David Olinger: How Adobe Saved My Career and Taught Me What Great Learners Do


Adobe

David Olinger: Humanities Instructor, Curriculum Designer & House Co-Director at O’Dea High School.
Note: This essay originally appears on Adobe Education Leader David Olinger’s Linkedin Post
Three years ago I needed something to change. I was going through the motions each day and finding that I lacked energy, joy, and passion. I was heading down a path to burnout, and becoming one of those teachers who was “once a great educator”. My first thought was “I need to find a new job”, so I reached out to some friends who reached out to friends for opportunities.
Through this network, I found the solution to my problem.  It wasn’t a new job.  My friend Eric introduced me to Melissa who interviewed me, denied me a job, and then introduced me to the Adobe Education Leaders.  Through this community of practice I became a learner surrounded by energy, joy, and passion.

 
Great Learners Believe in Themselves

I remember looking at the Adobe website and familiarizing myself with the Adobe Education Leader program. My name was next to names already familiar to me. The members were people who authored books that I taught, people who created trainings that I used, and people who create bleeding edge technology for education. I felt unworthy.
At my first community gathering in San Jose, Melissa pulled me aside and said “you have a lot to offer this community”. I didn’t believe her, but I decided to pretend that her statement was true and engaged with this community as if I had something to bring. The masquerade worked and in preparation for my second community meeting, I was paired with a long standing Adobe Education Leader to present on how teachers can use technology to meet Common Core Standards.  The presentation took place on the main stage and generated a lot good feelings for me. I felt capable, valued, and creative.  I became more dedicated to my learning.
 
Great Learners are Curious and Connected
As a global community, Adobe Education Leaders are active twenty-four hours a day. During my first year, I spent as much time as I could engaging in community activities. Adobe Education Leaders engage each other with curiosity and openness. It’s the environment Adobe promotes. I learned that curiosity is a strong foundation. In this non-threatening and creative environment best practices in education are created and disseminated globally. Adobe uses its resources to maintain connections, bring people together, and manage a culture of curiosity. It’s part of what makes these educators the innovative leaders in their field. I learned that grounding my practice in curiosity and being connected with others generates joy, energy, and passion.
 
Great Learners Have a Defined Mission
Adobe Education Leaders share a common mission, to make the classroom a place where students create. This mission challenges the bank deposit system of education, where the teacher teaches and students are taught. I learned treating my students as more than empty vessels waiting to be filled changes the dynamic of the classroom. I learned to trust my students. I learned to say to them “you have a lot to offer”. Adobe’s mission is worthy. It asks educators to create school environments where learners can believe in themselves, connect with their community, engage with curiosity and share a common purpose.
My term as an Adobe Education Leader is up for renewal and as I prepare my re-application form, I find myself questioning my worth. This time I have an answer for my doubt: “you have a lot to offer this community”.
__________
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Le client définit son parcours.

Adobe
À l’heure actuelle, les marketeurs entendent beaucoup parler de l’expérience client, et ont d’ailleurs tout intérêt s’y intéresser. La conclusion du rapport de Gartner révélant que 89 % des entreprises se feront concurrence sur la base de l’expérience client a été largement diffusée. Les récents rapports d’Adobe/Econsultancy confirment cette information en l’abordant sous un autre angle. Ainsi, le rapport « The CX Challenge » (Le défi de l’expérience client) indique que la moitié des entreprises interrogées sont devenues « relativement » voire «très » avancées dans le domaine, et celui intitulé « 2016 Digital Trends » (Tendances digitales 2016) révèle que la principale opportunité retenue est « l’optimisation de l’expérience client ».
Dans un récent rapport intitulé « Reinventing the Customer Experience » (Réinventer l’expérience client), Adobe présente six stratégies qui pourront aider les entreprises à relever ces défis. Bien qu’elles soient toutes importantes, trois de ces stratégies méritent une attention toute particulière.
L’expérience compte plus que la marque
Certaines marques présentes depuis des années peuvent être davantage connues pour leurs produits que pour leur expérience. Toutefois, elles s’intéressent de plus en plus à l’expérience client et se mettent, elles aussi, à proposer des fonctionnalités d’accès depuis divers équipements et du contenu multimédia interactif. Les marques plus récentes doivent, pour leur part, se focaliser directement sur l’expérience. Pour les start-up comme pour les entreprises établies depuis plusieurs décennies, l’expérience client s’impose de plus en plus comme un facteur de différenciation.
Le point essentiel à retenir est que « les clients sont fidèles à l’expérience, pas à la marque ». C’est ce qui ressort des enquêtes et études statistiques réalisées dans le cadre des derniers rapports. Tous les efforts que déploie une entreprise pour personnaliser et unifier l’expérience sur l’ensemble des points de contact l’aideront à se démarquer de la concurrence.
Le client définit son parcours. La création doit s’adapter.
Il nous est tous arrivé, au cours d’une promenade dans un parc, de remarquer des traces de pas sur la pelouse parce que les promeneurs ne voulaient pas suivre le parcours imposé. Dans le jargon des paysagistes, on appelle cela une ligne de désir. Ce concept illustre parfaitement la stratégie qui consiste à « laisser le client définir son parcours ». Bien qu’il ait pu être réalisé par un maître paysagiste, le parcours proposé ne convenait tout simplement pas à certains promeneurs.
Pour les marketeurs, la tâche peut se révéler plus facile que pour les concepteurs de parcs. Commencez par vous faire à l’idée que les clients peuvent approcher votre marque par de multiples points de contact et interagir avec elle de manière totalement imprévisible. Cela peut peut paraître un peu effrayant, mais la bonne nouvelle, c’est qu’en adoptant la technologie adéquate, vous pourrez capturer leurs interactions à partir de n’importe quel point de contact et mieux cerner leur contexte en temps réel. Les outils d’analyse et de test vous permettent de savoir ce qui fonctionne ou non, et donc de repérer les bifurcations des clients par rapport au parcours proposé. L’expérience client n’étant pas un élément figé comme l’allée d’un parc, vous pouvez la réaligner en fonction du parcours emprunté pour marquer les esprits et favoriser les visites récurrentes.
Il faut toute une entreprise pour créer une expérience
Il s’agit là d’une version revisitée du proverbe « Il faut tout un village pour élever un enfant ». Dans le rapport « The CX Challenge », les entreprises matures sont deux fois plus nombreuses que les autres à penser que la responsabilité de l’expérience client doit être portée par l’ensemble des collaborateurs. Pour éviter tout écart entre ce que promet le marketing et ce que reçoit le client au final, il est indispensable d’adopter une approche globale et intégrée. Les entreprises les plus performantes l’ont bien compris et ont modifié leurs processus en conséquence. Chez Adobe, nous observons cette tendance parmi nos principaux clients. Une approche intégrée donne de meilleurs résultats. Si le travail d’équipe est optimisé, les clients suivent.
 
Pour en savoir plus, consultez le rapport complet. https://offers.adobe.com/fr/fr/marketing/landings/re_inventer_l_expe_rience_client.html

The Customer Defines the Journey

Adobe
Marketers are hearing a lot about customer experience these days, and there is good reason to pay attention. Gartner’s finding that 89 percent of companies will compete on the basis of customer experience has been widely reported. Recent Adobe/Econsultancy reports validate this conclusion from another perspective. In “The CX Challenge,“ it was reported that about half of responding companies have become “quite“ or “very“ advanced in their customer experience maturity, while in “2016 Digital Trends,“ the top opportunity for responding companies was “optimising the customer experience.”
Recently Adobe released a report “Reinventing the Customer Experience,” which reviews six ways a company can meet these challenges. Although all of these strategies are important, three stand out and deserve extra attention.
Experience matters more than brand
Some brands have been out for years and they may be known for their brand more than for their experience. Today however, even these established brands are shifting their attention to customer experience with features such as multidevice access and interactive rich media. Newer brands must start by concentrating on experience. Customer experience is rapidly becoming the key competitive advantage for all businesses, from start-ups to brands that have been around for decades.
The key takeaway from the report is “customers are loyal to the experience, not the brand.” This is the essence of what all the recent studies are finding with their surveys and statistics. Everything a business does to personalise and unify the experience across all touchpoints will help it to stand out from the competition.
The customer defines the journey. Design must follow
We’ve all been to a park where there is a beautiful walkway, but people have worn a path through the grass because the walkway doesn’t go where they want to go. In landscape design this is called a desire line. This is the best way to illustrate “Let the customer define the journey.” That might have been an award-winning path design by a master landscaper, but it was simply in the wrong place. People desired to follow a different path.
The job can be easier for marketers than for park designers. Start by embracing the reality that customers are entering your brand’s journey from a variety of points and are interacting in unforeseeable ways. This may sound intimidating, but the good news is that with the right technology you can capture each interaction from any touchpoint and build an understanding of the context of what they are doing at the time. Analytics and testing allow you to see what is working and what isn’t, so you can see where the customer path does not follow the designed path. Since your customers’ experience, unlike the walkway, is not set in stone, you can take action to realign the experience to match their journey. This will create an experience they will remember and revisit many times.
It takes a company to create an experience
This is the marketer’s version of “it takes a village to raise a child.” In “The CX Challenge” report, about twice as many companies mature in customer experience place responsibility for customer experience across the whole organisation, compared to immature companies. It takes an integrated, holistic approach to ensure that there is no disconnect between what the customer is promised by marketing and what is ultimately delivered. Top-performing companies have embraced this by making changes in their operating processes. We see this trend among our top customers at Adobe. An integrated approach gets better results. When you get everyone in the organisation on the same page, the customers will follow.
You can see more in our full report, Reinventing the Customer Experience.

SQL update warning message in 9.5.2 patch can be safely ignored


Adobe
While applying the SQL update in the 9.5.2 patch,  you might encounter a warning message as below,

This is a general message and can be safely ignored while applying the patch. It is not expected to cause any unexpected inconsistencies in the environment later.
Here is the sql update file that is used in the 9.5.2 patch for your reference :

Environment :  Adobe Connect Licensed Upgrade
 

어도비 브릿지 CC 의 자동화된 캐시 관리


Adobe

2016년 2월 업데이트
대대적으로 업데이트 된 브릿지
어도비 브릿지 CC(Adobe Bridge CC) 버전 6.2 릴리스가 출시되었습니다.
브릿지는 크리에이티브 클라우드 부문 이사인 메건 도나휴(Megan Donahue)와 크리에이티브 클라우드 부문 수석 엔지니어링 이사인 아르노 구르돌(Arno Gourdol)이 이끄는 팀에서 다시 관리하게 되었습니다. 특히 아르노는 이전에 여러 차례 브릿지 릴리스를 관리한 바 있어 브릿지의 모든 것을 알고 있습니다. 이 팀은 크리에이티브 클라우드 고객의 에셋 관리 기능에 대한 사용자 경험을 향상시키기 위해 다양한 새로운 프로젝트를 진행하고 있습니다. 가장 최근에 시작한 프로젝트로 크리에이티브 클라우드(Creative Cloud)의 공동 작업 기능, 크리에이티브 클라우드 에셋(Creative Cloud Assets) 및 크리에이티브 클라우드 라이브러리(Creative Cloud Libraries)가 있습니다.
이번 어도비 브릿지 CC 릴리스에는 다음 기능에 대한 업데이트가 포함되어 있습니다.
자동화된 캐시 관리

어도비 브릿지의 중앙 캐시 관리 기능은 축소판 이미지, 미리 보기 및 메타데이터 정보를 데이터베이스에 저장합니다. 이 데이터베이스는 사용자가 파일을 찾거나 검색할 때 성능을 향상시켜줍니다. 캐시 크기가 클수록 캐시가 차지하는 디스크 공간도 증가하므로 캐시 환경 설정을 사용하면 적합한 성능과 캐시 크기를 결정할 수 있습니다. 브릿지 팀은 브릿지의 기존 기능인 캐시 제거 기능을 개선하는 데에도 주력했습니다. 이번 업데이트에는 브릿지가 유휴 상태인 경우 오래된 캐시 항목을 자동으로 제거하는 기능이 포함되어 있습니다.
또한 데이터베이스 크기가 특정 크기 이상으로 증가하면 종료 시 캐시 정리를 설정할 수 있는 캐시 압축 옵션을 제공합니다. 이 두 옵션은 모두 애플리케이션의 성능을 향상시켜주며 캐시와 데이터베이스를 장기간 깔끔하게 정리된 상태로 유지시켜 줍니다.
자세한 내용은 어도비 브릿지 캐시를 사용한 작업을 참조하십시오.
필요 시 축소판 이미지 생성

많은 에셋 중에서 원하는 에셋을 찾을 경우 브릿지의 응답을 향상시키기 위한 일환으로 축소판 이미지, 미리 보기 및 메타데이터를 표시 및 생성하는 방식을 개선했습니다. 이제 폴더를 선택하면 화면에 있는 에셋의 축소판/미리 보기만이 우선순위에 따라 표시됩니다. 나머지 파일의 축소판 이미지는 필요 시(즉, 아래 또는 위로 스크롤할 때) 또는 브릿지가 유휴 상태일 경우에만 생성됩니다. 모든 에셋의 메타데이터는 우선순위별로 표시되므로 필터 패널 및 검색 기능을 보다 빠르게 사용할 수 있습니다.
이번 업데이트로 멈춤 또는 응답 없음 상태와 같은 성능 관련 문제 없이 대용량의 폴더를 사용하여 간편하게 작업할 수 있습니다. 또한 모든 축소판/미리 보기가 생성되기 전에 완전히 업데이트된 필터 패널이 제공되고, 파일을 검색할 수 있습니다.
맥의 장치에서 가져오기(Import from Device) 옵션

맥 OS 10.11.x에서 브릿지 CC는 다음 유형의 디바이스를 인식하지 않았습니다.
iOS 모바일 디바이스
사진 전송 프로토콜(PTP) 또는 미디어 전송 프로토콜(MTP) 모드에 연결된 안드로이드 모바일 디바이스 및 디지털 카메라
하지만, 이번 업데이트를 통해 위에 언급된 디바이스에서도 미디어를 가져올 수 있습니다. 파일 > 장치에서가져오기(Files > Import From Device)를선택하여디바이스에서미디어를가져옵니다.
자세한 내용은 맥 OS 10.11.x 장치에서 가져오기를 참조하십시오.
참고: 이 기능은 맥 전용 기능으로, 디바이스의 파일을 브릿지로 가져오기 위해 애플이미지캡처(Apple Image Capture)가 실행됩니다.
기타 주요 업데이트
또한 이번 업데이트에는 자동 스택 파노라마/HDR 기능이 다시 포함 되었습니다. 브릿지의 안정성과 성능 향상을 주요 목표로 삼았기 때문에 핵심 기술 구성 요소의 대대적인 업데이트에 주력했습니다. 이번 업데이트는 앞으로도 브릿지를 더욱 발전시키고 최신 기능을 제공하는 데 필요한 기술 플랫폼의 발판이 될 것입니다.
어도비 팀은 이번 릴리스가 2016년에 계획한 프로젝트를 위한 초석이 될 것이라고 확신합니다.
지금 브릿지 CC 버전 6.2 시험버전을 사용해 보세요. | 다운로드

 

저자: 하이나 나크비(Hina Naqvi)
하이나는 칼폴리에서 컴퓨터 공학 학사를 받았으며, 어도비에서 10년 이상 근무하면서 어도비 라이브사이클 PDF 제너레이터(Adobe LiveCycle PDF Generator), 어도비 애크로뱃(Adobe Acrobat), 어도비 도큐먼트 센터(Adobe Document Center), Acrobat.com, 크리에이티브 클라우드 에셋 등 다양한 제품 개발에 참여했습니다. 그녀는 여행과 등산을 즐기며 미식가입니다.

 
 

Putting Deadpool Into Practice: Premiere Pro Project Template and Presets


Adobe
As the editorial consultant on Deadpool, Vashi Nedomansky spent 9 months crafting the post production workflow used for the edit and trained the post production team in both Adobe Premiere Pro CC and After Effects CC. Here he shares the Premiere Pro project template and presets so you, too, can put them to use. Find the original posts and tons of helpful resources on his blog: VashiVisuals.com
DEADPOOL PREMIERE PRO PROJECT TEMPLATE
Vashi: After I was hired as editorial consultant on Deadpool, one of the first things I did was create a custom 2-monitor Premiere Pro template for post production. This was a solid starting point for all the editors and assistants before they customized it further to their liking. I designed the workspace with The Pancake Timeline already active and a basic bin structure to keep the project organized right off the bat.
Photo credit: Vashi Nedomansky
I also arranged the panels in tabbed groupings that made logical sense for our workflow, which allowed quick full screen maximization with the tilde (`) key.
There are limitless options when you set up a workspace. This custom template was the most efficient and nimble option for our specific needs.
DOWNLOAD: Vashi’s Deadpool Premiere Pro Template
DOWNLOAD: Free trial of Adobe Premiere Pro CC
DEADPOOL PREMIERE PRO PRESETS
Vashi: Very early into the cutting, lead editor Julian Clarke asked me if we could add camera shake to certain locked-off, static shots. This can be accomplished in Premiere Pro by manually animating the frame with keyframes or by using a 3rd party plug-in, but I wanted a real-time solution without using a plug-in. I reached out to Jarle Leirpoll, an amazingly talented editor who also creates free Premiere Pro presets utilizing the included effects built into the software. Jarle’s “Premiere Pro Presets Version 3” includes 98 free presets that cover both video and audio.
Photo credit: Vashi Nedomansky
For Deadpool, Jarle created 7 custom handheld camera presets that could be applied directly onto clips and played back in real-time. Jarle shot footage with real cameras and mapped both the position and rotation of the handheld footage into his presets. It’s organic and real. The difference between this and computer generated data (like the wiggle expression that After Effects would create) may not look different viewing the keyframes, but there is an inherent honesty and palpable naturalness to ACTUAL human handheld movement comparatively.
Thousands of keyframes in the Hand Held Camera preset. Photo credit: Vashi Nedomansky
The 7 presets are split into 2 groups with different functions. 3 presets can be used on footage with resolution that matches the sequence settings. These 3 presets will resize the footage to 104% so the edges of the frame will not show black as the footage is being moved around. The other 4 presets are for sequences where oversized footage is dropped into a smaller resolution timeline. This was the workflow for both Gone Girl and Deadpool where 6K / 5K / 4K / 3K footage was edited inside a 2K sequence. This extra padding of resolution allows the handheld camera presets to move the footage WITHOUT resizing the source footage. This is the great benefit of shooting at a resolution larger than your final output as both stabilization and reframing can be accomplished without losing any resolution.

JARLE’S DEADPOOL HANDHELD CAMERA from Vashi Nedomansky on Vimeo.
DOWNLOAD: Jarle’s Deadpool Handheld Camera Presets and use them on your projects for free. By the way, these presets work in all versions from Premiere Pro CS6 and later.
PUTTING DEADPOOL INTO PRACTICE
Now you have many of the same resources used to create the record-shattering Hollywood film. Thank you to Vashi Nedomansky and Jarle Leirpoll for making these available… and free! We’re excited to see the super powered works they inspire.
Learn more about the unique workflow used on Deadpool
Learn more about Adobe Creative Cloud pro video and audio tools
And don’t miss this panel with Vashi & Tim Miller from the 2016 Sundance Film Festival, “Editing Insights from Hail, Caesar! and Deadpool

Ludovic Florent, la photographie en immersion


Adobe
Installé à Metz depuis 1997, le photographe se spécialise très vite pour le studio, se concentrant sur l’expression de la beauté, du graphisme et de la grâce du corps humain. Explications au regard d’“Immersion”, un de ses projets réalisés sous l’eau.
— Propos recueillis et initialement publiés dans la rubrique “Talents à suivre” du n°226 d’Étapes
ÉTAPES : Ludovic, quel est votre parcours ?
Ludovic Florent : Je suis un photographe autodidacte, je n’ai pas fait d’école d’art pour me former et/ou me formater. J’ai appris sur le tas. Je me suis très vite et exclusivement tourné vers l’humain. Beaucoup de photographes sont des “loups solitaires”, ce n’est pas mon cas, j’ai besoin et j’aime le contact humain. Chaque séance est une rencontre, un échange, une confiance qui s’installe et qui permet, ensemble, de construire une image. Mon travail est avant tout de mettre en confiance mon modèle pour qu’il me livre un peu de son intimité, de son intériorité que je capture.
ÉTAPES : De quoi parle ce projet “Immersion” ?
Ludovic Florent : À la base, cette série est une commande pour une scène nationale dans le Nord, La Rose des vents, à Villeneuve-d’Ascq. Le propos était d’illustrer le fait que lorsque l’on va au théâtre, on se retrouve face à des acteurs et des danseurs qui nous transportent, par leur jeu, dans un autre monde. D’une manière plus générale, c’est cela aussi le rôle de l’art. De là est venue l’idée d’“Immersion”, où j’ai réalisé des portraits aquatiques, avec une partie figurative pour nous raccrocher à l’humain, et un jeu de reflets vaporeux avec la surface de l’eau pour transporter notre esprit ailleurs…
ÉTAPES : Pouvez-vous nous éclairer sur la technique utilisée, le process ainsi que le matériel nécessaire pour ce type de prise de vue sous-marine ?
Ludovic Florent : Pour la prise de vue, je suis sous l’eau  avec un reflex dans un caisson étanche de plongée. L’éclairage est réalisé à l’aide de fresnels à la surface de l’eau. Ce genre de sont la gestion de la lumière, bien plus complexe qu’en studio, mais aussi cet isolement, cette non-possibilité de communication orale avec son modèle. C’est assurément cela le plus déstabilisant, la confiance et la complicité doivent être encore bien plus forte.
ÉTAPES : Avez-vous un penchant pour ce type d’images “très flottantes” que vous semblez cultiver dans plusieurs de vos séries ?
Ludovic Florent : L’humain est tellement complexe, il a tellement de facettes, de secrets, même. C’est à la fois passionnant et infini. Du coup, par différents moyens, j’essaye de me rapprocher au plus près de l’âme de mon modèle, de ce qui l’anime, mais la part d’inconnu, d’inexploré, reste colossale d’où ce flottement. Cette quête de l’autre est évidemment aussi une quête du moi. La photographie m’a énormément fait avancer dans la vie. D’une manière générale, je me connais mieux, et saisis beaucoup plus précisément ce qui m’apporte du bonheur dans mon existence.
ÉTAPES : Quelles sont vos références en la matière, vos inspirations ?
Ludovic Florent : Beaucoup de photographes m’inspirent, à la fois, bien sûr, des grands noms de la photographie, mais aussi des milliers d’anonymes dont on découvre le travail sur le Net. Mais, avant tout, je dirais que le plus gros de l’inspiration se trouve dans le partage que j’ai avec la personne devant mon objectif. J’essaye que mon modèle s’y reconnaisse, ce qui est aux antipodes de la “photographie de mode” actuelle, où l’on défigure le mannequin pour en faire une poupée de cire à la perfection clinique sans âme.
ÉTAPES : Quels sont les autres milieux naturels que vous aimeriez “défier” en photographie ?
Ludovic Florent : J’aimerais beaucoup travailler avec le feu. J’ai plein d’idées, mais, bien sûr, cela reste au stade de la réflexion.
ÉTAPES : Sur quoi travaillez-vous actuellement ?
Ludovic Florent : J’ai plusieurs projets en tête, mais, pour l’instant, c’est secret ! Étant hélas largement plagié, j’aimerais garder quand même la primeur de mes nouveaux concepts. Par ailleurs, je suis en train d’ouvrir un studio de portraitiste à destination du grand public. Je trouve qu’à cette époque du selfie vite fait mal fait et surtout sans valeur ni sens, il est primordial de prendre le temps de faire un beau portrait de qualité qui restera une marque forte.
Pour découvrir les travaux de Ludovic, par ici : www.ludovicflorent.com

Seen This Week: A Cirque du Soleil Rehearsal Leading up to Adobe Summit


Adobe

This week, several Adobe employees flew out to Mandalay Bay in Las Vegas to train with the Cirque du Soleil team. We know what you’re thinking, and no, they’re not changing careers.
Rehearsals are in full swing for Adobe Summit, our annual digital marketing conference, which is coming up in just a few short weeks. During our Day 2 keynote at Summit, Cirque du Soleil will be joining Adobe onstage when John Mellor, Adobe’s VP of Strategy, Business Development and Marketing sits down to interview Alma Derricks, Cirque du Soleil’s VP of Sales and Marketing, Resident Show Division. Derricks will share how Cirque du Soleil, a brand known-for delivering amazing experiences in the theater, is using digital to extend its reach to fans.

Three Photoshop gems photographers will love


Adobe
I can’t believe a year has passed since I was speaking about some of my favourite Photoshop features at the 2015 Photography Show. As well as the headline grabbing features I also showed a few of Photoshop’s lesser known tweaks and enhancements, in other words, things that photographers may have overlooked.
With this year’s Photography Show right around the corner, it’s the perfect time to see what’s new. So here are three of my favourite Photoshop hidden gems from the past year that I’ll be demoing at the Adobe Theatre during The Photography Show 2016.
Perfect Panoramas
I love shooting multi image panoramic images and I guess I’m not alone because there’s been a couple of new features in Photoshop that make creating panos a whole lot easier. The headline feature is the ability to create panoramas inside Adobe Camera Raw or Lightroom and great as that is, it’s not the feature I’m pointing you towards.
Most of my panoramas are shot handheld which is very convenient but almost always leads to transparent gaps around the edges. Some years back we got a great fix for that in the shape of Content Aware Fill but it’s a bit fiddly to use and often got ignored. Now I can choose to automatically fill in the transparent edges BEFORE the images are even stitched and it’s as easy as ticking a box.
Transparent edges on the panorama shot before stitching
The process is really simple, click File – Automate – Photomerge as usual. After taking a moment to admire the new blue and grey design, take a closer look at the check boxes at the bottom. You’ll spot a new option to Content Aware Fill Transparent Areas, tick it and create your pano as normal. At the end of the stitching you’ll get the usual layers and masks but now the top layer will be a merged pano with content aware fill already applied.
The Photomerge tool, with the Content Aware Fill Transparent Areas option
The final panorama image
Customise the tool bar
I’m a photographer and I use Photoshop to create and adjust my photos. Much as I’d love to say otherwise, I’m really not a graphic designer, 3D artist or a typographer and as such I’ve removed the panels that relate to those areas from my workspace. That really tidies up the right side of my screen but the Tool Bar on the left has always been untouchable… until now.
At long last I can customise my tool bar and all I had to do was click Edit – Toolbar. So it’s bye bye to the Path Selection tools, so long Type Mask tools and the Paint Bucket tool can really kick the bucket.
Customised Toolbar editing
However I can also promote some tools that are hidden in groups such as the Patch Tool and Magic Wand Tool which can now have their own place on my custom toolbar. Of course the day might come when I might actually need the single column marquee tool and when it does all I have to do is click on last tool bar on the list (or the three little dots) and I’ll can find all the extra tools there.
Oil paint
As well as not being a graphic designer or 3D artist I can add painter to that list. Unlike the others, I’m not a painter for the simple reason that I really can’t paint or even draw anything that looks even vaguely like I hoped. Trust me, I’ve tried.
That’s why I was really sad to see the oil paint filter disappear from Photoshop a while back and even happier to see it return very recently.
Like most filters the result you get from Oil Paint depends on a number of factors but the best images to use tend to have plenty of detail. You can use the filter on any image and you can run it as a smart filter but I find the best way to use the Oil Paint Filter is to start by making a duplicate layer and applying the filter by clicking Filter – Stylise – Oil Paint.
The Oil Paint filter tool in action
Before Oil Paint editing
I like to make it obvious that I’ve applied an effect so I set both the Stylisation and Cleanliness to their maximum and switched off Lighting. I then go back to the original layer and apply the Oil Paint filter a second time but with much lower settings. The final effect comes together by using a layer mask on the upper layer to reveal finer detail such as the face from the less filtered layer below.
After Oil Paint editing – the final image
And there’s more…
These are just three of the hidden gems in Photoshop CC for photographers and there’s plenty more I could and will talk about. If you’re coming along to The Photography Show 2016, make sure a visit to the Adobe Theatre is on your list.
The Photography Show 2016 is taking place from March 19-22, so if you haven’t already, register here. You can get £3 adult tickets using the code ADOTPS16 until 16 March.
 

Rasant, agil und individuell: Credo der Adobe Digital Marketing Days 2016 in München


Adobe
Disruptive Technologien haben etablierte Unternehmen vor völlig neue Herausforderungen gestellt: Waren sie über Jahre hinweg erfolgreich in ihrem Tun, hat die digitale Transformation sie in ihren Grundfesten erschüttert. Wer heute noch analog denkt, hat längst verloren. Die Adobe Digital Marketing Days 2016 machten gestern Halt in München und boten Marketingverantwortlichen sowie kreativen Entscheidern aus B2C- und B2B-Unternehmen mit hochkarätigen Speakern Einblicke in die Herausforderungen und Bewältigung der digitalen Transformation. Zwischendurch sowie im Anschluss der Veranstaltung boten sich den Teilnehmern hervorragende Möglichkeiten zum Netzwerken bei Speis und Trank.

Die dritte Station der Adobe Digital Marketing Days in diesem Jahr war im Münchner Gasteig. Hier brachten die geladenen Speaker ihr Marketing mit den entscheidenden Trends und wichtigen Themen auf ein neues Level: Mit Dietmar Dahmen, dem Chief Innovation Officer bei ecx.io, hat Adobe einen ganz besonderen Gast an Bord der Roadshow holen können. Der Visionär und Stratege zu Themen rund um die digitale Transformation gab in seiner Keynote Insights in die Lösung vieler Probleme und hebt gemeinsam mit dem Publikum ab.
“Die Zeit zur Adaption ist jetzt!” – Dietmar Dahmen

Wer stehen bleibt, wird überholt. Kaum ein anderer steht so für Innovation und Fortschritt wie Dietmar Dahmen. Eine unglaubliche Dynamik kombiniert mit bildgewaltigen Slides zogen den Zuschauer in den Bann.
Unternehmen müssen das Neue gut finden und sich nicht vor Veränderung sträuben. Dahmen bedient sich dabei an nachvollziehbaren, realen Beispielen, um das Scheitern von Unternehmen sowie den disruptiven Aufstieg anderer Unternehmen zu erzählen.
Beispiel Elon Musk, bei dem alle gesagt haben „Geht nicht!“, aber Elon Musk sagte einfach “Ich mach das!”. Tesla ist erfolgreich und hat den Markt wachgerüttelt.
"Real Time ist toll, aber Before Time ist besser" – @MrDahmen #digitaljourney pic.twitter.com/6ZLAMTnWEy
— Tina Bauer (@face_the_news) March 3, 2016

Adobe: Die End-to-End Lösungsplattform
Im Anschluss zeigten Andreas Helios und Klaus Kurz, wie die Marketing Cloud der Kreativität mittels Big Data auf die Sprünge hilft. Sie lieferten wertvolle Einblicke in die tatsächliche Leistungsfähigkeit der Produktpalette. Andreas Helios hob hervor, dass alle Nutzer von der Gesamtheit der Marketing Cloud profitieren, da es eine innovative Plattform am Zahn der Zeit ist.
„Content Velocity“ – der neue Energydrink
Mit den Solution Spotlights des One-Adobe-Experten-Teams wurde dem Publikum anhand einer praxisnahen Show veranschaulicht, was es bedeutet mit der Marketing Cloud zu arbeiten. Mit ihrer Hilfe wird es möglich, die richtige Ansprache im richtigen Moment und über die passenden Kanäle anzuvisieren. Als Beispiel hat Adobe sich eine ganz besondere Kampagne überlegt: Von der Kreation, über die Werbemittelgestaltung und der Erstellung der Website bis zur tatsächlichen Produktion eines neuen Energydrinks namens „Content Velocity“.
Neu – Der Drink für #München: Content Velocity – Aqua Isara – Est. 2016.#digitaljourney pic.twitter.com/P31Vf3Nybf
— Marketing Cloud DE (@Adobe_MC_DACH) March 3, 2016

Weitere Speaker wie Tanja Winne von der HypoVereinsbank, Martin Brösamle von eggs unitymedia und Amir Mirshahi von TRACK gaben als Experten Einblicke in erfolgreiche Use Cases und innovative Handlungsmöglichkeiten bei einer immer im Vordergrund stehenden Usability über alle Devices hinweg.
Unglaublich. Bis 2020 wird es 35 Milliarden Devices auf dem Markt geben. @Broes_eggs @eggsunimedia #digitaljourney pic.twitter.com/RIWIaR3aiw
— Marketing Cloud DE (@Adobe_MC_DACH) March 3, 2016

Tanja Winne und Martin Brösamle überzeugten die Zuschauer durch eine lebhafte und anschauliche Präsentation, die eine Einführung in den komplexen Bereich des Verkaufs von Anlageprodukten im Netz bot. Besonders die Identifizierung verschiedener Personas und die unterschiedlichen Customer Journeys kombiniert mit Offline-Filialbesuchen schuf eine nachvollziehbare Geschichte. Auch die Umsetzung und Vorstellung der überarbeiteten Internetseite nach neusten Standards überzeugte.
Stephanie Ruf (Namics) mit Kundencase der Schwäbisch Hall Bausparkasse
Stephanie Ruf sah sich mit ihrer Firma der Herausforderung gegenüber in einem regulierten Bereich wie dem Thema Bausparen, dem Online-Auftritt ihres Kunden neue Impulse zu geben.
Jetzt auf der Bühne: @stephanieruf von @namics mit einem aktuellen Kundencase. #digitaljourney pic.twitter.com/7SIS0j9Ncq
— Marketing Cloud DE (@Adobe_MC_DACH) March 3, 2016

„Es gilt, die Customer Journey des jeweiligen individuellen Produktes zu betrachten. Nicht etwas machen, nur weil es jeder macht.“  Mit dieser Herangehensweise wurde 1. die Situation realistisch eingeschätzt und 2. die identifizierten Probleme und Hürden erfasst. Ruf riet, dass man bei der Abarbeitung der nötigen Schritte immer am Anfang der Customer Journey anfangen und sich langsam vorarbeiten sollte. Wenn direkt am Anfang eklatante Fehler in der Customer Journey existieren, hilft auch der bestmögliche Schlußteil nicht mehr. Um die Webseite rund um das Thema Bausparen für die Suchmaschine durch organischen und bezahlten Traffic zu verbessern, wurde das Rad nicht neu erfunden. Fundierte Keywordanalyse, Optimierung und Testing der verschiedenen Landingpages, Anreicherung der Seiten mit hochwertigem Content, dem Arbeiten mit wiederkehrenden und Trust-schaffenden Elementen, sowie einer verstärkten internen Verlinkung war es möglich, die Seite zum Suchwort „Bausparen“ bei Google innerhalb von 4 Wochen von Platz 30 auf Platz 7 zu heben. Mit allen Optimierungen konnte ein erheblicher Anstieg des Traffics sowie eine deutlich niedrigere Absprungrate realisiert werden.
Jetzt auf dem Markt: „Content Velocity“ – der Energydrink
Günter Kraemer, Head of Solution Consulting Digital Marketing bei Adobe Systems, fasste die Live-Kampagne zusammen und ordnete das Nutzungsspektrum in das gesamte Ökosystem ein. Am Ende stand der neue Drink fertig für den Zuschauer bereit:
Eben nur digital, jetzt schon als Produkt. Wohl bekomm's! Velocity – der Drink! #digitaljourney pic.twitter.com/tVN6MMGpR7
— Marketing Cloud DE (@Adobe_MC_DACH) March 3, 2016

Anders Indset, Wirtschaftsphilosoph und Entrepreneur, zeigte in seiner Keynote die Elemente der Veränderung auf und gibt Lösungsansätze aus einer gesamtheitlichen Betrachtungsweise. Indset beschreibt die vier Kräfte der modernen Gesellschaft: Technologie, Globalisierung, Frauen und Wildes Wissen. Diese Kräfte sind unsere Zukunft, wenn wir nur an einem Strang ziehen und sie ernst nehmen.  Mit „Men talk to people and women talk with people“ beschreibt er beispielsweise ziemlich genau, was unsere Zeit so besonders macht: Die veränderte Wahrnehmung der weiblichen Rolle steht stellvertretend für die gesamtheitliche Disruption, die es nur anzunehmen gilt.

Mit einem abwechslungsreichen Programm, mitreißenden Speakern, einem tollen Publikum und feiner Verpflegung gingen die Adobe Digital Marketing Days 2016 in München zu Ende. Weiter geht es nächste Woche in Hamburg am 10 März http://www.adobe.com/de/event/digital-marketing-days/hamburg.html.