The price war between TV2 and TiptopTV
enters the next round: The latest issue of the Ringier magazine
TV2 now costs just CHF 1.40 at the newsstand. Even the first issue in the
September was
for only 2 francs and not as originally announced for
2.40 francs - in contrast to TiptopTV's starting price of 3 francs.
In October, its publisher, the St. Gallen-based HM Verlag,
followed suit and also lowered the price to CHF 2. In the
Subscription was TiptopTVwith 50
francs used to be cheaper. Now this has also changed. The new
Annual subscription price for TV2 35 francs, for subscribers to Blick,
Sonntagsblick and Teleclub even only CHF 29. This means that
TV2 continuously downwards on the price scale, and the price forecast for the beginning of
The kiosk price of 3 francs targeted for 2006 seems to be falling further and further behind.
the distance.

Competition Kristian Widmer, Head of Condor Commercials and
Managing Director Condor, on dreams of Brazil.WW: Could a collaboration with Mixer become an issue for Condor?
Kristian Widmer: Mixer has contacted us
and presented a portfolio from their acquisition perspective. We
are never averse to expanding our network. In the service of our
customers, however, we also see it as our duty to
Basis of all information not only the pros, but also the cons
carefully. A blanket statement such as "in Brazil everything is
better" is therefore somewhat borderline.

WW: Does Condor see foreign competition as a threat?
Kristian Widmer: The
Possibility that Brazil is the production location or filming location Switzerland
dangerous is therefore just as low or high as the
Possibility that South Africa, Hungary, Romania or Dubai will follow Switzerland
could become dangerous. If you are a Swiss producer abroad
knows that people abroad only boil with water.
Anyone who deals with water will realize that the
Quality of Swiss water internationally the longer, the stronger
becomes an issue. That in our seemingly globalized world again and again -
of foreign film companies - to the wonder explained benchmarking from
cost of living index, currency comparison and weather table is one of the
standard homework of every experienced, capable film producer, is
but only a small part of the toolbox of a professional
Advertising film production.

WW: What can Brazil offer?
Kristian Widmer: The
Brazil as a filming location offers a lot of everything. The number of nice people -
some of them very talented - and the number of locations are almost as
high as those of the risks. Just under three weeks ago in Rio, a
German production, all the equipment was stolen. That means
Costs for security. The virtuoso interpretation of Portuguese law
in the compensation of locations and extras, semi-legal money transfers
to countries other than the location of the local production company and
Floating production budgets despite agreed flat-rate deals are
other risks. However, nothing can be generalized: Every
Every commercial has its own individual requirements profile. This includes the
the right director, the right location with the right partner to
The right place at the right time. That place could be Brazil. Or
neither.

WW: What conclusions do you draw under these circumstances?
Kristian Widmer: As
agency, I would recommend the decision for a foreign filming location to a
local and established film production. This brings the
agency has two important advantages: Only a local film production feels
is committed to the local agency in the long term. And only
An established film production is able to demonstrate the consistency of its
recommendation and by assuming responsibility for production
The budget managers on the agency side are also responsible for a foreign shoot.
to a relevant extent from the risk.

Interview: Andreas Panzeri

Column The main thing is to get the facts right:
Editorial offices are only too happy to eat out of the hands of PR consultants without
I never lie," the PR consultant said to me.
at an advanced hour. "I only shape the truth!" Lying is stupid
and uneconomical. Because you usually get caught lying,
because in an open society there is always someone who can help you.
contradicts. The art of shaping the truth consists of emphasizing and
concealing, emphasizing and omitting, accelerating and delaying, sometimes in curls and curls.
Stimulation, including playing off competitors.
After an hour and a half of reading the paper on Sunday morning, a mere
average newsworthy day after the 2:0 win for the Swiss
national team against the Turks, it quickly becomes clear who is
most skillfully directed. First prize for the Bishop of
Solothurn for an outright impertinence. The for months
He selectively slips the indecently withheld statement on the Röschenz case into the weekend's news gap
fill: quotable original sound on DRS 1 ("Samstagsrundschau"), more in-depth information on "NZZ am Sonntag".
The place of honor goes to PR consultant Andy Bantel, currently on the road for
the Kronenhalle Foundation. He has succeeded in all three
Sunday newspapers to launch the consistent message that the
Parties in the pending inheritance dispute are on the way to reaching an agreement. Whether
Here the wish was the father of the thought, the attentive reader can
at best, because all three editorial offices have given the enterprising
PR man eaten out of the hand and no research of his own
employed. This is how the professional "shapers of truth" at the
favorite.
Two random examples of a mega-trend. Up to 80 percent of
current content in our media are through "public relations",
i.e. influenced by the interest-based information industry. The fact that a significant part of daily
Information and opinion menus from convenience food and
semi-finished products from the PR kitchens, now has a new
Chair of Journalism Studies at the University of Leipzig
study once again confirmed (quoted here from "Message" 4/05,
p. 52 ff.).
For one week at a time, the researchers analyzed the input and output in
three state capital offices of the German Press Agency (Dresden,
Düsseldorf and Stuttgart) and their branch offices and
spoke to 38 editors and employees at the same time. In these
three control weeks, all offices received a total of 1147 PR texts.
national and international institutions and authorities,
Private companies including media, cultural institutions, political parties
and associations. 17 percent of this input was utilized, after all!
This material was used by the aforementioned offices for more than half of the
of their entire news production. Only just thirty percent of the
The entire production was based on our own research on location and even
attended press conferences.
In 88 percent of the cases in which DPA took over a PR report, DPA made
They also adopt their core message: In every fourth report
lacked clear identification of the source. And 87 percent of the
The contributions initiated by the public relations department were one-source stories,
i.e. there were no confirmations from second or third parties.
nor conducted further research (just as in the case of the
Kronenhalle).
Among the explanations provided by those responsible for this is
This one is probably the most obvious: "You simply have to rely on
that the facts are correct, at least for uncontroversial issues, and that
the
Data reasonably objective
are. Otherwise you might be able to work on one topic a day and then the whole thing collapses
system."
PR input is the low-cost background noise of everyday media life. Its
Exploitation by agencies and editorial offices is neither good nor bad,
but normal operation - provided that the resources of the editorial offices
are at least still sufficient to ensure the production of the mostly lush
PR apparatuses for what they are: Sources,
from which the professional journalist can draw with interest and skepticism.
ideally provides the material for in-depth questions and
Clarifications.
The reality of day-to-day editorial work is, as the Leipzig
study has once again shown, another: Journalists
are increasingly functioning as ghostwriters for the PR apparatus. And they
suppress this inglorious fact by, among other things
arrogantly separate themselves from them.

Karl Lüönd is a journalist and until the end of the year was head of the Media Institute of the Swiss Press Association.

The Swiss Media Handbook Imprint
is to be published in electronic form in future. As
Joint production of the Swiss Press Association and the
Medienverlag Persönlich will publish the handbook on Persoenlich.com
be retrievable. In addition to the address data of Swiss
Media companies primarily provide information on editorial and
and other responsibilities in the editorial department and in the
Publisher. Publishers can change the published data themselves at any time.
update and change. The rights for the imprint were granted by the association
Swiss press acquired. All Swiss publishers will be
and asked them to confirm the data recorded in the system.
control and complete. The aim is to create a complete,
electronic reference work on the editorial offices and publishers of the
Swiss print media.

TV advertising I Head of Sales Bea Kniel on changes at Publisuisse.WW: Why and how has the Publisuisse sales organization been changed?
Bea Kniel: The
The last time the Publisuisse sales organization was
years was reviewed and adjusted. This was done as part of the relocation
from Bern to Zurich. In the meantime, the requirements of the
market as well as Publisuisse's business continues to change. We
Today, in addition to our core business of TV advertising, we also market
Radio/TV sponsorship and screens in French-speaking Switzerland.
We have expanded the five AccountTeams, which are based in the German-speaking part of Switzerland on Berne and
Zurich were distributed and classically divided geographically to three
Key account management teams reduced. These now each consist of one
Key Account Manager, one Account Manager and three or four
media planners. The breakdown in support is according to the
customer needs, i.e., all advertising clients who have been
book us through an online agency as well as our direct customers will be
by different teams. We have moved the Bern team to Zurich
relocated. French-speaking Switzerland and Italian-speaking Switzerland will each be served by
a key account management team in Geneva and Lugano, respectively.

WW: What can advertisers expect on the supply and rate side in 2006?Bea Kniel:
You can expect stable prices across the entire range. In
individual timelines, adjustments were made against the top as well as the bottom
made. In the 2006 offer we can offer the following innovations:
In addition, 90 percent performance guarantee for the target group 15 to 59;
Triple occupancy in the same block; 100 percent performance guarantee.
planned on the new early evening slot for the target groups 15 to
24, 15 to 34 and 15 to 49 on TSR2, from January to June; uniform
Offer periods across all TV channels; last placement with a
Surcharge of 20 percent; more flexible booking up to four days before
Broadcast; TSR sponsorship marketed by Publisuisse and screens
Marketing in the French-speaking part of Switzerland.
Conclusion: New performance guarantee, more flexibility, new possibilities and new program contents without price increase in 2006!

WW: Should the advertising regulations be amended to favor
of greater flexibility be relaxed? If yes, which area
would be most urgent?Bea Kniel:
In principle, we at Publisuisse are interested in the most liberal
Advertising regulations interested in the interests of advertising clients. In the
new RTVG, there are a few restrictions to this, which were imposed for political reasons.
considerations have been taken into account. Compared to the old RTVA, it seems
but no "revolutions" have taken place. The decisive factor will be the
future design of the RTVV (Ordinance).

WW: Are there any major events coming up that can be put together into cross-media packages?Bea Kniel:
With the Winter Olympics in Turin and the Football World Cup in Germany, there are
is offering two highly attractive events in 2006. For both are
Cross-media packages put together.
Interview by e-mail (rw)

Associations With over 50 satisfied
participants attended the first SME conference of the Media Institute in
Winterthur a nice initial success. The Swiss Press Association wants to
What larger companies with their own staffs can do is continue along this path.
or the use of external consultants must be tackled on a small scale.
and medium-sized publishing companies are often characterized by the famous mixture of
intuition and improvisation. That is why
practice-oriented working aids offered by the association, double
in demand and welcome. Such knowledge transfer to the "best
practice" basis, i.e. on the basis of successful examples, is also
in the logic of the new association structure introduced two years ago,
which no longer distinguishes between operating modes and sizes, but
by subject area (departments). With the first ever
SME Conference, the Media Institute has continued its function as a platform
of the Association for Training and Quality Promotion and
extended to a new subject area. The fact that more than fifty
participants expressed their interest was a pleasant surprise and the
expectations were clearly exceeded. The same can be said of the
The entire conference will be held, with the external framework also changing,
In particular, the conference venue - the Casino Winterthur - proved its worth.

Added value through prominence
Under the skillful and winning leadership of the consulting and
sales professional Duke Seidmann (Dukebox Zurich), the participants were
with requirements, examples of success and questions from practice
confronted. The topic of the day was the appropriate organization of the
advertising sales and the positioning of the SME publishing house in the not quite
uncomplicated market structure.

Help came from competent and prominent guest speakers. Sarah Hammami
(Managing Director of Mediaxis AG) gave tips for the professional
Processing the media agencies. Two workshops were held in parallel to discuss
target group selection with AIS (Stephan Wyss, Project Manager Wemf) and
on the cooperation between advertising directors and publishers in
Leasehold securities (Otto Meier, CEO Publicitas and Marcel Siegenthaler, CEO
Edipub SA) informed.

In the afternoon, three recent success stories were presented.
presents: TV star of Jean Frey AG (Patrick Knecht, advertising manager),
NZZ am Sonntag (Marcel Kohler, Advertising Director NZZ Media AG) and
Walliser Bote (Jörg Salzmann, Publishing Director). Finally
Andreas Prokesch, President of the Art Directors Club Switzerland, is in the mood for
an in-depth examination of media self-promotion. This
He succeeded so well that this topic was included on the evaluation sheet.
clearly leads the "theme hit parade" of the next conferences. Between the
presentations, Duke Seidmann made "ten stumbling blocks to sales success"
and provided the attentive audience with concrete information about the
Information and handouts for target setting, the
sales planning, the bonus and commission issue, coaching, the
mixed forms of advertising, inbound sales, control, the
Sales documents and sales rhetoric.

Future theme hit parade
At the end of this busy day, the participants -
not unlike an ADC judging - the best self-promotion campaign
from publishers. Clearly at the top of the list were the elegant
The NZZ am Sonntag used a play on words in an article published by Publicis
long-term strategy to convey the message of the intelligent
reading pleasure across the ramp. The campaign was launched with two
Free advertisements in the trade journals Werbewoche and Persönlich
thanks to the two publishers who have contributed to the success of this
generous gesture to support the SME activities of the Media Institute
have!

The evaluation of the event has shown that in future one to
two SME events of the same type per year are desired.
According to the company's own advertising, the focus is on the following topics
Sales training,
Reader marketing, dealing with special requests and editorial marketing, CRM (call center).

Karl Lüönd
Karl Lüönd is Head of the Media Institute of the Swiss Press Association

Spirits Just like the miracle thing with 42
Herbs and 29 percent spirit as an Appenzell specialty
the format size also seems to have changed in the last few years.
advertising into just such an advertisement. If the customer shoots for
such an oddity, it can also lead to a funny
playground, as the current campaign series proves. On
The agency FCB Leutenegger Krüll used the new patrol advertisements to
Herbal essence, serving suggestion and table of contents ironically in epic
Length.

The Board of Directors of Tamedia has
decided to divide the Newspapers division into the Newspapers
Newspapers Zurich and Newspapers Switzerland. This split
the acquisition of Huber & Co. and the forthcoming
regionalization of the Tagesanzeiger and the expansion of 20
minutes back to French-speaking Switzerland. Rolf Bollmann, designated
Publishing Director of the Tages-Anzeiger, becomes a member of the
Management and Head of the Zurich Newspapers Division, who is responsible for the
Tages-Anzeiger, the Tagblatt of the city of Zurich, the Uster Nachrichten,
the Tamedia job market and the real estate and vehicle market
includes. The Tages-Anzeiger editorial team and publishing house will report in future
directly to Bollmann, but the editor-in-chief will remain
was published by the publisher Hans Heinrich Coninx. Christopher
Tonini, Head of Finance & Services, will also take over the
Newspapers Switzerland division, which includes 20 Minuten, Huber & Co. and the
SonntagsZeitung and the investments in Berner Zeitung,
Landbote and Homegate. The changes relate only to
organizational allocation and are intended to ensure external accounting
not influence.

The image of the country of Liechtenstein
Germany, Austria, Switzerland and the USA as before
be added. France has now been added to the list. According to a
press release, the Image Liechtenstein Foundation decided to
headed by Prime Minister Otmar Hasler. Following the implementation of the
The first communication concept developed in 2002, the new
concept forms the basis for a further five years of communication work.
In this way, the image changes achieved since then are to be consistently
be secured and promoted. The Liechtenstein brand is to be
abroad and part of everyday life at home
become. The country's new self-confidence is to be expressed diplomatically,
cultural and economic level.

Brands For Erich Kienle, Head of Marketing
of Emmi, is not the innovation of Markom, but of the product
central to innovation marketing. WW: On
Eastern Switzerland Forum of the Swiss Marketing Confederation (SMC) you call
together with other experts to take advantage of the opportunities in marketing.
Innovation is one of Emmi's cornerstones of success. How would you
Erich Kienle: At Emmi, innovation is a position of success that
is lived by all departments. Lots of experience, sweat,
Enthusiasm, patience, perseverance and a lot of entrepreneurial spirit.
Risk provides the necessary portion of luck.  

WW: Success is often cited as the greatest enemy of innovation. What is Emmi doing to combat the lethargy of laurels?
Erich Kienle: A
After every victory, a good athlete wants the next one. After the
regional, the national, after the national the international ...
No, I don't know any laurel lethargy.  

WW: cyclical
trading-down brands and products have also gained ground in Switzerland.
and particularly strongly in the food sector. Is innovation
Your answer to this?
Erich Kienle: Absolutely.
Performance is more important than promotion. We always have to come up with new concepts
again arouse emotions and create added value. The flat
Market development can only be translated into new growth through genuine innovations.
be led. We tackle new opportunities dynamically and persevere
not in defense of what already exists.

WW: Straight
The daily consumer goods market is increasingly dominated by the
private labels, some of which you produce yourself. How Emmi succeeds
This balancing act between branded product brand and manufacturer for
Private labels?
Erich Kienle: By
we fully perceive the competence of a manufacturer and branded products
that justify a truly unique position. The markets
are becoming more and more international and the concepts today must
performance to achieve success throughout Europe, Caffè
Latte and Choco Latte are now available in 14 countries.

WW: You
hard discounters, which are now also spreading in Switzerland
for the economic stagnation in Germany.
because their price war stifles any innovation.
Is Emmi not also benefiting from this trend if the
Consumer selectively the
luxury dairy product from your brand?
Erich Kienle: The
Emmi brand stands for outstanding Swiss quality. This "plus in
Enjoyment" is what a broad section of the population wants, and we sense that
In Germany, too, Emmi is increasingly becoming a cult brand. Good
Quality dairy products are a luxury that you should treat yourself to every day.
should.

WW: Then Emmi will never have a
cheap line.
Erich Kienle: Not under the Emmi brand and not with its original recipe.

WW: Unlike with product innovations, however, Emmi seems to be more successful in marketing communication and in the
Especially in advertising, we rely on tried-and-tested and conventional
testimonials or sponsorship of DJ Bobo tours. See
no contradiction in that?
Erich Kienle: At
innovative approach lies in the concepts and does not come to life through
the gag in advertising. We have made very good progress so far and
very much live the "return on marketing", which means that we expect
efficiency of our communication, in other words: sales success before
Advertising prices.

WW: This means that the marketing of
innovations can be achieved in the conventional way.
Erich Kienle: Of course I am a friend of extra-
ideas, for products as well as for advertising. Take
our TV commercials for Aktifit or Creation yogurt; I think this is where
good advertising ideas behind it. But I must confess that I am
would love to be surprised more by really good
Advertising ideas. I am happy to admit that our
Caffè Latte campaign is an advertising idea of a conventional kind, but
She did an extremely good job. This is where I get my fun out of the
good sales figures and not from the funny commercials.  

WW: Since
In 2000, sales and personnel almost doubled - also thanks to
international expansion and acquisitions. For almost a year now, Emmi
on the stock market. Constant change, where others often lose sight of the big picture.
lose. How can the vision still be communicated?
Erich Kienle: Our
Corporate culture did not have to be changed as a result of the IPO,
We have always been very market- and customer-oriented with a high
entrepreneurial initiative. Complexity has increased, but
It is precisely in stagnating markets that companies like Emmi are needed that
develop new visions.    

Interview: Luca Aloisi

Media Focus now offers a
online tool for analyzing advertising creations and data. The
With Media Focus creations, the market researcher makes it possible to
TV commercials on the Internet, which are directly linked to the relevant
advertising data are linked. Using the new tool, the customer can
every subject and every commercial in seconds.
call up booking plans, which show in detail where the relevant
creation has been placed. The creations are updated daily
and are available with a time delay of ten days.

Color management concerns everyone. Only by adjusting the color space with profiles can colors be reproduced as accurately as possible.
produced without a workflow supported by color management
but the majority of print jobs will certainly be printed at the latest when
no longer if the customer/client has high quality standards.
customer of the printed products is available. The consistent
ICC or ISO 12647 standardization is now an indispensable tool for
Part of production in the agency, prepress and print. But as soon as
you start with the topic of color management, you come to certain
Basics and English technical terms [in the text in square brackets]
which are presented below.

Color vision
Color vision in the printing industry is subject to defined
Conditions. For example, the most similar color temperature of the white light of
Monitors, proof lights and press viewing consoles 5000 Kelvin
the viewing must be glare-free and in a neutral gray color.
environment. Monitors should therefore not be placed by the window, and
There must be no other monitors, windows or screens on the screen.
Mirror luminaires. Proof luminaires and viewing panels must have a
Angle ratio between luminaire/desk and desk/eye from 0° to 45° for
a desk inclination of 0° to 22.5°. Visual
Color comparisons are based on a field of view of only 2°.

Since image capture and playback systems use different technologies
must represent both the types and sizes of their color spaces and their
also the ratios of the displayable color tones to each other
be characterized. This is done in the form of so-called
Device profiles that comply with the specification of the International Color
Consortium (ICC, www.color.org). The current
Specification is 4.1.

Color spaces
All visually detectable colors can be combined in one color space.
represent. The International Commission on Illumination (CIE) has developed
developed several color space models, of which CIE(1931) and
CIELAB(1976) are established in the printing industry. From the point of view of the
Color Management are "device-independent color spaces".
CIE(1931) describes the blue, green and red sensitivity of the
retinal receptors in the form of the three standard valences XYZ or
standard color value components xyY (known as "shoe sole"), which in turn determine the
mathematical basis for the description of color stimulus processing in the
brain in CIELAB(1976). Here the coordinates L* stand for the
brightness (gray axis), a* for the red-green chrominance and b* for the
Yellow-blue chrominance. This color space model allows,
To describe differences in color in a sensitively equal distance,
expressed in the so-called Delta-E values (DE).

In contrast, in "device-dependent color spaces" (DeviceRGB, DeviceCMYK
etc.) technically based color values represent the coordinates. RGB stands for
the color channels of a scanner, the sensors of a digital camera or
the phosphors or liquid crystals of a monitor. CMYK
describes the four process printing colors cyan, magenta, yellow and key
(black) for proof printers and printing machines. Naturally
color spaces with spot colors can also be defined - for example
Pantone Hexachrome CMYOGK (with O for Orange and G for Green).

Color Management adjusts color spaces
One of the challenges of color management is the
Adaptation of device color spaces of different sizes equal or
of different types, such as scanner RGB to monitor RGB, camera RGB to
Print-CMYK or Print-CMYK on Proof-CMYK. Such
Color space transformations are always carried out via a three-channel
device-independent color space, usually CIELAB. The
The necessary color calculator [Color Matching Module or CMM] is available in the Color
Management Framework interface of the operating system. In
In practice, the CMMs called ACE (from
Adobe), ColorSync
(Apple) and LogoSync (GretagMacbeth). Since the algorithms are not
are prescribed in detail, a specific CMM is always required for the
overall process.

The color space adjustment [gamut mapping], in which the respective
device profiles can be converted into each other, after
different color rendering intentions [Rendering Intents].
In the case of strong compression, such as a large scanner color space
to a small proof or print color space, is perceived as a small color space.
[perceptual/photographic]. With approximately the same size
color spaces - the color space range [gamut] in the proof should nevertheless correspond to the
completely cover the gamut of the printing press - the colorimetric
method [colorimetric], whereby a distinction is made between "absolute" (proof with
paper white simulation) and "relative" (proof on production paper)
is distinguished. The saturation-preserving method [Saturation]
does not play a role in printing.

In order to keep color information losses as low as possible and thus
to preserve the cross-media capability of the image data, images (and
graphics) are always edited in RGB mode, under
Application of so-called working color spaces. In terms of gamut, these are
and sensory uniformity of optimized profiles that
additionally in an image file with an embedded scanner profile
are included; the image is then in the RGB of the working color space
before. As with the CMM selection, it is advisable to specify a
specific working color space, such as Adobe RGB or eciRGB.
ISO standard is in preparation. The too small sRGB is
professional standards.

Profiles
Profiles are files that, like a fingerprint, identify the
Color rendering properties of a device, workflow section or
color space. They are stored in a data format similar to TIFF.
structure: The header of the format contains
all creation, type and white point information, the tag entries
include characterization tables, which are created with the help of
The color rendition can be corrected as far as possible with the help of target/actual differences.

Profiles are created for the different color space and device types.
created. Input RGB profiles are created by offsetting the
Actual values of a scan or digital camera image from a special
Test image [Target] with the corresponding target values. All other
Profile types require suitable data for recording the actual values.
Colorimetry. Display RGB profiles require a monitor colorimeter,
which measures color patches passing through one after the other. Output profiles (CMYK,
spot colors) can be achieved by measuring printed targets with
with a spectrophotometer. But be careful: Profiles have in
in practice is only valid if the production and
creation conditions are identical. Each changed condition
requires the modification or renewal of the profile.

The number of measured values within a profile or from several profiles
measurements, e.g. via a printed test edition for a
average profile, are decisive for the profile quality. For
output profiles is the ECI-2002 target from the Altona Test Suite
(www.eci.org) recommended using the Ifra test form for newspaper printing.
(www.ifra.com). Prefabricated average device profiles [Generic
Profiles] are too imprecise and should at least be modified.
Of course, this does not apply to the standard profiles that are included in the
process standard offset printing or ISO 12647-2 for the definition of
of the five paper classes and a color matching criterion for
digital proofs. Nor is the Ifra standard profile
to touch.

The performance of a profile also depends on the
supported ICC specification. Version 4.1 formulates the
rendering intents more precisely and requires data completeness, which is
White point calculation, paper white simulation and gray axis stability
under a measured intensity (lux value) of the illuminating illuminant
improvements and for profile and color identification
ensures distinctiveness. Further improvements concern the
Structure of monochrome profiles and profile-external tables
[look-up tables] as well as the handling of spot colors in multi-channel
profiles. Special colors in CIEXYZ or
CIELAB coordinates and their place in the print sequence
can be defined. The input, display and output profiles are available for
different sections of a workflow and must be analyzed in the context of
color space transformations are linked with each other, i.e. using
of a suitable rendering intent. Basically
the device color space to be mapped represents the source [Source
Profiles] and the color space of the device currently in operation the target
[Destination Profile]. The most common profile application scenarios are
Image processing under soft proof conditions, the location-independent
Softproof (Internet-based remote proof) and the digital proof, which
only with the successful verification of the color deviation tolerances in the
Ugra/ Fogra media wedge printed with the color accuracy status
can be achieved. Even print run proofs that are authentically screened are
already possible in true-color quality.

Color management via color server
Since a profile link is always established via a neutral three-channel
Profile Composite Color Space (PCS), i.e. CIELAB or CIEXYZ,
can be used for four-channel CMYK-to-CMYK transformations, e.g. with the
Change of paper classes from ISO coated to ISO uncoated
(uncoated), important separation setting for achromatic build-up (UCR,
GCR) or the mixing ratio of the color channels (CM, MY, CY) is lost
go. This problem was the starting point for the programming of
customized separation-preserving connection profiles
[DeviceLink profiles]. This technology is implemented in
Server applications with which DeviceLinks are prefabricated,
can be edited or redefined and which, in addition to
image data formats as well as PDF as input and output formats.
Conformity with the PDF document format qualifies these servers
also a tool that can even be used independently of
Separation settings reduce the total amount of color in a print job
without compromising the color reproduction quality. The
server to profiles, working color spaces and rendering intents via the
Acrobat Distiller.
Color management is therefore a bundle of technologies that can be
Awareness of the printing industry largely established as necessary
have. In the interest of avoiding operating errors and further
standardization, perfection is moving towards automation.
DeviceLink PDF color servers are the most recent example of this.

Dieter Kleeberg