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This article is also published in french Dreamweaver continue son évolution au sein du Creative Cloud


Dreamweaver CC 2017.1



This new intermediate update, Dreamweaver CC 2017.1, could almost pass unnoticed, but to look more closely, it is strong in symbols and perspectives.


There are two new features that may not appear as being new, because they seem to have always been around and are an integral part of Dreamweaver.


On one hand the Find and Replace module, which was present since the earlier age of Dreamweaver, but which has been revamped since the integration of the new Dark UI interface, and now appears to be polished and complete.


An on the other hand, the full support of PHP 7.1, is now a common business and we will therefore be able to benefit from the help and information tools as it should be, depending if we use 5.6 or 7.1, and as a per site basis.


Let's also take a look back at some older features that stabilize but that still do not provide WYSIWYG support, but which remain however modifiable, such as coloring code.


Usual Precautions Before Updating



Although intermediate updates are fully integrated when using cloud-managed application flows, it is preferable to use best practices such as ensuring a final synchronization to the platform before launching the upgrade process.


This will ensure the backup of a number of items, including application preferences, site descriptions, code fragments, keyboard shortcuts, and workspaces.


When launching the application, it is therefore necessary to choose Retrieve synchronization information in order to reconfigure the application, as in the previous version.


Bug fixes


As with every improvement, whether intermediate or major, a large number of bugs have been corrected, and certain functionalities are improved or polished.


This concern both usability, ergonomics and integration within Dreamweaver’s IDE, particularly at the level of the Find and Replace tool.



Anyway, if you find a bug that has not been taken into account, or if you want an improvement of any kind, do not hesitate to put this information back to the development teams. Go to one of the following URLs: and more information on


Coloring the code editor


This feature appeared with the previous version, but many expect that this intermediate version allows an ease in the choice of colors used by the editor, as it is true that the coloring of the code can become quickly frustrating.



By default, Dreamweaver offers two modes, Dark and Light, but on this update two new ones join the band, Raven Dark and Solarized Light, respectively on a Dark and Light basis. And then that's all ... but hey, we can still go further, and in different ways.


Find and add themes


To find a theme, nothing is simpler. Let's not forget that Dreamweaver uses Brackets as a code editor, and therefore it’s enough to approach a theme dedicated to Brackets directly from the ad hoc github,



Once there, make your choice from the visual catalog, for example NewtonLight-master, and by clicking on the link you will be redirected this time to the github of the appropriate theme.


Using the big Green button, you will have the choice to Clone or Download. Simply select Download ZIP, then unpack the download folder and place it in the right folder depending on your system.



C:\Users\{your session}\AppData\Roaming\Adobe\Dreamweaver CC 2017\fr_FR\Configuration\Brackets\extensions\user


Mac OSx

~/Library/Application Support/Adobe/Dreamweaver CC 2017/en_US/Configuration/Brackets/extensions/user/


Now by going to Dreamweaver Preferences in the Interface category, you will access this new Code Theme and you’ll can select to choose it.


Create your own theme


For the more adventurous among you, it is possible to create a theme based on a blank sheet ... why not? But, be aware that it is sometimes easier, and often faster, to start from a base close to the final expectations, and, adapt it.


Anyway, to create a theme it will be necessary to define a style sheet written in .less (or .css) and a json file that will set up the various necessary parameters. You will find all the information you need on the github Creating Themes.


Regarding the package.json file, three properties are particularly important for theme property: file, dark and addModeClass.


      "title": "Raven",
      "name": "Raven",
      "description": "Built-in dark theme for Brackets",
      "version": "0.42.0",
      "author": "Miguel Castillo <>",
      "engines": {
           "brackets": ">=0.42.0"
      "theme": {
           "file": "main.less",
           "dark": "true"


The first defines the style file containing the set of properties, the second defines whether it is a dark or clear theme, and this is very important for all complementary palettes, (auto completion, tooltips, Help, etc ...) so that they use a color matching the theme and the last property addModeClass  (not present in the above example) is very useful if you use a coloring specific to each language like JavaScript, HTML, CSS ...


So, go to the Preferences, Interface Category and click + to add a new code theme, Dreamweaver will propose creating for you the base of these two necessary files, namely the file_theme.less and the package.json.



We must give a name to this new theme and specify on which theme it is based. This greatly facilitates the creation process, because we will then only have to modify the value of some properties.


Edit a theme


Once the theme is in place, it is possible to intervene and modify or refine a particular value. Again, Adobe has published a well-detailed nomenclature on its online help Customize code coloring and more specifically in the chapter about selectors.


Always from the preferences dialog you can edit the selected theme by pressing the pencil icon.


Find and Replace


It is true that one of the forces of Dreamweaver has always been its internal search tool, but since the adoption of the Dark UI interface, specific to the tools of the Creative Cloud, some compromises and remakes have been necessary.


The search tool, although extremely useful and functional, also had to mature and evolve, at least ergonomically compared to other IDEs, and code editors available on the market.


And so, no fewer than three new features that have come to enrich the offering in this sense;


  • A new menu completely autonomous on the search and the replacement,
  • Document Search Bar docked at the bottom of the document which acts as quick search
  • And a dialog, not dockable, proposing two possibilities between an advanced search and a search within the site files.


The Search menu


This menu, which has become independent and autonomous, is not really new there are a few builds of this since it appeared, but it is good to emphasize its presence because it makes the user interface even closer to what the “We expect from a code editor”, and especially a self-respecting IDE.




This menu offers a set of possibilities classically desired in any type of work of repossession of a site, or maintenance of a site with large volume.


As usual the keyboard shortcuts are juxtaposed to each action, and each action being sufficiently evocative, it is not necessary to dwell on their various possibilities.


"Find Previous" functionality was on the wishlist of majority of users. People wanted to have the capability to go backwards in the search results by looking for the previous element. This is now available, and whatever the mode of search is set to, you can move in both directions!.


Quick Find (Ctrl-F or Cmd-F, and, Ctrl-H or Cmd-H )


One aspect of this feature, which may surprise when it first appears, is that this type of search cannot be performed if no document is opened, and therefore, instead of any dialog, you’ll gets an alert message informing us.




You can also search inside a text block or within a specified code snippet. If the content portion is selected, search will be limited to that selection or the entire document. Finally, whether it is code or text block, the search may include [any tag], or any defined tag set.


Using the filter allows you to combine various classic parameters such as Case-sensitive, Use Regular Expressions, Match Whole Word, Ignore White Spaces, and focus the search only on the selected text.


The advanced search, and / or, search in files (Ctrl-Shift-F, ou, Cmd-Shift-F, et, Ctrl-Shift-H, ou, Cmd-Shift-H)


Having been one of the forces of Dreamweaver, this dialog is now declined in two tabs, elementary and advanced. These two search modes allow you to search and sort items contained in specific tags by specifying, or not, certain attributes. It is possible to nest as many specificities as necessary.





The actions are not limited to replacing a string, but it is possible to modify or remove the framing tag, add or remove attributes, modify their values, in short, ... a great tool in our daily developer and web integrator workflows.


To the right of the search buttons you will find an "Exceptions" checkbox. If this option is checked, and if you choose to "replace all", the result panel will then list the matches along with a check box next to it.




You will also find, in this panel, a menu to navigate among all these occurrences with the capability of unchecking matches that you did not want. The "replace" button will then only change the occurrences that you had selected above;


Save and Load Queries


In old versions of Dreamweaver, it was possible to load or save requests. Tasks very practical since repetitive when taking over an old site, or setting up a serious and advanced maintenance.


Do not worry, to reactivate these missing features by default, just make a simple change at the registry level. From the taskbar, launch regedit.exe and select in the tree view


HKEY_CURRENT_USER \ SOFTWARE \ Adobe \ Dreamweaver CC 2017 \ Advanced Find And Replace


then create a new ShowHiddenOptions string and set it to true.



No need to restart Dreamweaver, as soon as you invoke the search in the files both options will appear at the top of the dialog. This change shouldn’t be considered for all minor Dreamweaver updates.


Integration and PHP 7.1 support


PHP is clear,, only the latest version of the 5 range, 5.6, will be supported until the end of 2018, but whatever, the major players in CMS, and other applications developed in PHP are moving more and more towards the use of the range 7 and in this case version 7.1.


Dreamweaver therefore had to endure the use of these two versions, which are still likely to cohabit over the next two years.


Global management within the application or site definitions


A new category has appeared in Preferences, PHP. At the moment, only one drop-down menu is proposed and allows to define the version of the PHP used, that is to say between 5.6 and 7.1, at the application level, that is to say when no site is defined.



Similarly, in the definition of the sites, appeared the same category, PHP, in the part reserved for the Advanced Parameters.


Hint Code and other writing aids


By having previously specified the version of PHP used, this allows to obtain the aids, and hints, to the writing and other relative information adapted to the version of the language that is used.



An important note to take into account is that, henceforth, if the PHP code does not contain closing tags ?> an error will be detected and displayed. It is therefore important to think about changing your habits if you did not systematically use this closure.


Using the Tangent Ripple for Neutralization in Adobe Premiere Pro CC


What are the essential colorist/grading steps? First, neutralizing all clips, getting as close as one can quickly to a neutral white-balance and natural appearing tonal range. Second, blending them by doing "shotmatching", so they look continuous ... as if seen by one set of eyes. Third, scene-matching, so that as the video is viewed, advancing to the next scene is natural and within the feel of the previous project and normal visual expectations for things like mid-day, evening outside, in a living room with 'normal' light bulbs, or in a dark cave.Then, if time and budget allow, the fourth stage is to create and apply a "Look", sometimes by scene or even an entire project.


There's never enough time for everything we could do for every clip. So to get to as much as possible, speed of operation through the process is essential. And the Ripple is a huge boost for speed and accuracy of colorist/grading work!


"Neutralization" means getting the clips clean: no color tint in the neutral tones (whites, grays, blacks), all data from blacks to white within say 5-95 on a 0-100 scale, and a good tonality for contrast & saturation that helps the viewer see the scene easily. It looks "natural". Technically accurately. It's a totally boring job that can take way too long. But properly neutralized clips make for far less work ... and far faster work ... in all later steps. Using a well-conceived & tested workflow, centered on the Ripple, is the fastest way of getting the job done within Premiere Pro CC2017. (Unless you've got a Tangent Elements panel, of course ... )


In Lumetri, the workflow is designed with the intent that the Basic tab is used for neutralization. They took the UI concept of the Lightroom Develop module, but with tools designed for video. Before I got my Ripple, I personally found the Basic tab a total waste of my time. Using those controls one at a time with a mouse or even Wacom pen-tab took for flipping EVER to get anything done. It seemed so deadly slow.


When I got the Ripple, I thought I'd test out some mappings for the Basic tab. It was well worth the time. Wow!


After playing with various mappings of Basic tab tools to the Ripple, it's clear that it works beautifully for neutralization, and is fast and intuitive to work with. As you can see from the image below of my Basic Tab control mapping, I've got the dials set for fast work at neutralization with every tool of that tab mapped. And ... I'm normally moving at least two if not three controls at a time. Yea, this puppy is fast! It's in the combination of speed & control that the Ripple earns it's spot on your desk. Or in your traveling bag to go out with your laptop.

Let's roll!

Here's a clip from the start of a recent vacation, taking the Amtrak Empire Builder through the Rockies & Glacier Park in late winter, plenty of daylight ... and beautiful snowy mountains to come. This clip is the start of our trip, at Union Station in Portland, Oregon, in the early evening on a cold late-winter day.

Right out of the camera, this clip is clearly ... warmer ... than it should be ... but how much, of what? And it's maybe ok but not optimal for tonal "distribution", so it will need a bit of adjusting to the relative brightness around the image. In video post, everything is relative, so always remember when you move something one way, it visually moves something else the other way.


A typical colorist approach assumes it's best to modify the luma ... the brightness values, white, black, and shadow/mids/highs tonal relationships ... first, perhaps with lowered or completely zeroed saturation, and then start on color corrections. But I've found that the initial color neutralization step changes the end points of the three channels (R-G-B) enough that I re-worked my process to start neutralization with the following fast and knowingly imperfect WB/Tint correction.


And importantly: I'm only looking at the Vectorscope when doing this step, I don't even look at the program monitor! It's fast, it's "close enough" for this part of the process, and as the whole process is iterative, this actually saves an iteration or two down the line.


Temp/Tint adjustments can take forever. And ... what's neutral, when looking at the image itself? This can be a hard decision. But I've got a couple hundred clips in this project ... no time to blow on evaluating, on thinking.

So first ... I've got a little helper I've made, that really speeds things along. I created and exported a .cube LUT from the Lumetri HSL panel (HSL settings shown on the left here) that invokes a mask allowing only the very-low saturated parts of the image to "show" through the mask, mostly in the upper-midtones. I have that saved in the Adobe/Premiere Pro 2017/Lumetri/LUTs/Technical folder, named " 1A Low SatMask uMids". This way, it's one of the first couple LUTs that appear in the Input LUT drop-down box. My first step is to apply that sat masking LUT.


Production tip: while you can do this for each clip, I prefer to do MANY clips sequentially, so I'll place an adjustment layer over a whole sequence, select it, apply this LUT in the Lumetri Basic Tab Input LUT drop-down on the adjustment layer, and then go back to the video track to do my corrections jumping clip to clip. One finger on the middle ball for temp/tint adjustment, another on the down-arrow to jump to the next clip. Bam ... bam ... bam ... wow, this is fast! Then I just delete the adjustment layer when I'm done.

Here, it's applied to a clip and ready to use in the Basic tab. The areas with color ... or some color ... showing, are the areas that the mask will allow PrPro ... and most importantly, the Vectorscope YUV to "see". The gray part will be ignored by the scopes. So while watching the scopes, I move the middle ball of the Ripple. That ball is is set for Temp (left/right) and Tint (up-down) as you can see in the mapping above.


Now, to the right, let's look at the Vectorscope of this image with the low-sat mask applied ... notice that the main overall clump of data is not quite centered? It's just a bit up and to the left ... that's what we'll deal with first. And while that really bright spot is the totally unsaturated spot, rather than placing that dead-center of the two crossing graticule lines, I've found it more visually accurate to center the entire mass. Not "fussily",  but just quickly centered mostly ...


To neutralize it, I'll use the middle ball of the Ripple to move that 'ball' of data to the center of the two crossing graticules in the Vectorscope YUV. Takes just a few seconds and here's the result shown in the Vectorscope on the right side.



And now showing the controls and the clip itself below. Not startlingly difficult, but the warm tints to the pavement, the sides and snow-blade of the locomotive, and the blues of Miriam's clothing are now gone. Very neutral, in fact ... and I didn't make a visual color adjustment at all. Just a few seconds to do, without any need to scrutinize for subtle hues in the image.

BasicTab Neut Clip 1200pix.png

For as long as this took to explain, in operation, it's only a few seconds per clip. And I LOVE using the middle ball of the Ripple for the combined Temp/Tint control. Using that mask explained above on an adjustment layer, and one hand moving the middle ball for Temp/Tint settings, the other on the down-arrow to jump to the next clip, it's just bam ... bam ... bam right down the sequence neutralizing tint.



Next post, I'll show ... tonal changes!


R. Neil Haugen

The Ripple or Elements Panels in Adobe Premiere Pro CC2017:

How to Decide

As I said in my last post, I highly recommend both panels. And I do mean that.


For some really quick small projects, the Ripple is all I need and is fast to use, and even with the Elements sitting there, I'll just grab the Ripple & work. Also, the Ripple is very portable and easy to use on any system you find yourself sitting at … on the go, at home, wherever. The Elements … fantastic support of Premiere Pro, even into a number of editing features making me hope they include even more "mappable" editing functions in the future. And in SpeedGrade … oh my, that's a sweet panel!


But for now, let's talk the smaller one.


The Ripple, at around USD $350, is a lot easier on the budget, and is quite a capable tool. Left to right, you've got three sets of controls and in between the outer sets and the middle ones, a couple "extra" buttons. You'll want to download the mapping control software from Tangent, and take the few minutes that's required to master modifying this tool to extend your work in Lumetri ... by a long ways. You will want to adjust the "granularity" control as at factory settings it's way too fine, and takes for-EVER to see anything changed. And it's very easy to adjust settings in the Tangent Hub mapping control software, using the sections to set the controls for each control panel tool in each Lumetri tab.


The dials are always the "Z" control, the balls either as a "just a ball", or by using the ability to set left-right (Tracker-ball X axis) and up-down (Tracker-ball Y axis) actions to separate controls, each ball can control two different Lumetri tools. It's very easy and fast to create new mappings, to save named versions, and to switch from one to another.


The three sets of controls ... a dial with two little buttons on either side and a wheel or ball ... can be set for all sorts of things, depending on the Lumetri panel currently active. If you leave it on the 'factory' settings, where it's set to run the Color Wheels section of the Lumetri panel "Edit" mode, it's a fast way to adjust luma/chroma for your clips any time without even being in the Color workspace. Left dial is Shadow Luma (lightness) control, left ball is Shadow Chroma (color) ... and to the right, you go to Mids and then Highlights pairings in the same manner. Ball movement totally matches the movement of the color shown in the Vectorscope making it incredibly intuitive to adjust color. In the Color Wheels tab of the Lumetri panel, you can watch the adjustments make the exact same corrections in the Wheels.


The two little buttons on either side of each dial reset one of that set's controls ... the left button resets all things done by the ball, the right one resets the controls set by the dial.


The button in between the middle and right set of controls cycles you into the next Tab down on the Lumetri panel while activating that panel in the interface on-screen. And you also can easily and quickly use the button between the left and middle control sets (shown as "Select Alternative" in the mapping controller) while held down, as either a jog control (standard mapping) or with a re-mapping, to "bypass" the Lumetri panel to do a quick check comparing the clip at present versus before corrections. The mapping software is fast, easy to learn, and does a good job.


For instance, I've never found the Basic tab worth using while working with a mouse or pen-tablet. But with the Ripple, I've turned that entire tab into a fast and furious (besides intuitive!) place for basic "neutralization" of clips, the first step in grading. Here's an image of the way I've mapped the Ripple controls for the Basic tab ... you see there are three lines of text below each control set.


The top line is what the dial above the red ball is set to control (that Z axis), the middle line is what the horizontal ("X axis") motion of the red ball is set to control, and the bottom line what the vertical ("Y" axis) motion of the red ball will control. This is very easy to set ... just click on a control, and step through the available options.


From left to right in the Ripple settings for the Lumetri Basic tab, I've got left dial set for Blacks, center dial for Exposure (a mush-up of "brightness/gamma" and exposure/contrast), and the right dial for Whites. This allows me to quickly set black point, white point, and basic "brightness" of a clip. I'll be working two or three controls at the same time watching the Lumetri scopes while working.

The left ball is my "Contrast" control tool … mapped so that the Contrast slider is left-right motion, and the Saturation slider is up-down motion. I realize most people don't think of "Saturation" as a contrast control, but it most definitely is! You have two forms of contrast: Luma (brightness) and Chroma. Both are set with one hand … easily, and quickly, intuitively.


The right ball I have set for shadow/highlight control, and it's useful … mostly … though to my taste, the Shadow & Highlight sliders in the Lumetri panel both affect way too much of the image "scale". Moving either affects the other only a little less than the section you expect to be adjusting, so you really do need to use these against each other.


I have the middle ball set so that left-right motion sets color Temperature and up/down motion sets Tint. The motion here isn't quite as "intuitive" as using the controls in "Color Wheel" mode, where movement of the balls precisely matches the direction of color change shown in the Vectorscope. However, I have mastered the use of this as it does become second-nature fairly soon.


With this mapping, I can blast through the first job with any clip ... neutralizing it ... in a very few seconds, often under 20 seconds! With the Wacom pen-tab & mouse, well ... it's a lot longer per clip to do the fine level I want.


One of the other big time-savers? With mouse or pen-tab you need to switch sections within Lumetri by hand, of course. Click after click. With the Ripple, see that button labeled "Next Mode" ? You just push that button and cycle to the next tab down.


As you get used to using it ... you want to use it for everything you can! If you do your own color at all ... it's a total no-brainer to get. It will save you TIME. A lot of time! And give you better end results too.

Among other personalizations I've done ... the standard HSL tab mapping for the Ripple involves only the  Color wheel controls of that tab, things you do after you've set the key. But setting the key is the more time-consuming part ... so I re-mapped so that when I tap the button into the HSL tab on the Ripple, each of the three control sets is for a particular section of the KEY! As shown here, left to right, left dial is Hue center, horizontal axis sets the Hue range, the vertical axis sets Hue fall-off. Middle set (dial/wheel) controls the Saturation key, and right set controls the Luminance part of the key.


But I didn't lose the ability to control what happens to the keyed media ... see the button labeled "Select Alternative Function"? Yep, I mapped the Color wheels controls of the HSL tab to be active with the Alternate mapping setting as shown in the image with the little box highlighted, showing those things controlled with the Alternate button. I have most of the controls I routinely use in the HSL tab on the Ripple, so I don't even touch the keyboard or mouse! Slick & fast!


And another thing ... that little black box of text highlighted in the Alternate mapping image? That can be set to pop up any time you use the Ripple, at three different sizes, anywhere on the screen you want to see it ... and it's your "HUD" ... heads-up display. It tells you what each control of the Ripple will do in the tab currently active ... and it only pops up when you touch a control, and goes away within a few seconds ... unless, of course, you wanted it to stay visible ... which you can. Or, when you're really running with it, you can set it not to show.


There's so much you can do with just the Ripple. However ... the Elements panel ... if you're a one-man shop like me ... will encourage you to get faster at editing so you can spend more time grading. Not because it's slow, as it's blindingly fast to use!  It's just ... way, way too much pleasure to work with. At around USD $3500, it takes a bit more justification. However ... using it for just a couple weeks, this thing was so fast, so easy to learn, and enables such intuitive work with luma/chroma ... it drastically changed my concept of how valuable this is for me as a budgeted cost item compared to not having one, and spending a lot more time.


And then ... I realized how many editing functions can be mapped to the controls ... and I am having to completely re-think my working process. And loving it!



ElementsPanel.jpgAs you see here, the Elements panel has four sections (if you get them all, and I recommend that!) I'm left-handed, so this is reversed from what you will probably see on other workstations.


The left section has buttons for selecting the working space in PrPro, out of the box set for Lumetri: Basic/Creative/Curves/Wheels/HSL/Vignette/Edit/; then Master Clip, and a couple workspaces, the Color and Edit spaces, plus moving the 'highlight' or selection focus within PrPro to the Lumetri and Scopes panels.


All of those can of course be mapped however you want them.

And that's just the "A" settings ... the lower left button of that section is the "A" or standard mapping, the lower right button is the "B" or Alternate mapping ... so you've got double the controls available. So far, I've concentrated on using this for color work, but ... and this is a HUGE "but" ... there are many, many of the functions of standard editing that can be mapped across the controls of this panel.


Anyone taking a few minutes to start working with the editing sections, to set up the mapping for the way they work, will get a massive boost to their editing speed & confidence. But what about having to learn what everything is set for? That's not a problem ... see the little tabs that stick up from each section? Those backlit panels show what every control of that section will do in this mode at this time.


I'm only beginning to explore the potential uses for me within this panel ... and totally boggled at the options. Wowza ... this is an amazing editing tool! Compared to using keyboard shorts, which you have to work to memorize or print yourself a listing, this shows you where all your fav controls are. Learning the muscle memory is fast and better yet ... when you decide to alter things, it's also easy then to re-train your muscle memories.


The track balls and rings are very positive to the touch, and easy to set the speeds at which they react to movement. Currently I've got the right two panels with the spinning knobs on the outside, but as those are the controls I spin for most of the sliders within Lumetri, I'm thinking I'll swap those two panels. Have the tap-buttons to the outside, and the spinning knobs right next to the three wheels. And yes, each of those sections has their own A/B buttons for packing in the control options, and all of those show up on the backlit heads-up tabs.


The Elements panel of course does so much within SpeedGrade if you still ever use that app, besides working very nicely with BlackMagic's Resolve color editing program. So ... besides being an editors playground and speed-tool, it's totally useful across a range of colorist/grading apps.


But without hesitation ... if you do ANY color work in your video post-processing, or have thought of doing some color corrections within Premiere Pro, you should get one of these, or, seriously, both. Once you're used to a surface in Lumetri, being able to travel and keep the Ripple with you is a huge benefit. The changes in Premiere Pro 2015.3 (and carried into CC2017) were that big, in what they allow ... and encourage ... in workflow and in capabilities.


And finding out how much of editing can be mapped to the Elements panel ... and how easy it is to transport the Ripple and say, use it on a laptop ... these are both marvelous production tools.


R. Neil Haugen

Ripple Elements


Using the Tangent Elements and Ripple Color/Editing Control Surfaces in Adobe Premiere Pro CC 2017


I've had a chance to work with both the "full meal deal" of the Tangent Elements panel or "colorist's surface" and the new, smaller Ripple unit for a few months now. I love both of them ... though, you do get a lot more with the Elements panel, as befits something literally ten times the cost. Here's a pic of them sitting on my desk at the moment, so you can get a very good idea of relative size. The monitors are 24-inch models for comparison.

The Elements is just over 30 inches wide if you've got all four sections, and the Ripple is just over a foot wide. Note the way the Elements can easily sit in a narrow area in front of my monitors on the edge of the desk ... I actually find that pretty comfortable to work with. (And I only use the small Bluetooth keyboard when working with the Ripple, just for space.)


The Elements surface has a very nifty feature for getting used to it ... see the little tabs above each section with the white writing on them? Those are screens ... they show what each control is doing at this moment in this active section of the software you're using this with. This surface is scary at first with four balls & rings, twelve spinning knobs, and twenty four un-marked buttons (not counting the twenty-one marked buttons!) ... but those screens make it easy to learn what this does, how to move the panel between program sections with the controls of the panel, and ... to get past thinking of what the buttons & knobs do to just doing stuff them. Any time you switch sections of the Lumetri panel by pushing the buttons on my far left, all the other screens immediately change to display what's mapped out to all the other controls.


I'm a lefty, and I've got the four Elements sections arranged to my liking. Righty's tend to have them mostly reversed from this picture.

The smaller Ripple unit (shown next to the keyboard) doesn't have near the complexity. And during operation, when you touch any control on it, a little box pops up on your monitor showing what each control does at this moment. Which ... is darn handy when learning, especially as ... you're going to want to re-map this to suit your own needs and working preferences. You can of course set the "heads-up display" box to the size and location of your desires, or turn it off when you no longer need it.


I use them primarily within Adobe's Premiere Pro CC2017. The first Premiere Pro CC version they were usable with was 2015.3. They also work with SpeedGrade 2015.1, the last version of that application currently available.


Adobe has "removed" the Direct Link connection between this newest Premiere Pro version and SpeedGrade CC2015.1, so the ability to use the panels within that application also is rather more necessary than just "nice" at times. To grade (color correct) your media within an Adobe multiverse, you either use Premiere Pro's Color workspace and the rather nifty Lumetri panel, or do an old-style EDL export out, import that and your media clips into SpeedGrade, export the clips out of there, re-import into Premiere Pro and finish with titles & such.


Or, you can work in the older PrPro version 2015.2 to use the Direct Link process between Premiere Pro & SpeedGrade. (There is a third-party application that converts Premiere Pro CC2015.3/cc2017 project files into files usable within SpeedGrade CC2015.1 from NTown Productions for purchase as another option.)


Given the new capabilities of the Lumetri workspace, including a very nice Secondary section, and the ability to use colorist surfaces within PrPro, how does this ... work? Within especially Premiere Pro CC2017?


In all, very, very well ... for the most part. With a few caveats I'll cover in later posts, the "trip" from the 2015.2 version to (now) 2017 is a big upgrade, between the combination of a few new Lumetri "tricks" but mostly the ability to use colorist surface controls. And for many users, the use of the control surfaces within Lumetri will overcome the loss of the easy trip to SpeedGrade and back.


And for now, which surface I'd recommend? Both! I'll cover the "why" in my next post.



04-Technical serve Pixabay ux-787980_1920-bando.jpg

This article is also published in french Part IV - Transposer le contenu vers une présentation


Before bringing the content to design, we need to think on two separate issues, which are shared between the technical aspects of the Responsive Web Design and the design being oriented and guided by the previously defined Content Strategy.


We must decide: « What do we display? » and « How do we display it?»


Depending on the context, here are some of the key behaviors which interact between RWD and content strategy. These must occur, depending on the device and the context, without affecting the completeness of the content:


  • The font size should be adapted depending on the screen size, large type for big screens and smaller type on small screens, to give more visibility,
  • Depending on the device type, the font family must respond to a better readability, usually serif for printing destination, and non-serif for screen,
  • The menu bar and the navigation tools must be reduce to an icon on a small device, and completely removed when printing,
  • In a more general way, when printing the content, we need to remove all unnecessary parts of the page, like the footer, the navigation tools, the animations, and we need to be sure to not over-use colors that will consume too much ink, and think that most users can print in black and white,
  • When displaying images, their size have to be adapted to the screen’s resolution depending on the displaying screen: is it a Retina screen or high definition or a traditional 72 ppi screen,
  • Whenever data sheets and large tables have to be displayed on small screens, we definitely need to rethink their display,
  • Web, mouse, and multimedia teach us the hovering state. Sometimes that display has crucial information and a mechanism to redistribute it, depending on the device, which must be applicate,
  • We need to remove the large galleries of images that are bandwidth greedy when viewed from low connection networks, or displayed on devices which are low battery power, or beeing a screen reader,
  • Think in terms accessing the necessary information and navigation tools when content is viewed from a screen reader,
  • Set an editorial direction which provides your content in a genre: masculine, feminine, both? Do we use acronyms? Rely heavily on schema? All this, of course, in a concern of accessibility and presentation,
  • Always provide not only subtitles but also a transcription when using video. Think also of the establishment of cue-points,
  • Provide multiple pages, and interactive forms, which can be adapted to the platform of distribution between screen and mouse, touch and smartphone, and braille, voice, or printed documents
  • Build the text breakpoints. They, they are dependent on number of characters per line, device orientation, user experiences and preferences, not on pure technical landmarks,
  • Regarding technical breakpoints, we must include the technical aspects of the linked contextual use, like low battery level, low bandwidth connections, the sun or strong light, reflections on the screen, the geolocation of the user, and the relay obtained by a third party operator. In short all these technical aspects are not directly linked to the device itself,
  • The major point with a large amount of content is to avoid anything being downloaded without being absolutely necessary to the use. We need to think how to replace each element that is not necessary for the specific use, or be displayed by the device, as an alternative solution,
  • The final aim is that action, interaction, and information shouldn’t be blocked, or driven by a different use-case. just because the user visits the page, or uses the content, from a different device.


The list does not stop here, but it allows us to consider and better understand the necessity of this previously discussed content strategy whenever we consider a web design’s responsive appearance.


How to Programmatically Port and Handle Content?


A pure code-approach is not the goal of this series. I invite you to join us in another place, where we can study each technique vertically through dedicated training to better explore what these tools are and how to use them.


The point here is to focus on each tool’s families that can help us to better handle the RWD techniques:


  • The Media Queries themselves link different CSS files depending on the context, and the type of device and its capabilities,
  • Combine the page’s Media queries. Use strategies for major content breakpoints and sub breakpoints to split between layout displays, and eventually load new complementary content,
  • Multiple source assets correspond to various image qualities and sizes, using the srcset="" attribute,
  • The new tag <picture> can also help us, as the previous item, on presentation strategies,
  • The native support for JavaScript statement, matchMedia() can interact with the data, depending on the device, and that allows us to load only usable datas using AJAX's techniques,
  • The use of many Shim and Polyfills to replace the shortcomings of some old browsers,
  • Use a JavaScript mechanism to serve infinite scrolling. That way, when on low bandwidth, we can load the bare displayable necessities, thus avoiding loading what will not be seen,
  • Revisiting the accordion mechanism that could load data on-demand without changing the page, depending on the bandwidth,
  • Optimize the website in: subsetting fonts when possible, compressing data on the server side, concatenate and minimize scripts, and CSS, removing all unused line of code and comments, using CDN when needed, batching all the image file in the reduced-size process,
  • Optimize the management of cache. This often refers to the Service Worker API that will help us to minimize the use of bandwidth and data transfer when using the same device and resizing windows,
  • If possible, get analytics for your target audience to help in prioritizing approaches,
  • And as many of the above points refers to the use of Javascript, we definitely need to provide an alternative use based on the <noscript> tag.


And now?


This final installment of the four part series, concerning the implementation of a responsive approach is now complete. Remember that the use of the RWD must go through a content strategy, with a strong consideration for the context of the use, and not rely on a pure technical approach.


The main objective of this series was to lead us to think and ask ourselves the right questions on how to succeed more easily in this type of implementation for all our projects.


I hope that this will provide you with tools you need to be for or against this exploration of RWD and I invite you to continue this thread on a forum, providing comments of any other project you have.


The series :

03-Writing content for context smart-watch-821571_1920-bando.jpg

This article is also published in french Part III - Quelles sont les attentes de l’utilisateur pour votre site Web? Cela dépend du contexte.

How Do We Know What Interests a Website’s Visitor?


We must consider different points before opting for one solution over another;


Half of the world’s population accesses the Internet using a mobile device. Does the other half a desktop computer or views Internet pages on TV? It is easier to point to a QR code with a smartphone to get more information on the subject than to have to type a complex URL into a field, character by character.


It is important to consider that globally, 3% of people have severe handicap and 15% have a moderate to severe disability, not to mention that these figures respectively increase to 10% and 46% when we focus on the population aged at least of 60 years old.


Disability is not exclusive to a physical state; we must extend the idea to many problems... such as watching a video without a helmet or without speaker that necessarily requires access to subtitles sometimes written in an unknown language.


Did know that if 25% of the Chinese-speaking and 27% of the English-speaking public uses the web? French, Portuguese, Russian, Korean, Arabic, German, Japanese, Spanish speaking Internet users each represent about 3% to 8% of users, making 32% of all, who do not necessarily speak neither Chinese nor English. So, if a website has subtitles, what languages should they be? And what do we say about the 16% of users not represented in the above mentioned figures?


As developer or designer/developer, you must be equipped with the latest computer technology or browse the web using the latest browser software update. But what about your users? Maybe they are using an outdated version of browser and in this case how are your web pages displayed? What do the older browser users see?


Another significant figure we must also take into account is when we distribute content. Many pages are printed. In Europe alone, more than 33,300 pages are printed every second.


Now let’s say that the user has one of the latest fashionable smartphones; it can access a consistent bandwidth; it does not encounter problems of readability or ergonomics and, it has all the time necessary to find the information that it wants, but (and there will always be a but), the user can run out of battery power and that does not allow all content to load and execute properly.


This creates a paradox. First, it is not possible to deliver a different and reduced content based on a device. Second, it is also not possible to deliver global content, ready for anything. The only reference must be the device’s capabilities, the tolerated and available bandwidth, and ensure that the user can access a content that matches the same information quality regardless of those access realities.


How to Serve the Correct content in Responsive Web Design?


The media queries and breakpoints are the keys. Those queries and breakpoints are used to indicate when one layout must be applied instead of another. But besides those situations, we also need to use a more advanced code for specify when the appropriate content must be delivered, not only shown or hidden.


It is true that many blog post often associate breakpoints, or at least their triggers, to the display the size of the device. But we must of course understand that if the switching points, between different distribution options, can certainly be defined by a width. They can equally detect other parameters, such as: screen resolution, the screen orientation, the type of device, the color depth or monochrome management, the spoken language, etc. So there many other possibilities that enable us to adapt the layout and the presentation based on device capabilities and the users’ context and not only based on the size of the screen.


What Should be Displayed… What Shouldn’t, and… How?


An important question about the content will arise regarding its nature.


  • Does it contain animations which will be difficult to print?
  • Does it rely on a plenty of images that would adversely affect the visually impaired and secondly require special attention to serve the different screen resolutions?
  • Does it uses specific technologies like the SWF Flash format, which won’t play on IOs based devices?
  • Does it display large titles, on two lines intended for large screens, that then wraps to 5 or 6 lines on small devices? If the device is in portrait mode, does it become unreadable?


Many of these situations require distribution inequality in different contexts.

Back to the heart of the problem: should the content be different because it is on different platforms?



If it is identical in both cases, how will we handle the unusued, or hidden part, and avoid unnecessary data transfer?

It’s quite a paradox.


How to Precisely Write, and Define the Content ?


We must also understand that often the developers of information systems and content strategists are neither the authors nor integrators that will publish content.

Developers and content creators must take into account the adaptive appearance of publications.


Authors must be trained and sensitized to those adaptive appearance reflows.


All that said, we must address the technical part of this series of articles about RWD and understand all the tools that will help us to distribute the same great content whatever the context in which it is used.


And for this, I invite you to join us a few times to continue this exploration on applying RWD to our contents.


The series :

02-Content Strategy Pixabay work-791218_1920 - Bando.jpg

This article is also published in french Part II - Pourquoi une Stratégie de contenu doit précéder la mise en place d’un site Responsive Web Design?


Before defining a content strategy for Responsive Web Design, we probably need to first define what we do understand about Content Strategy. What do we understand about a Content Strategy in a general internet usage and what does it have to do with Responsive Web Design?


Whatever the content, we need to know if it is responding to an expectation, an expressed need, whether for a forum, a social network, a blog, or for other websites or applications, or if it is a production of the mind, a story or a creation following an analysis or a philosophical reflection proposed to readers.


Today the web is full of content, so why add some more? Are we sure that it interests the reader? This is one of the main questions to ask before going further.

Define how and why should we produce content and make sure it will be served in the most optimal manner, to the user, whatever his or her device, are some of the main objectives of the content strategy.


Content copywriting tools


All content goes through the first writing phase, followed by the presentation. In the world of printing, since the time of Gutenberg and even before, tools have improved in the universe of copywriting.


Whether titles, paragraphs, insets, notes, footers, annotations, quotes, block quotes, images or illustrations, drop caps etc. but also typography, fonts, size of fonts, colors, frames, all of which allows us to quickly understand what we are expressing to the reader, and which way we can address this content to get the main point.

It is important to define an editorial line and to specify the way we must write content, the tone that we will use, the way we address the reader, through language which is very be specific or very generic, and finally how we illustrate it.


Give a hierarchy to text, find name labels, implement a taxonomy, use a controlled vocabulary, rely on a thesaurus, define key words to use when writing content, all this precious items that will allow to get a true architecture of information and so to give meaning and an organization to content.


what else ?


In the multimedia field, and mainly the web, new tools are available which have shaped the publishing world into where it is today.


While the media, such as audio, video, or the animations, seem obvious, other equally now common vehicles are part of the range of those innovations like hyperlinks, user interactions with flyovers, switch, tabs, pop-ups, or exchanges with other users, and more generally with databases.


We could think that everything is there, to help us to create and transmit web content, and we could stop here, but that would cover only a portion of the content, and the perceptible aspect of that content. There are other types of information that define the content and further refines it, such as metadata relating to the structure, to the semantic and to the accessibility.


These new publishing opportunities are extremely important especially when it comes to search engines. These engines ingest the important information in the text and metadatas, to respond to the needs of the search engine user.


So far, we have explored a content strategy.


We have tools to help us define how to communicate the content, we also have tools to learn about the characteristics of the structure and descriptions of it.

First, formalize the text and be sure that it is understandable with no confusion, without any ambiguity. Ask yourself, is it useful and usable by the reader, or the search agent?


Another issue is how the reader, or the agent, will find this content, which can be from a direct link on a newsletter, from a search engine, or after someone surf the web.


Finally, who's going to write the content, maintain it, and remove it when if it’s no longer relevant. The author must be especially careful and insightful, since most writing tools doesn’t offer a friendly user interface that enables to organize and define all the necessaries information proper to content writing.


These questions lead to a multitude of opportunities for content strategy to be analyzed before displaying it in a Responsive Web Design, or not.

It's time to explore your content strategy. Please join me, in a few days, as we visit a new article in which we will discuss what are the expectations on each device, and how the content should be sent and presented to those devices in relationship to responsive web design.


The series :

01-Responsive Websites Pixabay macbook-577758_1920 - Bando.jpg

This article is also published in french Part I - Pourquoi les sites Web réactifs ne sont-ils pas une simple étape lors de la construction de sites Web?


Responsive websites are often described as a way of development which allows to content to be visualized whether viewed at the office, on a very large screen, behind an optical fiber connection, seen from a mobile phone, using very low bandwidth, printed on an ink jet printer, read by a screen reader, or perhaps watched on an Ultra High Definition 5K TV. The use cases are so vastly represented that one can’t know where, when, on what, and by who the content will be viewed.

So, we can say that creating a responsive website means that one has to be prepared for each situation.


That is mainly the case, and based on the information sent by the user agent, at its http request, the content will be presented and formatted in accordance with defined breakpoints, or will adapt continuously depending on the space available. We are respectively talking about the display being adaptive or responsive.

Based on this finding, most developers have responded with an optimal solution which starts small and add more and more information, depending on the available room. That concept was called, Mobile First.


Some other developers responded differently, in fact inversely, starting with a full page width and then reducing it, depending on the possibilities.

That gives birth to two concepts with evocative names, called Progressive Enhancement and Graceful Degradation.


So far so good.


We also must not forget the bandwidth issue, and take that into account. Whatever the approach, developers often show or hide the content based on the device. Whether the content is displayed or hidden, the agent will always download everything.


In the same way, with the layout, depending on the device, we now have to face the issue of network speed, be that of optical fiber or the slow drip of low capacity connections.


If we do nothing, first the website owner will pay for unused bytes uselessly transferred, and secondly the user will have to wait a long time before to access information that all unnecessary data have been recovered.


This brings us to a fundamental, often forgotten issue: websites are primarily made up of content. So before thinking about how to present it, which is responsive or adaptive, it may be important to ask the question of what we want to present. And of course, taking into account the type of device on which this information will be distributed.


So, we must first consider a true content strategy. But, I propose that the next discussion on the implementation of such a strategy may be the subject of another article.


The series :