Pillow Talk with James Yi and Alexander Chi, Producers of Gook

Building on our 2016 success, we brought back our Pillow Talk Live interview series at Sundance 2017. This year’s theme is “Make It an Experience,” and we’re streaming discussions with filmmakers via Facebook Live through Tuesday, January 24.
Today we cuddled up with James Yi and Alexander Chi, the producers of Gook, to talk about making their film, and telling stories that address tough issues like race relations and getting people out of their bubbles.
Here’s an excerpt:
Talk about the feeling of coming in, guns blazing, with a feature at Sundance right off the bat.
James: Man, it’s amazing. When we went through this process we definitely dreamed of being here, but to be here now is… it’s still settling in. I still haven’t quite grasped that I’m here.
Alexander: It’s still surreal. Our goal was always to get into Sundance. Once we got in, we were just planning to make sure everything was good once we got here. Now that we’re here we’re trying to enjoy ourselves as much as we can.
So, “Gook”… As a white male, I wasn’t sure, is that a word that I can even say? I’m assuming it’s kosher since it’s the name of the movie?
James: We want to keep that up in the air. We want to still have people question whether they can say it or not.

This is set in Los Angeles in ‘92 during the riots. I know a lot of this stuff is based on personal stories.
James: The director and writer of the film, Justin Chon, his father actually had a shoe store in Paramount, California that got looted during the ‘92 riots. So it’s a very personal story for him that he’s wanted to tell for years.
There was a very contentious relationship between the Korean community and the black community, especially with all the violence that went down.
James: Yeah, absolutely. You know what happened was in the early 80s there was a huge migration of Koreans coming to the United States during the early Reagan era. Being that we were poor immigrants, the only places we could start businesses were in the inner city, lower income neighborhoods. That’s why we had so many businesses in the inner city. Then there was a contentious relationship, as there always is between people who are perceived to have money and not. Over time that has grown, especially after the ‘92 riots, I felt like there was a new chapter in the relationship between Koreans, Hispanics and African Americans
For so many filmmakers who want to make a movie for the first time, money seems to always be a hurdle. So talk about how you got the funds for the first part of it and then the process and experience of going through Kickstarter.
James: I’ve been an independent filmmaker for over 10 years. This is my eighth feature, but I never asked any of my friends and family to invest in a film. This was the one film that I knew was really special. I approached my family with extra passion. I’m like, ‘I never asked anyone to invest in my films before, but this is the one. This is the one I need help with. This is the one I believe in.’ I had so many of my childhood friends step up and be investors. Alex too, he had so many friends step up.
We have more Pillow Talk interviews with filmmakers from Sundance. Watch them here.

Bring those Browse Pages to Life!

One of the primary advantages of the AEM Mobile application platform is the ability to create beautiful native applications without having to learn native application development. The AEM Mobile layout template system gives designers, developers and marketers the ability to craft their application user experience using What You See is What You Get (WYSIWYG) tools. This template system of cards and layouts has allowed our customers to create manny different applications, each with a distinctive look and feel. Browse pages (aka navigation screens) displayed in AEM Mobile applications are rendered as native code, which ensures that these screens are performant and respond well to touch gestures.

With recent updates to the AEM Mobile platform, browse pages received a major power-up in the form of Dynamic Banners. Prior to the Nov 1st update, all browse page items (articles, collections, banners) were represented by static image thumbnails on cards. If you wanted to display data feeds, animations, or any other type of interactive elements on your application’s home screen, you would have to replace the entire browse page with an HTML article. Now with the Dynamic Banners feature, you can continue to use browse pages for your navigation screens, with the added capability of carving out space for interactive content. Dynamic Banners are defined like other content types within AEM Mobile. After choosing to create a new Dynamic Banner, you are asked to fill out metadata fields, add a thumbnail and upload a HTML packaged .article content file.

Dynamic Banners will appear in browse pages the same way any other banner, article or collection would, the only difference being that you are running HTML inside the grid space. Dynamic Banners can utilize any Apache Cordova plugins enabled in your application and can be updated the same as any other article or banner.
We’ve tried to get the creative juices flowing to show you how to take advantage of Dynamic Banners in your applications. See below for some code samples and please share with us any ideas or uses you’ve implemented using Dynamic Banners.
Dynamic Carousel Banner
The below code sample is for a simple slideshow with a few tricks up its sleeve. Rather than hard-coding in the various slides and related images, this banner slideshow will automatically create the appropriate number of slides for each item contained in a specified collection. When uploading this slideshow make sure to specify which collection you want it to read by putting the collection name in the banner’s “department” field. Also make sure to enable the extensibility features checkbox on the metadata properties if it is not already checked.

Dynamic Carousel Code Sample
Dynamic Sign-in Banner
The below code sample is for a simple sign-in banner. This dynamic banner has two sections defined in the HTML to represent both un-authenticated and authenticated states. You can make changes to the CSS and the HTML to adjust what is displayed to users that are, or are not signed-in. Additionally; this banner can display whatever text has been placed into the banner’s ‘short title’ field in On-Demand Services.

Dynamic Sign-in Banner Code Sample
For more information on Dynamic Banners, see the AEM Mobile Help Article > Creating banners for browse pages

Stock Illustration Tips from Natalia Hubbert

For our monthly contributor spotlight, we spent time speaking with Houston-based illustrator Natalia Hubbert about her creative career and experiences in the stock marketplace. Here she shares her top five tips for starting out and succeeding in the competitive world of stock illustration.
Be creative, but commercially conscious.
Think creatively and make commercially valuable designs. Use your own vision and perspective, make it unique and different but don’t go too wild because it still has to be acceptable to others in order to sell.
Collections and sets = more sales.
Create lots of sets and collections. It can be Zodiac signs, breakfast or other meals, sets of spices, or even a shoe collection. If buyers like and purchase one piece from your collection there is a high chance that they will want to license the rest of the images as well.
Create customizable content
Make sure your vectors are customizable and your illustrations are easy to cut out. That means having it on a white or transparent background. It is handy not only for the buyer but also for you as well for future use.
Variety is the spice of life
Image banks are full of beautiful and interesting images. There is a huge variety of content out there and something for every taste from the weird to the wonderful. I try to sell a little of everything because every illustration has its own buyer.
Work hard and stay true to your vision
Do good work. Stay in tune with fashion, trends or create classy, timeless stuff, but ultimately, remember it is up to as an artist, do whatever you enjoy and feel more comfortable with. At the end of the day, you will get out of it what you put into it. The more time you spend learning and perfecting your craft, the better you will become and the more you will sell.
You can read more about Natalia’s career and journey into the world of stock here.

Thinking About A Career in UX? Now’s the Time

Good news for all you future UX designers out there, 2017 is shaping up to be one heck of a year for experience design careers.
According to Computer World, product designers and UX designers topped the list of in-demand digital roles in 2016. It’s hard to imagine demand for these jobs decreasing when technology continues to top the list of the fastest growing industries in America. Tech jobs are expected to increase 12 percent by 2024, compared to 6.5 percent for other industries. Some categories, like web development for example, will see job opportunities increase by some 27 percent.
The areas of growth are as vast as your imagination. Forbes’ tech trend forecast  predicts augmented reality will become mainstream this year, silos will break down between departments allowing for more cross pollination between roles, smart technology will become “cognitive” technology, and the Internet of Things and AI will become a priority. User experience and experience design play a role in all of these things.
At the time of this writing, there were more than 7,000 posted jobs for “UX designer” on indeed.com, and more than 30,000 for “product designer.” LinkedIn pulled up similar results for UX designer jobs. Not to mention, there are a few related opportunities available on Adobe Careers as well.
Describing Yourself as “Creative” is Good for the Bank Account
If you combine your tech skills with creative chops, baby the world is yours for the taking.
In Adobe’s State of Create: 2016 report, we discovered that respondents who describe themselves as creative earn an average of 13 percent more than those who identified as non-creators, yet only five in 10 Americans surveyed described themselves in this way.
This is despite the fact that respondents overwhelmingly agreed that creativity makes for good business. Ninety percent said businesses that invest in creativity were more likely to see increases in employee satisfaction, faster innovation and happier customers. Not to mention happier employees!
The results stem from a recent survey commissioned by Adobe featuring responses from more than 5,000 adults based in the United States, UK, Germany, France and Japan.
Adobe’s own Mala Sharma, VP & GM of Creative Cloud Product, Marketing and Community, said in the above link that storytelling is one of the best ways to hone your creativity as a designer. Narrative contributes to every aspect of product and business development including effective communication.
“This was once considered a soft skill, but now it’s a mandate and a professional differentiator. A great storyteller, whether it’s in finance, engineering, or legal, has a better chance of getting their ideas heard and acted on,” she wrote.
Designing Your Career
What’s the lesson here? With so much opportunity on the horizon, don’t underestimate your creativity. Complex new technologies and user interfaces require out-of-the-box thinking we haven’t seen before. Tapping into your creative side has the potential to enhance your job prospects and personal happiness, not to mention your income.
If you’re not sure where to start, why not check out Adobe’s XD tutorials to begin experimenting with experience design and deepening your UX design practice.

Pillow Talk with A Ghost Story’s David Lowery and Toby Halbrooks

Building on our 2016 success, we brought back our Pillow Talk live interview series at Sundance 2017. This year’s theme is “Make It an Experience,” and we’re streaming discussions with filmmakers via Facebook Live through Tuesday, January 24.
In one of our favorite interviews, our host, Jonathan Hyla, hopped into bed with A Ghost Story’s writer and director David Lowery, and producer Toby Halbrooks to hear their experiences – successes and struggles.
Here’s an excerpt:
Do you remember your first experience at Sundance?
David: I had a short film here and it was great. Toby produced that film and we’ve been coming here ever since. That first year was the best because you’re here for the first time – you’re never going to top that.
Is there a goal you had…where you felt like you finally made it?
David: If you set a goal like that, you are setting yourself up for failure. You just keep making stuff. You keep making things you like. We have reached a point – where we are very lucky – to be at a place where we can make movies for a living. That’s sort of one plateau that you reach, where you are able to do this for a career. It’s something we aspired to, and now we’re lucky enough to be able to do that.
At what point did you realize “this is my job”?
David: It was a year after Ain’t Them Bodies Saints (2013). After that movie played at Sundance, we were still dead broke – trying to figure out how to pay rent. Over the course of that year, we managed to get a job writing a screen play and that led to other work. Then, we were able to say we don’t need to have a day job anymore. That was a wonderful step in a direction we’d long been heading. At that point, we just started working harder.
When you first got that short film into Sundance…there’s something about getting over that first hurdle. Do you have advice for other filmmakers trying to break that barrier?
Toby: Yes, David submitted five films prior to Pioneer (2011).
David: No, I counted it up the other day it was closer to 12 to 15.
Toby: 12 to 15 films that didn’t get into Sundance…so keep doing it would be the advice.
David: Just keep doing it and keep trying to grow. Keep making films that challenge yourself as a filmmaker. You’re going to evolve as you do that. If you keep doing the same thing, and get stuck in a rut or you’re not challenging yourself, your films are going to reflect that. So, keep pushing yourself.
Toby: If you think your film is really good it probably isn’t.
What’s an early mistake you made in your career?
David: Assuming my movie was good – to Toby’s point.
What’s the best perk of being a filmmaker?
Toby: There’s an autonomy to your life that other jobs don’t have. It’s like choose your own adventure. If you’re so lucky, of course, even if you’re not …you’re still making that choice. I lived at my grandmother’s house until I was like 30, but that was my choice. Part of the freedom of it. I think of that autonomy as a perk.
What was the biggest risk in your career?
David: Not having anything to fall back on. I have no skills beyond filmmaking that could earn me a living.  If I didn’t have this I don’t know what I would do – I’d be unemployable! The biggest risk is setting your sights on something and not giving yourself a way out.

The Tale of U+27BF & Adobe-Japan1-6 CID+20958


As recorded on the very first page of Adobe Tech Note #5078, Adobe-Japan1-6 was released on 2004-03-05, and one of the glyphs that was added was CID+20958. According to the Adobe-Japan1-6 ordering file, its glyph name is freedial, and is assigned to the Dingbats FDArray element for the purpose of hinting. Of course, if you look for CID+20958 in Adobe Tech Note #5078, you can find it on the bottom of page 54, immediately to the right of CID+20957 that maps from U+26BD ⚽ SOCCER BALL, though it is blank. This is simply because Adobe does not have the rights to use NTT’s trademarked FreeDial mark. CID+20958 was included in Adobe-Japan1-6 for the benefit of font developers who do have the rights to use this mark, and can thus include the glyph in their fonts.

Although not open-sourced, I developed and continue to maintain U-PRESS-UTF32-H and U-PRESS2004-UTF32-H CMap resources that map as many Adobe-Japan1-6 glyphs from Kyodo News‘ (共同通信社) U-PRESS encoding as possible. The PUA (Private Use Area) code point U+F291 is mapped to CID+20958. U-PRESS includes additional characters that correspond to glyphs outside of Adobe-Japan1-6, and Iwata Corporation’s extension can be seen here.
According to Unicode’s DerivedAge.txt data file, U+27BF ➿ DOUBLE CURLY LOOP was added in Version 6.0 (October, 2010). On 2016-09-03, and thanks to Unicode, I finally added to the Adobe-Japan1-6 Unicode CMap resources a mapping from U+27BF to CID+20958.
U+27BF can be seen in the Full Emoji Data, and also has the UTR #51 property values Emoji and Emoji_Presentation.

Storytelling in Product Design: Achieving Team Alignment through Narrative

One of the most challenging aspects of designing a product with a team is getting alignment. How do you get all of your stakeholders on the same page and agreed on a direction? This is especially tricky in the early phases of strategic planning, when project goals are undefined and evolving.
At this fluid stage, when even simple ideas seem complex and vague, there is one design artifact that can be magically effective: telling a story. Nothing works better at slicing through complexity to get to a shared understanding of the project’s goals. It can help stop circular discussions and allow the team to focus.
Confronting Complexity
Storytelling is especially effective when it comes to working with concepts that are highly complex and intricate, like an entire software cloud. But first let’s look at a simple feature-level example.
Imagine a team working on a new feature that allows a user to attach a comment to a graphic. It sounds straightforward, but it’s likely each team member is picturing a different version of what a “comment” means. Is it like a sticky note? Is it like social media? Can I draw on it? In trying to describe it, the team can create a kitchen sink version, with several conflicting ideas that only causes confusion about the core idea.
A designer’s job is to alleviate this confusion with some kind of artifact — typically a mockup, wireframe, or prototype. The artifact gives the team a common point of reference and forces choices to be made. Even if the artifact is poor, it will still help with confusion by creating some small shared understanding. “That’s not what we meant!” is still useful in terms of feedback.
Storytelling can have the same impact as an artifact, only it can address much more complexity.
Instead of a feature, imagine a project that involves multiple users across multiple products. In terms of design artifacts, we’d likely need several hundred to describe the full product design. That’s insanity when the goal is simply to get alignment on the big picture. In a scenario like this, the confusion to address is about the forest, not the trees.
Just like a standard design artifact, a story gives the team a common point of reference and forces choices to be made. By creating a scenario to follow, the team can see whether various ideas contribute to a cohesive concept, or fail to add up to an interesting “forest.” (Of course, the scenario may or may not be realistic to actual customers, but that’s a much easier thing to address after getting alignment.)
Building the Story
To create a story for alignment purposes, there are a couple of key elements.
To begin with, choose a simple goal for your story to address. Make it tangible — this is not the time for mission statement vagueness. Create a specific task with constraints for the characters to act upon. “The marketing team must produce a promotional microsite by Friday.”
Speaking of characters, create a cast. Complex scenarios involve multiple people, and it’s helpful to define how they relate to each other up front. What are their jobs? What are their relationships (boss, client, etc.)?
The most important item is a script. This is the master document of the production, and should be iterated over time just like a mockup. Formatting is unimportant — whatever works to capture the detailed step-by-step of the story. If you can base the steps on real-world research, all the better. But even if you are just making assumptions, try to be as detailed as possible. Include distinct chapters or scenes to break up the story into digestible chunks to help viewers follow along.
Whatever the format, the story presentation should begin with a prologue that describes the goal and setting, and introduces the characters. Establishing the scenario should set the context for your product.
After that, the bulk of the presentation should be visualizations of interactions with the product. These can be screen UX, examples of output, instant message transcripts, even futuristic holographic displays. Having fun with the visualizations leads to the best side-effect of storytelling: inspiration.
Don’t worry about whether the UX works at this stage. This process will often reveal what you don’t need to build, so it’s not worth getting into the weeds of how things work now. Conversely, don’t neglect delightful UX moments. They contribute to the inspiration side-effect. (Motion graphics and video are helpful too, but not critical.)
Beyond Alignment
Creating a story artifact should be an iterative process. You might even consider showing a version to real users. Does the story make sense to them? Is it similar to their own story? What are the plot holes? Real user feedback will help you know if you’ve created a documentary or a work of fiction.
Once the story helps to get alignment, the story can provide a map to the actual product design and lead to the next stages of development. It can help prioritize an MVP, and identify areas that need more investigation. And it can even be used as reference to see if the project has stayed on track. If not, maybe it’s time to write a new story.

Modifier la couleur d’un objet dans Adobe Photoshop CC – 1ère partie

Dans ce tutoriel en deux parties, vous apprendrez deux techniques pour modifier les couleurs dans Adobe Photoshop CC.
Dans la première partie, nous utiliserons une méthode que les débutants peuvent utiliser pour changer rapidement et facilement la couleur d’un objet en utilisant les modes de fusion. Vous apprendrez également comment utiliser le moteur de recherche inversée d’Adobe Stock pour trouver plus rapidement les images dont vous avez besoin pour vos projets.
Dans la seconde partie, nous nous intéresserons à une méthode de travail plus avancée qui donne de meilleurs résultats, mais nécessite quelques étapes supplémentaires.
Chaque année depuis l’an 2000, le Pantone Color Institute choisit une couleur qui reflète l’ambiance culturelle du moment. La couleur Pantone de l’année a historiquement influencé les tendances dans tous les secteurs du design. Y compris dans l’architecture, la décoration intérieure, la mode, la cuisine, les voyages, et bien d’autres domaines. Pantone ayant récemment révélé la couleur de l’année 2017, c’est donc Greenery, une teinte vert-jaune que l’on peut associer à l’écologie et à la nature que nous utiliserons dans ce tutoriel.
Utiliser le moteur de recherche inversé d’Adobe Stock
Commençons par trouver la bonne image pour ce projet en utilisant Adobe Stock. Au lieu d’utiliser la recherche par mots-clés classique, nous utiliserons le moteur de recherche inversé d’Adobe Stock, un outil qui analyse les composants de l’image pour en trouver une similaire dans l’ensemble de la collection.
Dans ce projet, je souhaite créer un design sur le thème des vacances. Je voudrais utiliser des gobelets à café vert et rouge sur un fond blanc.
En utilisant un gobelet à café et du papier blanc, j’ai défini le type d’image que je recherche et j’ai pris une photo avec mon téléphone portable.

Rendez-vous sur stock.adobe.com, faites apparaître le champ de recherche visuelle en cliquant sur l’icône « appareil photo » dans la barre de recherche.

Cliquez sur « Parcourir » et sélectionnez le fichier que vous souhaitez utiliser. Dans mon cas, je vais utiliser ma photo de gobelet à café.

Vous pouvez aussi tout simplement glisser votre image dans la barre de recherche.
N’hésitez pas à enregistrer la photo de ce gobelet à café rouge sur votre ordinateur et à lancer la recherche.

Il est possible d’affiner la recherche pour obtenir des résultats plus spécifiques. Tapez « Vacances » dans la barre de recherche et cliquez sur l’icône de recherche.

Cette recherche plus précise affiche des images de gobelets à café qui sont associées au thème des vacances. L’image ci-dessous sera parfaite pour notre création.

La prochaine étape consiste à changer la couleur de l’une des tasses pour Greenery. Pour ce faire, nous utiliserons Adobe Photoshop.
Avant de commencer à modifier l’image, nous devons l’intégrer dans notre Bibliothèque Creative Cloud.
Passez la souris sur l’icône « Enregistrer l’aperçu » et enregistrez-le dans l’une de vos bibliothèques. Dans cet exemple, je vais utiliser une bibliothèque appelée « Idées de Tutoriel ».

Si vous n’êtes pas membre du Creative Cloud, enregistrez l’aperçu sur votre bureau. Vous pouvez le faire en cliquant sur la flèche pointant vers le bas située à côté du nom de la bibliothèque, puis en cliquant sur le bouton de téléchargement. Vous pouvez ensuite ouvrir l’image comme si vous ouvriez n’importe quelle autre image sur votre ordinateur.

Dans Photoshop, vous verrez l’image des deux gobelets à café rouges dans le panneau Bibliothèques (Fenêtre> Bibliothèques). Vous pouvez double-cliquer sur la vignette pour l’ouvrir dans un nouvel onglet ou cliquer et la faire glisser dans n’importe quel document ouvert.

Cliquez et faites glisser l’image depuis le panneau Bibliothèques dans n’importe quel document ouvert. Si aucun document n’est ouvert, allez dans Fichier > Nouveau pour en créer un.
Sélectionner la couleur Pantone de l’année dans Photoshop
La couleur que nous allons appliquer à l’un des gobelets rouges est donc Greenery, la couleur Pantone de 2017.
La première étape consiste à sélectionner la couleur dans Photoshop. Pour ce faire, vous pouvez utiliser la fenêtre du Sélecteur de Couleur de Premier Plan. Pour l’ouvrir, double-cliquez sur la couleur de premier plan dans la barre d’outils.
Dans la fenêtre Sélecteur de Couleur, entrez la couleur hexadécimale #84BD00 dans le champ de saisie et appuyez sur OK.

Une fois la couleur Greenery sélectionnée, nous pouvons commencer à faire correspondre les couleurs !
Méthode 01 : Mode de fusion Teinte
La première méthode utilise le Mode de fusion Teinte. Ce mode de fusion applique la couleur sans affecter les gris, les blancs ou les noirs neutres.
Ce mode de fusion est idéal lorsque vous travaillez avec des images dont le sujet est isolé sur un fond blanc, car vous n’avez pas à vous à créer de masque de calque pour apposer la couleur sur l’objet.
Pour les images sans fond blanc, vous pouvez utiliser un masque de calque pour contenir les couleurs dans les zones spécifiées. C’est ce que nous verrons dans la seconde partie de ce tutoriel.
Commencez par créer un nouveau calque (Calque> Nouveau> Calque…), puis avec l’Outil Pinceau (B), peignez le gobelet à café de gauche.

Dans le panneau Calques, changez le Mode de fusion pour Teinte.

Le gobelet deviendra vert, mais la couleur ne sera pas appliquée à la couleur blanche de l’intérieur de la tasse. Dans ce cas, le fond blanc comprend un peu de rouge dû à la couleur du gobelet de départ. Vous pouvez bien sûr changer également cette couleur.
Si vous regardez attentivement, vous remarquerez que le gobelet vert n’est pas de la même couleur que la couleur Greenery que nous avons utilisée comme référence pour la correspondance de couleur. Le Mode de fusion Teinte permet de conserver la luminosité et la saturation d’origine des pixels de départ, de sorte que vous n’obtiendrez jamais de correspondance parfaite, uniquement une approximation.
Si vous peignez le gobelet en Greenery, vous verrez la différence.

Si vous souhaitez obtenir une correspondance plus proche, vous pourrez utiliser la méthode que nous aborderons dans le prochain tutoriel.
Si vous êtes content du résultat, vous pouvez acheter la licence de l’image directement depuis le panneau Bibliothèques. Faites simplement un clic droit sur l’image et sélectionnez « Acheter la licence ». Ce faisant, vous supprimez le filigrane et téléchargez l’image en pleine résolution dans votre Bibliothèque Creative Cloud. Les modifications que vous avez apportées sur l’image maquette sont automatiquement effectuées.
Ce workflow est unique et garanti un gain de temps considérable qui va de pair avec une augmentation de la productivité. Avec Adobe Stock vous pouvez trouver et travailler sur des images rapidement, et acheter la licence de celles que vous aurez choisies en un clic.

PDFをMicrosoft Office形式に書き出す方法

しかしこれからは、ゼロから作業をやり直す必要はなくなります。Acrobat DCの「PDFを書き出し」という機能を使用すれば、書式設定を維持した状態でPDFをMicrosoft Office形式に書き出すことができます。ごく簡単な方法で、時間をかけずにデスクトップ、モバイルデバイス上でファイルを変換することができます。手順は次のとおりです。
オフィスでも出先でも、書式設定を維持したままPDFをMicrosoft Office形式に書き出すことができ、ゼロから作業を繰り返すことなく新しい作業に取り掛かれます。
IDCの調査によると、オフィスワーカーの43%が、互換性のないシステムやアプリケーションを使用しており、情報のコピー、ペーストや再入力をしなければならないことがあると回答しています。IDCの調査の詳細は、https://adobe.ly/2hnInI7 をご参照ください。






ご使用のブラウザでAdobe Document Cloudにログインします。


The University of Arizona Uses Adobe Connect to Promote Academic Achievement and Engagement

By finding more ways to deliver courses electronically, the University of Arizona (UA) broadens the reach of its educational opportunities. The UA currently offers nearly 70 undergraduate and graduate degree and certificate programs and its learning management system (LMS) holds more than 4,300 courses (15% of its total catalog) used by the university’s 19 colleges. To gain better mobile support, comply with regulations regarding eLearning accessibility for the disabled, and scale to support growing numbers of online students, the UA upgraded from a Java-based web-conferencing platform to Adobe Connect.
“We needed a synchronous online meeting tool to support both active learning and small-group work,” says Mark Felix, Director of Instructional Support, University of Arizona. “We also wanted a virtual classroom that could be customized. Adobe Connect offered these capabilities and more.”
Using Adobe Connect, instructors easily build custom eLearning courses that can be accessed from desktop or mobile devices. Instructors can deliver courses live online or as recorded lectures with interactive sessions using Adobe Connect. With apps from Adobe partner eSyncTraining and Adobe Connect, students can build online meetings, create their own study groups, and meet virtually with other students. In the first 15 months more than 30,000 users logged on and more than 3,000 hosts built more than 6,000 meeting rooms.
Read our customer success story to get the full story: https://adobe.ly/2k2f3vq