News

With workflow’s role widening beyond its previous confines of pre-media, there has inevitably been a closer focus on the parts of the process that remain resolutely in the pre-press realm, with proofing, platesetting and colour quality control becoming key areas of interest.

At Drupa, the two major talking points in this arena look set to be colour and plates. For those who are more interested in the latter, processless and chemistry-free plates from Agfa and Fuji, both of whom are taking the technology and its environmental benefits to violet plates for the first time, are the biggest news in plates. The firms will be showing actual products in Düsseldorf – not the technology demonstrations of Ipex 2006 – and they both expect to ship their violet chemistry-free plates by the autumn.

For the technically minded, the difference between processless and chemistry-free is important. In simple terms, processless plates get ‘developed’ on the press during make­ready, whereas chemistry-free plates use a gumming unit to remove unexposed parts, and so, the pedants would say, they involve a process, even if not a traditional processor.

“Environmentally, processless is best followed by chemistry-free,” says Fujifilm Graphic Systems marketing manager Graham Leeson. “If we could have made Pro-V processless, we would, but it isn’t practical. Due to its sensitivity, it would fog before you got it on press.”

Violet chemistry-free plates open the technology up to smaller printers that have the most to gain, and may even, due to the lower cost of a gumming unit than a processor, make it cost-effective for those firms that have yet to make the move to CTP.

Entering the mainstream
Since the last Drupa, the adoption of processless and chemistry free has been huge. Agfa’s plate product manager Mike Loose explains: “Chemistry-free is now mainstream. It’s gone from being of interest to B2 printers in Surrey to all printers up to B1 anywhere. The volumes we forecast for this year make chemistry-free a volume seller. Pretty much every new platesetter that goes in now has chemistry-free plates.”

If you need more evidence of the technology’s move to the mainstream, Fuji has put its money where its mouth is with a €96m (£75m) investment in a third plate line for its factory in Tilburg, the Netherlands, which will begin manufacturing Pro-V and Pro-T plates next year.

“This investment has been made in Europe because the environmental issue is more important here,” says Leeson.

Another sign, according to Loose, is that more firms are switching to processless plates without updating their hardware. It’s something he believes will prove even more popular for violet plate users. “Because photopolymer chemistry is so difficult to manage, if they can eliminate it, it’s a route people will take, and some silver customers will see this as an opportunity to change,” he says. “You go green, save money and eliminate the misery of managing chemistry.”

Notable in its absence from the race to chemistry-free violet technology is Kodak. The pioneer of thermal technology believes it still offers the best option for both processed and processless plates. That said, it is continuing R&D into violet technology, including what Kodak GCG pre-press solutions vice president of marketing strategy and business development Etienne van Damme calls “simple processing”. However, he believes the inherent sensitivity of violet plates to daylight makes them a less-than-ideal option.

Kodak will demonstrate an improved version of its Thermal Direct No Process plate at Drupa which, at twice the speed of the current product, will be near to the same throughput as processed plates. Van Damme sees that as “making no-process viable for larger operations”.

Despite these enhancements, the firm continues to develop its processed plates, with a raft of Drupa launches, especially for higher-volume users that are unlikely to reap the benefits of processless with current products.

Indeed, according to van Damme, Kodak’s focus is “stability in the print process, from imaging to the press run, and all developments have to be seen as part of that”.

So rather than focusing on processing, it is concentrating on how stable, consistent and quick platemaking can be. The firm is taking a systems approach, and in these days of increased importance of colour consistency, is highlighting the benefits of thermal plates and its Squarespot CTP imaging. It’s the message that it has promoted consistently since Drupa ’95.

At Drupa ’08, CTP manufacturers are primarily launching products that suit larger format presses: that is the 80pp and 96pp web presses from established VLF CTP players Agfa, Kodak and Screen and new VLF platesetters from Heidelberg to match its own new VLF presses. Aside from that, B1 machines continue to get faster and faster to meet the needs of firms running long perfectors, which need sets of plates in short order. Screen is currently the front runner in the battle for B1 speed by taking the double truck approach on one of its VLF machines spitting out 68 plates per hour, with Kodak snapping at its heels with B1 unit capable of 60 plates per hour.

You might be mistaken for thinking that proofing has taken a back seat, but it is alive and well with a raft of developments at the show. While there is an increased interest in remote and soft proofing, hard copy proofs are still here, much to the surprise of many people.

“We’re finding customers view soft and hard proofing as complementary, says Kodak product manager for halftone proofing, inkjet media and ink Geoff Kolb. “It’s a bit of a surprise, but there’s still a desire for people to hold something and a lot of value in comparing hard proofs with printed output.”

One reason may be that high-end soft proofing needs high-spec monitors, controlled lighting and extensive calibration and is still expensive to set up.

Setting new standards
Other developments in proofing include the increased importance of certification, to prove the proof’s veracity; the adoption of Adobe’s APPE RIP, to ensure data integrity with final output; and the drive for proofing to standard conditions such as Fogra 28 or 39, including the development of proofing bases that are matched to the print stocks used in these characterisations.

For anyone interested in standard print conditions, Fogra’s web2proof enables visitors to submit a test job for testing through a variety of workflows and proofing systems, and finally to output digital and offset print to check the results.

The adoption of standard printing conditions, based on ISO 12647, such as Fogra’s characterisations, are providing a benchmark for print and proof quality, and should make it possible to massively improve colour quality and consistency. This is opening up a new market, inhabited by the likes of Bodoni Systems, GMG and Mellow Colour to offer tools that allow anyone in the workflow, from the buyer to the printer, to check colour is as agreed, whether it’s the final result, the proof or the supplied file.

While the news in plates may be eliminating processing to make life simpler and aid the environment, in colour control, it’s all about adding tools that make the process more visible and easier to control.

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PRE-MEDIA: PLATESETTERS

Agfa
www.agfa.com
Hall 8a/B63
A new range of B1 and VLF thermal platesetters get their debut at Drupa. The Avalon N series comprises the B1 N8, the VLF N16, N24 and N36, and will be joined later in the year by the N40 and N48, suitable for the latest 80pp and 96pp web presses. The N is available in a range of speeds from eight to 50 plates per hour. All machines come with internal punching and have the option of manual or fully automatic plate loading with one or multiple plate cassettes.

Beijing Founder Electronics
www.founder.com.cn
Hall 5/B24
Founder will be showing its “affordable” 20 plate per hour violet platesetter, the EagleCTP, which it says is compatible with violet chemistry-free plates.

ECRM
www.ecrm.com
Hall 9/C56
Improved environmental performance is at the heart of ECRM’s offerings, with higher-powered 120mW diodes capable of imaging the new chemistry-free violet plates from Agfa and Fuji fitted to its Mako range of metal platesetters. The range includes the B2 Mako 2x, B2 Mako 4x and B1 Mako 8x. In addition to the capability of exposing chemistry-free plates, which will include a demonstration of Agfa’s Azura V at the show, ECRM is highlighting the low power consumption of its violet diode machines compared to thermal rivals, which it claims use up to 19 times more energy. Also on the stand will be its B2 polyester machine, the DPX 4 Eco, which cuts chemistry consumption by 50%.

EskoArtwork
www.esko.com
Hall 8b/A23
Two new members of the firm’s Cyrel Digital Imager (CDI) range, for large-format flexo plate and sleeve exposure will be on show. The Spark 4260 Auto can handle plate sizes of up to 1,067x1,524mm (42x60in), taking just 12 minutes due to its 8m² per hour throughput. It will be shown with automatic plate loading, imaging and unloading in conjunction with inline UV main exposure and back exposure as part of an automated flexo platemaking line with a DuPont Cyrel Fast TD 4260 plate processor. Esko will also be showing the CDI Advance Cantilever for exposing large-format flexo sleeves. The cantilever air cylinder allows for fast exhange of print sleeves without additonal handling equipment. In addition to sleeves, the machine can also handle plates up to 1,270x2,032mm.

Fujifilm
www.fujifilm.co.uk
Hall 8b/A25
A new high definition (HD) option of the firm’s B2 Luxel V6 machine is being launched to coincide with the availability of the violet chemistry-free plate. The V-6 HD supports conventional screens with 1-99% dots and 20 micron spot sizes for FM screening across Fuji’s whole range of plates.

Heidelberg
www.heidelberg.com
Hall 1 & 2
The big news in CTP from Heidelberg is that, well, it’s going big in CTP. To complement its move into VLF presses, with the XL 145 and XL 162 presses, are the Suprasetter 145 and 162 thermal platesetters, which are capable of up to 35 plates per hour. Additionally there is the Suprasetter 190, which is capable of handling plates up to 190cm wide. To feed a barrage of different presses, a six-cassette autoloader with a 600 plate total capacity is available, as is internal punching. Heidelberg is promoting its tight integration between press and pre-press with its Plate on Demand technology that initiates plate production from the press console.

HighWater Designs
www.highwater.co.uk
Hall 9/D26
HighWater will be showing it’s full range of platesetters including the new B1 Cobra 8. It and its B3 baby brother, the Cobra 2 and the semi-automatic B2 Python, now feature a “future-proof” 120mW violet diode, which should enable them to expose the violet chemistry-free plates being launched at the show.

Kodak
www.graphics.kodak.com
Hall 5/D01
The Magnus range of thermal platesetters is getting bigger and faster. A new high-speed version of Kodak’s B1 machine, the Magnus800Z Quantum, can produce up to 60 B1 plates per hour and has the option of automatic plate handling for up to 500 plates online. Higher power also means more consistent imaging, which the firm claims means it can support its ultra-fine 10 micron Staccato FM screening. To support the latest 80pp plus web presses, Kodak has launched the Magnus XLF 80 Quantum, a semi-automatic machine with a maximum plate size of 1,296x2,260mm and throughput of up to 48 plates per hour.

Punch Graphix
www.basysprint.com
Hall 8a/D25
New B1 and B2 versions of the firm’s UV-Setter conventional platesetters, the 800 and 400, will be on show. Available in a full range of configurations from manual through semi- and fully automatic versions with single or multi-cassette autoloaders, Punch continues to take its contrary approach and claims the new machines stack up economically for printers with plate requirements of 4,000m² per year and up, and are especially attractive to higher volume users.

Screen
www.screeneurope.com
Hall 8b/A61
Bigger is better for Screen’s Drupa CTP range, with two new large format machines suitable for the latest high-pagination web presses. The Ultima 48000 (see star product above)can output plates up to 2,900x1,350mm in size, for 48pp sections suitable for the Goss Sunday 5000. For the latest 80pp webs, the firm has launched the 40-up PlateRite Ultima 40000, which can output onto 2,280x1,600mm plates. Screen has upgraded its top-end B1 platesetter, the PlateRite 8800, with new faster versions that output 28-51 plates per hour, depending on the model. For firms demanding even higher-speed B1 output, it is promoting the double track output on its VLF PlateRite 24000, which can race through 68 plates per hour, or fast enough to make a set of plates for a 12-colour in the time it takes to make the press ready. In addition to bolstering its litho CTP range, Screen is also adding a second flexo machine. The PlateRite FX1524 is aimed at the folding carton and flexible packaging market and has a format of 1,067x1524mm.

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PRE-MEDIA: COLOUR MANAGEMENT AND PROOFING

Alwan Color Expertise
www.alwancolor.com
Hall 7/7.0C
New versions of the firm’s server-based colour management package Alwan Color Processor and separation optimisation tool CMYK Optimizer will be on show. Version 3.5 of CMYK Optimizer focuses on ease of use for the non-expert and is split into four versions to suit the needs of different players in the workflow from photographers to printers.

Bodoni Systems
www.bodoni.co.uk
Hall 7/7c
PressSign Pro offers printers simple-to-use tools to hit ISO 12647 and now it can integrate with on-press spectrophoto­meters and provide verification on a day-by-day or even job-by-job basis (see star product on p38).

CGS Publishing Technologies
www.cgs-oris.com
Hall 8b/A40
New versions of the firm’s Oris range of colour and proofing management and verification tools will be launched. Oris Color Tuner Web allows Oris Color Tuner, Oris Soft Proof and Oris Cetrified Proof to be managed remotely via the web, which the firm claims is becoming increasingly important with the rise of soft and remote proofing, and especially with printers and proofers with embedded colour measurement devices for closed-loop control.

Fogra
www.fogra.org
Hall 5/ A02
If you’re interested in tuning your entire workflow to hit the Fogra 39L flavour of ISO 12647, Fogra’s web2proof scheme allows you to check products from 20 vendors from PDF creation to printing (see star product, p43)

GMG
www.gmgcolor.com
Hall 8b/ A11
For firms that require an RGB workflow at the last possible moment, GMG will show what it terms ‘ColorMaster in a box’. Also new is GMG Connect, which permits the integration of GMG products into third-party workflows including Kodak, Esko Artwork and Dalim. All GMG’s proof products get a makeover, which includes the use of APPE as the core RIP. The firm will also be showing PrintControl for managing standard print conditions and RapidCheck for colour pre-flighting.

Kodak
www.graphics.kodak.com
Hall 5/D01
At the heart of the firm’s proofing range is the Kodak Proofing Software, an Adobe-based RIP that drives inkjet printers and its Approval halftone proofer. Kodak claims a continued interest in halftone proofing from the packaging market and will have new wide-gamut donors for that market and a cutting and creasing table for producing mock-ups. At the other end of the proofing line-up, its soft proofing tool Matchprint Virtual gets a new advanced spot colour fidelity module, which although primarily aimed at soft proofing for packaging applications, also has uses in commercial workflows.

Mellow Colour
www.mellowcolour.com
Hall 9/C78
PrintSpec, the firm’s colour control and verification tool, gets an upgrade at the show. New features for the PrintSpec Colour QA Manager and PrintSpec Colour Consultant include support for calibration using dot gain (TVI) or grey balance, curve tuning, and a neutralise tool for generating dot gain curves that ensure neutral greys. Mellow Colour is also promoting its Proficient Printer Program, which highlights firms that have training in the use of ISO 12647 and use the PrintSpec tool to control their colour quality.

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PRE-MEDIA: PLATES

Agfa
www.agfa.com
Hall 8a/B63
Chemistry-free is Agfa’s focus, with both its new violet plate, Azura V, and an improved version of the thermal verson, Azura TS. Azura TS is 50% faster than its predecessor and features improved image contrast to make visual inspection easier.

Fujifilm
www.fujifilm.co.uk
Hall 8b/A25
Fuji’s big news is the commercial debut of the chemistry-free Pro-V (see star product, p30), joining its Pro-T processless plate which, with 2,000 installations across Europe, has proved to be such a hit since Ipex. For higher-volume users for whom processless is still not viable, Fuji is promoting its Z series processors that reduce chemistry and energy consumption for processed plates.

Kodak
www.graphics.kodak.com
Hall 5/D01
A new version of the firm’s most popular thermal plate, Electra, will be launched. Electra XD replaces Electra Excel and is claimed to be faster, more robust on press and have a higher resolution than its predecessor. Run length, according to the firm, is “easily doubled or trebled” into the hundreds t of thousands and the plate has improved chemical resistance for some UV printing applications. Speed is up by 20-25% and the new plate supports 10 micron FM screens compared to 20 micron of Excel. For UV application, a new version of Sword, Sword Ultra, gets an airing and for newspapers ThermalNews Gold will be launched. Despite not majoring on no-process there will be a technology demonstration of the next generation of Kodak’s Thermal Direct plate, which promises to be twice as fast as the current offering, and is expected to be available next summer. As part of its packaging push, Kodak will show Flexcel NX, its flat-topped dot thermal flexo plate capable of supporting 200lpi screens.

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PRE-MEDIA: RIPs

Compose System
www.compose.co.uk
Hall 9/D26-1
Compose System’s Express WorkFlow has been upgraded to the latest version of the Harlequin RIP and support for JDF job tickets. New products include a simple workflow for the flexo and packaging market, and version 2 of its newspaper system NewsFlow.

ECRM
www.ecrm.com
Hall 9/C56
An updated version of ECRM’s RIPMates RIP that uses the Harlequin Plus server RIP will be on show. RIPMates is one of five modules that make up the firm’s modular WorkMates workflow, a new version of which will be launched at the show.

Global Graphics
www.globalgraphics.com
Hall 7/7.0D
Global Graphics will be on hand to talk about the latest version of its Harlequin RIP, whose longstanding native PDF handling is bolstered with support for the latest version 1.7. Workflow features include support for JDF 1.3. The other key new feature is native handling of Microsoft’s XPS format. Products including the latest release will be shown by a number of the firm’s customers incorporated into their RIP and workflow products.

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PRE-MEDIA: SOFTWARE

EskoArtwork
www.esko.com
Hall 8b/A23
Studio is a new plug-in for interactive 3D packaging design within Adobe Illustrator, which is the next generation on from Esko’s DeskPack 3-dX concept. The firm will also be introducing Studio Toolkits, a collection of supporting simplified structural design solutions for folding carton, corrugated and flexible packaging.

FFEI
www.ffei.co.uk
Hall 7a/B19
Drupa will be the first big show for UK-based FFEI, following its MBO from Fujifilm in November 2006. The firm will use the event to preview its RealVue 3D tool (see star product).

Quark
www.quark.com
Hall 9/A44
Quark will demo its Dynamic Publishing System, which builds on its DTP heritage to provide a multi-channel publishing platform for flexible automated publishing across print, web, mobile and other electronic devices. It will show how a combination of desktop and server software can automatically format the same information for different media.

OneVision
www.onevision.com
Hall 9/A22
Automated image enhancement tool Amendo will be the star of the OneVision stand. Automatic adjustments include colour, tone and size. If required, the automatic adjustments can be held and reviewed and, if necessary, edited in OneVision or third-party software.