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jstotz
12-06-2010, 06:03 PM
Let's say I have a press that I want to set up as an SCO aligned to a GRACoL PCO. In the PCO, I define the device condition as 175, 80lb coated and conventional ink. Now I also want the same SCO and PCO but with a different device condition, say 175 80lb uncoated.

Do I make another color setup with the same GRACoL PCO and the same press SCO, but with different press conditions, and name the two color setups with the name that includes the SCO, press and device condition? Or do I add the press again as a second PCO to the same color setup and name the color setup with a name that includes only the SCO and press but not the device condition?

How does this scale up? What happens when I have 4 presses, 4 conventional screens plus Stochastic, 3 generic substrates such as gloss coated, matte coated, and uncoated, several specific substrates, and 3 types of ink, conventional, UV and waterless? Do I make 420 color setups, or is there some logical way of organizing these?

david.herder
12-08-2010, 07:23 PM
Hi Jamie,
I have a question about your statement:

I want to set up as an SCO aligned to a GRACoL PCO. In the PCO, I define the device condition as 175, 80lb coated and conventional ink.

If the PCO is really a CMYK Reference GRACoL specification, then the statement "In the PCO, I define the device condition as 175, 80lb coated and conventional ink" doesn't make sense. So, is your PCO a CMYK reference or is it a Press with a device condition "175, 80lb coated and conventional ink." aimed at GRACoL?

Assuming the latter, I would recommend just creating a second SCO that describes the different press conditions, aimed at your PCO. The whole idea here is that you want ALL of your press conditions to aim to the PCO to achieve your color goal. The naming of the Color Setup should be indicative of your color goal. ie: "GRACoL C1 2006".

Granted, you can scale this as much as you like with as many SCOs as you want, but it becomes an issue of screen real estate at that point. However, you can always scroll left-right to access the appropriate SCO. I would recommend that you do not attempt to characterize every single condition. A much more sane approach would be to group the conditions into SCOs that make sense to you. For example, instead of characterizing every substrate in your shop, you should group the substrates into "Paper Type 1", "Paper Type 3", "Paper Type 5". At most, I think there would be only 3-4 paper type groupings that you should manage at any one time. The same applies for the other properties that you are characterizing for. So, keep in mind, the simpler that you can make the setup, the simpler your life will be.

hope this helps,
dave

jstotz
12-08-2010, 08:22 PM
That was a typo. I meant I defined the device conditions in the SCO.

But, even if I reduce the number of substrates, I might still have a large number of SCOs. Can I or should I divide these up unto different color setups with identical PCOs? Do PCOs that are configured identically become the same PCO, the same way that device conditions with the same attributes become one device condition?

david.herder
12-08-2010, 08:38 PM
No, at all costs, keep all of your SCOs (if they are targetting the same PCO) in one color setup. It would be a nightmare on the workflow side if you separated them. The behaviour that you are talking about is an intrinsic behaviour of the device condition, it does not extend into the abstract notion of the PCO, since this essentially is a device condition with an entirely different "modified/simulated" color response which aims to some Target.

regards
dave

jstotz
12-21-2010, 05:38 PM
I just noticed today that you can't put put more than one ink opt color input in a color setup. If you're saying that I should only have one color setup for each PCO type, for example one GRACoL color setup, how can I have different ink opt settings for a GRACoL PCO.

By the way, I think it would be nice if Kodak would publish some examples of fully populated ColorFlow installations. The current examples show the isolated pieces but there is not much to show how all the pieces go together.

david.herder
12-22-2010, 12:09 AM
Hi Jamie,
Good points. Usually, people looking to optimize with different settings are performing this task on output to plate, rather than on the incoming separation. This gives you a finer amount of control.

However, if you are looking to create an ink optimized separation on refine, then I would suggest that you create different color setups for each separation style that you are looking to establish. For example, if you are aiming everything at GRACoL C1 2006 as your PCO, and wish to apply different input reseparation dvls to get different black generation performance, then I would say that this is a prime example for a different Color Setup.

Color Setups would be called something like:
- GRACoL C1 Ink Opt - Heavy
- GRACoL C1 Ink Opt - Medium

... and so forth.

Note that this is entirely different from the case above where you inquired about "splitting your output conditions" amongst different color setups. With the Ink Opt case, the fact that you are reseparating the content in different ways is grounds for a new color setup.

cheers,
dave