Redefining Modern Creativity with the Next Generation of Creative Cloud


Creative Cloud

More people are telling stories than ever before. And at Adobe, we strive to enable that expression by making our creative tools accessible to all at any time, in any place. That’s why today at Adobe MAX we announced the next generation of Creative Cloud.

By introducing a range of new applications in Creative Cloud, along with significant innovations across our flagship tools, we’re enabling creative professionals and enthusiasts alike to express themselves with apps and services that connect across devices, platforms and geographies.

We built the next generation of Creative Cloud in collaboration with you – the creative community – collecting your feedback every step of the way. Three themes guided us throughout our journey to redefine modern creativity:

First, bringing about next-generation experiences that embrace a truly modern approach, so you can work anywhere and any way you want.

Second, increasing accessibility to creativity by investing in assets, education and support to make it easier for you to be successful using any platform.

Lastly, accelerating creativity with Adobe Sensei by embedding artificial intelligence capabilities into our products, which make great design more accessible for everyone.

Next-Generation Experiences in Creative Cloud

The extensive advancements unveiled today help accelerate the creative process for both creative professionals and enthusiasts.

  • To empower photographers of all levels, we have built the all new Lightroom CC, a cloud-centric photo service for editing, organizing, storing, and sharing photos – from anywhere. For photographers who prefer a more traditional desktop-first workflow, we have also brought performance and editing improvements to Photoshop Lightroom Classic CC, previously known as Photoshop Lightroom CC.
  • For designers, we’re introducing two new applications that help you expand your skillsets. Previously in beta, Adobe XD CC is the all-in-one cross-platform solution for designing and prototyping mobile apps and websites. Additionally, Dimension CC, previously called Project Felix, enables graphic designers with no 3D experience to quickly create and iterate on photorealistic 3D images.
  • We also launched Character Animator CC, a 2D animation tool previously in beta, that helps bring still image artwork from Photoshop CC or Illustrator CC to life.

Download or update the latest from Creative Cloud: https://adobe.ly/2yqCqWi

Accessibility to Creativity

We hear you when you say you want to learn, share and be inspired as part of a broader creative community. We see this manifest on Behance, where nearly 10 million people showcase their creative work. Today, we are excited to launch AdobeLIVE on Behance, a live streaming channel for learning and inspiration for the community from the community.

As part of this announcement, we’re also empowering the creative community with new integrated assets, expanded services and educational resources that enable Creative Cloud users of all levels realize their creative potential.

For example, Adobe Stock has expanded its asset collection with the introduction of hundreds of professionally-created motion graphics templates for video users in Premiere CC and After Effects CC. And Adobe Typekit now leverages Adobe Sensei to provide a whole new way to visually and easily search for fonts.

Accelerating Creativity with Adobe Sensei

We understand the pace at which you create is constantly speeding up, and with Creative Cloud we’re helping you go from concept to completion much faster. That’s why we’re combining the power of our creative community and Creative Cloud tools with creative intelligence in Adobe Sensei, our AI and machine learning framework. As part of this Creative Cloud release, we continue to embed capabilities powered by Adobe Sensei across our solutions to give you more time to focus on what you do best – create and innovate. From the curvature pen tool in Photoshop and Illustrator to auto-lip sync in Character Animator, Adobe Sensei enables our tools – and you – to work more effectively and efficiently across your digital canvas.

With the AI revolution emerging as one of the most profound technological paradigm shifts, we’re embracing it with Adobe Sensei to amplify human creativity and intelligence. By blending the art of creativity with the science of data, Adobe Sensei will help free you from mundane tasks and unleash your creativity. We’re constantly working on new innovations that bring the magic of Adobe Sensei to the tip of your brush and transform the entire creative workflow.

Adobe is invested in accelerating the creative process for everyone with the world’s best creative apps. After more than five years of continuous innovation, we’re making a modest adjustment in Creative Cloud commercial pricing for North America customers, which will take effect on March 1 or at the next contract renewal. Until then, renewing subscribers can experience the value of the new features and products announced and available today and new subscribers can lock in a year subscription at the current price with no additional charge:

  • Our current STE Student/Education, Creative Cloud Photography and XD plans will see no pricing adjustment.
  • Creative Cloud for Individuals All and Single App plans will increase by 6%. For example, the new price for Creative Cloud All Apps annual plan will be $52.99 per month from $49.99.
  • Creative Cloud for Teams plans will increase by 14%. For example, the new price for Creative Cloud for Teams All Apps annual plan will be $79.99 per month from $69.99.

For more on what we’re sharing with the creative community at Adobe MAX this year, watch the Adobe MAX keynotes or learn more on Adobe.com.

Welcome Adobe XD CC


Creative Cloud

I’m delighted to announce the 1.0 release of Adobe XD today. Since the first beta release, we have been laser-focused on building a solution that enables fast-paced, iterative design – one that eliminates the need to jump between multiple tools and services, one that prioritizes quality and speed over the number of features, and one that performs flawlessly on either macOS or Windows 10 hardware.

Journey to 1.0

The public beta gave designers visibility into our progress, and the opportunity to provide feedback to help shape XD’s future. With over one million community members who have downloaded XD, we have pored over every single idea, comment, and suggestion.

If you shared your thoughts with us, whether it was via UserVoice, social media, or in-person at a conference – our entire team would like to thank you for being a part of this journey, and for helping us define where we go next.

What’s in 1.0

Design, Prototype, and Share: XD lets you wireframe, create low or high fidelity visual designs, define navigation flows and transitions between artboards, preview and share interactive prototypes, gather feedback from stakeholders, and export assets for production use.

Re-imagined for modern workflows: As you’re using XD, you’ll notice that defining repeating elements, masking images, managing colors, styles, and symbols, and staying organized with layers are faster and more intuitive than expected.

Quality and performance above all: XD’s top two features are speed and stability – from its near-instantaneous launch time, lightning fast zooming and panning (even if you have hundreds of artboards in a single project), and unparalleled stability across platforms.

What’s Next

While 1.0 represents a major milestone, we consider it a foundational release. Our ambition is to make XD the only UX design solution you will ever need, delivering regular updates with more features and functionality based on your feedback, all while keeping XD fast and nimble. Please visit my blog post here for details on what you can expect to see in upcoming releases.

Designers Love XD

We believe XD’s core capabilities, reimagined workflows, quality and performance all contribute to making XD a joy to use. See what designers have already made with XD, and watch how Boosted used XD to design a platform that connects their community members together. This is just one example of how companies are already using XD every day.

Getting started with XD

With the introduction of XD 1.0, now is a great time to design, prototype and share user experiences. We are committed to preserving its quality and performance with each subsequent release while adding the capabilities you need to create richer experiences and to collaborate with your team. You can get XD for only US $9.99/month or as part of the Creative Cloud All Apps plan. Click here to download XD, or visit our Plans Page to learn more. We’re looking forward to seeing your designs – don’t forget to share and tag your projects with “#madewithadobexd.”

Thank you again for helping us to reach this milestone – your ongoing feedback and suggestions are gratefully received by our team on UserVoice, and you can always reach out to us on Twitter (@AdobeXD).

Taking UX Beyond The Screen: Local Projects’ Elvira Barriga on Multidisciplinary Design


Creative Cloud

It’s hard not to be delighted by Elvira Barriga’s work. As the creative director at New York’s Local Projects, she pulls together teams of designers to create experiences that fuse the digital with the physical. Working mostly with museums and other cultural institutions, she creates exhibitions and installations that merge storytelling, graphic design, spatial design, interactive design, and creative technology together. For her, creating a solid user experience has to go way beyond wireframes and the screen (even though those are important to her, too).

At Adobe MAX, Elvira will be sharing her experiences working as a multi-disciplinary designer in her talk, Storytelling at The Intersection of Architecture, Design, and Technology. We asked her for a sneak peek, and asked her to share tips for taking UX way beyond the screen.

You don’t like to define your work as exclusively UX design. What’s your definition of UX to you?

It’s actually a good term, but I think most people understand it primarily in reference to digital applications, and it’s a very different scenario when you go beyond the screen and design interpretive experiences for physical spaces.

Of course we also delve into building wireframes and designing user interfaces for our digital installations, but when we define entire museum experiences, we have to think more broadly about the user experience. I prefer the term visitor experience in that context. In essence we have an institution that wants to convey its story, we have a physical space with its specific conditions, an array of media options to express the content, and then there are the visitors with all their senses and diverse behavioral traits. That means we have to crack a multidimensional experience flow. At Local Projects we are constantly investigating how to use the opportunities of space, media, and technology to tell narratives in unconventional ways. And every design discipline can be in the driver’s seat at a different moment in that regard. I am very curious about the opportunities of that diversity and I am so happy that we have all the disciplines in house at LP. It enriches the ideation process so much.

What’s the best way to create effective, multidisciplinary user experiences?

As designers we have to be the visitor’s advocates. Museum fatigue is not a myth. It’s a real thing. Most curators know that it affects people but they still have a hard time accepting the consequences and editing to amplify. They are spending years and years researching the topic, so to them every artefact has it’s own story and becomes incredibly precious. But the visitors only have a couple of hours.

It’s crucial for me to start a project by spending “quality time” with the key stakeholders and to be able to ask the bigger, sometimes uncomfortable questions. I am intrigued by tensions and ambiguities—but when it comes to projects I just want to clarify them. It may seem like ‘duh, of course you’d do that,’ but it’s simply not always easy to vindicate the time and budget for a proper research and interview phase. We sometimes jumpstart too quickly into designing because we assume that we “get it” or because the client is not open to this kind of engagement.

One of my favourite process tools is to translate key insights from this initial immersion phase into experience guidelines and design principles. That ideally happens before we start digging up ideas and evaluating them. Getting those principles signed off by the client puts the train on the right track and all parties involved understand where we’re heading. It’s surprising how often everybody thinks they’re on the same page while they’re actually not even in the same book.

I truly believe that it’s most valuable and actually most efficient in the long run to take the time in the beginning to understand the landscape of motivations, aspirations, and personalities. When I don’t take it, it pretty much always backfires.

If you don’t put that early work in, what can happen?

A classic outcome are taste discussions and I just hate them. I mainly experienced them while working in Europe, because there was less of a research driven process in place that involved the client. You just got a brief, you worked it out by yourself, you came back to the client with your design proposal and then you suddenly realized that you didn’t have the same design sensibility.

But if you align experience and design principles in advance, then you can always refer back to them as common ground and the guide for decision making. This guide is also my best friend when directing the teams internally. That said, there also needs to be space for intuition and emotional response to the design besides this more rational approach.

Another classic outcome of not engaging the client at the beginning, especially if they are a disparate group, is that they will work out their internal differences on the back of the concept. The creative just becomes a projection surface for their tensions and weeks of design work can end up in the trash bin simply because they haven’t aligned their goals and expectations in advance. That’s when you really lose time and money.

How detailed do your design guidelines get before you actually start creating?

That depends on the complexity of the project and the stakeholder group, but I generally try to be fairly explicit while also leaving some breathing room for the design process. It also helps to use visual references to show and discuss how these terms translate into a look & feel and spatial atmospheres.

Language clarification is also very important to me. There are so many terms that we use all the time without ever questioning if there is a shared understanding of them or what the specific connotations are. It might be a remnant from speaking German as a first language, which is much more precise and nuanced in its vocabulary.

Related Reading: Tips for Communicating Effectively with Clients Who Don’t ‘Speak Design’

Clarifying design terms is very important and sometimes it’s most helpful to just show visual examples. Let’s say we advise an institution to express themselves in a “bold but minimal” way. It’s most helpful to show references for how that might translate into an atmosphere and we can test how comfortable they feel with different visual expressions that speak to that notion.

But to be clear, I’m not interested at all in a process that starts with design references. I always advise designers not to start there. Always start with your own sketches and then back them up with design references to clarify the atmosphere. If a reference can stand in for your idea then you are obviously on a copycat track.

What’s to gain from doing multi-disciplinary experience design really well?

As a studio, we are trying to shift the paradigms for interpretive experiences. We are trying to break with traditional patterns of how public institutions usually convey their story and how visitors usually interact with the content. To me it’s most satisfying when we are able to break the logic of the everyday and offer visitors experiences that allow them to be alert and engaged and simply present in the here and now.

A good example in that regard are the installations we created for ARoS, the art museum in Denmark. They are on a mission to break out of the ivory tower and make art relevant for everyday people and their lives, and they asked us to add a series of interactive installations to their new educational floor.

One of the installations is an eye-tracker experience, where you sit down and look at an artwork for 10 seconds. Then you get a variety of feedback on how you looked, like the path your eyes took or the number of fixations, which directly correlates to how well you will remember the image.

What is really striking about this installation is that visitors spend on average over 4.5 minutes with the eye tracker while the average dwell time in a gallery is 5 to 20 seconds per artwork. Visitors learn a lot about art and composition by getting feedback on their perception of the artwork. I am really proud of that outcome.

What’s your advice to UX designers who want to branch into more multi-disciplinary design?

It takes a certain mindset to relax within the discomfort of not being the expert on everything. Being outside of your comfort zone sounds interesting in theory but in reality is literally damn uncomfortable. Our projects are so different in their nature that most of us feel again and again like novices. But at least it’s never boring.

For designers it’s crucial to keep learning new tools and to continuously become more resourceful in their creative thinking, expression, and execution. And we all need to stop taking things personally. That just makes us weak and we won’t be able to listen to what’s in and behind feedback if our egos are getting in the way.

See more of Elvira Barriga’s past design work on her website, and check out Local Projects for her latest projects in experience design.

Unlimited Creativity: Explore The Power of NVIDIA GPUS at Adobe MAX


Creative Cloud

 

ENTER TO WIN A VR-READY NVIDIA QUADRO P4000 OR NVIDIA SHIELD TV
By Michael Steele

Creative pros test the limits of the imagination. To enable this, and bring new productions to life, they need the fastest, most responsive tools at their fingertips. They need an NVIDIA GPU.

At Adobe MAX, which runs through October 20 in Las Vegas, you can see how the speed of our GPUs enable creativity — whether it’s real-time 8K editing in Adobe Premiere Pro CC, 10x faster motion graphics and 360/VR design in After Effects CC, or an entirely new set of creative concepts driven by AI.

Meet us in booth 443 and visit our partners throughout the show to see how they’re putting NVIDIA GPUs to work for you. While you’re there, enter for a chance to win a VR-Ready NVIDIA Quadro P4000 GPU or an NVIDIA SHIELD TV 4K living room streamer.

EDIT 8K VIDEO IN REAL-TIME

With its stunning quality, 8K media promises to change the video industry. But with over 400 percent higher resolution than 4K video, it stresses even the best software and hardware editing tools.

Spend time with professional video editor Sabour Amirazodi, of Seventh Dream Media, as he edits 8K workflows in real time with RED footage using the latest NVIDIA Quadro GPUs and Adobe Premiere Pro CC.

CREATE VISUAL EFFECTS UP TO 10X FASTER

Visual effects workflows just got better: Adobe After Effects CC is now up to 10x faster on key features when using NVIDIA GPUs. Popular effects such as Sharpening, Fractal Noise, Offset and multiple Blurs use the GPU for fast rendering. Also, powerful color correction effects like Lumetri Color, Hue/Saturation and Tint are faster with NVIDIA GPUs.

BRING ARTIFICIAL INTELLIGENCE TO YOUR CREATIVE EXPRESSION

NVIDIA GPUs accelerate AI to help filmmakers and designers create faster and more intuitively to deliver even better experiences. Interact with some of the latest AI projects optimized by NVIDIA Research, including automatically creating 3D facial animation based on live voice input or magically “painting” a video of yourself in the style of the Old Masters with a style transfer technique.

High-quality facial animation can be tedious and costly. A new machine learning technique called Audio-Driven Facial Animation, presented by NVIDIA Research and Remedy Entertainment, uses AI to simplify this labor-intensive process. Realistic facial animation is generated in real time using nothing more than spoken audio input.

Style transfer uses deep neural networks to process the style information of an image — brushstrokes, color and other abstract details — then applies that style to a live video. It’s art in motion. Style transfer for video is extremely compute-intensive AI work1 that’s brought to life by NVIDIA GPU performance.

 

SEE HOW OUR PARTNERS USE NVIDIA GPUS FOR AMAZING CREATIVE EXPERIENCES

NVIDIA Quadro is the world’s preeminent visual computing platform and a trusted partner in the creative community. Powered by the world’s most advanced GPUs, NVIDIA’s visualization platform fuels a rich ecosystem of solutions spanning mobile clients to desktop workstations to powerful cloud-based solutions.

Creative professionals have unlimited creativity with GPU-accelerated rendering, 8K video production, VR and more. Be sure to visit some of our most innovative partners on the Adobe MAX show floor to see how they’re putting NVIDIA GPUs to work for you.

DON’T GO HOME EMPTY HANDED

While you’re there, enter to win an NVIDIA Quadro P4000 professional graphics card or the NVIDIA SHIELD TV. Stop by our booth and snap a picture of yourself in the live video of the style transfer demo. Then post it on Twitter or Instagram along with #NVIDIA and #AdobeMAX for a chance to win. For more details, visit NVIDIA at booth 443 at Adobe MAX and follow us @NVIDIADesign.

(1) This technology originated from research by Dmitry Ulyanov, et al., then enabled for real-time performance with GPU optimization by NVIDIA Research.

Women in UX: How Robin Newman Uses UX to Make a Huge Impact


Creative Cloud

The sex trafficking problem in Atlanta might not sound like a typical design challenge for user experience designers to tackle, but for Robin Newman it was the perfect catalyst to launch Huge IMPACT.

Initiated by Robin, Huge IMPACT was a weeklong design sprint in which the creative agency came together with the community with the intention of using UX for good. After discussing various ideas, the team decided to focus on the growing sex trafficking epidemic in America. Atlanta is one of the areas in which this crime occurs most frequently in the country.

“We selected an issue that was very relevant and pressing in Atlanta, and is also a global issue,” said Robin. “It was important [that] we tackle something in our own backyard.”

The team brought together various partners to assist in the researching phase of the sprint, including experts from the FBI victim specialists, local law enforcement, and representatives from various organizations such as Youth Spark — an anti-trafficking leader in Atlanta. Arguably the most important person in the room was Keisha Head, a sex-trafficking survivor, turned survivor advocate, who shared her lived experience with the entire Huge Atlanta office, and kicked off the ideation.  This was a critical part of the event — it ensured an educational component for employees and staff beyond just the working team.

The Huge IMPACT team working on what would become Beam, an app that helps survivors of sex trafficking find the support they need.

The question: Can we spend a week producing an outcome that would be beneficial to all organizations involved?

The IMPACT team worked with the partners for an entire day to whittle down to a single challenge that they could focus on. What resulted, was Beam — an application that enables survivors to connect with other survivors, and obtain the resources they need to move forward in their lives.

“We decided to tackle the issue of how can we support survivors transition after having been trafficked,” Robin said. “How can we support them in this transition back into society, and help them with things like finding jobs, housing, services, and the emotional, psychological, and spiritual supports that they need? From what we have learned, it’s about a seven-year recovery, and there’s a big lack in helping people who come out of that life.”

The designs for the app are now available to the organizations, and the team is building on the lessons learned from this pilot program. The lessons of the experience continue to influence Robin’s work.

“For me personally, I want to do work that aligns with my values,” she said.

Brainstorming notes from the ideation process during Huge IMPACT.

Making a case for using UX to make a difference at larger organizations and design agencies.

Prior to working at Huge, Robin spent time volunteering and working in places like India and Guatemala, while also being involved in nonprofit work in Toronto, Canada, where she is from, and New York City, where she completed her master’s in design for social innovation. She had considered other career paths, such as journalism and public health, but was compelled to apply for a 10-week intensive UX program offered at HUGE, while studying for her master’s. She was accepted and, soon after, hired by Huge, moving to Atlanta after graduation to accept a position there. When we chat by phone, Robin is calling from Huge’s New York office, where she is once again based.

The Huge IMPACT initiative showed Newman how larger organizations can take on design challenges to truly make a difference in a community, while also offering benefits to the business.

“What I think is incredible for something like this is it’s really meaningful to the participants and employees involved, but it also has other business implications. It has an incredible ability to showcase work that we don’t typically get to showcase, and it also allows us to experiment with differentiated products — and differentiate ourselves from the market, which I think is valuable for the business at large,” she said.

“This work that we’ve done on Beam has also fed into other sprints, or other work that we do with our clients. It’s about understanding that the business doesn’t have to be separate from social good, and how to communicate what the value of that is, and seeing it not just as a one-off event, but as something that can ripple through the culture and business as a whole in other areas.”

Start making an impact now — wherever you are.

Newman knows this is easier said than done.

“It can be hard to implement social impact programs in agencies/organizations where that is not core to their mission — but that is also why it is an area that is ripe with opportunity, and can have such a big impact if done right and responsibly. That is what drives me to continue what I do here,” she said.

But being successful in this requires a shift in thinking, and a belief that you have the power to start making positive changes right now.

“Any UXers looking to ‘do good’ by just volunteering or changing jobs miss the point. The question I would ask is, ‘how can I make change here?’ Because those are the places that really need the work. How do we encourage our clients to dig deeper, our workplace culture to be better, and our designs to be more responsible and to create a positive impact? Even small changes can be very powerful.”

To start, Robin recommends that UX designers consider implementing the following changes, if you’re not already:

Make your designs accessible. “Every day you have the choice to do small things. …One thing that I can say any UX designer can do, is to think about accessibility in their design, which, for any organization, is valuable.”

Recognize that “UX for good” doesn’t have to be separate from the work you do everyday.  “It is infused in what we do, it is a lens through which we approach the world.”

Ask hard questions. “Are we thinking about the education purposes of this application? How can we improve it more? Are we really looking at how people are using it, and is actually adding value and making some positive impact, or are we just like making that to make it?”

Make a choice to have an impact. “No matter what you’re designing, you can call it social good or not social good. Every day, you have a choice to use design as a tool of communication. The responsibility of how we do that is in our own work, and how we decide.”

Look within. “I’ve developed a social impact meetup here, so we meet monthly, and essentially organize people across this network who are doing internal initiatives. I [also] started a Huge women’s group, here in my own office, to help bridge the gap with career development and growth here in our organization.”

Understand your values. “I think it comes back to really digging into what it is you value, and not compromising on that, and knowing that there is work out there that will support and needs the talents that UX designers have. There [are] so many incredible organizations or problems that are waiting to be solved by designers, UX designers, and technologists at large, and it’s more about, ‘what do you want to support, and how?’”

Impact as a form of advocacy.

At the end of the day, this is about the users. Using UX for impact and for good is about making the world a better place for your users through the services your designs provide, and that’s where the inspiration for impact should derive from.

“Our job is to constantly advocate for the people who are using our products. I think if we’re doing a really good job, we’re truly looking at what the people need, how are they using this, and how does this benefit and [add] value [to] their lives as a whole?” Robin said. “I think you have the opportunity in any organization to do that.”

Filmmaking Team Delivers Panoramic, 6K Experience in 6 Below


Creative Cloud

Filmmaking Team Delivers Panoramic, 6K Experience in 6 Below

On a frigid winter day in 2004, Eric LeMarque’s snowboarding adventure turned into a nightmare when he became lost in a remote region of the Sierra Nevada. Thus began a harrowing week-long journey in which the former Olympic ice hockey player would come to terms with personal demons and his own mortality in a fight for survival. 6 Below: Miracle on the Mountain, edited in 6K native using Adobe Premiere Pro, brings LeMarque’s true story to the big screen in vivid detail. Following its Exclusive Cinema Premiere in theaters across America on Thursday, October 12, 2017, the film will be available on demand and digital HD on Friday, October 13, 2017.

Josh Hartnett as Eric LeMarque in the action/inspirational film 6 Below a Momentum Pictures release. Photo courtesy of Momentum Pictures.

Some directors might be hesitant about taking on a story that dramatizes an internal struggle against the harsh elements. But director Scott Waugh is always up for a challenge. He began his movie career as a stunt actor at the age of 12. After decades in the business, he transitioned to a position behind the camera as a director and producer on movies such as Act of Valor, which features realistic depictions of Navy SEAL operations starting real-life Navy SEALs.

“My background is in action film, but I’ve always been drawn to filmmakers who combine really great action with emotional stories,” says Waugh. The attraction to LeMarque’s story went deeper than the desire to tell a story of intense survival, Waugh played hockey with LeMarque for several years in his youth. “I felt like the story was destined for me,” he says. “I wanted full creative control, so we went the independent route to make the movie that we wanted to make.”

Josh Hartnett as Eric LeMarque in the action/inspirational film 6 Below a Momentum Pictures release. Photo courtesy of Momentum Pictures.

To truly capture the scale of LeMarque’s fight against nature, Waugh needed an equally epic screen to capture it. That’s why Waugh became the first director to shoot a feature film entirely for the BARCO Escape format. BARCO Escape uses three movie screens side-by-side to provide a 270-degree panoramic experience that takes audiences deep into the story, creating a greater sense of LeMarque’s lone struggle against vast expanses of snow.

Shooting a film for new technology is no easy task. Waugh filmed the entire movie on RED Dragon cameras in 6K to accommodate the unique BARCO Escape requirements. He also brought on accomplished editor Vashi Nedomansky to help mold the footage together. Unbeknownst to Waugh, Nedomansky also had a connection to the material: he played professional hockey with LeMarque for nearly a decade.

(L-R) Josh Hartnett as Eric LeMarque and Marty McSorely as Boston Bruins Coach in the action/inspirational film 6 Below a Momentum Pictures release. Photo courtesy of Momentum Pictures.

“Scott didn’t even realize that I knew Eric,” says Nedomansky. “It added another layer to the challenge for all of us, because of our personal connections it was critical that we tell the best story possible.”

Waugh and Nedomansky knew that they wanted a flexible, platform that would enable them to edit the 6K footage natively. “We’re a small, independent production, so when you think about the time and cost involved with transcoding footage, it didn’t make sense,” says Nedomansky. “It’s almost lunacy to attempt a 6K native workflow untested, but we knew we had to try it. Adobe Premiere Pro CC was the obvious software choice because it’s the only software proven to work at high native resolutions.”

Waugh created several editing workstations with Premiere Pro running on Dell Precision 7910 towers with NVIDIA GPUs. This workflow allows editors to pull 6K footage into the Premiere Pro timeline and start editing right away—no transcoding needed.

Mira Sorvino as Susan Lemarqe in the action/inspirational film 6 Below a Momentum Pictures release. Photo courtesy of Momentum Pictures.

“The best thing about editing native is that you get what you see,” says Waugh. “It gives you the freedom to really play with the edit and catch those in-frame details that will support the story in your mind.”

Eliminating the need to transcode also sped up production by allowing Nedomansky and assistant editor Jon Carr to start editing the film from day one of the six-week shoot.

“I prefer working with everything on one timeline as it helps me see how everything fits together,” says Nedomansky. “Before we left Salt Lake City, I’d cut about 62 minutes of the film and had it all on one Premiere Pro timeline. We pushed and it didn’t break, which was really impressive.”

Josh Hartnett as Eric LeMarque in the action/inspirational film 6 Below a Momentum Pictures release. Photo courtesy of Momentum Pictures.

In addition to his assistant editor duties, Carr doubled as the visual effects artist. By taking advantage of Dynamic Link between Premiere Pro and Adobe After Effects CC, Carr could take a scene from the Premiere Pro timeline, remove reflections or comp in night skies using After Effects, and then seamlessly return the shot to the timeline—all without rendering or transcoding.

“If we had a greenscreen shot, I could have it dropped into the edit within half an hour,” says Carr. “We did 99% of the visual effects in house—about 300 shots—and we couldn’t have done it so quickly and easily without Adobe Creative Cloud.”

Between the BARCO Escape release, traditional theatrical release, and eventual Blu-ray release, Waugh needed to accommodate many different frame sizes for a single movie. Premiere Pro is flexible enough to handle all resolution, output, and title options from a single app. Because they were editing in real time, they could also continue to make changes right up to the last second, allowing them to give the story polish without any wasted post-production time. Rounding out the post-production pipeline were Audition, which the team used for first pass audio mixing and Media Encoder, which was used for the DCP outputs.

Josh Hartnett as Eric LeMarque in the action/inspirational film 6 Below a Momentum Pictures release. Photo courtesy of Momentum Pictures.

“I can honestly say that the combination of Adobe, Dell, and NVIDIA on this project created the most powerful and most fun system I’ve ever used,” says Nedomansky.

“The power of Premiere Pro is truly mind-blowing. It’s a fantastic example of how technology can support creativity,” says Waugh. “Combined with the super-systems from Dell and NVIDIA, I think we were able to accomplish the impossible. There’s truly not another system that could have handled this production.”

Join Adobe for the 6 Below: Miracle on the Mountain live filmmaker Q&A on October 13, 2017 from 8:30 PM to 8:30 PM on the Adobe Premiere Pro Facebook page.

Official Website: www.6BelowTheMovie.com

Official Facebook Page: www.facebook.com/6BelowFilm

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Unlocking the Power of Creative Energy With Dropbox


Creative Cloud

Productivity is good—but it’s not why we work. It’s not what gets us out of bed in the morning. It’s not what drives us to try something exciting, to make something new, something we love, something that lasts.

Creative energy is the spark that keeps us going long after office hours are over. The more energy you have for the work you love, the more energy you have to share with your team, and the more energy you ultimately get back in return. It’s not just powerful, it’s renewable. And it’s inside every member of your team.

At Dropbox, we want to help creative problem solvers tap into their team’s energy and keep it flowing. Instead of talking about “productivity” and “doing more”, we want to create open, collaborative environments that embrace transparency and help teams find a new — and better — way forward. Not only are we committed to creating a culture of transparency at Dropbox, but we see evidence of it’s value in the work of our customers, who serve as inspiration to us everyday.

Empowering energy at World Bicycle Relief

One such example is that of World Bicycle Relief. When F.K. Day and Leah Missbach Day saw the devastating impact of the Indian Ocean tsunami, they felt called to help. But they wanted to do more than just send money. After learning that bicycles were one of the best tools for helping survivors mobilize, F.K. decided to leverage his expertise as a co-founder of the SRAM corporation to make a bigger impact. So he and Leah founded World Bicycle Relief to help the people who had been relocated from their homes, schools, and places of work to get moving again.

After distributing over 20,000 bikes to the people of Sri Lanka, WBR learned that the same number of people who died in the tsunami die every two weeks in Africa from hunger and preventable disease. ”You can’t walk away from a statement like that,” said F.K. “So we decided to scale up in Africa.” Using Dropbox to keep their supply chain moving, WBR has now distributed over 350,000 bicycles to the field. By providing access to critical resources, they continue their mission to mobilize the developing world one bicycle at a time.

“I look at the creative energy of good, passionate people working together in harmony,” observes F.K. “It’s an unstoppable force.”

Tapping into otherworldly energy with Future Wife

Collaboration is also core to the work of artist Beau Burrows, co-founder of design collective Future Wife, who wants to teleport people to other worlds. Using Dropbox to collaborate and run the engineering of his installations, he invents interactive experiential installations that are tactile, escapist, and completely immersive. He’s worked with other tech-driven artists like Dave and Gabe, and created installations for everyone from Skrillex to Absolut.

Beau says he uses nature to influence his work, both directly and subconsciously. “In the same way that life has evolved in interactive processes of organisms, I think that it’s important for my work to overlap and never be finished so that a past iteration of a certain piece might turn into a new piece. That parallels evolution, but it also just feels like a more natural way to work.”

Powering creative energy through transparency 

On Wednesday at 3:30 pm, we’ll be hosting a session, ‘Transparent Teams: Driving Alignment Through an Open Creative Process,’ to explore how open collaboration powers creative energy. During the session, we’ll draw from our own experience creating a culture of transparency at Dropbox as well as share insights gathered from our customer community. Register today to join us for what will be a lively — and transparent — discussion.

Design Your Own Adventure with Airstream

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Creative Cloud

In 1931, Airstream began with Wally Byam’s dream: to design a travel trailer that would move like a stream of air, be light enough to be towed by a car, and create first-class accommodations anywhere. Wally’s focus on sleek and highly efficient design is a value we have maintained through the decades. The Airstream Globetrotter is our latest iteration of commitment to Wally’s vision. This trailer is a celebration of European design. With its soft curves and symmetry, the Globetrotter offers a clean, uncluttered look that celebrates simplicity and order. It’s our most design-forward Airstream that feels as comfortable as it is cosmopolitan.

Part of our mission has always been, “To open a whole world of new experiences…a new dimension in enjoyment where travel, adventure, and good fellowship are your constant companions.” To us, innovation is just as important as maintaining the classic Airstream look and feel. As we launch our latest designs and continue looking forward to offer people a world of new experiences, we’re challenging and inviting the world’s top designers to share their favorite creations with us in the form of an exterior trailer wrap.

What would it look like to have your designs featured on the exterior of one of our iconic travel trailers? It’s time to find out.

Visit www.AirstreamDesignContest.com to download your Airstream Travel Trailer template and find a full set of instructions. Use this template to throw your personal touch on one of our travel trailers. Think big, bold, over the top… or calm, cool, and understated – we want you to express your own signature style.

Once you have created your very own travel trailer wrap, upload your designs onto Instagram or Twitter using the hashtag: #AirstreamDesignContest. The winner will be chosen by a team of Airstream and Adobe executives and announced on November 15, 2017. Qualifying entries will be judged on skill, originality, technical excellence, composition, overall impact, and artistic merit.

For the winner of this contest, the entire contiguous United States will be your playground as you will receive a 1 month road trip as a part of Airstream’s Endless Caravan – in a travel trailer featuring your designs!

Win Big at MAX


Creative Cloud

Win BIG at MAX with great prizes such as a Dell Precision 5720 All in One Workstation, a Panasonic Lumix G85 4K Camera Kit, and much more!

We have lots of incredible prizes available, courtesy of our sponsors. We wanted to give you the rundown:

Option 1: Play the MAX Sponsor Game

Visit the Sponsors in the Community Pavilion and use the MAX mobile app to scan the QR code found at each sponsor booth. Receive a virtual trophy every time you scan a code as you build up points.

You get this many points per sponsor:

Diamond sponsor booth trophies are each worth 25 points
Platinum sponsor booth trophies are each worth 20 points
Gold sponsor booth trophies are each worth 15 points
Silver sponsor booth trophies are each worth 10 points
Bronze sponsor booth trophies are each worth 10 points
Exhibitor and participating Engagement booth trophies are each worth 5 points

It’s fun! It’s easy! We’ve got great prizes!

Option 2: Complete the Breakout Survey

We’ve got 3 daily grand prize giveaways for the session/lab/workshop surveys – complete the survey at the end of your session, and you could win one of 3 Wacom Intuos Pro Tablets, or an eBook from Pearson.

Option 3: Complete the Overall Conference Survey at the End of MAX

Check your email at the end of the conference for the link, and give us your feedback on what you thought of MAX 2017 by completing our overall conference survey, and you’ll be entered to win one of 3 DJI Sparks.

Option 4: Attend Select Sponsor Sessions and Sponsor Booths

Attend sessions hosted by some of our sponsors and win:

o  S708 – How Far Can Design Stretch? Mixed Reality? AI? 2D/3D? Hosted by Microsoft. Microsoft will give away a Surface Pro i7 at this session.

o   S711 – Creating Virtual Reality Video. Attend and win a pair of Google cardboard VR glasses

o   S706 – From Concept to Console: How Design Drives World’s Best-Selling Video Games. Win a Sony Playstation 4 Slim courtesy of Wrike

o   S710 – Unleashing the Power of Adobe Creative Cloud with Artist Android Jones. Attend this HP session and you could win a one hour one-on-one design consult with Android Jones

o   S709 – Transparent Teams: Driving Alignment Through an Open Creative Process. Dropbox will be giving away and Apple Watch Series 3 Hermes Edition.

o   S707 – Vimeo Staff Picks: Behind the Scenes. You could win a 1 year Vimeo PRO membership.

Winners

Winners will be announced each morning. Winners will be contacted by Adobe and prizes will picked up onsite or will be shipped directly to them.

You can choose all these options and increase your chance of walking away with an amazing prize. We’ll see you at MAX!

Finding Your Creative Path in a Between World


Creative Cloud

This month we’re writing about young artists who find themselves, one way or another, in limbo. We wondered how artists decide to try new tools or stick with old ones, and how they find creative balance between the digital and physical worlds. What happens when two different creative approaches defy balance, and maybe even crash into one another? For insights, we spoke with graphic designer Tina Touli and photographer Mario AV.

“I’m Against Stagnation”

As a designer, Tina specializes in branding, typography, and editorial design, so her passions run the gamut from web design all the way to bookbinding. We asked her about bridging so many different technologies, old and new. “I am keen on exploring the possibilities of working between two worlds, the physical and digital one,” she explained. “I like jumping back and forth between them.”

Of course, meshing the real world and the digital world isn’t always easy. Tina says the key is to set aside the fear of failure. In fact, there’s a good chance things won’t go as you intended, but those moments present new possibilities. “That is what I enjoy the most—all these challenging and happy accidents during the design process,” Tina says.

Take, for example, the time Tina created a poster to celebrate 30 years of Adobe Illustrator. She started by handcrafting an elaborate paper sculpture of the number 30 that could flip like the pages in a book. But the flipping pages didn’t show the number as she’d planned, so when it came time to film a Graphic Design Live Stream of her process, she improvised on the fly. The end result is stunning, and a great example of how the digital-meets-physical process can unfold, surprises and all.

Image courtesy of Tina Touli

Tina recently created another real-world-meets-digital-world project for us, a piece called “Caught in Limbo.” She used lenses (for the first time) to create intriguing distortion effects. This meant figuring out how the lenses worked with the light and other physical objects, and avoiding unexpected challenges, like when they reflected the laptop she was using.

As an artist who loves to experiment, Tina always has her eye out for the latest technologies to try. “I am against stagnation,” she explains. “What motivates me and keeps me going is the excitement of something new. I like to continuously challenge myself by experimenting with new tools and techniques and by learning new skills and exploring new fields and new mediums.” For the near future, she has her eye on moving images and 3D design tools.

“If You’re Hungry for New Things…You Will Be Rewarded”

Photographer Mario AV began his creative career as a photographer booking gigs with clients. But he craved independence and the freedom to explore his own creative ideas, so he started making stock images full time. It gives him a chance to experiment with retouching technology, and to branch out. Now, he’s jumping into video. “It’s more alive and inspirational,” he explains.

Just like Tina, Mario has had to manage clashes between the digital world and the physical one, even when he wasn’t expecting them. One experience stands out. It was a rainy day and Mario traveled to the mountainous coast of Spain, to the site of an old church now better known as the castle of Targaryens in Game of Thrones. With the dramatic cliffs and moody, breathtaking scenery, he couldn’t resist an opportunity to experiment with his drone camera.

As the camera flew further away, Mario viewed the footage he was capturing, including a seagull flying aggressively—right for his lens. He pulled back the throttle, sending the drone backward as fast as it could go, narrowly avoiding a digital-world-meets-real-world crash. And he never turned off the camera. “It’s a really epic shot that I’ll remember for a long time,” he says.

Since striking out on his own for a more exploratory career, Mario has embraced new tools and technologies as inspiration. “If you are hungry for new things and learning how to be better than you were yesterday—very soon you will be rewarded.”

More Stories in Limbo

Want to think more about what it means to be an artist in limbo? Read about young creatives in a world that’s changing fast, and check out our gallery of images Caught in Limbo from Adobe Stock.

Header image by MarioAV.