Hasselblad Flexcolor V4 5
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Hasselblad Flexcolor V4.5 - Software Guide, size: 1.7 MB
Hasselblad Flexcolor V4 5
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To use FlexColor 4.5, your system must meet or exceed the following: Macintosh: Mac OS X 10.2.1 Windows: Windows 2000 or XP RAM when using a scanner: 256 MB RAM when using a camera: 1 GB RAM when using a camera in microstep mode: 1.5 GB RAM when using an Ixpress 528C camera: 2 GB If you are a digital camera user, then see also 3F File Compatibility Issues for Camera Shots on page 19 for important details about file compatibility between newer and older versions of FlexColor.
Most Important Changes for All Users
This section points out some of the biggest changes and new features that will affect both scanner and camera users that are already familiar with FlexColor 4.0. New Support for Instant Approval Architecture FlexColor 4.5 now provides full support for the Instant Approval Architecture (IAA) system introduced with the latest Hasselblad digital cameras and Ixpress digital camera backs. Using this system, you are able to assign one of three approval levels (green, yellow or red) to each image. Consequently, FlexColor displays the approval level of each image, includes controls for modifying approval settings and also enables you to use approval levels as criteria when importing, sorting and filtering, etc. Though the IAA system was primarily developed to enable digital photographers to organize their work in the field, the feature is now integrated throughout FlexColor and can therefore also be used with all scanner and studio-photography work. Specific notes about how IAA has been integrated into FlexColor are given in the appropriate sections of the remainder of this document.
Part 1: For All FlexColor Users Instant Approval Architecture
Gamma Slider Replaced by Midtone Slider In FlexColor 4.0, the Gradations window featured a slider labeled Gamma, which provided a precise gradation adjustment that lightened or darkened the image in a consistent way that is compatible with color management. In FlexColor 4.5, this has been removed from the Gradations window and replaced by a midtone slider in the Histogram window. The function is the same, but this new control is more similar to controls used in other familiar programs, such as Adobe Photoshop. If you open an old file or use an old setup, the gamma setting will automatically be converted to a new midtone setting that duplicates the effect of the old setting. For example, the previous default gamma setting of 2.2 converts to a midtone setting of 1.20; this default matches the assumptions of the color profiles that shipped with FlexColor 4.0. Note, however, that the new color profiles that ship with FlexColor 4.5 for both scanners and cameras are calibrated for a midtone value of 1.0; consequently, all of the new setups included with version 4.5 use the new color profiles and are preset with a midtone value of 1.0. As a result of this change and other changes in the color-handling system for camera images, you need to make some extra adjustments when you open camera 3F files made with older versions of FlexColor (see also New Color Handling for Camera Captures on page 19); scanner images, however, are not affected unless you change the color profile from an old setup to use the new profile. The Gamma setting from the Contrast tab of the Setup window has likewise been replaced with the Midtone setting. For more information, please see Midtone Slider in the Gradation Window on page 16.
FlexColor 4.5 Documentation Addendum 7
Green: all new shots and scans will initially have a green status. Yellow: all new shots and scans will initially have a yellow status. Auto: Each time you take a new shot or scan, FlexColor will analyze the
image to see if it looks good (properly exposed, in focus, correctly framed, etc.). Images that pass the test will be given a green status; questionable images will be given a yellow status. This is especially useful when you are using a digital camera or batch feeder. Newer Ixpress camera backs are able to perform a similar function when you are working away from your camera. See your camera back manual for details. Approval Settings in the Thumbnails Window Each of the thumbnails displays each image as though it were mounted as a slide. In the virtual mounting area, you can read various types of information about each image, including the image name and approval. The approval setting is shown in the upper left corner for each thumbnail.
Figure 1: Approval-level displays and controls in the thumbnails window
Note that camera shots show a number (either 1, 4 or 16) in the upper-right corner; this number corresponds to the shooting mode used on the shot (single or multi-shot). Scan images do not show a number, so you can also use this to tell scanned images from digital photos.
To change the approval status of any image, first select the image by clicking on it once, then click on the appropriate button in the tool panel at the left side of the window. To filter the thumbnails by approval status, activate one or more of the filter buttons, which are in the tool panel at the left side of the window (see Figure 1, above, and Figure 2, below). The filters are additive, so if you enable both the green and yellow filters, then you will see both green and yellow images. If you enable all three, the effect is the same as enabling no filters.
Figure 2: Examples of reading and reading the approval filter in the thumbnails window.
Use the Sort by pop-up menu to sort the thumbnails either by date or by name. You can further sort the images by approval rating by marking the.and approval check box. When sorting by approval, all green images are shown on top, then yellow and finally red; within a given approval rating, the images are sorted according to your selection in the Sort by pop-up menu. Approval Settings in the Preview Window When you are working in the main FlexColor window, you can see the approval rating of the current image at the bottom-left corner of the preview. To change the rating, click on this rating icon. With each click, the rating will cycle from green to yellow to red and back to green again.
Once an image is loaded into the Detail window, you can do the following: To move the image in the Detail window, hold down the space bar, then click and drag in any unlocked pane of the window. To set highlight, shadow and/or neutralization points using the Detail window, first activate the appropriate color picker (for example, by using a keyboard shortcut: h for highlight, s for shadow, n for neutralize). Then hold down the alt (option) key and click on the target point in the Detail window. Note that the cursor changes to show the color picker type when you hold down the alt (option) key. Note also that you cannot use color pickers in locked panes after you change image settingsthis is because the image in the locked pane is no longer current. To lock a pane in the Detail window, click on the lock icon below the pane you wish to lock so that it shows a closed-lock icon. While the pane is locked, you cannot activate or move it; it will not update to indicate changes made with the other tools (such as the Histogram or Gradation windows). You can therefore use a locked pane to compare the before/after effects of your settings. Locked panes hold their image even if you open a new image in the preview window, so you can use them to compare two different images. When a locked
pane shows an image different from the current preview, the file name is shown under the affected pane(s). To unlock a pane, click the closed-clock icon so that it opens again. When you do this, the unlocked pane will immediately update to match the current preview and settings. Using Multiple Panes The Detail window can include up to four panes, enabling you to compare the effects of your settings at several different parts of the image. To add a new pane, click on the + button. Click on the - button to remove a pane (panes are removed from right to left).
Figure 5: Working with multiple panes in the Detail window. Note the before-after affect you can get by loading identical images into two panes (using alt-click), then locking one pane before making settings.
When several panes are present, you have a few more options: The pane showing a black border is currently active. This is the pane that will update if you click on the preview. Click on a pane to make it active. Only one pane can be active at a time. You cannot activate locked panes. You can view the panes horizontally, vertically or in a 2x2 square. Use the orientation pop-up menu to select between these options (see Figure 3, above). To load an identical image into all unlocked panes of the Detail window, hold down the alt (option) key and click on the preview. This is useful for
Part 1: For All FlexColor Users Modifying Images in the Thumbnail Window
comparing the effects of your changes; for example, load identical images into two panes, then lock one pane and make settings in the Gradation window to compare the effects of your settings at the pixel level. Using Zoom You can use the Detail window at any of three zoom levels: 100%, 200% or 400%. Use the zoom-in and zoom-out buttons to set the current zoom. All panes show the same zoom level and even locked panes will update to match the current level if you change it.
Modifying Images in the Thumbnail Window
The FlexColor 4.0 user manual described how to use the Modify command of the Thumbnail window to apply setup and other changes to several images without opening them in the preview. This functionality remains essentially unchanged in FlexColor 4.5, but has been expanded to enable you to better control the scope of your changes. The discussion below assumes that you are already familiar with the basic features of Thumbnails window and the Modify command; see the FlexColor 4.0 user manual for complete details.
Setting the Scope of Affected Images Before you open the Modify window, you can start setting the scope of images that you will affect by working in the Thumbnails window (e.g., by using select, search and/or filter), though this is usually not necessary. At most, you will affect the set of images that were shown in the Thumbnails window when you opened the Modify window. Open the Modify window by clicking on the Modify button. Here, use the pop-up menu at the top to further define the scope as follows: Set to Selection only to apply your modifications only to the images you had highlighted before opening the Modify window. Set to Images with Approval Level to apply your modifications only to images of a given approval level. Then set the approval level using the three colored buttons next to the pop-up menu. Set to All Images to apply your modifications to all of the images that were shown in the Thumbnails window when you opened the Modify window. Note that the number of images that will be affected as a result of your scope settings in both the Thumbnails and Modify window is shown to the right of the scope pop-up menu. Check this to make sure that you will get the scope you are expecting. Setting the Scope of Changes Applied When you use the Modify window to change the setups of your image(s), you are now able to modify the entire setups or just parts of them. For example, you might update just orientation to rotate several images 90, but leave all other settings as they are.
To select which types of settings to update, expand the Setup section of the Modify window (if necessary) by clicking on the triangle next to its pop-up menu. Here, you can see a collection of check boxes, each of which is named for a type of setting. Mark the check box for each type of setting you want to apply to your selected images. For convenience, a Check All/Uncheck All button is provided.
Part 1: For All FlexColor Users Midtone Slider in the Gradation Window
Modifying the Current Preview When you have loaded a 3F file into the main FlexColor preview window, you can modify its history from here, without needing to go back to the Thumbnails window. To do this, make whatever settings you want while working with the preview and then select Image > Modify from the menu bar. This opens the Modify window, which you can then use to modify the current image as described above.
In addition to the shortcuts listed in the FlexColor 4.0 manual, the following have been added in version 4.5 (all of which work without modifiers such as Ctrl.): h: activates the highlight picker for use in the preview or Detail window. n: activates the neutralization picker for use in the preview or Detail window. s: activates the shadow picker for use in the preview or Detail window. d: activates the detail picker and opens the Detail window. c: activates the crop tool for use in the preview window. 1: sets the approval level for the current preview or selected thumbnails to green. 2: sets the approval level for the current preview or selected thumbnails to yellow. 3: sets the approval level for the current preview or selected thumbnails to red.
Part 2: FlexColor for Cameras Most Important Changes for Camera Users
Part 2: FlexColor for Cameras
This part provides information about how FlexColor works when connected to a camera and/or when working with camera images. If you never use FlexColor with a camera or camera images, then you can ignore this part (scanner users should skip ahead to Part 3: FlexColor for Scanners on page 29).
Most Important Changes for Camera Users
This section points out some of the biggest changes and new features that will affect camera users that are already familiar with FlexColor 4.0. Processed Images Are No Longer Saved in Camera 3F Files In FlexColor 4.0 and earlier, 3F files captured using an Ixpress digital camera contained both the raw camera image and a full-size, processed version of the image. Among other things, this made some exports faster and enabled FlexColor to provide 1:1 pixel zoom in the preview window. However, this came at the cost of larger 3F files and added complexity in the 3F workflow. We have therefore decided to stop storing processed images with the 3F files. You should ignore all references to this feature in the FlexColor 4.0 Users Guide. When you open an older, camera-generated 3F file (that includes a processed image) in FlexColor 4.5, you will be asked if you would like to remove the processed image to save disk space. You can choose to leave the processed image, but it will not be used for anything. To compensate for this change in the 3F workflow, the FlexColor Detail window (which is still able to zoom in to 1:1 pixels and closer) has been enhanced in several ways. For example, you can now load much larger portion of your image into this window and use it for selecting highlight and shadow points. See Using the Detail Window on page 11 for a complete description of how the Detail window works in FlexColor 4.5.
White Balance Settings for Cameras
3F files captured using an Ixpress Camera back contain the raw mosaic image (or images) from the camera-back CCD. The file also includes values that describe how this raw data should be combined into a standard 3-color image for display and export. Because this processing data is stored as values in the image, rather than applied directly, you are able to adjust the white balance at any timeeven after shooting. In images that have been combined and exported, it is much more difficult to correct the white balance.
For scanned images, there are no white-balance controls. This is because the precise qualities of the light in the scanner are known and encoded into the Flextight input color profile, so further control is not neededimages are always scanned to look exactly as they did on film. To modify these colors in your scans, use the standard Gradation, Histogram and/or Color Correction controls of FlexColor.
Figure 6: New settings for camera images in the FlexColor window.
Using the Exposure and White-Balance Controls Whenever a camera is connected or a camera image is loaded, the control bar on the left side of the preview window shows four controls for working with the whitebalance and exposure-correction values. Your settings will be saved with the file; when opening camera images, the values shown are those set when the image was taken (regardless of whether you shot them tethered or untethered from your computer), but you can change them at any time and save them back with the file as part of the setup history. The following white-balance and exposure-correction controls are provided: Exposure Correction slider: use this slider to brighten or darken the image uniformly by up to 2 f-stops in either direction. This is the best way to correct for overall exposurefar preferable to using gradation curves or highlight/shadow settings for this purpose.
Part 2: FlexColor for Cameras Importing Camera Images
Temperature: use this slider to set the color temperature of your lights. Tint: use this slider to adjust the color tint of the image. White Bal. pop-up menu: this menu includes several white-balance pre-sets. When you select a value here, the Temperate and Tint values will be adjusted
as specified by your selected preset. See also the discussion below. Working with White Balance Presets Use the White Bal. pop-up menu to load preset values for the Temperature and Tint controls. There are several types of entries in this menu: Create and Delete entries: use these to manage your own set of user presets. When you select Create Preset, you are asked to enter a name, which will then stored as a user preset with the current temperature and tint settings. If you no longer need one of your user presets, first activate it using the menu, then select Delete Preset here. As Shot: all new shots have some type of setting for temperature and tint. Select this entry to return these settings to the values they had when the shot was originally taken. Auto: select this entry to set the temperature and tint based on an analysis of the current photo. The resulting values will be slightly different for each picture. This function works best with photos that contain a full range of tints without a heavy intentional cast. Factory presets: below the Auto entry is a set of several presets named to match typical lighting situations. These match the selections offered by Ixpress camera backs when shooting in the field. You cannot delete these. User presets: if you have saved any of your own presets, then these are listed in a division under the factory presets. You can freely add or remove entries here using the Create Preset and Delete Preset entries of this menu. Custom: this entry becomes active whenever you adjust the Temperature and/or Tint sliders manually. If you choose this entry from the menu, it becomes the active selection, but the temperature and tint value initially remain unchanged.
Click on Load to open the Load window. This window provides more scope controls and enables you to establish the initial setup, name and numbers for the imported image(s). See also Load Window Buttons and Controls on page 25 for details. Double-click on an image to import that image and open it in the preview window. (Or select an image and click on the Show button to do the same thing.) Drag one or more selected images from the Import window to the Thumbnails window. 6. The images are loaded and convert them to 3F. They will be saved in your current image folder, which is the one shown in your Thumbnails window. Import Window Buttons and Controls The controls of the Import window are similar to those of the Thumbnails window.
The following buttons and controls are provided: Location: this pop-up menu, located at the top of the window, enables you to select the folder from which you will import. The menu lists your most recently used folders and enables you to add or remove favorite locations that you use often. Select Choose Location to open a browse window with which to navigate to and select a new folder. Get Info: displays details about the currently selected image. Delete: permanently deletes the currently selected image(s). Show: imports the currently selected image into the currently active 3F folder (this is also the folder currently shown in the Thumbnails window) and shows opens the image into the preview window. This button is inactive when more than one image is selected. Load: opens the Load window, which enables you to apply filters and change options as you import images. The 3F images will be saved in the currently
active 3F folder (this is also the folder currently shown in the Thumbnails window). See Load Window Buttons and Controls, below, for details. Update: updates the selection of images shown in the Import window. Use this if you have used the file system to modify the contents of the import folder while the Import window was open. Approval assignment buttons: reassign the approval level of the selected images. Approval filter buttons: restrict the set of images shown in the Import window. You can select one, two or all three filters. Images hidden by the filter will not be imported. See also Figure 2 on page 9. Include transferred: mark this to include images that you have already imported. Clear this box to hide them. Search: to restrict the set of images shown in the Import window, enter text here. Only images that include the text you enter will be shown. Hidden images will not be imported. Sort controls: Use the Sort by pop-up menu to chose to sort by either date or name. Use the button next to the window to control whether the images should sort by ascending or descending values. Mark the.and approval check box to further sort by approval level, with the other sort settings acting as secondary criteria. Size: Use this pop-up menu to set the size of the thumbnail images shown in the Import window. You can select images in the Import window by doing any of the following: Single-click to select a single image Shift-click to select a range of images between the currently selected image and the image on which you click. Command-click (Mac OS) or Ctrl-click (Windows) to toggle the select status of any image. Load Window Buttons and Controls The Load window enables you to fine-tune your image selection for import. It also enables you to apply initial settings to the imported image.
The following controls are provided:
Part 2: FlexColor for Cameras Using Reproduction Mode
Scope controls: use the pop-up menu at the top of the window and its accompanying controls to set the scope of the import. At most, you can import all of the images that were shown in the Import window (after filtering) just before you opened the Load window. Choose one of the following: o Set to Selection only to apply load only to the images you had highlighted before opening the Load window. o Set to Images with Approval Level to load only images of a given approval level. Then set the approval level using the three colored buttons next to the pop-up menu. o Set to All Images to apply your modifications to all of the images that were shown in the Import window when you opened the Load window. Note that the number of images that will be affected as a result of your scope settings in both the Import and Load windows is shown to the right of the scope pop-up menu. Check this to make sure that you will get the scope you are expecting.
Initial Setup: select the initial FlexColor setup to assign to each image. This
will establish all of the initial image settings not already set by your camera. Change name: to change the file name during import, mark this check box and enter the name you wish to use in the field provided. All of the imported images will use this name, plus a unique number taken either from the number assigned by the camera or starting with the number you enter in the Renumber from field. Renumber from: to change the numbering from that applied by the camera to a new, unbroken series of integers, mark this check box and enter the first number to use here. Delete after transfer: mark this box to delete the original files after they are transferred. Clear this box to keep your original raw files. Once you have made your settings, click on Load to load the images and convert them to 3F. The images will be saved in your current image folder, which is the one shown in your Thumbnails window.
Using Reproduction Mode
A new option for camera users is to set the color correction to reproduction mode, which uses a linear film curve and applies color handling that aims to create the most accurate reproduction possible. This option is intended for applications such as art reproduction because the results are as close as possible to the original, as opposed to being optimized for depth, tonal range and skin tones.
During standard operation (when not using reproduction mode), colors are mapped in a way that is most appropriate for everyday photography. An important feature of this processing is its emphasis on reproducing pleasing skin tones for all types of skin. The result still provides extremely accurate color reproduction, but also more attractive skin tones. In addition, a film curve is applied to provide correct exposures with the current ISO setting. When using reproduction mode, however, color reproduction is perfectly linear, which provides the most accurate and mathematically correct color reproduction possible. Images will have lower contrast and the sensitivity drops by about one third of an f-stop. Therefore, if you want to use reproduction mode, we advise that you capture with it already turned on rather than capturing in normal mode and then switching during postproduction. It is possible to switch later, but you will have less control over highlight exposure and might risk a loss of detail in these areas. Note that when you use reproduction mode, the linear film curve means that it is extra important to use the correct exposure. To avoid loosing highlight information, we recommend exposing for the whites instead of the midtones. Reproduction mode is not available when scanning or editing scanned images. To set FlexColor to reproduction mode, open the Color Correction window (e.g., by selecting Window > Color Correction from the menu bar) and mark the Reproduction mode check box.
Figure 7: Effects of reproduction mode when shooting flat artwork. Note the shift in the histogram
Part 3: FlexColor for Scanners Scanning with 3F
Part 3: FlexColor for Scanners
This part provides information about how FlexColor works when connected to a scanner and/or when working with scanned images. If you never use FlexColor with a scanner or scanned images, then you can ignore this part.
Scanning with 3F
The procedure for scanning images to 3F files is approximately the same in FlexColor 4.5 as it was in FlexColor 4.0. However, the feature has been revised and expanded somewhat. See the FlexColor 4.0 Users Guide for a general discussion about using 3F, but refer to the sub-sections below for details about the various settings available in the new Scan 3F window.
Opening the Scan 3F Window To scan to 3F, you must use the Scan 3F window, which is only available when you have a scanner connected to your computer.
FlexColor 4.5 Documentation Addendum 29
To open the window, click on the 3F button in the tool panel on the left side of the main FlexColor window. File Names and Locations Use the settings at the top of the Scan 3F window to control where your 3F files will be stored and how they will be named. Use the 3F File Destination setting to select a parent folder in which to save your 3F files. If you would like to create a new sub-folder each time you use the Scan 3F window, mark the Add job folder check box. Then, each time you begin a new 3F batch scan, FlexColor will create a new sub-folder below the Destination folder and save the new scans there. Either way, the contents of the most recently used folder will be displayed in the FlexColor Thumbnails window immediately after the batch is finished. This function is most useful when you are using a batch feeder to scan many images at once. Use the Image Name field to specify a name for your image(s). Each image will be given a name based on this value plus a unique number, which ensures that each image will have a unique file name when you are scanning a batch. Auto TIFF Export If you like, you can automatically export TIFF versions of your scans as you make them. Each scan will then produce both a 3F file for your archive, plus a TIFF file in which the default setup (plus optional auto-crop and/or auto-level settings) have been permanently applied. The TIFF files will be saved in a sub-folder automatically created below the destination or job folder established above. To enable this auto-export feature, mark the Save final TIFFs check box. Choosing Setups Use the pop-up menus in the middle of the Scan 3F window to establish the setup for the scan. These settings will control the initial appearance of your 3F files, but you can change these later before exporting. The following controls are provided: Film Type: select the type of original you are scanning (auto, positive, negative or black & white negative). When you use the auto function, the scanner will analyze the image and then decide if it is a color positive or color negative; it will then use the setup you have selected from the Positive Setup or Negative Setup pop-up menus, as appropriate. The auto function cannot detect black & white negatives (it will probably apply the positive setup if you try it), so you should scan these separately. The selection you make here will affect the selection of setups available in the Scan 3F window. Setup: this setting is only available when you set the Film Type to something other than Auto. Use it to select the setup that you wish to apply to your 3F
scan(s). The setups listed in this pop-up menu will only be those that match the film type you have selected; for example, if you set Film Type to Positive, then you will only see positive setups in the Setup pop-up menu. Positive Setup: this setting is only available when you set the Film Type to Auto. Use it to select the initial setup that you wish to use for images that the auto function identifies as color positives. Negative Setup: this setting is only available when you set the Film Type to Auto. Use it to select the initial setup that you wish to use for images that the auto function identifies as color negatives. Frame: set this to match the format of original holder you are using. For most new scanners, you can set this to Auto, in which case the scanner will detect the format automatically. If you scanner does not support this, or if you do not want to leave this up to the scanner, then select the appropriate holder from the list provided. Note also that this option may not be available for some combinations of equipment and settings, such as when a Batch Feeder is attached and enabled (in which case auto frame detection is always used). Crop: use this function to control how the image(s) should be cropped. Choose one of the following: o Full size: no crop will be made o Auto: the software will detect where the edge of each original is and crop the image accordingly. If you would like to crop slightly inside or outside of this, then use the Bleed field to control how far to modify the crop (in mm on the original surface). Use a negative bleed to make the crop smaller; positive values make it bigger. This results in a fullsized 3F file in which a crop is already defined for export. o Current Crop: uses the crop size and position currently set for the preview. This results in a 3F image that only includes the area inside the current crop, thereby reducing the size of your 3F file. Note that you must make the current crop based on an actual preview, not on a 3f file loaded into the preview window. Note also that when you select this option, the Frame setting becomes disabled; this is because the frame must be the same as the one used in the preview to set the crop. If you are using a Batch Feeder (which means that the frame might change between scans of the batch), then you should only use this setting if all of your frames are the same, otherwise problems may occur, such as incorrect crops and even situations in which short holders are drawn all the way into the scanner. Auto levels: if you would like to modify the default setups for each image using the adaptive FlexColor auto function, then mark this check box. The result will be a fine-tuning of the highlight and shadow settings based on a software analysis of the image inside the crop. Note that the various auto settings are most useful when you are using a batch feeder to scan a batch that includes originals of varying sizes and formats.
File Size Options Beneath the setup options, the Scan 3F window includes a group of settings that enable you to control the size of your 3F files. Usually, you should use a Scanning Resolution of 100%, which ensures that your 3F files will contain the full scan data possible with your scanner for each original format, allowing for maximum flexibility in the future. However, if you are short on disk space and are sure that you do not need full resolution images, you may consider reducing this value or setting a maximum size. Alternatively, if you are sure that you will use your scans for just one specific purpose with known dimensions and resolution, you might use the Adapt to format settings. The following settings are provided to enable you to set the size of your 3F files: 16-bit Size: To limit the maximum size of your scans, set this field to your preferred size. This is the size of your 3F files, not the size of the TIFF or JPEG files you will export from the 3F. Scanning Resolution: To scan to a fixed fraction of the full resolution for each format, enter a percentage value here. Adapt to format: As an alternative to the controls above, you can instead set your scans to fit to a specific output size. To use this option, mark this check box and then specify your output size using the height and width fields provided next to the check box. Output PPI: Set this to the output resolution you would like to define for the file. Depending on your other settings, this may or may not affect the size of your 3F file. For example, if you are using Adapt to format to establish a size in cm, then your output PPI will affect the number of pixels in the image and therefore the scan size. However, if you are not using Adapt to format, or if you are specifying output dimensions in pixels, then the PPI simply becomes a definition in the file that does not affect the number of pixels it contains. Note that as you change the various size settings, other fields are updated to show the effect. For example, if you lower the Scanning Resolution, then the file size and dimension values also decrease to show the effects of your new setting. Using a Batch Feeder If you have a feeder attached, then the Scan 3F window may also include a section of settings for controlling the feeder. The settings available will vary according to which type of feeder you have. See the documentation for your batch feeder for details about how to use the settings provided here.
Part 3: FlexColor for Scanners Preventive Maintenance for Scanners
Reading the 3F Scan Log FlexColor keeps a log of each 3F scan that you make using the Scan 3F window. This is mostly useful when you are using a batch feeder because, in this case, you might set up a batch and then leave the scanner for up to an hour. When you come back, you can quickly see a record that indicates the location of your scans and shows if any errors occurred during the batch. The log is erased each time you quick FlexColor. To view the log, select Window > 3F Scan Log from the FlexColor menu bar.
Figure 8: Features of the 3F Scan Log window.
Preventive Maintenance for Scanners
To ensure that Flextight scanners continue to provide maximum-quality scans, their mechanical components must be adjusted every year, every 25,000 standard scans or every 15,000 batch-fed scans, which ever comes first. To help remind you of when it is time to return your scanner for preventive maintenance, the scanner stores a record of when it was last serviced and how many standard and batch-fed scans it has made since then. You can check this record for the currently attached scanner at any time by funning FlexColor and selecting Maintenance > Preventive Maintenance from the menu bar.
In the Preventive Maintenance window, you can read the following information: Timeline: the indicator and colored bar at the top of the windows show how far along you are until you should send your scanner in for preventive maintenance. When the indicator reaches the yellow or red parts of the bar, the Preventive Maintenance window will begin to appear automatically each time you start to use the scanner. Warnings: these appear below the colored bar only when your time is running out. When the indicator is in the yellow area, a notice is shown. When it is in the red area, a warning is shown. Last service date: this is the date on which the scanner was last serviced. Scans without feeder: this is the number of standard scans that you have taken since the last service. Scans with feeder: this is the number of scans that you have taken using the Batch Feeder and or Slide Feeder since the last service. You should start to plan to send the scanner in for maintenance when the indicator in the Preventive Maintenance window reaches the yellow area. When it reaches the red area, you should send the scanner in as soon as possible.
FlexColor 4.5.3b3 - read me Please note that this is public beta software. It is considered quite stable but of course it's beta status indicates that you may run into various issues. Making backups of all 3f les used for production work is always a good idea! Feedback is very welcome - please send email to email@example.com. We cannot give you individual answers to any questions you may have but we do read all your comments. Changes since 4.5.2: Universal build This means that it will run native on the new Intel Mac's taking full advantage of their processing power. The exact same application will also still be able to run on PowerPC Mac's - for this particular release you should note that at least OS 10.3.9 is required. This doesn't automatically mean that nal 4.5.3 won't run on 10.2.x but it would actually be interesting to get some feedback on this subject. Are there anybody out there still on 10.2? CF series back rmware R139 Fixes issues with usage of ash sync mode. Fixes 4.5.2 had an issue with updating the Finder icons on 3f les - they could only be written on creation. On les created by importing images from an image bank or DNG's this had the side effect that the icons were very dark. This has been xed. A problem leading to incorrect dimensions for 16-shot images has been xed. An issue with pixel errors in multishot highlights has also been corrected. When using custom white balance the custom setting could be automatically deactivated under certain circumstances - this is no longer the case. Also the custom white balance feature was inadvertently available when using a CF back even though this feature has not been implemented for the new generation backs yet. FlexColor 4.5.2 - read me Changes since 4.5.1: CF series back rmware R138 Fixes a tilt sensor related issue and adds some improvements in the raw image correction. Support for long 3f le names FlexColor now has full support for long le names. The previous limit of 31 characters for the full 3f name is gone - you can now use names with up to 200 characters. Be aware that for instance Appleshare volumes on a Windows server might not be able to support the long names though! FlexColor 4.5.1 - read me Changes since 4.5: APO lens optimization This correction is now automatically applied for captures made with an H2 or H2D camera on a CF series back, provided that you're using an H-series lens. It should be noted that the actual correction is applied at the time of saving nal images or using the detail view - the raw le itself is not affected. CF back rmware R135
This rmware release includes a number of improvements. The most important one is the improved tethered burst rate - it's now comparable to shooting untethered. Support for using ash sync plus using the V-adapter has now been included. Misc 2 potential crashing issues has been xed. Update issues when zooming the detail and thumbnails windows has been xed. A problem with saving JPEG previews of les with long names has been resolved. In general saving les with names longer than 31 characters has been enabled. Finally settings are checked for the presence of the old Ixpress Default prole which should no longer be used since it doesn't match the new color handling. Therefore if you open an image that has the input prole specied as Ixpress Default you'll get a a warning about this and Hasselblad RGB will be used instead. Note that the le as such is left untouched and therefore you'll get the same warning the next time you open it unless you update it's default setting. Likewise you'll get the same warning and substitution when choosing an old setting that uses Ixpress Default. In other situations where warnings are not practical, like for instance batch saving, the substitution will occur without a warning. FlexColor 4.5 - read me Please refer to the compatibility section if you need to work with old 3f les generated by version 4.0.x or earlier. It should also be noted that version 4.5 and onwards will not support devices which have a native SCSI interface - even if these devices are connected via a SCSI to FireWire converter. New features compared to V 4.0.x This is a quick overview. For an in depth description please refer to the 4.5 manual addendum. General Detail window improvements First of all the views can now expand to a size of 900x900 pixels instead of the old limit of 300x300. One thing you should note here is that update speed is directly proportional with the number of pixels shown so updating a 900x900 view is 9 times slower than 300x300! When picking the detail view location you'll see that the feedback has changed. Instead of showing lo-res in the detail view you'll see a transparent rectangle following the mouse and indicating the location of the detail view. This change has made it possible to keep the tool active after picking so you can go ahead and pick another location without clicking in the detail view again. When loading a new image unlocked detail views are now updated automatically. If you lock a detail view and load a new image you can update another detail view with data from the new image hereby comparing details of up to 4 different images. Detail views that are not from the currently shown image are labeled with the image name. If you have more than one detail view you can option click in the preview window to open identical selections in all views. This can be useful for comparing settings and different images. For detail views made from 3f les you can hold down space and drag the detail images to relocate the position. Also new is that in the detail view not only will you get color readouts but you can also use the
shadow,highlight and neutralization tools. To use the currently selected tool in the detail view you need to hold down the option key. Batch modify of settings You now have the option of specifying exactly which part of a setting will be updated in a batch modication. This is done via a number of check boxes - please note that if none of the boxes are checked nothing will be updated! Midtone slider The RGB histogram now has a midtone slider. The functionality corresponds to what you nd in PS and at the same time it also replaces the old gamma slider which in fact did the same thing. The only difference is that the neutral value for the midtone slider is 1.0 instead of 2.0 for the gamma slider. Something that might seem a bit confusing right now is that for scans the default midtone setting is 1.2 (corresponding to the old 2.2) but this happens to be what the current scanner input proles are optimized for. This might change in the nal 4.5 release. As a side effect of introducing the new slider the shadow and highlight values can now be entered directly. Furthermore in camera mode a new f-stop button will let you select whether to display the highlight and shadow values as f-stops or as 0-255. 3 approval levels 3 approval levels have been implemented - green, yellow and red. Apart from the fact that there's now 3 levels instead of 2 the overall functionality remains the same, it's simply a way of marking your images. In the thumbnails and import windows the old Approve button has been substituted with 3 separate buttons - one for each level. Underneath these you'll nd matching lter buttons that allows you to specify which levels should be shown. If none or all of these buttons are pressed all images will be shown - otherwise only those matching the active buttons will be visible. Note that you can use the keys '1' to '3' as shortcuts for changing approval level in the thumbnail , import or preview window. In the preference window you can specify the initial approval level for new images. Selecting Auto will set the level to yellow if over- or underexposed otherwise it will be set to green. Tool keyboard shortcuts The following shortcuts can now be used to select corresponding tools: c: Crop tool n: Neutralization tool s: Shadow picker h: Highlight picker d: Detail View picker
Camera features New color engine This version uses our new revised color engine for all Ixpress captures. It's important to notice that a new input prole named Hasselblad RGB must be used in relation to the new color handling. For new captures everything should automatically work provided that you use one of the standard presets or manually specify the usage of the Hasselblad RGB prole. It's also possible to test the new color engine on existing captures. First of all you need to make sure that the input prole is changed to Hasselblad RGB. Apart from that you should also make sure that the midtone slider setting is 1.0 instead of the 1.2 that corresponds to the old V 4
presets. A further extension to the color handling is that for Ixpress camera captures you now have the option of selecting a special Reproduction mode. This will give you a linear lm curve and a color handling that will aim for the most accurate reproduction possible. This setting will be particularly useful for things like art reproduction. Do note that the linear lm curve makes correct exposure very important. Reproduction mode can be selected via a check box in the color correction tool window.
White balance sliders In the preview window a white balance preset menu and sliders for color temperature and tint have been added. Operation is pretty much equivalent to that of Camera Raw. It should be noted that the Auto option has not been implemented yet! The white balance popup menu includes Create/Delete Preset items allowing you to store custom white balance settings. Also old style neutralization presets made with previous versions will be transferred automatically. One thing to note about the usage of the "old" neutralization presets is that since these were device dependent they will only be useful in this version if they were made with an Ixpress otherwise you might as well discard them. Compared to the old neutralization handling there is a major change in concept - the white balance has now become part of the image setting just like any other correction adjustments. In V4.0 and older neutralization was global for the 3f le. Exposure Correction Also in the preview window you'll nd a new exposure correction slider that will adjust by +- 2 fstops. You should be aware that this is a much better way of adjusting exposure level compared to dragging the highlight point or adjusting curves or gamma. One issue right now is that darkening images with this slider can lead to colored highlights. Load dialog - initial setting It is now possible to select the initial setting for imported images when importing via the Load function. Processed camera images The principle of processed 3f camera les has been abandoned since it isn't really compatible with the new white balance handling. The only real benet of working with processed les is that it enables you to watch a hires image in the preview window. At a later stage we intend to implement this feature without it being based on having to store a hires image in the 3f le. For now - and in 4.5 nal the preview window can only show the lo-res image. This is somewhat compensated by the detail window improvements mentioned above. It's possible to work with older processed les but the processed data itself will not give you any benets. Therefore when opening these you'll be presented with a dialog that gives you the possibility of unprocessing in order to reduce le size. Scanner features 3f Scan window This is now a modeless window that can be opened via the 3f button or from the Window menu. A number of features has been added - these are further described in the 4.5 manual addendum: 1) You now have the option of creating job folders automatically for each new 3f Scan session 2) Optionally nal TIFF les can be saved automatically after the 3f scan has nished
3) It's now possible to specify a crop bleed parameter 4) Scan size can be adjusted to t given output dimensions Another new feature is the 3f Scan log which holds a list of all 3f scans made Enhanced scanner proles New scanner proles are installed with this release - please note that these assume a midtone setting of 1.0 while the old proles are matched to a midtone setting of 1.2. Compatibility To keep things simple we really recommend that you don't switch camera les back and forth between 4.5 and previous versions - work on copies in 4.5 instead. However if you do switch camera les between versions you may need to take extra steps to keep the lo-res preview up to date. The rst time you open a 3f camera le captured with 4.0.x or earlier a conversion of the lo-res preview data will take place automatically. When this has been done and you switch back to using 4.0 the preview will appear much too dark - this can be xed by doing a neutralization in 4.0. Likewise if an image has been switched both back and forth to 4.5 again the preview will look much too bright in 4.5. In this case the preview can be updated by holding down option and cmd while using the neutralization picker. The software requires at least OS X 10.3.9. All Hasselblad/Imacon products with a Firewire interface are supported. For usage with a scanner we recommend at least 256 MB RAM - while camera usage requires at least 512 MB - when performing micro step captures you should have at least 1.5GB of RAM installed - for the 528C at least 2GB. Please note that 3f les generated by version 4.5.x can not be used by earlier versions.
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