Content Workflow

Team Work
March 2, 2001

Two weeks ago, PrintMedia InBox brought you the story of Napster and its effects on the publishing industry. This week, Reciprocal's General Manager Matthew Moynahan talks about how digital rights management is coming out of the shadows and onto online portals everywhere. PrintMedia InBox: How does Napster's file-sharing format effect publishing in general? Matthew Moynahan: Napster increases CD and book shipment over the Internet. Napster validates what we do. As a distribution model, it's powerful—it won't go away. InBox: How does a company like Reciprocal tackle this process? Moynahan: Unprotected file swapping isn't legitimate. We develop applications to outsource digital content with encryption technology through applications to

Digital Directions Revisited
March 2, 2001

In PrintMedia magazine's February issue, Linda Manes Goodwin explained the benefits of using PDF/X-1 digital file format. In response, a reader contacted Goodwin for more information: I have read your article and many articles on PDFs and I am still confused about the difference between PDF and PDF/X-1. I work in an ad agency and use PDFs every day, mostly for our clients to view ads before press runs. Using Quark to make a PS file and running it through Distiller seems to be working fine for now, but I want to upgrade my department to PDFs for press runs. Is there a better

Native Application Files? Only in a Fairy Tale World
March 1, 2001

This month marks the third installment in a series of "Digital Directions" columns devoted to file formats. In January, we delved into TIFF/IT-P1; last month, we discussed PDF/X-1. This month, let's take a closer look at native application files. Beauty and the beast Native applications are software solutions we've come to know and love. We use them to manipulate images; they enable us to create breathtaking illustrations, and we employ them to layout documents, books and magazines. Native apps have been around since the pre-dawn of desktop publishing, and the graphic arts community has learned to use them in some notably creative ways. But therein lies

Instant Gratification
February 9, 2001

There's still only one important factor determining the fate of online publishing's success or demise: advertising. Since digitization dictates how publishers maintain online ventures, solutions designed to perpetuate Web marketing are maturing at leaps and bounds. The concept behind many e-marketing tools is to find a way to generate revenue without directing users away from a publisher's domain. And while the task may seem obtuse, two Web-marketing tool providers, ePod and Nexchange, promise publishers that where there's digital advertising, there's success. The pitch of most Web marketers suggests ads on publishers' sites should offer transactional appeal for both content providers and advertisers. Assuring that

E-Production ASPs
February 1, 2001

The breadth and depth of online resources available to enhance the education and performance of production professionals seems to stretch to infinity. Added to the mix of trade publications, industry organizations, vendor and corporate Web sites, is a new category of online production tools: application service providers (ASPs). As the name implies, ASPs provide software applications that are usually bundled together to improve workflow productivity and efficiency. While most ASPs target printers and prepress providers, many have modules that directly benefit print customers, too, making production operations smoother, faster, more accurate and more predictable. Some ASPs deal with the complete operations chain—from creative through distribution—while

Bads Ads? No Excuse!
February 1, 2001

Too often, publishers coddle advertisers. We make excuses for them. "My advertising base just isn't knowledgeable about digital ads." Or, "They're not equipped to produce a digital ad." Sound painfully familiar? And so, we continue to accept film and the high price of copy-dot scans, despite our better judgment, trusting our advertisers to self-educate and get up to CTP speed as quickly as they can. But in doing so, are we perpetuating a vicious cycle? It wouldn't be wise of me to suggest that any publication—no matter how fiscally strong—ever turn away an advertiser simply because it, or its agency, is incapable

Make Digital File Exchange Easier
February 1, 2001

This column is the second in a series of "Digital Directions" columns, through which I'd like to discuss how we can make the process of ex-changing digital files easier. Last month, we took a look at TIFF/ IT-P1; this month, let's take a closer look at PDF/X. PDF/X-1: The evolution PDF/X was lauded as the accredited file format for the masses. Its goal was to enable those who wanted to create ad materials themselves but could not afford expensive, proprietary equipment. The format promised us all a way of making secure, reliable files—or at least more secure and reliable than the native application alternative. A great

Good News Is e-News
January 11, 2001

On Capitol Hill, the old saying suggests that if you want a friend, get a dog, and in some cases, a "watch dog." Recently, Congressional Quarterly (CQ), a well-known media watch dog group based in Washington D.C., solicited SealedMedia to protect the electronic distribution of its CQ Daily Monitor. After relaunching CQ.com last February with positive response, the Digital Rights Management (DRM) provider now secures the publisher's electronically delivered news from unauthorized access. CQ's expanded presence on the World Wide Web continues an 18-year history of leadership in electronic journalism. Since implementing the new security measures, not only does the award-winning site maintain

Make Digital File Exchange Easier
January 1, 2001

We know that a number of publishers have converted to digital workflows and are pleased with the results. We read about them monthly in the pages of PrintMedia. Still, as we watch the digital adoption rate only modestly increase, we know that there is something preventing the majority of publishers from following suit. I'm sure there are several reasons for this, but one of the more obvious ones—and one that I'm going to address in the next three installments of "Digital Directions"—is the difficulty involved in exchanging digital files. This month, let's look at TIFF/IT-P1. Grooming TIFF/IT-P1 TIFF/IT-P1 is an accredited ANSI (American National Standards Institute) and

Under One Roof
November 1, 2000

In the realm of print media, production is the means to the end, but it may not be how many creatives wish to spend their days—languishing over missing fonts, learning how to preflight and doctoring digital ads. For New York City-based magazine publisher Ziff-Davis and Chicago-based cataloger Spiegel, production is managed a little differently than it used to be since R.R. Donnelley & Sons started providing total supply-chain solutions. Now, the two companies allow Donnelley to lead digital ad management, four-color scanning, proofing, online content conversion and electronic distribution, allowing the publisher and cataloger to concentrate on core competencies. Paying for premedia For