In a two-part series, WhatTheyThink.com presents the details of All System Integration’s exciting new pre-media tools that range from file delivery systems to successful soft-proofing processes that enhance overall workflow processes. In part one, Steve Shinnick, founding partner of ASI, describes the key tools to successfully integrating a critical color digital proof process at one customer's catalog design office. Part Two will focus on ASI's launch of RipFarm and other new tools that turn the Internet into a virtual design and pre-press space.

Steve, as background, please explain the integration philosophy at All Systems Integration and how you and your colleagues approach client workflow challenges.

ASI services the digital plumbing infrastructure requirements of distributed pre-press and computer to plate workflows. We are dedicated to utilizing open architecture to build these systems and are not wedded to certain products unless they can deliver. We want our clients to invest in technology instead of being sold technology. Our goal is to build a system to get the right data to the right place securely at the right time with the least amount of effort. That means building workflow components garnered from across the industry.

Take digital color proofing, for example. As little as six months ago critical technology for useable press-quality digital proofs was unavailable for commercial use. But finally, after years of solicitation by clients, user groups and integrators like ourselves, certain critical pieces of technology have become available commercially. The key is putting all these different pieces together to form the solution. Most people try to install an all-inclusive, one-vendor solution to ICC profiling, remote workflow, and other building blocks to creative production. We believe that no one vendor has all the pieces.

Well the industry certainly has struggled for years with perfecting digital proofing. As we have known the process, getting critical, press-specific adjusted color proofs from RGB input has kept many customers from totally investing in an all-digital workflow. No matter how sophisticated, converting that RBG image into a usable press proof was problematic at best. Describe the technology and workflows that you have developed at ASI that break that color barrier.

We approach the technology by solving problems in each phase of the creative process from the front-end, capturing data, to the middle, processing data, to the back-end process of outputting data. We also address the file transfer process, using LAN/WAN and Intranet or Internet, as a communication function connecting the processes.

The first process is capturing image data -- in this case, RGB digital color camera data or high-end CCD (Charge Couple Device) or PMT (Photo Multiplier Tube) scanners. There are many devices to input data, and all vary in quality of the optics. The first decision is to spend the right amount of money on the right quality of capture device. Cheap devices do NOT produce high-quality color. These devices use three-piece optics, or the primary colors of RGB (Red, Green, Blue), which offers the greatest range of color capture. When a user purchases a high-end capture device, that is all it should do: capture data.

As you know, traditional scanning would tweak the controls directly on the camera software or the scanner to create a CMYK (Cyan, Yellow, Magenta & Black) separation on the fly, and prepare the image for matching traditional process press inks. RGB is quite different. The two color spaces do not share the same ability to create color ranges. RGB color space is much larger and therefore is able to create approximately 65,000 levels of gray instead of the 256 levels of gray with CMYK color space.

Since the CMYK space is so sensitive to modification, it takes years of critical color experience to make any changes, as any conversion of RGB to CMYK throws out most of the color value (levels of gray) of the data at the very front of the process. If it is not right at the front, it is very difficult to modify color in CMYK color space. Therefore, we capture color in the more robust RGB color space, both in cameras and on scanners.

We are not suggesting clients use consumer quality digital cameras to capture color. High-end Leaf, Kodak, and Nikon cameras are excellent choices. And Gretag McBeth now has a very good, high-end camera target. We use the camera or scanner and shoot the target and capture data to a Macintosh workstation in RGB. RGB has multiple types, but we acquire color using the Kodak ProPhoto RGB option. This is a commercial format with its own unique characteristics, but meets the largest need, which is to be consistent across multiple devices. Kodak is the most flexible format we have used to date in getting color all the way through the process. We also use a high-end spectrophotometer to measure color. This is about $15,000 worth of hardware and software, again from Gretag. By using a Gretag target and a Gretag measuring tool set, we can have consistent measurement of data from input to output.

Now that you’ve identified and used the best image capture devices, how do you better convert the RGB data to printable CMYK?

Next, using new Photoshop 6 – using this version is very important to maintain color space selection, we set up custom RGB to CMYK separation tables which do two things. First, we virtually shift the capture data to Vir CMYK for soft proofing on a workstation monitor. In this case, we use a Spider Occluder to calibrate a LaCie 22" Blue Mitsubishi Diamontron monitor. These RGB monitors then can "soft proof" RGB data as Virtual CMYK allow the customer to see what he’ll get on press. This does not convert the data permanently, just for the viewing.

At this point, we would have been on site at the client’s commercial printer and have already pulled press and proofing samples and developed the targeted press profiles. Since we know the ink density and print range of the presses and the related proofing equipment, we can then constrain the capture devices and manipulation workstations to stay inside of the printable ranges of the proofing and press equipment. We then generate a separation that also respects the constraints of the output. We never pass along color that can not be proofed or printed. We create a closed – and printable -- color loop.

Using this new workflow and the "virtual CMYK" technology, you recently integrated the techniques with one company's catalog production offices. Can you walk us through the integration there?

In most of our integrations, a customer installs capable technology prior to the printer, or a cross-media publisher acquires technology as a means to precisely reproduce client work. In this case, there was a need for technology transfer at the client site. We have been working on a knowledge retainer basis with the printer since the mid 1990s to help bridge any technology gaps that exist between our clients the printer and their respective clients.

The client, who produces a high-end jewelry catalog had a typical Polaroid composite instant photography set shot workflow. Other than ease in composition, the staff was getting limited value from the $2 of film and the related production time to produce the shot. They had asked their printer, which employs cutting-edge prepress technology, to help convert their production process to digital set shots utilizing virtual CMYK soft proofing. When originally purchased, the client had thought they would begin to get some production use of the camera, a Leaf Volare. They also expected to immediately benefit from the promises of reduced costs and time to print. However, after using the camera for several projects – and without any specifications from the printer’s designated – they were requiring major color corrections to get the color balanced and ready for print. Minor balancing worked out to be retouching; staff expectations were out of balance and costs were adding up.

The printer took the lead in engaging us in bridging the gap. First, we produced a Gretag target off the Kodak Approval XP4 proofing device at the plant from a series of customer camera test shots in various color ranges. Second, we made a Photoshop 6 conversion profile to accommodate the catalog's color and print requirements. This included using a Color Cal-Spider monitor calibrator to profile the printer's retouch stations – a LaCie-Blue 22 and a Mitsubishi Diamontron.

Now we had a spectrophotometer reading of the Kodak proofer output and the printer's monitors profiled in that space. We then deployed the same profile against the monitors at the client’s New York production offices so both client and vendor would be viewing the same color on monitors calibrated to press specs. Since the client used an Epson 5000 at its site, we also used the their press profile to generate calibrated proofs from the printer's Epson 5000, which we had adjusted to simulate their Kodak Approval. We attached an NT ICC Best Rip to accelerate output – the same Rip that the client used on its Epson.

Now, with the same equipment set up at both the client and printer sites and each using the Kodak Approval, press-specified targets, we were ready to test the system. The Best Rip would apply the designated web press profile.

We shot 36 shots on the client’s Leaf camera, capturing data in Kodak ProPhotoRGB. We viewed the images on the printer’s calibrated monitors using Photoshop 6 Virtual CMYK filters for soft proofing. The files were then output to their Epson 5000 and Best Rip, which used the Kodak Approval output profile, web press-calibrated. This proof not only matched the monitor, but represented printable CMYK.

Approximate how much time and cost savings can the client expect to experience with their new digital color workflow?

We’re still in the process of evaluating overall savings, but everyone has agreed that the savings in both time and money are very significant. . We will continue to gather data on the return on the investment. In essence, what could take days – capturing RGB data, time-intensive color balancing in CMYK, and other corrections to ensure quality expectations can be met on press – can now in theory take hours with the Virtual CMYK and proof calibration process. The most important element was met: getting quality, printable RGB off the camera and having it be consistent. We can finally say we’ve "broken" the printable digital color barrier.

Steve, thanks for sharing this exciting case study with us. We’ll look forward to hearing more about digital workflow enhancements from ASI.