知らなきゃ損!Creative Cloudの大技小技【#04】Illustratorの自動保存


Adobe
進化し続けるCreative Cloudには、これまで手間がかかって面倒だった作業をラクにしてくれる機能や、イマジネーションを広げてくれる創造的なツールがどんどん追加されてい ます。この連載では、知っていたらきっと「得する!」「ラクができる!」Creative Cloudを使った「技」を紹介します。
これで安心!Illustratorの「自動保存」
Illustratorでバリバリ仕事をしていたら、突然の停電に見舞われてPCの電源が落ちてしまった!そんなときに限って保存もしていなくて、数時間の作業が水の泡、なんていう経験はありませんか?
今のIllustratorなら安心です。ファイルをバックグラウンドで自動的に保存してくれる「データ復元」の機能で、データを最新の状態に復元することができるのです。2015年リリースのIllustratorから搭載された機能です。
自動保存の設定方法
Illustratorをインストールした初期の状態では、自動保存するための「データの復元」機能がオンになっています。設定をみてみましょう。
[Illustrator CC] メニューの [環境設定] から [ファイル管理・クリップボード…] を選びます。

[環境設定] ダイアログボックスが開きます。

① データの復元をオンにするためには、[復元データを次の間隔で自動保存:] にチェックを入れます。
② 自動保存する間隔を選びます。最短30秒〜最大1時間おきに保存されるよう設定ができます。
③ [複雑なドキュメントではデータの復元を無効にする] の項目は、オフにしておくことをおすすめします。
データを復元する方法
なんらかの理由でIllustratorが強制終了した場合、次の起動時にファイルを復元するためのダイアログボックスが開きます。
[OK] ボタンをクリックすると最後に自動保存された状態でファイルが開きます。

いかがでしょうか?
これで、突然の夕立による停電や、同僚がコードに足を引っかけてしまってPCの電源が落ちてしまうようなトラブルがあっても、データは守られ最新の状態に復元することができるので安心ですね。
Illustratorの自動保存についての関連記事
Photoshop & Illustratorで比較検証!CSとCCどっちがスゴイ?(Illustratorの比較検証の動画、30秒あたりをご覧ください)
チュートリアル:Illustratorのバックアップ機能
 Illustrator ヘルプ:クラッシュ後にドキュメントデータを復元する

さらにCreative Cloudのツールを活用したい方、必見!
アドビ最大のクリエイティブイベント、MAX Japanで数々の「さっそく使える」技を習得しませんか?鷹野雅弘さんによるセッション「ベテランほど知らずに損してるIllustratorの新常識 あ、それ、今のIllustratorならこうします!」をはじめ、すぐに役立つセッションが目白押しです。

Adobe MAX Japan 2016 〜クリエイターの祭典〜
9月2日(金)東京ビッグサイトにて開催のAdobe MAX JAPAN 2016では、Creative Cloudの最新トピック、トップクリエイターのアイディアやテクニックを身近に体験できるクリエイターのための祭典です。事前登録で参加無料。
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6 Ways Modern HR Keeps Your ‘Person of Interest’ Interested


Adobe
In the recent CBS sci-fi thriller series “Person of Interest,” a rogue programmer, Harold Finch has marshalled a band of ex-special forces and CIA operatives to tap into a huge secret government system called “The Machine” to do good deeds, saving lives before bad things happen. The remarkable thing is that Harold, with a few keystrokes, is able to plant his fellow operatives in any job and any organization, including the New York Police Department. All the credentials and necessary paperwork is immediately generated and ready to help with their undercover presence in these various organizations.
Think about it. Imagine how easy HR managers’ jobs would be if they could simply hit a few keys and have super-qualified employees recruited, onboarded, and ready to work… but, legally, of course. That day is actually closer than you think, thanks to the digital capabilities that are reaching into every aspect of the human resource function.
To respond to these challenges of today’s global hypercompetitive economy, digital technologies are increasingly ramping up HR leaders’ capabilities to more effectively attract and retain needed talent, as well as manage services and requirements in a more streamlined way. Modern HR provides a more complete picture of the employment lifecycle, and helps bring together formerly siloed knowledge and work practices of enterprises. By accelerating adoption of digital platforms and methodologies, modern HR will also help bring about a corporate culture that emphasizes talent management that adapts to changing markets and opportunities for the business.
Consider the ways today’s digital and cloud platforms can increase the value and role of HR in their businesses:

Enables more responsive and real-time human capital management: Modern HR elevates the role of HR and talent management, and facilitates the move to data-driven culture.
Accelerates recruiting, hiring and transitioning: Modern HR bolsters recruiting, while streamlining the selection and hiring process, and accelerating employee onboarding. Modern HR also eases the exit and retirement process.
Improves the employment experience: Modern HR opens up training and development opportunities, and improves employees’ quality of work life.
Links performance to business requirements: Modern HR reshapes performance management by tying employee performance metrics to business goals.
Integrates compensation and benefits to business needs: Modern HR improves compensation and benefits management, and is better able to target compensation requirements to business objectives.
Increases transparency: As adoption of digital platforms and methodologies accelerate, HR leaders are assured of greater compliance and legal coverage – a digital record is left for all interactions within the organization.

The digital revolution is reshaping the way companies innovate, deliver products and engage with customers. Applying the same kind of innovative technology to boost a company’s interaction with its own people will mean greater agility and success.

Register for the webinar on 8/4 to learn how to turn top talent into a strategic business force. Listen as I sit down with experts from Workday and Driscoll’s to discuss the impact of HR tech.

Start your free trial of Adobe Sign today!
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Closing the skills gap: Why creativity is essential to students’ workplace success


Adobe
 

The compensation data provider PayScale recently published its 2016 Workforce-Skills Preparedness Report, and the findings were eye-opening for schools and educators.
The report details the responses of almost 64,000 hiring managers across a wide range of industries who were asked about the “skills gap”—the disconnect between the skills students have when they graduate from college and the skills companies need. Here are a few of the stats that stood out for us:

60% of managers said new graduates do not have the critical thinking and problem-solving skills necessary for the job

46% said new graduates lack the necessary communication skills

36% reported new graduates have inadequate interpersonal and teamwork skills

Similar findings are appearing everywhere. Here’s just a sample:

The World Economic Forum reports that students with social and emotional learning (SEL) skills like critical thinking and problem-solving, creativity, communication, and collaboration are better equipped to succeed in the evolving digital economy.

Bloomberg analyzed the skills gap among MBAs and found that the skills managers want most but have the most trouble finding include strategic thinking, leadership skills, communication skills, creative problem-solving, and working collaboratively.

Fast Company describes 2016 as the year of the hybrid job, in which employers want multifaceted employees who have both hard skills like database technology and soft skills like communication and collaboration.

Dan Schwabel of Millennial Branding, which partnered with PayScale on their survey, summed things up this way: “Graduates need strong communication and problem-solving skills if they want to interview well and succeed in the workplace.”
Closing the gap with creativity
So how can educational institutions help students close the skills gap? It’s clear to us that they need to go beyond teaching traditional skills and make fostering creativity and developing digital skills a priority in the classroom.
Many of the skills current grads lack are associated with creativity, from critical thinking to communication to collaboration. But when schools teach students how to create digital content, they help them develop these in-demand skills.
Here are just a few examples:

Through digital storytelling with video and illustration, students learn how to communicate ideas clearly and effectively.

Through data visualization with animation and digital imaging, students become better at understanding, simplifying, and explaining information.

When students work on complex creative projects like designing apps and websites in partnership with other students, they develop critical collaboration and interpersonal communication skills.

And as they work on creative projects of all types, students develop the creative mindset employers crave.

In an education documentary, Tony Wagner of Harvard’s Innovation Lab was quoted as saying: “Employers say over and over ‘I will teach them (graduates) the content. What I can’t teach is how to think, how to communicate, how to collaborate, how to initiate.’”
But our schools and educators can certainly teach these things. And Adobe can help.
For an in-depth look at what forward-thinking educators are doing to close the skills gap, visit the Adobe Education Exchange.
 

The Creative World of Instagram


Adobe
Say what you will about social media, but our current age of communication has provided artists with endless new ways to connect and share their work. Instagram, in particular, celebrates creative, visual content and our Photoshop Instagram has served as a place to support individual artists through monthly hashtag challenges. Here’s how it works: each month, we host a new challenge, encouraging you to share your creative work that fits the theme and we then post some of our favorite submissions on our account.
To make all of this happen, we select different artists to introduce each artistic challenge, all of whom have used Instagram as a tool in their creative journeys. We caught up with a few of these artists here to pick their brains about their work, creativity, and Instagram:
What’s the first word that comes to mind when you think of your creative style?
Fredy Santiago (@imsugarcoated): The first word that comes to my mind to describe my work is “explosive.”
Julian Herbrig (@care4art): Illusionism.
Eric Paré (@ericparephoto): Not a word, but a quick description that I paste over and over in my pictures descriptions: “The only source of light is the one in my hand.” That’s what it is about. What it means is that there is no other intentional light than the one I use to light up the model. When we shoot, we are very light-weight. Our setup is simple. We give a performance. Our 15 minutes shooting at blue hour is a dance, a series of shapes of light, a choreography by [my partner] Kim, a rhythm that we keep until deep darkness. It’s a moment of trance we hold tight in that quick moment of fantasy.
By Eric Paré
Charlie Davoli (@charlie_davoli): “Illusion.” A well done illusion is when something apparently impossible seems to be real at first glance. The more it looks real, the more powerful the illusion’s effect.
Do you have any methods or exercises for inspiring creativity when you’re stuck in a rut?
Fredy: Lately enjoy drawing what I see. There are so many things that you pass by or come across that are interesting, and from those drawings I distort or play with them. I like to play with my work and be more selective about color. Another awesome thing is just to go for a walk or run, come back and start writing down mental notes.
By Fredy Santiago
 
Julian: I just take a break from daily life and go out for a long walk. I find it’s important for me to change scenery often, meet new people, see new places and go on little adventures. Creativity in essence is a matter of surprise, so I try to cultivate that.
Eric: I think that creativity is like a boat on the water. You just release the anchor and it starts to flow. I like this feeling very much. The water current going so strong in a perfect moment of intense creation. So strong that you barely have the time to raise your head to take a deep breath and realize that you are inside of it.
Charlie: When I am stuck I just simply stop creating, trying not to get too stressed. Frustration doesn’t help, so I just take my time and wait for a sudden inspiration that illuminates me. Inspiration can come from anything, a color, a particular shape, a funny joke, a song, a movie.
How has the Instagram community played a role in your development as an artist?
Fredy: I love it in the way that there are so many artists out there who are talented and inspiring. I enjoy seeing what others are working on and see their work evolve. I am also grateful for the community that finds me and supports me, it feels good to cross borders and have someone from far away come across your work.
Julian: Creating content for my Instagram gallery opened up a new source of inspiration for me. I enjoy the infinite diversity side of it. Meeting and collaborating with different artists, engaging with followers and fellow content creators are all important moments in my creative process.
Eric: The way the pictures have organized themselves over time (through hashtags and feature accounts) have raised the overall creativity of the human race quite quickly. Many good ideas seem to have emerged from Instagram and that makes the whole community push itself to go further and come up with more striking visuals. I’ve been [on Instagram] for two years and things have changed so much. There’s a lot of thought to be had for each post, for each sentence that goes with the pictures. That obviously has affected the way I compose my images, the way I write online, and how I interact with people.
Charlie: The era of smartphones has exponentially increased the capacity of anyone on earth to take part in an incredible social experience like Instagram. It provides everyone a powerful tool to create and express free creativity through visual arts and photography in the simplest way. Instagram connects millions of people with whom we couldn’t ever engage with in real life, allowing unexpected chances to meet and interact. That’s how I have met and shared ideas and projects with a lot of artists around the planet.
By Charlie Davoli
Instagram is often hailed as an awesome place to meet other artists. Is there anyone you follow on Instagram who you either have or would like to collaborate with?
Fredy: Yes, I love what Lauren Ys is doing (@lolo.ys). I would love to sit down with her and doodle away. Her work is electric, and engaging. In some near future, I can start joining forces with local artists. Watch out world!
Julian: I particularly liked to work with @riomonka and @dimitryroulland. Both are great photographers who capture artists and gymnasts in action. I really loved the sheer number of possibilities to implement their content into my creative world.
By Julian Herbrig
Eric: On the first year of our project, Kim and I visited four countries in two months. We were by ourselves the whole time. Then by the beginning of our second year, we started to get quite active on Instagram and made some friends with whom we eventually met and started shooting. This is now part of our regular life. Everywhere we go on this planet, we have some Instagram friends. That makes the whole experience much more interesting as we spend time with them, they come with us to photoshoots, and well…most importantly… it always ends up around good food and wine.
Charlie: I have done really great collaborations with amazing guys. In particular, I had the honor to have worked with two people who I still define as my “Jedi masters,” @oliviermorisse and @erratum (unfortunately no longer online).
My next wish (soon will be coming true) is collaborating with another amazing mind, @l_o_r_y (Laurent Rosset).

Adobe MAX 2016: Featured Speakers for Creative Careers Track

Adobe
The Creative Careers track was introduced just a few years ago at MAX, and it’s been hugely popular with attendees. These sessions are all about building a meaningful career, enabling better collaboration across teams, and reigniting the passion for what you do. Here are just some of the speakers in this track that aim to provide insights on how to craft a career that stands out.
Stephen Gates – Stephen gave one of the top talks last year as a MAX Master speaker for 2015. We’re excited to welcome him back again this year, and space for his session is already filling up quickly. For over 15 years Stephen has worked to create the strategy, concepting and design for award-winning integrated global advertising campaigns, building multiple global Fortune 500 brands and innovative digital experiences for web sites, mobile apps, wearables, global social media platforms and emerging technologies. He has lead world-class teams to create groundbreaking ideas for clients including American Airlines, W Hotels, Disney, ExxonMobil, Acura, Nationwide Insurance, Verizon, St. Regis Hotels, Subaru and many others.
Session: Success is a Choice: Building Creativity and Leadership in Your Team
Diane Domeyer – Diane Domeyer is executive director of The Creative Group (TCG), a specialized staffing service placing interactive, design, marketing, advertising and public relations professionals. As a 24-year veteran in the staffing industry, Diane has been interviewed by numerous publications, including the Associated Press, The Wall Street Journal, and more. She also has been named by the San Francisco Business Times as one of the Bay Area’s Most Influential women for six consecutive years and “Forever Influential” in 2013.
Session: The Creative Team of the Future
Becky Simpson – We’re excited to welcome back one of our first ever Adobe Creative Residents. Becky Simpson is an illustrator, author, designer and founder of Chipper Things, a paper and lifestyle brand that celebrates play. She was also a MAX Master for 2015. As an Adobe Creative Resident, Becky spent last year learning how to build and manage this online store that features over 70 products with her illustrations. Becky is also the author and illustrator of and I’d Rather Be Short. Her work has been featured on HOW Design, The Great Discontent, Design Milk, Refinery29, Adobe Create and more. Becky lives, illustrates and eats tacos in Austin, Texas.
Session: Everything Your Mother Never Told You About Launching a Product Line
Sara Dietschy – Meet one of our newest Adobe Creative Residents for 2016-17. Filmmaker and online personality Sara Dietschy creates inspiring video content for her self-titled YouTube channel, which now has over of 100,000 subscribers. Her channel includes mini documentary films exploring the lives of creative types, travel vlogs, and ‘edu-taining’ tutorials. During the Residency, she’ll focus on taking her “Creative Spaces TV” video series to the next level by continuing to amplify her work across social media channels and pursuing new mediums for sharing her art. Be sure to check out her YouTube channel to get a taste of what she’ll be sharing at MAX.
Session: Leveraging Social Media to Build Your Brand
Geoff Dowd – Geoff Dowd is a designer, product developer and creative leader. Dowd has spoken and led workshops to hundreds of creative professionals and students, giving them tools to make their ideas happen. Most recently, Dowd served as Head of UX with Project Aura – a Google “bet”. His work there is secret for now. Before his time with Google, Dowd served as Director, Experience Design with Adobe. It is here that he oversaw the creation of Adobe’s Design and Drawing products – from nimble mobile apps that enable digital sampling of colors, shapes and brushes, to recharging Adobe’s flagship desktop products for the next generation of designers – including the new design and prototyping app, Adobe Experience Design CC. Geoff is another MAX Master for 2015.
Session: 1% Inspiration, 99% Design Thinking

Night and Day: Easily Create a Landscape Alteration in Animate CC


Adobe
Ever since Flash Professional became Animate CC back in February of this year, we’ve had access to the CC Libraries panel. Included within this panel is a direct connection to search against the library of assets included in Adobe Stock. Why would anyone want to search for Stock assets within Animate? For one thing, it’s a great way to throw some ideas together without a lot of commitment. You can use an unlicensed, watermarked version of the assets within your project as a proof-on-concept or to simply try out some new ideas. Later on, when decisions have been made, you can license the asset to use the full-resolution, un-watermarked version in your project, or even replace the unlicensed version with a final asset created by you or your team.
Figure 1: The completed animation
We are going to demonstrate how to go about using Adobe Stock within Animate CC – and build out the animation seen above with those assets.
Project File Downloads
You are encouraged to explore Adobe Stock on your own and find some assets which appeal to your own sense of creativity. However, if you want to use the same exact Adobe Stock assets used below within your own projects, they can be found at the following locations:
“hill at sunset” by Dmitriy Sladkov
https://stock.adobe.com/search?k=84819895
“full moon night” by magann
https://stock.adobe.com/search?k=61979038
…and here is the completed FLA from Joseph.
Access Adobe Stock Assets
When working in an Animate project, it’s easy to search for and add assets from Adobe Stock. We do so through the CC Libraries panel. If you do not see the CC Libraries panel open within your Animate project, you can reveal it through the Window > CC Libraries command in the application menu.
Figure 2: The CC Libraries panel within Animate
Once open, you will see all of your personal and shared libraries, as well as the assets within the selected library. Any Adobe Stock assets you may have previously added to a library will become immediately available when that library is selected from the dropdown.
Figure 3: Searching Adobe Stock
If you would like to search for a new asset from Adobe Stock, we can do so by using the Search Adobe Stock input directly below the library dropdown. Once search terms have been entered, the results of that search will appear directly below in a visual grid.
Figure 4: Stock asset options
To add an asset from the search results to the currently chosen library, we have two options. Both options are accessed by hovering the cursor over any of the individual assets. The choices are as follows:
License and Save to… This option will license the asset and save the high resolution version to the selected CC Library.
Save Preview to… This option will download a low resolution preview of the asset and save this preview version to the selected CC Library. If you decide to purchase the asset, you can do so from within the CC Libraries panel and receive the full resolution version.
In the next section, we will have a detailed look at building an animated project using assets from Adobe Stock.
Using Adobe Stock Assets
As seen above, we’ll be building a short piece of animated content using assets from Adobe Stock.
Project Setup
I’ve created a new ActionScript 3.0 document at 747 x 420. The FPS is the default 24 – though any of this can vary depending upon your own project. Why ActionScript 3.0? We’re producing a raw video and an animated gif image from this project, so the chosen document type doesn’t matter all that much since there is no interactivity. However, when working within an ActionScript 3.0 document, when you test your movie, Animate is able to do using the built-in Flash Player, keeping the entire experience of designing your content within one focused application. Additionally, you have access to tools like 3D Rotation and Transform – and the widest variety of filters and blend modes –  always a fun option to have!
Timeline Setup
Find the two assets you’d like to use from Adobe Stock (as detailed above) and bring the preview versions of those assets down into your CC Library. They’ll now be available for use within your project.
I’ve gathered a detailed landscape photo and have placed this on the very bottom layer. I have also found a nice nighttime sky with a great moon to use as a blending layer. The sky photo has been placed in a layer directly above the previous.
Figure 5: The Adobe Stock assets are assembled in the Timeline
Blending MovieClip
I want to use a blend mode upon the sky photo to create an ethereal effect upon the landscape. To do so, I must first create a MovieClip symbol around that photo – as MovieClip symbol instances can accept blend modes and photographic bitmap images cannot.
To create a MovieClip symbol, we select the shy photo and choose Modify > Convert to Symbol from the application menu. A small dialog will appear allowing us to name the symbol (I named mine “NightSky”) and choose a symbol type. Choose MovieClip!
Once the symbol is created, an instance of that MovieClip symbol will exist upon the stage where the photo one was. Select this instance and have a look at the Properties panel. We can see that the selected object is a MovieClip instance of “NightSky”. Perfect. All that needs to be done now is the selection of a blend mode.
Under the Display section of the Properties panel for your MovieClip symbol instance, you’ll find a Blending dropdown. Go ahead and play around until you find one with the desired effect expressed upon the stage. I chose Overlay.
Figure 6: MovieClip instance properties – Blending choice
Animated Masking
What we want to do now is create a mask layer and a shape within that layer that is animated across the stage – performing a dynamic transition between the two photographic images. The first thing we do is create a new layer above the previous two, right-click and choose Mask from the contextual menu. This will transform the top layer into a special mask layer, and will automatically nest the layer below it within the mask as indicated by the visual indentation of the layer and the change in layer icon.
Now to create the animated content. You can use any sort of shape or motion you like – I created a large rectangular shape to cover the stage and then employed the Free Transform tool to skew the shape a bit, creating a neat angle.  At this point, it’s just a matter of creating an additional further along the timeline, shifting the content of the previous keyframe so that it begins off-stage, and then applying a Shape Tween to the content. To apply a shape tween between two keyframes, select any of the frames within that span, right-click, and choose Shape Tween for the menu. If all is well the mask will now be animated.
Figure 7: The project with masking applied
For more detail on how to use Shape Tweens in Animate CC, have a look at the following resource:
https://helpx.adobe.com/animate/using/shape-tweening.html
And if you need more information on how masking works… here you go:
https://helpx.adobe.com/animate/using/using-mask-layers.html
Reverse Duplication
Not only do we want the mask to animate across the stage in one direction – we also want to have it leave the stage as well – creating a seamless looping animation. Animate CC makes this task very simple. All we need to do is select the entire tween with the cursor, including the keyframes on each end. With all of these frames selected, right-click and choose Copy Frames. Now, move about 10 frames past the final keyframe (frame 60 in the demo) and select the frame. Right-click again and this time choose Paste Frames. The entire tween will be pasted across the timeline.
At this point, the second tween is just a repetition of the previous one. To reverse the tween, select all frames once again (in the second tween this time) including both keyframes. Now right-click to summon the contextual menu once again and this time choose Reverse Frames. Pesto! We hardly had to lift a finger and now the animation is reversed, completing our loop.
Video Export
There are a couple of options to exporting the content we have created. You can, of course, choose to simply publish for Flash Player – but we want to export as a video and animated GIF. Let’s look at how to export a video file first.
This is actually super-simple. Just choose File > Export > Export Video from the application menu. An Export Video dialog will appear, allowing you to save off your completed animation as raw video data. This exported file can then be taken into Adobe Media Encoder and be transcoded to any number of video file formats.
Figure 8: Exporting the animation as a video file
Animated GIF Export
An often-overlooked feature of Animate is the ability to produce animated GIF files. To export the animation as an animated GIF, we’ll need to use the Publish Settings dialog. Publish Settings can be accessed through the Properties panel with the document itself selected (no objects on the stage or pasteboard selected) or directly from the application menu using File > Publish Settings.
As you can see in the figure below, we have numerous file publish option through use of this dialog. One of these options – the one we are immediately interested in – is GIF Image. If we select this option, we’ll see all of the properties we can tweak when exporting a GIF. The important one here is that we want to choose Animated from the Playback dropdown, and then select Loop continuously.
Once we hit the Publish button, an animated GIF will be generated alongside our FLA, assuming we haven’t specified an alternative file location.
Figure 9: Animated GIF Export
Conclusion
The use of Adobe Stock assets within Animate CC is a great way to try out a wide array of easily approachable stock assets. From this point, you can build out your content around the asset previews, and when you feel confident enough that the asset will work… go ahead and license it from directly within Animate itself.

Adobe Celebrates Distinguished Inventors


Adobe

Q1 and Q2 of FY16 were innovative quarters at Adobe with a total of 185 patents issued. For the special few who have achieved 10 or more patents at Adobe, they earn recognition as a “Distinguished Inventor.” Meet the seven employees who received Distinguished Inventor status in the first half of FY16, and learn about the innovations they’ve contributed to Adobe.
 
Sanjeev Biswas, Lead Senior Computer Scientist II, Digital Media, Bangalore
What technology have you patented?
I have patents in image processing, audio processing, digital rights management, eLearning and more. Most of my patents are in digital rights management (DRM) which help with the anti-piracy initiatives of Adobe.
Of all your professional achievements at Adobe, what are you most proud of and why?
Out of all the awards in Adobe, I believe my Adobe Founders’ Award in 2014 stands out at the top. I am extremely proud of it. As you know, it is rare to get nominated and even rarer to win it. It also brought me closer to our founders and I was lucky enough to sit next to Chuck (Geschke) at the Founders’ Award dinner table. I still remember his golden words of advice to me. He said, “Do not leave Adobe; there are plenty of people who will hear your voice”.
What’s next – any new patents/breakthroughs in the near future?
I want to break status quo. I hate doing my work in a pre-defined and standard way set by others. I will continue to challenge the status quo and break it to innovate and come up with mind-blowing ideas.
 
Brandon George, Engineering Manager, Analytics Web UI, Digital Marketing, Lehi
What technology have you patented?
Most of the patents have been focused on integrating emerging technologies such as mobile, social and geo with various Marketing Cloud solutions. Many have been specifically focused on various analytics and data science concepts.
Of all your professional achievements at Adobe, what are you most proud of and why?
Over the past two years my team (and several other contributing teams) have strived to overhaul our analysis experience throughout Adobe Analytics, in order to truly provide something that our customers love. It has been really exciting to see this progression and how much value this product has provided to our customers.
What’s next – any new patents/breakthroughs in the near future?
There are always new, emerging technologies to integrate with the Marketing Cloud, and analytics provides several opportunities as well, especially in the realm of data science. Hopefully we will get to patent some of them!
 
Paul George, Principal Computer Scientist Digital Media, San Jose           
What do you currently work on at Adobe?           
I am a software engineer working on mobile applications for drawing and painting — specifically Adobe Illustrator Draw and Adobe Photoshop Sketch.
What technology have you patented?
My patents are all related to drawing and painting in one form or another. They cover aspects of features in the mobile applications I currently develop and from the time I spent prior to this working on Illustrator.
Of all your professional achievements at Adobe, what are you most proud of and why?
When it comes to software for drawing and painting, details can be important. I’m proud that I’ve been able to create software that is used and I think enjoyed, by some talented visual artists.
What’s next – any new patents/breakthroughs in the near future?
I continue to develop features for the mobile drawing and painting applications. Sometimes that requires inventing new solutions to problems that merit a patent application. It’s all part of what keeps things interesting.
 
Brian Price, Senior Research Scientist, Cloud Technology, San Jose
What technology have you patented?
My patents are mostly focused on the areas of processing stereo image pairs (i.e. “3D” images like you get in 3D movies like Avatar) and in selection/masking in images.
Of all your professional achievements at Adobe, what are you most proud of and why?
I’m most proud that I’ve been able to transfer some of the technologies that I’ve developed into Adobe products, and that these technologies are impacting the lives of our customers.
What’s next – any new patents/breakthroughs in the near future?
I have several more patents pending now.
 
Xiaohui Shen, Research Scientist 2, Cloud Technology, San Jose
What technology have you patented?
The issued patents range from image analysis techniques such as object/face detection and object retrieval, to automatic editing tools such as automatic image cropping.
Of all your professional achievements at Adobe, what are you most proud of and why?
I feel most proud when the techniques we developed not only result in patents and academic publications, but are also transferred to products and improve the experience of our customers.
What’s next – any new patents/breakthroughs in the near future?
I am particularly excited that our new technology can be applied in multiple platforms including mobile and cloud service, bringing more content-intelligent features to connect workflows.
 
Kevin Smith, Senior Research Scientist, Digital Marketing, Lehi
What technology have you patented?
I managed the Emerging Technologies research lab for several years, and as such, most of my patents have been in areas of new and exciting technologies before they became mainstream, such as mobile, social, geo and IoT. Examples include methods to measure, stitch and score social content, identifying unique users on mobile devices and personalizing touch interfaces to the individual, and personalizing marketing based on the local weather of the visitor. However, with my previous core competencies being in analytics and search marketing, I also have several patents in areas such as success event attribution and search campaign automation.
Of all your professional achievements at Adobe, what are you most proud of and why?
In nearly 12 years at Adobe, I have played many different roles and been part of a lot of very satisfying initiatives. However, I would probably say my biggest achievement may have come as Chair for the 2015 Tech Summit in San Francisco. I was privileged to work with a great co-chair and put together amazing program committees consisting of many of Adobe’s finest. As a year-long project that really pushed me out of my engineering comfort zone, it was very satisfying to see all of our hard work come together into a great event enjoyed by thousands of my peers.
What’s next – any new patents/breakthroughs in the near future?
Right now, Virtual Reality and Augmented Reality both look hot. Both of these technologies have been around for a while, but are just now on the cusp of going mainstream which is the perfect time to play around with them.
 
Sachin Soni, Engineering Manager, Digital Media, Noida
What technology have you patented?
My patents span a variety of technologies related to Documents, Videos and Digital Marketing.
Of all your professional achievements at Adobe, what are you most proud of and why?
I think it is that I have more than 10 issued patents and more than 50 patents still pending. A lot of these, especially related to Internet of Things, will significantly impact the lives of people in times to come and that is what I am proudest of.
What’s next – any new patents/breakthroughs in the near future?
The desire and passion to innovate should help new patents/breakthroughs to continue to come to me in the near future.
 
Want to join Adobe and start submitting your own patents? Check out Adobe Careers and start applying!

#AMC2016 Through the Eyes of Marcia Guevara


Adobe
The power of art lies in its capacity to tell a message that spreads across the borders of our own realities.
Art changes, art inspires and art transforms.
I would have never thought in a million years three days in Detroit were all it took for me to change my perspective on life.
I didn’t know what to expect when I got to Allied Media Conference (AMC). Honestly, I wasn’t interested in any of the sessions. I didn’t have any goals for the conference except for getting good footage as part of my internship at Adobe Project 1324. However, the experience I had and what I learned cannot be compared to anything I had been a part of before.
I’ve always considered myself a creative person, but seeing how I can use my creativity to spotlight issues affecting my community and others is the biggest lesson I took away from AMC. My creativity matters and I can use it for social change.


AMC is a conference that brings together a diverse group of people every year in Detroit. With over 300 workshops the city becomes a big collaborative laboratory for those who want to learn and use media for social change. But the most impressive part is the sense of community and acceptance the conference creates. I had never been in a space that felt so safe for minorities or people who don’t fit. As a minority I’m aware of the struggles Latino and immigrant communities face, but learning and sharing with other minority groups showed me how our struggles intersect and the power we have if we work together. Getting the chance to meet people breaking so many barriers through art definitely inspired me to want to create for social change.
Art is more than pretty pictures, good design and harmonious melodies. There is power in art, and its strength is greater than any other medium I’ve worked with.

photo by Andrea Gutierrez
Learning what poetry really is was also life changing. I had no idea what poetry really was or that you could express emotions so accurately through dance. I always thought poetry were just words that rhymed, but after attending an open mic session, I realized it was an incredibly powerful tool for expression. I didn’t even know something like what I saw and heard even existed. In fact, the words of Simone Williams’ poem stuck with me. She talked about what being black meant and the struggles of black people throughout history. When I see another black man has been killed by police, as has happened repeatedly in the past few years, I remember her words and how we all need to keep fighting to end racism. I also experienced rap as a storytelling medium used for critiquing current community issues. This made my love for the genre grow even more.
photo by Andrea Gutierrez
photo by Andrea Gutierrez
My biggest takeaway from AMC came from my first session. I attended a dance workshop called “Breaking HIV Stigma Through Dance” presented by Demark Manigo, a dancer from Atlanta, Georgia. I had no idea what to expect or how talking about HIV through dance was even possible, but what I experienced was powerful and meaningful. Demark asked the group “When you think of a person living with HIV, what do you feel?” Their responses: Silent struggle, guilt, fear, loneliness and love. These answers turned into the dance moves that would make the experience so touching and personal. Doubts about HIV were cleared, lessons were learned and emotions were canalized through dance. It was touching to see how the walls and stigma around HIV were dismantled so easily. People who suffer from HIV are confined to intangible prisons because of certain societal misconceptions, and those close to them suffer in silence with them. However, I now believe that opening the discussion for such a complex topic can be successfully done by something as simple as dance. Here are some GIFs illustrating the physical responses to Demark’s workshop questions:

AMC also taught me how important it is to put actual faces and names to statistics. When I thought about police brutality I always thought about the cases media showed, which usually involve male victims. Little did I know there was a movement called Say Her Name and the meaning behind it. Say Her Name is a gender inclusive movement that campaigns for recognition and ending of police brutality and violence against black women. Women are not numbers; they’re daughters, sisters, mothers and someone’s friend. When their stories are told, their memory lives. Art has the power to do this and more.

I went to Detroit with no expectations, and left with a lifetime of knowledge, a new artistic vision and the desire to create for social change. I experienced the meaning of creative impact firsthand and how it can create lasting change. The power of art lies in its capacity to tell a message that spreads across the borders of our own realities.
Lead photo courtesty of 247 Laundry Service.

Deep Dive: Working with Open Captions (Subtitles)


Adobe
For Premiere Pro CC 2015.3, we introduced a new workflow for Open Captions, also known as subtitles. The main differences between Open Captions and Closed Captions are:
– Open Captions are always visible in the Program and Source Monitor, because they’re treated like a normal video layer and will be “burned in” to the video on export. Closed Captions are encoded into the file and decoded by the display device during playback.
– Open Captions allow nearly unlimited selection of font family, size and color, along with free positioning over the video image. Closed Captions offer limited font, color and position choices, aligned to a fixed grid.
– Open Captions can only be burned into the video image during export, and cannot be stored in separate sidecar files or embedded into video like Closed Captions.
You can create Open Captions one of two ways:
– Create from scratch: using “File > New > Captions…”, you can create an Open Captions project item the same way as Closed Captions (just select Standard: “Open Caption”). The resulting project item contains one default caption.
– Select an arbitrary project item that already contains a closed caption and select the action “Modify > Captions…” and select Standard: “Open Caption”.
Because the second method of creating subtitles from an existing Closed Captions file is a common workflow, I’ll describe it in more detail.

Creating Open Captions from Closed Captions:
If you modify an existing Closed Captions item to become Open Captions, it won’t update the original file. The info about the new Open Captions item is stored within the Premiere Pro project (same as for Closed Captions).
Note: If you import the original Closed Caption file again, it will also be shown as an Open Caption in the project, because the caption info is bound to its file path. If you need to see the original caption in the project, you should copy the file on disk first and then modify the copy.
Because Open Captions can contain more formatting options than Closed Captions permit, Premiere Pro currently doesn’t have an option to switch Open Captions back to Closed Captions. (If you select “Modify – Captions” for Open Captions, you can’t select a Closed Caption format).
Note: The only way to revert back to Closed Captions is: remove the project item from your project, save and close the project and remove the related info from Media Cache (to be sure that the info is not cached). After that you can re-import the item again with its original Closed Captions content).
To prevent confusion by mixing Open and Closed Captions, we only allow users to modify Closed Captions that contain a single stream format (e.g. if your file contains CEA-608 CC1 and CEA-608 CC2, the option to modify it to “Open Caption” is not available).
Formatting options:
You can update Open Captions in the Captions Panel (similar to Closed Captions), but the controls are a bit different:

Changes you make in the Captions panel should be visible in the Source or Program-Monitor immediately (no save or “OK” button required).
The Captions panel controls for Open Captions are similar to those for Closed Captions. I’ll only describe the formatting options that are available exclusively for Open Captions:
Font Size: determines the size of the selected text. (Tip: when you use the Return key, the next line is positioned with a vertical spacing of half the selected height).
Font Family: selects one of the font families available on your system (Note: not every font is supported; if it’s unsupported, Premiere will use a default font)
Font Weight: select one of the font weights for the selected font family. Premiere Pro currently handles the most common weights (Bold, Italic, Regular, Bold Italic). The selected style is kept in sync with “Italic” and “Bold” selections. For example, if the font family doesn’t have an “Italic” weight, the Italic button is set to “None” and disabled.
Color: similar to closed captions: select the mode first (foreground or background), then select a color. For Open Captions, you’ll use a Color Picker with virtually unlimited colors to choose from.
Positioning: There are 2 ways to position a paragraph:
– Directly: using the x: and y: fields. The input is given in “%”. It describes the position within the “Caption Area” (10% of the weight/height of it is a “Caption-free border”, so we use the inner 80% of the Video frame). The positioning is calculated “pixel-precise” internally, so typing 30% may result to something like 29.88%.
– By Positioning Block control: This control allows you to put the captions in one of the 9 “corners” of the “Caption Area”.
Free Positioning:
Closed Captions are “grid based”, meaning they contain a fixed number of rows and columns. Open Captions don’t have this limitation. We can select the font size in absolute pixels (e.g. a 20px size text character looks much smaller in a 1920 x 1080px video frame than in a 720 x 480px video, but it takes the same amount of pixels in both frame sizes).
We can also select the position of Open Caption text with pixel precision. And the best feature of free positioning with Open Captions is that is uses proportionally spaced letters (an “i” takes less space than an “m”), which is easier to read and looks more natural.
The easiest way to position a group of rows is the “Position Caption Block” control in the Captions panel. All selected rows get one of 9 defined positions (or if none: all rows in the caption). All rows form a group. The space between the lines is defined by the font size. The horizontal positioning of the lines within the block depends on the Alignment Setting (left, center, right), where the longest row defines the “left” and “right”. The resulting block (height defined by number of rows and their font size, width defined by the longest row in block) are positioned in the given “corner” of the Caption Area.
If you add a new row, it is positioned by default after the current row (in the same block). If the block reaches the bottom of Caption area, all lines of the block are re-positioned so that the last row ends at the bottom of the Caption Area. The same happens with added text in a row. If this would exceed the Caption area, the block is automatically repositioned.
If you position a single row directly (using x: and y:), it will no longer be part of the block any more (the rest of the positioned block is kept together). If you’re not careful, you can create “collisions” with other rows in the Caption area, so use the Position Caption Block control with care. My recommendation is to position the first row where you want it, and other rows created with the “Return” key will follow the first row and build a new block. If you select more rows for free positioning, the first one will get the given position, the other ones will follow.
If you type invalid positions (e.g. a caption can never be positioned at 100% – this would start outside the visible caption area), the row (or the selected block) is positioned to the “next-best” valid position.
Export Open Captions:
Open Captions are burned into the video because they’re handled as a normal video layer. The only way to prevent burn-in of the Open Captions is to hide the caption track in the Timeline (click on the “Toggle Track Output” eyeball icon in the video track header).
 
 

Comcast’s Commitment to TV Everywhere on the Comcast Voices Blog


Adobe
You’ve already heard from us that “serious attention is required to grow TV Everywhere adoption from 17% to 70%.”
One company that’s giving it serious attention is Comcast.
The Comcast Voices blog recently published an insightful update about Comcast’s commitment to TV Everywhere by Matt Strauss. Strauss is the Executive Vice President and General Manager of Video Services for Comcast Cable and serves as a co-chair on CTAM’s TV Everywhere steering committee.
Here are a few highlights from the update:

More than 40% of Comcast’s double-play customers are using TV Everywhere every month.
Comcast is working with industry partners, including Adobe, to support “a new, universal, scalable solution” for TV Everywhere that’s facilitated by home based authentication and single sign on.
This enhancement will “bring TV Everywhere to the next level.”

Be sure to read the whole article on the Comcast Voices blog.