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UMAX Technologies PowerColor User Manual

Umax powercolor scanners-software: user guide
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Preface
Introduction ........................................................................................................xi
PowerColor ColorSync Separator ........................................................................xi
PowerColor Press Edition ..................................................................................xii
How to Use This Manual ..................................................................................xiii
Typographical Conventions ..............................................................................xiii
Related Documentation ....................................................................................xiii
Configuration Requirements ............................................................................1-1
Host Computer ............................................................................................1-1
Scanner ........................................................................................................1-1
Setting Up and Installing PowerColor..............................................................1-2
Installing on an Apple Macintosh..............................................................1-2
Configuring Your Monitor for PowerColor............................................1-2
Installing the PowerColor Software ......................................................1-3
Assigning Memory to PowerColor..........................................................1-5
Installing on a Windows PC........................................................................1-6
Configuring Your Display ......................................................................1-6
Installing the PowerColor Software ......................................................1-6

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Summary of Contents for UMAX Technologies PowerColor

  • Page 1: Table Of Contents

    Related Documentation ...xiii Chapter 1: Installation Configuration Requirements ...1-1 Host Computer ...1-1 Scanner ...1-1 Setting Up and Installing PowerColor...1-2 Installing on an Apple Macintosh...1-2 Configuring Your Monitor for PowerColor...1-2 Installing the PowerColor Software ...1-3 Assigning Memory to PowerColor...1-5 Installing on a Windows PC...1-6 Configuring Your Display ...1-6...
  • Page 2 Chapter 2: Getting Acquainted Overview of the Scanning Process ...2-2 Launching PowerColor ...2-2 Setting Preferences ...2-3 Changing Screen Gamma ...2-6 Making an Overview...2-7 Image Selection Tools ...2-8 Creating Regions ...2-9 Images and Memory...2-10 Region Names...2-11 Working with Regions ...2-12 Activating Regions ...2-12 Adjusting the Queue Manager Window ...2-13...
  • Page 3 Chapter 3: Correcting Images with PowerColor Photo/RGB Mode Using the RGB Probe ...3-2 RGB Probe Window Configurations...3-2 Setting Highlight and Shadow...3-4 Using the Gray Eyedropper...3-7 Adjusting Tonal Range in Basic Mode ...3-8 Adjusting Tonal Range in Expert Mode...3-10 Using the RGB Controls ...3-12 Adjusting Colors ...3-12...
  • Page 4 Setting an Image’s Tone...4-10 Adjusting Color in Tone Regions ...4-10 Correcting Color Casts...4-10 Setting Multiple Gray Points...4-11 Making Selective Color Corrections ...4-12 Selecting Colors to be Corrected ...4-12 Using the Sliders to Correct Individual Colors...4-13 PowerColor User Guide PowerColor Press/CMYK: Production Mode...
  • Page 5 Chapter 5: Correcting Images with PowerColor Press/CMYK: Expert Mode Calibrating PowerColor Press ...5-1 Understanding Calibration...5-1 Preparing the Target for Output...5-2 Setting Up the Gray Balance ...5-5 Editing the Gray Balance Table ...5-6 Controlling Dot Gain ...5-7 Setting Dot Gain ...5-7 Using Tone Controls ...5-10...
  • Page 6 Width and Height ...7-4 Scale...7-5 Naming Final Scans ...7-5 Performing Final Scans ...7-6 Scanning Images Individually...7-6 Batch Scanning All Images ...7-6 Pausing or Stopping the Scanning Process...7-6 Chapter 8: Tips and Tricks Tips and Tricks ...8-1 viii PowerColor User Guide...
  • Page 7 Preface...

  • Page 9: Introduction

    PowerColor Conventional Separator. PowerColor and ColorSync (Macintosh) The Macintosh version of PowerColor is fully ICC compatible with the use of 16- bits per channel input, output, and display profiles. Output profiles can be either RGB or CMYK, allowing for flexible color matching for a wide variety of output devices.

  • Page 10: Powercolor Press Edition

    Use of standard ColorSync ICC profiles (Macintosh only) PowerColor Press PowerColor Press is a high-end CMYK separator based on a density-to-dot color engine. This software is intended for use by those who understand the concepts behind color separation and reproduction as they relate to offset printing.

  • Page 11: How To Use This Manual

    How to Use This Manual This manual explains how to install PowerColor and guides you through the functions of the software. It contains all the information you need to begin using PowerColor with your scanner. Once you have installed the software, this manual will help you understand the process and tools for scanning, color correction, and image manipulation.

  • Page 13: Chapter 1: Installation

    Installation...

  • Page 15: Configuration Requirements

    Macintosh and Windows platforms. Configuration Requirements Before installing PowerColor, make sure your system meets the minimum config- uration requirements indicated below. Host Computer In order to take full advantage of the PowerColor software,...

  • Page 16: Setting Up And Installing Powercolor

    For installation on a computer running Microsoft Windows, turn to page 1-6. Configuring Your Monitor for PowerColor PowerColor Needs to run in 24 or 32 bit color mode. To configure your monitor for PowerColor, follow the steps below: Open Control Panels in the Apple menu.

  • Page 17: Installing The Powercolor Software

    Installing the PowerColor Software To install the PowerColor software, proceed as follows: Insert the PowerColor CD into your CD-ROM drive and double-click on the Installer icon. Click on Continue... in the PowerColor installer splash screen. Chapter 1: Installation...
  • Page 18 After select- ing your installation options, click the install button to continue. 5. If you want to change the location in which PowerColor will be installed, follow these steps: Figure 1–3...

  • Page 19: Assigning Memory To Powercolor

    PowerColor Get Info dialog box Assigning Memory to PowerColor To increase the amount of memory assigned to PowerColor, proceed as follows: Select the PowerColor application icon in the PowerColor folder and choose Get Info from the File menu ( +I).

  • Page 20: Configuring Your Display

    Macintosh, turn to page 1-2. Configuring your display for PowerColor PowerColor needs to run in 24 or 32 bit color depth. To configure your display settings for PowerColor, do the following: 1. Right click on a clear area of your Windows desktop. Choose Properties from the pop-up window that appears.
  • Page 21 Getting Acquainted...
  • Page 23 Computer and UMAX Technologies, Inc. scanner. The software offers a wide array of professional scanning and image manipulation tools with all the conve- nience and user friendliness of the standard Macintosh or Microsoft Windows interface, including drop-down menus, multiple windows, point-and-click con- trols, and keyboard shortcuts.

  • Page 24: Overview Of The Scanning Process

    Overview of the Scanning Process Preparing scans with PowerColor is a simple process with many tools for an effi- cient and organized workflow. Summarized below are the basic steps in the PowerColor process: Generate an overview scan of the entire scanning bed: Define regions as desired and add them to the Queue Manager.

  • Page 25: Setting Preferences

    ColorSync and PowerColor Press by selecting the desired radio button. • PowerColor Photo : This section allows you to set the mode of operation as well as the type of information to be displayed in the expert tone graph. •...
  • Page 26 RAM (as reflected in the non-editable Buffer Size field). If you have over 64 MB of RAM available for PowerColor, setting the resolu- tion to 75 or 100 increases the default resolution in the region windows, which may save you from having to perform a preview scan for each region.
  • Page 27 – Nearest neighbor: interpolation by pixel replication (should only be used for line art). – Maximum Optical Resolution: This feature allows PowerColor to set a maximum optical scanning resolution for certain film types. Any reso- lution above this value will be interpolated. This is very helpful when scanning noisy or grainy originals that need to be enlarged beyond the quality of the original.

  • Page 28: Changing Screen Gamma

    Changing Screen Gamma PowerColor’s Monitor Setup option in the Edit menu (see Figure 2–3) allows you to specify the gamma values of your monitor, as well as the CMY-to-RGB tables used by PowerColor Press to display the “blowback” of your CMYK output.

  • Page 29: Making An Overview

    Making an Overview Before working with images, the contents of the scanning surface must be scanned into the Overview window. To do so, proceed as follows: Mount the original(s) on your scanner. Select the Scan Type in the toolbar as follows: •...

  • Page 30: Image Selection Tools

    Image Selection Tools Once you have produced an Overview, PowerColor’s image selection tools, located in the Control Bar, allows you to define and work with regions for detailed color correction work. This section describes how to use these tools. Note: For Macintosh users, enabling the Macintosh...
  • Page 31 Figure 2–4 Region Window Regions The purpose of the region window is to define areas from the overview that will be scanned to image files, and to correct them in higher resolution than the overview. Each region window has the following components: •...

  • Page 32: Creating Regions

    If this dialog box appears, you can: 1. Quit the application and assign more RAM to PowerColor, (Macintosh only) 2. Final scan the regions you have already created, and/or 3. Delete unneeded regions. For more information on final scanning or deleting regions, see Chapter 7.

  • Page 33: Region Names

    PowerColor on a Macintosh, Select About this Macintosh in the Apple menu. Region Names PowerColor names regions by default according to the order in which they are created. The default name assigned to a region is based on the following scheme:...

  • Page 34: Working With Regions

    Working with Regions Regions created using the Add Region button are placed into PowerColor’s Queue Manager. The Queue Manager. is a highly flexible tool designed to organize your work with regions. Use the Queue Manager. to: • • • •...

  • Page 35: Adjusting The Queue Manager Window

    Adjusting the Queue Manager Window The Queue Manager window can be manipulated using standard Macintosh or Windows tools: • To close the window, click on the close box in the upper left-hand corner (to reopen it, select Queue Manager from the Window menu. or press a Macintosh, or Control+M on a Windows PC).

  • Page 36: Manipulating Regions In The Queue Manager

    2-14 PowerColor User Guide Note: The Overview can not be moved in this manner. Cut: To delete a single region from the queue, activate the region by double-clicking on it (a red frame appears around it) and click on the black Cut button in the Queue Manager to delete the region.

  • Page 37: Previewing Regions

    (reflective, positive transparencies, or negative transparencies). Once you have defined and added multiple regions with the PowerColor tools, click on the Preview All button. The scanner then scans each region in succession.

  • Page 38: Dynamic Operations In The Queue Manager

    Overview in the Queue Manager. Clicking on this icon toggles the scanning process on ( Transforming Images To make your work with regions easier, PowerColor also includes the tools shown below to transform images. The tools can also be selected from the Transform menu.

  • Page 39: Viewing An Image In Detail

    Viewing an Image in Detail PowerColor’s Detail feature is used to scan a small area of a region at the final scan output resolution. This feature is helpful for examining an image in precise detail. To use the Detail feature, proceed as follows: Activate the region in which you want to perform a detail scan by double-clicking on it in the Queue Manager.

  • Page 40: Updating Images

    The manual update feature is particularly useful if you are a more experienced scanner operator and only need to check the image window from time to time. 2-18 PowerColor User Guide Note: If you are using the manual update fea- ture, the image window’s display is updated only when you click on the Manual Update but- ton.

  • Page 41: Saving And Recalling Settings

    You may also wish to use other predefined settings, or even start over. PowerColor gives you the option of saving and recalling default or previously saved settings for one or all of the parameters you have changed, or resetting the parameters to those in the original prescan.
  • Page 42 2-20 PowerColor User Guide Recall: This option recalls a previously saved settings file. PowerColor comes with a number of preset files for your convenience, or you may recall a settings file you created. After you select Recall, a standard file dialog appears for you to select the settings file to be recalled.
  • Page 43 Reset to Factory Defaults: This option will reload the original defaults that may have been saved over at some time. Note: In some cases, PowerColor grays out set- tings in the Recall Default and Reset dialog win- dows. The grayed out items are values which have not been saved.
  • Page 45 Correcting Images with PowerColor Photo/RGB Mode...
  • Page 47 For those who prefer to work in RGB color space, PowerColor provides fast and efficient tools to make image cor- rections.

  • Page 48: Using The Rgb Probe

    RGB Probe Window Configurations When scanning in RGB mode, the RGB Probe displays the RGB reflectance values (RGB Pixel Values) for the selected pixel(s) (see Figure 3–1). Figure 3–1 RGB Probe in RGB mode PowerColor User Guide +P on a Macintosh,...
  • Page 49 If the image is in a grayscale scan mode (one of the Gray options), the RGB Probe shows the reflectance value (Pixel) and dot percentage (Dot) for the select- ed pixel both before and after correction (see Figure 3–2). Figure 3–2 RGB Probe in Gray mode When scanning line art (the Scan Mode is set to one of the Line options), the...

  • Page 50: Setting Highlight And Shadow

    Setting Highlight and Shadow The most important aspect of setting up a scan is defining where to place the highlight and shadow point. PowerColor has an automatic as well as a manual means for accomplishing this task. Note: There are two types of highlights: “Specular”...
  • Page 51 Setting the Input Range Manually In both Basic and Expert mode, there are two methods of manually setting the Input Range: 1. Select the Histograms tab from the Photo RGB Window. You can use the fields at the bottom of the Input Histogram to enter the Highlight and Shadow densi- ties, or move the two arrows at the bottom of the Histogram graph.
  • Page 52 Of course, setting the input range would be a piece of cake if you only have to scan IT8’s. Unfortunately, in the real world, not all images have perfect specular highlights and absolute shadow points. But that’s OK, because PowerColor was designed for the real world.

  • Page 53: Using The Gray Eyedropper

    Note: Highlight and Shadow points don’t need to be at the extreme ends of a histogram, even though most of us are taught to think that way. In fact, the highlight and shadow points don’t even need to be neutral and in many images you will need to leave a cast in these points.
  • Page 54 Tone and Cast PowerColor gives users two options for working with Tone and Cast--Basic and Expert modes. • The Basic Mode uses sliders for correction instead of curves. These sliders are easy to use, yet give good control over image editing features.
  • Page 55 • Contrast: Controls how fast the transition is between light and dark pixels. On a gradation curve this would be the correlation between the quarter tones and three quarter tones. • Saturation: The amount of chromanence present in all hues. Zero percent saturation would yield a black and white image.
  • Page 56 Selective Color window, where neutrals and hues are treated separately. To adjust neutral tones, use Tone & Cast; to correct hues, use Selective Color. Figure 3–5 Tone & Cast option in the RGB Control window 3-10 PowerColor User Guide...
  • Page 57 The gradation curve (black) defines how tone compression is handled. The hori- zontal axis shows the input density while the vertical axis displays the output density. The points (called “anchor points”) are located, from left to right, at the follow- ing values: highlights, quarter tones, midtones, three-quarter tones, and shadows.

  • Page 58: Adjusting Colors

    Use the Color Selection color wheel to select the individual color to be corrected. You can also click on any area of the image and PowerColor automatically detects the selected pixel’s high value and whether it is a pastel or saturated color.

  • Page 59: Correcting Colors

    Correcting Colors The checkbox in the Color Correction section of the RGB Control window toggles selective color on or off. The default mode is On. Note: The Color Correction checkbox should always be checked. The sliders in the Color Correction section allow you to perform color correction in the three separate color channels.

  • Page 60: Manipulating The Histograms

    The Output Reflectance histogram is a static display that cannot be adjusted. It is designed to show how your adjustments will affect the image when output. 3-14 PowerColor User Guide Note: Minor adjustments to histograms have strong results. Move the sliders in small incre- ments to avoid distorting your range values excessively.
  • Page 61 The ColorSync window appears when you select ColorSync in the RGB Control window (see Figure 3–7). Please note that this feature is available only for the Apple Macintosh version of PowerColor. The ColorSync window allows you to choose ColorSync ICC profiles. These profiles will be applied to separations done if Photo is the specified separator in the Preferences window (See Chapter 2-3).
  • Page 62 This feature is only available with the TIFF format. When using this feature, the output file is not processed with the profiles, which allows further correction “downstream” with different profiles, and also allows others to view the file as you did. 3-16 PowerColor User Guide...
  • Page 63 Correcting Images with PowerColor Press/CMYK: Production Mode...
  • Page 65 owerColor’s selective separator offers two color control modes for image cor- rection work in the CMYK color space: Production and Expert. The Expert color control mode is discussed in Chapter 5. This chapter explains how to use Production mode and covers the following topics: •...

  • Page 67: Understanding The Cmyk Probe

    Understanding the CMYK Probe The CMYK Probe window (see Figure 4–1) is opened by selecting Probe from the Tool menu or pressing The Probe is a static display of numerical information used as a guide in making color correction changes. It is a valuable tool and should always be used in con- junction with the screen display.

  • Page 68: Displaying Density Values

    After a location is marked, the cursor can still be used to sample other parts of the image. PowerColor User Guide ) shows all four process colors together in the +0 on a Macintosh or Control + 0 in Windows).

  • Page 69: Selecting Fixed Reference Points

    Selecting Fixed Reference Points The Static Probes section at the bottom of the CMYK Probe can be toggled open or closed by clicking on the blue triangle. It allows you to select up to three fixed points in the image which you can use to monitor important tonal ranges as you correct the image.

  • Page 70: Using Production Color Controls

    Expert mode and vice versa. To use the Production mode, select Production as PowerColor Press Mode in the Preferences window (see Setting Preferences in Chapter 2 for more details). Open the Production Controls window by selecting Production Controls in the Correction menu.
  • Page 71 Using Production Controls The Production Controls window is broken into three major sections. • Tools to set highlight and shadow points • Pop-up menus for dot limits, settings and cast • Slider controls for brightness, contrast, and saturation Figure 4-2 CMYK Production Controls Although there is no set workflow that needs to be followed when correcting an...

  • Page 72: Setting Highlight And Shadow Points

    Setting Highlight and Shadow The most important aspect of setting up a scan is defining where to place the highlight and shadow point. PowerColor has an automatic as well as a manual means for accomplishing this task. Note: There are two types of highlights: “Specular”...
  • Page 73 Setting the Input Range Manually To set the Input Range Manually when using the Production Controls, first, per- form an Auto Range by clicking on the Auto Range icon within the Control bar. Next, select the Pointed cursor from the Control bar, then click on the diamond shaped Highlight (white) and Shadow (black) densitometers within the region, and move them to the desired locations.
  • Page 74 Of course, setting the input range would be a piece of cake if you only have to scan IT8’s. Unfortunately, in the real world, not all images have perfect specular highlights and absolute shadow points. But that’s OK, because PowerColor was designed for the real world.

  • Page 75: Setting Dot Limits

    Setting Dot Limits The Dot Limits Window (see Figure 4–3) is used to control how inks will be out- put on a press. Figure 4–3 Dot Limits Window The ink control fields are defined as follows: • Total Ink: represents the maximum dot percentage the press can accommo- date and equals the sum of the CMYK ink percentages.

  • Page 76: Setting An Image's Tone

    Setting an Image’s Tone Click on Tone at the top of the Production Controls window to bring up the Tone section of the bottom of the window (see Figure 4–5). PowerColor’s tone controls provide a flexible tool for correcting color casts.

  • Page 77: Setting Multiple Gray Points

    Cyan, Magenta and Yellow densities of a selected tonal region. By making the out- put densities equal or nearly equal, the result is a neutral value. This neutral densi- ty value is passed through PowerColor’s gray balance table where the appropriate dot values are applied.

  • Page 78: Making Selective Color Corrections

    Use the Color Selection color wheel to select the individual color to be corrected. You can also click on any area of the image and PowerColor automatically detects the selected pixel’s high value and whether it is a pastel or saturated color.

  • Page 79: Using The Sliders To Correct Individual Colors

    Using the Sliders to Correct Individual Colors The sliders in the Color Correction section allow you to perform detailed color correction. Follow this procedure: Select the color to adjust by clicking the appropriate radio button around the Color Selection color wheel. Clicking on a point in the image automati- cally selects the proper hue.
  • Page 81 Correcting Images with PowerColor Press/CMYK: Expert Mode...

  • Page 83: Calibrating Powercolor Press

    PowerColor incorporates a user-friendly method of calibrating the CMYK Separator for specific output devices, such as inkjet printers, conventional proof printers, and printing presses. The software includes a file called PowerColor 16, which contains patches for saturated and pastel colors, as well as a three-color and four-color Black patch (see Figure 5–1).

  • Page 84: Preparing The Target For Output

    Expert mode. Preparing the Target for Output PowerColor 16 is a CMYK file in TIFF format. In order to characterize your output device properly, the file must be processed exactly as a real job, so that all trans- forms and screens are identical to actual production work.
  • Page 85 To prepare the target file for output, follow these steps: Output the PowerColor 16 file on film. Produce a match print using your standard production process. Note: Make sure the match print is free of any artifacts, such as scratches, ink spots, or fingerprints.
  • Page 86 Make sure the selected Target is PowerColor 16. If not, select PowerColor 16 from the pulldown menu. Note: Although it is possible to use customized targets, it is strongly recommended that you use the file supplied with PowerColor. Click on Start. The Point A radial button becomes active.

  • Page 87: Setting Up The Gray Balance

    Setting Up the Gray Balance PowerColor’s Gray Balance table should be adjusted for each press environment you intend to use. PowerColor provides a number of easy-to-use tools for cus- tomizing tables for different ink or printing conditions. To bring up the Gray Balance window (see Figure 5–3) select Gray Balance in the Correction menu.

  • Page 88: Editing The Gray Balance Table

    Ink values correspond to a given density, which is used by PowerColor to determine the ink values to be used. The Max Density field at the top left of the gray balance table represents the maximum three-color neutral density.

  • Page 89: Controlling Dot Gain

    Presses vary widely in terms of the dot percentages at which they experience maxi- mum dot gain. The four color plates also tend to gain differently from each other. PowerColor’s Dot Gain window allows you to take a given press’s gain characteris- tics into account in preparing your image for output.
  • Page 90 After entering values in the Position and Gain fields, the Dot Gain table adjusts to reflect these values, ramping down on both sides of the Position percentage. To understand how to use PowerColor’s Dot Gain feature, see the example below: An Industry Example The press operator indicates that the press in your shop gains 20% at a peak of 40% for Cyan.
  • Page 91 This is particularly useful for trade shops that run a variety of presses for different types of work. By recalling the desired tables with PowerColor’s Recall feature, you can apply previously calculated dot gains to all your new images without reentering data.

  • Page 92: Using Tone Controls

    Using Tone Controls PowerColor’s tone controls in Expert mode are accessed by selecting Tone from the Correction menu. The CMY Tone window (see Figure 5–9) provides a highly flexible tool to correct color casts in your image and set the input density range.

  • Page 93: Tone Curves

    Tone Curves The primary tools in the CMY Tone window are the tone curves and the highlight and shadow value fields. They are a powerful way of correcting casts in very spe- cific tonal regions of your image. The CMY drop down menu above the curves activates the Cyan, Magenta,or Black curve in the graph, respectively.

  • Page 94: Using The Gray Eyedropper

    (Windows) down while selecting each point. Before you select the last point, release the Option or Control key and click on the point. The tool is then deselect- ed automatically. 5-12 PowerColor User Guide Note: Click on the Dot % or Density radio button to display values in those units.

  • Page 95: Automatically

    Setting Highlight and Shadow The most important aspect of setting up a scan is defining where to place the highlight and shadow point. PowerColor has an automatic as well as a manual means for accomplishing this task. Note: There are two types of highlights: “Specular”...

  • Page 96: Manually

    CMY values adjusted based on the Cast setting. The Color Computer knows the relationship between Cyan, Magenta and Yellow based on 5-14 PowerColor User Guide The sticky densitometers reflect the exact points of interest. The Highlight and Shadow fields within the Tone Window control the values those points will inherit.
  • Page 97 Of course, setting the input range would be a piece of cake if you only have to scan IT8’s. Unfortunately, in the real world, not all images have perfect specular highlights and absolute shadow points. But that’s OK, because PowerColor was designed for the real world.

  • Page 98: Using Gradation Controls

    Using Gradation Controls PowerColor’s gradation is controlled in the CMYK Gradation window (see Figure 5–5). To open this window select Gradation in the Correction menu. When making gradation corrections in your image always keep the CMYK Probe window open to monitor the changes in numerical values (for more information, see Understanding the CMYK Probe in Chapter 4).

  • Page 99: Understanding Gradation

    Understanding Gradation In a general sense, gradation governs how quickly colors ramp from highlight to shadow. In the CMYK Tone window (see the Using Tone Controls later in this chapter), highlight and shadow values are defined independently for Cyan, Magenta and Yellow. In the CMYK Gradation window, however, highlight and shadow are set for groups of colors globally.
  • Page 100 ➂–Skeletal Black. ➃–Black eliminated. 5-18 PowerColor User Guide Grad 4: represents the increased density that can be achieved by adding Black to CMY (also referred to as the “skeletal Black”). The shape of the curve reflects where Black begins and ends and the slope of its ramp in between.
  • Page 101 • UCR/GCR: activates the UCR (Undercolor Removal)/GCR (Gray Component Replacement) curve. This curve allows you to specify how much Cyan, Magenta, and Yellow is replaced with Black in the neutral areas. The higher the UCR/GCR percentage, the less total ink is used on the press. The UCR/GCR curve is very similar to the Grad 4 curve in relation to Grad 3.

  • Page 102: Working With Gradation Curves

    UCR/GCR radial button. With the relationships locked, you can freely make changes to Grad 3 without affecting the settings of the other curves. 5-20 PowerColor User Guide Note: Changes in one gradation curve affect its relationship to the other curves.

  • Page 103: Using Negative Slope Detection

    To illustrate how to work with gradation curves, consider this example: Suppose your goal is to reduce the CMY values in the quarter tones. You would proceed as follows: Select the Grad 3 radio button. Click on the quarter tone anchor point of the Grad 3 curve. Drag the anchor point down and monitor the numerical values in the table.

  • Page 104: Working With The Gradation Table

    • • 5-22 PowerColor User Guide Reproduction density: shows the input density for the shadow point (top) and highlight point (bottom) in increments of 1/8 tonal point. Cyan Dot %: shows the dot percentage for Cyan ink at each tonal step. Since Cyan is the densest ink, this value is, in effect, the maximum dot size.

  • Page 105: Determining Black Generation

    The Gradation table is useful for entering values specific to your requirements or production needs. Figure 5–8 Gradation table Note: Changes made in the CMYK Gradation window in Expert mode are reflected in the Production Controls window in Production mode. Determining Black Generation The method of Black generation can be set to UCR or GCR by selecting the desired radial button at the bottom right of the CMYK Gradation window.
  • Page 107 Unsharp Masking and Descreening...

  • Page 109: Applying Unsharp Masking

    Applying Unsharp Masking Unsharp masking (USM) represents a way of adjusting the contrast of edge detail in an image. PowerColor’s Unsharp Masking window contains extensive tools for fine-tuning the sharpness of your images. To open the Unsharp Masking window (see Figure 6–1), select Custom USM from...

  • Page 110: Controlling Usm In Tonal Regions

    As with all of PowerColor’s image correction features, USM allows you to recall previously saved settings, apply default or save new tables. All of these functions are found in the Settings menu (for more information, see Chapter 2). Controlling USM in Tonal Regions PowerColor’s USM controls allow you to regulate the amount...
  • Page 111 Various fields in the USM window determine how the tonal regions are handled. These are defined as follows: • Sharpen: governs the amount of sharpening applied to the selected tonal region. To define a desired sharpening value for a region, click on the region’s bar in the chart (it turns red) and enter the value in this field.

  • Page 112: Manually Adjusting The Region Control Bars

    Controlling Edges between Tonal Regions PowerColor’s unsharp masking also allows you to choose monocolored edges or colored edges between tonal regions. Mono edges are made up of a single color, mixed in the ratio you define in the R, G, and B fields. Color edges are a compos- ite of the surrounding colors.

  • Page 113: Using The Unsharp Masking Curve

    The Filter Control section in the Unsharp Masking window allows you to select or deselect sharpening in light edge and dark edge areas. PowerColor’s default is “on” for both settings. Deselecting Light Edges tends to bring out dark edges and detail and vice versa.

  • Page 114: Applying Descreening

    Descreening represents a method of eliminating the moiré patterns that can result when printed halftone images are scanned. The Descreening function can also be useful in eliminating other artifacts, such as film grain. To access PowerColor’s descreening function, select Descreen from the Window menu (or press Figure 6–2...

  • Page 115: Customizing The Descreening Function

    Customizing the Descreening Function The blue triangle next to Custom Settings toggles open an additional area of the Descreening window for customizing PowerColor’s descreening function. The options for customization are defined as follows: • Smoothness: performs the same function as the Smooth field in the Unsharp Masking window (see above).
  • Page 117 Scanning Images to Disk...

  • Page 119: Chapter 7: Scanning Images To Disk

    Queue Manager, as indicated by the red frame around it. PowerColor provides an overview of all scanning parameters for a given region in the Scan Info window (select Info in the Tool menu or press Macintosh). Figure 7–1 shows an example of a Scan Info window: The Scan Info window is a static display of the scanning parameters.

  • Page 120: Checking Toolbar Parameters

    Press as the designated separator. • CMYK: four process colors (Cyan, Magenta, Yellow, Black). Note: If PowerColor Press is selected in the Preferences menu, choosing CMYK mode will immediately activate the separator, giving you access to the CMYK toolset and causing your image to be displayed in CMYK color space.
  • Page 121 Line Red/Green/Blue: line art from the Red, Green, or Blue color channel, respectively. Note: Whenever the CMYK scan mode is select- ed, PowerColor automatically switches to the CMYK mode (if Press is the designated separa- tor in Preferences) and replaces any open image correction windows with the corresponding CMYK version.

  • Page 122: Line Screen

    You can select the specific width or height for your final image in these fields. However, based on the cropped area, they are proportionate to each other. Any change in the Width value proportionally changes Height and vice versa. PowerColor User Guide...

  • Page 123: Scale

    In the standard dialog window that appears, enter the name for the scan and click on Save. Perform the final scan as outlined below. Note: Final scan file icons in PowerColor are automatically set to be opened in Adobe Photoshop™ when double-clicked. This feature is convenient for performing further image manipulations on your final scans.

  • Page 124: Performing Final Scans

    After the region has been scanned, the Scan button turns all red. Batch Scanning All Images PowerColor’s Queue Manager allows you to send all regions to be final scanned in one batch. To do so, click on the Scan...

  • Page 125: Tips And Tricks

    Tips and Tricks...
  • Page 127 PowerColor. Tips and Tricks • To hide the Control Bar temporarily, select Hide Toolbar from the Tool menu. To bring the toolbar back, select Show Toolbar from the same menu.

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