JDF & the Production Process

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JDF & the Production Process

  1. 1. JDF & The Production Process Thad McIlroyy The Future of Publishing www.thefutureofpublishing.com Presented to the Adobe Acrobat & PDF Conference Orlando, May, 2007
  2. 2. My Background  8 years in bookselling & publishing  18 years studying the intersection of technology and print publishing working publishing, with both printers & vendors  5 years with S b ld S i ith Seybold Seminars  Major focus now:  www.thefutureofpublishing.com  Workflow (JDF)  Publishing automation
  3. 3. Outline O tli  Why JDF?  JDF JDF— A to Z (in 10 minutes)  Workflow  Islands f t I l d of automation ti  The tenets of automation  Content management  What IPA is trying to do
  4. 4. Why Wh JDF?  To carry a print job from genesis (or somewhere nearby) through completion y) g p  Bridge the communication gap between production and Management Information Services (MIS)
  5. 5. Alphabet Al h b t soup  JDF – Job Definition Format  The standard itself — an XML-encoded data “standard”  It is not a product, workflow or system y  CIP4 – the organization behind JDF  International Cooperation for the Integration of Processes in Prepress, Press and Postpress
  6. 6. CIP4 Reference Model Prepress Prepress Sales Rep Limited Manager(s) Process Customer Production Scheduling Prepress Customer Service Rep Operator Print Negotiation Prepress Product Buyer & Quote Description Limited Process Create Press Product Press JDF Intent Description Manager(s) (with ranges) Estimating & Product Limited Description Order Entry Process (Actual values) Press Base Operator Press Create Document MIS Extended MIS Creative Postpress Professional Postpress Print Shop Manager(s) Manager Postpress Job Creation Print Shop Management Operator Postpress Customer Facility Print Shop
  7. 7. JDF and JMF d  JDF  JMF  Control  Commands structures  “Do this now”  Design  Status & error direction or reporting production  Near real-time detail  Audit trails
  8. 8. Intent d P I t t and Process  Intent  Process  Desired paper type,  How to produce the trimmed size, binding size desired result style etc  Detailed control of  Describes final equipment q p delivery  Created by CSR,  Provided by buyer or planner, MIS, prepress salesman l operator  Can be used in  Internal to print shop q quotation pprocess
  9. 9. Prepress Processes  ColorCorrection  LayoutPreparation  ColorSpaceConversion  Preflight  ContactCopying  PreviewGeneration  ContoneCalibration  Proofing & Rendering g g  FormatConversion  RIP’ing  ImageReplacement  Scanning  ImageSetting  Screening  Imposition  Separation  InkZoneCalculation I kZ C l l ti  SoftProofing S ftP fi  Interpreting  Trapping
  10. 10. Postpress Processes  AdhesiveBinding  LongitudinalRibbonOperations  BoxPacking  Numbering  CaseMaking  Palletizing  CasingIn  Perforating  ChannelBinding  PlasticCombBinding  Collecting  RingBinding  CoverApplication  SaddleStitching  Creasing  ShapeCutting  Cutting  Shrinking  Dividing  SideSewing  Embossing  SpinePreparation  EndSheetGluing  SpineTaping  Folding  Stacking  Gathering  Stitching  Gluing  Strapping  HeadBandApplication  StripBinding  HoleMaking  ThreadSealing  Inserting  ThreadSewing  Jacketing  Trimming  Labeling  WireCombBinding  Laminating  Wrapping
  11. 11. What H Ch Wh t Has Changed in Two Years? di T Y ? Incremental Change  Better mindset all around; service providers ; p and creatives  Small improvements everywhere: color, JDF, y workflow, etc.  XML for publishing is stronger than ever But have we reached “automation nirvana”?
  12. 12. Fundamentally F d ll Print is No Longer Competitive g p With Electronic Media
  13. 13. Cross Media Cross-Media is Underestimated  Over 50% of ALL content must be delivered through multiple channels today.  Over 50% of all content is initially developed for l f electronic d li i delivery fi first  Over 60% of respondents indicated that XML will b used i th i multi-channel solutions ill be d in their lti h l l ti Multi Channel Multi-Channel Communications: The Content Publishing Workflow Challenge, InfoTrends Dynamic Content Software Solutions Consulting Service, September 25, 2006
  14. 14. The “Electronic Priority” Shift tent Shif to ity ft 100% ronic Fir Priori 80% 67% rst 60% Percent of Cont 51.40% 40% 38.30% 20% t Electr 0% 2003 2006 2007 (Actual) (Actual) (Estimate) InfoTrends “The Multi-Channel Communications Challenge”, 2004 I f T d “Th M lti Ch lC i ti Ch ll ” InfoTrends “Multi-Channel Communications: The Content Publishing Workflow Challenge”, 2006 00000000 © 2006 InfoTrends, Inc. www.infotrends.com 16
  15. 15. The “W kfl ” Challenge Th “Workflow” Ch ll  Authoring and design take place remotely from prepress and printing  Data flows downstream with insufficient data to inform the process  “Our clients want us to do the heavy lifting.”  Islands of automation are not unified into a single process
  16. 16. Islands of Automation rights illustration & authoring & photography editing distribution production & preflight  Limited manufacturing (workflow) efficiencies  Doesn’t support content management  Doesn’t support cross-media publishing
  17. 17. The T Th Tenets of Automation t fA t ti  Full digitization: nothing on paper (or other analog substrate)  Full commitment: from management to sales to all operating staff  All the hardware: Automation becomes more capital-intensive th closer you get t the press it l i t i the l t to th  All the software: the right applications (from c eat e through creative t oug DAM/CMS a d workflow /C S and o o enablers  Standards: full support for the standards that enable automation
  18. 18. Why Full Automation Now?  The Web challenges print with an automated cost-effective publishing method  The graphic arts have been creeping slowly is moving from a craft to an automated industry  The i ti Th printing press i now i th l is in the loop  XML provides offers an automation opportunity for document originators too
  19. 19. Our Work with CIP4
  20. 20. The Ch ll Th Challenge  “What exactly is missing from JDF that addresses the “creative” side of the process?  What can be added to the creative side of the equation within the context of JDF s JDF’s current mission?
  21. 21. A Pothole to Steer Around Source: Veronis Suhler Stevenson Partners
  22. 22. The M th d Th Method Map three typical workflows 1. A poster 1 2. Simple brochure 3. B Book publishing k bli hi
  23. 23. Involve Representative Groups I l R t ti G  AIGA: American Institute of Graphic Arts  The Document Management Industries g Association (DMIA)  Print Communications Professionals International (PCPI)  The Printing Brokerage/Buyers g g y Association International  APA: Advertising Production Association g
  24. 24. Seek Input From p “Creative” Vendors  Adobe  Quark  Corel  Microsoft Mi ft  more…
  25. 25. An Interesting Wrinkle
  26. 26. CF: Q CF QuarkXPress Job Jackets kXP J bJ k t
  27. 27. The Q Th Question ti  Is it better to have a “creative” who isn’t certain of all the details send along g incorrect info to a printer (Acrobat), or to have a printer p p prohibit a creative from taking certain steps?
  28. 28. Conclusions C l i  JDF has little or nothing to do with the creative process p  JDF ignores cross-media workflows  The benefits for printers are likely too modest to result in cost savings for buyers  We’re still waiting for more “creative process a tomation automation
  29. 29. The Value of Creativity Remains Undiminished
  30. 30. Thank Th k you thad@theFutureofPublishing.com

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