Ident Pictures gives viewers a 360-degree tour of the Gotthard Base Tunnel

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Adobe
Roman Lehmann may have achieved his career goals as a cinematographer, motion designer, producer, and video editor working on large scale blockbusters in Hollywood and high profile commercials across the globe, but he isn’t showing any signs of slowing down. Instead, he’s finding new ways to combine his storytelling skills at Ident Pictures, a full-service agency that produces video, audio, and photography content for television, film, and the web. In the two years since Lehmann founded Ident Pictures, its client roster has expanded to include SWISS, the Schweizer Radio und Fernsehen (SRF) broadcast company, the Swiss Ice Hockey Federation, Saab, and more.
Earlier this year, SRF approached Ident Pictures with a challenge: help produce a short film on the Gotthard Base Tunnel, the world’s largest railway tunnel that happens to run through the Swiss Alps. Similar to the first moving pictures that appeared more than 100 years ago showing a train pulling into a station, this railway project features an emerging form of storytelling—360-degree video. Lehmann eagerly accepted the opportunity to be a part of this historic project and learn the ins and outs of 360-degree video.
Just two months after its release, the German language version of the video now tops 323,000 views and the English version nearly 97,000 views.

How did you get started in the film industry?
Lehmann: Before starting to work in the film industry I was an athlete and then I became a sports teacher. I decided to switch jobs because working in film and TV was one of my biggest dreams. I went to the United States where I attended UCLA film school. After graduating, I worked in a green screen studio in Hollywood for two years. We did a range of projects, from commercials to blockbuster movies including Green Zone with Matt Damon. In addition to the green screen work, we also worked on location in different countries.
In 2008, I returned to Switzerland where I worked for SRF, the biggest TV station in the country, as a system engineer, cameraman, and video editor. Two years ago I started my own company, Ident Pictures, which focuses on commercials for TV and cinema, as well as productions for the web.

Adobe: What is your role at Ident Pictures?
Lehmann: I’m the Managing Director, but I also do a lot of producing, editing, and filming, with about 40% of my time spent behind the camera. I love taking an idea from initial filming through the editing and post-production process. I also have a director and editor working with me at Ident. In addition to the fully produced pieces we do for clients, 20% to 30% of my work is consulting for post-production companies and TV stations to help them develop and implement new editing workflows and digital media systems.
Adobe: When did you start creating 360-degree and virtual reality work?
Lehmann: We always try to be on the edge of what is possible, and virtual reality and 360-degree video is really exciting. SRF contacted me earlier this year wanting to do a special 360-degree video on the Gotthard Base Tunnel in Switzerland. I got involved after shooting and stitching the footage was done, so my challenge was to figure out how to tell a 360-degree story.

Adobe: What was your approach?
Lehmann: As an editor I always try to take the users’ perspective during the editing process. This time though, it was all new and I had to guess where and how long people look during different shots. Along the way, people previewed the project and provided feedback. It was important for us to see how people acted when they viewed it on a phone or in a browser window. The feedback was different depending on who we talked to, which helped us to see that there wasn’t just one way to tell or experience the story.
Adobe: Tell us about the video.
Lehmann: The tunnel is expected to open in December 2016, but we produced the video in May for the official opening ceremony. The video moves quickly through the tunnel and also follows the route by helicopter. We used a blur to transition between clips to keep viewers from experiencing any motion sickness, which can sometimes happen with quick movements in 360-degree and virtual reality video.
Often during editing I was respectfully thinking about the workers who made this gigantic hole through the Alps. I especially felt humility for the workers who died during work. Public transportation in Switzerland is enormously important, so one needs to be grateful.

Adobe: Why did you choose to work with Adobe Premiere Pro CC for editing the film?
Lehmann: I’ve worked with Adobe Premiere Pro for three years and I’ve always liked that it can handle huge files, even 5K or 6K video. With a good computer, you can work quite flawlessly during the edit, and with proxy workflows in the newest version of Premiere Pro it is getting even easier. I don’t have to think about codecs and formats anymore because it’s all readable by Premiere Pro, which frees me up to think about the story instead of worrying about the technical aspects. The plug-ins from Mettle work great with Premiere Pro and make this new type of storytelling possible.
Adobe: What other Adobe Creative Cloud applications do you use?
Lehmann: We’ve used Adobe After Effects CC for years for visual effects and motion graphics work and, with the plug-ins and scripts from Mettle, we now use it with 360-degree and virtual reality video as well. Adobe Photoshop CC, Illustrator CC, and Audition CC are also part of our workflow.

Adobe: Are you planning to do more 360-degree and virtual reality work?
Lehmann: Yes, I truly believe in the future of 360-degree and VR and their ability to create fantastic experiences for viewers. As video producers, we get the chance to explore new and better ways to tell stories. Technology advances are enabling us to create higher-impact content faster and more easily, while continuing to improve viewers’ experiences. When I imagine well-calibrated, 360-degree cameras with automatic stitching, surround audio, head-mounted displays, and evolving software, I see an incredible future ahead of us that I’m excited to be a part of.
Roman Lehmann will be presenting in the Adobe stand at IBC 2016 on Sunday, September 11th and Monday, September 12th.
Learn more about Adobe Creative Cloud

Creating HTML5 Ads with Animate CC: Google HTML5 Ad Templates

Adobe
So, as a reward for you readers who have made it to the end of my series on creating HTML5 ads with Animate CC (see more posts on this), I am providing you with 2 updated AdStarter FLAs in order to help you get started using Animate CC for HTML5 ads that will be served through one of Google’s ad-serving solutions.
Specifically I am sharing separate templates for standard HTML5 ads that are compatible with both Google DoubleClick and Google AdWords. It’s probably worth mentioning that the 2 templates are identical except for the fact that the AdWords template uses the Google Exit API for click-through handling which allows you to easily limit the clickable area to specific elements if desired. This can come in handy because HTML5 ads that are created with Animate CC, will by default, be clickable on the entire area of the ad when uploaded into the AdWords platform.
Please understand that this is a behavior of the AdWords platform and not a limitation of Animate CC. In fact, when using Animate CC it is extremely easy to assign click-through functionality to individual elements such as simple Buttons, invisible Buttons and MovieClips in order to define and restrict the clickable areas of your ad unit. You are free to take this approach with ads created for DoubleClick, however AdWords handles this differently, which is why the template leverages the Google Exit API.
For more information regarding the specific HTML ad requirements for both AdWords and DoubleClick, please refer to the following links:

Google DoubleClick
Google AdWords

The AdStarter FLAs automatically leverage the most commonly used features covered in this article, specifically the new template tokens, high-DPI scaling and preloader support. The other features that I’ve introduced in this article are ones that you can decide to enable through the Publish Settings on an as-needed basis.
Now if you’ve read my previous articles then you may recall that AdHelper handled high-DPI scaling and my custom template handled preloader support for you. With these new FLAs that I am providing, Animate CC is now handling those features instead. That said, the custom templates still provide you with the option to leverage AdHelper for animation control, performance monitoring and backup logic. If you wish to continue to use AdHelper, simply uncomment the AdHelper code within the HTML output.
Download the custom AdStarter templates here.
There is no better time than the present to begin using Animate CC for HTML5 ad creation. The program has continued to evolve and currently features a powerful collection of tools that are extremely easy to use and that facilitate an incredibly efficient workflow.

Congrats, Graduates!


Adobe

Written by Jessy Frydenberg, Employee Communications Intern
A non-profit organization that once started with a mere 20 girls in New York, Girls Who Code is now a national program in 42 states with over 10,000 participants. The program is dedicated to exposing young girls to the technology and computer science fields with the goal of closing the gender gap in the tech industry.
For the third year, Adobe was one of the companies offering an intensive seven-week summer immersion program teaching 11th and 12th graders the basic concepts of coding while creating a network of professional role models. In addition, Adobe was the only partner with employees serving as both teachers and mentors.
In total, 150 Adobe employees and 60 summer interns gave their time and talents to working with 100 motivated and talented high school girls in San Francisco, Seattle, New York and San Jose. Paired with female Adobe mentors, the girls fully immersed themselves in technology and educational workshops. The girls also visited other tech companies in the Valley to see the vast opportunities available to them. And today, we are celebrating their graduation!
Ready to Begin Changing the World
Forty students in the two Adobe San Jose programs successfully completed the program last week.
Over the first five weeks of their intensive summer program, the girls learned the basics of coding in multiple languages. They then spent their final two weeks creating projects in teams of two to five. At the ceremony, each team of girls shared the valuable skills they had learned by pitching their final projects to the audience. Projects ran the gamut, from educating users on nutrition and student procrastination, to teaching millennials about politics or history, to helping individuals become or find mentors.

“You have to be able to pick something up quickly and from day one, we have been thrown into random languages,” Sara Wolff said. “For the final project, I coded part of it in Java but I’ve never done Java before. It was because of the skills I’ve gained in this program that I could pick the language up comfortably and do it.”
Sara and her teammates Maricel Vicente, Nicole Chui, Brittney Solorio, Sara Wolff and Preeti Naidu created an anxiety and stress relief tool called Breathe that provides users with a simple, uncluttered meditation and relaxation application. Using soothing pastel colors and an intuitive interface and features with straightforward breathing guidance, the girls hope that users feel calmer and take a moment to breathe and reflect upon themselves.

Edith Gonzalez and Jena Refuerzo both have a passion for helping others and are heavily involved in their communities and schools, which is how their idea for Chip In came to life. Using HTML, CSS, JavaScript and Bootstrap, they created a website that encourages high school students to “chip in” to their communities by volunteering or hosting a drive. “We have the cause, you have the effect, chip in and help your community today,” Jena said.
When asked what their favorite memories of this summer were, both Jena and Edith immediately highlighted the friendships. Edith reflected on their first week and how they were all too shy to talk to one another but are now so comfortable around each other. “We will definitely carry these friendships on after the program” she said.
Ayushi Srivastava, one of the student speakers, stood proudly in front of her peers as she smiled and said, “Girls Who Code has given this awkward girl the chance to give this graduation speech and the knowledge that all of us can make a difference in the virtual and the real world.”
A Token of Encouragement
Janice Peters, Girls Who Code program manager, closed the ceremony with words of thanks and encouragement as well as a little surprise that the girls didn’t see coming – keeping their laptops – which was met with squeals of excitement. “All we ask is that you put them to good use,” Peters said. “Use your creativity, your energy, your talent and your minds to the fullest extent.”
We have no doubt that this is exactly what our Girls Who Code graduates will do. “I can write lines of code and actually change people’s lives,” Sara Wolff said. “I guess that’s why I want to go into computer science.”
Congratulations to all of our Girls Who Code graduates! We can’t wait to see what you accomplish in the future!

Photos courtesy of our Girls Who Code teaching assistants Maggie Chang, Rachel Min, and Erinna Woo.

Acht Grundprinzipien für besseres Grafikdesign


Adobe
– Ein Gastbeitrag von Amy Copperman
Die in San Francisco angesiedelte Autorin ist Redakteurin und Community-Managerin von Adobe Spark.

 
Kompetenzen im Grafikdesign sind enorm gefragt. Eine ansprechende Optik ist den Menschen wichtig: Es besteht laufend Bedarf an hochwertigen Designs, ob für Werbung, Websites, Logos, Videos oder Online-Inhalte. Um Content zu erstellen, den einfach jeder teilen will, muss man kein Designprofi sein – heute ist es kein Problem mehr, vorhandene Fotos mit Designelementen zu bereichern. Oft reicht es schon aus, ein paar Mal aufs Handy zu tippen. Doch clevere Tools sind nur ein Teil des Puzzles. Designer brauchen trotz allem ein gutes Auge dafür, was visuell funktioniert und was von der gewünschten Botschaft ablenkt. Deshalb präsentieren wir euch hier acht Designprinzipien, die man bei der Arbeit mit visuellen Inhalten und der Erstellung von Grafiken berücksichtigen sollte.
1. Ausrichtung
Die Ausrichtung ist ein grundlegendes Designelement – sie sorgt für ein attraktives Zusammenspiel der einzelnen Bestandteile und ein klares, geordnetes Erscheinungsbild. Die korrekte Ausrichtung von Objekten schafft ein sauberes Design und verhindert den unordentlichen, schludrigen Eindruck, der entstehen kann, wenn Elemente nach dem Zufallsprinzip platziert werden. In Spark Post erscheint eine gepunktete Linie, wenn man Textbausteine oder Formen verschiebt. So ist es ganz einfach, Elemente aneinander oder am Hintergrundfoto auszurichten. Die App teilt euch mit, wenn Text oder Formen an der Mitte des Designs und den Rändern anderer Elemente in der Grafik ausgerichtet sind.
2. Hierarchie
Bei mehreren Elementen in einem Design sollte die wichtigste Botschaft visuell besonders hervorstechen. Das wird als Hierarchie bezeichnet und kann auf verschiedene Weise erreicht werden – größere oder kräftigere Schriftarten, Platzierung der wichtigsten Botschaft über allen anderen Informationen oder Verwendung von Formen, um den Brennpunkt einzurahmen.
Um dieses Prinzip in einem Design anzuwenden, müsst ihr bei der Botschaft und den angestrebten Zielen beginnen. Überlegt zuerst, welche Information die wichtigste ist. Vielleicht soll die Hauptbotschaft eines Designs ein Zitat sein, aber die Zielgruppe soll auch wissen, wie sie euch folgen kann oder dass bei euch gerade ein Sale stattfindet. Die Hauptbotschaft kann durch größeren Text oder Formen, die ins Auge springen, visuell als Blickpunkt etabliert werden. Die sekundäre Botschaft sollte dann so eingefügt werden, dass sie die erste nicht überwältigt. Es empfiehlt sich, zuerst die Hauptbotschaft zu entwerfen und zusätzlichen Text anschließend hinzuzufügen.

3. Kontrast
Kontrast ist ein grundlegendes Designprinzip, denn damit kann man die wichtigsten Elemente eines Designs hervorheben und betonen. Kontrast entsteht, wenn zwei Designelemente im Gegensatz zueinander stehen, beispielsweise schwarz und weiß, dick und dünn, modern und traditionell usw. Kontrast hilft, das Auge des Betrachters auf die wichtigsten Teile eines Designs zu lenken und die Informationen auf leicht verdauliche Art zu organisieren.

4. Wiederholung
Wiederholung ist ein wichtiges Designprinzip, denn sie stärkt den Gesamtlook eines Designs. Außerdem verbindet sie verschiedene Elemente und sorgt so für ein gut organisiertes, konsequenteres Erscheinungsbild. Einheitlichkeit und Wiederholung sind besonders beim Branding wichtig, denn der jeweilige Look soll sofort erkennbar sein. Lest doch mal nach, wie eine Bloggerin mit Spark Post durch visuelle Elemente eine konsequente Marke entwickelt. (Profi-Tipp: Eine Designvorlage kann mit nur einem Fingertippen für kleine Veränderungen dupliziert werden.)
Auf ihrer Website benutzt sie einen pinkfarbenen Streifen oben auf jeder Seite und in der Seitenleiste (siehe oben), um Geschlossenheit zu erzeugen.

5. Nähe
Nähe ist ebenfalls ein wirkungsvolles Hilfsmittel, um eine Seite zu organisieren. Ähnliche oder verwandte Elemente sollten zusammen gruppiert werden, um eine Beziehung zwischen ihnen herzustellen. Idealerweise sollten die Elemente so zusammen angeordnet werden, dass das Gesamtdesign weniger überfüllt wirkt. Die Elemente brauchen nicht unbedingt direkt nebeneinander platziert zu sein – Nähe kann auch bedeuteten, dass sie visuell auf andere Weise miteinander verbunden werden, beispielsweise durch Farbe, Schriftart, Form, Größe usw. Seht euch an, wie unser Mitarbeiter Brian Nemhauser alias HawkBlogger gleichartige Formen und Schriftarten nebeneinander platziert, um eine Spielerstatistik effektiv in Szene zu setzen.
6. Ausgewogenheit
Ausgewogenheit verleiht einem Design seine Form und Stabilität und sorgt dafür, dass die Elemente gleichmäßig verteilt sind. Dies wiederum vermittelt ein professionelles, attraktives Erscheinungsbild anstelle eines ungeordneten Durcheinanders. Ausgewogenheit bedeutet nicht, dass die Elemente dieselbe Größe haben müssen oder gleichmäßig über die Seite verteilt sind – Ausgewogenheit kann symmetrisch oder asymmetrisch sein. Bei symmetrischer Ausgewogenheit sind die Elemente auf beiden Seiten eines Designs gleich stark gewichtet, während Asymmetrie Kontraste verwendet, um der Grafik einen gleichmäßigen Fluss zu verleihen (z. B. dunkle Elemente werden von hellen ausgeglichen).
Interesse? Dann schaut euch doch mal unsere Adobe Spark Gallerie an!

7. Farbe
Farbe ist ein wesentlicher Teil des Designs und sollte bei jedem neuen Entwurf gründlich durchdacht werden. Farben bestimmen größtenteils die Ausstrahlung eines Designs – jede Farbe sagt etwas aus. Bei Grün denken viele Leute an gemeinnützige Organisationen oder die Umwelt, während Rot stürmische Gefühle wie Wut auslöst. Blau ist beruhigender und passiver, Gelb erzeugt ein Gefühl von Glück und Zufriedenheit. Man braucht keine Farbtheorie zu studieren, um es richtig zu machen – Spark Post schlägt auf der Basis des Ausgangsbilds geeignete Farbkombinationen vor.
Ein Hintergrund mit Farbverlauf kann für bessere Lesbarkeit sorgen, besonders wenn die Textfarbe relativ ähnlich ist. Die Wörter springen dann viel stärker ins Auge.

8. Raum
Die Bereiche eines Designs, die frei bleiben, sind ebenso wichtig wie die Bereiche, die mit Farben, Text und Bildern gefüllt werden. Negativraum erzeugt Form und kann dazu beitragen, die wichtigsten Informationen in einem Design hervorzuheben. Die Kraft des Einfachen sollte nie unterschätzt werden!

Ebenso, wie man ein Ohr für eine gute Geschichte entwickelt, indem man von den Arbeiten anderer lernt, beginnt die Entwicklung eines sicheren Auges für visuelle Informationen damit, diese Grundprinzipien zu identifizieren. Was bringt Menschen dazu, sich mit einem Inhalt oder auch im Alltag mit etwas auseinanderzusetzen? Welche Elemente ziehen euch an, welche Fehler törnen euch ab? Denkt über diese Fragen nach – dann seid ihr auf dem besten Weg zu wirklich coolen Designs.

Updated Flash Player 23 and AIR 23 betas available on Adobe Labs

Adobe
Updated Flash Player 23 and AIR 23 betas, code named Underwood , are now available on Adobe Labs. This beta release includes new features as well as enhancements and bug fixes related to security, stability, performance, and device compatibility for Flash Player 23 and AIR 23.
Learn more about Adobe AIR 23 beta
Download Adobe AIR 23 beta
Learn more about Flash Player 23
Download Flash Player 23 beta
As always, we appreciate all feedback. We encourage you to post in our beta forums or create bug reports or feature requests on our public bug database.
Flash Player Beta forum
AIR Beta forum
Bug datab

アドビが取り組む、産前産後休暇および出生休暇の拡充による従業員の支援について


Adobe

 
* English follows after Japanese.
※本ブログは、アドビ システムズ 株式会社の人事部長であるキム ブロンスタインによる投稿です。
 
【2016年8月24日】
アドビは、世界中の従業員が、あらゆる面で仕事をしやすいように革新的な人事施策を推進しており、私たちはその点で先進的な企業であると自負しています。また、アドビは従業員がスキルを伸ばし、キャリアを豊かなものにできるよう、積極的に取り組んでいます。
こうした目標の実現に向けて、アドビは従業員がクリエイティビティを育んで発揮し、革新を遂げ、知識や技能を向上して新たなチャンレンジにのぞめるように、必要なリソースを提供しています。これと同じく大切なのは、従業員が大きな人生の節目を迎える際に手を差し伸べ、より良いワークライフバランスがとれるようにサポートすることです。
このたび、日本法人のアドビ システムズ 株式会社は、従業員を職場の内外でサポートする継続的な取り組みの一環として、産前産後休暇と出生休暇(男性従業員対象)の制度を、8月 1日付で大幅に拡充しました。
【新しくなった制度】

産前産後休暇: 出産または養子を迎えるにあたり、26(暦)週間の休暇が取得できるようになりました。給与はアドビが全額支給します。これにより12 週間、延長されました。
出生休暇(男性従業員が対象): 子供の誕生、または養子を迎えるにあたり、10 就業日を取得できるようになりました。給与はアドビが全額支給します。これにより7日間、延長となりました。

アドビは、親となった従業員を支援し、新しい家族の一員との絆を築く時間を十分に取れるよう、支援したいと心から願っています。産前産後、出生休暇制度の拡充は、こうしたコミットメントのあらわれです。今回の取り組みは、アドビのダイバーシティ戦略の一環でもあり、従業員がプライベートと仕事の両面においてバランスを保ちやすくなるようサポートしていきます。
私たちが今後も企業として成功をおさめるうえで、従業員の存在は何よりも大切です。アドビの企業文化、製品、サービス、そして、お客様のために革新を続ける力。これらすべてに貢献してくれるのが、私たちの従業員です。働く親でもある従業員を支援するため、産前産後および出生休暇制度を拡充させた今回の発表を、アドビは誇らしく思っています。
 
社員からの声:

これから出産を迎える社員にとっては、とてもありがたい制度です。シンプルに、さらに成果をあげて、会社のためにもっと貢献したいとモチベーションが高まりました。家族との時間を大切に「Great place to work」というコンセプトを有言実行してくれたので、うれしく享受しつつ、仕事での成果で期待に応えたいな、と思いました。私の場合は、比較的早い復職を予定していますが、今回の制度変更により、産休中の選択肢が広がったので、家族とも相談する場をもつことができました。それによって、自分は「制度にあわせて」復職するのではなく、仕事や家族の状況、キャリアプランなどをトータルで考えて、自分の意思で復職のタイミングを選んでいる、という実感を改めて持つことができました。今後2人目を出産する機会があれば、その時はもっと長く取得させてもらうのもありなのかな、そのためにはどのようにキャリアを積んでおく必要があるかな、など、想像の幅が広がりました。
(女性、入社 1 年 8 か月)

入社当時から、アドビは社員を中心にすえたアクティビティや CR 活動などが多く、社員の健康や幸せについて、とても関心を寄せている会社だと感じていました。今回の変更による出生休暇日数の増加は、アドビがワークライフバランスに真摯にコミットしてるということを、さらに感じさせるものだと思います。我が家は今年、男の子の双子が生まれたばかりなので、家族が揃い、子供たちとの絆を深めつつ家事を手伝うのに、この 10 日間の出生休暇はとても貴重な時間となります。ハッピーな家庭環境を築けることは、ハッピーな社員でいることに結びつき、それはさらに、ハッピーなお客様を増やすことにつながると考えています。
(男性、入社 8 か月)

今回の制度改正を聞き、これはすごいな、この制度なら不安を感じないで産休を取れそうだな、と感じました。出産を考える女性の社員にとって、子供を産んだ後もやっていけるだろうか?という漠然とした不安のようなものがあると思うのですが、会社が積極的にサポートするという姿勢を見ることで、私自身はとても勇気づけられました。この制度を利用して、仕事と家庭を両立して頑張っていこうと思う方が増えていくと思います。
(女性、入社 6 か月)

 
 
SUPPORTING OUR EMPLOYEES THROUGH ENHANCED PARENTAL LEAVE
POSTED BY Kim Bronstein, Head of Japan Employee Experience (HR)
on August 24, 2016
 
Adobe is a leading company when it comes to introducing innovative practices to support its global workforce in all aspects of their jobs. We are dedicated to helping our employees develop their skill and enrich their careers at Adobe.
Towards that end, we provide the resources needed for our employees to explore their creativity, innovate, enhance their education and skills and take on new challenges. Equally important is supporting our employees during significant life events and helping them find a better work-life balance.
As part of our continued efforts to support our employees both in and outside the workplace, Adobe Japan has announced significant enhancements to our maternity and paternity leave benefits, made effective August 1, 2016.
Highlights of Adobe’s enhanced Japan maternity and paternity leave benefits include:

Maternity Leave new benefits: 26 calendar weeks of paid-time off for the birth or adoption of a child. This is an increase of 12 weeks.
Paternity Leave new benefits: 10 working days paid-time off after the birth or adoption of a child.  This is an increase of 7 days.

These leave enhancements reflect our commitment to support working families and provide them with the time needed to bond with new additions to their family. This initiative is one aspect of our diversity strategy, making it easier for employees to balance their personal and professional commitments.
Our employees are essential to Adobe’s continued success; they contribute to our culture, our products and services and our ability to innovate for our customers. We are proud to be driving significant maternity and paternity leave changes to support our working families.
 
Comments from employees:

The revised policy is fantastic for an expecting mother, and I am thankful. The changes purely increased my motivation and drove my desire to achieve better results in order to contribute to the company. The renewed policy embodies the messages the company has been sending us – “Spend time with your family”; “Great Place to Work” – so I strongly feel that, after I gratefully enjoy the benefits of the policy, I want to give back to the company through results at work upon coming back. I intend to return to work relatively soon this time; however, with the policy changes, my family and I now have more options to consider on how we make the most of the leave, and I was able to discuss that with my family. I felt more empowered knowing that I myself made the decision on when to return, not according to when the policy says you need to. I was able to holistically view where work, my family, my career plans stood, and this made me feel I had the ownership. It also gives me the opportunity to explore thoughts about a longer leave were I to have our second child, and on how I should develop my career by then.
(Female employee, 1 year 8-month tenure)

When I first joined Adobe I noticed a lot of employee-focused activities, CR activities, and what seemed to be a sincere overall interest from the company in the employees’ well-being. The revised paternity leave policy speaks even louder of Adobe’s real commitment to employees and to work-life balance.  My wife and I just had a pair of twin boys this year. So, being able to spend ten days as a family bonding with the babies and helping around the house is an invaluable opportunity.  Happy family life promotes happy employees, and happy employees promote happy customers!
(Male employee, 8-month tenure)

I heard about the revised policy and thought, “Wow this is great! I won’t have to be nervous taking maternity leave!” Many female employees, including me, feel nervous and uncertain when we think about having a baby and returning to work – we have this feeling of anxiety about whether we can really make it. Seeing the company proactively offer us support makes me feel extremely encouraged. I think there will be more people who will want to leverage this policy and do their utmost to balance personal and professional lives.
(Female employee, 6-month tenure)

Dear Future Interns


Adobe

It’s true what they say – time really does fly when you’re having fun!  We can’t help but feel nostalgic, thinking about the great memories that we made this summer with our vibrant interns. This summer has been full of creativity and innovation, learning and discovery. But above all, this summer demonstrated just how fun work could be. From networking opportunities to group excursions, we made sure that our interns were fully immersed in the Adobe Life.
Earlier this summer, we opened our doors to 132 students from premiere institutes all across the country, eager to join our various product teams and Adobe Research labs. Both sets of interns had the opportunity to work on current projects with their teams and mentors while also having the liberty to customize their internship experiences. Their fresh and curious minds brought invaluable perspective to their respective teams that will be presented at the end of the summer when they share their final projects.
 

“Transitions are hard. Interning at Adobe was my first industry experience and I still remember how intimidated I was on the day I joined. Little did I know that these two months would prove to be one of the best learning experiences of my life.
From the very first day, I was treated as a valued member of the team and I was encouraged to take part and get involved in discussions. It felt good to know that you actually matter and are not just another temporary employee. They care about your growth and learning.
It was thrilling to realize that the work I was involved in had the potential to affect millions of users worldwide. This was a great motivation in itself. This is one of the major reasons why interning at Adobe is so amazing.
The work culture at Adobe is simply amazing. What truly makes an organization great is the people that work for it. What I liked the most here was how people were always eager to help each other out and pushed one another to achieve success.
Over the last two months I have learnt many things, one of them being to not shy away from asking for help. It is important to know that you are here for learning and it is okay to not know something. Learn and grow. Push yourself to widen your comfort zone by embracing new challenges. Nothing can match the satisfaction and self-confidence one feels when the job is finally done.
The other important thing I learnt was to observe and absorb. There are people who have certain qualities about them, which make them who they are. Observe them. See what it is in them that make you feel inspired. The things that you admire about them are the things that you want in yourself. Absorb as much as you can. Look around yourself and let it all sink in. Everybody has something to offer and each experience has in itself something to learn from.” – Nikita G., Adobe Acrobat product intern
“One of the things that really stood out to me about Adobe is the work culture. The entire team was very approachable and made us feel valued all through the internship. It was far from formal and less intimidating than I had imagined. While getting started my mentors were really interested in knowing what were my interests and what projects that they had that could benefit me to support my future aspirations.
The internship was a great opportunity for getting exposed to and thinking in sync with the latest technological trends of the digital world. It feels very motivating to work on the projects knowing the explorations we did were treated like a ground work for even bigger projects that will be coming in the future. There were so many new technologies that I had never seen before and did not even know Adobe was even working on. I cannot stress this enough how wonderful it feels to be involved in working on tools that have been shaping the creative processes of creatives all around the world.
The internship has a lot of fun parts to it as well. We had our intense foosball matches, experimental photo shoots, guest talks, creative jams, team outings etc. The best part is that the interns are treated well within the company and you feel part of the community. To sum it up my internship with Adobe has been insightful, inspiring and a whole lot of fun.” -Poonam S., XD Intern
So, what are you waiting for? We’re on the search for future interns! Check out our career site and see what opportunities we have waiting for you.

Behind the Image: Creating a Fun Digital Brand with Samantha Ushiro of Aww Sam


Adobe
Samantha Ushiro, founder of the popular digital lifestyle blog and Instagram account Aww Sam, is one of our newest contributors to the Adobe Stock Premium collection. Her unique style explodes with color, builds interesting images on the latest trends, and aspires to make viewers feel like every day with Aww Sam is a party. We caught up with Sam to learn about how she built on her background in industrial design to launch a photography career, how to develop systems for the high-volume photography that creating an online brand requires, and how she uses color and trends to create fun, memorable images.
Adobe: You’re a self-taught photographer. What drew you to photography and how did you improve your work?
Ushiro: I started out mostly taking DSLR photos for Instagram. From there, I moved into a bigger studio space. I really got into learning how to properly light things, how to edit, and how to do things the right way. The main thing that drew me to doing my own photography was the social media lifestyle brand I was building. Having to post on Instagram three times a day, I’ve had to learn how to do photography in the fastest way possible, how to batch edit things, and create good systems.
Adobe: Because you’re focused on building a lifestyle brand online, you have to do photography very quickly. What does your process look like?
Ushiro: I try to have as little equipment as possible because it makes the take-down and the set-up so much faster. I use very simple things. For a while, I was using a reflector made out of tin foil and I didn’t have a real reflector. It’s also good to have an idea of what you want to take beforehand. There are days where I don’t have as much time to take photos, but I’m also struggling with figuring out creative ideas. With many of my photos, I’ll have to take them and then edit immediately – a total of ten minutes goes by, and it’s been posted online. The biggest things are having an easy set-up and good Photoshop skills.
Adobe: How do you come up with ideas for your work?
Ushiro: I’m constantly thinking of different ideas. I look at my grid on Instagram and think, “What kind of photo do I want to put here?” I have four main types of photos that I post, and I’ll try to make sure there aren’t too many of them close to each other. I’ll think about, “Do I want to post a picture of food today or an outdoor photo or a lifestyle photo?” or “Do I need another pink photo next or a yellow photo?” I’m always looking for inspiration outside of what I do too, because you can get lost in what everyone else is doing that is similar to you. I’m definitely always looking at other areas for inspiration – in film, fashion, and Party City.

Adobe: Could you tell us a little bit about what inspired the donut image?
Ushiro: I wanted to go to well-known donut spots in New York and Brooklyn. I did the whole thing as a blog post for people as a guide, so that when they are coming to New York they can have a little donut tour themselves. I wanted to make a new tourist thing to do where it’s a little bit less cliché. I have others too, a pumpkin pie and a macaroon one. But it was a fun thing that helped me get to know New York a little bit better.
Adobe: How did you think about this photo in terms of texture and color?
Ushiro: For the photo, I wanted to make a rainbow out of donuts. I picked some that were different from each shop, instead of picking a glazed donut at every donut shop. We started out arranging them, and then filling in the spots in there. If there was a color next to another one that was too similar, we’d move that one over. We wanted to make it look like we just went and had a bunch of donuts, put them all on the table, and this was like our spread of donuts. The photo was in the back of my mind when I was buying all the donuts, to make sure to get different colors because it would make the photo stand out a lot more.
Adobe: What advice do you have for other people interested in building an online brand?
Ushiro: One of the biggest things I’ve learned is to not get too wrapped up in it. It’s easy to get wrapped up in numbers of followers and likes, because everything on Instagram is based off numbers. Obviously, the more followers you get, the more companies want to work with you. But just because there’s someone who doesn’t follow you or someone unfollows you, it doesn’t mean they don’t like you. And don’t feel pressured to post something just because you need something to post. Have fun with it.
Adobe: So much of your brand is based around objects related to trends. How do you track what’s trending?
Ushiro: Retail stores are huge: just looking at what they’re selling. For example, right now pool floats are really big – so really, any weird things or objects that look like other objects. Big stores have trend-tracking people, and so I use their trend-tracking stuff to my advantage as well. I also think a lot of websites like Buzzfeed and viral videos are great for finding out what’s trending.
To learn more about Sam’s work, visit her Adobe Stock contributor page and browse through her images included in the newly launched Premium collection.

Adobe Customers Focus on Storytelling at IBC 2016

Adobe
Each year, IBC attracts a wide range of video professionals who want to learn about the latest developments in the world of commercial, film, and broadcast video production and delivery. To help them get the most out of IBC 2016, we invited some of our customers to the Adobe stand to talk about the content they produce. These customers include professionals in audio, YouTube content, 360-degree and virtual reality video, 2D and 3D motion graphics, as well as film, entertainment, sports, and media production. While these customers all have different approaches and expertise, their focus on telling interesting and emotional stories unites them.

Music Radio Creative & New Media Europe – Founder and Creative Director Mike Russell will talk about the importance of audio in video workflows and how new features in Adobe Audition CC make it even easier to achieve top-notch audio quality.
The New Age Creators and SoulPancake – Ana Dias will delight attendees with her fresh perspective on content creation for YouTube and how she and her fellow New Age Creators use their own unique voices and styles to bring people from all over the world together.
Bayerischer Rundfunk (BR) – André Beaupoil, a Freelancer with BR, will share how he helped choose and implement Adobe Premiere Pro CC as the primary NLE for journalists, who produce 100-second news packages for TV and the BR24 news app, and longer news stories for TV and the web.
VICE – Attendees will hear how Andreas Schneider, Head of Post Production, built the post-production program for VICE in Germany that is responsible for delivering news and documentary-style shows as well as commercial content for big-name brands.
Simon Walker – Freelance Editor Simon Walker will take attendees through the post-production workflows he has helped build for some of the largest professional soccer events in the world, all based around Premiere Pro CC as the hub.
Simon Bryant – Attendees who love live music performances won’t want to miss Freelance Editor Simon Bryant’s presentation, which will focus on how he edits concert and studio footage for films and DVDs across a range of music genres.
Ident Pictures – Managing Director Roman Lehmann will discuss his work creating video, audio, and photography content for television, film, and the web. He’ll also share his first 360-degree video project, a short film he helped create on the Gotthard Base Tunnel.
VR City – Darren Emerson, Company Director, and Conan Roberts, Head of Post-Production, will talk about how they got started producing virtual reality documentaries and commercial content and their goal to create emotionally transformative experiences.
Jan Sladecko – 2D and 3D Motion Designer and VFX Artist Jan Sladecko will showcase a few of his commercial projects and discuss his process for working with Adobe After Effects CC and Cinema 4D to integrate motion graphics with live action shots.
Godzilla Resurgence – Mr. Atsuki Sato, the film’s Editorial Supervisor, will discuss the film’s workflow, which included collaborating among three editing locations connected by a closed wide area network and working with native iPhone video footage.

If you’re planning to be at IBC 2016, don’t miss these great customer presentations in the Adobe stand.

The Six Minds of UX Design

Adobe
We talk to UX psychologist John Whalen about the notion that UX doesn’t happen on the screen, it happens in the mind—deep in our subconscious. Here’s why designers need to factor this into their approach.
When we think about user experience design, we’re often thinking about the way an experience feels to a user and the decisions it prompts a user to make. But, argues UX psychologist John Whalen, these represent only two of the driving forces behind a user’s experience. There are four other “minds” that contribute to whether or not a design is effective.
“Language, wayfinding, emotion, and memory are all things that are sort of in the middle of cognition, but aren’t as obvious as the decision that people will be making or what exactly is going to be on the screen,” Whalen said. “That middle section is currently underserved in books and in the way we describe experience design.”
Whalen, who holds a PhD in cognitive science from Johns Hopkins University, was living in California in the heart of the dotcom boom when he realized the potential for applying the inner workings of the mind to the design community. Fast-forward to now, and Whalen is the founder of Brilliant Experience, a DC-based UX strategy company that takes a “psychology-based approach” to the design process.
He says UX design is a multi-dimensional and multi-sensory experience that taps into these “six minds.” Understanding these six minds is the future of experience design.
1. Vision/Attention
Of all the minds, Whalen says this is the one designers nail best as it appeals to the UI aspect of UX. Still, he cautions that what designers think may appeal to a user isn’t always the case. This is why it’s so important to dive into the other minds in order to establish deeper insights into how the overall experience is influenced by visual cues.
Some questions to ask:

What visual features are drawing attention?
Where do the eyes go first on the page?
What words/objects are they searching for?
What is the visual flow?

2. Wayfinding
Wayfinding refers to how a user gets from point A to point B. It taps into information architecture, innate navigational cues, content and more. Wayfinding becomes increasingly complex in the virtual world, and will continue to do so as augmented and virtual reality, as well as interactive design, continue to rise in popularity.
“In the new world of cell phones where you shake them, twist them or swipe them, we’re using very different tools to do that wayfinding of where am I now? How can I get to the next place? And how do I know if I’ve gotten there?” Whalen said. “We actually have a huge part of our brain devoted to that, so the question is how can we harness that in ways that are so different now in virtual space?”
Some questions to point you in the right direction:

What is cuing your users to let them know “you are here?”
How does the user expect to move in space?
What are their expected interactions along the way?
Are these interactions based on a clear model?

3. Memory/Semantics
Memory plays a huge role in wayfinding, but also in establishing user expectations. Whalen uses the analogy of a colleague suggesting some post-work happy hour drinks. She may be thinking of a sleek, high-tech establishment while you’re envisioning your neighborhood dive bar complete with graffiti on the walls.
“Both would be happy hour, but with very different expectations of how you would be served, what you would have, and how the interactions might play out,” Whalen said.
This too must be considered in UX design. Users come in with expectations based on previous models of experience. They expect things to work in specific ways (for example, like Amazon, Google or Facebook) and they want these experiences to feel natural and easy.
Designers can ask:

What mental schemes are being activated?
What does the user think about when they think about X?
Does the experience design make sense?
Does it activate patterns users are already familiar with?

4. Language
Language is where things can get tricky. It varies based on demographics, user familiarity with the product and terminology, and ease of understanding. All too often, companies make the mistake of over-sharing. They expect the user to be as passionate about the product as they are and end up giving too much information, getting in the way of the user’s experience.
“In many cases we want to simplify and just trust the brand we’re working with,” Whalen said. “Sometimes we get so obsessed with telling people all the minutia we’re interested in and not really thinking about how it’s represented by that end audience.”
Before getting too far ahead in the design experience, teams can have a conversation about:

What words does our target audience use?
What is their lexicon?
What terms are we using?
What tone is appropriate for the product?

5. Emotion
Like it or not, users bring emotional baggage to every experience. They are real people with feelings, fears and frustrations. They are afraid to make mistakes. They have hesitations. They wonder how certain purchases will affect their careers, goals or reputations. All of these elements influence the decisions they make.
“We often talk about quick emotions, like in this game am I excited or bored or happy, but we also try to think about what are these deep emotions that also are a major driver,” Whalen said. “If you go back to how would they like to be represented as a human and what to them is the most valuable, suddenly we get really interesting responses.”
In one example, Whalen studied people of high net worth to determine what banking needs of theirs were being underserved. He asked questions ranging from what credit cards they had in their wallets to what their goals were—and whether or not they thought they were likely to achieve them.
“Of 24 interviews, three people cried and six people hugged me and said, what a great therapy session,” Whalen said. “We don’t usually think to ask what it is that means the most to [a user] in this world and how to get it out of them in a way that’s authentic. How do you get people to a level at which they expose themselves in a way that might be perceived as threatening in a way we don’t usually do?”
Whalen likes to take the appeal, enhance and awaken approach.

What will draw them in immediately?
What will provide lasting meaning and value?
What touches on their deepest goals and wishes?

In his research and user interviews, he likes to explore what responses a user experience triggers. He looks at a user’s fears and asks, how can we allay those fears and produce positive experiences? Understanding a user’s underlying emotions is very important and can provide deep insight into why users make the decisions they make.
6. Decision Making
One of the number one questions asked about decision making is why do people not act? It is part of the responsibility of a UX designer to factor in all of the above elements in order to make the decision process easier for the user.
“There are a lot of people who talk about persuasive design,” Whalen said. “How do you get people to make a decision, be willing to respond to an ad, or to finally commit to buy?”
A designer’s power tool is anticipating what a user will need before they need it and then incorporating this into the overall experience strategy. Some of the questions Whalen recommends exploring are:

How can we help the user make a decision?
What information do we already have?
What will the user need next?
How can we augment their “micro decisions” through design?

Emergent User Experience Design
Together, these six minds comprise what Whalen calls emergent user experience, a field that sits at the intersection of psychology and user experience innovation. By better understanding how a user thinks and the cognitive aspects that drive their decisions, UX designers can create more optimal and meaningful human experiences for users and organizations alike.