Hi, I'm Lou Prestia from EFI. I'm here today to talk about the new color
settings on the Fiery. For Fiery system FS 300 and FS 300 Pro, and newer systems.
You'll find the link to this video, a PDF document that describes how you can get
to the color settings from within the Command WorkStation client for the Fiery
server. This first page also gives some background information about the
settings we'll be configuring, in case some of this is new to you. The format
that I'll use for today's presentation is this: on the left I'm showing you the
color settings. And again, you can see from the first page, we get to the job
properties for the color settings of a job on the Fiery by bringing the job
into Command WorkStation, double-clicking on it, going to the color navigation at
the left side, and then you can see this user interface for the color properties
for that job. Remember that the best practice is not to go to the properties
for each job you ever import. When you finish you see up here at the upper left
of this window it says: presets. After you configure a way to print on a particular
paper, or for a particular customer. We recommend that you save a preset that will
have ,not only all your color settings, but your imaging settings, and media
settings, and all the other things that you want to control about a job, so you
can consistently do prints on either that kind of paper, or for a particular
customer. So the format we're going to use today is we're going to map what you
can see in the user interface for the color controls, at the left, to this
diagram that we've created, at the right. We're going to study four kinds of
source colors. So imagine if I had a PDF or a postscript file. There's really,
to simplify it, there's four kinds of colors that can be in that file: RGB
color spaces, CMYK color spaces, greyscale color spaces, and separation or, what we
call, spot color spaces. As we go through the settings I'll show you what they do
for all these color controls in the middle column, such as the first one that
says "color space" and shows you these four color spaces. If you've seen the
previous video this one, for Fiery system FS 200, you'll
notice some new things today. In FS 300 we've added a control for CMYK rendering
intent. We have added a set of controls for grayscale source objects, which used
to be color managed the same as CMYK. So we'll talk more about that in a minute.
The first thing I configure in my color settings is the color mode
that I want to print in. Which is just to say: do I want to print in CMYK or
grayscale mode? Do I want a color print or a black and white print? The next
thing I choose is my output profile. I can either choose the output profile
specific ,such as this one for the plain paper Fiery demo plain US text, or I can
use the hierarchy that the fire uses to pick color spaces. So, I can pick the
output profile specifically like you see here Fiery demo plain US test. But a
better way to do this is to let the Fiery automatically select the output
profile for the type of paper I'm printing on. So the way we get that to
work is this. This flow chart shows me that when I come into looking for a
output profile, the first thing we look at is that control I was just showing
you. If the job properties say: use media defined profile. Then we'll automatically
search for the right profile for your paper. So if that's yes, the next question
is: are you using the paper catalog for this job?
Paper catalog is the best way to set the output profile selection on the Fiery, if
your Fiery offers paper catalog. If the paper catalog is in use, then I will go
and use the profile assign in the paper catalog, and that's the perfect way to
get the right profile assigned to my paper. Let's look at these other
possibilities. If I get all the way down to the paper catalog and you haven't
designed a profile on the paper catalog entry, then we'll look for a profile
assigned to the paper type. And that's also true if the paper catalog is not
used and you set use media to find profile, the Fiery says: where's the paper
catalog entry? Give me the profile in that paper catalog entry.
But if it looks that the paper catalog isn't used, maybe you've picked
all the details for the paper yourself, so the finish, and the weight, and the
size, and all these different things that the paper catalogue automates for you. If
you've picked all these different things and the paper type you selected, which is
usually like coated, or uncoated, or plain, or heavy white, can be used to select the
profile, if we've assigned that on the Fiery and Command WorkStation. So that's
the second of the best way where we automatically pick the output profile
based on the media type. If we find there's no profile on the paper
catalog, and there's no profile assigned to the media type in the device center
of Command WorkStation, then we're going to use the default color profile for the
server. And finally, if all the way back up here at the start if I don't set use
media to find profiles, then I'll see or I'll get the exact profile I picked. So
again, the recommended setting is to use job defined settings, use the paper
catalog to match all the profiles to the paper that you want to print on. Remember
that if you create your output profiles using Fiery Color Profiler Suite, in the
course of making a profile in the printer profiler, or the Express profiler,
we automatically assign the profile of the paper catalog entry you selected
when creating the calibration in profile. The next thing that we see is that the
calibration set, which is used with the output profile for this particular paper,
is linked to that output profile. So when I pick the output profile, to use job
defined settings, I immediately see the calibration for the way the job is set
up. In this case, for the way the paper catalog entry is assigned to this job
over in the media section, rather than the color section. When I talk about
input spaces, the first one I want to talk about is RGB.
There're really two ways that RGB can exist in your PDF for your PostScript
file. It can be device dependent, meaning it doesn't have any color definition or
ICC profile assigned to it. Or it can be device independent, meaning that it does
have a color space or an ICC profile
associated with it. So if I have a file coming in that is
RGB, and I set this first color input control here, at the left to SRGB,
then that SRGB profile is going to be used for every RGB objects in my job. The
next thing I can set is I can set to use embedded profiles for RGB. If I set use
embedded RGB profile, you'll see that this RGB in the file actually has an embedded
profile of Adobe RGB. When I set use embedded, then that will get applied. This
is the best practice for RGB files, which typically come from digital cameras, and
other workflows that accurately assign the source profile. So for a best
practice, we recommend that you say use RGB embedded profiles. The RGB source,
generally we recommend you set to SRGB which will configure your Fiery to do
the best printing with office jobs, you might choose to set this
to something like Adobe RGB, if you're in a closed workflow and you know that all
the designers are using that color space. But in any event, Adobe Photoshop, and
Illustrator, and InDesign, on these other applications, Acrobat, will typically
today automatically embed the profiles in RGB. So if you just set this use
embedded, then that RGB source is really only used by office documents, which
don't have embedded profiles and those are ubiquitously SRGB. For CMYK this
works the same way. I pick a specific default profile here, like PSO coded, and
that will be assigned to all my CMYK data. So the next thing we can set is: use
CMYK embedded profiles. This will call the embedded profile, such as the GRACOL
profile that you see embedded in the CMYK to be used. In general, we recommend
that the use embedded CMYK profiles be left off, for best practices. The reason
is, CMYK in a shop is typically all from the same source. Typically all from the
same country or the same set of customers. Some shops, traditional shops,
do special things with CMYK, such as stripping out the profiles.
So we've seen cases of CMYK with mismatched profiles assigned, and we
think you get the most consistent results if you pick the profile for your
geographic region, which is probably PSO coded, if you're in Europe, or something
like GRACOL if you're United States, and just leave that set, and not honor the
CMYK embedded profiles. The next thing I can set is the source profile for my
gray. And again this is new in FS 300. Historically we processed the grayscale
using kind of a fixed transformation to get from the grayscale information in
the page description file, the PDF or PostScript, into the color management
workflow. With FS 300, you can now use a specific grayscale profile, such as dot
gain 10%, and this is the one that will get used with all my files. Typically dot
gain 20% is the default in Photoshop, I think, you might want to check. It's
always safe to use the embedded profiles with grayscale sources, which, again, if
they're created in Photoshop will have the right profile embedded. Since this is
a new feature, I want to spend a little more time on it. All the grayscale source
profile really affects is the gamma or the contrast. So if you find that your
prints are looking too washed out, you might want to try a lower dot gain. And
if the black and white print are the images that you know are coming in as
grayscale, not CMYK or RGB, are printing too dark, then you might want to go to a
little bit lighter dot gain setting. The next thing I said is the rendering
intents. The rendering intent is my preference for gamut compression on the Fiery.
That means that when I take this Adobe RGB images that I'm showing in
this column, and I convert it into the output profile, I'm gonna get gamut
compression. The Adobe RGB gamut is much bigger than any printer gamut that we
have today. So whenever we have gamut compression, we need to tell the color
management system on the Fiery how we want the gamut compression done.
Photographic is the best choice for photographs and for converting very
large gamuts to much smaller gamuts to keep all the colors looking natural.
They're not necessarily as accurate, since we have to compress the very
bright and saturated colors at some edges of the gamut to fit into the
printer profile. But photographic moves all the colors in the in the source
gamut to fit the destination, so we still have a natural appearance if we have a
photograph. You'll see there's other choices here, presentation is what I
would choose if I was printing RGB business graphics. Relative colorimetric
is the most precise one, but isn't very good if I'm going from a very big to a
very small gamut. This might work if I was printing on a very large gamut paper
like a heavyweight coated paper. I might choose to use relative colorimetric with
my RGB. But as soon as we see something like shadows starting to plug up and the
brief productions, that's a sign that we should probably be using photographic.
And again, that is our recommended best practice. New in FS 300 is we also set
the rendering intent for CMYK. So remember, historically the Fiery had
three choices for the CMYK processing method.
It had GCR source, it had output GCR, and it had pure primaries. Both the
source and the output GCR used the relative colorimetric intent, but the
source GCR tried to use the black generation from the input profile. This
would not work very well in this example I'm showing you here. The grey channel or
the black channel that we've built into the GRACOL profile has nothing to do
with your digital press. So that's why output was always recommended. That uses
the black channel that we built in the output profile for that printer for that
paper. Going forward with FS 300 and newer we don't have to worry about this.
We can choose all the same rendering intents that I described a minute ago.
There're two more choices here, one I didn't talk about, which is called
absolute colorimetric. This is the same as color metric. It's
very precise, it doesn't compress the source gamut to the destination gamut, it
just clips any colors that are outside the edge of the gamut. And when I'm going
from a CMYK source to a CMYK output, unless I'm printing on some very
low-quality paper, I have very similar sized gamuts. So relative
metric is always the right choice. Absolute colorimetric is the same as
colorimetric but it simulates paperwhite. So if you're a long time Fiery user, you
remember that up until FS 200 there was a control in this panel that said:
simulate paperwhite. If we wanted to do proofing, and print on the output, the
paper color of the source profile like, this GRACOL profile. It's pretty much
only useful for proofing. If you make a production print where you print dots in
the non image area to simulate the paper color, you're gonna have a very hard time
selling that print. So the control is still here, if you're using doing
proofing, then you use absolute colorimetric. You don't have to configure that
setting for simulate paperwhite, this does the same thing. Finally for CMYK, we
have the choice called pure primaries. This is not the same as the presentation,
or what is sometimes called the saturation rendering intent. This is more
about keeping the colors very pure. So if I have a yellow and I don't want three
or five percent magenta dots in my pure yellow, because maybe I'm printing some
big piece and it doesn't look right with those little magenta dots in there, pure
primaries we'll try to keep the CMY primaries clear and pure all the way out
to their most saturated points. Again, recommended setting is relative
colorimetric. For greyscale, we also recommend relative colorimetric.
Again, grayscale images are not created in a big Adobe RGB space, they're usually
more or less like the CMYK space. So relative colorimetric is the best choice.
One other control I have here just for my CMYK is called black point
compensation. Black point compensation, when I use the relative colorimetric
rendering intent, maps the black point of the source to the black point of the
destination. Which always makes sense. We want to get the full dynamic range of
the output, even if the dynamic range of the input was less. So we want to map
that darkest point in the input to the darkest point in the output. The only
time I wouldn't use black point compensation is,
again, if I was doing a proofing workflow, because when I'm proofing I typically
want to represent the, perhaps, smaller dynamic range of the input file on my
print. In the example you can see if you were really interested in doing this is
if you were proofing newsprint, and you had newsprint source images printing on
your Fiery on some nice paper. If you turn black point compensation on the
prints will look much better than they would in the newspaper.
If you turn black point compensation off then we won't map that relatively light
black point in the newsprint source profile to your Fiery maximum black
point, and you'll see that the prints look very washed out, and you're now
making a proof of how they'd look on the newspaper. The next control I have here
is for, what we call, print grey using black only.
So you'll see something on the first page of the PDF it talks about this, and
you'll often hear people talk about PGUBO, P-G-U-B-O.
Which is a short way of saying print grey using black only. The reason this
control is important is because this control is used when I have what looks
like a black, and white page and I don't want to get a color click charge for it.
So if you're getting pages that you're charging your customers black and white
and they have RGB in them, maybe RGB that's created from various applications
but could include Microsoft Word or in the office applications, are great
examples. Because they're RGB colors, the Fiery naturally wants to print them in
color. So what looks like about black and white page, and what you probably
estimate and bill your customer for is a black and white page, can print as a
color click charge. Print gray using black only looks for objects that are
only gray so this is defined as red equals green equals blue. And again, a
solid black pixel. What might look like black text is probably going to be
red and green and blue all equal. The print gray using black only control on
the Fiery lets me choose three modes. If I turn it off, then we'lll print those
colors as color, you'll get a color click charge. If I set it to text graphics, then
we'll look at all the objects on the page
that are either fonts, text, or vector graphics, and for those objects if red
equals green equals blue, we'll print them using black only to save the color
click charge. The third choices is I could enable this for text graphics and images.
The risk here is that you probably have photographs that have gray pixels in
them, with red equals green equals blue. If you're printing a color photo
I don't want those pixels to drop out and print black only. So the recommended
setting for print RGB gray using black only is to set this to text and graphics,
so we don't affect those images. When it comes to CMYK we have a different
definition for finding a gray. We look for pixels that have no cyan, magenta, or
yellow, so they all equal 0%, and something in the black channel, which
could be any percent. We have the same choices, to ignore this and make a color
click, to do this for text and graphics objects only, or to do this for all the
objects on the page including the text, and the vector graphics, and the images.
In the CMYK world it's very uncommon to have a CMYK separation, a color picture
that has only the black channel. So it's relatively safe in the recommended
setting to set this to text graphics images for the print gray using black
only, for CMYK. When we go to the grayscale sources, that's the same
discussion. In this case we only have one channel, you certainly don't want
to have that converted in print to this color if you think it's a grayscale
page. So we'll typically set this to text graphics images. The next control we have
deals with the last column on the right here, which is spot colors. So spot colors
are named colors, such as Pantone colors, for example, that want to be looked up through
a special table on the Fiery. Which is the license libraries we have from
companies like HKS, and Pantone, and many others. If you want to use those named
color libraries, which is the best practice, you need to turn on spot color
matching. That means that any edits you may make to those colors, such as in Fiery
SpotOn, or any optimizations you may make to those spot colors, such as
you can with Fiery Color Profiler Suite using a spectrophotometer will be
honored. If spot color matching is turned off, then we will print the colors of
that named color object that, let's say brand object, using the alternate
definition in the PostScript or PDF file. Sometimes this will be close, sometimes
this is not nearly the right definition, and regardless you have no control to
edit it, unless you turn on spot color matching so that you can edit that color
in the spot color table using Fiery SpotOn. New feature in FS 300 is that I can
pick the spot group. So historically, some of you may know, that when I'm in SpotOn,
if I'm printing a job with Pantone colors, and let's say it's a legacy job
and I want to use the old Pantone version two before the Pantone plus
series definitions, which were different. Then I can put that library on top on
SpotOn, run the job and I'll get the old Pantone definitions. From running a new
job and I want to use Pantone plus version 3, the latest Pantone coded
library. Even though the color has the same name in that job, like Pantone 386C.
If I want the new definitions I've got to drag that other library on top.
And because those colors were changed or remeasured by Pantone, in some cases,
between the legacy and the Pantone plus libraries, you won't get the same color
both ways. So this has made it very frustrating for users who for one job
have to put one file on top and the other on top. Even if you're not in
that situation, you're always using Pantone plus version 3, still there are
cases where we make custom edits for one customer, we don't want their spot color
edit to affect all the other jobs we run. So this used spot group control lets me
pick a spot color library from SpotOn and it essentially puts it on top. It
forces it on top of the list so we get the color definitions in that
spot library before any others. Now if it's not found we still search down
through the list on SpotOn trying to find that color, but this is a way you
can set the priority for the spot color
library you want to run. So that is more or less all of the color input section
that we have in the new Command WorkStation for FS300. I'll talk a
little bit now about these color settings at the end. The first one is the
PDF X output intent. The PDF X output intent is actually an ICC profile that
can be embedded in a PDF X4 file. This profile is embedded to say how I want
the job to look no matter how I print it. So if I embed this new GRACOL CRPC6
profile in a PDF X4 file, I want the job to look that way whether I
have RGB inputs, CMYK inputs, whether I look at it on screen, wherther I
print it on a high quality stock, or a lower quality stock. The way we get the
PDF X4 compliance with the output intent is to check this box. This box, if
checked, will look into the PDF X4 output intent tag, which you see at the right
here just for an example we embedded this CRPC6 profile, and it will use that
for all these transformations. So it will convert from the source space through
the output intent from the PDF X, so that you get consistent output and you're
compliant with the PDF X4 specification. The next control separates RGB l*a*b* to
source is mainly for proofing. It converts the RGB not directly to the output
profile through its source profile, like Adobe RGB, but instead, converts the
source RGB to the source CMYK that we've set up such as GRACOL,
and then we go to the output. This control is also required for PDF X4
compliance, since we want, as I showed you on the
last slide, the RGB to also flows through that profile from the PDF X4 output
intent. Generally best practices, we leave this off along with PDF X output intent,
unless you know you're getting PDF x4 files
that are truly compliant with the specification. Leaving either of these on
could compromise your workflow PDF X output intent, because there might be
something embedded the customer didn't know about, and separate RGB l*a*b* to CMYK,
because that will naturally clip the gamut of your RGB to your source CMYK.
You might have a bigger output gamut on a nice coded stock on your Fiery driven
press that you want to get the maximum out of for your RGB, so we would never
recommend, again unless you're proofing or doing a PDF X4 workflow that you
convert all that data through the CMYK source profile. The next setting is for
black processing. Black processing is for solid black, which is defined as RGB
equals zero, or CMYK at a hundred percent, or grayscale at a hundred percent. In
all these cases we have three choices. If we turn pure black on, then the solid
black will print with, that is the zero zero zero RGB or the hundred-percent K,
will print with a hundred percent black colorant only on the Fiery. This is the
best practice. If we print solid black text and graphics with four colors we
can often see haloing around the the small fonts and fine lines, so pure black,
which keeps it black only is recommended. There're two more choices here. Rich black
would print black with a support screen with 40% cyan behind it. This is a good
trick if you have a big black fill that isn't looking right and the designer
built it as black only, but we use that only for a special case. And if I set it
for normal, then again I'm gonna get quadtone for color output of my solid
black and if I have fine lines or graphics, and remember this doesn't apply
to images only to text and graphics, then I can see some haloing. So we recommend
pure black on. The next control we have is whether we want to over print the
pure black. So if I have a solid piece of type that's black only it's RGB of
zero or it's CMYK of zero percent in all the channels but black is
it a hundred percent, do I want to over print this? We can't
say to over print just text, or to over print text and graphics, or not to over
print anything. The best practice is to just over print text. The reason we
recommend you to not over print graphics is that if you have a large black only
graphic sitting atop a color background, which might be a colored vignette, if you
over print that at a large font size, which is usually a graphic, then the
black will appear to change weight over the vignette as vignette goes from light
to dark. If we set this to text, almost always our fonts and things that are
defined in the page description language as a font or his text are at a small
size and we can very safely over print them. So our recommendation there is to
set that to text. A few final settings here. Composite over print takes objects
that were intended to over print in a postscript file and causes them to over
print so that we can see through them. As you see in the example at the left this
is with over print on, which is what the designer intended, this is how it looked
in Illustrator when they created this graphic. If we have over print off and
these objects will knock each other out. We will almost always fail to get the
appearance that the designer or the art director expected. So we should always
leave composite over print enabled. The next one is two color print mapping. This
lets me map a job from black and one particular color, either cyan, magenta, or
yellow, to another combination, which is black and a specific Pantone color.
It's not a particularly useful feature, some people use it for plate making in
some markets, but there probably isn't any application in the workflows
you're doing with most of your modern Fierys. Substitute colors lets me
specify substitute colors as part of Fiery SpotOn. So in the same way that I
can go to SpotOn and I can edit an existing spot color, or it can add my own
spot color, and I can even measure it with a spectrophotometer to create a new
spot color, if I need to, I can also within SpotOn
add a group of substitute colors. With a substitute color, I can specify a
specific tint of RGB or CMYK that I want to look for in the incoming job and
convert it to a different color. So the way we typically use this is to map a
logo color, such as the Fiery logo I'm showing here. If that Fiery logo is in an
office document it's not going to be a spot color, it's not going to come in
with a spot color definition. It's going to come in as RGB. But if I look at the
graphic that I'm placing into my office document I can see that this has the
values, you see at the top here: of red 119, green 147, and blue of 60. If I go and
create a substitute color on the SpotOn on the Fiery, and I put in those input
values 119, 147, 60, then I can map that to the right CMYK values that I need to
match that logo color. We can also do this for CMYK. I need to turn on
substitute colors here in the color settings for these substitute values to
be used, and since many people use this to get especially office documents
printed correctly, you should always leave that enabled. Combined separations
is used for legacy PostScript files that had pre separated data. These are very
uncommon today, if you have them in your workflow you probably know and you
should leave this on. But if you don't you probably want to leave this disabled.
Auto trapping causes the Fiery to trap adjacent colors that are not similar,
such as this red next to this black. If we have a registration problem, or a fit
problem on the digital press and the colors tend to come apart as you see on
the left here, trapping overlaps the colors it spreads the lighter of the
colors into the darker of the colors by just one or two pixels to hide that gap.
Generally we leave this off, unless you're printing on a press or usually
it's a specific media sometimes like a film or a thin media that has this
alignment problem, so then I'd enable Auto trapping just for those specific
jobs. We also have the control here for optimized RGB transparency. Much like the
over print problem that I talked to you about which
is historically a postscript problem, in PDF files created with the modern Adobe
applications, we get all kinds of transparency blending operations, such as
when the designer creates a drop shadow or does other special effects. The only
way to ensure that our transparency objects are our transparent objects in
the page with these different blending styles appear correctly on the print,
which is to say the way they appear in Adobe Acrobat on the screen, is to enable
this control called optimized RGB transparency. And again, we recommend that
you leave that on as a best practice. The last thing to talk about is the image
viewer curves. Image viewer curves lets me pick a specific tone correction for
this job. So there's some from the factory including a couple of tonal
corrections to open up the quarter tones or boost the mid-tones or open up the
three quarter tones. There's also three factory cast corrections which pull cyan
or magenta or yellow out of the quarter tone if you're seeing a cast on the
print. These image viewer curves can be customized in Fiery image viewer. So if
you have a Fiery that has the Fiery Graphic Arts Package Premium Edition, for
an external server, or a Fiery with the productivity package for embedded
bustled Fiery server, then you have image viewer. With this you can actually open
up a job, the raster of a job after it's been ripped, make your own custom curve
corrections and they'll show up in this section here. Again, we wouldn't
recommend you pick one of these and always run with it, but this is a very
good way to do a last minute fix. Either if you don't have image viewer and
things are looking to red on a particular job and you don't have time
to recalibrate, or if you do have image or then of course you can do all kinds
of sophisticated things, with bringing in curves here, including importing G7
curves from the G7 software to image viewer to create a G7 NPDC curve that
you could choose to load here if you're not using Fiery Color Profiler Suite to
do G7 calibration of Fierys in the United States.
So this is our full set of recommended settings and what we call the best
practice settings for configuring color on the Fiery. We encourage any questions
or comments you have on the Fiery forums in the color section. I and other people
will be happy to look at them there and answer any questions you may have. And we
thank you very much for your time and watching the presentation.
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