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SuperConference round-robin flies over familiar territoryMIAMI BEACH, Fla. -- From "futz time" to the Year 2000, old woes to new media and a fresh bowl of Snap, Gracol, Swop -- the third annual NAA Newspaper Operations SuperConference held here Jan. 11-16 had currency and variety, even if it lacked drama and this-just-in headlines. The week at the Fontainebleau Hotel was divided into four series: pre-press, health and safety, press and materials, post-press. Panelists in the pre-press talks were evenly split between suppliers (including Microsoft) and newspapers, with the conference's sponsor, the Newspaper Association of America, lending moderators and expertise from its staff. Attendees hungry for the latest and greatest on the pre-press menu found appetizers here and there, but few full-course dinners were served over the first three days of the SuperCo ference -- uh, SuperConference. The "n" wasn't silent, just missing. On Tuesday, as executives of four industry suppliers discussed the Year 2000, a foot-tall "n" in the sign over the stage behind them slowly pitched forward. The fallen letter was presented to Moderator Eric Wolferman, the NAA's senior vice president/technology and SuperConference coordinator, who called it "just a preview of what will happen on Jan. 1, 2000." An old preview, that of a dying industry, was shooed away by NAA Chairman David Cox, the president and CEO of Cowles Media Co. of Minneapolis, who welcomed attendees Monday morning. "I wish to announce that henceforth, as a matter of policy, all of us will stop fretting about the future of print," Cox declared. "Print is alive," he said, after pointing to 1997's 8.3 percent growth in advertising revenue and a national daily readership of 112 million adults. A few of those millions likely would have turned the page on the keynote speaker, Thomas Landauer, a professor of psychology at the University of Colorado. Long a researcher into how the human brain acquires and retrieves knowledge, Landauer bewildered his listeners by not once mentioning newspapers. His discourse examined how productivity in the United States has declined in the last quarter century, during which time computers crept, then galloped, into almost every corner of the economy. "I'm not against computers, I love computers," Landauer said. The problem lies in "how they're being applied." It was hard to find evidence that computers had assisted productivity, he insisted, pointing to the financial industry, which had recorded an increase in capital outlay per labor hour but no corresponding increase in output. "The overall trend was negative," he said. "For every dollar being spent on technology, they were getting back 97 cents in increased productivity." Where did the money go? "Futz time" was one place -- those magic moments spent trying to get a balky box to do what it's supposed to do. "The average worker in U.S. industry spends two weeks a year just learning and installing computer software," Landauer said. In closing, he offered words near and dear to systems buyers everywhere: "What I'm advocating is to somehow write a contract that insists that not only that this thing go fast, but that afterward, things go more productively."
Still running on Jan. 1, 2000
"I don't think the world is going to stop on Jan. 1, 2000," said Johnny Thøgerson, vice president of marketing research and product design for CCI Europe of Aarhus, Denmark, and Marietta, Ga. "Some people will have to work late hours to have things cleaned up, but I don't think the world will end," he said, noting that his company's products don't have dates embedded in code and so are prepared for 1/1/2000. Thoegerson and other suppliers on the pre-press industry outlook panel suggested that integration and customization posed the greatest problems. CText systems are set for the millennium, said Larry Moore, CEO of the publishing solutions supplier based in Ann Arbor, Mich. "The bigger challenge is finding out what customers integrated to over the last 13 or 14 years." Also a challenge is serving all customers. Software Consulting Services has so many systems on so many platforms, said Richard Cichelli, president of the Nazareth, Pa.-based company, that "we have 24 iterations of fix sets we want to send out." Sites that have yet to plumb the depths of Y2K, or need a mile marker to identify their progress, can use the steps to Y2K compliance laid out by John Iobst, the NAA's director of advanced computer science. In his presentation at the Sunday session, Coping with the Year 2000 Computer Problem, Iobst first flagged what he called "the single biggest gotcha" with Y2K. Every PC (not Macintosh) has a Bios, or identity file, which must be upgraded, he explained. Because the date of manufacture has nothing to do with the creation date of the Bios, "the bottom line is that every PC in your shop will have to be checked" -- do not assume that machines made after a certain date are in compliance. Then he described a stairway to Y2K heaven, with awareness occupying the first step. All top managers must buy into the problem, pledge support for solving it and create a task force to do the job, he said. That task force must assess all needs, starting with an inventory of all systems, a mammoth task (Iobst said Knight Ridder has 6000 software systems to examine). Armed with that, the team should seek assurances from suppliers -- and business partners whose systems interact with its machines -- that all will be Y2K ready. Once the scope of the project is detailed, the task force must develop resource needs, which may include holding on to vital people, whatever the cost. "Finding resources in the outside world is almost impossible now," Iobst said. Next, he said, is to plan how to upgrade or convert systems, then test that they are in fact Y2K compliant. This can be delicate, as "once you've cleaned up a database, you don't want to go back and reinfect it." One way to prevent that is to have users properly trained, not only in what they will use that's new, but also how the conversion is supposed to progress. Lastly, he warned, have a fall back plan in case the dreaded day comes and you're upended by the unexpected beyond your control -- "some tiny little thing that worked fine in your environment that didn't work in their environment."
Going the ink route
Some nuggets:
PostScript is facing competition from Portable Document Format (PDF), Hagen said, because of the potential ease in handling PDF files and their portability. But PDF needs work, he said, especially in the area of color and repeatability over several platforms. In PDF, Hagen would welcome labels on spot colors and Cymk plates, not to mention a sure-fire way to keep the integrity of content in PDF's RGB-based model as files go from Cymk to RGB to Cymk to output. En route to output, the PDF realm needs to handle page imposition, he said; on output, trapping is not yet ready for Page One. Still, at Harlequin, "we're not ready to just jump ship and throw PostScript away altogether," Hagen said. Thousands of applications "use PostScript very, very well," as does the entire graphic arts industry, he said.
Littrell scattered stats across the stage: 33 manufacturers are producing 67 models of platesetters; he forecast maybe only five will survive. About 1500 metal plate-capable machines are installed worldwide in all manner of printing plants; 700 were placed last year. Between 5000 and 7000 metal-capable platesetters will be installed by 2000, Littrell predicted; he also forecast that 100,000 film imagesetters would be in place then as well. CTP requires DWF (digital work flow -- pagination), so Europe's the place to see newspapers using CTP. U.S. newspapers are using their experience with imagesetters to develop the infrastructure to use CTP, he said. Once papers are ready for CTP, they'll confront the which-plate issue -- photopolymer, silver halide, a hybrid of them, or thermal. "We study them all and we're confused as to which one in the year 2000, 2005 will dominate," Littrell said. Because each has pros and cons, "we think there'll be a mixture of them."
It is, he said, "a visual representation of the film or the file that can be easily matched on the press." The issue that standards must address, Leyda said, is that "a proofing system has to be designed so that in fact it can be matched on the press," not the other way around. Warning that in some contexts, proofs are legally binding documents showing what a customer is getting, Leyda encouraged pre-flighting of jobs to reduce errors. Then he paid homage to Specifications for Web Offset Publications -- Swop -- the standard "that says the most." Unfortunately, Swop is so ingrained, "it has happened so well, people have stopped" paying attention to its requirements, and quality is declining, he said. Newspapers have Snap -- specifications for non-heatset printing -- he said, which provided a target for proofing systems in the form of a "characterization," a body of knowledge built on "how we know we can print in the newspaper and in the advertising insert type of business on non-heatset presses." Gracol reigns in the much larger commercial realm, where resistance to standards is high. The General Requirements for Applications in Commercial Offset Lithography address densities, print contrast and the paper being used. While Swop has certified proofs measured in scientific labs, Gracol as yet has none, Leyda said.
Reaching readers by Web
The paper "went looking for software to repurpose infographics, not just shovel them onto the Web," said Assistant Graphics Director Scott Horner. The Sun-Sentinel bought Macromedia Shockwave, which generates smaller files than other graphics apps and are more easily downloaded, Horner said. Containing file size is important at every step, using software such as Debabilizer to reduce an Adobe Photoshop file from 40 kilobytes to 24 kilobytes. In addition to setting a simultaneous deadline for web and print publication of graphics, the paper learned to dissect presentations and take advantage of the Web's audio and visual capabilities. Horner displayed a full-page graphic of a squid and its web counterpart, explaining that a producer and graphic artist worked together to create an on-line package. The producer is a technical type with knowledge of multimedia, Horner said -- a visual thinker with editorial skills. The graphic artist has strengths in art and animation, with an editing background especially welcome. In this example, they used navigation buttons to move around the graphic, opening audio files and drilling down through layers of data. "You can see how large this graphic can be in terms of the depth of information," Horner said, displaying an interactive quiz that appeared in the on-line version. Art and editing merge in the creation of such graphics. A producer has many tools and elements, such as using music to add impact, but there are limits, Horner noted. "If we're doing a plane crash graphic," he said, "it would be in poor taste to add crash sounds." -- Pete Wetmore
Agfa Corp., From THE COLE PAPERS, February 1998, Copyright © 1998, All Rights Reserved. |
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