Le monde (partiellement) animé de Julien Douvier

Adobe
–  Par Lex van den Berghe, Principal Product Manager, Digital Imaging team
À force d’expérimenter, on peut réaliser des choses extraordinaires dans Photoshop : c’est ce que montre Julien Douvier avec ses cinémagraphes. Si les créations de cet artiste en effets visuels sont extrêmement variées, il apprécie particulièrement l’exercice du cinémagraphe, ou comment, en quelques images, par la juxtaposition d’images fixes et en mouvements, il peut produire un résultat qui accroche le regard.
Nous avons échangé avec lui pour en savoir plus sur son processus de création.
Parmi tous les cinémagraphes que vous avez créés, pourriez-vous nous dire lequel vous préférez ? En quoi se démarque-t-il des autres ?
Difficile d’en choisir un seul… Il y en a tellement ! Mais celui-ci est l’un de mes préférés :

J’aime son côté paradoxal : cette immobilité des piétons et des cyclistes, au premier plan, alors que le tram poursuit son chemin à l’arrière-plan. Les effets de flou directionnel autour des gens amplifient le contraste entre les éléments fixes et les éléments en mouvement. C’est quelque chose qu’on ne peut pas du tout voir dans la réalité, et qui n’est pas facile à produire… C’est la raison pour laquelle j’aime particulièrement ce cinémagraphe.
 
Quels sont les conseils que vous voudriez donner aux personnes qui souhaiteraient créer leurs propres cinémagraphes ?
Le secret est dans la préparation : plus vous planifiez votre image avant de la capturer, plus sa finalisation sera facile ensuite. J’essaie systématiquement d’imaginer l’image finale en amont et pendant la prise de vue. Tant de petits détails peuvent influer sur le résultat final, ou poser problème au moment de la création des boucles.
Un autre élément important à garder en tête : il faut optimiser autant que possible la taille du fichier .gif, pour qu’il puisse s’afficher facilement. La durée de chaque boucle ou le nombre de pixels qui bougent sont des facteurs importants à prendre en compte. Si la boucle est trop longue, s’il y a beaucoup d’éléments en mouvement dans l’image, le fichier .gif comportera beaucoup d’informations et sera trop gros pour s’afficher rapidement sur Internet..

Que diriez-vous si vous deviez décrire votre style artistique en trois mots ?
Simple, naturel, soigné.
 
J’essaie de produire des images le plus naturelles possibles, afin de mieux mettre en valeur les éléments en mouvement. J’aime créer des images qui semblent à la fois très proches de la réalité, à la manière d’instantanés ou de séquences vidéo du quotidien, tout en étant légèrement décalées par rapport à la vie réelle : dans la vraie vie, on ne voit quasiment jamais ce type de boucle qui se répète à l’infini.

 
Quels sont vos projets pour cette année ? 
Actuellement, je travaille en freelance et je crée différents types de contenus (productions vidéo et photos, en plus des images animées), et je souhaite poursuivre dans cette voie. À maints égards, mes images animées sont le fruit d’un mélange entre la photographie et la vidéo : ce travail ne permet donc de me former et de m’améliorer de jour en jour dans les deux domaines.
Cela dit, j’aimerais pouvoir me consacrer à un seul sujet, en me lançant par exemple dans des projets 100 % photo ou des créations de vidéos ou de films. Je ne veux pas que les gens pensent que je ne sais faire que des images animées. C’est la raison pour laquelle je ne m’arrête pas trop dessus et que je continue à tester de nouvelles choses. Et puis je ne suis pas du genre à planifier les choses à l’avance, je verrai bien ce que l’avenir me réserve !
 
Pour voir d’autres travaux de Julien, vous pouvez vous rendre sur son site web, sa page Facebook, son portfolio Behance ou son Tumblr
 

Something fell between the cracks!


Adobe

A peculiar series of events that took place on April 1st (no joke) and 2nd of this year led to the discovery of what can only be described as somewhat of a revelation: A small number of CJK Compatibility Ideographs are necessary for China. This is important, because I made the following statement on page 168 of CJKV Information Processing, Second Edition:

Event #1: My mobile phone, a Verizon Wireless–branded Samsung Galaxy S6 edge, received notification on the morning of April 1st that an OS update was available. Because this is for Android OS Version 6.0.1 (aka Marshmallow), I immediately installed it.
Event #2: I navigated into the /system/fonts/ directory to see what new fonts were lurking inside of my mobile phone, and to my (pleasant) surprise, I noticed the following four Noto Sans CJK fonts: NotoSansJP-Regular.otf, NotoSansKR-Regular.otf, NotoSansSC-Regular.otf, and NotoSansTC-Regular.otf.
I also noticed a font called SECHans-Regular.otf, and when I inspected its tables, I discovered that it was a derivative of NotoSansSC-Regular.otf (the Adobe-branded equivalent is SourceHanSansCN-Regular.otf). Someone, presumably Samsung based on the “SEC” (Samsung Electronics Co., Ltd.) in its filename, added 18 glyphs and removed 100 others.
🤔
The following is an excerpt from the /system/etc/fallback_fonts.xml file:
<family>
  <fileset>
    <file lang=”zh-Hans”>SECHans-Regular.otf</file>
  </fileset>
</family>
<family>
  <fileset>
    <file lang=”zh-Hant”>NotoSansTC-Regular.otf</file>
  </fileset>
</family>
<family>
  <fileset>
    <file lang=”ja”>NotoSansJP-Regular.otf</file>
  </fileset>
</family>
<!– Changing the priority of samsungkorean font to be higher than the Google Font, because font style –>
<family>
  <fileset>
    <file lang=”ko”>SamsungKorean-Regular.ttf</file>
  </fileset>
</family>
Event #3: Being the font person that I am, I first analyzed the 100 glyphs that were removed, and all but 28 of them are for characters that have the UTR #51 property Emoji. Removing those glyphs makes sense for fonts that function in a font fallback environment. My guess is that the presence of these glyphs, or rather the mappings to these glyphs in the 'cmap' table, was interfering with the glyphs in the SamsungColorEmoji.ttf or NotoColorEmoji.ttf fonts that are also present in the /system/fonts/ directory (for reasons that should be obvious, the former takes priority over the latter on my device).
Event #4: I then analyzed the 18 glyphs that were added, and this is where things became very, very interesting, at least for me.
After fully analyzing these 18 glyphs, it turns out that there are nine CJK Compatibility Ideographs, along with the 12 CJK Unified Ideographs that are in the CJK Compatibility Ideographs block, that are necessary for GB 18030 support, and hence necessary for China. Glyphs for three of the nine CJK Compatibility Ideographs—U+F995, U+FA0C, and U+FA0D—were already present in NotoSansSC-Regular.otf, which explains the 18 glyphs that were added.
Actually, when I dug further, I determined that these 21 characters pre-date GB 18030, and were included in GB 16500-95 (aka GBK). What’s interesting is that the Unihan Database lacks kIRG_GSource references for these 21 characters. In other words, these 21 characters fell between the proverbial cracks, which, in my experience, is particularly easy to happen for the twelve CJK Unified Ideographs in the CJK Compatibility Ideographs block.
This points to the following actions that need to be executed:

China needs to submit a horizontal extension to add the 21 kIRG_GSource source references to the Unihan Database, and supply representative glyphs for the code charts. Because these characters pre-date GB 18030, they should use the “GE” source reference prefix that corresponds to GB 16500-95 (aka GBK), and being the helpful person that I am, I already prepared the new records.
China is apparently in the process of revising GB 18030, and it would be a Very Good Idea™ to reflect the Standardized Variants that correspond to the nine CJK Compatibility Ideographs.
I need to prepare an Adobe-GB1-x UVS (Unicode Variation Sequence) definition file for the Standardized Variants that correspond to the nine CJK Compatibility Ideographs. Actually, I already prepared the Adobe-GB1_sequences.txt file, which will be added to AFDKO and its sources.
In terms of the Adobe-branded Source Han Sans and Google-branded Noto Sans CJK projects, most of these 21 characters will require a CN glyph, because the existing glyph is inappropriate for CN use. In addition, the region-specific subset definition for China needs to include CN glyphs for these 21 characters, and a UVS definition file for CN use also needs to be prepared, which will be derived from Adobe-GB1_sequences.txt. These actions are now on the radar for the Version 2.000 update.

It is important to point out that these 21 kIRG_GSource source references have been missing from Unicode for over 20 years, at least when one considers that they originated from a standard that was published in 1995.
Better late than never, right?
🐡

#CreativeFriday – Google Nik collection now available for free.


Adobe
This week Google released it’s Nik Collection for free. This is a wonderful move by the software company and will be a fantastic option for all Lightroom and Photoshop users to further enhance their images. Google Nik Collection, is available for download now, from it’s Nik collection site.

Territory Studio creates UI screen graphics for Avengers: Age of Ultron


Adobe
 Nik Hill will be presenting the session “Avengers: Age of Ultron: The Screen Graphics, 3D Design & Animation Work in After Effects” in the Adobe booth at NAB 2016 on Monday, April 18th at 5:00 PM and Tuesday, April 19th at 3:30 PM.
Territory Studio is an independent creative agency with expertise in branding, motion graphics, and digital. The studio tackles a range of projects including feature films, advertising campaigns, brand identities, collateral, and popular video games. In the past few years, Territory has worked on Marvel’s Guardians of the Galaxy and Avengers: Age of Ultron, Hitman: Agent 47, and The Martian, applying its design expertise across screen graphics and UI, VFX, logos, and titles. Senior Motion Designer Nik Hill enjoys the opportunity to work creatively and watch his designs come to life with help from Adobe Creative Cloud.

Adobe: Tell us about your background.
Hill: I grew up in Bristol, England, which has a huge street art culture, and I loved all of the graffiti. I bought a graffiti magazine and spent hours sketching. I never watched much television, but when I did I was more fascinated with the advertisements than the shows. I decided to pursue a B.A. in Motion Graphics at the London Met and was introduced to Adobe After Effects, Photoshop, and Cinema 4D in my first class!
Adobe: How did you get the opportunity to work on Avengers: Age of Ultron?
Hill: The first project I worked on at Territory was Guardians of the Galaxy. The art department for that film then jumped right into the Avengers project and so did we. It was a fluid transition between projects.

Adobe: How did you decide on the look and feel for the screens?
Hill: The graphics for Avengers: Age of Ultron were based around director Joss Whedon’s vision for a grittier, more human story, so our concepts were based on the characters lives and interests, as well as on their superhero efforts and collaborations. We looked at real-world references and merged them with the Marvel comic book-based design work.
The design team and art department established a style for each character and created mood boards that developed into concept frames. Those were refined for specific story points and the art directors and designers worked with the 3D artists to develop story-specific assets that we designed screens around. We varied the color palette when we designed the screens for the different characters to give each of them their own look. In total we created more than 200 screens and 80 minutes of unique animations across all 11 sets.
Adobe: What tools did you use throughout the process?
Hill: After Effects, Illustrator, and Photoshop are integral to my workflow; I couldn’t do a day’s work without them. Remaking Illustrator assets as shape layers in After Effects gives me more scope to animate things. And it would be pretty difficult to design a computer screen for a movie without the integration of Cinema 4D and After Effects. All of the screens I worked on for the film went through After Effects. I created assets in Cinema 4D, a designer created assets in Illustrator, and I put everything together in After Effects to create a 20-second loop so when it plays on set they can shoot continuously.
Adobe: What do you enjoy most about your work?
Hill: It’s mad to see the screens you’ve been designing next to Tony Stark and Bruce Banner. It’s a hard process and a fast pace and you pour everything into it when you’re working. When you see it at the end it’s such a big payoff. We work with a great team so the process of designing for films is always fun.

Seen This Week: Donna Morris Named Among ‘50 Most Powerful Women in Technology’


Adobe
Donna Morris, Adobe’s executive vice president of customer and employee experience, was recently named to National Diversity Council’s 2016 list of “50 Most Powerful Women in Technology” alongside well-known tech execs Sheryl Sandberg, Marissa Mayer, Safra A. Catz, and more.
“The 2016 Top 50 Most Powerful Women in Technology list honors female executive leaders of the highest caliber within the tech industry,” said Dennis Kennedy, founder and Chair of the National Diversity Council. “It is my honor to announce this group of powerful inspirational women who have reached new heights of achievement in business.”
Donna has made waves in the industry by significantly expanding Adobe’s family leave benefits, and she is well known for abolishing performance reviews in favor of ongoing “Check-ins”.
Each year, the National Diversity Council recognizes its list of the 50 most prominent leaders in technology that have reached the top of their professions, are effective leaders in their organizations, and inspire others to succeed while contributing to business growth. Last year, our CMO Ann Lewnes was honored on the list. The complete list of the 2016 Top 50 Most Powerful Women in Technology is available at http://top50tech.org/2016.
Follow Donna on LinkedIn, Twitter @DonnaCMorris, and Instagram @dcmorrishr.
 
 

Now in Beta: Ensure Pet Compliance with eSign services for Pet Parents


Adobe
Our customers have seen an incredible impact on workflows with Acrobat DC and eSign services. But what happens when the workflow isn’t exactly work? We’ve come to realize that compliance is critical in the office and in the home. That’s why we’re proud to announce our latest product offering, Adobe eSign services for Pet Parents.

We imagine a future where Fido doesn’t hog all the sheets. We dream of a time when Mr. Meowington understands that toilet paper is a finite resource. We hope that this latest advancement in paw print e-signature technology will be an asset to your home in ensuring pet compliance.
To make this even easier, we’ve created a form to help you keep your pets from becoming pests. Simplify pet compliance in your home by downloading the Acceptable Pet Behavior Violation form.


Start your free trial of eSign services right meow!
Subscribe to keep up with all things Document Cloud.

Delivering Digital Experiences that Matter for Government

Adobe
By Erica Fensom, Director of Digital Government Marketing
Adobe Summit, the world’s largest digital marketing conference, took place in Las Vegas last week, attracting a record-breaking 10,000 attendees. This year’s theme focused on becoming an “Experience Business,” which tapped into our observation that we’re entering a new era across industries that’s all about creating an exceptional customer experience at every touch point – from websites and mobile apps to in-person transactions.
Marketing leaders had three full days packed with 150+ sessions in nine different tracks to explore the latest strategies for delivering the ideal experience to every customer. Main stage speakers featured Oscar-award winning actor and director George Clooney, “Silicon Valley” star Thomas Middleditch, actor and singer Donny Osmond, World Champion soccer player Abby Wambach, and more.
While there were plenty of takeaways for government leaders throughout the conference, on Thursday morning we hosted a government-specific session for the first time, explaining the importance of delivering digital experiences that matter for government. We also took some time to explore how new breakthroughs in Adobe Digital Marketing technology will be relevant for digital government in areas such as forms modernization, in venue screens and video management. For those who were unable to attend Summit last week, you can watch the full replay of the government session here.
Digital government has never been easier or more difficult than it is today. With the explosion of touch points and ways to communicate with government, connected citizens have higher expectations than they ever did in the past. Because technology has progressed so quickly, this has encouraged new ways for citizens to engage with government.
What is the experience of government? It’s about what matters for people and for the community, it’s about the education of our children and the future, and it’s about the safety of our world for our military and our police forces. Adobe is the digital experience company, and we are helping enable governments to transform what they’re doing in their outreach to their constituents. If you’ve had a great experience interacting with the government, we would love to hear about it! Send us a note on Twitter using #adobegovexperience.

4月1日掲載の報道に関する対応について


Adobe
2016年4月1日
アドビ システムズ 株式会社
学研「月刊ムー」編集長三上丈晴氏の主張は、事実無根の内容を、十分な取材もせず一方的に掲載したものです。かかる行為は極めて悪質であり、かつ卑劣な行為で、断じて許されるものではありません。
これらについては、公の場で名誉を回復する機会を得ることが不可欠であるとの判断にいたりました。本夕、公開ネット放送の場において主張を明らかにし「月刊ムー」および「三上丈晴編集長」の責任を徹底的に追及していく所存であります。
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Connect On-premise Server Upgrade Fails because of Encrypted SQL Connection


Adobe
On-premise Connect server upgrades will fail when SQL is using a secure encrypted connection between Connect and the SQL database.
Most on-premise Connect deployments do not use encrypted SQL conenctions, instead access is restricted to the DB layer/SQL via partitioning and firewalls. This tech-note only applies to encrypted SQL connections; this upgrade tech-note applies to you if you have installed Connect and then set up SQL encryption according to this tech-note:
Configuring Secure SQL with Connect
In order to upgrade Connect running with an encrypted SQL connection, you will need to remove SQL encryption until the upgrade is complete and then you may reapply SQL connection encryption. Minor Connect dot updates and patches may not appear to fail, but they will be unable to update the Connect database as long as encryption is in place. For example if you apply the 9.2.1 update to a 9.2.0 server, the following will result:
The version.txt file will read mssql=9.2.1.0, while the Database_Version table from the SQL DB will read 9.2.0.0.
Full installer upgrades will fail with more sever log errors, among them you will see this:
java.sql.SQLNonTransientConnectionException: [Macromedia][SQLServer JDBC Driver]The SQL Server login requires an SSL connection.
And an option on this theme in the installation GUI will manifest where, in this case pictured, the 9.5 installer fails in an attempt to upgrade a 9.2 Connect server:

The following steps are required to remove SQL encryption to facilitate upgrading:

Open SQL Server Configuration Manager

2. Open the Protocols for MSSQL Server Properties

3. Under the Flags tab, change Force Encryption to No

4. Under the Certificates tab, clear the certificates and click OK.
5. Restart SQL.
6. On the Connect application server, edit the ConnectProSvc.conf file in the appserv directory; remove the following entries in the list of JAVA arguments (If they exist):
wrapper.java.additional.28=-Djavax.net.ssl.trustStore= <path of Trust Store file created >
wrapper.java.additional.29=-Djavax.net.ssl.trustStorePassword=<Truststore Password >
7. In the custom.ini file in the connect (or breeze) installation root directory, comment the following entries:
DB_ENCRYPTION_METHOD=SSL
DB_VALIDATE_SERVER_CERTIFICATE=true
8. Restart the Adobe Connect and AMS/FMS Services

At this point you are ready to run the Connect updates or upgrade. After you have successfully run the upgrade and performed a full function check, you may reapply the encryption to the Connect SQL database connection by reversing the steps above. Abbreviated they are:

Open SQL Server Configuration Manager
Open the Protocols for MSSQL server Properties
Under the Flags tab, change Force Encryption to Yes

4. Under the Certificates tab select certificate created previously and click OK.
5. Restart SQL services
6. In the ConnectProSvc.conf file in the appserv directory, add the following entries in the list of JAVA args:
wrapper.java.additional.28=-Djavax.net.ssl.trustStore= <path of Trust Store file created >
wrapper.java.additional.29=-Djavax.net.ssl.trustStorePassword=<Truststore Password >
7. In the custom.ini file in the connect (or breeze) installation root directory, uncomment or add the following entries:
DB_ENCRYPTION_METHOD=SSL
DB_VALIDATE_SERVER_CERTIFICATE=true
8. Restart the Adobe Connect and AMS/FMS Services.
Note: For greater detail refer to the original tech-note on encrypting the SQL connection:  Configuring Secure SQL with Connect

4月1日掲載の一部報道(#アドビリーバボー)について


Adobe
2016年4月1日
アドビ システムズ 株式会社
本日、当社及び当社の提供するアプリ「Adobe Capture CC」に関する一部報道がありましたが、かかる報道内容は憶測に基づくものであり、事実ではございません。今後開示すべき情報がある場合には、当社より速やかに開示いたします。
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