MacUser Magazine June 2013

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Mac and the Mac laga are trademarks of Apple Inc., registered in the U.S. and other countries. Feral and the Feral logo are trademarks af Feral Interactive Lid. All other trademarks and copyrights are the property of their respective owners. All rights reserved MacUser VOLUME 29 N°6 JUNE 2013 POTENS Df PARVUS We’re all in this together The respect of its users and developers is an asset Apple shouldn’t squander THROWING SHADE AT Tim Cook is the latest tech trend. Analysts, journalists, rivals, commenters, they’re all at it. This seems a bit unfair. It’s true that Apple’s share price has fallen by 40% in a year. But that hardly supports the narrative that things were great with Steve Jobs and went pear-shaped under Cook. He was appointed CEO in August 2011. More than a year later, the share price peaked. Shouldn't he get some credit for the ups as well as the downs? It’s not as if Cook arrived wet behind the ears. When he was promoted to the key role of chief op- erating officer in 2005, AAPL was at one eighth of its price today. All the products introduced since then, including every iPhone and iPad, were manu- factured by the supply chain he built and managed. Frustratingly, a publicly listed company’s per- ceived value and predicted fortunes don’t depend entirely, or sometimes at all, on its ability to ship and sell product. This is a world where endless met- rics are bandied about, yet everything comes down to the gut feeling known as ‘confidence’. Never mind what Tim Cook has actually achieved or is known to be capable of. If confidence in Tim Cook falls, AAPL falls. And, circling viciously, vice versa. Trying to guess what would rebuild Wall Street’s confidence in Apple is a job for pages pinker than mine. But it must also matter whether, in the more mundane domain we like to call the real world, those of us whose fortunes are enmeshed with the company’s as customers and developers have confidence in it. And that’s something Cook ought to find a lot simpler to address. 7S There may be a good reason why Apple has launched no new products for six months and is hinting that we should expect to wait six more; but we'd feel happier knowing what it was. Perhaps there’s amazing stuff that we could be looking forward to, but the Cupertino wall of silence, erected by Jobs and defended by Cook, means we have little clue. Buyers of Apple products have found their con- sumer rights poorly explained and patchily honoured. In China, official complaints were answered swiftly with a public apology. In Europe, nothing. Hundreds of thousands of independent develop- ers are working on apps foriOS, but they don’t know if Apple will let them sell those apps. They might put all the time and money they can scrape up into something they believe complies with the vague and shifting App Store guidelines, only to be told it doesn’t, with no comeback. That can’t build confidence. Even Apple’s biggest bridge-building event for developers, W WDC, has become an opportunity to crow about its success at their expense. This year, the $1,599 tickets sold out in two minutes. Impressive, but ‘Click faster, suckers!’ is no way to make friends. When companies want to correct negative per- ceptions, they often talk to journalists. Apple’s communications strategy is about preventing its people talking. Especially to journalists. SoI’d suggest one effective way to escape the shadow of Jobs would be to let Apple itself out of the shadows. We can all be more confi- dent in a company that’s open and honest with us. It’s time Tim Cook showed he has the confidence to do so. o ADAM BANKS is Editor in Chief at MacUser. Contents -‘{t would be lovely but completely false to think cuneiform was driven by the desire to record literature’ +78 4 MACUSER JUNE 2013 Digital publishing systems explained 22 COVER STORY Digital publishing Remember when there wasn’t an iPad? It’s been barely three years, but already it’s hard to imagine thinking about making magazines without thinking about doing it ona tablet. But with more and more solutions on offer, where should you start? Whether you're an editor, designer, publisher, marketer, enthusiast, sceptic or just an interested reader, our tour of today’s digital publishing systems will open your eyes. (And some of the prices will make them water.) IMAGE ISTOCKPHOTO.COM/ONEBLUELIGHT; ISTOCKPHOTO.COM/BLUESTOCKING PRAKTIK HOW-TO BY PROS FOR PROS 50 Portfolio Dave Brown 56 Your mileage 58 62 65 68 70 74 78 81 may vary Daniel Benneworth-Gray finds ‘all you can eat’ publishing might rekindle his appetite for comics Graphic design Steve Caplin opens the gates to the beauty of barrier design Design practice It’s all there in black and white: Keith Martin on silhouettes Videography Will Head gives Magic Lanterna rub for some DSLR trickery Photography He may dice with death as part of his day job, but Dave Stevenson doesn’t leave his backups to chance iWork Pro For slick presentations, nail corpo- rate colours. Tom Gorham explains STEP BY STEP Image filtering in Aperture and Lightroom with Nik Rawlinson Q&A Mac and iOS support from Howard Oakley The long view New tablets for old: why Apple’s tab- lets can’t research their ancestors Primer Thawing a frozen Mac iPad keyboards on test 84 8 28 days Apple financials: less isn’t more + OFT eyes IAP Clippings vs copyright + App Store rules not OK? + Alan Kay is not impressed + Google ‘irony’ PRODUKT 86 Roundup iPad keyboards Reviews 92 Status Board 96 Komplete 9 98 iDraw 100 MotionComposer 1.6 101 Wunderlist 102 Ulysses Ill 104 liyama ProLite X2377HDS 106 Orbitsound M9 108 Tizi for Mac 110 Panasonic Lumix DMC-GH3 112 Sonic and SEGA All-Stars Racing 113 Unmechanical 1.1 116 Apple Guide The Mac and iOS ranges 128 Inbox Your letters 130 Last word Kenny Hemphill looks behind the news 110 108 JUNE 2013 MACUSER MacUser is produced for Dennis Publishing by Vast Landscape 172 Osborne Road Newcastle upon Tyne NE2 3LE 0191 209 6607 vastlandscape.com Editor in Chief and Creative Director Adam Banks adam_banks@macuser.co.uk @adambanksdotcom Contributing Editor: Products Kenny Hemphill Technical Editor Keith Martin Contributing Editor: Features Nik Rawlinson Contributing Writer Alan Stonebridge www.macuser.co.uk Follow @macusermagazine Like macusermagazine Vote for the Cover of the Century ppa.co.uk/ppa100 Sub-editing and Layout Kirsty Fortune Contributing Editor: Graphics Steve Caplin Contributing Editor: Help Howard Oakley Portfolio Editor Camille Neilson Columnists Tom Gorham, Daniel Benneworth-Gray, Will Head, Dave Stevenson MacUser, incorporating Apple User, DTP, MacShopper and MacBuyer, is published every four weeks by Dennis Publishing Ltd, 30 Geveland Street, London W1T 4)D, a company registered in England number 1138891. Entire contents © Dennis Publishing Ltd licensed by Felden 2011. MacUser is an independent journal, not affiliated with Apple Computer Inc. ‘Apple’ and the Apple logo, ‘Macintosh’, ‘Mac’, the Mac logo and ‘MacUser’ are the trademarks of Apple Inc. Group Publisher Paul Rayner 020 7907 6663 paul_rayner@dennis.co.uk Syndication Senior Manager Anj Dosaj-Halai 0207 907 6132 Anj_Dosaj-Halai@dennis.co.uk Licensing Manager Carlotta Serantoni 0207 907 6550 Carlotta_Serantoni@dennis.co.uk Licensing and Syndication Assistant Nicole Adams 0207 907 6134 Nicole_ Adams@dennis.co.uk Digital Production Manager Nicky Baker Dennis Publishing Ltd Managing Director Technology and Motoring lan Westwood Production Director Robin Ryan Managing Director of Advertising Julian Lloyd-Evans Newstrade Director David Barker Managing Director Digital Pete Wootton Printed in England by BGP Print Ltd, Chaucer International Estate, Launton Road, Bicester, Oxon OX6 7QZ. Distribution: Seymour Distribution 020 7396 8000 Permissions and reprints For licensing, reprints and eprints, contact Wright’s Media 0800 051 8327. Material may not be reproduced in any form without the publisher’s written permission. Digital back issues zinio.com Crrecycle The paper used within this magazine is produced from sustainable fibre, Whee you teve fw inbed with manufactured by mills with a thts maguution plaene recytie ® valid chain of custody. Advertising Manager Alexandra Skinner 020 7907 6623 alex_skinner@dennis.co.uk Online Group Advertising Manager Gary Rayneau 020 7907 6812 gary_rayneau@dennis.co.uk Classified Sales Executive Peter Smith 020 7907 6652 peter_smith@dennis.co.uk MagBook Sales Katie Wood 020 7907 6689 katie_wood@dennis.co.uk US Advertising Manager Matthew Sullivan-Pond ++1 646 717 9555 matthew_sullivan@dennis.co.uk Ad Production Executive Anisha Mogra 020 7907 6129 Chief Operating Officer Brett Reynolds Group Finance Director lan Leggett Chief Executive James Tye Chairman Felix Dennis Total avg net circulation Jan-Dec 2011: 12,166 Letters and feedback mailbox@macuser.co.uk (please indicate if not for publication) Press releases and news stories releases@macuser.co.uk Technical queries for publication help@macuser.co.uk Phone (advertising and administration) 020 7907 6000 6 MACUSER JUNE 2013 7100 is § t : i f : a) gem (ae BES } \ ae "6 2) ae 1 AM THE NIKON D7100. | am photography unlimited. Offering breathtaking images thanks to the precision of a 24.1 MP resolution and the professional level 51-point autofocus system. With an additional 1.3x crop mode for extra telephoto effect, | expand DX possibilities. All combined in an extremely durable, weatherproof and portable body for great performance, wherever you go, whatever you do. | am for the ones who go further. www.nikon.co.uk SP rh lorraine hth mopeds eam ep omew At the heart of the (mage 28da ‘What’s interesting about this quotation is that it refers only to itself? +ss More cash, less p APPLE, AS WAS widely expected, has reported its first fall in quarterly profit in a decade. The company made $9.5 billion in the three months to the end of March, down from $11.6bn in the same period last year. Reve- nue rose to $43.6bn from $39.2bn, but the company projected sales for the following quarter of only $33.5 to $35.5bn, below the $38.25bn Wall Street had been forecasting. The fall in earnings was due toa substan- tial reduction in gross margin, which dipped below 40%, In the conference call Apple regularly holds for analysts after results are announced, the company said it had taken a strategic decision to price the iPad mini at a point where its margin would be lower. Total sales of iPads rose by 65% year on year to 19.5 million. iPhone sales grew by 6.5% to 37.4m. Mac sales fell slightly but held up around 4m, beating a PC market slump. ‘We are pleased to report record March quarter revenue thanks to continued strong performance of iPhone and iPad, summa- rised Tim Cook, Apple’s CEO, adding: ‘Our teams are hard at work on some amazing new hardware, software and services, and we are very excited about the products in our 8 MACUSER JUNE 2013 rofit-sowhat ext for Apple? pipeline.’ But pressed later on those plans, Cook mentioned a timeframe of ‘the fall and into 2014’. Apple’s last major product launch was the iPad mini in October 2012. APPLE ENDED THE quarter with an even larger cash pile of $145 billion, which belies its plummeting share price yet delivers no immediate benefit to shareholders. Address- ing their concerns, recently highlighted by David Einhorn of Greenlight Capital, Apple announced that it had increased its buy- back scheme from $10m to $60m of stock. It described this as ‘the largest single share repurchase authorisation in history’ (though Exxon Mobil bought backa similar amount in shares between 2007 and 2008) and said it would be completed by October 2015. The company’s dividend will also rise by 15%. Apple also said it planned to borrow money in the coming months. This seems bizarre when it has an excess of cash in hand, but most of that is held outside the US to avoid tax; borrowing to cover expenditure is much cheaper than repatriating it. Apple’s share price, which has fallen by more than 40% from its peak last year, re- mained hovering around the $400 mark. During the conference call, Cook hinted strongly that Apple would reveal something entirely new in the autumn when he men- tioned ‘the potential of exciting new product categories.’ And his reference to ‘hardware, software and services’ raises the possibility of a launch such as the rumoured ‘iRadio’ music streaming service. Cook would only say that Apple had ‘really great stuff coming’. Asked whether there would be no new products before then, Cook was cagey. ‘I don’t want to be more specific, but I’m just saying we've got really great stuff coming in the fall, and across all of 2014” Even now, more time has elapsed since 2012’s iPad mini event than between any two major Apple announcements in recent years. One product category Apple is unlikely to enter this year is the ‘phablet’, or oversized smartphone. The iPhone 5 has a relatively MARCH 2012 ERCE, BE SONG/AP/PA = AP IMAGE L! JING, 27 PLE CEO TIM COOOK MEETS WANG CHAO, VICE MINISTER OF COMM +> Time to think Several analysts and commentators have claimed Tim Cook’s CEO post is under threat, but the rumours have not been substantiated small screen, and a drop in the average sell- ing price of iPhones, with high inventory, suggests this model has failed to maintain overall sales growth. Nevertheless, Cook claimed ‘iPhone 5 has the absolute best display in the industry’ and added: ‘Some customers value large screen size. Others value resolution, colour, white balance, reflectivity, compatibility with apps... Our competitors have made trade-offs... We will not ship a larger display iPhone while these trade-offs exist” This leaves the door open for a larger iPhone, but not immediately. FLAT MAC SALES represented a relative suc- cess in a PC market that declined sharply last quarter. During the same January-March period, IDC found global PC sales fell by 14% as customers turned to tablets. Cook admitted the iPad might have cannibalised the Mac, but said he was confident Mac sales would remain strong. ‘This market has a lot of life in it, and we're going to innovate. The huge growth in tablets may benefit the Mac - [the iPad] pushes you to think about that product in a different manner [and] may make you consider a Mac, he said. The Mac range is unlikely to wait until autumn for updates. Revisions often appear without a formal launch, as with the new MacBook Pro models in February, or at a scheduled event such as June’s Worldwide Developers Conference (W WDC). The iMac and Mac mini were refreshed at the end of 2012, but the MacBook Air hasn’t changed since June, so asummer update seems likely. Apple has strongly hinted that a brand new version of the Mac Pro, which has al- ready been withdrawn from sale in Europe, will arrive later this year. The Pro currently uses the top-end Xeon versions of Intel’s processors. A Xeon E3, based on Intel’s Ivy Bridge architecture, is due in the autumn, but the first Xeon versions of the newer Haswell architecture won't ship until 2014. a While analysts fret about TV, next big thing could be radio ANALYST GENE MUNSTER drew face- palms from Apple-watchers after yet again raising his pet topic of a puta- tive branded TV set. But speculation is mounting that an internet radio service, similar to the one operated by Pandora in the US, could be closer to reality. CNET reported in April that Apple was ‘close to striking a stream- ing deal with two of the major music labels’ to allowit to stream their music. According to the report, Apple has offered record companies a share of the revenue it would generate from radio-style adverts and would allow customers to easily buy a track they liked from iTunes. CNET said Apple was ‘hoping to quickly unveil the ser- vice in up to a dozen territories, ac- cording to sources, including the UK, France, Germany, Australia, and Japan’. Multi-label, multi-territory deals are the holy grail of music services. Apple dominates digital music pur- chasing, with two thirds of the mar- ket, andit seems natural that it would eventually launch a streaming service, particularly after acquiring music sharing store Lala in 2009. Currently, iTunes Match allows users to stream music from Apple’s servers, but only those tracks that they already have in their iTunes Library. Twitter launched a music service in April. #music can be accessed on the web or using an iPhone app and allows users to see music that’s popular among people they follow as well as artists who are emerging and gaining popularity. Users with a Rdio or Spotify Premium account can hear full tracks, while others are limited to excerpts. Tracks can be bought via iTunes. Another persistent Apple rumour is of a cheaper iPhone, and images claimed to show sucha device emerged in April. Accessory maker Tactus blogged a photo of a white polycarbon- ite component said to be part of the chassis of a low-cost plastic iPhone. France Telecom CEO Stephane Rich- ard has pointed out: ‘There are fewer early adopters, and probably with the next release of the iPhone this will be evident. Selling a phone for $600 is getting more and more difficult. o JUNE 2013 MACUSER 9 28 DAYS Trading watchdog to investigate selling of in-app purchases THE UK’s OFFICE Of Fair Trading has launched an investigation into the way in-app pur- chases are marketed and sold to users. The OFT said it would look at ‘whether children are being unfairly pressured or encouraged to pay for additional content in “free” web and app-based games, including upgraded membership or virtual currency such as coins, gems or fruit” While Apple is not specifically targeted, the move appears to respond to stories of unwanted purchases on the App Store. The OFT said it had written to developers whose apps include IAP as well as to par- ents and consumer groups. It didn’t say if it had contacted Apple, and a question on this from MacUser received no response. MacUser, which has previously raised the issue with the OFT, has not been contacted in connection with the investigation. The watchdog said it was ‘looking into whether these games include “direct exhorta- tions” to children - a strong encouragement to makea purchase, or to do something that will necessitate making a purchase, or to persuade their parents or other adults [to do so]? That would be unlawful under the Consumer Protection from Unfair Trading Regulations 2008. ‘The OFT is not seeking to ban in-game purchases, said senior director of consumer and goods Cavendish Elithorn, ‘but the games industry must ensure it is comply- ing with the relevant regulations so that children are protected. We are speaking to the industry and will take enforcement action if necessary. IN FEBRUARY, APPLE agreed to compensate parents in the US whose children had run up large bills from in-app purchases. The deal came as part of the settlement of a lawsuit launched by parents in 2011. No such agree- ment applies in the UK, but some parents have been refunded for unintended in-app purchases by children, including a Bristol couple whose child spent £1,700. The ‘freemium’ model has grown in pop- ularity with developers as users drive app prices down. App Annie Intelligence reported last year that 69% of iOS App Store revenue came from in-app purchases. While most cost only a pound or two, prices go up to £69.99, which might seem unreasonable for an addition to a game on a platform where few apps cost more than a tenth of that. Repetitive demands for IAP to keep games progressing are also a growing issue. a M\ Rs rc) AUTOCROSS Brands Hatch 10 MACUSER JUNE 2013 WATCH A NEW APPLE patent could change the way we interact with Macs. It covers what Apple calls ‘virtual input tools’. The patent application was made shortly after the launch of the iPad. As Patently Apple (patentlyapple.com) explains: ‘In July 2010 Apple listed a job post- ing that stated they were working on anew revolutionary Mac OS X feature. Today the US Patent and Trademark Office granted Apple a patent... that could very well be a part of [this]” The patent says in part: ‘A virtual representation of an input device can be a two- dimensional area that increases an amount of data (eg virtual rep- resentations of objects) that can be presented at a particular time, thereby improving the user’s expe- rience’ Those representations, continues Patently Apple, ‘could represent documents, interface elements (eg windows), directo- ries, and other types of objects (eg controls for a video player). That could mean a trackpad ona MacBook Pro that displayed virtual buttons and controls. Adjusting these would manipulate content on the Mac’s screen. The interface could be called up and dismissed by tapping the surface, suggests the application. Apple Insider (appleinsider.com) put its own spin on the idea. ‘As with many Apple patents, it is unclear if the virtual input device will make its way to a consumer product, but [it] could be a useful stopgap if the company decides to create a laptop with a touchscreen display, Ugh - awkward hybrid input sys- tems? Samsung territory, surely. A) > Popularity contest Apple sells millions of products through stor such as this one in | Shanghai, but has yet to fully crack China’s mobile phone market ! os we et * ae NTE nitty beled Si, Figs he ie 8 NS Vis & s i New order averts China crisis APPLE CEO TIM Cook again illustrated that his company is very different from the one he inherited when he issued a second pub- lic apology in a little over six months. This time, the mea culpa was to Apple’s custom- ers in China - but the real target was the country’s media, which had castigated the US-based company for failing to respond to local concerns about the honouring of prod- uct warranties. China’s authorities, which have considerable influence over parts of the media, were also involved in the criti- cisms, which may have had a larger political dimension in the context of Apple’s plans for expansion in the territory. In a letter written in Chinese and posted on Apple’s website, Cook, a regular visitor to the People’s Republic, explained that Apple had been ‘profoundly reflecting’ on the feed- back it had received from customers and had studied China’s warranty regulations along with government authorities. Apple had also, said Cook, considered the way it communicated its own policies to customers. In a translation published by Forbes, the CEO said: ‘We are aware that insufficient communication during this process has led to the perception that Apple is arrogant and disregards, or pays little attention to, consumer feedback. We express our sincere apologies for any concern or misunderstand- ing arising therefrom, COOK PROMISED THAT Apple would improve its repair policies for the iPhone 4 and 4S; publish a ‘concise and clear’ statement of its warranty and policies on its website; im- prove supervision and training for author- ised service providers in China; and make it easier for customers to contact Apple to provide feedback. ‘Meanwhile, we also realise that we still have a lot to learn on operating and com- municating in China. Here, we assure you, Apple’s commitment and enthusiasm for China is not different than any other coun- try, said Cook’s text. In reality, these moves show a very differ- ent attitude from that traditionally adopted by Apple in other countries. It has every reason to show more commitment and enthusiasm to the new Chinese customers it’s courting than to those in its established markets in the rest of the world. The Apple Store retail operation is rapidly expanding in the country, but not quite as fast as Apple appears to want, perhaps reflecting a slower and less welcoming regulatory regime than the Silicon Valley giant is accustomed to. Meanwhile, the Chinese smartphone mar- ket is growing quickly, providing opportu- nities for Apple that Cook has previously remarked on, yet an official deal with the leading network, China Mobile, eludes him. Customers in Europe will surely find the apology ironic, however, when no such reassurances have been offered to them. Apple has been fined by Italian authorities and singled out for criticism over the com- munication of its warranty policies by the EU. MacUser asked Apple why users here merited no apology. We got no answer. 11 JUNE 2013 MACUSER IMAGE ITIME-LAPSES.COM * APPLE STORE, PUDONG, SHANGHAI, 29 APRIL 2011 28 DAYS With end users off the hook, could newspaper copyright facedeathbya thousand cuttings? THE SUPREME court in the UK has ruled that the Newspaper Licensing Agency (NLA) can’t demand licence fees from clients of cuttings agencies that make their services available exclusively on the web. The decision overturns one element of a Court of Appeal ruling in 2011 which found content that was merely copied to a web user’s cache and displayed on their screen, for example as a result of their navigating toa web page, might infringe copyright. But other parts of that appeal ruling were not overturned: cuttings agencies themselves may still need a licence to supply headlines and extracts from news providers’ content, and customers who receive cuttings by email may still need a licence to legally receive and retain content from such services. The Supreme Court sent its ruling to the European Court of Justice for clarification. Jorn Lyssegenn, chief executive of Melt- water, the agency that defended the original case, said: ‘We are very pleased that the Su- preme Court overruled the previous rulings of the Court of Appeals and the High Court that the simple act of browsing the internet could be copyright infringement.’ 12 MACUSER JUNE 2013 And with the multifaceted ruling allow- ing both sides to claim victory, NLA man- aging director David Pugh said after the announcement: ‘We welcome the fact that core NLA principles have been upheld by the Supreme Court: paid-for web monitoring services using publishers’ content require copyright licences and therefore remuner- ation for publishers. ‘We are also pleased to see that the Supreme Court acknowledged that if an end user of an alert service delivered as a web link (rather than by email) were not re- quired to pay a licence fee, then Meltwater’s licence fee [payable to the NLA] would very likely be substantially higher’ Meltwater currently supplies clients with cuttings both by email and on the web. ‘The Supreme Court overruled the ruling that the simple act of browsing the inter- net could infringe’ The crux of the case was whether the viewing of copyright content on the web, and the necessary copying of that content to a cache and display, could constitute copyright infringement and thus should require a licence such as those sold by the NLA on behalf of newspaper owners. The Court of Appeal had ruled that it did, on the grounds that the ‘acts of reproduction are those occasioned by the voluntary human process of accessing that web page.’ IN ITS MORE thoughtful judgment, the Su- preme Court noted that the ‘question po- tentially affects millions of non-commercial users of the internet who may, no doubt unwittingly, be incurring civil liability by viewing copyright material on the internet without the authority of the rights owner, for example because it has been unlawfully uploaded by a third party. ‘Similar issues arise when viewers watch a broadcast on a digital television or a sub- scription television programme via a set- top box.’ Explaining the legal basis for the decision, Lord Sumption said that making a temporary copy for the purpose of view- ing content was covered by Article 5.1 of a European directive which itself forms part of the Copyright, Designs and Patents Act 1988. ‘It has never been an infringement of EU or English law to view or read an in- fringing article in physical form, he said. The alternative ‘would make infringers of many millions of ordinary users of the in- ternet across the EU who use browsers and search engines for private as well as com- mercial purposes.’ James MacKenzie, commercial director of another cuttings agency, Cutbot Media Monitoring, told MacUser that if the Su- preme Court ruling is confirmed by the ECJ ‘jt will allow the public across the European Union to visit public newspaper websites without being vulnerable to aggressive at- tempts to misuse copyright law. Clients of media monitoring firms like Cutbot would also no longer need a licence costing up to £22,000 merely to visit public web pages.’ Asked about the prospect of agency fees rising because the NLA could no longer charge those agency’s customers for ac- cessing cuttings on the web, MacKenzie told MacUser it would ‘be perverse for the cost of that overturned licence simply to be shifted to companies like ours, given that we merely provide emails with links to that content on the publishers’ own sites and never republish the content of articles’. THAT’S A viEW not shared by the NLA’s commercial director, Andrew Hughes. When MacUser asked Hughes for his interpreta- tion of the judgment, he explained that the Supreme Court had said that ‘the fees that they [the NLA] charge to the intermediary should be increased appropriately and that fees should be collected from people upload- ing the data’. Lord Sumption actually said: ‘It seems very likely (although I am not deciding the point) that the licence fee chargeable to Meltwater will be substantially higher if end users do not need a licence because on that footing the value of the rights for which Meltwater is licensed will be signif- icantly higher’ That, said Lord Sumption, would be ‘more satisfactory’ than charging fees to ‘hundreds (in other cases it may be millions) of internet viewers’. Hughes was keen to stress that the NLA has no wish to claim fees from individual web users. Instead, he said, in what he de- scribed as a ‘practical distinction, it licenses content to businesses which charge a fee ‘There’s a practical difference between Google and cuttings agencies. Google oesn’t charge users’ for access to cuttings and to their clients who benefit commercially from that service. This seems a very odd situation - after all, when MacUser licenses photos for re- production in the magazine, for example, it doesn’t also pass its subscriber list to the photo agency so that it can charge each reader separately for the privilege of look- ing at the pictures. But such has been the established system for newspaper cuttings licensing until now, and will remain so in media other than the open web. What the NLA had never been inter- ested in, Hughes told us, was charging a fee to individual end users of free-to-use services such as Google News, regardless of the fact that Google benefits commercially by displaying adverts next to summaries of news stories. ‘There’s a practical difference between what Google does and what Cut- bot does; Cutbot charges for its service and Google doesn’t, he said. Yet Google makes far greater amounts of money from advertising around its services than Cutbot is likely to. The distinction risks looking less practical than opportunistic, and the licensing sys- tem unsustainably archaic. Hughes, though, reckons the millions of pounds paid out by the NLA to the newspa- per industry every year adds up to ‘about 800 journalists’ jobs’, which is food for thought. Inablog post after the ruling, Simon Clark and Toby Headdon of BLP Law, which rep- resented the NLA, expressed concern that ‘pirated copies of content online’ would become ‘fair game, with no disincentive for web users to use [il]legitimate sources. ‘The copyright owner will be left to pur- sue the source of the pirated material, no doubt located offshore, or seek a blocking injunction against ISPs, which are often cir- cumvented. The decision could be viewed by many as something of an online pirate’s charter, they wrote. It seems implausible that online pirates will be queueing to take advantage of what the NLA itself says was a very specific ruling on a narrow and hypothetical point. If they do, they'll be competing with the service Google already offers free to any web user (individual or commercial). Charging people millions of pounds to tell each other news stories exist, on the other hand, is a tough model to reconcile with today’s internet. @ 13 JUNE 2013 MACUSER IMAGES |STOCKPHOTO.COM/URBANCOW; APPLE; MELTWATER 28 DAYS f ¥ op s developer eringapp thathelps developers offerapps APPLE SEEMS TO be cracking down on apps that help users to find other apps of interest to them - or, to put it another way, apps that help app developers find customers. In a move described by Silicon Valley blog AllThingsD as the first of many, the company removed ‘daily free apps’ app AppGratis from the App Store for violating clauses 2.25 and 5.6 of its guidelines, which prohibit promoting apps from other devel- opers and push notifications for marketing. AppGratis continues to offer app rec- ommendations on its website, but says its app was instrumental in enabling it to grow from two to 30 employees during 2011. Its business model is to charge app developers a fee to include their apps, which although free invariably operate on a ‘freemium basis, providing features as in-app purchases. IT’S UNSURPRISING THAT iOS developers would jump at any form of marketing made available to them, since Apple resolutely re- fuses to provide any promotional options within the App Store. But AllThingsD said Apple was worried that AppGratis and its ilk would ‘threaten the legitimacy of the App Store charts by providing a way for devel- opers to spend their way to a high ranking’. Its sources had told it ‘AppGratis’s ouster was a first step in a broader enforcement action generally targeted at app-discovery apps that run afoul of clauses 2.25 and 5.6’. AppGratis CEO Simon Dawlat denies that AppGratis is in the business of gaming the App Store charts. He told TechCrunch: ‘Reaching the the top of any App Store [chart] 14 MACUSER JUNE 2013 is a simple and logical equation. But we're not in this business. We're in the business of helping end users discover new apps.’ This description is hard to reconcile with AppGratis’s business model: users don’t pay it to give them impartial recommendations, developers pay it to push their products to users. One way this could be done would be to game the App Store’s ‘top’ charts, which Apple displays prominently. Business Insider cited a menu of prices for developers that specified App Store chart positions and prices for attaining them. ‘AppGratis estimates a ~$100,000 buy will land an app in the top five slot in the US version of the App Store’ The implication was that this result could only be achieved by manipulating chart positions, for exam- ple by automated downloading of free apps. But Dawlat described such suggestions as ‘delusional’, quoting internet entrepreneur Jason Calacanis’s assessment that this was ‘not gaming’ but ‘forecasting’ and publish- ing an apology from the search expert who had originally alerted TechCrunch. Going ‘back to our roots’, the CEO said AppGratis would complement its daily newsletter with a web app - beyond the control of Apple. a ‘Reaching the top of any App Storeisa simple and logical equation. But we’re not in this business’ Dirty Laundry APPLE HAS HAD problems keeping secrets. There was that prototype iPhone that went missing in a bar. And that other prototype iPhone that went missing in a bar. But at least its employees don’t often insult swathes of its users while discussing future products on social networks. It was a spur-of-the-moment tweet that ended up costing Microsoft creative director Adam Orth his job. According to Jemima Kiss in the Guardian (guardian. co.uk), Orth ‘triggered a colos- sal online debate after he was involved in a sarcastic exchange with a friend about the benefits of being connected [to the internet] that was seized on and, arguably, misinterpreted by games fans.’ What was so controversial? ‘Orth appeared to confirma rumour that the next Xbox will require an always-on internet connection. [Users] who have hit problems with games requiring persistent connections — most recently including SimCity and Diablo 3 - were concerned, said the Guardian, employing the fine British art of understatement. To cut a fairly short tweet even shorter, when reminded of the kind of place that doesn’t yet have fast internet, Orth had asked why on earth he’d want to live there. Microsoft said his personal views ‘do not reflect the customer-centric approach we take’. To communications, that is; there’s still no word on connection requirements for the console. 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Linux is a registered trademark of Linus Torvalds 28 DAYS Leveson and press self-regulation Are you a relevant publisher? 22" Does your Does your is it published publication publcatior in the course contain have more of o business”? news-related than one material’? author Ye ’ No Key This is not legal advice @ v This is a guide to help you understand the relevant publisher definition www.gov.uk/dems ae 91 Department a for Culture Media & Sport ts publishing news the main Pei] focus of your business? * * cS) *& Y When isa blog nota blog? That’s for courts to decide CONFUSION REIGNS OVER which magazines, websites and blogs are intended to be cov- ered by the Government’s new Royal Char- ter-backed press regulation scheme, which has already been rejected as unworkable and illiberal by most newspapers. As we reported last month, the hastily drafted legislation states that websites which publish ‘news-related material’ will be eligi- ble. Joining the (yet to be established) regu- lator will be voluntary, but if publishers that are eligible don’t join, they could be liable for higher ‘exemplary’ damages if they then lose a libel action brought against them. IN AN ATTEMPT to clarify the position of websites and blogs, both the Department of Culture, Media and Sport and the lobby group Hacked Off - whose associate direc- tor, Evan Harris, now describes its role as that of a facilitator - held meetings with bloggers in April. William Perrin, who runs the Talk About Local blog, attended and found the process ‘wholly unsatisfactory for small bloggers. They have to have time to be consulted, not really having a profes- sional trade body nor [a] collective voice’ The basis on which bloggers were invited to attend was also far from transparent. Sunny Hundal, who runs the Liberal Conspiracy blog, tweeted: ‘I heard about it via another blogger who was contacted by DCMS’ In an attempt to clarify things, DCMS released a flow chart headed ‘Are you a rel- evant publisher?’. Websites that post mainly news-related content, are run as a business, 16 MACUSER JUNE 2013 have more than one contributor and have an editor will be covered - unless they’re blogs. But no definition of ‘blog’ is provided, with culture minister Maria Miller adopting a ‘we'll know it when we see it’ approach. Even blogs that don’t focus mainly on news will be inif they employ more than ten people or have an annual turnover of more than £10m. DCMS confirmed to MacUser that although the content specifications apply to the individual publication, the turnover and employee criteria apply to the company that owns it, as a whole. But magazines whose publishers exceed these thresholds, like MacUser, still aren’t included if they’re ‘special interest titles’. The courts could end up deciding whether or not a site is a blog at the point when it’s sued, establishing after the fact whether it can be slapped with exemplary damages if it loses. DCMS said exempt publications could still choose to join, which might make sense if they wanted to use the arbitration scheme to reduce the risk of being sued for libel. But who’s going to want to join a scheme that’s been rejected by the very newspapers it was set up to regulate in the first place? a The basis on which DCMS and Hacked Off invited bloggers for consultation was far from transparent IMAGE DCMS Ex-Apple Ul genius finds absence of genius in Apple Ul ALAN KAY KNOWS a thing or two about computers. A former Apple Fellow and before that an asso- ciate at Xerox PARC, whence so many of the paradigms borrowed by Steve Jobs that we continue to curse good-naturedly today, Kay was responsible for developing a vision of computing that encom- passed hardware, software and services. Sound familiar? Kay’s Dynabook concept was a portable educational computer that, although too far ahead of its time to be manufactured, was eventually realised in part in projects such as One Laptop Per Child and in devices like the iPad. Kay himself, however, isn’t much impressed with Apple’s PC-killing tablet. In an interview with Time magazine in April, he summarised disobligingly: ‘Much of the iPad Ul is very poorina myriad of ways.’ Kay said his original vision of the Dynabook was for ‘symmetric authoring and consuming,’ something today’s devices aren’t designed for. ‘Apple with the iPad and iPhone goes even further and does not allow children to down- load an e-toy made by another child somewhere in the world. This could not be farther from the original intentions of the entire ARPA-IPTO/PARC com- munity in the ’60s and ’70s,’ objected Kay, referring to the US Department of Defense’s Advanced Research Projects Agency and its Information Processing Techniques Office. Ina thinly veiled reference, the veteran computer scientist told Time: ‘If [organisations] require a charismatic leader who will shoot people in the knees when needed, [their] process is a failure. It means no group can come up witha good decision and make it stick just because it is a good idea.’ Adobe shows its hand inLas Vegas AHEAD OF CREATIVE Suite 7, Adobe re- vealed significant updates to its video products and officially launched its Adobe Anywhere for Video collabora- tion platform in time for the broadcast industry’s NAB Show in Las Vegas. At a preview event in London, Niels Stevens, Adobe UK’s business devel- opment manager for CS video, demon- strated features of the upcoming tools. Adobe Premiere Pro benefits from streamlined editing, better media relink- ing and enhanced audio. There’s greater support for multi-camera sequences, al- lowing camera rushes to be synced based on their audio content, and the Lumetri Deep Color Engine is now included for grading directly within Premiere Pro. There’s a new Live 3D Pipeline for Af- ter Effects in conjunction with Maxon, which sees a Lite version of its estab- lished 3D animation app Cinema 4D bundled with the Adobe package. ‘55% of our After Effects users working with 3D were using Cinema 4D, said Stevens. ‘It’s now completely integrated. You can create live 3D rigs and tie them to a comp in After Effects using the 3D Camera Tracker, then have the objects marry up together,’ AFTER EFFECTS FOOTAGE fixers such as Warp Stabiliser and the rotoscoping tools are also refined. Along with a user inter- face tweak, finishing tool SpeedGrade gains a new AutoColorMatch feature, designed to match clips from different cameras with varying lighting conditions. ae ag . Ingest and logging utility Prelude is now 64-bit. It gets a boost to its metadata workflow and will provide full native Avid DNxHD support. Editing is also claimed to be faster, with new integrated Adobe Story panels giving Prelude and Premiere Pro users access to Story scripts as well as the ability to match a script to clips using speech-to-text analysis. Audition, the audio editing app that was reintroduced to the Mac in CS5.5, also becomes 64-bit. New features in- clude Sound Remover, which allows users to paint out patterns of noise in- terference in the Spectral View, and a new loudness compliance tool. The updated apps are not yet publicly available, but Adobe is offering a spe- cial offer aimed at video professionals to join Adobe Creative Cloud for £27.34 (incl VAT) a month for their first year, 40% off the regular price of an annual membership. This includes access to the full set of Creative Suite apps for as long as the user subscribes. ADOBE ANYWHERE IS a new service that allows remote users of Premiere Pro, After Effects and Prelude to simultane- ously access and work directly with media stored on a central server, rather than through proxies. According to Stevens, it will let users such as freelance video editors collaborate virtually from any location where there’s standard network connectivity. The system, aimed at high- end users, is due to be available through systems integrators from May. 0 ts: y J i i ome ster | r cea : bs - oe! ae = Ml i Sia . \8 & m < that ey 2 ge ot =“ , ‘oe o & 5 : peers ae) Gee ee le IC th ee ee Itt Puntof the Month DESPITE WALL STREET’S downer on him, Tim Cook has been a huge asset to Apple for longer than most people remember, and with- out him many of the products we love would never have material- ised. But please, for the sake of the Apple rumour mill, could we have a few more? If we really have to wait another five or six months for the next big thing, it’s going to be hard to find any speculation that’s any- thing other than, well, rubbish. For now, we’re stuck with the likes of this from Apple Insider (appleinsider.com): ‘Images pur- porting to show off a camera component and another piece of a supposed “iPhone 5S” have hit the internet, fanning the rumors that Apple’s follow-up to the iPhone 5 is on deck? Is that even English? ‘One of the components featured in the supposed leak is what appears to be a front-facing camera, similar in appearance to the one built in to the iPhone 5,’ Yep, that’s where we’re at. Blurry photos of pieces of plastic sug- gesting features the iPhone has had for years. MacRumors (macrumors.com) claimed, in a report only slightly more credible, that ‘issues with color coatings for the fingerprint sensor’ - ohai fingerprint sensor! - ‘said to be included on the iPhone 5S are likely to push back [its] launch from a June/July timeframe to perhaps September or later. Well, at least the last bit’s right. JUNE 2013 MACUSER 17 IMAGE BRETTLAMB.COM 28 DAYS Ban spy drones now, says man who already photographed your house GOOGLE CHAIRMAN ERIC Schmidt has warned that inexpensive miniature drone aircraft should be banned by an interna- tional treaty before they start being bought by private individuals. Speaking to the Guardian, Schmidt, an adviser to US president Barack Obama, said: ‘How would you feel if your neighbour went over and bought a commercial observation drone that they can launch from their back yard? It just flies over your house all day. How would you feel about it?’ Schmidt acknowledged that drones and other robotic weaponry were inevitably be- coming a more significant part of modern warfare, but said he ‘would prefer to not spread and democratise the ability to fight war to every single human being.’ While this sounds very sensible, the Google boss’s concerns about spy drones may come as a surprise to those who've followed the criticism of the company by authorities and campaigners around the 18 MACUSER JUNE 2013 world over its apparent insouciance re- garding its users’ privacy. Responding to a question on that subject, Schmidt claimed Google was ‘super-sensitive’ about privacy and had voluntarily cancelled projects that were likely to infringe it. One such project, he said, was a facial recognition tool Google had developed. Apparently unaware that facial recognition might threaten privacy, nor that its imple- mentation would breach European law, until very late in its development, the company eventually cancelled it. ‘Facial recognition, completely unmonitored, can be used for ‘How would you feel if your neighbour had an observation drone that flew over your house all day?’ very bad things, admitted Schmidt. ‘It can be used for stalking, for example. You know, it’s just we don’t want to be part of that’ In 2010, Schmidt expressed Google’s at- titude to privacy like this: ‘There is what I call the creepy line. The Google policy ona lot of things is to get right up to the creepy line and not cross it’ Many campaigners think crossing it is exactly what the com- pany is doing with the constant large-scale data gathering that enables it to sell users to relevant advertisers and with projects like Google Glass. One activist, Scot Cleland, wrote: ‘I predict many will think Google Glass crosses the creepy line when they see how powerful and convenient a spying tool it can be if worn by a creep’ On 22 April, a German court fined Google €145,000 (about £122,000) for gathering and storing emails, photos, passwords and chat from wifi networks using its Street View cars between 2008 and 2010. Google has said the data collection was ‘a mistake’. IMAGE GOOGLE b tab are registered trademarks of Boog LLC le US and other counties. [Hollywood | www.martlettattoo.com Mamba courier 15, gray | ©2012 Boog LLC | Boog and Bs 26 = 2. #9 : ogi £. = ‘ t pal Big aR ES 7 3s 2§ z 6 & 8 ee =e og i @) ey ~o $ m @ 38 Eve The all-new Mamba courier Lightweight. water-repellent natural fibre | Sizes for 15-inch MacBook Pro & 13-inch MacBook Pro/Air This elegant slim laptop brief is purpose-built to protect a MacBook Pro or MacBook Air, iPad, iPhone, essential accessories, as well as documents and personal items-in style. Waterproof and organically dyed, the unique properties of this material with its smooth yet rugged hand feel are extremely light and strong. Mamba courier Fibre Collection’ | booGg www.booqbags.co.uk 28 DAYS EUEYSé9¢9 The right to be forgotten Every day of your life is visible forever online. Can you live with that? PARIS BROWN MUST rue the day she set up her Twitter account. Had her 14-year-old self known she would, in a few short years, be appointed to the advisory role of youth police commissioner, she might well have avoided social networking altogether. She didn’t, of course, and like many adolescents growing up in this most public of ages, she was later to discover that things said as cas- ually and thoughtlessly as they would be in a pub or shopping mall are likely to remain with her for the rest of her life. Whatever your views of the content of Brown’s now much-publicised tweets (bit. ly/Y8Sp4d), it’s discouraging that the words of the child Paris should have had such a devastating impact on the fledgling career of the young adult. In stepping down, after her earlier social media activity was dug up by a tabloid newspaper, from the role to which she was appointed at 16 by Kent’s incoming police and crime commissioner, Brown was deprived of a start in life and the young people of her region of someone who’d been selected to advocate for them. Brown is not alone. Stories abound of people who lost out on a job because their 20 MACUSER JUNE 2013 prospective employer took a look at their Facebook wall. It needn't even be the user themselves doing the posting. If a friend posts pictures of along-forgotten night out on Facebook and tags you in them, you’re there for everyone to see, labelled in whatever embarrassing situation is depicted. Users can untag themselves from others’ photos, but only if aware that they exist in the first place; if you don’t use Facebook often, you might not know you're being talked about. And there’s no way to prevent others tag- ging you in the first place. One solution is to prohibit employers from taking social media history into ac- count, just as they’re prohibited from dis- criminating against women who plan to have children, for example. Some US states are moving towards this, but it wouldn’t help with public image issues such as Brown’s. THESE AND OTHER privacy issues on social networks have led many, Paris Brown now included, to delete their accounts. But eras- ing your digital past isn’t as simple as that. The tweets or posts themselves may not be visible, but generally they still exist on the servers of the service provider. Getting them removed is difficult. Very difficult. Proposed EU legislation seeks to make it easier. A section of the EU General Data Protection legislation known as the ‘right to be forgotten’ aims to allow social network users to delete not just their account but all the data associated with it. It’s aresponse to complaints from social network users about their lack of control over ‘their’ data. As re- ported by the Guardian, ‘its current form provides for punitive fines for companies that refuse to comply with requests to erase customers’ personal details’. Vivian Reding, the EU Justice Commis- sioner, explains: ‘At present a citizen can re- quest deletion only if [data stored on them by organisations and covered by data pro- ‘At present a citizen can request deletion only if data held is incorrect. We want to strengthen this’ tection laws] is incomplete or incorrect. We want to extend this right to make it stronger in this internet world. The burden of proof shall be on the companies. They will have to show that data is needed’ There’s another reason that new legisla- tion is necessary, said the EU. ‘This piece of legislation... eliminates 27 conflicting rules [one for each EU state] and replaces them with...a mechanism for the whole continent. This means saving €2.3bn (£1.9bn) a year, claimed Reding. But the practicalities are another mat- ter. The UK Government has already said it has no interest in signing up. One of the problems cited by the Ministry of Justice is that the legislation ‘raises unrealistic and unfair expectations of the proposals by al- lowing [users] to believe that they have been “forgotten” when in fact the act of “forget- ting” is not yet technically possible’ The Information Commissioner’s Office (ICO ) agrees:‘We are concerned that this right, as billed, could mislead individuals as to the degree of protection the law can offer them, The UK government would prefer leg- islation to take the form of an EU direc- tive, which would give it more flexibility in implementation. Reding is dismissive, describing dealing with Justice Secretary Chris Grayling as ‘rather like Kafka’. ‘Britain is meant to oppose red tape; here Britain wants a supplementary layer of red tape.’ Despite her frustration, the objections are valid. While legislation could obligate the likes of Twitter and Facebook to de- lete private information, it’s impossible to identify all the third parties who may have already copied and re-published it. Without the ability to erase every trace of a given piece of data from the internet, it will never truly be ‘forgotten’. And there are obvious reasons why such an ability, in any hands, would be both undesirable and impossible. BRITAIN ISN’T THE only country against the EU proposals. According to the Irish Times, nine countries want the legislation ‘watered dowr’ because they’re concerned about the burden it would place on businesses. Ireland currently holds the EU presidency and has described passing the legislation as a key priority - but the country is also home to the European HQs of Google and Facebook. Facebook has said that complying with the legislation in its current form would take up resources and wouldn’t even work. It would surely have an even worse effect on any new social network trying to launch in competition with such established giants. It does need to be simpler for users to remove categories of data, particularly when companies like Raytheon are mining social networks to compile information on citi- zens. But while the internet exists we can probably forget the right to be forgotten. a 5530374 WebKit Fear of forking ignores the fact that two heads are better THE WAILING AND gnashing of teeth over Google’s decision to split from WebKit, the open source web browser engine co-created and adopted by Apple, and create its own rendering engine, Blink, might have died off a little by the time you read this. But for some web-watchers, there'll be still be a great deal of suspicion that the move will mean a worse, more fragmented web and yet more testing for developers. In reality, the implications of Blink are likely to be minimal in the short term, and may work out pretty positive in the long term. In fact, we could rapidly see both Blink and WebKit driving forward what can be done with the web in a way that helps developers and users alike. It’s worth starting with a bit of background, because a lot of the comments about Blink and WebKit are based on a muddle over what WebKit actually really does. WebKit - and Blink - are really pretty low-level services, which parse the HTML ona web page and lay it out. Rendering text, graphics, network access, hard- ware acceleration - all those are handled either by other bits of the browser app you’re using, or by whatever operating system you’re running. That’s why when you look at a page in two WebkKit-based browsers, what you see is rarely identical. What’s more, although different WebKit-based browsers will all use some of the same core code, what each browser maker does with that code when porting it to their platform can be different. Google Chrome’s port includes features from Webkit that differ from Apple’s version, and vice versa. Even ports used by the same company can be different, which is how the stock browser on Android came to use a different version of WebKit to Chrome. So the argument that Blink’s split from WebKit will lead to a more fragmented web is based on a false assumption: that the web isn’t fragmented already. It is, developers know this, and they already build and test for it. Web designers - at least the good ones - already test sites with Apple’s Safari and Google’s Chrome separately, even though both use WebKit. You don’t just assume that just because a site looks great on Safari, it will look great on Chrome. And that’s leaving aside the issue of testing on the mobile versions of Safari and Chrome, which, despite using WebKit, don’t render pages exactly the same way as their desktop stablemates. The assumption that the departure of Google from WebKit somehow means WebKit is doomed also does Apple’s engineers a profound disservice. In fact, it’s an opportunity for Apple to show its mettle and raise its game - particularly with regard to security, where Google has probably contributed most to WebKit in the past few years. It means competition, too. Two top-notch teams of browser engineers are going to be competing against each other to build a better rendering engine, while also being able to borrow ideas from each other when required, since both projects remain open source. Apple can learn from Google; Google can learn from Apple. And the competition between the two of them can push on the state and rate of browser development. @ IAN BETTERIDGE is a content strategist and former editor of MacUser. JUNE 2013 MACUSER 21 DIGITAL PUBLISHING aca - a Bel. sf ad es Ba ea rt USE: ® pa at MACUSER JUNE 2013 22 Sh) Fab eth EH 2 i f %; Md FM eae 5 M i, 2 ys | Se r ay B : & as A |e ‘i J 4 ous fr 7 re | " | a < , -q—- . > 7 +f geese ns =: TS as 3 6 =a a > 7 > 2 C A «x t mae SYANSISSG Y3AOD FHL ‘SZONSH UNO SAOWWI NILYVW HLIZy SGYOM hal Ie eh ©* ile f rd tal latform talla wei ngp ononed ish Is it any wonder we can 2 pn Q ii pee aS : sot: ul HS f d uo 'e inc yee Mass te) 7 ty t P nC eEVEH Loven eee f : ‘ ie Q Labeda) ls } if ay ae an ey E : . td ee deperen LAG SS Ty YY ai wv say wii r | y ou onWy = iy - ‘ i =: i < - AY, iy © 23 JUNE 2013 MACUSER _ DIGITAL PUBLISHING from here. which is to Categorising the different approaches to digital publishing is tough, but there are essentially three broad groups of products: 1. Solutions that repurpose existing print content for on-screen display. Often called ‘replica’ publishing, although it’s not always as simple as that, or ‘PDF shovelware’, if you're not a fan of this approach and are gratuitously rude. These services typically present a web portal via which you build your digital product from existing assets. 2. Solutions that use existing print pub- lishing tools to create digital publications. These do the majority of the production work locally, on the designer’s Mac. You can think of them as hybrid, since they use print layout methods to design digital output. 3. New production platforms that don’t use existing layout tools or PDF assets. These are essentially digital-only publishing tools, and while the lack of a traditional layout environment anywhere in the workflow will disconcert designers it’s worth giving them some attention. For fairly obvious reasons, the hybrid DTP-based production approach has been the most popular to date. Within it, two sub-categories are emerging: tools that ren- der Adobe PDF or similar page description output as page images, precisely reproducing print layouts but producing very large issue files and requiring technical workarounds to achieve features like user searching within the text, because there’s no live content; and 24 MACUSER JUNE 2013 DIGITAL PUBLISHING TODAY means creating and delivering products that consist of page-like layouts, combining text, graphics and multimedia elements, as software for iPads and similar devices. It’s often seen as something specific to the magazine industry, but it’s really a much bigger seismic shift than that. Books, brochures, reports, newspapers, portfolios — in fact, anything and everything that’s published in print today — can all shift to some kind of digital form as well. The problem is, nobody can really settle on just how it should be done, how much it should cost, and where that money should come from. We’re three years into the iPad age, and while only technophobes would claim a revolution isn’t happening, nobody is yet really sure where we're all going to go n this article, we'll do what we can right now, profile most of the leading solutions currently available to turn pages created on your Mac, one way or another, into publications delivered on users’ devices. those that generate HTMLS output from the DTP layouts instead, accepting some compromises, especially in typography, in return for benefits like direct text searches and smaller issue download sizes. ONE OF THE most overlooked aspects of publishing for tablets is how fundamentally it can affect the editorial process and staff. In print, the focus of editorial and design teams is on organising and presenting text and images within a fixed page, a complex but finite skill set. In tablet publications, you also have the option of using video, anima- tion, location awareness, dynamic content remixing, non-linear navigation and more. A big question is whether to dive in and deal with all these new elements yourself (the jack-of-all-trades approach) or rope in specialists. It’s a question only you can an- swer, but even if you step back from dealing with every technical aspect, you still need to learn enough to make the best choices. Editorial, design and publisher responsibil- ities are changing radically; you’ll need to stay on top of things or risk falling behind. The structure of digital publications is also less constrained. Every magazine has a fixed format and a budgeted pagination PUBLISHING FOR TABLETS CAN FUNDAMENTALLY AFFECT THE EDI- TORIAL PROCESS (divisible by eight!) which will only change in response to extrinsic factors such as ad revenue. A digital publication can have any number of pages with no direct cost or production implications, and features like scrolling can change how much content fits on each page. Pages can also have two orientations. With the ability to rotate the iPad comes the question of what to do when the reader does so, and this dual orientation question is causing a lot of angst. ‘I don't want to de- sign each page twice’ is acommon complaint, and after a honeymoon period when every- one assumed both aspects were obligatory, many magazines are now made to work in just one orientation. But which one is best? A print-rooted designer would probably lean towards ver- tical, but informal reports say people use their iPad in landscape mode a good 70% of the time - and our own experience puts that figure rather higher. Picking a single orientation seems a bit of a cop-out. Doing both ways up doesn’t have to mean duplication. Why does the alternative orientation have to show the same content rearranged? You could select media for the orientations that best suit it: for example, large screeds of text in vertical pages and video in horizontal ones. But then how do readers know there’s more content to be had when the device is turned? Your design should be able to tell them. Do read- ers actually want to keep re-orienting their iPads? That’s harder to answer. Replica or native? ALL THIS THINKING about how to make the most of digital will go nowhere if you confine yourself to converting print layouts into replica editions. Digital replicas could be seen as the publishing equivalent of the horseless carriage - blindly preserving a paradigm through a leap of technology that allows completely new models. It’s tempting to wonder if the big changes won't really happen until we get more new blood into publishing and start with truly fresh eyes. But many of us old hands are quite ready to imagine new kinds of publishing. The biggest problem in many cases is projecting enough revenue to fund the manpower and resources that are required to create orig- inal digital publications from scratch with new kinds of content. Scraping DTP files into page-turn app templates isn’t much like progress, but it’s highly cost-effective - as long as readers will continue to buy. Little wonder that a great divide in digital publishing today lies between replica and native approaches. The former are based on repurposing print magazine processes and assets, turning existing layouts into — ta & Gs, ines & Newspapers something that can be browsed on screen. To make the experience more engaging, enhancement overlays can be added to in- troduce features such as videos, slideshows and navigation hotspots. Native digital magazines are those created specifically for the digital platform. They'll be designed for the device screen size, and typically a range of dynamic elements will be integral to the layouts. Unlike print lay- outs pushed into digital form, their text will be designed to be readable on screen without the user having to pinch-zoom into the page, a commonly used facility in rep- lica magazines but a user experience that gets weirder the more you think about it. The boundary between these two con- cepts can get very blurred; in a sense, there are straight replicas produced by throwing a print magazine’s PDFs into an automated system at one end, and fully bespoke maga- zines with their own unique digital platform at the other, and every shade in between. The picture isn’t made any less confusing for newcomers by the myriad ways companies in this still emerging market present their tools and services. Further muddying the waters, Adobe’s PDF format, adopted in a vast range of products and services and the industry standard for delivering pages to press, is popular both among digital replica services and as the underlying document structure for many digital-native publishing pro- cesses. Two major tools have now bucked this trend, pursuing more dynamic HT ML5- based output instead. App Studio, owned by Quark, produces HTMLS5 from InDesign or REPLICA MAGS REPRODUCE PRINT LAYOUTS; NATIVE MAGS ARE MADE JUST FOR DIGITAL QuarkXPress layouts. The code is generated by the back-end App Studio cloud services and output as issues that feed into a wait- ing app; iOS, Android and Kindle devices are supported, depending on what the pub- lisher pays for. Padify is a fully online tool that takes ex- isting DTP content and turns it into HTML5, with a ‘create once, publish everywhere’ ap- proach, It’s likely to bea good fit for someone interested in republishing print content in a fully native digital format, but while it’s flexible, it’s still more template-driven than some solutions. IF YOUR BACKGROUND is in print publishing, what technology is used under the hood to build your publication may not sound likea creative issue. Should you even have to care? Well, as with web design, technical choices tend to have direct consequences for how the end product looks and feels to the user, and what they can and can’t get out of it. Each approach has its advantages and disadvantages. The ‘rendered page image’ methods will show the precise typographic appearance of layouts created using all the established features of desktop publishing apps. That works well for remote-based services where design and production staff upload their finished pages to the system and add enhancements, if required, using a web portal - an easy workflow to bolt on to traditional publishing models and tools. One downside is the lack of live text in the product, which gets in the way of searching and accessibility and prevents content re- flowing. There are workarounds - uploading plain text as an enhancement, so readers can opt to display it like a book, is a fea- ture of some tools - but it’s not ideal. Issue downloads can be large, into the hundreds of megabytes, and you get only limited op- portunities to experiment with new ways to structure and present content, since you're tied to a page layout paradigm. HTML-based publishing normally in- cludes live, accessible text as a matter of course, and will be easier to integrate with different publishing systems - in theory, at least. Delivered file sizes are generally much smaller (though savings will be less if your pages contain a lot of images and video), and there should be more scope for inte- gration and automation between tools and processes to bring an end product together, should you have the coding skills available. The downsides include limited typographic control (with current tools, you can’t even take basics like manual kerning for granted) and production process wrinkles that print professionals will need to learn to anticipate. When the move to iPad publishing be- gan, the general feeling was that both read- ers and publishers would be best served by tools that were dedicated first and foremost to delivering pixel-perfect pages; anything that tried to get clever at the expense of translating visual design seamlessly to the screen would just be a distraction. Since then, we've seen the visual quality of web pages, based on code rather than wysiwyg design, increase markedly along with users’ expectations of dynamic features such as searching and sharing. The balance is now such that we feel the long-term future of digital publishing must lie in HTMLS, even if many publishing crea- tives are still determined never to see a line of code. The typographic weaknesses are still frustrating at the moment, but tech- nically addressable (developers are looking to embedded web fonts and code libraries such as kerning.js and lettering.js for ways forward, among other possibilities, and the solutions they find will become available to designers as feature improvements in the tools they’re offered by vendors). More im- portant is the fact that constructing digital publications using dynamic and interop- erable technologies opens all the doors to rethinking our whole concept of what mag- azines and newspapers are or can be in the age of the mobile screen. This is where we stop making horseless carriages. — 25 JUNE 2013 MACUSER DIGITAL PUBLISHING | Advertising THE MAJORITY OF most magazines’ reve- nue has traditionally come from advertis- ing rather than the cover price paid by the reader. Since the advertising market started to go downhill in the late 1990s, this has been rebalanced to a degree by higher cover prices, especially outside the US. But the tendency of the App Store - the only place iPad users can buy magazine apps - to drive down prices means digital editions won't make money unless they provide a vehicle for advertising. Working with advertisers is something established publishers will be familiar with, but traditionally their work is complete once the artwork is received. Things are rather different in digital publishing. While replica editions may include the same ads that ap- peared in print, they won't be as effective on screen. It’s unlikely readers will zoom in to see tiny text in an ad, for example, so the client would be well advised to supply alternative artwork. At a bare minimum, the ad will need to link to the client’s web- site when tapped, something you'll be able to set up in your digital publishing portal. When you start adding value to digital ads is when clients might be persuaded that they’re worth paying extra for. It’s recognised that ads in digital mags can be more intrusive than in print, partly just because the reader may have to think twice about how to turn the page. In some ways, of course, that may be a good thing for the advertiser, and there are various methods of inserting ads ‘in the cracks’ so readers encounter them in more ways than as just another page in a front-to-back sequence. But you'll also need to think about making ads more engaging and less annoying to get positive results. IF YOUR PUBLISHING process is based on HTMLS, it’s relatively straightforward to build in fully interactive, responsive third- party ads made the same way. Other formats can pose challenges, but HTML panels, web views or iframes - different names for the same concept - can be used to much the same effect within more conventional page- based digital publishing platforms. While many advertisers and their agencies will already be set up to produce interactive content, it’s something publishers should also be offering as a service. After all, who better to build something to fit well in a magazine than the publisher itself? Cre- ative generally pays more in advertising than editorial, but that comes with higher expectations, so expecting overburdened staff to switch focus from editorial design and production to knock up an ad whenever required may not be a recipe for success. 26 MACUSER JUNE 2013 eo0o0 Pricing Tiers < Admin < Admin Tools - beet © Prost scm sines-mags com rome ons = = © 5 HO) = UK: 0844 549 9114 pixelmags Lag Admin Magazines Processing Help Guideline App Store Pricing Matrix US-Uss Canadas -CAD$ Europe - Euro € UX.-Gare Japan - Yen ¥ Tier Customer Price Net Reverwe Customer Price Net Rewenue Customer Price Net Revenue Customer Price Net Revenue Customer Price Net Rewerus Costs and pricing Evaluating the different iPad publishing methods available is a complex business, and the variation in pricing schemes means you can rarely compare like with like. Do you go for revenue share or a download tax? Pay for each interactive feature you add to your pages? Per device platform you want to reach? According to the number of pages you create or the overall data size of the issue? Then there are the variables of negotiating power; with some publishing methods the cost can depend on things such as number of titles you want to produce, which can put independents at a disadvantage. Most services will limit the number of copies of each publication you can deliver to your readers before having to pay more. Many do this literally by counting the down- loads, but Mag+ gives a bandwidth-based limit. It works out roughly the same, but has the interesting effect of encouraging producers to keep issue sizes under control. This, frankly, is a good thing for readers, even if it does lead to more videos being streamed over the air rather than being embedded in the issue. REVENUE SHARE OR DOWNLOAD TAX? WILL YOU PAY PER FEATURE? PER DEVICE TYPE? we've covered in this guide, where available, are based on straight fees for producing and managing a single digital magazine. Our baseline was a hypothetical publication that comes out once a month and reaches an average of 1,000 readers (downloads). It’s impossible to come up with one scenario that fits all, but we think this is realistic. A figure of 1,000 readers may seem low if you're used to looking at commercial print mag sales, but for this world it’s quite normal - and in fact, as a median, it’s arguably a little high. Retaining a digital readership at even that level isn’t easy unless you flex your market- ing muscles in some way. As Patrick Knight, strategic development director of MagazineCloner (magazinecloner. com), told us: ‘Unless you have a way of get- ting the app in front of the masses, and it sticking, it could turn into a labour of love’ But he agrees that success isn’t necessarily determined by advertising dollars. ‘A couple of mentions on the right blog or newsletter and it can quickly take off? IT’s NOT ALL doom and gloom. Digital mag- azine sales have plenty of room to grow; they're still not a big element of publishing industry turnover. According toa report on paidcontent.org, 289 US magazines sold a combined total of 7.9 million digital copies in the second half of 2012. Impressive, but that was just 2.4% of their total (print and digital) circulation. Looking at the UK, Men’s Health is the biggest selling paid-for men’s title here, according to the PPA, and in that July-December period last year it averaged 12,676 digital copies a month. That’s good, but hardly a challenge to the monthly print circulation of 202,704. On the other hand, Future’s T3 magazine reported digital sales (11,158 per issue) ac- counting for almost a quarter of its total, reflecting the typical reader’s interests. Take these figures with a pinch of salt, by the way, as a picture of the current mar- ket, because after the honeymoon period created by Apple’s launch of Newsstand in 2011, many digital editions have shown poor renewal rates. In short, realism is im- portant, especially if you’re thinking about launching a brand new title. We're not here to tell you how to market your work, but it’s important to remem- ber that the App Store is just a repository, not, except for a lucky few, a billboard. Although you may pick up a few readers searching Newsstand for your specialist subject, relying on new readers stumbling on your title won't get you very far. Make use of your web presence and work on SEO: Google is a much bigger pot of users than Newsstand. Look at email promotion (not spam) and use social networks to let people know you're around. Consider releasing free promo issues, and make subscription deals attractive to potential customers. It’s vital to understand the pricing model of your chosen digital publishing service, but it’s just one part of the equation. The App Store WHEN A PUBLISHER gets into the iPad game, some kind of learning curve is inevitable. New tricks take new skills. But you might not anticipate where one of the biggest challenges arises: right at the final stage of setting up your new magazine, when you submit your app to Apple. We're used to thinking of things made by Apple as logical, intuitive and user-friendly, but in this case it’s anything but. The de- veloper account pages in general and the App Store submission process in particular are incredibly opaque. Anyone who’s every tried it will agree: they were designed by programmers, for programmers - not for publishers or designers. This is something every digital publisher needs to deal with, so it’s worth checking how much help you'll get with it from your digital publishing service provider. => ca CREATE YOUR ) OWN MAGAZINE. —" a . # NYENRODE Alternative approaches THERE ARE MANY more tablet publish- ing solutions and services, of varying kinds, beyond those we’ve covered in detail in the following pages. Some are enterprise-oriented to the point of needing bespoke programming to get started with them at all; at the other end of the scale, there are plenty of glorified PDF wrappers to choose from. There’s more than a smattering of snake-oil hopefuls, too, trying to sell things that aren’t properly thought- through, aren’t sustainably priced, aren’t well designed, or just plain aren’t even any good. It’s particularly important to watch out for ‘magazine publishing’ solutions that ignore the central requirements of periodical delivery and subscription management. Here are some we’ve spotted that seem worth a closer look.ReadMore (readmo.re) is for those who want to get onto the iPad but don’t have design software or even a budget. The online production portal is limited to text and picture layouts and gives you canned templates to work with, but it’s unar- guably quick and easy. Productions will be published into the ReadMore library app. Pay something instead of nothing and you get your own app, but it’s still limited in layout options. You may prefer Readz (readz.biz), which also starts at zero cost - if you only shift a handful of copies a month, at least - and allows more dynamic lay- ered elements. The main thrust of this service is towards marketers rather than traditional publishers. Tactilize (tactilize.com) bills itself as ‘real-time iPad publishing’, and it’s a clever app- and web portal-driven ¢ Other side Not all publishing solutions are aimed at publishers. 1} Some of those targeting marketers 1! ty may be of interest . to independent - q zines as well (¢ approach to creation and distribution. Layout controls are very limited, but it’s arefreshingly different approach to publishing on the iPad - more of a shared environment where layout ‘cards’ are created and made available. Twixl (twixlmedia.com) is more traditional, and targets those witha commercial interest in publishing. It uses InDesign’s Book feature to build up layouts into a publication, offers a serious range of features includ- ing embedded or streamed video and HTML panel overlays, and comes witha price tag. Publishing single edition apps costs a little under €1,000 (about £850) for a year, and for multiple issues you’re into €6,000 (£5,000)-plus. PageSuite (pagesuite.com) is a strongly workflow-focused offering with established customers in the newspaper and magazine publishing industries. It takes PDFs from print workflows and creates distilled-out, screen-friendly versions in a page-turn- ing format. There’s a legacy emphasis on Flash-based production, but it also has the ability to create HTML5 content for mobile devices - albeit as an annual £495 bolt-on to its £1,995 Digital Edition package. You'll also need the Dynamic Apps bolt-on package (£2,950) to publish standalone device apps rather than web browser content. With such very different options available, making the decision to take a punt on any one of them isn’t easy, but the field is full of potential. As lan Westwood, group managing director at Dennis Publishing, said recently: ‘I’ve been in publishing for over 25 years and it’s never been as exciting.’ JUNE 2013 MACUSER 27 | DIGITAL PUBLISHING wone [-~ jale Bie w [Ejave 60d pe aie 3 g-= 2 | he wy Ese vienwim | wSawae > | Bishi | ee jk J ind @ 100% |) 7? BU DASXBENBNAIE LO a eee —— = + Fete Overtays = Digna Publishing - (SU € Seroatee Fare ®@ += Sow! Ovcae - >| | — SI] wae bw s hetero tener tee = OF Ate 3 a < Scates = baroet ua = pte a [Preview = | Reset 2 ——s Adobe DPS ADOBE’S DIGITAL PUBLISHING SUITE, Or DPS for short, is probably the most widely known method of making native iPad publications. It comes as part of Creative Suite and is used within InDesign CS6 to create device-native interactive page layouts that are exported and published using Adobe’s DPS online services. Parts of the design process makes use of a few of InDesign’s existing panels. The Buttons or Hyperlinks panels are put to work when making links to external URLs, and the Object States panel is used for slideshow creation. Other interaction and rich media production is dealt with using the Folio Overlays panel, either by adding abilities to a selected box or, in the case of audio and video, by placing the content on the page and modifying things from that point. The Folio Builder panel is used to assemble a digital publication from differ- ent InDesign layouts. First a folio is set up. These are device-specific; iPad (horizon- tal and/or vertical orientation), iPhone, Kindle Fire, B&N Nook, or ‘Custom’, for different screen sizes. Once the folio is specified, articles are imported from open InDesign documents or saved content. The Adobe Content Viewer lets individual 28 MACUSER JUNE 2013 pages be previewed ona Mac. To see the whole production you'll need to gener- ate and test the folio, and to build the app itself and produce the finished issue you'll need to sign in to your Adobe Digital Publishing account and work in the portal. Creating self-contained one-off publi- cations is free if you have a Creative Cloud subscription, or £235 per publication if you don’t (all prices here are ex VAT). Single Editions only work on iPad - you can’t output them for Android or other platforms - but the ability to churn out unlimited numbers of one-off publica- tions is a great incentive to subscribe to Creative Cloud, which gives you all Adobe’s apps for £39 a month. If you want to publish periodicals, however, things get serious. There’s an annual £3,384 ‘plat- form fee’ which, for your first year only, includes 5,000 issue downloads, so that’s ONE-OFF APPS ARE FREE WITH CREATIVE CLOUD BUT PERIODICALS START AT £3,384 your minimum outlay for a low-circula- tion title; but our 1,000 copies per month (or ‘folios’ in DPS-speak) example would need a ‘fulfillment bundle’ on top. These are available for 10,000 or 25,000 pre- paid downloads. Together with the first year’s included downloads, the smaller bundle will do us; add the 17p per folio for this and the annual total is £5,084, with output to Kindle Fire and other Android devices included. Subsequent years would need the bigger fulfillment bundle, which attracts a slightly better 13p per folio fee but brings the total cost per year to £6,634. Bundles expire after a year, so any unused downloads aren’t carried over. Adobe’s DPS is impressively mature and capable, allows multiple people to work on different parts of an issue at once in separate documents, and creates proper device-native publications. But its periodical pricing is daunting. While large organisations with established magazines may (and do) take it in their stride, it will rule the system out for most small pub- lishers and enthusiasts. Single Editions with Creative Cloud can be great for these users, since apps don’t have to make money, but it’s a shame the jump is so enormous to scale to periodical. => THE MAN WHO PIERCED THE SkY om SOULS COMET WIEST EE HEPBURN IN ROME HSS CALLS BE PIN ATE LN ES ceed the SPORETS of THER TOONEE STYLE ASUIS Hemdere darket on Pastet a ET ee Masallie cepe0 om ome woe wane anssj SiUL JUNE 2013 MACUSER 29 DIGITAL PUBLISHING APP STUDIO STARTED life as a tool enabling QuarkXPress users to create design-rich iPad publications, rendering layouts as layered bitmaps, like most of its rivals. Since then it’s pivoted into a quite differ- ent service that creates digital publications in standards-based HTMLS and supports Adobe InDesign as well as QuarkXPress. The feature set for designers remains largely the same as before, but the result- ing issue sizes are noticeably trim, and text can be selected, searched and book- marked by users in the apps you create, making the reading experience feel more open, interactive and shareable. The design process is straightfor- ward: there’s a single floating window, the HTM.LS palette, that’s used to apply inter- action and media ‘enrichments’ to your pages and configure them, and the App Studio Publishing palette, which is used to export and upload issue sections to the App Studio portal. The process of enriching pages is fairly well integrated with the core design tools. Picture boxes just need to be tagged with the relevant options, from button action behaviours to embedded or streamed movies and sliding layout panels. The principle of adding new media palettes to ‘© Getting the right equipmen © Being visible © First aid © Mental and physical plannin © Route planning Quark App Studi DTP software is the same one Adobe has adopted with DPS, among other vendors. The App Studio web portal is used to combine the various sections you might choose to upload - different people can work on the same publication at once and submit their pages - and set up metadata and parameters. Articles and pages can be rearranged here, and pages tagged as adverts are automatically excluded from the visual table of contents that’s gener- ated, recognising that magazines don’t generally list ads on the contents page. Testing is done online via web browser or by using the App Studio app ona device, such as an iPad, and copying the compiled issue back from the online portal; this can be done before you have to commit to a publishing plan. The portal is also used to configure the final custom app itself, and it helps streamline the SINGLE EDITIONS COST £139.95, BUT PERIODICALS START AT JUST £69.95 A MONTH iO submission process to an extent. Issue hosting is provided by the App Studio service (remember that issues of a period- ical are published separately from the app you create to display them, which read- ers will install only once; the App Store hosts the app, but the publisher hosts the issues); you can opt to use your own FTP or Amazon S3 hosting instead. App Studio itself is free to install. Self-contained Single Editions cost a flat £139.95 each to produce - cheaper than Adobe’s standard price, but without the Creative Cloud subscription free- bie option. Periodicals start at £69.95 a month for iOS devices or £349.95 a month if you want Android (including Kindle Fire) as well. The iOS-only price includes 1,000 issue downloads a month, while the higher ‘Android too’ price gives you 2,500 issue downloads a month. For our monthly iPad mag averaging 1,000 issue sales, the annual cost would be just £839.40. Going to Android and Kindle Fire too steps it up to £4,199.40 a year, but you get more downloads included. If you go over your available downloads, you pay 13p per download, or you can buy non-expiring discounted bundles starting at 5,000 issues. 3 30 MACUSER JUNE 2013 Recipes | = a Salmon & broccoli cakes ac Bump up the good-for-you tactor with these vegetable packed salmon trhcates, senved weth & fresh salad Today's picks [igus . 0. Corre he potatos o wathed water be @ Lemon & thyme roast chicken fas 10 puinn wold fat tontoe. sing ¥ w Smoothing butter underthe bird's skin helps to baste the | eougity mark Fake © Oe walron acd bal Ore lernee pace and AB a the ewd of okey tm Oran, alton ¢ ath cone snenants ng, Seon dhage inte 4 cahes chicken and herbs add a delicious flavour to the gravy , 2. Pease See od eo pan and by re cakes tr 3 ees each side urn quiden, usmabdia, min vemening tewen juice with Gre motierd aed semcrem, eer set made Ua De eats tomo: ot canerress aed Guide betamen plies. Sane ane fash cate each with Uw telat decched meth cheng and ents emer rerdigrs ter equeating oust K Recipe for success While Quark’s previous iteration of App Studio was firmly rooted in magazine design, the new HTML5 solution should lend itself to a wider variety of publications » Backward and forward The switch to HTML5 doesn’t mean you have to stop thinking in terms of page " layouts. App Studio is still suitable for publications that pursue visual impact through graphic design the old-fashioned way € Pop-up shop Features like this info Wohpiorelinitominebeinbelddedml POP-UP can be set emginess Peter Sanflenbery tae r pevple carvin= 2 Mote =# ban to spring out whena Prac ince. mat - ia page element is tapped, packing more content in and make the reading experience more interactive wrollsrocliss JUNE 2013 MACUSER 31 DIGITAL PUBLISHING eco id @ ees or s B vie * “Unutied-1 0 75% J HE ke Bo°e 50.0 08 TX BRNSNAIR iD oe ONE OF THE first demonstrations of what tablet magazines might look like, created months before Apple revealed the iPad, was the work of family-owned Danish publishing giant Bonnier. After bring- ing its concept into the real world as the engine behind much-talked-about early iPad magazines such as Popular Science, Bonnier span it off as a digital publishing platform for others to use, retaining the original name of the project, Mag+. Magt+ is a digital publishing plug-in for Adobe InDesign. You create interactive layouts within InDesign using the Mag+ panel (a paradigm that should by now feel pretty familiar) that’s installed along with the separate Mag+ Production tool. Items in a layout are tagged with object types, including Control Image (for interactive images or slideshows); Hotspots (to take the reader to a page or URL, or to trigger video, audio or a popup item in the page); and that most open-ended of all features, HTML (where you can paste in your own code to do whatever you please). ‘Pinning’ is an interesting feature. This helps you create single layouts that adjust to fit both horizontal and vertical orien- tations when the user turns the device. There’s also the more traditional dual Dwsine OF Ahem Foteeeee Bnew OA Oneniy ten Ae Lape ce > cme cece layout option (if anything in this field can be described as ‘traditional’), where each layout is designed separately. Creating a single self-adjusting layout gets around the problem of having to design each page twice, once for each orientation, but treating the horizontal and vertical lay- outs as separate allows totally different content to be used in each; which option is right for your publication will depend on your design intentions and to some extent on your audience. The Mag+ Reviewer app is used to test issues quickly during the production process. The cost of publishing through Mag+ isn’t particularly low for some kinds of publishing, but can be quite cost-effective for others. A Per Issue app is the equiv- alent of a Single Edition publication in DPS or App Studio, and can be published ONE-OFFS COME AT A FLAT FEE OF £699, BUT A YEAR OF MONTHLIES IS ONLY £3,108 for a hefty flat fee of £699. The Monthly plan, for a single publication (one app, one device) with as many issues as you want to create, costs £259 per month, so our benchmark monthly iPad publication would cost £3,108 for the first year. You could take this to one more platform for an extra £69 a month or to all platforms - iPad, iPhone, Android tablets, Android smartphones and Kindle Fire - for a higher supplement of £129. Alternatively, to publish any number of issues to any number of different apps for all the differ- ent platforms, there’s the Unlimited plan at £1,999 a month. Best have a rummage down the sofa. If you choose to arrange your own hosting of your issue files, you deal with the bandwidth charges yourself; otherwise, Mag+ can do this, and within certain limits there's nothing more to pay. The Monthly plan gives you 250GB of data transfer (per month) and the Unlimited plan gives you 10TB. If you exceed that limit, it's $0.17 (about 11p) per GB after that. For a regular monthly mag- azine, if your issues average 250MB each, which is realistic to high for most titles, you have scope for 1,000 downloads with- out paying any extra. 32 MACUSER JUNE 2013 BASED IN FRANCE, Aquafadas created the AveComics platform and collaborated with Quark on its original App Studio offering, now renamed Quark AVE Publishing. Meanwhile, it sells its own eponymous magazine platform based on the same engine, fronted by a designer-oriented digital publishing tool for InDesign users. The Aquafadas publishing process involves tagging boxes in a regular layout, adding enhancements and interaction options (including video and embed- ded or linked HTML), and exporting the results. The digital issues generated from your layouts are then read ina custom app that’s prepared for each supported platform. You can choose which path to take with your publication - digital rep- lica or device-native - and, unusually, you can publish to