Crossmedia Workflows


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Crossmedia Workflows

  1. 1. Techniques for Building Flexible Cross-Media Workflows Dwight Kelly – Apago Tom Petrillo – Adobe Systems
  2. 2. About Apago • Software development and consulting firm • Founded in 1991 • Customers include major graphic arts OEMs, publishers, printers, corporations, government and consumers • Implemented numerous cross-media workflows for customers
  3. 3. What is cross-media publishing? The term “cross-media publishing” has traditionally been used to describe “repurposing” content for both print and web. A simple example is Microsoft Word’s HTML filter that creates HTML from Word documents. Another is exporting a “low-res” PDF.
  4. 4. What is cross-media publishing? But now cross-media publishing has taken on a greater importance. Content brands need to be visible in as many venues as possible for their target markets. Every day more devices and services are released that can attract the desired demographic.
  5. 5. New forms of delivery
  6. 6. Other demands for cross-media publishing Repurposing content isn’t the only example of cross- media publishing today.
  7. 7. Other demands for cross-media publishing Repurposing content isn’t the only example of cross- media publishing today. Other examples are: • Extracting images and text for insertion into a Digital asset management system (DAM) • Building a search archive • Reformatting for use in 1:1 marketing campaign • On-demand books
  8. 8. Each of these derivative products have their own requirements for color, image quality, fonts, graphics, etc. Generating all of the variations can be problematic and time consuming.
  9. 9. Key question Maintain layout (e-magazine) or Reuse content (article text & images on website)
  10. 10. The dream “Create Once, Publish Many” – a magical button that publishers push to have content “auto-magically” come out in all of the right variations in the right formats.
  11. 11. The dream “Create Once, Publish Many” – a magical button that publishers push to have content “auto-magically” come out in all of the right variations in the right formats. Doesn’t exist and besides doesn’t take advantage of unique capabilities of individual devices and services.
  12. 12. The reality “Create Once, Produce Many” – a single content master is used to create each variation. Methods: • Optimized PDF • Convert to Flash or other rich media • Export assets using XML or other format
  13. 13. Optimized PDF • Benefits – most publications are already available as PDF – rich graphics model (color, image, vector, fonts, transparency, etc.) – free viewer (Acrobat Reader) – easy to create with Indesign “Export PDF”, Acrobat "PDF Optimizer", Apago PDF Enhancer, etc. – text is searchable (but not indexed)
  14. 14. Optimized PDF • Problems – no control over viewer experience (branding, controls, etc) – difficult to reflow text for easy reading on small screens – many web users dislike PDF and Reader because it takes over page layout and interaction – complex pages can take a lot of storage – no inexpensive centralized rights management – no viewer tracking or ad revenue opportunities – limited rich media capabilities
  15. 15. Convert to rich media (Flash/Silverlight/SVG/HTML) • Benefits – complete control over viewer experience (design, interaction, website integration) – viewer can be integrated into web pages, desktop, etc. – flash is already installed on 99% of computers – rich media elements (video, music, animation) – “the page flip” – some companies provide viewer tracking metrics, subscriber services, conversion and hosting services while others are self-service
  16. 16. Convert to rich media (Flash/Silverlight/SVG/HTML) • Problems – PDF and Flash graphic modes differ • Transparency & overprinting • Font & image formats • Dash lines • Smooth shadings – supports unmanaged RGB only (no CMYK, ICC profiles or spot colors) – Complex pages can display slowly – only 65K elements per movie – limited support for text searching
  17. 17. Examples
  18. 18. Examples
  19. 19. E-document companies
  20. 20. Exporting assets • Indesign export to XML and the new IDML – limited tools available for working with IDML however it is “standard” XML • PCI Scriba integrates with K4 and Quark to implement automated workflows for exporting tagged and untagged content from page layouts to DAM, web sites, etc. • Good translation requires knowledge of page layout (geometry or tagging)
  21. 21. Exporting assets Source:
  22. 22. Designing for cross-media “Create Once, Produce Many” • Separate content creation from layout and publishing • Articles written for web tend to be longer than printed articles because of space limitations • Leverage metadata (XMP, PRISM) • Use templates for publishing
  23. 23. What about existing printed content? • Probably not digital or in format that can be easily repurposed • Possibility of 100s of 1000s of pages to be processed • Old physical copies need to be scanned, cleaned up and optimized • Text readability issues • Can you find all of the back issues? It’s surprising that many magazines have incomplete/damaged archives • OCR vs. re-keying, index text content (create taxonomy) • Services bureaus are available to do the hard labor
  24. 24. Recent Apago projects
  25. 25. IPA Initiatives • Active cross-media working group • Currently working on updating ISO 12647 – “Process control for the production of half- tone colour separations, proof and production prints” • Determining recommended workflows, file formats, etc
  26. 26. Conclusions The design of your cross-media workflow depends highly on where your content originates (old vs. new), at what point you want to extract or repurpose the content/layout, and how the user will interact with the new products
  27. 27. Tom Petrillo Sr. Solutions Engineer Media and Entertainment Adobe Systems Incorporated
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