Content Workflow

Making a Marc
June 1, 2000

Digimarc's MediaBridge fastens print advertising to the Internet. It used to be that beaming anything up was a product of science fiction, not the real world. But things have changed. And in July, Digimarc's MediaBridge will debut in Wired magazine, creating a vehicle for Internet-enabled advertisements to go from print to the Web in one step. Digimarc is banking on a forecast estimating that more people will own digital imaging devices at home and that accessibility to the technology will encourage consumers to scan in rather than type out. Even without the use of search engines, directories or portals, getting to the Internet has

Just the Ticket
June 1, 2000

MetaCommunications' Virtual Ticket helps NCL Graphics do away with paper-based job tickets. NCL Graphics has been operating from Elk Grove, IL, for 30 years. Fortunately, for this high-end color separator and catalog page assembler, its job just got easier. Producing more than 150 jobs each week and operating three shifts, six days a week requires extensive management and perfected planning. Frank Miceli, a technical specialist with NCL's production department, attributes the company's success to Virtual Ticket, a job management software program developed by MetaCommunications, Iowa City, IA. "What we do with Virtual Ticket," Miceli explains, "is we use it to eliminate a lot of

Working With a Net
June 1, 2000

TV Guide turns to an automated solution for preflighting and digital ad submission. In television, there are many recognizable icons—the NBC Peacock, the tell-tale ticking of 60 Minutes' stopwatch, the CBS eyeball—but few rival the TV lover's most sacred companion, TV Guide. Published weekly by the TV Guide Magazine Group, New York City, TV Guide offers a compact, easy-to-grab-from-the-coffee-table alternative to channel surfing. Those precious ads What keeps the publication thriving, like many other magazines, is its advertising base. "We receive ads from more than 700 different advertisers," remarks Tim Davis, graphics manager for TV Guide's advertising production department. "And we're confronted

High-Flying Photography
May 1, 2000

PrintMedia 10/20/00 Red Kite Studios shoots the breeze from a newly digital vantage. If you were to model yourself after a famous kite flier, which would you choose: Ben Franklin, who combined silk and string with a metal key to conduct electricity in 1752, facilitating numerous enlightened achievements; or good ol' Charlie Brown, alleged blockhead and chronic victim of a kite-eating tree? Good grief, Poor Richard, it's a no-brainer! Agreeing that innovation always beats frustration, the three photographers and three stylists operating Red Kite Studios, Tampa, FL, recently "pulled a Franklin" of sorts, using digital photography to give their studio a charge. Founded

Putting PDF/X-1 in Its Place
May 1, 2000

PDF/X-1 has been approved by ANSI (American National Stan-dards Institute) as an accredited standard file format. Great. Now what? Like TIFF/IT-P1, will it take years before tools are created to read, write and verify PDF/X-1 files? And will it take even longer for the industry to adopt a PDF/X-1 workflow? The answer is "No!" In fact, you can begin planning your PDF/X workflow now. Although it's only been six months since accreditation, there are already a host of PDF/X products in development. At the DDAP (Digital Distribution of Advertising for Publications) association annual conference in March, eight vendors participated in a PDF/X-1 developers panel: Adobe,

The Great Ad Repository in the Sky
May 1, 2000

As 2001 draws near, the graphic arts community must improve the digital ad exchange process. There are few dates that conjure such mystique as 2001. Maybe 1984 was one; 1776 is another. If you happen to be English, 1066 has major significance. The only difference between these dates is that 2001 has not yet arrived. So, why am I enamored with 2001? Hope. For I hope that 2001 is the year in which the graphic arts industry finally gets its act together and makes strides to implement universal digital ad delivery. In searching for a means to a digital ad end, we must look at the

The Story of E
April 1, 2000

The Internet's entrance from stage right produces a rewrite of the commercial printing plot line. Once upon a time, the process of commercial print buying was simple. A print buyer called his or her vendor CSR, requested a bid on a job, worked up the project specs and sent creative to a prepress shop for processing and film output. The film was couriered to the printer, which ran the plates for the press, the plates were loaded, the job printed, and all lived happily ever after. Throughout the story, phone calls were made, proofs were exchanged, status reports floated across the fax lines. Although

Teaching Class
April 1, 2000

3Com University puts distribute-and-print to the test. 3Com, the Santa Clara, CA-based high-tech company, has a tremendous responsibility to its employees. With a plethora of electronic products in its arsenal, the manufacturer takes great pains to educate its employees and customers about its technologies and business marketing strategies. Each year, the company hosts two educational conferences—one in the States, one abroad. The forum, affectionately named "3Com University," draws more than 3,500 attendees hailing from the corporation's numerous business units. Taking the southern route In 1999, 3Com chose Atlanta as the host city for its domestic event, which promised a 10-day intensive curriculum.

Liability & Accountability- The Unaltered State
March 1, 2000

What's all this talk about liability? People seem to think that just because technology has changed, the lines of responsibility have merged, crossed, faded or completely disappeared. They haven't; they remain just as clear now as they were in the analog world. Unaltered states It is true that production functions have been altered by digital influences. Publishers are doing prepress. Prepress shops are printing, and printers are processing ads. It's a crazy, mixed-up world. Still, that doesn't change the fact that whoever prepares a page—whether it's produced from film or digitally, whether it's created in-house or oustourced—the file creator must be held responsible for

X Marks the File
February 1, 2000

PDF/X sets a new standard for digital ad interchange and high-end reproduction. The letter X often represents the unknown—the undefined variable in a mathematical equation or an anonymous entity. In the case of PDF/X, however, "X" indicates identification, specification and standardization. It marks the spot, at least potentially, for the advertising and publishing community. PDF/X is a new, accredited file format intended for use in professional CMYK print production workflows. The DDAP (Digital Distribution of Advertising for Publications) Association, which initiated the format's development, explains PDF/X as a focused subset of Adobe's PDF (Portable Document Format), which limits the format to specific usage, file