FUJIFILM Graphic Systems Div.

Papa John's adds flavor to $20 million printing operation via Fujifilm. When the name Papa John's is mentioned, rarely does the image of a Sumo come to mind. That is, unless the Papa John's in question is the national pizza chain's in-house printing shop. The $20 million printing operation that is a vision of the pepperoni and cheese king now has a Sumo connection. Enabling the 85 Papa John's Print Services employees, including 14 in the electronic prepress area, to keep up with a demanding workload and to meet tight deadlines, new technology needed to be added to the Louisville, KY-based facility. So in March of

Streamlining prepress production with PDF optimizes cross-platform functionality and consistent, predictable output. While some commercial printers are content to watch PDF's development, others are embracing the still-emerging technology full force. Which approach is yours? BY MARIE RANOIA ALONSO This is the second installment in Printing Impressions' ongoing look at PDF workflows in practice at a variety of commercial printing and digital prepress operations. Part I appeared in the June issue. PDF FILES are independent of platform or operating system. PDF files are small and self-contained, with fonts, images and graphics embedded within each PDF document, streamlining electronic transmission and preflighting. PDF files offer

Homespun color-managed workflows can save production time and consumables costs. The trick is finding the right set of technologies and practices that work best to meet the needs of your production schedule—and your clients. BY MARIE RANOIA ALONSO Controlling the intricacies of color management and ICC profiling in any print production workflow is the equivalent of trying to control the weather and the tides—then reach a standard agreement on the color hues and tonal properties of both. Each printing operation has its own approach to managing color—its own method of predicting the tides, calculating varying weather patterns and pinpointing the color gamuts of each.

DUSSELDORF, GERMANY —With more than 450,000 visitors and more than 1,900 exhibitors, could any one, single event be more of a global measuring stick for technology trends and new directions for the printing industry than DRUPA 2000—a 14-day mega-event that took over this charming river city? On the technology for digital printing—the show's highlight—and digital prepress, DRUPA 2000 accomplished the following key objectives: * The global move toward accepted, viable on-press imaging and true production digital color presses—built for even the most traditional of commercial printing operations. Signalling a new direction for digital printing at DRUPA 2000, Presstek, supplying on-press

BY CHERYL A. ADAMS In the great digital plate debate, the stakes are high, competition is fierce and expert opinions are numerous . . . "Thermal is dead!" "Visible light will fade away!" "Polyester is taboo!" "Blue laser diode isn't a technological breakthrough, it's a setback!" "Anything but silverless UV CTP is economically unsound!" When the dust settles, which consumables (and related technologies) will be left standing? Which ones will not only survive, but thrive in a future where print will compete with other media channels and other digital printing options, such as distribute-and-print, and the Internet? As more commercial printers address the transition

Of all the issues, and they are many, facing the graphic arts and printing industry today, none can ignite a heated debate more quickly than the issue of computer-to-plate (CTP) vs. computer-to-film (CTF) among their respective ardent supporters. In the past few years, as CTP became a reality with efficient, dependable and cost-effective equipment, increasing numbers of companies replaced aging imagesetters with platesetting devices. Why? Because many printers saw the new breed of CTP devices as an opportunity to springboard to a shorter production workflow without the added consumables and chemicals of film processing. Also, the new digital, CTP plates are more uniform, longer-wearing

Of all the issues, and they are many, facing the graphic arts and printing industry today, none can ignite a heated debate more quickly than the issue of computer-to-plate (CTP) vs. computer-to-film (CTF) among their respective ardent supporters. In the past few years, as CTP became a reality with efficient, dependable and cost-effective equipment, increasing numbers of companies replaced aging imagesetters with platesetting devices. Why? Because many printers saw the new breed of CTP devices as an opportunity to springboard to a shorter production workflow without the added consumables and chemicals of film processing. Also, the new digital, CTP plates are more uniform, longer-wearing

Lieber Vater! In many ways, CIP3 can give thanks to the DRUPA exhibition in Germany. DRUPA 1995 was the event that really brought attention to the CIP3 initiative. DRUPA 2000 will see several conceptual aspects of the initiative realized. BY MARIE RANOIA ALONSO In late 1993, Heidelberger Druckmaschinen initiated discussions in Germany with the Fraunhofer Institute for Computer Graphics. The two organizations, later joined by bindery innovator Polar-Mohr, formed the foundation for the CIP3 cooperative—a study group known as CIP3, the International Cooperation for Integration of Prepress, Press and Postpress. By DRUPA 1995, the CIP3 movement took official form. Its objective: Facilitate data exchange

DRUPA 1995 was the beginning of the thermal computer-to-plate frenzy. Leading the charge: Creo and Kodak. Five years later, new platesetting initiatives are poised for DRUPA 2000. What digital platesetters will be announced at DRUPA 2000? Dusseldorf, Germany, holds the answers. BY MARIE RANOIA ALONSO At DRUPA 1995, a tiny Creo Products—tiny compared with the CTP giants Linotype-Hell, Gerber and Scitex— touted the production and workflow merits of thermal CTP for commercial printing. Creo's message was all thermal. Kodak consumables were Creo's enabling technology, bridging Creo's thermal output engines with the digital plate production demands of the average commercial printer. Who didn't take

The robotic scanner of yesteryear is long gone. Today's higher optical resolutions, advanced color user interfaces, fully integrated ICC-compatible software and faster scanning speeds are helping the prepress workflow scream. BY MARIE RANOIA ALONSO Does it seem like the scanning market is standing in the conservative corner of digital prepress? Sure, glamorous, big-name PDF workflows are topics of industry discussion and intrinsic analysis, digital halftone proofing and digital platesetting devices duke it out for the time, attention and dollars of prepress executives and print production professionals—but what about the scanning market? Does anything scan-dalous ever happen to these image manipulators? As of