Take the Express to the Press
Brown and Manes Goodwin worked with Donnelley to design the prepress workflow, for both editorial and advertising. Preflighting software (Enfocus' PitStop is used to verify PDFs, while Rorke Data's TIFF/ITeyes is used to preflight TIFF/IT-P1 files) was brought in to quality control digital ads, and the magazine also licensed Acrobat 4.0 to create PDF files that would be fed to the printer's Prinergy workflow.
For proofing, a resident Epson 5000 driven by a Fiery RIP outputs close-to-contract-level proofs for edit pages. The device is frequently calibrated to SWOP and does a fairly good job at ensuring color accuracy, notes Fox. "Because it's not a true black—it's a cyan and magenta black—we're finding that the blacks and the mid-tones tend to have a greenish cast," she adds. "But this is something that we are addressing."
Donnelley's Los Angeles-based Premedia Division, supplies Red Herring's scans, accompanied by Kodak Approval digital halftone proofs. These act as an added QC measure, reports Fox, who notes that the Approval proofs are attached to in-house-generated Epson proofs and are sent to the plant for color verification.
We're not gonna take it
As for CTP, Fox notes that it was critical to devise a strategy for soliciting digital ads. The first step called for Red Herring to work with Donnelley to create a complete set of digital ad specifications. Armed with these specs and the need to forego potentially wounding copydot scanning charges, digital ad submissions had to rise—immediately and dramatically.
"It was a little daunting to find out the timeframe we were working with," recalls Manes Goodwin. "Talk about turning on a dime! We only had a few months from the time the idea of accepting digital ads was first introduced to when the first bi-weekly issue went to press, and we had some pretty aggressive goals to meet. We were counting on having 25 percent of the ads in that first issue come in digitally and being completely digital within