dots;
in theory the resulting dots would have the correct size on the final print. However, we consider
this approach too dangerous, as the immediate result of any technological problems (causing dif-
ferent distortions than expected) would be the appearance of patterning.
The solution, adopted by the majority of the RIP manufactures, is to only use certain, well-
tested screen sets, which fortunately are not vulnerable to this moiré phenomenon (because the
dots are well dispersed). It imposes limitations and is an area where improvements are needed.
StudioRIP’s advanced screening techniques succeeded in making these improvements.
9.3.5 Limited number of shades

Another well-known problem of digital halftones is that the number of shades on a given de-
User manual
vice resolution is limited by the possible sizes of a halftone dot. This is expressed as:
For the typical 170 lpi @ 2400 dpi, this means 200 shades, for lower device resolutions or higher
screen frequencies this could be even less. However, to achieve a smooth gradient, at least 1000
shades are needed.
The answer to this problem arrived together with the supercell technology (which also solved
the moiré problem), and became the current de facto industry standard. If the possible sizes of
the halftone dots are very limited (due to high line screen on low resolution) – for example, there
is no intermediate dot size between 10% and 11% –, an intermediary shade of 10.25% can be
achieved by using 10% for three quarters of the dots and 11% for the other quarter of the dots,
distributed evenly.
This technique was a breakthrough in its time, because this was the main obstacle to using
high screen frequencies. With this technology, line screen frequencies of 180-200 lpi can easily be
reached at 2400 dpi without losing shades, when previously these frequencies were restricted to
higher resolution machines.
9.3.6 Poor highlight and shadow quality

The problem of poor highlight and shadow quality is another problem for traditional halftones,
because most print engines have problems handling small dots. When the size of the black or
white dot falls below a critical value, the technology will be unable to reproduce it (the dot will be
lost on the film, plate or paper).
Some RIP manufacturers are unable to find solutions for this problem, but most RIP manufac-
turers overcome this problem by using the gray enhancement technique (presented in the previ- 151
ous chapter) so that in the highlights the smaller dot will become zero (that is, a missing dot), for
example achieving 1% shade using 0% and 4% dots.
The problem with this approach is that if the range of shades to achieve is high (for example,
the minimum dot size the print engine is able to reproduce is 8%, so the 0-8% range has to be
achieved by the gray enhancement technique), a big supercell has to be used, and therefore an of-
fensive pattern will appear if the dots are ordered.
The innovation of the technique StudioRIP uses to avoid this problem is that instead of using
an ordered pattern (as the one presented in the picture), a stochastic approach is used, avoiding
any disturbing patterns.
9.3.7 Tonal jumps

Finally, there is the problem of tonal jumps. This is caused by the distortions of the print engine:
the intended (mathematically computed) and the real (measured on the film) sizes of the dots are
not in a linear relationship. Adding one pixel can increase more or less the real size of a halftone
dot, depending on the current shape of the dot, and the position of the newly added pixel. A pix-
el, which should add 1% to a halftone dot, can sometimes add only 0.3% on the film, at other
Screening
times the same pixel added to another halftone dot, in a different position, can add 2-3%. This
phenomenon can be amplified by the dot gain on the paper.
A very strong tonal jump can occur at 50% when using the Euclidean dot shape: approaching
50%, the dots should have square shape, and as the dot percentage increases, the corners of
the dots will come into contact with each other. The dot gain will distort the linearity of shades
where the dots are in contact with each other, producing a jump when the corners are close
enough. The human eye will easily perceive this non-linearity of the gradient.
Many RIPs do not offer a solution to this problem. StudioRIP uses a low-pass filtering tech-
nique to avoid the tonal jumps.
9.4 Understanding stochastic screening
Stochastic screening is also known as FM (Frequency Modulated) screening. It uses a fixed dot
size (usually the smallest size that the printing equipment can consistently produce), but varies
the density of the dot pattern to achieve the desired shades. Technically, the frequency of the dots
is modulated in proportion to the intensity of the shade being reproduced.
9.4.1 Advantages
Using FM screening has a number of advantages compared to the AM screening:
All moiré is eliminated (especially the moiré between the image elements and the halftone
screen, as well as the moiré between the colors).
152 Under a dot size of 40 μ, the dots will become practically invisible for the human eye, but
can be still safely reproduced by an offset machine.
The image generally becomes sharper.
This technique suits certain devices (like inkjet printers, which do not have a fine control
over the size of the dot, but can safely reproduce a given, fixed dot size) much better. They
can achieve better image quality by frequency modulating a constant dot size.
Print technologies like the flexography or serigraphy have additional moiré problems with
AM screening. FM screening resolves these problems too.
9.4.2 Disadvantages
FM screening is still little used in the field. This is explained by the following disadvantages:
In the case of AM screening, poor printing quality affects only highlights and shadows.
With FM screening it affects the whole tonal range.
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Uniform colors have a noisy (grainy) appearance as compared with AM screening.

Using imagesetters, the small dots used by the stochastic screens are easily lost when trans-
ferred to the plate (using CTP systems, however, the dots are safely reproduced on the plate).
Advanced AM screening technologies (combined with stochastic highlight/shadow protec-
tion) enable the use of line screens of 200-300 lpi on offset machines, offering better and
more consistent results than the equivalent FM screening.
9.4.3 First order FM screening
The first order FM screening, inspired by the Floyd-Steinberg algorithm, builds a threshold
map by placing the pixels to present a smooth, dispersed look. The obtained threshold map is
then magnified to reach the needed dot size (typically using dots of 2 × 2, 3 × 3 or 4 × 4 pixels by
2, 3 or 4 times magnification).
This technique has a number of disadvantages:
The dots are squares rather than circles (inevitably distorted by the offset machines).
The dots can be placed only at certain positions (using 2x2 pixel dots, for example, the dots
can have only even coordinates). This ordered placement will cause moiré on slight registra-
tion errors.
The so-called ‘chessboard’ effect will appear near 50%, which will cause local plugging, and
therefore unstable and noisy tints.
9.4.4 Second order FM screening

Second order FM screening techniques try to overcome the problems mentioned above. There are
several different second order techniques used by RIPs, but their common characteristics are as
follows:
The dots are freely placed (avoiding moiré on registration errors). 153
Typically, over 20%, the size of the dots will be grown rather than adding more dots to in-
crease dot density.
The chessboard effect is avoided, usually, by the so-called clustering effect.
The major improvement of the second order FM screening techniques is in their abilities to pro-
duce shapes which can be well reproduced by the print engines (rounded, thick, robust shapes
rather than angular, thin, fragile ones), but at the same time offering a smooth, pleasant look.
9.5 StudioRIP AM screening technique
The AM (amplitude modulated) screening is the traditional halftone technique, which uses a
fixed grid of dots, changing their size in order to achieve the desired shades (which technically
means that the amplitude of the dots is modulated with the intensity of the shade).
From the outset, our objective was that StudioRIP’s AM screening technique had to compre-
hensively and effectively overcome the problems described in the previous chapters. When de-
Screening
signing StudioRIP’s screening technique, the following clear goals were set:
Consistent rosettes to be achieved, even on large pages and high line screens,
Freedom for the user to choose angles and frequencies,
Imperceptible patterning to the human eye, even on low quality print engines,
4096 shades of gray for practically any line screens,
Good color stability in highlights and shadows, even on low quality print engines,
Perfectly smooth gradients,
Very high rendering speed.
9.5.1 High rendering speed

High rendering speed demands that the fastest technique possible is used. This meant halftone
map supercells supercells had to be used with a fully optimized algorithm. Rasterizing bitmaps
or vector objects can be done without complex mathematical operations: the resulting halftone
is already computed and is available in memory – it just has to be tiled. This approach offers the
possibility of rasterizing full-page bitmaps in tenths of a second.
While halftone map based RIPs have the limitation that a darker tint always has just extra pix-
els compared to a lighter tint, StudioRIP has a unique feature: the ability to use several halftone
maps together, this way overcoming this limitation. This technique allows StudioRIP to have the
ink density modulation built into the screening and rendering system, where darker halftones
have less ink density and therefore removed pixels compared to ligther tints.
9.5.2 Consistent rosettes

154 The main problem of the supercell technique is that to achieve the angle and frequency accuracy
that offers consistent rosettes over large pages, huge supercells are necessary. However, huge su-
percells mean much slower speeds, high memory needs, and vulnerability to patterning.
With this in mind, RIP designers usually try to find ‘lucky’ screen sets, ones which offer good
accuracy with relatively small supercells (usually less than 20×20, but not more than 50×50
halftone dots). Unfortunately there are very few of these screen sets, and most are not very good.
So, in most cases these RIPs are either using very few ‘recommended’ screen sets, or – in cases
where there are many screen sets offered – the quality is inconsistent throughout the set (or cer-
tain screens are selectively recommended only for specific print engines).
StudioRIP takes a different approach: it has proven that perfect rosette can be produced not
just by the traditional angle scheme, but by angles and frequencies that deviate slightly from
it. From this point of view, searching for an accurate approximation of each of the angles is not
the ideal approach: the search should be oriented to finding values that together produce accu-
rate rosettes instead.
StudioRIP developed a formula for this; it calculates the consistency of the rosettes for deviat-
User manual
ed frequencies. Using this formula, and surrendering the obsessive requirement to find accurate
approximations for each of the angles, dozens of screen sets with perfectly consistent rosettes
can be found for each line screen frequency.
9.5.3 Filtering out the patterning

Having many available moiré free screen sets is very useful, because it will be needed to address
the problem of patterning (presented in the previous sections 9.2.3 on page 147 and 9.3.4 on
page 150). That is because the approach StudioRIP screening takes to overcome this is based
on the empirical observation that some screen sets seem to have ‘immunity’ to this patterning
phenomenon. Analysis revealed that on some angles the dots of different shapes are distributed
evenly, and then there are no visible groups of bigger or smaller dots.
In the practice, this means that the possible screen sets will have to be filtered, in order to avoid
patterning on individual films: a considerable part of the available screens will be disregarded
(because they are dangerously prone to patterning). However, given the large number of avail-
able screen sets, there will be perfect quality screen sets even after the filtering process, giving to
StudioRIP users the freedom to choose accurate dots for their needs.
9.5.4 Gray enhancement

Gray enhancement overcomes the problem of the limited number of gray shades. StudioRIP re-
lies on supercell technology for its gray enhancement. The novelty of StudioRIP’s technology is
that it uses large supercells with stochastic patterns rather than small supercells with regular
patterns. This means that there will be no disturbing patterns in the grays even on very high line
screens – the stochastic technique will always offer a smooth look.
StudioRIP’s gray enhancement eliminates the need to apply a typical workaround for the
limited gray levels problem: using high resolutions. Line screens of up to 300 lpi can easily be
achieved on 2400 dpi without losing shades. Moreover, on high quality drum machines, line
screens of 150-180 lpi can be used safely even on low resolutions such as 1200 or 1800, and gra-
dients will still look smooth and perfect.
9.5.5 Great highlight and shadow detail

StudioRIP achieved greater highlight and shadow detail by using a hybrid technique: in the ex-
treme shades, StudioRIP combines FM technology with the AM screens. The minimum dot size
that the RIP can produce is set within the controls. If the requested dot percentage falls below
the specified limit (for example 4%, as on the picture below), instead of reducing the dot size, the
dots are stochastically removed (the pattern is thinned).
StudioRIP’s hybrid screening is probably the best technique available because it is stochastic,
and therefore produces a pleasant and smooth look. Regulated patterns used by many other RIP
solutions offer a much less pleasing look.
9.5.6 Increased highlight quality for flexo

Reproducing highlights is a key problem in flexography, as there is often huge dot gain in this
area (typically 2% will print as 10-15%). Therefore having good color depth and pattern free
halftones in this area is critical.
The standard StudioRIP hybrid screening, as presented in the previous section, offers the de-
sired color depth, but even though it is stochastic, the FM part isn’t entirely pattern free. This
isn’t a problem in offset, where the hybrid screening protects only the highlights under 2-3%,
and the slight pattern is practically invisible. However, with the huge dot gain of flexo, it may
become visible and offensive.
Therefore SGSS (Second Generation StudioRIP Screening) offers a hybrid screening optimized
for flexo, increasing the quality of the FM part at the expense of slightly decreased quality in the
AM part. Using a principle that allows the centers of the halftone dots to slowly drift away when
the percentage falls below a given level (typically 30-35%), reaching an entirely stochastic struc-
ture at 3-5%. Removing dots from this stochastic grid will become practically imperceptible,
thus visible patterns will disappear almost entirely.
9.5.7 Low-pass filtering of the tonal jumps

The tonal jumps (described in chapter 9.3.7 on page 151) are smoothed by StudioRIP using a
low pass filtering technique: for example, to achieve a 50% tint, the rip uses 48, 49, 50, 51 and
52% dots, distributed stochastically. The bandwidth of the filter can be explicitly specified. A
wider filter will cause smoother gradients, but also noisier tints.
Using low-pass filtering is especially important on old capstan machines or any other devic-
es with high dot gain. The noise introduced by a filter bandwidth of 2-4% is imperceptible, while
the improvements are spectacular.
This technique also smoothes out the abrupt change in density caused when halftone dots start
to touch – there is no need to use elliptic dots to distribute the shock, the low-pass filtering dis-
tributes it well.
156
9.5.8 Other advantages of the stochastic technique
Finally, the use of these stochastic techniques has a few other advantages. For example, on
print engines that have banding or other similar problems (such as many capstan imagesetters
with vibration problems, or drum imagesetters with carriage rail problems), the problem can be
masked by the careful use of slight stochastic noise over the raster.
9.6 StudioRIP FM screening technique
9.6.1 Second order stochastic screening

StudioRIP uses a second order stochastic (FM) screening technique. This technique is optimized
for the press industry, and is less suitable for inkjet printers. The power of this screening tech-
nique relies on round or rounded dot shapes which are generated by high resolution digital de-
User manual
vices like CTPs or imagesetters, and then are easily reproduced by analog technologies like off-
set printing, flexography or serigraphy.
9.6.2 High rendering speed

StudioRIP uses exactly the same threshold map based technology for FM screening that it us-
es for AM screening, so it can offer the same very high speed as it does for traditional halftoning.
9.6.3 Moiré free screening
The stochastic screen of StudioRIP overcomes all the possible moiré effects, including:
moiré between image elements and screen,

moiré between different inks,
moiré between the edges of the dots (see the 9.4.3 First order FM screening ‹page 153›).
Instead of moiré, a noise will appear on overprinted inks. Using small dot sizes, this noise will
be fine enough to be imperceptible and pleasant to the human eye.
9.6.4 Smooth look

A special filtering technique enables StudioRIP to produce very smooth tints with FM screening,
suppressing considerably the specific blue noise of stochastic techniques. Individual films (and
therefore the stand-alone colors) will be almost as smooth as with the traditional halftoning, and
the noise will only appear on overprinted inks (in other words, mixed colors).
9.6.5 Round and rounded dots

Unlike many other stochastic screening technologies which typically use squares, the stochastic
screening of StudioRIP produces real round dots (if a minimum of 3 × 3 pixel dot grid is used),
and it also optimizes the dot placement to form, when possible, rounded shapes without sharp
angular corners or thin lines. 157
In order for StudioRIP to achieve very smooth dot shapes, the recommendation is to work on
high resolution to allow the RIP to use at least 4×4 pixel dots. However, even if dots of 2 × 2 pix-
els have a square shape, they still produce rounded clusters with a pleasant look.
9.6.6 Different black and white dot size

A unique feature of StudioRIP’s stochastic technique is the ability to use different dot sizes in
the highlights and shadows. This is useful because the dot gain of the CTP, imagesetter or press
usually increases the size of the dots in the highlights, and reduces the size of the dots in the
shadows (which, in extreme cases, causes the plugging effect). Using bigger dots in the shad-
ows than in the highlights enables StudioRIP to achieve the same black and white dot size on
the final printing.
9.6.7 Flexibility
Another unique feature is that StudioRIP lets the user optimize the stochastic dot for the specif-
ic needs of the intended output technology (see 9.7.2 FM settings tab ‹page 161›). The resulting
screen can be easily tested (see 9.8 Test screen window ‹page 163›).
Screening
9.7 Screening type settings
The default StudioRIP screening parameters are optimized for generic offset use, so most users
will have to specify only the line screen frequency. However, using the Screening type settings di-
alog it is possible to fine tune the screening for the special needs of each printing technology or
each job.
The following settings are available:
Name: the name of the screening type, as listed in the Screening type list of the Screening
task in the Job style window.
Condition: this is the key setting for using multiple screen types per page. A line screen
frequency or angle can be assigned for each screening type, the given screening type be-
ing used if the line screen or angle of the given object matches the specified usage condi-
tion. There is always a default line screen, in which the usage condition box is grayed out.
By specifying in the DTP application either a specific line frequency or angle for certain ob-
jects, these values can be filtered by StudioRIP and can trigger the use of a different screen-
ing type. See more in 6.1.10 Screening task ‹page 77›. Typical usage:
Define a second type of screening (for example FM), and define 100 lpi as its usage condi-
tion. In the Screening task you’ll see two screening types in the list, the AM screen that is
used by default, and the FM screen that is triggered by the 100 lpi condition.
the DTP application set the line screen of an object (e.g. a company logo) – that you
In
wish to be printed with FM screning – to 100 lpi.
Traditional/stochastic screening: specifies whether traditional (AM) or stochastic (FM)

screening will be used.
AM/FM settings: the detailed settings for each screening type.
Limits: allows the user to define upper and lower screen limits (e.g. limiting the maximum
tint to 90%, common in the gravure industry, or knocking out tints below 2%, common in
the flexo industry). See 9.7.3 Limits tab ‹page 161› for details.
Density modulation: a unique feature of StudioRIP, typically used for inkjet, allowing the
operator to control the density of the ink depending on the dot percentage (e.g. a 10% tint
may use 100% ink density, but a 90% tint just 40% density). See 9.7.4 Density modulation
tab ‹page 162›.
9.7.1 AM settings tab

The AM settings tab defines the parameters of the traditional (AM) screening. The following
controls are available:
Frequency: the line screen frequency, in lpi, of the halftone. Specifying Default will use the
global line screen frequency value (defined in the job style dialog or coming from the Post-
Script file). It is strongly recommended that this value is kept and used, change it only in
special situations, when a second, different line screen is needed than the default one.
Frequency tolerance: unless a very accurate line screen frequency must be achieved for spe-
cial reasons, leave it on 2%: StudioRIP needs the freedom to choose the best screen set in the
proximity of the required one (e.g. in case of 170 ± 2%, it will search for the best screen set
in the 166.6–173.4 lpi range for the best quality screen set). Limiting this freedom may lead
to quality problems (patterning on individual films, inconsistent rosettes), while leaving it
on 2% StudioRIP guarantees consistently perfect quality.
Dot shape: the shape of the screen dot. Specifying Default will use the global dot shape val-
ue (defined in the job style dialog for coming from the PostScript file). It is strongly recom-
mended that this value is kept and used, change it only in special situations, when a second,
different dot shape is needed than the default one.
Hybrid screening:
OFF: traditional AM screening will be used.

Normal (offset): simple, offset optimized hybrid screening will be used, with stochastic re-
moval of dots above and under the specified limit.
Shifted (flexo): a flexo optimized hybrid screening will be used that has a transition from
pure AM towards pure FM, shifting away dots from their AM grid until the achieved grid
has a pure FM look. This is important if the dots in the highlights are big, and therefore a 159
pleasant hybrid pattern is necessary.
Pillar (flexo): another flexo optimized hybrid screening based on the principle that very
small dots can print if they are supported by stochastically distributed bigger dots acting
as pillars, protecting the small dots from bending or sinking in the anylox cells.
Shifted + pillar (flexo): the combination of the two flexo modes, both technologies act-
ing together.
Hybrid transition limits (modes without flexo shift): specify the minimum and maximum
allowed size (in percents or microns) of the screen dots. As a result, the halftone will have the
following phases:
Pure AM (e.g. 3–97%): the dot has a perfect grid structure, and acts like a traditional
halftone dot.
AM-FM hybrid (e.g. 0–3% and 97–100%): instead of the dots getting any smaller than
the specified limit, they are stochastically removed. See more in 9.5.5 Great highlight and
shadow detail ‹page 155›.
Screening
Hybrid transition limits (shifted flexo modes): specify the minimum and maximum al-
lowed size (in percents or microns) of the screen dots, as well as size of the dots at the other
end of the AM-FM transition phase. As a result, the halftone will have the following phases:
Pure AM (e.g. 35–65%): the dot has a perfect grid structure, and acts like a traditional
halftone dot.
AM-FM transition (e.g. 3-35% and 65-97%): as the dots get smaller (from 35% towards
3% and from 65% towards 97% in our example), they are slowly drifted towards a sto-
chastic structure from the gridpoints, ending up (at 3% and 97% in this example) in a
structure that looks almost perfectly stochastic. If the values are closer to the extremes
(e.g. 30% instead of 35% or 70% instead of 65%), the structure reached at the end of the
phase will be less stochastic. If the values are closer to 50% (e.g. 40% instead of 35% or
60% instead of 65%), the structure reached will be closer to a true stochastic structure.
On the other hand, the visual impact of an AM-FM transition phase is worse than that
of the pure AM phase, thus the need to keep it as small as possible. The default values
are a good compromise between a relatively small transition phase and a relatively pleas-
ant stochastic structure at the ends. See more in 9.5.6 Increased highlight quality for flexo
‹page 155›.
Pure FM (e.g. 0–3% and 97–100%): instead of the dots getting any smaller than the spec-
ified limit, they are stochastically removed. If the starting point (e.g. 3% and 97%) has a
true stochastic structure, this phase will act as a pure FM screen, having a pleasant, pat-
tern-free look. This is why it is preferred by flexo operators: due to the huge dot gain of the
flexo in highlights, it is very important for this phase to have the highest possible quality,
even at the expense of a lower quality in the FM-AM phase.
160
Hybrid transition limits (pillar modes): specify the minimum and maximum dot size of the
normal (non-pillar) dots. In conjunction with the pillar dot settings, the halftone will have
the following phases:
AM-FM hybrid (e.g. 0–1%): instead of the dots getting any smaller than the specified
limit, they are stochastically removed. See more in 9.5.5 Great highlight and shadow de-
tail ‹page 155›. At this phase the dots are so small that normally won’t print at all on
flexo, but will only act as supporting shoulders for the pillar dots.
Pillar building phase (e.g. 1%–1.5%): the specified percent of dots (see Density of pillar
dots) will be transformed to pillar dots, their sizes being increased to the size specified by
the Size of pillar dots parameter (in this example the 1.5% being achieved by the blended
pillar and normal dots).
Pillar-AM transition (e.g. 1.5%–6%): the normal dots will gradually get bigger until they
reach the size of the pillar dots.
User manual
Pure AM mode (e.g. 6%–97%): the screen acts like the traditional offset screen.
AM-FM hybrid(e.g. 97–100%): the dots are stochastically removed again.
Size of pillar dots: the size of the big dots, acting as pillars, in percents or microns (see
above).
Density of pillar dots: the density, in percents, of the dots that will act as pillar dots (see
above).
Low-pass (gradient smoothener) filter width: achieves better color accuracy at the expense
of slightly noisier tints, generally improving the look of gradients. See more in 9.5.7 Low-
pass filtering of the tonal jumps ‹page 156›. If the slight size variation of halftone dots is not
desired, it can be turned off (setting it to 0%). It may be further increased for suppressing
the banding or patterning of the output device.
Dot centered rosette: controls whether the C, M and K screens will form dot centered or
clear centered rosettes. Small registration errors can cause color changes, these are less no-
ticeable if clear centre rosettes are used. Dot centered rosette appear more pleasing to the eye.
Smoothness optimized: makes halftones smoother by forcing all halftone dots to have the
same shape but in the same time distributed perfectly evenly (which normally doesn’t hap-
pen, see 9.3.4 Patterning of individual colors ‹page 150›). As such halftones cannot have an-
gles like 15 degrees (see 9.3.2 Angle inaccuracy ‹page 149›), they cannot form a tradition-
al rosette. Instead, a different rosette pattern is formed by heavily deviating the angles and
frequencies. The rosette pattern achieved this way is less pleasing for the eye and also less
tolerant for shifts and rotations, therefore the use of this option is recommended only in jus-
tified cases (such as laser printers where very high lpi values are used in conjunction with
very low dpi values, e.g. 150 lpi @ 600 dpi).
161
9.7.2 FM settings tab
The FM settings tab defines the parameters of the stochastic (FM) screening. The following con-
trols are available:
Black/white dot size: specifies, in microns, the size of the dot size that will be used in the
pure FM phase of the FM screening. The actual pixel structure of the dot is also displayed.
Note that the sizes of the black and white dots can be different, see 9.6.6 Different black and
white dot size ‹page 157›.
FM limit: specifies the end of the pure FM phase. From this limit on, no more dots will be
added, but the sizes of the existing dots will be increased instead. The default value is 17%,
which empirically seems to produce the most pleasant result.
Cell size: specifies the size, in device pixels, of the supercell. Small supercells may cause a til-
ing effect, the human eye may recognize the repeating pattern of the stochastic screen. On
the other hand, big supercells may cause bad screen generation performance (normally gen-
erating the four stochastic screens takes about one minute). The cell size of 500 pixels seems
to be a good compromise.
Screening
9.7.3 Limits tab
Certain print technologies need the minimum or maximum screen percentage to be limited:
It is common in the gravure industry to limit the maximum tint to 80–90%,
It is common in the flexo industry to knocking out tints below 2%.
The goal of the screen limitations is to let the operator implement these limitations. The avail-
able settings are:
Minimum limit: the minimum screen percentage that prints normally. Tints below the mini-
mum limit will be printed as specified below.
Values under minimum limit printed as: specify the percentage used for printing the tints
below the Minimum limit value. This is typically either equal to the minimum limit (e.g. un-
der 3% everything is printed as 3%), or equal to zero (e.g. under 3% is everything is print-
ed as 0%).
Maximum limit: the maximum screen percentage that prints normally. Tints above the mini-
mum limit will be printed as specified below.
Values above maximum limit printed as: specify the percentage used for printing the tints
above the Maximum limit value. This is typically either equal to maximum limit (e.g. above
97% everything is printed as 97%), or equal to 100% (e.g. above 97% is everything is print-
ed as 100%).
162 9.7.4 Density modulation tab

Density modulation is very powerful feature of StudioRIP, allowing the ink density to change
according to the halftone percentage, typically using high density on small dot percentages, and
decreasing the ink density to higher halftone percentages. Although this functionality is imple-
mented in the Epson driver as well, the recommended use is through this dialog: the speed and
the quality of the density modulation will be significantly worse using the Epson driver due to
the technical challenge of recognizing halftone percentages on the 1-bit data (while the screening
system has it as precise incoming data). The avalilable controls are:
Off: no density modulation is performed (recommended for most laser machines will; use
it for inkjet CTP/CTF or other inkjet repro solutions);
Constant: no modulation is performed, but instead a constant density value is used;
Curve: the density is modulated according to the halftone percentage according to the
specified curve (see below).
User manual
Outline protection: specifies whether the outlines (e.g. the edges of screen dots or vectors)
should have different density than the main areas, and if so, an outline of how many pixels
to be treated in a different way.
Density table: defines the density curves for the main areas and the outline. Enter the half-
tone percentage to the left column of the table, and the assigned density to the right column.
For example if you want a 10% halftone to have full density, write 10 to the left column, and
100 to the right column. If you want the the 90% halftone to have 40% ink density, write 90
to the left column, and 40 to the right column. We recommend a smoothly decreasing curve
to be used, with high density values for low halftone percentages, decreasing towards the
optimal ink thickness of the 100% tint. Pay attention to the potential non-linearity caused
by the too steep curves (e.g. a 20% halftone with 70% ink density may print lighter than a
15% halftone with 100% ink density). Using this module, the density range goes up to 100%
(while the Epson module is able to print 300% by increasing the droplet size).
9.8 Test screen window
The Test screen window provides a visual interface for testing the screen settings of a job style.
It can be accessed by pressing the Test screen button in the Job style dialog, see 6.1.10 Screening
task ‹page 77›.
The goal is to test the reaction of the screening system as set up in the job style (including the
effects of the screen rules, angle tables etc.) for the possible incoming values (whether and how
the angle, screen frequency, plate name etc. are declared in the PostScript file). Note that while
testing a screen that has not been generated before, it may take seconds or even minutes for the
screens to be generated and displayed in the preview area.
By default, the tester is set up to test a typical PDF situation: only the color names and noth- 163
ing else is declared (so the angles are looked up from the Angle table, and the default screen fre-
quency, dot shape etc. will be used). It is possible though to simulate line screen and angle decla-
rations too, as explained below.
The following controls are available:
Dot percentage: will change the simulated percentage of the selected color(s). Each color
has its own percentage, but they can also be changed together by selecting multiple colors
and then adjusting this control.
The list of the tested colors: by default cyan, magenta, yellow and black.
New colors can be added with the Add color and Delete color buttons.
Selecting one or more colors will show the selected color(s) in the preview area (useful for
testing rosette or moiré).
The color can be changed by clicking on the arrow to the left of the icon, and selecting the
desired color from the ink list.
The angle can be changed by clicking on it, and typing it into the editor, which should ap-
Screening
pear in a second.
Color and angle: specifies whether the color name, angle or both will be sent to the screen-
ing module.
Line screen: specifies whether and what line screen information will be sent to the screening
module. This is the way to test any extra screening types, conditioned by a given lpi value.
This control will be automatically set if a screening type is selected in the Job style window
prior to pressing the Test screen button.
Show all colors in black: will modify the display of the preview area, showing all selected
colors in black.
164
User manual
10
Proofing 165
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StudioRIP has its own built-in proofing system. Acting from the inside of StudioRIP (rather
than being an external application) it is able to proof jobs in various stages (processed, printed
or archived) and views (composite or imposition) with one click. As the proofer appears in the
StudioRIP system as another job style, printing a proof will be as simple as printing any oth-
er job in the StudioRIP system, assisted by the same media saving and previewing environment.
StudioRIP has implemented all widely used proofing models: its contone, halftone and ras-
ter (dot for dot) proofing modules allow users to choose the right solution for their specific needs.
10.1 Basic concepts
10.1.1 What is digital proofing for?

The goal of proofing is to predict the output of a given printing technology (for example, offset)
by printing a proof of it on an inkjet or laser printer. Using the right color management tech-
niques, the printed proof will have exactly the same (or at least similar, in case of content proof-
ing) color as the final print; in case of halftone or raster proofers, even the halftone structure will
be similar or exactly the same.
Proofs are used for:
166 Content proofing: for spelling errors, layout problems etc. – these proofs are printed quickly,
without paying too much attention to the image quality and color accuracy;
Color proofing: predict almost perfectly the color of the output too, thus the term contract
proofing. Printing these proofs may take time, printing an A3-sized high quality contract
proof on an average inkjet printer may take 5-10 minutes.
10.1.2 Contone proofs

Contone proofers use the original PS/PDF file, process it with their internal PS/PDF interpret-
er, apply the right color management, and print it on the color printer as a continuous tone im-
age.
Because the job will be interpreted twice, there is a slight chance of content differences (though
in StudioRIP they will be interpreted by the same PS engine under the same conditions, so this
chance is little more than theoretical).
Advantages:
User manual
Color accuracy: the typical color accuracy is about ∆E = 0.7.

High printing speed: a typical Epson printer can print an almost perfect quality image on
720×720 dpi, using bidirectional mode, resulting in a printing speed of approx. 1–2 min-
utes/A3 page.
One profile needed: the profiling work needs to be done just once, and then various ICC
files can be simulated by one mouse click.
Disadvantages:
Data integrity: there is a slight theoretical chance for content differences between the proof
and the print.
Lower speed: the file needs to be processed twice.
Imposition: only automatic impositions, that can be replicated in the proofing process, can
be simulated.
The slightly confusing name of the contone proof leads to the common misconception they don’t
use screening techniques, but rather print contone images directly. Although the image of con-
tone proofs look smooth and, on the good quality ones, there is no visible screening, under a lens
or microscope the presence of the screening becomes obvious. However, the smoothest possible
screening algorithms are used, so that on good quality proofs the output looks indeed contone
to the naked eye.
When printing contone proofs, StudioRIP uses a different screening technique than normal-
ly: using an inkjet printer, it will take advantage of a special, inkjet optimized stochastic screen-
ing technique, enhanced by the use of light inks and the variable droplet size technology of ma-
ny printer models. 167
10.1.3 Halftone proofs
Halftone proofers are hybrid contone-raster proofers: their working principle is similar to con-
tone proofers, but their result is similar to raster proofs. Halftone proofers use the original PS/
PDF file, process it with their internal PS/PDF interpreter, apply the right color management,
and print it on the color printer as a halftoned image, using a halftone structure that is as similar
as possible to the target (simulated) halftone.
However, as quality halftone proofers simulate the ink colors of the target technology – not
just the spot colors, but even the slightly different colors of the process inks (also called ink con-
tamination) –, halftone proofers are more than just profiled halftone printers. Beyond the ac-
curate simulation of halftone inks, StudioRIP’s halftone proofing implementation succeeds in
maintaining the full gamut of the proofer by controlling the ink contamination and, when need-
ed, progressively removing it.
A major disadvantage of halftone proofing is that, although very similar to the target, its half-
tone structure may be visibly different: for example, a magenta halftone of a few percents may
be added to pure cyan tints (in order to get accurate color on the proofer), while raster proofers
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(usually at the expense of a worse color accuracy) will keep the original halftone structure dot by
dot, the color management taking effect through the ink color modulation.
Advantages:
Color accuracy: the typical color accuracy is about ∆E = 0.8.
Fairly good halftone simulation: although not keeping the original dot structure, the half-
tones are very similar and most differences are invisible to the naked eye.
Disadvantages:
Data integrity: there is a slight theoretical chance for content differences between the proof
and the print.
Lower speed: the file needs to be processed twice.
Lower printing speed: to achieve a good quality and moiréless halftone, the 1440×1440
dpi, unidirectional mode is recommended on a typical Epson printer, resulting in a printing
speed of up to 4–10 minutes/A3 page.
Imposition: only automatic impositions, that can be replicated in the proofing process, can
be simulated.
10.1.4 Raster proofs

Raster proofers take the already processed raster data, as it will be imaged on the imagesetter/
CTP, simulating the in-rip imposition, halftone dots etc. on the proof.
Advantages:
168
Guaranteed data integrity: content differences between the proof and the print are impos-
sible.
Halftone simulation: the look of the proof will be more authentic; it also might help in de-
tecting moirés.
Imposition simulation: the user has the ability to simulate even manually made impositions.
Ease of use: using the already ripped files, proofs can be created with one mouse-click.
Fast: the job does not have to be processed twice.
Disadvantages:
Reduced color accuracy: the typical color accuracy is about average ∆E = 2.5 (whereas con-
tone and halftone proofing easily achieves average ∆E < 1),
Several profiles needed: the profiling operation needs to be done for each simulated ICC, as
well as for every utilized line screen, calibration curve, etc.
User manual
It is a common misconception that the simulated C, M, Y and K halftones are made directly with
the C, M, Y and K inks of the inkjet printer. In reality, things are much more complicated. The
inkjet inks are usually more saturated (offering wider gamut), and simulating the offset inks
will be achieved by blending the inkjet inks (in the case of the primaries, this is also called ink
contamination).
The picture shows a magenta halftone, simulated on a proofer. The basis of the halftone is the
light magenta ink of the proofer, but the normal magenta ink is also used to make it darker (see
the darker magenta pixels). Light cyan and yellow contamination pixels are also visible, making
it less saturated, and obtaining the right color. The frequency of this screen is 170 lpi, resampled
from 2400 dpi to 1440 dpi.
Moreover, using this technique, a raster proofer can simulate any inks used in the printing pro-
cess, not just cyan, magenta, yellow or black. There is absolutely no difference between simu-
lating an offset magenta or a Pantone 386 C, both offset inks will be a blend of the inkjet inks.
Another common misconception is that only large professional inkjet printers are able to print
raster proofs; in reality, driven by StudioRIP, even small A3 desktop printers produce smooth
halftones of 150-200 lpi.
Indeed an inkjet printer cannot print with the quality of an imagesetter, and inkjet printers
working as imagesetters or platesetters are used only for less demanding applications (screen
printing, newspaper industry, etc.), usually on low screen rulings or with stochastic screening.
However, it would be the wrong conclusion to think that they are unable to produce prints that
are visually equivalent to an offset print.
The trick is that while imagesetters must produce compact, sharp halftone dots (otherwise it
could not be used by the printing press), the halftone dot on the proofer can be ‘crumbled’ – the
human eye is unable to perceive that on the paper. An inkjet printer with a resolution of at least
1200×1200 dpi, used in conjunction with light inks, is able to produce a perfectly smooth half-
tone screen of up to 200 lpi, which the human eye can hardly distinguish from offset printing (al- 169
though this halftone screen cannot be used for further processing, because microscopically the
dots are ‘crumbled’ and have low density).
10.1.5 Comparison of proofing techniques

Below is a table with the advantages and disadvantages of the three proofing techniques:
Contone Halftone raster
Excellent Excellent Good

Color accuracy
(average ∆E = 0.7) (average ∆E = 0.8) (average ∆E = 2.5)
Good Excellent
Halftone simulation None
(fairly similar look) (dot for dot)
Errors are
Data integrity Theoretical chance for errors Theoretical chance for errors
impossible
Profiled once
Flexibility Profiled once Profiled for each target
(depends on settings)
Automatic Automatic
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Imposition simulation All imposition types
impositions only impositions only
Job ripped twice, Job ripped twice, slow inkjet Job ripped once, slow inkjet
Speed
fast inkjet printing printing printing
10.1.6 Color accuracy, ∆E
The most important quality factor of a proofer is the color accuracy, i.e. how close the colors of
the proof are to the colors of the target print. As visual comparison is subjective and not always
relevant, there are standardized methods for estimating the accuracy of the proofing systems.
These methods are based on the color difference formula called delta E, which defines the dif-
ference between two colors measured with a spectrophotometer in the Lab color space. There are
different delta E formulas, the one considered best is the CIE 2000 formula (as used by Studio-
RIP), as it gives the most uniform results (while older formulas sometimes give high values for
visually indistinguishable colors). The interpretation of the delta E value is subjective, but a gen-
erally accepted interpretation is the following:
< 1: a perfect match: the color differences are indistinguishable to the human eye.
1–3: an excellent match: the color differences are distinguishable only on large patches
touching each other (i.e. without a gap). Patches separated by gaps are generally not dis-
tinguishable.
3–6: a good match: the color differences are clearly distinguishable on large, touching patch-
es, but are generally difficult to distinguish on two different prints (e.g. the difference be-
tween the proof and the original print can be hard to spot).
6–10: an acceptable match: the color differences are clearly distinguishable even on different
prints, but the difference is not disturbing.
170
When estimating the accuracy of a proofer, the average ΔE, maximum ΔE and maximum ΔE for
primaries are taken in account.
10.2 Setting up the proofing system
10.2.1 Spectrophotometer setup

It is impossible to set up the proofer without a spectrophotometer, therefore it is critical to have
a spectrophotometer installed in the system. The spectrophotometer has to be connected to a PC
that runs the Client application (rather than to the Server PC).
The spectrophotometer can be set up by the Spectrophotometer setup item in the Proof menu.
The following settings are available:
User manual
Spectrophotometer model: the current version of StudioRIP supports X-Rite DTP-41, X-

Rite i1, Xrite IO table and Datacolor Spyder 3.
Communication port: the port that the spectrophotometer is connected to. Grayed out if the
connection is managed automatically.
Patch width (scan direction): as the profiling charts will be generated for the chosen spec-
trophotometer, the width and height of the generated patches are set up here (affecting mea-
surement accuracy but also speed and print costs). This is the dimension of the patch in the
scan direction.
Patch height: the dimension of the patch that is perpendicular to the scan direction.
Maximum chart width: the maximum width of the chart the spectrophotometer is able to
deal with (the limitations usually come from the size of the backing table).
Maximum chart length: the maximum height of the chart the spectrophotometer is able to
deal with. A value of zero means no limitation.
Gap size: the width of the gaps that separate the patches in scan direction.
Double (black and white) gap: certain spectrophotometers (such as the X-Rite i1) give
more stable measurements if the special double gaps are used (consecutive black and white
gaps of half width).
After setting up the parameters, click Next. The wizard will attempt to establish the communica-
tion between the StudioRIP and the spectrophotometer, and will report the result.
10.2.2 Proofer linearization wizard

The proofer uses a very fine stochastic screening for proofing, used both by the contone and ras-
ter modules. To achieve good color accuracy and moiré free output, the proofer must be linear-
ized.
The Proof linearization wizard can be launched from the Proof menu. The following steps need 171
to be performed:
Choose the job style that needs to be linearized. At this point a native color job style is need-
ed (i.e. not a proof job style, and not a monochrome job style). It is important to choose the
profile with the required resolution: for high quality proofs the recommendation is to choose
the highest possible resolution (typically 1440 or 1200 dpi). For fast content proofing the
recommendation is to choose lower resolution (720 or 600 dpi). After clicking Next, a proof
chart will be printed. Wait for the printer to finish.
The reference ICC profile should only be modified by experts, in most cases it should be left
on Generic inkjet. Do not confuse it with the target ICC profile (e.g. ISO coated), which is
the profile that will be simulated – this profile is used to apply the ink limitation, and it is ex-
pected to be as similar as possible to the profile that is about to be created (however, avoid
using profiles generated previously by StudioRIP, as they are special proof optimized pro-
files with poor quality conversion to Lab).
It is recommended that the Print ink saturation test chart option is left checked. This will
print a chart to determine the ink absorbtion properties of the paper on the ink density of the
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printer. The Physical ink limit field controls the maximum amount of ink printed (e.g. 350%
means that 100% C + 100% M + 100% Y + 50% K is permitted, but 100% C + 100% M +
100% Y + 51% K is not). On poor quality paper or high ink density it might be necessary to
decrease this value to avoid flooding on the paper.
If the saturation test option was checked, a chart will be printed that almost certainly will
have over-inking issues. Find the strip with the highest ink coverage but without wet patch-
es (or slightly wet patches that have a uniform look after drying), then enter the number of
the strip into the Physical ink limit field.
The Light ink limit field is the maximum amount of light ink used per channel, and it is cal-
culated automatically based on the physical ink limit value. You may change it manually
(higher light ink limit gives smoother result, but may produce over-inking).
In the next step, the calibration chart is printed. Let the print dry (colors will stabilize).
It is recommended that the Calculate the limitation values automatically using the refer-
ence ICC option is left checked. This will automatically match each of the CMYK channels
to the reference, optimizing the profiling process by having a better prediction of the out-
put, but also eliminating the use of unnecessarily high density. If this option is turned off
(this may become necessary if in the unlikely situation of the automatic ink limitation fail-
ing to avoid ink flood), the channels can be limited manually (e.g. entering 90% for the cy-
an channel means that the 90% cyan will be mapped to 100%, becoming the maximum cyan
amount that the proofer will use).
Calibrate the spectrophotometer by clicking the Spectrophotometer calibration button.
If you use fully automatic spectrophotometers (e.g. IO Table), instruct the device to read the
entire test chart, otherwise start reading the printed chart row by row (normally using on-
ly the buttons on the spectrophotometers, no interaction is needed on the PC). After a suc-
172 cessful read, the row index parameter will be incremented; otherwise an error message will
appear. In the case of a reading error, a row can be re-read by adjusting the row index be-
fore the read.
After the last row is read, the Next button will become active. Click Next.
Check the Create new job style for this paper type option if multiple paper types will be
used with the proofing system. In this case, one job style will be needed for each paper type.
Name the new job style accordingly.
You may change the linearization name for easier identification (especially if it’s multiple
paper types will be used, in which case it is recommended that the name of the paper type is
included in the name).
Clicking Finish, the linearization will be saved, and the the new job style will be created (if
the option was checked).
10.2.3 Contone proof wizard

User manual
This wizard will profile the proofer, generating an ICC file that will describe the printer using
StudioRIP’s contone proofing screening technology, the given paper, resolution, ink and print-
er settings. The result will be a new job style with the Proof color management task checked that
will contain the linearization and ICC profiles, and will be ready for printing contone proofs.
Running the contone proof wizard first is mandatory for creating halftone proofs.
It is strongly recommended that the contone proof wizard is run even if only raster proofs
will be printed, as it will greatly improve the spot color accuracy.
The Contone proof wizard can be launched from the Proof menu. The following steps have to be
performed:
Choose the job style of the proofing device: this must be a native color job style (i.e. not a
proof job style, and not a monochrome job style), which has been previously linearized (see
10.2.2 Proofer linearization wizard ‹page 171›). If there is no such profile, the wizard will
fail.
the profiling accuracy parameter, which controls the number of patches printed for the
Set
profiling. The default value is 3000 (for high quality profiles), but good quality profiles can
be obtained with 2000 or even less patches. The number of patches to print can be controlled
directly choosing custom profiling accuracy, and changing the Patches field.
For sheet fed printers the number of patches can be also controlled through the Sheets field:
StudioRIP can calculate automatically the number of patches that will fit on the requested
number of sheets.
The transverse printing option, available only for sheet fed printers, allows the profiling
chart to be printed 90° rotated on the paper. In case of an A3 printer, for example, it will
print the strips on the length of the A3 sheet rather then on the width, resulting in less (but 173
longer) strips. Consider the strip width limitation of the spectrophotometer before choosing
this option (e.g. a DTP-41 will read the length of an A3 sheet, but an i1 won’t).
the profile that will be simulated – this profile is used to build the patch list, and it is expect-
ed to be as similar as possible to the profile that is about to be created (however, avoid using
profiles generated previously by StudioRIP, as they are special proof optimized profiles with
poor quality conversion to Lab).
The ink limitation parameter is normally defaulted to the value calculated by the Proof lin-
earization wizard (and stored in the linearized job style), so normally it should not be modi-
fied by the user. However, experts may change it. This option controls the maximum quan-
tity of ink that the proofer is allowed to print (e.g. 250% means that, for example, C: 100, M:
100, Y: 50 is allowed, but C: 100, M: 100, Y: 60 is not). Generally 250% is enough to cover
the whole gamut, with the right use of the black ink. Higher values may improve the gam-
ut, but may also cause ink flow problems. Lower values may cure ink flow problems, but al-
so limit the gamut.
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Choose the black generation value (i.e. the balance of CMY and K inks for printing gray
components of colors). This value is automatically chosen based on the available light inks
on the printer:
recommended setting for printers with LK and LLK inks is the highest possible black
generation value (Maximum), as even the lightest grays are smoothly printed without
CMY inks;
recommended setting for printers with LK ink is Medium black generation, as in high-
lights the use of CMYK will still produce smoother results;
recommended setting for printers without light black inks is Minimum value, as using
black ink only will produce grainy tints in highlights and midtones.
If color accuracy is the main consideration, and the graininess of the tints is less important,
use maximum black generation even for printers without light black inks: the color stabil-
ity will be considerably better.
Click Next. The profiling chart (consisting of one or more pages) will be generated and
printed.
Let the print dry (colors will stabilize). Taking into account the accuracy needed at this
phase, the recommendation is to wait at least 10 minutes.
entire test chart, otherwise start reading the printed chart row by row (normally using on-
174 ly the buttons on the spectrophotometers, no interaction is needed on the PC). After a suc-
cessful read, the read patches will appear in the list (the expected and measured colors are al-
so displayed in order to allow a visual check whether the right row has been read), and the
row index parameter will be incremented; otherwise an error message will appear. In the
case of a reading error or simply a suspicious read, rows can be re-read by decrementing the
row index before the read. The wizard performs an automatic comparison between the ex-
pected and measured colors, and in case of big differences will warn about a possible read-
ing problem.
After the last row is read, the Next button will become active.
Click Next. The profile will be generated (typically taking about 10 seconds, usually not
more than 1 minute). The progress bar will indicate the ICC generation progress. After the
profile is generated, the Next button will become active.
You may change the ICC profile name, as it will appear in the Color profiles list.
Choose the Contone proof job style name, as it will appear in the Job styles list.
The Simulate paper color option specifies whether the proof should simulate the color of the
User manual
target paper (typically printing a yellowish tint on the bright white proofing paper in order
to match the color of the offset paper). Unchecking this option is, strictly speaking, incor-
rect, as the proof will still remain absolute (possibly resulting in visible white spots in light
areas – the paper color simulation will work for the nearly white colors, but will suddenly
stop for the perfect white), but many users prefer not to simulate the paper color.
Choose the simulated ICC profile of the proofs printed with this job style – that is, the tar-
get (e.g. offset) ICC profile.
The Create photo job style option creates a job style that can be used for photo printing (or
generally speaking not for proofing). This means that instead of simulating a given target
ICC, StudioRIP will print the incoming RGB colors accurately, on the widest possible gam-
ut. Note that the safe path is to work with RGB colors only, and let the RIP deal with color
separation. Doing color separation on any level before that will be accurate only if the ICC
profile created by this wizard is properly set up in the DTP application. See 10.3.5 Photo
printing ‹page 183› for further information.
Clicking the Finish button, the proof job style(s) will be created, ready to print contone
proofs.
10.2.4 Halftone proof wizard

This wizard will profile the proofer in halftone mode for a given target job style, generating an
ICC file that will describe the printer using the screening technology of the target job style on
the given paper, resolution, ink and printer settings. The result will be a new proof job style (a
job style with the Proof color manangement task checked) that will contain the linearization, the
contone and halftone ICC profiles and the target job style, and will be ready for printing half-
tone proofs.
Halftone proof job styles are less flexible than contone proof job styles (as they can be used on-
ly for the job styles they have been profiled for), but more flexible than raster proof job styles (as 175
the calibration of the target job style will not affect color accuracy).
A different halftone proof job style is necessary for each simulated job style. For each new
job style, or if any of the settings of a profiled job style is changed (ICC or screen settings),
a new profiling procedure is necessary, otherwise color accuracy isn’t guaranteed.
The Halftone proof wizard can be launched from the Proof menu. Note that the Halftone proof
wizard will run only for profiles that were previously profiled with the Contone proof wizard.
The following steps have to be performed:
Choose the job style of the proofing device: this must be a native color job style (i.e. not a
10.2.2 Proofer linearization wizard ‹page 171›) and contone profiled (see 10.2.3 Contone
proof wizard ‹page 172›). If there is no such profile, the wizard will fail.
Select the target job style: this will specify the simulated ICC profile and the screening pa-
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rameters that the halftone proof will simulate (e.g. ISO Fogra 27, 150 lpi, Euclidean, etc.).
Set the profiling accuracy parameter, which controls the number of patches printed for the
profiling. The default value is 3000 (for high quality profiles), but good quality profiles can
be obtained with 2000 or even less patches. The number of patches to print can be controlled
directly choosing custom profiling accuracy, and changing the Patches field.
For sheet fed printers the number of patches can be also controlled through the Sheets field:
StudioRIP can calculate automatically the number of patches that will fit on the requested
number of sheets.
The transverse printing option, available only for sheet fed printers, allows the profiling
chart to be printed 90° rotated on the paper. In case of an A3 printer, for example, it will
print the strips on the length of the A3 sheet rather then on the width, resulting in less (but
longer) strips. Consider the strip width limitation of the spectrophotometer before choosing
this option (e.g. a DTP-41 will read the length of an A3 sheet, but an i1 won’t).
the profile that will be simulated – this profile is used to build the patch list, and it is expect-
ed to be as similar as possible the profile that is about to be created (however, avoid using
profiles generated previously by StudioRIP, as they are special proof optimized profiles with
poor quality conversion to Lab).
The ink limitation parameter is normally defaulted to the value calculated by the Proof
linearization wizard (and stored in the linearized job style), so normally it should not be
modified by the user. However, experts may change it. This option controls the maximum
quantity of ink that the proofer is allowed to print (e.g. 250% means that, for example, C:
176 100, M: 100, Y: 50 is allowed, but C: 100, M: 100, Y: 60 is not). Generally 250% is enough to
cover the whole gamut, with the right use of the black ink. Higher values may improve the
gamut, but may also cause ink flow problems. Lower values may cure ink flow problems,
but also limit the gamut.
Set the Process color halftone optimized for parameter: as StudioRIP simulates all inks
of the target (e.g. offset) technology – not just the spot colors, but also the cyan, magenta,
yellow and black inks –, the simulated process color inks are blended from the proofer inks
(e.g. a typical offset cyan is blended from 85% proofer cyan + 15% proofer magenta +
5% proofer yellow), which may result in somewhat blurry halftones. This setting lets the
operator turn off or limit the ink blending for process colors (e.g. the cyan halftone being
printed with 100% proofer cyan ink), resulting in sharper halftones. Although the color
accuracy of the proof is not affected by this setting (the ICC profile will be generated
accordingly), there are pros and cons to using sharp dots:
Advantages: sharper, more realistic halftones and rosettes; independence from the target
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ICC profile (changing the target ICC profile will not imply re-profiling);
Disadvantages: the halftone structure may be visibly different on certain colors (e.g. pure
cyan tints will have magenta halftones); the different color of the ink may become visible
on low line screens.
Click Next. A halftone linearization chart will be printed, measure it in the same way as in
the proofer linearization wizard. You may change the linearization name.
Click Next. The profiling chart (consisting of one or more pages) will be printed.
Let the print dry (colors will stabilize). Taking into account the accuracy needed at this
phase, the recommendation is to wait at least 10 minutes.
entire test chart, otherwise start reading the printed chart row by row (normally using only
the buttons on the spectrophotometers, no interaction is needed on the PC). After a success-
ful read, the read patches will appear in the list (a visual comparison between the expect-
ed and measured colors is also possible to check whether the right row has been read), and
the row index parameter will be incremented; otherwise an error message will appear. In the
case of a reading error, a row can be re-read by decrementing the row index before the read.
The wizard performs an automatic comparison between the expected and measured colors,
and in case of big differences will warn about a possible reading problem.
After the last row is read, the Next button will become active.
Click Next. The profile will be generated (typically taking about 10 seconds, usually not
more than 1 minute). The progress bar will indicate the ICC generation progress. After the
profile is generated, the Next button will become active.
You may change the ICC profile name, as it will appear in the Color profiles list.
Choose the Halftone proof job style name, as it will appear in the Job styles list. 177
The Simulate paper color option specifies whether the proof should simulate the color of the
target paper (typically printing a yellowish tint on the bright white proofing paper in order
to match the color of the offset paper). Unchecking this option is, strictly speaking, incor-
rect, as the proof will still remain absolute (possibly resulting in visible white spots in light
areas – the paper color simulation will work for the nearly white colors, but will suddenly
stop for the perfect white), but many users prefer not to simulate the paper color.
Choose the simulated ICC profile of the proofs printed with this job style – that is, the tar-
get (e.g. offset) ICC profile.
Clicking the Finish button, the proof job style will be created, ready to print contone proofs.
10.2.5 Raster proof wizard

This wizard will create a raster proof job style that will simulate the results of the selected job
style. Unlike the contone proof wizard, which profiles the proofer itself, without taking into ac-
count the target ICC (or, generally, the simulated printing conditions) during the profiling pro-
cess, the raster proof wizard will be done only for the given printing conditions, as they are spec-
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ified in the selected job style.
A different raster proof job style is necessary for each simulated job style. For each new
job style, or if any of the settings of a profiled job style is changed (ICC, screen or cali-
bration settings), a new profiling procedure is necessary, otherwise color accuracy isn’t
guaranteed.
Although creating a raster proof job style is possible without the contone profiling being done
(i.e. an ICC profile being done for the given job style), for better spot color accuracy it is strongly
recommended that a contone profiling (see 10.2.3 Contone proof wizard ‹page 172›) is done be-
fore running the Raster proof wizard.
The Raster proof wizard can be launched from the Proof menu. The following steps have to be
performed:
A table containing the measurements of 78 patches printed with the target printing condi-
tions must be filled. There are two choices:
Choose the ICC profile to simulate, selecting the Import from ICC box and choosing an
ICC profile from the list. This is recommended if there is an ICC profile for the given
printing technology (typically offset).
Measure a previously printed target chart which can be found in the Proof charts folder
178 of the installation CD. This is recommended if no ICC profile can be found for the given
technology (e.g. silk printing). Example: to profile a silk screen printing technology line,
print the target chart suitable for the installed spectrophotometer (to save costs, together
with a real job, as it’s a small, 34×2 cm strip), by silk screen printing, then uncheck the
Import from ICC box, and read the printed strip with the spectrophotometer. The results
can be saved with the Save to file button, and can be read back with the Load from file
button.
Click Next, and choose the target (simulated) job style. This is the job style that will pro-
cess jobs to be output on the target technology (e.g. silk printing, as in the example above).
The screen settings, calibration files etc. used during the profiling process will be extracted
from the specified job style. Double check that no further changes will be made to the job
style, as any change (e.g. changing the calibration curves) will result in color inaccuracy.
Choose the job style of the proof device. This must be a native color job style (i.e. not a
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10.2.2 Proofer linearization wizard ‹page 171›), and preferably also contone profiled (see
10.2.3 Contone proof wizard ‹page 172›). If there is no such profile, the wizard will fail.
Click Next, and choose whether the spot colors will be calibrated (i.e. a contone ICC profile
will be used for their accurate reproduction):
Selecting the Calibrated spot colors option an ICC profile can be specified in the ICC
profile for calibrated spot colors drop-down list. This must be the result of a previous-
ly performed contone profile wizard. If the chosen job style has already been contone pro-
filed, this option will be automatically selected (the ICC profile will be automatically cho-
sen too), otherwise the contone profiling can be done at this phase by clicking the Launch
profiler wizard button.
Selecting the Uncalibrated spot colors option is recommended only if spot color accura-
cy is not critical, as a less accurate approximation algorithm will be used.
The Simulate paper color option will specify whether the paper white of the target technolo-
gy will be simulated (typically printing a yellowish tint on the bright white proofing paper).
Paper color simulation is only possible if the proofer is contone profiled.
Click Next. A table will appear which will contain the amount of proofer inks for achieving
various percentages of the primary colors (i.e. cyan, magenta, yellow and black) of the target
device. Normally this will be done by the Launch color finder button, but the results of pre-
viously performed color finder wizards can be loaded by the Load from file button.
The Color finder wizard will find the best approximations of the requested colors by printing
and measuring charts consecutively (by default 4 print and measure cycles), the latitude for
error of each color being incrementally reduced by the consecutive prints. Perform the fol-
lowing steps:
At the first step, calibrate the spectrophotometer clicking on the Calibrate spectropho-
tometer button;
Wait for the chart to be printed, and let it dry;
Measure the chart with the spectrophotometer;
The last two columns will show the best measured ∆E results (M), as well as the best ex-
pected ∆E results (E) for the next cycle;
Click Next, and do the next cycle;
After the first 4 obligatory cycles, further cycles can be made by checking the Perform an
extra iteration box. It is worth performing further iterations if there are colors with high
measured ∆E values (it is desirable to have ∆E < 1 for most values, and no values with ∆E
> 3), and at the same time the expected values for the next cycle are considerably smaller
(otherwise it is perhaps a gamut limitation).
Clicking Finish, the Color finder wizard will return and the table will be filled with the pri-
mary color values found. It is strongly recommended that these values are saved with the
Save to file button, so that these partial results can be re-used later.
Click Next. A table will appear which will contain the amount of proofer inks for achieving
various mixed colors of the target device. The procedure is exactly the same as for the prima-
ry colors: the Color finder wizard has to be started (printing and measuring another 4
charts), so in total 8 charts will have to be printed and measured in the raster profiling pro-
cess. Again, it is recommended that the partial results are saved.
Having both the primary and mixed colors found, the profiling is done. Click Next, and fill
the color correction profile name (as it will appear in the Color correction profile setting of
the job styles), and the raster proof job style name (as it will appear in the Job styles list).
Clicking Finish the raster job style will be created, ready for printing raster proofs.
10.2.6 Test proof wizard

It is strongly recommended that the test proof wizard is run after either proof wizards (contone,
halftone or raster). This will test the proof in normal working conditions (i.e. printing the proof
as a regular PDF job rather than an internal test), so having good results in this wizard will
guarantee that the proofer is accurate.
The test proof wizard works only for ICC based proof job styles, so raster proofs based on
measuring the Target chart cannot be tested.
The working principle of the wizard is that it prints a chart containing CMYK patches, and
compares the printed and measured patches with the values specified by the ICC profile (i.e.
whether the measured Lab value of a given CMYK patch matches the Lab value provided by the
ICC profile).
The Test proof wizard can be launched from the Proof menu. The following steps have to be
performed:
180
Check the Print test page with job style box if you want a print a test page with the proof-
er now. Note that the wizard can be used to measure any standard Fogra test charts (e.g. the
accuracy of the press can be checked with this wizard as well), in which case it may not be
necessary to print the chart. Check the Send the page immediately for output box if the
proofed job does not need confirmation (e.g. for checking the positioning on the media).
Click Next. If the Print test page with job style box was checked, the test chart will be
printed now. Wait for the printer to finish, and let the print dry.
If a job style was used, the Target ICC profile box will be automatically set to the ICC profile
used by the job style. Otherwise, the target ICC profile should be manually selected.
Calibrate the spectrophotometer by clicking on the Calibrate spectrophotometer function.
Read the test chart. The measured ∆E values will be displayed for each patch, as well as a vi-
sual comparison of the expected and measured colors.
Click Next. The evaluation of the test will be displayed, as follows:
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Average ∆E (general): the average of all ∆E values;

Maximum ∆E (general): the maximum ∆E value;
Maximum ∆E (primaries): the maximum ∆E value of the primary colors (i.e. all tints of C,
M, Y and K);
The results of the evaluation will also be displayed in common terms (excellent, good, ac-
ceptable or out of tolerance).
The worst of the three results will be displayed as the general result of the test.
Using a decent quality printer and paper (with no gamut problems) StudioRIP proof test results
should be at least good, but usually excellent (especially for contone proofs, which are more ac-
curate). In cases of worse results the possible problems need to be investigated.
10.2.7 Color checker

While the Test proof wizard offers a generic evaluation of the proof accuracy, the color checker
wizard can evaluate the accuracy of a given color, either on the proof or on the target print (e.g.
offset) against an ICC profile.
This tool is especially useful in cases of color differences between the proof and the target print
(e.g. a blue background is greenish on the proof and reddish on the target print), as the operator
can check both colors against the reference ICC profile, finding out which of the colors was clos-
er to the reference. To use the color checker, follow the steps below:
Open the color checker from the Proof menu.

Set up the Reference ICC profile (e.g. ISO Coated for offset).
Set up the reference color:
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for spot colors, choose them from the list (if not listed, define them in the Ink manager, see
6.5 Ink manager ‹page 103›);
for process colors, specify the CMYK values.
Calibrate the spectrophotometer, if necessary.

Point the spectrophotometer at the target print or proof over a compact area of the given col-
or, large enough for a measurement (on a DTP-41 a larger area may be needed because it’s
difficult to align a given area under the sensor), and measure it.
The difference between the reference and the measured color will be displayed in terms of ∆E
(see 10.1.6 Color accuracy, ∆E ‹page 170›).
10.3 Printing proofs
There are three ways to print a proof in StudioRIP:
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Using the Proofing task of a job style;
Opening a job with a proof job style;
Using the Print proof command of the Proof menu (for raster proofs only).
10.3.1 The proofing task
The easiest way to proof a job is to check the Proof task, and set up the proofing parameters (see
more in 6.1.13 Proof color management task ‹page 82›). This method can be used if the proof is
printed together with the original job (e.g. the offset plates and the proofs are printed together).
This method isn’t suitable for printing a proof only, without the original job.
This method will act in slightly different ways for contone/halftone and raster proofs:
Contone/halftone proofs: a second job, with the same parameters as the original one (in-
cluding imposition), will be opened in the specified contone/halftone proof job style. The
proof job will start to process after the original one is finished.
Raster proofs: a second job will be created in the specified raster proof job style as soon as
the job is checked (i.e. sent to the Print manager or the TIFF catcher). If you change your
mind, and don’t need the proof, open the Job information of the job, and in the Workflow
task uncheck the Print raster proof option.
10.3.2 Proof job styles

All proof wizards create job styles prepared to print proofs. These job styles can be used to print
182 proofs directly, without printing to the target device (platesetter, imagesetter etc.).
To print a proof of a PS/PDF job, just open the file, and choose the right job style.
10.3.3 Print proof command

The Print proof command works only for raster proofing, and only if a processed job is select-
ed (otherwise the menu item will be grayed out). Its functionality is described in 5.4.3 Proofing
‹page 57›.
10.3.4 Target ICC for contone

Contone proof job styles (as well as halftone profiles optimized for dot sharpness) have infor-
mation only about the proofer itself, but not about the simulated printing technology. The target
ICC profile of the contone proofing must be specified separately, independently from the profil-
ing process, by selecting the target ICC profile in the job style after the Contone proofing wiz-
ard is completed. Also, new job styles can be created for new ICC targets by a few clicks (e.g. if
you want to simulate the uncoated ICC target too, create a new job style, and specify the uncoat-
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ed ICC profile).
As logically the separation profile (used for converting the RGB colors into CMYK) is the
same as the target profile (i.e. if the ISO Coated profile is used to convert RGB to CMYK, then
obviously the same ISO Coated will determine how the CMYK colors in the job have to be inter-
preted), StudioRIP uses the Separation profile field of the job style as target ICC (see 6.1.7 Sep-
arations task ‹page 71›).
It is critical to set up the Separation profile of the job style properly, if contone or halftone
proofs will be printed with it.
10.3.5 Photo printing

A special case of contone proofing is to use it without color management: instead of simulating a
target ICC, the incoming CMYK values will be passed directly to the printer driver, and the in-
coming RGB values will be converted directly to the CMYK color space of the printer.
Photo printing job styles are automatically created by the contone proof wizard, but can also
be easily created from contone proof job styles by creating a copy of them, and then changing
the separations/target color space to the ICC profile of the printer (see 6.1.7 Separations task
‹page 71›).
If you also set up this ICC profile in the DTP application, then even CMYK objects will be
printed accurately.
Note that colors defined as CMYK might be very different from the generic offset CMYK
colors.
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10.4 Adjusting the speed and quality
With very few exceptions, modern inkjet printers, that are A3 or wider, are able to print good
quality contone, halftone and raster proofs. The major quality issues are:
Speed: printing an A3 proof might take between 1 and 30 minutes; the printing speed is of-
ten adjustable at the expense of the quality.
Halftone quality: mechanical inaccuracies often cause grainy halftones or moiré. The accu-
racy of the head and paper movement has therefore a huge impact on the halftone quality.
Color gamut: the colors of the printer inks heavily influence the color accuracy of the output.
Certain printers are unable to reproduce the offset inks accurately, and therefore the proofs
will have bad color accuracy.
Light inks: the light versions of the CMYK inks (typically cyan and magenta, but ideally
black too) always improve the quality, producing smoother halftones and compact halftone
dots. Printers designed for printing large drawings quickly (e.g. architecture), without light
inks, might be unable to print smooth halftones.
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Ink consumption: certain printers are able to print smooth halftones without using light
inks. On these printers, disabling or limiting the use of light inks will cause much smaller
ink consumption, at the expense of a minor quality loss.
On certain printers (such as the Epson inkjets) many of the above parameters are adjustable, af-
fecting the quality, speed and ink consumption of the prints. The following chapters will explain
the technical problems and the StudioRIP solutions for them.
10.4.1 Light inks

Most inkjet printers used for proofing have light inks (at least light cyan and light magenta, but
usually also light black) for a smoother output. As light shades can also be simulated using on-
ly the dark inks, the RIP has the freedom to choose the amount of the light inks used. Using
more light inks will usually improve the smoothness of the output (using dark inks only will be
grainy), but will increase the costs of the print (as about 3 times more light ink is needed to print
the same shade as with a dark ink).
The light ink usage can be controlled in the Proof color management tab (see 6.1.13 Proof color
management task ‹page 82›) using the Maximum light ink coverage control, which specifies
the maximum permitted coverage (density) of the light inks. Increasing this value to 100% will
improve quality, but may cause over-inking problems (as the paper may not support too much
ink). The default value of 70% will, on most inkjet printers, avoid ink flow problems.
Light inks are useful not just for avoiding visible droplets in highlights, but also have an im-
portant role in suppressing the mechanical inaccuracies of the printer. Banding, grainy tints or
moiré can be partially or completely removed by the use of light inks. On most printer models
high speed modes produce good quality only with extensive use of light inks.
184 Using light inks, the StudioRIP proofing module will also produce more compact halftone
dots (less ‘crumbled’ than the ones made purely from dark inks).
Therefore using the default levels of StudioRIP is recommended. However, on low line screen
rulings, or in less demanding conditions, using less light inks might produce the required result
with much lower printing costs. Also, ink flow problems can be avoided by decreasing these val-
ues.
10.4.2 Banding
Certain printer models (such as Epson) allow StudioRIP to adjust the quality of the interlacing
at the expense of the printing speed.
The interlacing setting can be accessed only on Epson printers, and only if RIP-based mi-
croweaving is selected, in the Print engine properties window: in the Print manager docker, se-
lect the proofer device, then click the Print engine properties button (enabled only if the printer is
in Ready state). Then adjust the Quality parameter in the Interlacing tab.
By choosing a higher interlacing quality setting it is likely that the banding will disappear, but
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the printing speed will decrease. Choosing a lower interlacing quality setting the banding might
appear, but the printing speed will increase as well.
It is recommended that the fastest possible interlacing quality setting is chosen that produc-
es banding free output. (Note that the light ink settings also affect the banding, see 10.4.1 Light
inks ‹page 184›.)
To understand the banding phenomenon, the two major technical problems behind must be
identified:
nozzle inaccuracy: each nozzle places the droplet consistently with approximately the same
error (i.e. the same distance in the same direction from the required position of the droplet).
feed inaccuracy: the paper isn’t fed by exactly the required amount.
The banding is caused by the fact that compact bands on the paper (typically one or more neigh-
boring rows of pixels) contain pixels with the same placement error (e.g. 5 microns above their
required position), and beside it is another narrow band of pixels containing pixels with another
placement error (e.g. 3 microns under their required position). The human eye will perceive this
as offensive banding. To suppress this banding, a special interlacing technique is used, based on
two ideas:
Uniform feed: the most straightforward idea to build the desired resolution (e.g. 1440 × 1440
dpi) with the native head resolution (e.g. 720×180 dpi) is to perform several head passes
(16 passes in this example). Before each head pass, the paper is fed and the start position
of the head is adjusted by 1/1440 inches. After the 16 passes are done, and a 1 inch wide
1440 × 1440 dpi image is built, the paper is fed by one inch. However, feeding the paper uni-
formly by the same amount (typically about 1-5 millimeters) will greatly improve the result.
One scanline printed by more nozzles: given the uniform feed technique, each scanline on 185
the paper will have several nozzles aligned during the printing process. Distributing sto-
chastically the pixels of the scanline between the available nozzles will also greatly improve
the results.
The explanation of the improved results is that the droplets won’t form compactly misaligned
groups anymore, but rather will have their own, almost random, misalignment. The result is a
uniform visual noise rather than banding, with a dramatically reduced visual impact.
Printing the same pixel row with more than one nozzle is particularly interesting, because it
can improve the quality at the expense of the printing speed: the more nozzles per scanline, the
better the result is (usually printing at about half of the maximum possible speed but giving dra-
matically improved results).
As some proofers use their own algorithms for selecting the different nozzles for the same
row, there are quality differences between different proofers with respect to banding. StudioRIP
claims better results than most other proofers when using Epson printers with RIP-based mi-
cro-weaving, especially taking into account the availability of the Quality setting that can con-
trol the number of nozzles per scanline, achieving the best possible result at the expense of slow-
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er printing.
10.4.3 Bidirectional mode

Another source of banding and moiré is the bidirectional printing mode (when the head prints
in both directions, introducing another source of inaccuracy). Usually printing in bidirectional
mode will cause banding or moiré on halftones, so turning it off (if the option is available) might
improve the quality.
Certain inkjet printers allow StudioRIP to control whether the head prints in both directions.
Bidirectional printing is almost twice as fast as unidirectional, but introduces another source of
inaccuracy in droplet placement, which may cause grainy tints or false moiré on halftones.
The bidirectional mode setting can be accessed (only on certain printer models) in the Print en-
gine properties window: in the Print manager docker, select the proofer device, and then click the
Print engine properties button (enabled only if the printer is in Ready state). Then adjust the Bi-
directional mode parameter.
Before turning the bidirectional mode on, a print head alignment procedure is recommended,
if available for the printer model. This will minimize the head inaccuracies, calibrating the head
placement accuracy.
Most inkjet printers have considerably worse droplet placement accuracy in bidirectional
mode. Using bidirectional mode, halftone dots of 150-200 lpi line screens are less sharp (visi-
ble especially under a magnifier), and without liberal use of light inks, grainy tints or even moi-
ré will almost certainly appear.
Therefore, for the best quality, bidirectional mode is not recommended. However, the speed
doubling offered by the bidirectional mode may be attractive, particularly when, with a liberal
use of light inks, the quality loss could be almost imperceptible.
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10.4.4 Comparison table of settings
Below is a table with the possible quality settings and their effects:
More light inks Finer interlacing Bidirectional mode

Speed problems · ↑ ↓
Horizontal banding ↓ ↓ ·
Grainy tints ↓ · ↑
False moiré ↓ ↓ ↑
Greater costs ↑ · ·
Adjusting these values might have serious effects on the printing speed and quality. For exam-
ple, printing an A3+ proof on an Epson Stylus Pro 3880, using the 1440 × 1440 dpi mode, takes
about 6 minutes (in bidirectional mode and with the Good speed value in the interlacing setting),
but it will take more than 15 minutes in unidirectional mode and the Normal value of the inter-
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lacing setting (note that the new Stylus Pro 4900/7900/9900 and their variants are twice as fast,
while the SureColor T series are 4 times faster).
Similarly, printing without light inks, with the Highest speed interlacing quality setting and in
bidirectional mode will produce a grainy output with horizontal banding and false moiré. While
using abundant light inks, unidirectional mode and the Normal interlacing quality setting will
produce a perfectly smooth output and visible rosettes.
11
Glossary 187
G lossary
AM (Amplitude Modulated) screening: a screening technology which uses dots on fixed po-
sitions (a grid), varying their sizes to achieve the desired shades. See 9.3 Understanding dig-
ital halftones ‹page 148›.
Bleed: an extra area of a few millimeters around the page (an extension of the intended de-
sign), offering tolerance with the cutting precision, for avoiding a white border at the edge of
the page. See 8.6.1 Understanding bleed ‹page 137›.
Calibration: a procedure which corrects the dot gain or other color distortion of the print en-
gine or the printing process by pre-distorting the printed jobs. The procedure is based on the
calibration curve, which describes the transfer curve of the distortion to correct. See 6.3.1
Understanding calibration ‹page 94›.
Capstan: a simple and cheap technology used by platesetters and imagesetters. Capstan
based machines have a fixed laser unit, and the media is slowly moved by the capstan roller
during the imaging. The technology has registration and focus problems.
CIP 3, CIP 4: press management systems used to carry in a file information about the job
through the entire workflow (pre-press, press, post-press). StudioRIP 3 uses it to pass ink
duct control information to the printing press.
Client: StudioRIP Client is one of the three executables of the StudioRIP package. This is
the visual interface of the whole system, and can be installed on any workstation in the net-
work. See 2.1 Basic concepts ‹page 18›.
CMYK: stands for Cyan, Magenta, Yellow and Black – the color space of most printing tech-
188 nologies. The colors are achieved on paper or other media by the subtractive combination of
these colors (i.e. the inks filter the light which passes through).
Color profiles: see ICC/ICM.
Composite: in pre-press, composite generally means color. A composite printer prints color
image (unlike to a platesetter which prints monochrome images, one color at a time). A com-
posite PS/PDF file is un-separated (unlike the separated PS/PDF file which contains sepa-
rate pages for each separated plate).
Contone (continuous tone): a contone image data describes the image as a continuous vari-
ation of the color, as opposed to halftoned data which works with a limited number of colors
(usually the pure colors of the colorants), simulating a contone output by halftoning tech-
niques.
Contone proof: a proof that doesn’t simulate the halftone structure of the job, but offers the
highest possible color accuracy, as well as the highset printing speed. See 10.2.3 Contone
proof wizard ‹page 172›.
CTP (Computer to Plate): a high quality laser printer, printing directly to offset plates, used
User manual
in the offset industry.

Delta E (ΔE): a formula that defines the difference between two colors, measured in the Lab
color space. See 10.1.6 Color accuracy, ∆E ‹page 170›.
Densitometer: an electronic instrument that is able to measure dot percentages and densi-
ties on various media (film, paper or plate). It is used to build the calibration curve and ver-
ify accuracy of output.
Docker: a floating child window, which can be docked to a holder. Can be used in either
state. Most of StudioRIP’s windows are dockers.
Dongle: see Hard key.
Dot: halftone dots or stochastic dots are used by the screening technologies to simulate
shades. They are small, solid areas of colorants (ink, toner, emulsion) on the media (typical-
ly between 20 microns and tenths of millimeters). Arranged in halftone or stochastic screens,
from the right distance are perceived by the human eye as shades of the colorant.
Dot for dot (raster) proofing: a proofing technique that simulates the output based on the
ripped (halftoned 1-bit) data, keeping the original halftone dot structure.
Dotmeter: a device that measures the dot percentage on the paper or offset plate, generally
based internally on a microscope camera.
Drum: relatively complicated and expensive technology used by platesetters and images-
etters. Drum machines have the laser unit slowly moving on a carriage during the imaging,
while the media stays tightened on the drum. The technology offers excellent focus and reg-
istration.
Fast scan direction: the direction the laser is sweeping the media, perpendicular to the Slow
scan direction.
Flexography: a printing technology, typically used in the packaging industry (e.g. plastic
bags). Needs a specialized screening due to its special technological requirements.
FM (Frequency Modulated) screening: a screening technology which uses a fixed dot size,
varying the density of the dot pattern to achieve the desired shades. See 9.4 Understanding 189
stochastic screening ‹page 152›.
Ghostscript: a PostScript and PDF interpreter, distributed under GPL (GNU) licensing con-
ditions, available also for commercial redistribution from Artifex Software Inc.
Gradient: a continuous change from a color to another. Offering a smooth gradient from
black to white is an important technological goal of printing technologies.
Gutter: space between rows or columns of pages in an imposition.
Halftone proof: a proof that simulates the halftone structure of the job by approximating it
(rather than producing a dot-for-dot result, as the raster proof does), but offers a significant-
ly higher color accuracy than a raster proof. See 10.2.4 Halftone proof wizard ‹page 175›.
Hard key: a small device attached to the computer, securing against software piracy. Stu-
dioRIP is freely downloadable from the Internet; it is the hard key which protects the pro-
gram from piracy. Without a hard key attached to the computer, StudioRIP will run in demo
mode. The hard key also holds the license information (i.e. which features of StudioRIP are
enabled), and can be easily upgraded.
History: the database where the Print manager application stores the printed jobs in chron-
ological order, grouped in years, months and days. There are two levels of history, one in
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the Job browser, and one in the Print manager (see 5.6.8 Print manager history ‹page 63›).
Hot folder: a folder that is monitored by a program for the appearance of new files. In the
StudioRIP system, the Server is watching for PS or PDF files to process (see 3.3 Setting up
the hot folders ‹page 34›), and the Print manager is watching for TIFF files to print (see
7.1.3 Special settings ‹page 112›).
Ganging: see Media saving.
ICC/ICM: ICM (Image Color Management) is the Microsoft version of the ICC (Internation-
al Color Consortium) profile. These files describe the color space of one or more devices,
and define the way to transform a color from one color space to another. StudioRIP uses col-
or profiles for the Lab/RGB to CMYK conversions in two places: (1) the Separations profile
of the Job style specifies how the incoming colors of the PS/PDF files need to be converted
into the CMYK colors of the press, printer or other printing device, and also specifies how
the preview system has to show the separated CMYK colors on the screen. (2) the profiling
wizards create ICC profiles of the proof printers that will be used in the proofing process.
See also 6.2 Color profiles ‹page 93›.
Imagesetter: a high quality laser printer, printing on photo-sensitive media (film or paper),
used in the pre-press industry. The printed films can then be copied to offset plates or used
for other printing technologies.
Imposition: a procedure of arranging pages for printing, typically two or more pages on a
sheet, which then will be folded and/or cut.
In-rip separation: the process when the RIP is performing the color separation (typically
190 producing the four – C, M, Y and K – plates from a composite job).
JDF: an industry standard designed to simplify information exchange between different
applications and systems in and around the graphic arts industry. StudioRIP uses JDF to
transfer ink duct control information to the printing press. See 5.4.2 Ink duct control ‹page
56›.
Job browser: the most important docker of the StudioRIP Client, managing the job list, and
allowing operations like previewing, deleting or moving the job, sending it for printing, his-
tory, etc. See 4.5.1 Job browser ‹page 44›.
Job style: specifies how a job will be processed (resolution, screen frequency, dot size, geom-
etry, in-rip separations etc.). Job styles can be saved, and then applied to jobs in many ways.
See 6.1.1 Job styles manager ‹page 66›.
Line screen frequency: the number of halftone dots per unit, measured in lpi (lines per inch)
or lpc (lines per centimeter). A 150 lpi screen has 150 halftone dots on 1 inch.
Media saving: maximizes media use and minimizes wastage by rotating, collecting and ar-
ranging the output pages. It can also increase the throughput speed of drum machines. See
User manual
6.1.17 Positioning task ‹page 85›.

Mirror: the offset technology requires the job to be printed mirrored of filmsetters. Mirrored
jobs are also called as Wrong reading, while normal jobs as Right reading.
Moiré: interference between repetitive patterns, causing a disturbing pattern. In the printing
industry typically the halftone screen is causing moiré, interfering with a raster device, im-
age elements or with each other. See 9.2 Understanding moiré ‹page 144›.
NT system service: a special way of running programs, available in NT based operating sys-
tems (e.g. Windows 8, Windows 7, Windows XP, Windows Server editions). Programs run-
ning as system services are launched before any user logons, and can be started and stopped
by the Services administrative tool. StudioRIP Server and Print manager can run as system
services, see Step 12 of section 2.2.8 Installing StudioRIP ‹page 23›.
Overprint: a technique to avoid thin white lines around design elements, caused by imper-
fect registration. Typically small black texts are printed over the background, without eras-
ing the colors under the texts as it normally should happen.
PDF (Portable Document Format): a document format, created by Adobe Systems Incorpo-
rated, which became now a standard in the printing industry, as well as in home and office
use. Gained popularity by portability, small document size, flexibility and by the fact that
the Acrobat Reader is freeware.
Platesetter: see CTP.
PostScript (PS): a page description language, created by Adobe Systems Incorporated in the
1980’s, which became now a standard in the printing industry. Usually design or general use
applications create PostScript data, which is then interpreted by the RIP of a printer, imag-
esetter or CTP.
PPD (PostScript Printer Description): a text file that describes a PostScript printer, used by
the PostScript drivers.
Preflight warning: if StudioRIP detects potential problems about a job, it will warn the us-
er by placing an exclamation sign in the job’s icon on colored or white background. The de- 191
scription of the warning is also available to the user. See 5.2.3 Preflight warnings ‹page 51›.
Print manager: StudioRIP Print manager is one of the three executables of the StudioRIP
package. It is the interface between the StudioRIP system and the print engine. See 2.1 Ba-
sic concepts ‹page 18›.
Process color: color that is obtained by the use of the four standard inks (CMYK).
Proofer: a system (typically software and an inkjet printer) that simulates the output of a
printing press or another printing device
Raster proof: a proof that offers a perfect (dot for dot) simulation of the job, but has a signif-
icantly worse color accuracy than a contone or halftone proof. See 10.2.5 Raster proof wiz-
ard ‹page 177›.
Rendering intent: color conversion strategy. Due to the fact that a range of RGB colors are
out of the CMYK color space (gamut), these strategies describe how to convert these colors,
and eventually their neighbors. The strategies that StudioRIP uses are standard, and are
widely available on the web (e.g. http://www.color.org/profile.html)
RGB: stands for Red, Green, Blue – the color space of most displays. The colors are achieved
by the additive combination of these colors.
G lossary
Right reading: see Mirror.
RIP (Raster Image Processor): a software and/or hardware equipment which translates
page description languages (typically PostScript) to raster bitmap data. It may also offer
previewing, imposition, job management and other features.
Rosette: a flower-like pattern, produced by the interfering halftone screens (typically cyan,
magenta and black). A rosette is consistent if the same pattern is kept on the whole print ar-
ea, without shifts or moirés.
Saddle-stitching: is used for publications with few pages (usually not more than 32 pages).
The pages are collected, stitched on the saddle, and then folded on the saddle. See 8.3.3 Bind-
ing tab ‹page 131›.
Screening: a technology used by most print technologies to simulate shades of their colo-
rants. AM (traditional) and FM (stochastic) screenings are the two basic screening technolo-
gies. Hybrid screenings are combinations of the two technologies.
Separations: grayscale pages, which are the separated color components of one color page.
For example, process color pages are the combination of four separations: cyan, magenta,
yellow and black. A pre-separated job contains the separations as independent grayscale
pages (i.e. 4 pages for a process color page).
Server: one of the three executables of the StudioRIP package. This is the ‘brain’ of the sys-
tem. It has a minimal user interface, and appears as an icon in the system tray. See 2.1 Ba-
sic concepts ‹page 18›.
Section: a number of signatures in a job. This is typically one (for single-sided work), two
(for sheetwise work) or or more (for booklets, e.g. 4 sheets folded together will be a section
made of 8 signatures).
Sheet: in the imposition terminology means an imposition page.
192 Sheetwise: double sided (both sides of the sheet will be printed, with different plates).
Signature: in the imposition terminology means an imposition scheme applied to one side of
a sheet, which may be repeated over several imposition sheets.
Slow scan direction: the direction the media (capstan) or the carriage (drum) is moving. It is
perpendicular to the Fast scan direction. Do not confuse it with the feed direction (in case of
the drum machines, they are perpendicular).
Spectrophotometer: an accurate instrument that measures color across the visible spec-
trum and produces data describing the color of a given sample in terms of various parame-
ters (typically Lab or XYZ values).
Spot colors: colors that are obtained by the use of one special ink (e.g. orange) instead of
combining process colors (e.g. magenta and then yellow).
Stochastic screening: see FM screening.
StudioRIP printer port: a TCP/IP printer port created by StudioRIP, which acts like a USB
port. StudioRIP Server captures all the data written to this port by the Windows spooler.
Supply cassette: the cassette the roll fed machine is fed from.
User manual
System service: see NT system service.

Take-up cassette: used only with imagesetters – a cassette that receives and stores the im-
aged, but still light-sensitive, film, until the film is pulled out to be processed.
TIFF (Tagged Image File Format): a flexible bitmap format, created by Aldus Corporation
in 1986, which has become a standard in the printing industry. Gained popularity due to its
flexibility.
TIFF catcher: an application that is able to print TIFF files on a specific print engine (typical-
ly CTPs), by exposing a hot folder where RIPs can drop the processed TIFF files.
Traditional halftones: see AM screening.
Trapping: a technique to avoid thin white lines around design elements, caused by imper-
fect registration, when overprint is not possible (e.g. red object on green background). A thin
overlapping border is used between the object and the background, giving a tolerance with
the registration errors. Trapping can be created manually (by the designer), by the design
application, or by the RIP (in-RIP trapping).
Work style: the work style describes the way the sheet is fed back into the print machine (if it
is). There are the following options: Single sided, Sheetwise, Work and turn, Work and tum-
ble. See 8.3.3 Binding tab ‹page 131›.
Wrong reading: see Mirror
193
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2.1 Basic concepts 18

3.1 Starting for the first time 28

3.2.1 Sharing the network printers 32

4 Finding your way around StudioRIP 37

4.1 The main window 39

6.1 Job styles 66

6.1.4 Interpretation task 68

7.1 Configuration 110

8.1 Understanding imposition 128

8.3.3 Binding tab 131

9.1 Basic concepts 144

10.1 Basic concepts 166

10.2.5 Raster proof wizard 177

1.2 The aim of StudioRIP

1.4 System requirements

 Windows 8, Windows 7, Vista or XP (or newer), 32 or 64 bits, home, professional or server

1.4.2 StudioRIP Client

network connections, can connect over the internet also.

2.2 Performing the installation

The recommended installation order is: Advanced configuration

2.2.1 Setting up the print engine

 Agfa (EtherSetter, PciAPIS, third party): no settings required.

 Scangraphic (third party):

 ECRM (SCSI, EtherSetter, third party):

2.2.2 Installing an EtherSetter box

2.2.3 Legacy systems with interface boards

If Print manager with TIFF output driver will be used:

If no Print manager will be used:

2.2.6 Connecting from the Internet to a StudioRIP Server

2.2.7 Installing the hard key

2.3 Installing Clients

2.3.1 Installing PC clients

2.3.2 Installing Mac Clients

3.1.1 Starting Print manager for the first time

the correct one.

3.1.2 Connecting the Client

3.1.3 Creating special Client shortcuts

 connecting to several StudioRIP Servers from the same PC;

30  connect: the host name or IP of the Server;

The usage of the command line parameters is RipClient.exe /ParameterName1: “ParameterVal-

3.1.4 Starting the Client for the first time

3.2 Setting up the network printers

3.2.1 Sharing the network printers

3.2.4 Setting up network printers on Mac

3.3.1 Setting up the hot folders on a PC

3.3.2 Setting up the hot folders on Mac running OSX

3.3.3 Setting up the hot folders on a Mac running OS 9 or earlier

Finding your way around StudioRIP

4.1 The main window

 Menu bar, located at the top of the main window,

Finding your way around StudioRIP

4.2.1 File menu

4.2.2 Calibration menu

4.2.3 Job menu

4.2.4 Imposition menu

Finding your way around StudioRIP

4.2.6 Tools menu

Windows 8, Windows 7, Vista or XP (or newer), 32 or 64 bits, home, professional or server

Agfa (EtherSetter, PciAPIS, third party): no settings required.

Scangraphic (third party):

ECRM (SCSI, EtherSetter, third party):

connecting to several StudioRIP Servers from the same PC;

30 connect: the host name or IP of the Server;

Menu bar, located at the top of the main window,

Printing to a StudioRIP printer from an application;

Using the StudioRIP printers,

Resolution (in dpi),

Cylinder length: the length is measured on the cylinder circumference.

Progressive proofing: will control whether progressive proofing is enabled;

The job is being printed. Status bar message: Imaging.

On startup it detects that there are jobs in the queue,

Cut the media manually by clicking the Cut button,

Horizontal: acts in fast scan direction (horizontally in the screen preview);

Disabled: there will be no trapping between images and vectors;

Recalibrating devices: as an alternative to the regular linearization method of a device (i.e.

to prepare pre-press marks,