Adding a previously unannounced goodie into the CS5 mix, Russell Brown has created a new Watermark Panel for use in Photoshop. He writes,
Need to watermark a photo? You got it! Need to watermark 100 of them? No sweat. The all new Adobe Watermark panel takes all the hassle out of watermarking and let’s you get back to work (or doing the other things you like to do) a lot faster.
Custom panels made with Configurator 1.0 for Photoshop CS4 need to be updated via the forthcoming Configurator 2.0 before they can run in Photoshop CS5. I’m pleased to say that we’re wrapping up work on the (very cool) new version, but it’s not quite ready to share yet. If you’ve jumped on CS5 and can’t wait to et your custom panel(s) back, drop me a line (jnack at adobe) and I’ll get you squared away.
Hats off to the guys at Panic on releasing the great new Transmit 4! Transmit has been my workhorse FTP app for years, and I’ve been beta testing the new release for several months. (I find it refreshing to help debug someone else’s app for a change!) I think you’ll love the big & small improvements, including the ability to mount servers as disks (enabling things like editing files directly using Photoshop).
As it happens, earlier this year our UI designer Matthew Bice and I went to Portland to spend a day with Cabel, Neven, and their team. (As you’d imagine, Photoshop and Illustrator get a workout in their design and production work.) As John Gruber notes, “their office is like a movie set of a cool software office.” Maybe now that Transmit 4 has been released, they’ll have time to show some of the recent awesomeness they’ve added. Just two quick tastes: They’ve got a Lego version of the famous Panic truck, and they’ve created custom pixel-art bathroom signage. Too bad I can’t find my picture of the burger-with-glazed-donut-as-bun+milkshake lunch with which they tried to explode my heart.
Anyway, congrats on the great release, guys!
64-bit: Not much more to say. Better, stronger, and in this case, faster. It’s Bionic Photoshop. OK, John has a little more to say. And it’s a cool look into what is really involved in creating a new version of something as mature and labyrinthian as Photoshop.
PS–Hughes actually is a witch; good fun at team parties.
In response to my notes on how we’ve polished the Adjustments panel in Photoshop CS5, I saw a couple of requests for a way to edit adjustments (especially Curves) via a dialog box instead of via a panel. To do so in CS4 you can download and use this panel (screenshot). In CS5 the architecture that supports extension panels has changed, so you need to grab the CS5 version of the panel.
In case you have trouble installing the panel via Extension Manager*, you can download this plain-zipped version (or the CS5 version). Unzip it and drag the resulting “Curves – Dialog” folder into your “Adobe Photoshop CS4/Plug-Ins/Panels” directory. * If you’re getting permissions errors on Windows Vista or Windows 7, try right-clicking the Extension Manager icon, clicking Properties, selecting the Compatibility tab, and checking the “Run this program as an administrator” checkbox.
The free 3DVIA plug-in for Photoshop makes it easy to pull 3D content into your files, then work on it using Photoshop’s 3D manipulation tools. From the product page:
Search over 15,000 premium and user-generated 3D models and import them directly into your working file without leaving the Photoshop window. From high-end, photoshoot quality models to stylized models, 3DVIA has something for every project need.
Over on Scott Kelby’s blog today, my fellow PM Bryan O’Neil Hughes has posted a guest blog entry, sharing his thoughts on favorite features in Photoshop CS5, including HDR Pro, Mini Bridge, improved masking, Puppet Warp, the JDI initiative, and more. Lots to enjoy.
With the new update, users can now take photo creations and upload them to popular social networking sites. In just one step, photos can be sent directly to Facebook along with a news feed update. Twitter users can also easily share photos directly via TwitPic and post an accompanying tweet.
To date the app has been downloaded more than 7 million times.
Ah, we were trying to save this little bit to be “One more thing…” when the apps ship, but we can’t wait to share it: Both Lightroom 3 and Camera Raw 6 (part of CS5) will offer automatic lens correction. PM Tom Hogarty writes,
The easiest application of lens correction is to apply the lens profile technology that encompasses geometric distortion (barrel and pincushion distortion), chromatic aberration and lens vignetting characteristics.
A handful of lens profiles will be provided by default and a Lens Profile Creator Utility will be posted on Adobe Labs allowing photographers to create their own lens profiles using a simple procedure.
Check it out:
With the introduction of killer new noise reduction, demosaicing algorithms, and sharpening plus sophisticated lens correction, the Lightroom/Camera Raw duo put even more distance between themselves and the competition, and I’d expect them to keep mopping the floor with Aperture among pro photographers.
[Update: I neglected to mention one detail: Lens correction in Camera Raw requires a free update that’ll be available soon after CS5 starts shipping.]
We’ve had so much CS5-related news to share lately that I haven’t gotten to spend much time posting unrelated interestingness. In case you dig that type of thing, I’m going quick n’ dirty (er, cheap n’ cheerful) and unloading some of my recent finds:
“Matthew Albanese‘s photos of dramatic landscapes are gorgeous, but they are not what they first seem to be. These are meticulously hand-made models.” [Via]
In the dialog versions of Levels, Hue/Saturation, Color Balance, etc., the first available text field is either automatically selected (i.e. it has keyboard focus), or you can hit Tab to select it. From there you can hit Tab additional times to cycle through text fields.
In the dialog version of Curves, the eyedropper tool is automatically selected, so you can immediately click on the image to see/set points on the curve.
Thus the feature was a bit polarizing. To make things a bit smoother in CS5, we’ve made some enhancements:
“Auto-Select Parameter” (available via the Adjustments panel flyout menu) puts keyboard focus on the first field in an adjustment layer, much as you’d get with the dialog form of the adjustment. In other words, you don’t have to click onto a text field in the panel before you can start typing in numbers.
“Auto-Select Targeted Adjustment Tool” (available via the flyout menu when a Curves, B&W, or Hue/Sat layer is active) automatically switches to the on-canvas adjuster (aka “TAT”) when you select a layer with which it can be used. With this option active, creating or selecting a Curves layer produces an experience more akin to using the modal dialog box, where you can immediately click and drag on the document surface to set/adjust curve points.
You can assign a shortcut to the Targeted Adjustment Tool via Edit->Keyboard Shortcuts.
None of these options are active by default, because each has a downside:
We didn’t want PS to put keyboard focus onto adjustment parameters automatically, as doing so is very subtle and people would start saying, “Photoshop is buggy, because randomly I can’t select tools via the keyboard.” (They wouldn’t understand that having focus on the panel would mean that the letter they typed were being entered as adjustment values. Hopefully that makes sense.) We wanted this to be a conscious, opt-in behavior.
Same goes for auto-selecting the TAT: we didn’t want PS to be seen to be “randomly” changing the active tool based on changes to the active layer. (There’s no existing precedent for doing so.)
Keyboard shortcuts are in short supply, so the TAT doesn’t get one by default.
Ah, and one other thing: To put keyboard focus onto the first field in Adjustments, you can hit Shift-Return on the keyboard. This is independent of the preferences mentioned above, and it offers a way to change focus without clicking. (Call this one the Deke McClelland memorial feature, as it was his suggestion. [Update: Deke isn’t dead–or if he is, he hasn’t told me! I was just looking for a funny turn of phrase and didn’t dream that anyone would read much into it.])
Photoshop CS5 obviously packs a wealth of big-ticket features, especially for photographers. It might be harder to see what all has been improved for designers. Here are ten enhancements I think everyone–but especially those working with lots of layers and/or designing Web/screen output–will like.
Multi-layer opacity/fill adjustment: Select multiple layers & adjust their opacity and/or fill simultaneously.
Mini Bridge: “MB” is a pocket-sized version of Bridge that runs as a panel inside Photoshop (and InDesign), making it easy to navigate & browse files without leaving PS. This feature really deserves its own coverage here & will get it soon.
Drag and drop of files: You can now drag one or more files onto a Photoshop document to place them as layers. This is especially useful when dragging in files from Mini Bridge, letting MB function as a sort of library panel. I recently had to lay out dozens of UI widget screenshots, each stored as a separate file, and I found this feature a godsend.
Deeper layer nesting (up to 10 deep): Sort of self-explanatory. It works just as you’d expect, though I’d shy away from using the feature if you’re expecting to send layered files to older versions of PS or older PSD-reading apps as they won’t be able to read the deeply nested data.
Repoussé (3D extrusion & inflation): This Photoshop Extended feature also really deserves its own coverage here, so look for that soon.
Bonus item: If you need to conduct design reviews with clients and/or colleagues, I think you’ll find the free CS Review service built into Photoshop and other CS5 apps compelling. More on that one, too, soon.
Let’s say you copy some data in Photoshop & want to paste it in the same spot but on another layer. How do you do it?
If you’ve kept the same selection active, no problem: PS will deposit your pixels into that spot. But what if you cut instead of copy, thereby deselcting the original pixels? Or what if you want to paste your pixels at the same coordinates in a different document? Sure, these things can be done (New Layer Via Cut, or Shift-dragging pixels between docs), but the solutions aren’t obvious.
Photoshop CS5, along with Illustrator CS5, introduces the “Paste in Place” command (Shift-Cmd-V/Shift-Ctrl-V). If you’ve ever used Paste in Place in InDesign or Flash, you know what it does, preserving object coordinates when pasting (e.g. copy something in the upper-left corner, then paste it in just the same spot, even in other documents). The command appears under Edit->Paste Special in Photoshop. For bonus points Illustrator also adds “Paste On All Artboards” for pasting data in the same coordinates on each artboard (one of the numerous artboard-related enhancements made in CS5).
There’s always more room for improvement, and I may as well mention that we hoped to make the command work between applications. That way you could, for example, set up a 1024×768 design in Illustrator, copy data to the same coordinates in a PSD of equivalent dimensions, and then copy data to the same coordinates in a Flash Pro project. We ran out of time to make those changes, but if you’d find them useful in the future, please let us know.
Exposure 3 and Bokeh 2 are almost done and will be 64-bit on both platforms. Exposure 3 will ship in June and Bokeh 2 will be about two months after that. Since these are major version upgrades with lots of useful new features, we will be charging for them, $99 each. Free upgrades will be sent to people who purchased Exposure 2 or Bokeh in April 2010 or later.
Our other products will get free 64-bit and panel updates as quickly as we can do them. As they are done we will make announcements and the installers will be free to download from our web site. Most should be available this summer. We will be more specific about all these time frames as the work progresses.
Digital painter John Derry has been pushing the boundaries of computers & painting for 25 years, and he’s now created a great tour of his favorite painting features in Photoshop CS5. I love seeing how a real artist puts the tools to work.
Lightroom 2.7 (Mac | Win) and Camera Raw 5.7 (Mac | Win) are now available as final releases on Adobe.com and through the update mechanisms available in Photoshop CS4 and Lightroom 2. These updates include camera support for the following models:
CanonEOS 550D (Digital Rebel T2i/ EOS Kiss X4 Digital)
Leaf Aptus-II 8
Leaf Aptus-II 10R
Camera Raw 5.7 includes an updated demosaic algorithm designed to provide compatibility with settings applied in Lightroom 3 beta 2.
Lightroom 2.7 also includes the same updated demosaic algorithm. The updated demosaic algorithm will appear as a subtle shift in noise characteristics at default values.
By default Camera Raw will display the image adjustments exactly as performed in the Lightroom 3 beta 2 develop module. However, at this time Camera Raw 5.7 is unable to support further adjustments to the following settings or tools:
Highlight Priority and Color Priority post-crop vignette
Enhanced Luminance and Color Noise Reduction
To everyone who provided feedback on our Camera Raw 5.7 and Lightroom 2.7 Release Candidates, thanks.
On Thursday Adobe Creative Suite evangelists Greg Rewis (Web), Jason Levine (video/audio), and Terry White (print, photo, etc.) will be hosting a live chat. Terry writes,
This special Q&A session will take place Thursday, April 22th @ 11 AM PDT (2 PM EDT (GMT-4). and it will take place via Adobe Acrobat Connect Pro. Here’s the URL: http://my.adobe.acrobat.com/askcspro
Sign on as a GUEST with your real name. While there is no pre-registration required, this session will be limited to 100 attendees. So it’s first come, first served. I advise you to log in 15 minutes before the 11 AM start time as we plan to start on time.
Adobe evangelist Terry White has created an excellent 5-minute demo that shows off how easily the rewritten Refine Edge command in Photoshop CS5 can select tricky subject like blowing hair:
Full-screen viewing makes it much easier to see the interface during the demo.
I know it’s easy to knock Photoshop (or any mature tool) by saying, “You guys always just go add new stuff & never fix/improve what’s already there.” In the case of Refine Edge & many other spots within CS5, however, you’ll see that instead of adding something new, we’ve gone back and significantly overhauled what already existed. I think you’ll like the results.
Last summer, designer Sam Potts made a good suggestion:
The Copy Color as HTML in the color panel is awesome. Everyone uses it all the time. However, times have changed and my guess is that most of the people who use this are writing their colors in CSS. So you always have to delete the color=”” part after you paste it into a style sheet.
It would be awesome to simply have a “Copy Color Hex Code” option and get #CCFF00 instead of the full color=”#CCFF00″ tag.
We’d previously lost this feature when merging ImageReady into Photoshop. (It worked in IR, but we’d never implemented it in PS.) It’s not something likely to be used all the time, but when you need it, you need it. Sorry that it took a while to bring to Photoshop.
In response to your feedback, we’ve added an option (screenshot) to the Layers panel flyout menu, making it possible to have Photoshop stop adding the word “copy” to layer names when duplicating layers. The preference is off by default to avoid breaking actions that rely on “copy.”
Even for people who never discover the new option, we’ve changed the app’s behavior to stop adding “copy” to the names of layers inside duplicated layer sets. (That was just lame & needs no governing preference.)
I’ve heard suggestions that Photoshop include more nuanced preferences to govern layer naming, so that duplicated layer names could include a sequence number or letter defined by the user. Those are good ideas, but they were beyond the scope of changes we could make in CS5.
Now that Adobe has announced CS5, we can tell you more about the upcoming meeting. Bryan O’Neil Hughes, the Photoshop Product Manager, will show Photoshop CS5, including the new Camera Raw, Content Aware Fill brush, new painting brushes, new HDR controls, Puppet Warp tool, and much more.
We’ll have pizza and drinks at 6:30, and the meeting will start at 7:00, in the Park Conference Room of Adobe Systems’ East Tower, 321 Park Avenue, San Jose. To park underneath the Adobe building, use the Almaden Avenue entrance, under the East Tower. If the security guard at the parking entrance asks for an Adobe contact, use Bryan O’Neil Hughes’s name. He’s our contact there (as well as a Photoshop Product Manager).
Please feel free to forward this email to anyone you know who might be interested. If they would like to be on our email list, have them respond to: email@example.com.
Q. As a photographer what is the most compelling reason to consider an upgrade from CS4 to CS5?
A. That’s a tough one, because it will be different for different photographers. I think a lot of folks will naturally want it to create HDR images, but I think the built-in masking features (using Refine Edge) is even more compelling for most photographers. Content-Aware Fill is big (and it works amazingly well), but then the Noise Reduction in Camera Raw is just insane, so it’s a tough call to make. Luckily, any one of those is worth the upgrade alone, so if you get all four, this is an easy decision for a lot of photographers.
Running Photoshop in 64-bit mode produces some big improvements when using large data sets (scenarios where you’d otherwise run out of RAM and have to hit virtual memory). Here are benchmarks from a 2 x 2.66GHz quad-core Nehalem Mac Pro with 12GB of RAM (OS X 10.6.3):
Obviously these are big, big wins for any Photoshop users working with large images. I do however want to be careful not to oversell the benefits of 64-bit. As I’ve said from the start, 64-bit is a really big deal when you’re using large amounts of memory. Otherwise it’s not likely to make a very noticeable difference (e.g. your Web design tasks won’t run twice as fast).
What about other Creative Suite apps? As I’ve mentioned, After Effects & Premiere Pro are both 64-bit native on both Mac & Windows (64-bit only, in fact, unlike Photoshop). I haven’t seen benchmarks yet, but given the data-intensive nature of video, the wins should be huge. Meanwhile Illustrator has raised the limits on RAM usage, from 2GB in CS4 to 3-4GB (depending on system configuration) in CS5.
* I’m using the same “times faster” nomenclature that Apple uses when talking about 64-bit performance on Snow Leopard. If you prefer to think in percentages, the operations are (from top to bottom above) 59%, 39%, 53%, 30%, 35% faster than CS4, respectively.
Mike Wong from plug-in developer onOne has posted some details about their Photoshop compatibility roadmap. He writes:
Windows versions of our plug-ins have been 64-bit now for months… We are converting our plug-ins over to be 64-bit compatible on the Mac OS X side… Our goal is to have Photoshop CS5 compatible updates for the current versions of our plug-ins available within 30 days of Photoshop CS5 being made widely available…. That means we should have everything out there for you to download by June 12, 2010.
More generally, 32-bit Mac plug-ins should run just fine in Photoshop CS5, provided you choose the “Open in 32-bit mode” option in Get Info. That’s analogous to the situation on Windows, where you can run your older plug-ins in the 32-bit version of the app. (On Mac Photoshop is a single 32/64-bit binary, whereas on Windows it’s two discreet apps.)
I’ll post news about other developers’ 64-bit migration plans as I get it, and I look forward to sharing some great Mac 64-bit benchmarks soon.
The Photoshop team has had a great relationship with lens maker Sigma, and they’ve issued a short press release:
The Sigma Corporation is pleased to announce that, through collaboration with Adobe Systems Incorporated, Sigma lenses will be compatible with the Lens Correction feature of the professional digital imaging standard, Adobe Photoshop CS5…
Photoshop CS5 has applied the aberration information of the current Sigma lens lineup. When the improved Lens Correction filter is selected, it will provide accurate correction of aberrations automatically in accordance with each lens parameter.
We look forward to sharing more details about how lens correction works in CS5, how you can create and share your own lens/camera profiles, and even how you can use some as-yet-unannounced goodness. [Via Bryan O’Neil Hughes]
Just a quickie: We’ve got Bryan O’Neil Hughes, Photoshop Product Manager, as a call-in guest on our 1:30 PM EDT free Photoshop CS5 Webinar, and he’s going to be talking about Adobe’s JDI (Just Do It) initiative to enhance and improve existing features in Photoshop to make our daily lives easier (and there are a TON of JDI’s in CS5).
Bonus: Scott notes, “We’re giving away another free upgrade to CS5 on today’s show, so don’t miss it!”
Ever wonder what goes into the creation of Creative Suite product icons, splash screens, and other branding? Designer Veerle Pieters chats with Adobe design lead Shawn Cheris about project goals, the great designers who inspired their work, and more.
I’m always kind of amazed at how much passionate commentary these designs tend to elicit. To this day no post of mine has drawn remotely as many comments as the one where I revealed the CS3 icons.
For what it’s worth–my own subjective opinion–I think the CS5 designs are a great improvement over the CS4 ones, which I disliked relative to CS3. (I used to joke that we could “upgrade” various bits of CS3-branded swag–T-shirts, coffee mugs, etc.–simply by mailing people a Sharpie & telling them to blot out the white text.)
Oh, and as with the past several releases, Photoshop remains the one team that insists on listing team members’ names on the splash screen. In the spirit of the original Macintosh team signing the computer case, we believe that artists sign their work. (Plus, when you have access to a name like Seetharaman Narayanan, you don’t hide that light under a basket!)
We used to hear complaints about the default settings in Photoshop’s various layer effects, especially about strokes always starting out red. In CS4 we changed the stroke default to black, but that was just a stopgap measure that didn’t address the fundamental problem: No matter what we might pick, people want effects to start with whatever values they happen to prefer.
For CS5 we thought about making layer styles sticky. That is, after you applied an effect with a particular set of values (e.g. Drop Shadow at 50% opacity), the next time you applied that effect, the dialog would start out using the last-used values. Sometimes that behavior works well, but just as often it can be confusing and annoying.
We therefore opted to add a pair of buttons (see screenshot) to each effect–one to establish the default values you prefer (“Make Default”), and one to restore the “factory settings” for the effect (“Reset to Default”). The wording of the latter isn’t quite as clear as I’d like, but hopefully it’ll make sense to people.
Photoshop CS5 is far and away the biggest step forward in the app’s brushing & natural media features in the last eight years (since PS7 introduced a new brush engine). In this episode of The Complete Picture, Julieanne Kost shows off new painting features including the new Natural Media Bristle Tip Brushes.
My colleagues Julieanne Kost and Bryan O’Neil Hughes will be holding a live Q&A via Twitter this Thursday at noon Pacific (time zone info). Borrowing from the Facebook page:
Now that Photoshop CS5 has officially been revealed, the Twitterverse is brimming with questions. Now is your chance to have your Photoshop CS5 questions answered LIVE on Twitter by Bryan O’Neil Hughes, Photoshop product manager, and Julieanne Kost, Adobe digital imaging evangelist.
Simply follow Photoshop on Twitter, and on Thursday, April 15, from noon to 1 p.m. PDT, tweet your questions to @Photoshop. Be sure to include the #AskAPro hashtag so we can answer your questions.
I just saw the following unsolicited comment from filmmaker Linda Nelson & thought it deserved its own post:
If you are editing a film shot with the RED camera, you’d be crazy to use anything other than CS5. Straight from the camera to the timeline – no rendering required to preview – incredibly fast load and export. We are beta testing with our feature film, DELIVERED. Shot on RED. Here’s the trailer. Great job Adobe!
As BSN notes, “[C]ontent creators can now work with not just 4K files in real time, but with 4K files in much greater liberty than they ever were while confined in CPU-bound applications such as Final Cut Pro, Premiere CS4 or in Sony Vegas.” Macworld says, “The Mercury Playback Engine is 64-bit native and optimized for Mac OS X, multicore processors, and nVidia CUDA GPUs (graphics processing units) to provide fluid, real-time editing.”
So, Lightroom led the way among 64-bit Mac apps (beating Aperture to 64-bit by nearly two years), and Adobe has now converted three major Mac apps–After Effects, Premiere Pro, and Photoshop–from Carbon to Cocoa 64. Meanwhile Final Cut Pro 64 and the rest of the FCP suite remain missing in action. Maybe–just maybe–we can now put that “lazy” talk to rest.
Man, where to begin… I already have two dozen blog posts in draft form (!), running the gamut from big new stuff to the many, many little tweaks we’ve made that I think you’ll really enjoy. I’ve started a CS5 category here that you can use to view all related info quickly; much more to come shortly.
In no particular order, here are good resources you might want to check out:
“That a big dirt pile back there!,” says our two-year-old in-house photo critic Finn eyeing the iPad’s default background image. “How did that dirt pile get back there??”ArtInfo has the story. (Apologies to photog Richard Misrach; it really is a nice image.) [Via]
[Update regarding a couple of the comments: Guys, I was just passing along a (to me cute) thing my kid said about this new device, as I’vebeendoing. I’m not trying to yank anybody’s chain, and I find that we can all handle most thing better with a sense of humor. Let’s not let the enjoyment of Apple products turn anybody into a scowling Defender of Faith and Morals, eh? :-)]
So, what’s all the fuss about the Apple proposed revised SDK license?
Yesterday Apple released some proposed changes to their SDK license restricting the technologies that developers can use, including Adobe software and others such as Unity and Titanium.
First of all, the ability to package an application for the iPhone or iPad is one feature in one product in Creative Suite. CS5 consists of 15 industry-leading applications, which contain hundreds of new capabilities and a ton of innovation. We intend to still deliver this capability in CS5 and it is up to Apple whether they choose to allow or disallow applications as their rules shift over time.
Secondly, multiscreen is growing beyond Apple’s devices. This year we will see a wide range of excellent smartphones, tablets, smartbooks, televisions and more coming to market and we are continuing to work with partners across this whole range to enable your content and applications to be viewed, interacted with and purchased.
If you extend or integrate with Creative Suite apps–or if you’d like to–the 2010 Creative Suite Developer Summit may be up your alley. It’s being held in Seattle May 3-6, and topics will range over everything from porting plug-ins to 64-bit, extending Suite apps using Flex and new dev tools (more on that very soon), to using technologies like ePub and Pixel Bender. I’ll on hand to show off a new version of Configurator, and I hope to see you there.
This is quite possibly my own personal, irrelevant hangup, but I keep getting annoyed by the lack of precision in how people talk about online video.
On Daring Fireball today, John Gruber writes, “Ironically, Engadget’s video demos are only available in Flash. Why would a website devoted to leading-edge gadgetry continue to embed video in a format that can’t be played on the best web-reading gadget?”
It’s not that they’ve chosen a format that won’t play on the iPad; it’s that they haven’t yet done the additional work (necessitated by Apple not allowing Flash on the iPad) to target a different player. That is, they need to set up a switch that’ll let them target Flash Player in Mac/Windows Web browsers (giving them 98% desktop viewership) and target the Video tag in Mobile Safari. They can use the same format (H.264) in both cases.
I’d fully expect them to do so: as I’ve written previously, content creators & publishers will use whatever combination of technologies let them reach customers most effectively. On the desktop that means Flash Player; on iPad/iPhone, it has to mean something else.