Accelerate Sales Processes with Apttus and eSign services

Adobe
Last November, we shared news of the latest release of the integration between Adobe eSign services and Apttus. As Apttus’ first e-signature solution partner, we have consistently helped our joint customers speed contract management and quote-to-cash processes on any device. We’re thrilled to attend this year’s Apttus Accelerate as a Platinum sponsor.
Adobe and Apttus’ Salesforce-native solutions have helped companies around the world accelerate time to revenue, gain visibility into document status, and reduce legal and business risk on any device. Productivity and efficiency have skyrocketed at companies like Ceridian and NetApp. You can stop by our booth to hear more from our experts, or attend sessions about the power of e-signatures.

Sales Tips and Tricks from the Trenches 1:30pm – 2:15pm Wednesday, April 13th

Join Jim Holscher, VP of Sales for Digital Media in North America, as he shares insights on successful sales strategies as part of this panel discussion.

Improve productivity and grow your business with e-signatures 5:15pm – 6pm Wednesday, April 13th

Mark Grilli, VP of Marketing for Adobe Document Cloud, will lead this panel with CSO Insights as they present findings from their research that highlight the impact that e-signatures have on the quote-to-close process.  They will be joined by a customer panel who will share the impact that e-signatures has on their organizations.

Join us to learn more about the power of this integration. We’ll see you in San Francisco!

Instagrammers Share 4 Photo Editing Secrets


Adobe
Have you ever come across a stunning photo in your Instagram feed and wondered how it was so perfectly captured on a phone? We’re going to let you in on a little secret: Instagram photos are often edited with mobile apps before they’re shared. We caught up with four popular Instagram photographers to get their tips on how to use Adobe mobile apps to help you step up your social media game.
Highlight with lowlights

Griffin Lamb, a landscape photographer from Seattle, WA, is surrounded by inspiring nature. When capturing landscapes, Griffin notes the importance of enhancing through highlights and shadows. “As a landscape photographer, my goal in post-processing is to make adjustments to my images that enhance the viewing experience. With Lightroom Mobile’s powerful highlight and shadows tools, I am able to make subtle adjustments that create images of greater clarity and greater drama.”
Cut and combine with Photoshop Mix

The cut and combine features in Photoshop Mix can really help your creativity come to life. NYC-based photographer, Jerm Cohen, shares his secret to creating shots with an element of surprise. “For my #EmojiPortraits series, I used the Photoshop Mix app to select, drag & drop the emoji onto my photo and perhaps mask out certain parts of it. If it needs any more final touches, or I just want to view it on a big screen, I’ll sync it into Lightroom on my laptop.”
Get wavy and abstract

Chicago-based photographer Elise Swopes has a unique approach to creating abstract photography, using swirls and waves to create an original image. “The Liquify tool in Photoshop Fix can be a lot of fun to try. I decided to pull it out for this photo. I used the Twirl option and drew clockwise for a crazy spinning room. Then I used the Defocus tool and drew over the part that was not twirled. Finally, I went to the Adjust tool and lowered Saturation all the way. In the end, I thought it would be cool to add a single hand that is somewhat spinning the room so I used the layers in Photoshop Mix.”
Utilize natural light

Adventurist and Tahoe-based photographer Jordan Herschel gives his take on this shot of a lone horse in eastern Oregon. “The last light of the day created a great contrast between the blue sky and the glowing golden grass, so I used Lightroom’s cross-toning feature to introduce a slight amount of blue in the highlights and orange to the shadows to emphasize this look,” explains Jordan. “I then brought back some of the highlights to save some detail in the sky, and raised the shadows to be better able to see the horse.”
So there you have it – be sure to to download Lightroom for mobile, Photoshop Mix, and Photoshop Fix to your mobile device and explore your creativity using these tips. Don’t forget to follow us on Instagram and share your creations with us using the hashtags #psmix, #psfix, #lightroom, or #creativecloud – we might just feature your work on our channel!

Business talk with Mala Sharma


Adobe
Vice President & General Manager of Creative Cloud Product, Marketing and Community, Mala Sharma has been a key leader on Adobe’s Creative Cloud business since its inception. In this interview, she sketches out the future of Creative Cloud in four key areas: mobility, asset workflows, marketplace, and developing enterprise solutions on a single Adobe Cloud platform.
The 2012 launch of Creative Cloud stands out as a critical inflection point in Adobe’s history. By connecting Adobe’s leading applications to mobile apps, services, the Behance community and a marketplace, Creative Cloud is helping to change the way people design and create content, express their ideas, and work together.
“Creative Cloud has already seen three major evolutions since our first step of introducing desktop subscriptions,” said Mala. “We added integration of services like cloud storage and syncing of files, Typekit fonts and Behance for community. Our next step was to introduce the concept of connected creativity, with mobile versions of our applications, Touch workspaces and a mobile SDK which allows anyone to connect their mobile apps to our platform. The companion mobile apps, such as Photoshop Sketch, Illustrator Draw and Comp CC, extend the power of our desktop tools so users can work on mobile and desktop or conduct the whole creative process – from start to finish – on mobile. In 2015, we introduced asset workflows powered by CreativeSync along with our first marketplace with the introduction of Adobe Stock through our acquisition of Fotolia.”
 Adobe’s vision is to empower people to create – to enable anyone with an idea to communicate it effectively and efficiently to their audience. Looking forward, Creative Cloud will build on its strong foundation to deliver even greater customer value in 2016 and beyond.
 
A success story
The market has responded well to Adobe’s strategy. Creative Cloud now has more than six million subscribers, with new members and paid subscribers joining every day. “We are very proud to have added another 798,000 Creative Cloud subscribers over the first quarter of 2016,” said Mala. The mobile applications are also quickly winning users over: “We now have over 23 million Adobe IDs who joined us first from mobile,” she added, which includes a significant increase of an additional nine million users acquired via the mobile apps since Adobe MAX. This business momentum is being driven by strong demand for Creative Cloud across all of Adobe’s offerings and routes to market. Mala also emphasized the importance of international markets for Creative Cloud, which now account for more than 40 percent of subscriptions.
Developing Creative Cloud to meet the challenges of the digital era
 The trend towards digital is a key part of how Mala views the drivers of the future opportunities for Creative Cloud. “All of us are keenly aware that the world around us is being disrupted by digital trends, which is resulting in numerous challenges for our customers,” explained Mala. “These trends include a massive growth in the number of connected consumers – people who use several devices for getting online and expect a homogeneous and uninterrupted user experience when interacting with brands – wherever they are and whatever device they are using. In parallel, we are experiencing an explosion of data flowing through these ecosystems, and all of this together creates a major digital disruption for businesses as they try to adapt to these changes,” she added. In order to offer the experience customers expect, companies will need to deeply understand their target audiences, continually assess a product’s relevance, analyze data from heterogeneous sources, and potentially overhaul their entire business model in the context of this digital revolution.
“Companies who don’t make the user experience the key component of their digital strategy are taking a major risk,” believes Mala. But what exactly defines a successful “user experience”? “Most importantly, the experience has to be compelling and dynamic to draw the customer in. It also has to be personal and useful – it needs to know who the customer is, where they are, and what they like — so people can get things done faster. And users expect their experience to be the same everywhere they are – whether it’s at the store, on their mobile device, or in their car. Businesses need to be there for their customers.” she pointed out.
So how can Adobe Creative Cloud help customers deliver on these new expectations?
Creating on the move
The first key area Adobe is innovating on is the process of content creation. Today, Creative Cloud is a platform for creating and sharing, where individuals or members of a project team can share and exchange creative assets, style guides or files stored in the Cloud and intelligently synced through CreativeSync so they can be accessed everywhere. However, the primary creation workflows are still centered around the desktop. “Imagine a world in which the workflow is Cloud-first. Where it’s just as easy and straightforward to create content on a mobile phone or tablet as it is on a desktop, and where all your assets and every change you make are available to you wherever you are,” said Mala enthusiastically, “Our vision is to have the mobile and desktop experiences work interchangeably across phones, tablets and desktops.” As is the case with Lightroom, where customers can work seamlessly on their photos within and between the desktop, mobile and web apps, people will have access to the same breadth of functionality and a consistent experience tailored to the device they are using across Adobe’s applications. Mala added: “Beyond today’s asset workflows for sharing libraries, Creative Cloud can also be a platform for collaborating with others during the creative process.”
Video is also getting a makeover with Creative Cloud. “We are proud that our video technology is being used by video professionals and that Adobe is the leader in professional video with customers in Hollywood and Sundance. We intend to expand this solution to a broader audience as well. We want the YouTube generation to be able to easily create, cut and edit their digital creations using Adobe magic,” said Mala.
One of the most exciting new areas for Creative Cloud is experience design. “The digital trends we’re experiencing are putting increasing pressure on businesses. Standout and effective experiences are more critical than ever for companies to break through the noise and make an impact. In fact, we have seen more than 52 percent growth of UX projects on Behance in 2015, making it the fastest-growing content segment on Behance. When we looked at the most appreciated projects in this field within Europe, the UK, France and Germany are the most prolific in UX design and the average age of designers of these projects is under 35 years old”, said Mala. To address the challenges that customers face in the experience design workflow, Adobe recently introduced Adobe Experience Design (or Adobe XD) as a Preview. As the only end-to-end solution in the market for designing, prototyping and sharing this sort of work, Adobe focused on building it for speed, so designers can work on hundreds of artboards for every screen size in the same project without compromising on performance.
A radically improved marketplace for users
Last year, Adobe launched the Adobe Stock marketplace within Creative Cloud. Designed to radically simplify the process for buying and using stock content, the integration with Adobe Stock enables designers to grab photos, graphic components and video right from within their favorite CC desktop app. Since the launch, Adobe Stock has been rapidly growing to a library of over 50 million royalty-free, high-quality photos, videos, illustrations, and graphics. “We want to be the provider of the broadest range of content – to take it beyond photos, videos and graphics to deliver fonts and new content types like 3D,” said Mala, “And, Adobe has the opportunity to up the quality of stock content by enabling our customers to contribute directly from the CC apps.” She also added her thoughts on how the marketplace experience would change in the future: “Adobe can also bring all of our imaging science to the Adobe Stock service, to allow customers to immediately find the most relevant image – right from within their workflows.”
Extending the Creative Cloud offering to new users
Mala expanded on Adobe’s vision as she spoke about Adobe’s strategy to reach consumers through solutions that enable anyone to express their creativity. Adobe launched Creative Cloud Photography, which includes mobile and desktop versions of Photoshop and Lightroom, to target consumers interested in photography. Beyond photography, it is targeting the next generation of creators and storytellers with new mobile applications such as Adobe Voice, Adobe Slate and Adobe Post. Mala hinted that Adobe is expecting to have these as part of an integrated Web solution later this year. This new service targets social-savvy youth who want to communicate their ideas or a social cause with impact, as well as young entrepreneurs wanting to reach their audience through social marketing.
Meeting the needs of businesses
Looking beyond Creative Cloud, Mala also talked about Adobe meeting businesses’ challenges in a digital world: “Our approach involves connecting the value of Creative Cloud, Document Cloud and Marketing Cloud to provide solutions for enterprise customers as they address the challenges digital disruption is creating for their businesses. That way, we can meet companies’ needs with a streamlined workflow across the entire content lifecycle – from when content and user experiences are created through to when marketing data is analyzed on a single cloud platform,” she explained. Companies will soon have an optimized working environment in which they can create their content and analyze their digital marketing strategies. For example, they’ll be able to create their user experience with Adobe XD, connect content from Experience Manager to produce content for mobile and Web platforms and use Marketing Cloud to assess their brand’s digital experience. “Adobe has the opportunity to bring content together through our Cloud platform to address the three key areas in the content lifecycle – how customers make, manage and measure their digital experiences,” she stated.
In conclusion, Mala wrapped up her presentation by reinforcing the four core areas of focus in 2016: mobility, asset workflows, Adobe marketplace and enterprise solutions.
About Mala Sharma, Vice President and General Manager, Creative Cloud Product, Marketing and Community Adobe
Mala Sharma serves as vice president and general manager of Creative Cloud Product, Marketing and Community. Creative Cloud delivers the world’s best creative apps and services that allow anyone to create their best work.
Sharma has led the Creative Cloud GTM and business strategy from its inception, and championed the business transformation from selling boxed Creative Suite software with perpetual licensing. Today, Sharma’s team creates data-driven customer experiences that directly impact how users discover, learn, try, and buy Creative Cloud. She is also responsible for Behance, the world’s largest and most vibrant creative community.
Prior to joining Adobe in 2005, Sharma was at Creative Lab for nine years where she was last director of product marketing for the Americas.
She is a passionate advocate for the creative community and for making Adobe’s tools widely accessible to youth and a broader base of users. Sharma is a board member of the Children’s Creativity Museum in San Francisco, and actively promotes the importance of Creativity in Education.
Sharma holds a Bachelor’s degree in business and an M.B.A. from universities in India.
@malasharma
 

LateNite Films Wows Audiences with The Wizards of Aus


Adobe
What happens when a wizard gets tired of fighting epic battles and decides to lead a quieter life in the suburbs of modern day Melbourne, Australia? You’ll have to watch LateNite Films’ hit series The Wizards of Aus to find out. Filmed in 4K, the mini-series was funded by Screen Australia and originally conceived as six 15-minute episodes for YouTube. When Australian TV network SBS2 saw the behind-the-scenes content and asked to license the show for television, LateNite Films repurposed it to air as three 30-minute episodes.
Two incredibly talented young men—Michael Shanks (who is also the lead actor) and Chris Hocking—post-produced the film with the help of a few freelancers, and the visual effects are nothing short of amazing.

Adobe: Tell us about your backgrounds?
Shanks: I made my first short film in my final weeks of high school. Somehow, that short went on to win an Internet video contest where the prize was a job making a short-form narrative comedy series. Suddenly, I was 17 and was contractually obligated to create a comedy/action serial without any film education. Thankfully, a whole bunch of internet tutorials and luck made me realize that I didn’t necessarily need a degree to make films—just a PC, some Adobe software and a disdain for a fulfilling social life. I found it was surprisingly possible to do visual effects with resources that I could get even as a teenager.
Hocking: I started working in animatronics and concert lighting, but after a few years decided to follow a childhood dream and study filmmaking at university. This is where I met my business partner Nicholas Colla, and we founded LateNite Films. After university, I worked as a post-production supervisor at an advertising post house—whilst doing lots of LateNite jobs on the side. However, after a few years, eventually I took the leap to running LateNite fulltime.

Adobe: What does LateNite Films do?
Hocking: Our main source of income is advertising and corporate videos – however, our goal is to start generating all of our income from our own creative projects like music video and series such as The Wizards of Aus.
Adobe: Tell us more about the series.
Shanks: It’s an idea I had for a while but the right opportunity never came up to do anything with it. After somehow keeping my head afloat in the industry making short films, sketches and music videos, I was incredibly fortunate to be approached by Screen Australia to talk about the opportunity for securing some funding – and ultimately Wizards got up.
The opening scene of the show is an epic battle fit for Lord of the Rings, which we then kinda turn on its head. It was really important to me that the opening scene had to feel cinematic and at least almost hold up when compared to some of Weta’s work on LOTR. When Jack the Wizard arrives with his sarcastic attitude, it has to feel like he’s subverting the fantasy genre – so if we couldn’t convincingly setup the fantasy genre visually, then there’s nothing for him to subvert and the show would immediately fall over.
Ultimately, Jack’s weariness gets the better of him and he decides that rather than fight dragons every day, it might be a bit more peaceful to move, so he does – to suburban Melbourne.

Adobe: Tell us more about your workflow?
Hocking: We shot all of the episodes in just over three weeks with a few extra days of pickups. Pre-production took a couple of months before that, with a huge number of speaking roles to cast, locations to scout, and lots of crazy puppets and props to construct. The original plan was to spend about 12 weeks in post, however it eventually took about 37 weeks of doing 12 to 16 hour days – mostly in Michael’s mum’s basement.
We shot on the Red Epic Dragon in 5K, and then converted everything to 4K Ultra HD ProRes, which we used for editing, VFX, and grading. The show was cut on Adobe Premiere Pro CC, and all of the effects were done in After Effects CC. We also were constantly jumping across to Photoshop CC for things like matte paintings, and Media Encoder for things like DCP exports and After Effects renders.

Adobe: Were there any obstacles that worried you?
Shanks: One main factor is that I’m a PC guy and Chris is a Mac guy. Chris started off using Final Cut Pro 7 earlier in his career, but then switched after winning a copy of Adobe Creative Suite 6 and trying out Premiere Pro. For The Wizards of Aus, both Chris and I were on the same editing software: a bonus.
We wondered how it was going to go with the two platforms involved, but it was seamless. We easily threw projects between Mac and PC without a glitch. We didn’t do a traditional offline; instead, we did a completely online workflow. We converted the files on set and used the same ones throughout the process, from editing right through VFX and color grading. We could jump between VFX and editing, which made things much easier. We used Adobe Media Encoder CC to encode files and were able to distribute a wide range of formats for various purposes from there.

Adobe: Tell us more about the VFX.
Hocking: Every scene in our show has some kind of crazy visual effect. We had a huge amount of work to do, with only Michael and I for the most part to do it. What was fantastic was that we were able to do basically everything within After Effects – from epic crowd simulations with thousands of soldiers fighting goblins to fully 3D animated characters (with the help of Element 3D) – all in UltraHD. We also made heavy use of the Mocha After Effects plug-in for rotoscoping and tracking – which was a lifesaver for the opening battle scene in which pretty much every shot had to be rotoscoped.
Adobe: If you had advice for other filmmakers embarking on an independent project such as this, what would it be?
Shanks: Get more money so you can outsource the rotoscoping! We only had AU$333,000 to produce a film with 70 characters and about 640 VFX shots. That’s hardly a comfortable proposition, but it was still a crazy amount of fun! Other than that, I’d say: be fearless. Tools that were unfathomable even 15 years ago are here today. Given a camera and Adobe software, anything you write can become real on the screen. Adobe software is now being used on feature films and TV shows. If you’re willing and able to put in the time, learning and creating has never been so easy.
Adobe: Where can people check out The Wizards of Aus?
Hocking: You can find The Wizards of Aus for free on YouTube in UltraHD on Michael’s YouTube Channel – www.youtube.com/timtimfed.

Mala Sharma im Gespräch über die Zukunft der Creative Cloud


Adobe
Mala Sharma, Vice President & General Manager of Creative Cloud Product, Marketing and Community, ist seit dem Beginn eine der treibenden Kräfte des Creative Cloud Business von Adobe. In diesem Interview skizziert sie die Zukunft der Creative Cloud in vier Hauptbereichen: Mobilität, Content-Sharing, den neuen Marktplatz für Inhalte und die Entwicklung einer einzigen Adobe Cloud für Unternehmen.
Die Einführung der Creative Cloud im Jahr 2012 war ein entscheidender Moment in der Unternehmensgeschichte von Adobe. Durch die Verbindung der führenden Anwendungen mit mobilen Apps, Services, der Behance-Community und einem Marktplatz für Stock-Bilder verändert die Creative Cloud die Art und Weise, in der Menschen Content gestalten und schaffen und die Art, wie sie zusammenarbeiten.
„Seit der Einführung des Abo-Modells hat die Creative Cloud bereits drei große Evolutionen erlebt“, erklärt Mala. „Als erstes integrierten wir Dienste wie Cloud Storage, die Synchronisierung von Daten, Typekit-Fonts und Behance für die Community. Danach implementierten wir das Konzept der ‚Connected Creativity‘ mit mobilen Versionen unserer Anwendungen, Touch Workspaces sowie einem Mobile SDK, mit Hilfe dessen jeder seine App mit unserer Plattform verknüpfen kann. Die Companion Mobile Apps wie Photoshop Sketch, Illustrator Draw und Comp CC ermöglichen es Anwendern, mobil und am Desktop zu arbeiten oder den gesamten kreativen Prozess – von Anfang bis Ende – auf einem mobilen Gerät durchzuführen. 2015 schließlich folgten mit CreativeSync und – als Folge der Fotolia-Übernahme – dem Foto-Marktplatz Adobe Stock weitere wichtige Bausteine.“
Adobes Vision ist es, Menschen dabei zu helfen, etwas Kreatives zu erschaffen – und eine Vorstellung davon zu geben, wie diese eigenen Kreationen effektiv und effizient an die gewünschte Zielgruppe kommuniziert werden können. Vorausschauend sind wir überzeugt davon, dass sich die Creative Cloud aus ihrem starken Fundament heraus weiterentwickeln und den Kunden einen noch größeren Mehrwert in 2016 und darüber hinaus bieten wird.
Eine Erfolgsgeschichte
Der Markt hat die Adobe-Strategie gut aufgenommen. Die Creative Cloud hat heute über sechs Millionen Abonnenten. „Wir sind äußerst stolz darauf, dass wir im ersten Quartal 2016 weitere 798.000 Abonnenten für die Creative Cloud gewinnen konnten“, sagt Mala. Die mobilen Applikationen gewinnen Anwender schnell für sich: „Heute haben wir über 23 Millionen Adobe-IDs, die vom Mobilgerät zu uns gekommen sind“, fügt sie hinzu. Und seit Adobe MAX hat die Zahl mit weiteren neun Millionen Anwendern nochmal deutlich zugenommen. Mala betont außerdem, wie wichtig gerade die internationalen Märkte für die Creative Cloud sind: Sie sind schneller gewachsen als in den USA.
Die Herausforderungen der Creative Cloud im digitalen Zeitalter
Die digitale Transformation ist ein entscheidender Teil von Malas Vorstellungen der Creative Cloud der Zukunft:
„Uns allen ist sehr bewusst, dass die Welt um uns herum durch digitale Trends durcheinander gebracht wird. Dies hat für unsere Unternehmenskunden zahlreiche Herausforderungen zur Folge“, erklärt Mala. „Einer dieser Trends ist eine erhebliche Zunahme der Zahl vernetzter Verbraucher. Das sind Menschen, die mit verschiedenen Geräten online gehen und bei ihrer Kommunikation mit Marken ein homogenes und kontinuierliches Nutzungserlebnis erwarten – egal, wo sie sind und welches Gerät sie nutzen. Außerdem erleben wir eine Explosion des Datenaustausches zwischen all diesen Geräten, und zusammengenommen entsteht durch diese Entwicklungen eine massive Herausforderung für Unternehmen, die sich mit dieser digitalen Wandlung beschäftigen müssen“, so Mala.
Um diese Art von Erlebnis bieten zu können, werden die Unternehmen ihr Zielpublikum sehr gut verstehen und die Relevanz eines Produktes fortlaufend bewerten müssen. Genauso gilt es, Daten aus heterogenen Quellen zu analysieren und das gesamte Geschäftsmodell im Kontext dieser digitalen Revolution zu überarbeiten.
„Unternehmen, die das Nutzungserlebnis nicht zum Kernbestandteil ihrer digitalen Strategie machen, gehen ein großes Risiko ein“, glaubt Mala. Aber was genau ist ein erfolgreiches „Nutzungserlebnis“? „Vor allem muss das Erlebnis ansprechend und dynamisch sein. Außerdem muss es persönlich und nutzbringend sein. Und die Nutzer erwarten, dass ihr Erlebnis von Erfolg gekrönt ist, egal wo sie sich aufhalten“, betont sie.
Wie also können wir diese neuen Erwartungen erfüllen?
Von unterwegs aus kreativ sein
Der erste Hauptbereich Adobes neuer Innovationen ist die Content-Erstellung. Die Creative Cloud ist heute eine Plattform für das Erstellen und Teilen von Assets. Eine Plattform, über die mehrere Mitglieder eines Projektteams in der Cloud gespeicherte Ressourcen und Dateien teilen und austauschen können, egal wo sie gerade sind. Dies ist heute schon über CreativeSync möglich. „Stellen Sie sich eine Welt vor, in der das Erstellen von Content auf einem Mobiltelefon oder Tablet genauso einfach ist wie auf einem Desktop“, schwärmt Mala. „Unsere Vision ist es, das Erlebnis all unserer Adobe Lösungen Plattform-übergreifend austauschbar anzubieten.“ Ähnlich wie bei Lightroom, wo Kunden innerhalb der Desktop-, Mobil- und Web-Anwendungen nahtlos auf ihre Fotos zugreifen können, werden in Zukunft alle Adobe Apps die gleiche Breite der Funktionalität und Usability bieten. Mala weiter: „Abgesehen von unseren heutigen Workflows, die das Teilen von CC Libraries vereinfachen, kann die Creative Cloud auch als Plattform für die Zusammenarbeit mit anderen Kreativen im Laufe des Erstellungsprozesses dienen.“
Auch Videos erhalten mit der Creative Cloud eine Überarbeitung. „Wir sind stolz, dass unsere Videotechnologie von audiovisuellen Experten eingesetzt wird und dass Adobe bei professionellen Videos führend ist – mit Kunden in Hollywood und beim Sundance Festival. Wir wollen diese Lösung einem breiteren Publikum wie der YouTube-Generation verfügbar machen – damit auch sie ihre digitalen Werke erstellen, schneiden und bearbeiten können“, erklärt Mala.
Ein weiteres wichtiges Element ist die Gestaltung des Nutzungserlebnisses. „Die digitalen Trends, die wir beobachten, erhöhen den Druck auf die Unternehmen. Besondere und innovative Nutzererlebnisse sind wichtiger denn je. Da verwundert es kaum, dass die Zahl der UX-Designprojekte dramatisch zugenommen hat. Auf Behance konnten wir 2015 eine Zunahme der UX-Projekte um mehr als 52 Prozent feststellen, womit dies zu dem am schnellsten wachsenden Content-Segment auf Behance geworden ist. Was Europa angeht, sind Großbritannien, Frankreich und Deutschland beim UX-Design am Produktivsten – mit einem Durchschnittsalter der Designer von unter 35 Jahren“, sagt Mala. Kürzlich stellte Adobe sein Adobe Experience Design (kurz: Adobe XD) in Form einer Preview vor. Adobe XD ist die einzige Ende-zu-Ende-Lösung auf dem Markt für das Designen und Teilen dieser Art von Arbeiten. Es ist auf Geschwindigkeit optimiert, so dass Designer in ein und demselben Projekt an Hunderten von Zeichenflächen für jede Bildschirmgröße arbeiten können, ohne Kompromisse bei der Performance machen zu müssen.
Ein völlig überarbeiteter „Marktplatz“ für alle Nutzer
Im vergangenen Jahr startete Adobe den Adobe Stock Markt innerhalb der Creative Cloud. Entwickelt, um den Kauf und die Lagerung von Inhalten drastisch zu vereinfachen, ermöglicht die Integration von Adobe Stock unseren Nutzern auf ihre Fotos, grafische Komponenten und Videos direkt von ihrer bevorzugten CC-Desktop-App zuzugreifen. Seit dem Start ist Adobe Stock schnell zu einer Bibliothek von mehr als 50 Millionen lizenzfreien, qualitativ hochwertige Fotos, Videos, Illustrationen und Grafiken geworden. “Wir wollen die Anbieter der breitesten Palette von Inhalten zu sein – und dabei weiter gehe als Fotos, Videos, Grafiken und Schriften anzubieten und auch neue Inhaltstypen wie 3D liefern”, sagt Mala. “Adobe verfügt außerdem über die Möglichkeit, die Qualität der angebotenen Inhalte zu verbessern, indem wir unsere Community mithilfe unserer CC apps an der Kreation von Assets teilhaben lassen.“ Mala hat auch genaue Vorstellungen davon, wie in Zukunft das Nutzererlebnis dieses neuen Marktplatzes aussehen soll: „Adobe kann auch die komplette Imaging science in Adobe Stock integrieren, um all unseren Nutzern das schnellere Finden von relevanten Bildern zu ermöglichen – direkt aus ihren Workflows.”
Ausweitung des Creative Cloud Angebots auf neue Anwender
Beim zweiten Hauptbereich geht es um die Ergänzung der Creative Cloud um neue Lösungen, damit ein jeder seiner Kreativität Ausdruck verleihen kann. Für Verbraucher mit Interesse an der Fotografie hat Adobe Creative Cloud Photography auf den Markt gebracht, mit Mobil- und Desktop-Versionen von Photoshop und Lightroom. Außerdem hat das Unternehmen mobile Anwendungen wie Adobe Voice, Adobe Slate und Adobe Post für das Geschichtenerzählen vorgestellt, und geht davon aus, dass diese im weiteren Verlauf des Jahres Teil einer integrierten Web-Lösung werden. Dieser neue Service richtet sich an sozial kompetente Jugendliche, die ihre Ideen oder ein soziales Anliegen wirksam kommunizieren wollen, aber auch auf junge Unternehmer, die ihre Zielgruppe über soziales Marketing erreichen wollen.
Den Bedarf von Unternehmen decken
Über die Creative Cloud hinaus hat Mala auch die Herausforderungen von modernen Unternehmen, die Adobes Produkte nutzen, im Blick. „Unser Ansatz ist die Entwicklung von Lösungen, die den Wert von Creative Cloud, Document Cloud und Marketing Cloud in einer einzigen Adobe Cloud miteinander verbinden. Auf diese Weise können wir den Bedarf der Unternehmen decken – vom Zeitpunkt der Gestaltung von Inhalten und dem Nutzungserlebnis, bis hin zu dem Zeitpunkt der Analyse von Marketingdaten“, erklärt Mala. Bald werden Unternehmen eine optimierte Arbeitsumgebung haben, in der sie ihre Inhalte erstellen und ihre digitalen Marketingstrategien analysieren können. So werden sie beispielsweise in der Lage sein, ihr Nutzungserlebnis auf Adobe XD zu erstellen, Content für mobile und Web-Plattformen zu produzieren und diesen Content mit dem Experience Manager zu verbinden, um so die digitale Erfahrung ihrer Marke beurteilen zu können.
„Adobe hat die Möglichkeit, Inhalte mithilfe unserer Cloud-Plattform zu verknüpfen, um die drei Hauptthemen beim Erstellen von Content anzugehen – das Erstellen, Managen und Messen ihrer digitalen Erlebnisse“, so Mala.
Zusammengefasst liefert die Chefin der Creative Cloud somit einen Überblick über die vier Schlüsselbereiche für 2016: Mobilität, Content-Sharing, den neuen Marktplatz für Inhalte und die Entwicklung einer einzigen Adobe Cloud für Unternehmen.

Introducing “LOCL Test”


Adobe

Inspired by the font that I prepared for and referenced in the previous article, I decided to launch a dedicated open source project for this useful test font, LOCL Test.
Enjoy!
🐡

Meet the Fellows from the Sundance Ignite Program

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“I don’t even want to sleep – I just keep trying to soak it all in”
– Kevin Rios, Sundance Ignite Fellow
The Sundance Ignite program is an aspiring filmmaker’s dream. The competitive year-long fellowship offers mentorship and artist development opportunities for emerging filmmakers (18-24 years of age) throughout the year succeeding the Sundance Film Festival.
We’re super proud to support the #SundanceIgnite fellowship program. Of the 15 Ignite Fellows selected by Sundance this year, five of those fellows are winners of the Sundance Ignite “What’s Next?” short film challenge.
Take a look at this new video produced by our friends at YABE Media to see how important and vital opportunities like Sundance Ignite are for rising filmmakers. Definitely check out the winning “What’s Next?” challenge films and stay tuned for more on the Fellows as we document their year with the Sundance Ignite program.

Adobe Creative Camp SXSW Recap


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Thanks to everyone who joined us at Adobe Creative Camp 2016 at SXSW. The room was packed both days and this year, we even had viewers joining in LIVE from Adobe’s Twitch Channel. If you couldn’t make it, or just can’t wait to share what you learned, check out some of the event highlights below:
Designing for the real world
Talin Wadsworth, Adobe’s Senior User Experience Design Lead, shared a behind the scenes look at the process of creating a new tool: Project Comet (now known as Adobe XD). During the session, the audience fired off questions and offered feedback on industry needs. Connecting with the Creative Community is what brings Adobe to SXSW and why we can’t wait to get back there next year.

Six things every designer should do right now
Paul Trani, a Senior Creative Cloud Evangelist at Adobe, discussed the six things every designer should do right now. Whether it’s keeping up on design trends or being aware of new tools that create efficiency in your workflow, Paul made sure every attendee left armed with new knowledge they could implement upon leaving the room (or even before!).

Creating lasting branding systems
Sonja Hernandez, a Senior Experience Designer at Adobe, shared the challenges (and successes!) in creating a visual branding system for ten different products. She even had audience members join in by drawing popular Adobe product logos from memory. A lucky winner received one year subscription to Creative Cloud.

Celebrate the process of getting things done!
Illustrator, author, graphic designer, and 2015 Adobe Creative Resident Becky Simpson shared the productivity tips and tricks that helped her write and illustrate two books, create a backlog of art for 100 days, and work towards building a product company based on her illustrations.

Evidence of Becky’s productivity was literally plastered on the walls. We hung up life-size coloring pages – inspired by Becky’s hand-drawn illustrations created in Adobe Capture and Illustrator – and invited attendees to grab a marker and color. The illustrations are part of Becky’s 100 Days Art Project.

Want to see more of what you missed? Check out this highlight video and join us next year in Austin!

Equality for All


Adobe
Last week we were honored as a Best Place to Work for the LGBT community by the Human Rights Campaign (HRC), with a perfect 100% score on the 2016 Corporate Equality Index, during a ceremony in New York. It was a proud moment for us at Adobe and punctuates an issue that is top-of-mind for many U.S. business leaders, including here in Silicon Valley.
Adobe employees Cam McCluskey (left) and Jeff Titterton (right) with Human Rights Campaign president Chad Griffin (center) last week, receiving an award for Adobe’s 100% score on the Corporate Equality Index.
At Adobe, we believe no one should be treated unfairly. Every human being deserves respect and equal treatment, regardless of gender, race, ethnicity, age, disability, sexual orientation, gender identity or religious beliefs.  When people feel valued, they can be more creative, innovative and successful, and that is critical to every employer.
At the U.S. federal and state level, the protection of equal treatment for all, regardless of sexual orientation or gender identity, is simultaneously advancing and coming under attack.  Recently, some state legislatures have been advancing laws which may allow discrimination of people based on sexual orientation or gender identity. There is currently legislation before Congress designed to address this issue at the federal level.  The Equality Act would preempt state laws that undermine fairness and equality for people in the LGBT community.  Adobe is proud to be part of HRC’s Business Coalition for Equality which supports the passage and enactment of the Equality Act. We see the Equality Act as the next important milestone in LGBT rights.
As a multinational company which operates in all fifty states and throughout the world, Adobe believes federal law is necessary in this area to protect our customers and employees in the U.S. We are very proud to stand with numerous like-minded businesses supporting the Equality Act.
While we respect everyone’s right to hold his or her own personal views, we will continue to speak out where the interests of our business and employees are affected, and that includes advancing the equal rights of our LGBT employees.
In our own practices, we strive to be a diverse and inclusive workplace, from hiring through the career journey.  We believe in equality for all.

Rolling Animate CC Projects into Dreamweaver CC Web Pages


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Sure, animations bring web pages to life. But for far too long, you needed to virtually channel Victor Frankenstein (pronounced Frahnk-en-steen) just to juggle all the elements necessary for handling a proper integration across browser platforms. The recently released, re-engineered and rebranded Animate CC provides an all-in-one package that Dreamweaver CC can easily incorporate—with or without a lightening Flash. Pun so very much intended.
OAM: the Animate CC to Dreamweaver CC connection
As you probably know by now, Animate CC is the next evolution of Flash, ushering its solid foundation of animation tools into a web standards world. One of the web standards supported in Animate CC is OAM, short for OpenAjax Metadata. The specification for OAM was created by the IDE Working Group, which included members from Microsoft, IBM, Google, Sun, and Adobe. A world-class foundation, for sure.
Used primarily to package Ajax widgets (themselves a combination of code and assets), an OAM file is essentially a compressed archive with unpacking instructions built-in; Dreamweaver even provided the ability to import Ajax widgets in OAM format in an earlier release. As part of an Adobe initiative, the OAM standard was employed to bundle animation projects. Now, Animate CC publishes in the OAM format—which, handily, Dreamweaver is still very much capable of reading. Ta-da! Get ready to shout, “It’s alive!”
Publishing an OAM package
Preparing an OAM package in Animate CC is pretty much a one-click wonder. To demonstrate, I opened an HTML5 Canvas file, based on an asset originally created for a book of mine that detailed projects which used the entire suite of Adobe creative tools, Adobe CS4 Web Workflows.  Admittedly, the book is a bit dated with regards to specific products (miss you, Fireworks CS6!), but the basic concepts remain valid and the assets still rock.

Whether you are working with a web standard HTML5 Canvas animation, a Flash movie or a future-looking WebGL project, you can incorporate it in Dreamweaver by following these steps in Animate CC:

If you want to use a frame from the animation as a poster image, move the playhead to that frame.
Choose File > Publish Settings. You can also click Publish Settings from the Publish panel.
In the Publish Settings dialog, select the OAM Package option.
Complete the OAM Package options:

Output file – choose a location to store OAM file. This file will not be uploaded, but you still might want to keep it with other source files for your Dreamweaver site.
Poster image – select either the current frame or a separate web-compatible graphic file.

If you’re ready to export the animation, click Publish.
Click OK.

That’s it for the Animate CC side. Easy-peasy defined, right? Bringing the animation project into Dreamweaver is just as straightforward.
Integrating OAM into Dreamweaver
Once you’ve published your Animate CC project as an OAM package, you’re ready to insert it into your web page in Dreamweaver. Again, it’s one of the easiest operations around—but there is one little adjustment you may need to make. I’ll explain as we work through the example.

With your page displayed in Live view, select the element you want to put the animation in or on either side of.
In the Insert panel, switch to the HTML category and drag Animated Composition onto the page.You’ll find Animated Composition in the collection of media-related objects, the fourth group on the Insert panel. If you prefer to go the menu route, choose Insert > HTML > Animated Composition.
When the Open dialog appears, locate the OAM file you previously published from Animate CC.
As with other elements, when inserting the animation object Dreamweaver will display the Position Assist dialog to help you fine-tune exactly where you want it: Before, After, or Nested within the selected element.
Click Refresh to view your animation in Live view.
You can, of course, also preview the page in a browser.

When the Animated Composition object was inserted, Dreamweaver performed a couple of operations behind the scenes. First, it unpacked the OAM file and stored the results in a site-root level folder named animate_assets. Within that folder is a subfolder for this particular project taken from the file name (FMA_Canvas), which contains an XML config file as well as a folder of assets. The config.xml file points to the assets folder for further operations.
The Assets folder holds all the goodies generated by Animate CC: in this scenario, a JavaScript file, a PNG poster image, an HTML page with all the code to load and initialize the Canvas based animation, and another XML file, this one with an “_oam” string in the file name. The config file within the Assets folder includes all the particular instructions for replicating the animation, including the required files and the properties set in Animate CC.

In addition to adding the necessary files to your site, Dreamweaver inserted the needed code. Here’s what the code from my example looks like:
<object id=”EdgeID” type=”text/html” width=”1020″ height=”280″ data-dw-widget=”Edge” data=”edgeanimate_assets/FMA_Canvas/Assets/FMA_Canvas.html”>     </object>
As you can see, this is a simple <object tag> specifying a width and height as well as a custom attribute, data-dw-widget and the accompanying data, which points to the HTML file in the Assets folder.
Here comes the little adjustment I mentioned earlier. The eagle-eyed among you may have noticed the additional space to the right and below my inserted animation. Dreamweaver automatically adds 20 pixels to both the width and height of an Animated Composition object to accommodate horizontal and vertical scrollbars. If your animation doesn’t need the scrollbars, it’s a quick fix. Just select the containing element—here, it’s #outerWrapper #FMA—and via CSS Designer, add an overview:hidden property.

And there you have it: a clear, uncluttered path from Animate CC to Dreamweaver CC. Now you can use the power tools in Adobe’s animation platform to create motion graphics for the web and quickly showcase them online.
Cue the organ music: “It’s aliiiiive!!!”