Digital Ads--The Time Is Now
Publishers don't have to be Time Inc. to to make the move towards digital ad exchange. With the wealth of information and tools readily available, film should well be eliminated. All that's needed is education, cooperation and communication.
Turning exception into the rule
Alan Darling, COO/CTO, Quality House of Graphics and DDAP (Digital Distribution of Advertising for Publication) chairman, admits that he's distressed over the volume of film that still exists in many advertiser/publisher relationships. The prepress suppliers are plagued with it, too. It's not unusual that as much as 50 percent of the work currently contracted out to prepress suppliers are film jobs.
Darling candidly scoffs at the sluggish rate with which the print community has adopted accredited, standards-based digital ad production. He believes that, while a growing minority is taking a proactive role in the crusade, many still remain stagnate—paralyzed by relentless finger-pointing and blame-dodging.
Skepticism is not a new phenomenon in the print industry, but Darling feels that the arguments have grown tired and trite. "Everyone blames everyone else," he bemoans. "Agencies fear that publishers can't handle digital files correctly, or that specifications are not up to date. And some publishers just can't bring themselves to say, 'no film accepted.'"
He says that digital file standards are in place because they work—so why aren't more professionals capitalizing on their advantages? Darling advises the community, "If you're going to go digital, do it the right way."
The new digital you
Participating in digital ad exchange won't come without a learning curve, and to do it the right way, Darling suggests, publishers need to embark on a journey of discovery. Along the way, they'll be surprised by the number of dilemmas faced, but happy to know that available information and trusted partners can provide guidance.