Imaging 12 - Fujifilm Graphic Systems
Imaging 12 - Fujifilm Graphic Systems
Imaging 12 - Fujifilm Graphic Systems
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service, there is plenty of business to be<br />
found: “Not all customers need a full-scale<br />
ad agency. The vast majority of a printer<br />
or repro house’s asset management<br />
customers would be happy with sensible,<br />
functional design services to work<br />
alongside the re-purposing offering.”<br />
Stephenson believes the market for<br />
digital asset management services in the<br />
UK is set to ‘explode’ in the next few<br />
years: “It’s here to stay, and there’s a lot of<br />
money to be made – printers should get<br />
out there and dive in.”<br />
Golden opportunity<br />
Someone who has been doing just that is<br />
Peterborough-based independent repro<br />
house Gildenburgh which five years ago<br />
was under siege from falling prices. One<br />
part of their solution was to introduce<br />
digital asset management.<br />
“We had been keeping archives of our<br />
customers’ work for a few years, and it<br />
occurred to us that this was a potential<br />
revenue stream,” technical director Rob<br />
Gutteridge says. “And because a high<br />
proportion of our repro customers are<br />
publishers, they were interested.”<br />
The team installed Valiano FullPress<br />
and WebNative asset management solutions<br />
from <strong>Fujifilm</strong>, and began a full DAM<br />
service, predominantly working with text<br />
and images. Initially offered to existing<br />
publishing clients, the service began to<br />
attract photographers and design agencies<br />
as word spread. “Repro is still the core<br />
business, but asset management brings in<br />
customers we couldn’t otherwise attract,”<br />
Gutteridge says.<br />
Pricing was initially a problem for<br />
Gildenburgh: “Customers have enjoyed<br />
many years of free data storage, albeit<br />
hidden, and they aren’t prepared to start<br />
paying for it unless there are immediate<br />
rewards,” he explains. “In general it’s the<br />
forward-thinking publishers, those who<br />
can see the opportunities for additional<br />
revenue streams by syndication and repurposing,<br />
who can see past the costs to<br />
the benefits.” Working with its clients by<br />
joint venture, Gildenburgh settled on a<br />
pricing structure based on the customer’s<br />
activity level.<br />
Gutteridge concurs with <strong>Fujifilm</strong>’s Mark<br />
Stephenson that DAM is an essential step<br />
for repro houses. “I think DAM will<br />
become a core part of any independent<br />
repro house’s offering in the next few<br />
years. Those who don’t have it will be<br />
losing business.” ■<br />
WORKFLOW & BUSINESS MANAGEMENT case study – Vertec<br />
Vertec’s Valiano Rampage<br />
W<br />
oolwich-based Vertec was finding by 2001<br />
that being tied to analogue proofs was<br />
an increasing competitive disadvantage.<br />
Prepress manager Colin Gilham explains:<br />
“We were losing ground to competitors. There was<br />
client pressure to provide digital proofs and we were<br />
sometimes losing out at the quote stage.”<br />
However, not just any digital proofer would do:<br />
“We had to have bullet-proof digital contract proofing<br />
but it was hard to decide what – the technology keeps<br />
changing,” he adds. Having examined various options<br />
he settled on the Epson 10000 large format inkjet<br />
plotter, calibrated to match the press rather than viceversa,<br />
as Gilham says that it’s the press that provides<br />
the final product.<br />
The proofer was only half of the equation, though.<br />
“The only way you can guarantee the proof is if it’s<br />
made from the same data that will be used to image<br />
the film and plate.”<br />
Gilham wanted a ROOM (RIP once output many)<br />
workflow, in which the same processed data would be<br />
used to drive both the proofer and the filmsetter –<br />
“We needed a complete new and faster workflow that<br />
would eventually support CTP.”<br />
After a variety of extensive demonstrations, the<br />
“Valiano Rampage can drive<br />
almost anything, so we’re<br />
not tied to any particular<br />
vendor’s output device.”<br />
Colin Gilham, prepress manager, Vertec<br />
Commercial printer Vertec is providing contract digital proofs and accepting<br />
a wide variety of job formats thanks to a <strong>Fujifilm</strong> Valiano Rampage RIP.<br />
<strong>Fujifilm</strong> Valiano Rampage solution was selected. “The<br />
product is mature and stable, and most importantly it<br />
can drive almost anything so it means we’re not tied<br />
to any particular vendor’s output device,” Gilham says.<br />
Valiano Rampage offers a choice of working<br />
modes: in the ROOM mode PostScript or PDF files are<br />
trapped and then RIPped before imposition. The<br />
RIPped data can then be sent as single pages or<br />
complete impositions to the Epson proofer as<br />
required, with complete confidence that the proof will<br />
match the eventual film output.<br />
There is also a NORM (normalise once render<br />
many) workflow, in which PDFs are generated as<br />
necessary, normalised (made to conform to a<br />
predetermined PDF standard) and then sent for<br />
RIPping on each output device.<br />
Although the NORM workflow allows greater<br />
flexibility in handling potential errors in PDF files<br />
without having to repeat the full-resolution RIPping<br />
stage each time, Gilham prefers to stick with the<br />
ROOM mode as he feels that only this can offer the<br />
guarantee of fidelity between proof and final output.<br />
Working with RIPped data means handling much<br />
larger files, but Gilham says, “Rampage is quick<br />
enough that this is not a hindrance.”<br />
<strong>Imaging</strong> <strong>12</strong> autumn 2002<br />
15