Adobe Systems Incorporated

Do not disturb. New creative at work.

We’ve all been there… That moment when your creative juices are flowing and the magic is happening and then, suddenly, you just lose your groove.

We all have at least one well-intentioned colleague/family member/cat who doesn’t pick up on the subtle signs of head down, headphones on, serious face, keys flying, mouse clicking getting-it-done work mode.

While we can’t guarantee this will work on your cat (unless it’s really, really smart), we developed some door hangers that might just help keep your creative mode operational in the near future.

For those working on making the world picture perfect:


For those striving for the deep satisfaction of inbox zero:


For the designer making the next thing we’ll appreciate on Behance:


For the web developer whose logic stream refuses to be broken:


For those making the next big Hollywood feature or YouTube video featuring their really, really smart cat:


Download, print, cut and hang these in plain sight of all creativity disturbers.

Once you’ve done that and can work in peace, mock up your own door hanger using Creative Cloud and share it with us online using #CCDoorHanger.

We look forward to seeing what you create!

12:20 PM Permalink

From Adobe Ideas to Adobe Illustrator Draw: Making The Switch

For quite some time, designer/illustrator Brian Yap has integrated mobile art applications into his professional creative workflow… His mobile app of choice? Adobe Ideas. He’s used the full-featured vector app to capture illustrative concepts, develop them, and later move them to Adobe Illustrator CC for fine-tuning. It’s led to a successful creative process and an identifiable Ideas-to-Illustrator illustration style.

Like many Adobe Ideas users, Brian recently made the switch to Adobe Illustrator Draw. After Brian’s Adobe MAX sessions (What’s New in Adobe Ideas and Designing a Poster Using Adobe Mobile Creative Apps), we asked him to share some of his initial thoughts about making the move. Here’s what he had to say:

By Brian Yap—using Photoshop Mix, Adobe Sketch, Adobe Draw, and Illustrator CC—for his Adobe MAX session Designing a Poster Using Adobe Mobile Creative Apps.

By Brian Yap—using Photoshop Mix, Adobe Sketch, Adobe Draw, and Illustrator CC—for his Adobe MAX session Designing a Poster Using Adobe Mobile Creative Apps.

Adobe Ideas was the most powerful vector drawing tool for the iPad, and it changed the way I thought about the device as a professional tool. Adobe Illustrator Draw is a continuing evolution of Ideas, and proves that the development team is listening and reacting to the community in way unheard of when it comes to graphics applications. Use it. Love it. Become part of its future development.

Of course I always have the immediate reaction, “Why does this thing I love need to change?” But it didn’t take long to fall in love again; besides some amazing enhancements to the drawing engine that I’ve grown to love, the UI has been totally designed with a lot of user feedback taken into account.

Overall, pretty much every time I panicked a bit because a feature I depended on seemed to be taken out, I not only found it a few seconds later, but quickly realized the thinking that went into the redesign. A few thoughts:

While the tools are generally the same, the icons are way more descriptive of what the tools actually do (something I always wondered about with Ideas). As an example, I always thought it was a bit confusing to have a pencil icon for a tool that didn’t have a pencil texture.

There were some cuts made to the tools but with a little trial it’s easy to see why: The “long press” while using a tool was always the same as the paint bucket so the paint bucket tool itself was somewhat unnecessary. Although I was always in the camp of the “long press” I imagine people who relied heavily on the paint bucket will find that change a bit tricky at first.

I like that the Gallery interface is in line with the other new apps that take more advantage of the connection to Behance and the Creative Cloud.

By far the biggest change is in the layers options; Draw is much more focused on the options for each layer. In Ideas, I was constantly merging layers I didn’t mean to merge. Now that the options are reached through touching the layer options icon on each layer, it’s always clear which layer is being affected. One tip: The merge down button is now under the icon that covers flipping the layer.

Finally, based on what I’ve heard, there is some concern about the lack of PDF export… I’ve been told that the option will be added back in a future update.


We’ve asked Brian to keep us updated about his Draw discoveries, so stay tuned to Adobe Drawing on Twitter and Facebook. And for a few tips about syncing Adobe Ideas files to Creative Cloud, Adobe Ideas: A Transformation is a quick read.

10:22 AM Permalink

The BULLY Project Mosaic: Art for A Movement

Bully_1_FinalMosaicAdobe partnered recently with Lee Hirsch, the filmmaker behind the 2012 documentary BULLY, to evangelize his anti-bullying movement The BULLY Project.

The embodiment of the partnership is the No Bully Mosaic. Created by sixteen Behance artists from around the world, who worked independently to create one unified piece, it’s an expression of how community and commitment can change the world.

It, and an accompanying website, The BULLY Project Mural, an ever-changing digital mural to which people can contribute artwork and stories, were donated to Lee’s organization earlier this month at Adobe MAX.

Watch Lee’s powerful Adobe MAX presentation about this global human rights issue and how he’s affecting change for children around the world. Then read the comments, alongside the art, of the artists who contributed to this unique work:


The Eyes, Amr Elshamy (Cairo, Egypt)

“I’ve been bullied all my life but art was there for me so I’ve worked hard to develop art that can speak for me and to others.”

What made you want to get involved with Lee Hirsch’s BULLY Project? When I watched the movie I had this deep feeling that I had to be part of it.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? It was both. I was bullied by other kids in school because I was overweight and was hurt deeply by it. I contributed to this artwork with mixed, really personal, feelings about the negative aspects of bullying.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I’ve had to skip days of school because of other kids and art always there for me. I have great feelings about the power of art and about this movement.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It’s amazing. Every other piece touched my soul somehow.


Paul Trillo (Brooklyn, New York)

“Sometimes the only escape from depression is to let your imagination take you somewhere else. As a kid, I would look to the night sky to let my mind wander.”

What made you want to get involved with Lee Hirsch’s BULLY Project? As cruel as the Internet can be, it can also be equally uplifting and powerful. I was happy to contribute toward something positive that could outweigh some of the negativity that is prevalent online; I was excited to see how I could be a part of something larger with some incredibly talented artists. I was bullied when I was younger, and using that emotional history as a springboard for a creative concept came naturally to me. Plus I was just excited to see how I could be a part of something larger with some incredibly talented artists.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? I was fascinated by stars and astronomy as a kid. I’m not sure exactly why, perhaps because it felt so far away it was a form of escape, but I was easily hypnotized by staring into the sky. It allowed me to take my mind off things at school especially if I was being bullied. I’ve also had a knack for creating cosmic imagery as of late so this was another excuse to keep moving in that direction.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? The best thing that could come of this, is that it inspires someone to go out and create something. The biggest reward for creating work is when motivating someone else to go create. I hope it also spawns a new type of collective—Internet-sourced artists. I discovered a bunch of amazing artists through this project; by doing more communal things such as this we can all help each other get seen.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I had no idea what other people would do, so each and every piece surpassed my level of expectation. I was very impressed overall with everyone’s ability to output something of such high quality and production in such a short time. My favorite pieces are Mike Terpestra’s The Bus Stop and Mark Gmehling’s Social Racism, which both feel honest and capture a narrative with incredible simplicity.


Keep Ya Head Up, Leonardo Betti (Florence, Italy)

“There’s the necessity to keep your head up, to hug people and spread love; true love will give you a colorful and strong feedback that generates beauty.”

What made you want to get involved with Lee Hirsch’s BULLY Project? The trailer was so powerful and at the same time it reminded me of dark childhoods events.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? I have childhood memories about friends who were victims of bullying. I was a victim too when I was eleven. With my art I tried to emphasize how bullying makes you blind and shy, makes you feel alone. But if you lose the fear, and keep your head up, you discover people who love you and give you the force to overcome the bad vibes that result from bullying.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I think that the force of creativity and art is really powerful. It can fight physical violence using beauty and win. And this movement is great. I hope it grows to involve more and more talented creatives and artists.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I felt so happy and at the same time surprised by how different styles and techniques could connect to become one strong and immersive piece. I really liked the aesthetic and the concept of Helping Hands by Coming Soon.


Statue, Christian Bergheim, Anti (Bergen, Norway)

“Bullying isn’t always physical or violent, it can also be about treating someone like air; our artwork is inspired by statues—a metaphor for not being treated like a person.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Being invited to the project was an honour and, after reading about the cause, the movie and the entire project, we simply couldn’t pass on the opportunity.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Our piece is not inspired by any specific episode or memory, it´s more of an interpretation of some of the general aspects of bullying.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? Making yourself heard and your voice count is easier now than ever before, and the web has given people a tool for communication that is completely unprecedented in human history. A single voice can literally change the world, and designers and artists can play a vital role in getting important messages across more clearly and reach out even further. I´m hoping we´ll see visual communicators and creatives teaming up with activists a lot more in the future.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? Honoured and in good company.


Spiral, Pablo Álvarez Vinagre (Brighton, United Kingdom)

“‘I am starting to think I don’t feel anymore.’ —Alex Libby. Inside a spiral of chaos and pain, our mind builds up a shield that makes us impervious to anything coming from the outside. At the end this shield is destroying us, as we are decomposing inside our entrapped thoughts.”

What made you want to get involved with Lee Hirsch’s BULLY Project? As a designer I sometimes wonder if my work has an effect on people, so, when I had the opportunity to participate in this project I didn’t think twice. If I can contribute to such an important cause doing what I know best, it would be absurd not to do it.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Fortunately I have not suffered bullying, but I can understand the pain of the many children who have suffered or are currently suffering it. I think we all have a general understanding of the negative impact of bullying, and therefore we must do our maximum to put an end to it.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? That we can help to express the voice of many people. Communication is a powerful weapon and, therefore, so is art.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? Seeing the full mosaic, I saw sixteen completely different styles expressing the same message. No matter where we come from, or our context, if we all move in the same direction we can change that which we propose to change—and that’s not limited to design or any other art field.


The Bus Stop, Mike Terpstra (Oakland, California)

“With this piece, beyond documenting a specific childhood memory, I hoped to evoke the feelings of loss, upheaval, and fear that bullying unnecessarily introduces into a child’s life.”

What made you want to get involved with Lee Hirsch’s BULLY Project? I was contacted by Cindy Yep at Adobe with an invitation to pitch an idea for the BULLY Project Mural. The catch was… it was due the following day. I was in my final week of a long project at work, and I was considering not contributing based on the time it was going to take to come up with a quality idea and a decent image for the pitch. The thing that convinced me was watching the trailer for BULLY.  I brainstormed a few ideas, and decided to pitch something personal.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? It was. I have one (only one, because the punishment that followed curbed my behavior) regretful memory from my early childhood. I was the bully. I remember pushing a neighborhood kid around one morning because he didn’t bring his toys to the bus stop like he said he was going to do; he ended up going home and missing the bus that day. His mom got in touch with my parents, who had zero tolerance for that kind of behavior.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  I’ve recently become more aware of how apathy and inaction can be overcome with dynamic art. I finished work on the new TV series Cosmos earlier this year (an incredible experience) and a few critics of the series took issue with the need to add such “flashy” and “Hollywood-style” visual effects. Neil DeGrasse Tyson and Seth Macfarlane both understood the show would have both greater impact and reach a much broader audience if the science was presented in a dynamic way. The series was both successful and impactful while effectively communicating an important message, in much the same way the BULLY Project Mural is doing for the issue of bullying.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I was expecting to see some good pieces, but honestly, I was blown away by the mosaic. I’m quite honored to have a piece nestled among such talent. I’ve examined each of them, and they spoke to me in different ways, which is the beauty of art.  I love the diversity represented in the mosaic—the artistic styles and the message each artist wanted to convey.

Bully_8_AdrianAndGidiCheck, Adrian Woods / Gidi van Maarseveen, Adrian & Gidi (Brighton, United Kingdom)

“A single chess piece against many opponents on an abstract chessboard. Showing the overwhelming inequality of bullying in the unpredictable environment of growing up.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Because of some personal experiences in the past we could really identify with The BULLY Project and the stories on the website. So when Adobe approached us about the mural artwork, and we started to look into Lee Hirsch’s work, we knew straight away that we wanted to get involved and spread the word.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Our artwork is based on the general understanding of the negative impact. That being said, our personal experience of being bullied and the stories we read on Lee Hirsch’s website, certainly played a part in formulating the concept. We wanted to portray the feeling of being cornered and overpowered, but leaving the subject or experience open to interpretation.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  We hope for it to strengthen the movement. It would be amazing if a lot of people joined in, spreading the message through art.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It was great to see all the artworks from different artists and designers from around the globe click into each other to form a single piece of art. Visually we love the work of Karan Singh, and conceptually the work from Coming Soon.


Blindness, Valentin Leonida (Montréal, Canada)

“In a world of beauty, the bully wants to control everything. He wants to convert each potential victim to a trophy and, for this, he offers generously his venom. In his soul the hate is stronger than love. But he is not pure evil, he is just blind…”

What made you want to get involved with Lee Hirsch’s BULLY Project? I was very glad to work for The BULLY Project and I hope that the message of the movie can be heard… Everybody feels that something is wrong but nobody reacts. The documentary reveals that fact and if people see the movie they will understand that we are all involved in this. Our ignorance generates violence and suffering.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? I am very new to North America. I come from a different culture—more precisely from Romania—and I remember clearly the years of childhood when the violence experienced by young people was something “normal.” Like a path of initiation. After all, the entire population was under the pressure of a Communist regime and children are the last link in this absurd chain. Fear became a very effective tool to cut any open wings. I saw how parents accepted the wounds of their children because they all believe that this is a growing process. So everyone had clipped wings. Over the long term it creates a society based on pain and fear.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? It’s a beginning. We still live in a time of madness. It’s unacceptable to have fights and conflicts in a world with such a high level of cultural and technological achievement. I dream that one day the walls of great cities will become open pages of culture and enlightenment. We must accept that the only tool to fight against violence is culture—an active culture. Because they have the power, large companies should promote ideas not products. I hope that this project will touch hearts and begin to change the collective mentality.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? Like a bee contemplating a honeycomb. I enjoy the idea of synchronicity in art whereby artists keep their personal vision and sensibility. Each piece is interesting. It’s hard to choose one because the mediums are very different (photography, installation, animation, 3D); the most important thing is that we now have a participatory art mosaic.


Social Racism, Mark Gmehling (Dortmund, Germany)

“Bullying is a variant of racism based on social status driven by group dynamics. The most uneducated are leading a mob of labile followers terrorizing persons not fitting their frame.”

What made you want to get involved with Lee Hirsch’s BULLY Project? My own experiences in school. I wasn’t punished physically but I remember the strange group dynamics that were tolerated or perceived as cool. You ask yourself if you want to confront a majority and socialize with the victims because it feels right, but you’re unconfident yourself. Simply: It’s important to talk about bullying.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? In my case it was more a general understanding of the situation that I wanted to visualize. Bullying is an awful social dynamic we all know on the big scale. The biggest problem is that the terrorized kids get tired of living,  too young to understand that their fate is caused by the missing courage and/or bad breeding of the mob.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  That the visual activists get the needed attention and recognition to keep rolling.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It felt good being able to contribute to this important subject because I’m sure it helps and encourages people (and kids) to support each other more. Conceptually I really like the work of Amr Elshamy, that depicts the challenge of the children who have to face their fears again every single day. I want to whisper, “Stay brave, stay strong. You are not alone.” as Alberto Seveso said in his great work.


Dark & Light, Gastón Pacheco (Mendoza, Argentina)

“The main concept of my piece is Contrast; a lighter and friendly area where coexistence, empathy, harmony, and color stand over broken, fragile and crushed symbolic elements dispersed in darkness.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Since the moment I was contacted to get involved with The BULLY Project, it seemed very interesting to me. I got really excited with the idea of a collective contribution to a noble cause, and of many points of view captured in a single work.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? What I expressed is not from a specific memory, although it was created with the load not only of having suffered it partially when I was in secondary school, but also of being witness to so many other people suffering it.

The visual activism of designers and artists can shape culture. What’s your hope for this movement?  I think the most important is to expand the consciousness about the influence of bullying in our lives. It shapes our lives, so it shouldn’t be ignored.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? The mosaic radiates effort, dedication, and compromise toward the subject. Even so, what I liked the most was to see the way in which many people joined The BULLY Project Mural after the mosaic was finished… contributing to the cause.  One of the works that impacted me is Mike Terpstra’s The Bus Stop and his memories of bullying someone else. It made me think a lot of how unconscious we are to the acts we carry out in different stages of our lives; we often don’t know why we do what we do. I think that the awareness needs to take into account both parts equally—the bullied and the bully—because both are part of the problem.


All Sorts, Karan Singh (New York, New York)

“My response is based on the notion of acceptance and celebrating differences. My goal was to use differing patterns and colors on confectionery, an inseparable part of childhood, as a visual metaphor.”

What made you want to get involved with Lee Hirsch’s BULLY Project? I admire that the documentary draws long overdue attention to an often underestimated and unaddressed aspect of growing up.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Though I definitely experienced my fair share of bullying, my approach was more about embracing the positive impact of the documentary. I liked the idea of acceptance and embracing differences… and it’s what I hoped to convey in my tile.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I’d hope that as a result there’s more of an acknowledgment and dialogue on the issue that, ideally, would result in less of a stigma in speaking up.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I was pretty stoked and I think the idea of a mosaic aligns well with BULLY‘s message. There’s something powerful and empowering about working collaboratively to make something big.


Helping Hands, Jim Van Raemdonck, Coming Soon (Wetteren, Belgium)

“Protect something precious. Helping hands viewed almost as a statue trying to help. White is the colour of hope and symbolizes that we all have to work together to solve the problem of bullying.”

What made you want to get involved with Lee Hirsch’s BULLY Project? Adobe asked us if we would be interested in creating some artwork. Bullies don’t realise that what they do when they’re kids can influence someone for life. It’s a serious problem for the victims and this project brings it into the spotlight in a way that makes it difficult to ignore.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? We saw it more like a symbol, a sign that we all have to work together to protect those who are bullied. The hands protect something precious, something golden.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? That it’s a sign. That now is the time for things to change.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? It’s a really nice concept. It’s surprising that this piece is made by different artists all over the world who never met each other and never saw the other pieces… yet when you put it together, it tells a powerful story.


Tell, Gregory Barbot (Nantes, France)

“The word “Tell,” composed of bubbly letters stands out from the word “Hell,” composed of graffiti letters. The use of speech can break down the cycle of violence and its dramatic consequences.”

What made you want to get involved with Lee Hirsch’s BULLY Project? When Adobe asked me to create an artwork on the theme of bullying I hadn’t heard about The BULLY Project in France. But when I looked at the trailer, I found it really important to get involved because bullying is unfortunately an international issue.

Was your art based on a specific bullying memory? Or a more general understanding of the negative impact of it? Although I witnessed bullying during my childhood, my art isn’t based on a personal experience, but I’m a father now and I worry about it. As Lee Hirsch demonstrated during his Adobe MAX keynote, it’s a subject that should concern everyone.

The visual activism of designers and artists can shape culture. What’s your hope for this movement? I hope that we will help to spread the message all over the world. Solidarity and caring for each other is the basis of humanity. This problem is universal and we have to avoid tragedies among us, especially when children are involved.

How did you feel when you saw the completed mosaic? Was there another piece that really touched you? I really like the final art. It shows the depth of the subject how it affects every artist differently. Every piece is different (concept, medium, and graphic treatment); despite that, the work as a whole shows a strong unity.


Taijitu, Yovcho Gorchev (Mendoza, Argentina)

“A portrait of an innocent fictional character, captured in a dreamlike state. Her face, illuminated by the physically burned area, serves as a visual metaphor for the willpower to erase and oppose negative memories and actions; to find the strength and courage in one’s own inner self.”


Alex, Alberto Seveso (Bristol, United Kingdom)

From Lucius Annaeus Seneca’s Of a Happy Life, Book XXVII: “I offer myself to all attacks, like some lonely rock in a shallow sea, which the waves never cease to beat upon from whatever quarter they may come, but which they cannot thereby move from its place nor yet wear away, for however many years they may unceasingly dash against it. Bound upon me, rush upon me, I will overcome you by enduring your onset: whatever strikes against that which is firm and unconquerable merely injures itself by its own violence.”


Into Ashes, Flora Borsi (Budapest, Hungary)

“Inspired by my childhood, I wanted to do something dramatic… This photo-manipulation depicts the essence of the destructive nature of verbal aggression.”

9:56 AM Permalink

Creative Cloud: New Features + New Mobile Apps = New Tutorials

At Adobe MAX 2014 the Creative Cloud Learn team launched more than 40 new tutorials to help members learn new features and updated techniques.


Hi everyone!

It’s been a big week for the Creative Cloud Learn team. Many of us were lucky enough to be at MAX, where we were able to meet many of our customers, both in labs and at the Adobe Booth in the Pavilion. Additionally, on Monday, Adobe released major updates to Creative Cloud’s desktop apps along with new mobile apps. All of these new features are covered in over 40 new tutorials. Some of the highlights:

  • How to get started with Creative Cloud Libraries—Browse and access your favorite creative assets (colors, type styles, graphics, brushes, and more) in new libraries that sync to Creative Cloud and are available in Adobe Illustrator CC, Adobe Photoshop CC, and many of the new mobile apps.

  • Extract overview—Easily extract optimized image assets from layers and save them to various formats and resolutions, including SVG, using the Extract PSD assets workflow. This feature is also integrated with Creative Cloud on the web and with Adobe Dreamweaver CC. The feature will be a huge timesaver for designers and developers who use a comp-to-code workflow. See for yourself; check out Extract a Photoshop design into code in Dreamweaver.

  • Add interactivity to fixed layout EPUBs—Enhance fixed layout EPUBs with hyperlinks, slideshows, animations, and triggering buttons that you have created directly in Adobe InDesign CC.

  • Join and trim paths—Second only to the Surface Pro giveaway, the demo of Illustrator CC’s  Join tool drew the loudest applause during the MAX Day 1 Keynote!

  • We also deployed over 60 tutorials to support Photoshop CC’s new Welcome screen. After upgrading, start Photoshop CC and take a few minutes to navigate through this panel  that presents videos based on the features you use. I think you’ll like what you see.


Many, many people put in a lot of hours and hard work on this and I want to take a minute to acknowledge them:

  • I’d like to thank all of our presenters, in particular, Matt Pizzi, Dan Carr, Laura Shoe, Curt Fukuda, and the folks at Infinite Skills. They all put in extra effort to make sure we got things right.

  • Also, I want to thank my editorial team: Amy Hope, Erick Vera, Karla Milosevich, Rita Amladi, Maile Valentine, Stefan Gruenwedel, Michael Salinero, Hemanth Sharma, Ray Camden, and Jill Merlin did an awesome job and I can’t thank them enough.

  • We talk a lot about design-led innovation, and Luanne Seymour’s design team makes it happen: Chelsea Allen, Erica Larson, Janelle Flores, Michael Jarrott, Kendall Plant, Laura Kersell, Amanda Gross Tuft, Julia Grummel, and Alec Malloy are all awesome

  • Other major contributors include Robin Maccan, Mally Gardiner, Daniel Taborga, Jenn Clark, Viv Moses, Kirsti Aho, Serena Fox, Craig Goodman, Michelle Yaiser, George Fox, Christine Yarrow, Quinn Warble, Diane Catt, Ed Sullivan, and of course, Ben Forta.

Huge apologies if I’ve forgotten anyone; this was a real team effort.

Most of our pages link to surveys or forums, so please let us know what you think.


11:29 AM Permalink

New Features, and A Mobile App, for Creative Cloud’s Pro Video Tools

Updated desktop features, born from a collaboration with David Fincher’s Gone Girl team, and Adobe Premiere Clip, a new mobile app.

On Monday, at Adobe MAX 2014, the world’s leading creativity conference, Adobe announced the availability of new and updated free mobile apps, like the all-new Adobe Premiere Clip for iOS, and 2014.1 updates to Creative Cloud applications, including all of the video tools:


Adobe Premiere Pro CC
Adobe After Effects CC
Adobe SpeedGrade CC
Adobe Prelude CC
Adobe Audition CC
Adobe Media Encoder CC
Adobe Story CC Plus
Adobe Anywhere

Adobe previewed the new video features at IBC 2014 last month. Key themes for the updates include: new project and media management capabilities, such as Search bins and Destination Publishing; support for cutting-edge technologies, like HiDPI Windows 8.1 displays and devices and read/write support for the GoPro CineForm intermediate codec; and more streamlined workflows, including Curves adjustments and a refined new Look workflow in SpeedGrade CC.

Introducing Adobe Premiere Clip

The MAX announcements also included the release of Adobe Premiere Clip, a brand new iOS app that makes it easy to turn footage on an iPhone or iPad into great-looking videos. The app allows users to edit and enhance video with professional looks, effects, and audio. Premiere Clip uses Creative Cloud to automatically sync projects between devices, so that users can shoot whenever they have an opportunity—and edit later when they have time. Users can also move Clip projects into Premiere Pro CC via their Creative Profile, which provides access to their rich desktop toolset.



“With Premiere Clip we’re making editing a function that is always in your hands. Our goal is to bring the tools to the media,” explained Bill Roberts, senior director of product management. “This allows people to ‘just do it’ and start making their own beautiful videos, completely on device, or to use it as a kind of sketchbook for video pros who want to rough out ideas to bring into Premiere Pro.”

Adobe Premiere Clip for iPhone and iPad is available as a free download in the iTunes App Store.

The Influence of Gone Girl

Coinciding with the recent theatrical release of Gone Girl—directed by David Fincher and edited on Premiere Pro CC by Kirk Baxter, ACE—the new updates include a number of features developed in collaboration with Team Fincher. These include larger features, like Multi-project workflows and Advanced Timeline search, workflow enhancements like EDL improvements and Render & Replace, and important details of the UI and workspace refinements, such as ripple label colors and definable marker colors, the way in- and out ranges are displayed.

In Gone Girl Rosamund Pike portrays Amy Dunne, whose mysterious disappearance turns her husband into a possible murder suspect.

“I believe this was the first major Hollywood film shot at 6K so the scope of the project was huge.” said Al Mooney, senior product manager. “We were working with an artistically-driven and incredibly technical team at the top of their game. It was an inspiring experience for us and we’re immensely proud to have been part of it.”

Fully 80 percent of Gone Girl ended up as some form of After Effects CC composition on the final Premiere Pro Timeline for the project. This gave rise to the request for the Render & Replace feature from Team Fincher. Render & Replace ensures fast playback of projects with lots of visual effects by substituting comps with rendered clips—without losing Dynamic Link integration between Premiere Pro and After Effects. “It’s exciting for us to be releasing features for all of our users that have evolved out of a collaboration with one of the best filmmakers in the business,” added Mooney.


Along with a significant update to Premiere Pro CC, all of the video tools received enhancements and new features with the 2014.1 release. For more information watch this overview video by Al Mooney.

To learn more about Adobe’s collaboration with David Fincher and his team on Gone Girl, read Gone Girl Marks Yet Another Milestone for Adobe Premiere Pro CC.

Learn more about Adobe Premiere Clip and the rest of Adobe’s new and updated mobile apps.

Watch the Adobe MAX 2014 launch keynote and learn more about all of the great new fall releases.

Pricing and availability

Today’s updates to Creative Cloud are available to Creative Cloud members as part of their membership at no additional cost. To join Creative Cloud, special promotional pricing is available to customers who own Adobe Creative Suite 3 or later and membership plans are available for individuals, students, photographers, teams, educational institutions, government agencies and enterprises.

10:36 AM Permalink

Creative Cloud: A New Era of Mobile Creativity

Just over three months after the major 2014 release of Creative Cloud, we’re delivering another milestone Creative Cloud release at Adobe MAX 2014. A quick run-down of the new and updated Creative Cloud apps, features and services that are available today.



Your Creative Profile connects you to your work

Think you can’t do “real” creative work on your iPhone or iPad? That’s about to change. With this release, our Creative Cloud team is setting out to transform the way you work across desktops and devices.

It all starts with a Creative Profile—your creative identity within Creative Cloud—the heart of this Creative Cloud release. Your Creative Profile connects you to your work, to the assets you create with, and to the communities you care about—wherever you are. Your files, photos, colors, brushes, shapes, fonts, text styles, graphics, and assets from Creative Cloud Market will be at your fingertips because your Creative Profile moves with you. It works across apps and across devices, giving you access to what you need, when you need it, and in the right context.

Meet the mobile app families

In June we brought the power of Adobe Photoshop CC and Illustrator CC to devices with a complementary set of imaging and illustration mobile apps. Not only do these apps break down the silos between desktop and mobile, but they’re fun and easy to use, and provide countless new ways to express your creativity. Today we’re proudly debuting more new apps, as well as updates to all of the apps we introduced in June:

The Illustrator family of apps extends the power of Illustrator CC to mobile devices:

MAX_1_DrawAdobe Illustrator Draw—An all-new app that reinvents the best of Adobe Ideas, letting you work with familiar tools and features in a modern, streamlined interface. Better syncing makes it easier to send drawings to Illustrator CC for refinement.

MAX_2_LineAdobe Illustrator Line—A major update to the app we first shipped in June; Line sketches can now be sent to Illustrator CC, enabling you to edit original vector paths, and more.


The Photoshop family of apps brings the power of Adobe digital imaging to mobile devices with the full compatibility of Photoshop and Lightroom:

MAX_3_MixAdobe Photoshop Mix—Now available for both iPhone and iPad, it includes amazing new technology with a cut-out option that automatically creates a selection for the primary element in an image.


MAX_4_SketchAdobe Photoshop Sketch—Draw with new expressive brushes as well as custom brushes, and send sketch artwork to Photoshop as a PSD file, opening the door to deeper integration between Sketch and Photoshop CC.

MAX_5_LRLightroom mobile—Builds on the amazing image management and editing capabilities… view comments and favorites in Lightroom mobile that clients, friends, or family leave on the photos you’ve shared online in Lightroom on the web.


The Premiere family now has a mobile app for video editing on the go:

MAX_6_ClipAdobe Premiere Clip—Our first video-editing app brings the power of Adobe Premiere Pro CC to mobile. It works on iPhone and iPad and integrates with Premiere Pro CC on the desktop for professional editing and finishing.


We’re also really excited about a new family of mobile apps for capturing inspiration on the go and dropping them directly into your creative workflow:

MAX_7_ColorAdobe Color CC (formerly Adobe Kuler)—Create color themes on your iPhone from the photos that inspired them.


MAX_8_BrushAdobe Brush CC—Transform images on your iPhone and iPad into unique brushes for Photoshop CC, Illustrator CC or Photoshop Sketch.


MAX_9_ShapeAdobe Shape CC—Turn shapes and objects from high-contrast photos on your iPhone into editable vectors for use in Illustrator CC and Illustrator Draw.


Updated desktop apps & services make it all easier

MAX_10_PhotoshopPhotoshop CCNew 3D printing features, enhanced Mercury Graphics Engine performance, and improved support for Touch on Windows 8


MAX_11_IllustratorIllustrator CC—A new Curvature tool, and new Touch support for Windows 8 devices like Microsoft Surface Pro


MAX_12_InDesignInDesign CC—Interactive EPUB support and a new Color Theme tool


MAX_13_MuseAdobe Muse CC—SVG support and Synchronized Text


MAX_14_PremierePremiere Pro CC—Search Bins and GPU-optimized playback


MAX_15_AfterEffectsAfter Effects CC—An enhanced 3D pipeline and HiDPI support


MAX_16_DreamweaverDreamweaver CC—Expanded Live View and Creative Cloud Extract (read on for details)


MAX_17_FlashFlash Pro CC—Improved WebGL support and custom brushes


  • Creative Cloud Market—A collection of high-quality, curated content that’s free to Creative Cloud members. Access thousands of patterns, icons, brushes and vector shapes to add to your own projects.*
  • Creative Cloud Libraries—A powerful asset management service, connected to your Creative Profile, that facilitates a seamless workflow between our desktop and mobile apps. Save favorite colors, brushes, text styles, graphics, vector images, and content from Creative Cloud Market into one of your Libraries, and those creative assets will be available to you as you work across Photoshop CC, Illustrator CC, and our mobile apps.
  • Creative Cloud Extract—Simplifies the comp-to-code workflow by making it a snap to extract design information (like CSS, colors, gradients, measurements, and fonts) from a PSD file. Extract works right inside of Photoshop CC and Dreamweaver CC, or can be accessed in Creative Cloud Assets where your files are stored.

The power of community

The Behance community has grown by leaps and bounds since joining the Adobe family, and now has over 4 million members with more than 20,000 new portfolio projects and “works in progress” published every day. The new Creative Talent Search from Behance connects creatives across the globe with job opportunities from top companies and major brands. Just one more great reason to join Behance if you haven’t yet.

A big investment in training

The pace of innovation in Creative Cloud tools and services is growing fast. So the Creative Cloud Learn team has stepped up its game to keep you on top of your game. Hone your skills with hundreds of tutorials that cater to every experience level. The how-tos are viewable in your browser, on your iPad, and some are available inside your Creative Cloud desktop apps.


There are some amazing new things in this release. And you can see it all, just as it unfolded, from center stage in the Adobe MAX 2014 Day 1 launch keynote, now available on demand. Watch the new mobile apps in action and see how they connect with the desktop apps and services through your Creative Profile—your creative identity within Creative Cloud.

Get your hands on the newest Creative Cloud apps, features and services available today. If you’re already a member, it’s time to update Photoshop and your other apps. And if you’re not a member yet, join us for the journey.

*You must be a paid member to access Creative Cloud Market assets; Creative Cloud Assets are not included with Creative Cloud photography plans.

9:49 AM Permalink

Creative Cloud Learn’s Enhanced Search Pilot

Find the right tutorial. Faster.


We’ve got almost 1,000 Creative Cloud app tutorials. Until now, they’ve been difficult to find. This summer, the Learn team built a completely new tutorial search experience to help you get what you need faster. Today we’re excited to announce a complete redesign of tutorial search.

Search that’s easy to get to from every tutorial page

Our search results have been totally redesigned to help you decide which tutorial works the best for you. On the results page you’ll find a whole new look.

Each search result includes:

  • Tutorial description
  • Tutorial type (video, text, hands-on, game)
  • Duration (length of the tutorial or time to complete a hands-on project)
  • Apps covered
  • User level


There are also new filters to refine searches:

  • App search defaults. Based on the product page you came from; apps can be added, changed, or removed.
  • New features. Looking for recent app changes? Filter for the latest updates.
  • Level. Look for tutorials that match your experience.

What if you can’t find what you’re looking for?

Don’t despair. This new search index only includes the tutorials. We’ve got thousands of help and troubleshooting articles in our main search index. If tutorials aren’t the Learn/Help content you’re looking for, there’s always the ability to access global search from the main Learn & Support page.

We plan to expand this new experience in the future to include all Learn & Support content. In the meantime, let us know what you like, what you don’t like, and what you think.

10:23 AM Permalink

Adobe Theatre: Our Outstanding Lineup at IBC

Presentations by an impressive group of Adobe pro video users signal a promising event.


This Friday, IBC 2014 will kick off in Amsterdam and Adobe will be there previewing the updates coming soon to Creative Cloud’s pro video tools. In addition to Adobe presentations on our video and audio applications, we’ll also have a five-day lineup of our top customers sharing their workflows, tips and tricks.

Pulling off the broadcast of the largest sports event on earth, The World Cup, is no small task. HBS will feature its workflow, its use of Creative Cloud, and the well-integrated partners used, like EVS, to produce this amazing event.

Swiss Radio and Television (SRF) gave us the chance to witness magic moments of incredible artistry and athleticism performed by the athletes competing at the Sochi Games. For video content, like their stunning Sochi opener, SRF used Adobe SpeedGrade CC to give content from different sources a uniform look, and switched to Adobe Premiere Pro CC as their main editing tool, which replaced Final Cut Pro. Simone Nucci and Simon Renfer share their incredible work starting the Sunday of IBC.

Red Bull is not just a brand that sells energy drinks—it is also a multi-platform media company that produces premium sports, culture, and lifestyle content with help from Creative Cloud and Premiere Pro CC. The well-known international brand has expanded into streaming video through Red Bull TV, an independent music label, and sponsored dozens of athletes, teams, and events. Red Bull Media House’s Andreas Gall, will share how the team users Creative Cloud to give the company the wings to connect people with the international Red Bull brand.

Veteran filmmaker Philip Bloom will share his unique approach to documentary filmmaking using Creative Cloud with Premiere Pro CC at the hub. His outspoken approach to low-budget video creation and whole-hearted embrace of social media has helped hobbyists as well as experienced professionals shoot better video.

The United Kingdom’s Karrot Animation has become a recognized industry leader, producing 2D-animated shows including the international hit Sarah & Duck. Karrot co-founder Jamie Badminton will be presenting the studio’s use of Creative Cloud in the making of the series.

Bryn Balcombe, technology director for London Live, will share how the new UK station’s broadcast and production infrastructure’s use of Creative Cloud supports the fast-paced production and distribution of standard-definition television over the air and high-definition television on any device.

ITV Studios shares how it has modernized its approach to broadcast productions and highlights its use of Adobe Story CC Plus and Premiere Pro CC through Creative Cloud to produce the UK’s well-known serial dramas, Coronation Street and Emmerdale.

With blockbuster films such as Godzilla, the Harry Potter franchise, and Life of Pi, and advertising campaigns for global brands including Samsung, Ikea, and Visa, you can see why MPC is one of the world’s leading visual effects and motion graphics studios. William MacNeil will feature the studio’s stunning work and explain how Creative Cloud is used to craft their most compelling visual experiences.

Ending the line up is one of our favorite game-developers and games, Angry Birds. Rovio animation director Jussi-Petteri Kemppainen and pipeline and tools developer Pauli Suuraho will share how they created the first season of Angry Birds Toons, which can be viewed on the company’s multiplatform video channel, ToonsTV. You’ll also see how they used Adobe After Effects CC and Photoshop CC to do 3D-like rigging to build one of the world’s must popular games.

If you’ll be attending IBC, check our Booth Schedule to see the presentations live, and stay tuned to the Pro Video playlist on the Adobe Creative Cloud YouTube channel (we’ll share the recorded video presentations in an upcoming blog post after the show ends).

Read more about the top new features and enhancements being revealed at IBC, and for more in-depth information, visit the product blogs for Premiere Pro CCAfter Effects CC, SpeedGrade CCPrelude CCMedia Encoder CCAudition CC, and Adobe Story.

11:28 AM Permalink

Explore: A New Way to Learn Creative Cloud Apps

Adobe’s Creative Cloud Learn (CCL) team has been hard at work improving the user experience of our tutorials to make it even easier to learn the apps in Creative Cloud.

Most Creative Cloud apps have their own landing page showing all of the tutorials in a single view, with topics organized to reflect a logical flow that matches how people will likely work with the features in that app.

New Explore pages provide at-a-glance views of our tutorials.

New explore pages provide at-a-glance views of our tutorials.

The core of our content is under the Learn Essentials tab, but if you’re new to the products, the Get Started section is a great place to start. If you’re an experienced user looking to extend your expertise, the Key Techniques section consists of more advanced topics and introduces workflows between Creative Cloud applications.

There are a few ways to access the tutorials: One way is to select the Menu option at the top of most any page on In the overlay that appears, click See All at the top right of the Products tab to see a listing of Creative Cloud products. Find the product you’re interested in, then click Learn & Support; from there, check out the featured content, or click Show All Tutorials to reveal more links.

We provide a variety of learning types so you can watch, read, and even do some projects to enhance your knowledge of the tools in Creative Cloud.

Once you access the Explore pages, hover over any tutorial title to find out more about the learning approach (read, watch, do project, etc.), the apps that are covered in the tutorial, and a description of what will be taught.

Hover over a title to see the description, learning approach, and which apps are covered.

Hover over a title to see the description, learning approach, and which apps are covered.

The following screencast (no sound) provides a quick overview of how to find this content.

Once inside a specific tutorial, a similar navigation panel shows all the tutorial topics for that product; click Show All Tutorials to expand the listing of available titles.

Click "Show All Tutorials" from any tutorial page to see a list of tutorials for that product.

Click “Show All Tutorials” from any tutorial page to see a list of tutorials for that product.

Notice that the tutorial headings are on the left side of the Learn drawer and provide the main area for navigating between topics within a specific product.

Navigate tutorial topics by selecting the appropriate header on the left.

Navigate tutorial topics by selecting the appropriate header on the left.

Products with new landing pages have direct Learn & Support links on the pages (watch for more products to have this option in the future). Some of the direct links:

Check out the Creative Cloud Tutorials: Better Than Ever for more details on the latest tutorial offering. And, stay tuned in the coming months for improvements to the other products pages and to Creative Cloud’s overall learning experience.

12:14 PM Permalink

IBC 2014: What’s Coming Next to Creative Cloud for Video

Streamline video workflows with industry-leading integration

This month at IBC 2014 in Amsterdam, Adobe will preview the updates coming soon to Creative Cloud’s pro video applications. In a fast-moving industry, video pros need tools that keep them ahead of the curve, allowing them to work confidently with the latest hardware and camera formats. With regular updates, Creative Cloud meets that need, making everyday tasks faster and easier—and opens new creative possibilities with a little more Adobe magic.

  • Powerful media and project management—Take control of large projects with new features like Search bins, Consolidate & Transcode, and Multi-project workflows in Adobe Premiere Pro CC.
  • Support for cutting-edge technologies—Focus on the content with a refreshed user-interface across all of the video applications, including HiDPI support for Windows 8.1 and Mac Retina displays.
  • Streamlined workflows—Complete everyday tasks more efficiently, thanks to new tools and refinements, such as Curve adjustments and hover preview Looks in Adobe SpeedGrade CC.

After a successful run using Premiere Pro CC to edit David Fincher’s upcoming thriller Gone Girl, two-time Academy Award winner Kirk Baxter has made Premiere Pro CC the NLE of choice for his new company, EXILE. “I’m happy to see so many of the new features we asked Adobe for during Gone Girl in the upcoming release.” —Kirk Baxter, ACE

This post provides an overview of the upcoming video releases, including many of the top features and enhancements. For more in-depth information, visit the product blogs for Adobe Premiere Pro CC, Adobe After Effects CC, Adobe SpeedGrade CC, Adobe Prelude CC, Adobe Media Encoder CC, Adobe Audition CC, and Adobe Story Plus CC.

Updated user interface

All of the Creative Cloud video applications have been given gentle facelifts, using a more subtle color scheme and simplified UI elements.

“The first thing you’ll notice when you open them, is the cleaner look to all of the video apps,” said Bill Roberts, senior director of product management. “We’ve modernized and simplified the user interface so that it doesn’t compete with the content. The point is to allow video pros to focus more on their content, and less on the widgets.”


In addition to the UI refinements, the video apps have all been updated to work with HiDPI displays, including Mac OSX and Windows 8.1 devices. “We foresee a day when video professionals will be creating and interacting with their content in a variety of ways across a variety of devices. Our goal is to support this transition as it evolves and this UI refresh lays the foundation for that,” added Roberts.

Adobe Premiere Pro CC

New Search bins allow users to automatically generate dynamic bins based on search criteria, including new Advanced Timeline Search capabilities. Search bins update as new content is added to a project, so users can keep projects organized, even as new footage is still coming in.

Consolidate & Transcode allows users to move all relevant files in projects and sequences to reduce the overall project size. Once the setting is selected in the Project Manager panel, all content is rendered into a single codec and a compact new project file is created.

Multi-project workflows allow editors to bring everything they need into one workspace. Users can open multiple Media Browser panels for easy access to as many projects as needed. The new Source Monitor Timeline view opens a second Timeline for media and sequences from other projects, making it easy to bring existing clips, edits, transitions, or graphics directly into your current project.

Premiere Pro CC now offers full support for reading and encoding GoPro CineForm, an easily managed, cross-platform intermediate codec, ideal for high resolution footage. And the Premiere Pro CC engineers keep finding ways to get more out of the GPU with native support for 4K, 5K, 6K (and higher) content, including new GPU-based deBayering for AJA RAW, Canon RAW, and Phantom Cine, as well as RED and Cinema DNG footage.

Existing features see some significant new capabilities, too, like enhanced Masking & Tracking, that enables users to adjust feathering directly in the Program Monitor, or use the free-draw polygon tool to create complex mask shapes. Use Render & Replace to speed up performance of VFX-heavy sequences by flattening After Effects CC compositions into video clips—and thanks to Dynamic Link, the original comps are always accessible if you need to make further changes. Improved Master Clip effects, Send to Audition, and AAF export to DAWs, are just a few other enhancements coming to Premiere Pro CC this Fall.

“This is a packed release for Premiere Pro CC with some really nice additions to existing features, but our big focus here was on creating easier workflows for large projects,” said Al Mooney, product manager for Premiere Pro CC. “Consolidate & Transcode, for example, is perfect for facilities who need to trim down large projects. It makes it easy to pass work on to other teams, or to archive editable projects which are still reasonably-sized.”

Adobe After Effects CC

The next release of After Effects CC offers an enhanced Live 3D Pipeline, adding Cineware 2.0 and CINEMA 4D R16 compatibility, so that artists can work faster and more easily with 3D elements in their compositions. Broadcasters and large facilities that use Adobe Anywhere for video will benefit from improved Anywhere collaboration to streamline remote workflows with version tracking and project sharing. In addition, the new version offers a number of usability refinements, such as more visible anchor points on layers, tracking behavior improvements, and more incremental improvements that make motion graphics and visual effects work easier and more efficient.


“We’re really excited about where we’re going with After Effects CC” said Steve Forde, principal product manager. “A special highlight of our 2014 releases is the deeper integration with Premiere Pro CC and Anywhere for video. This is a great example of how we are streamlining workflows for motion graphics and visual effects artists—and enabling collaboration between teams.

Adobe SpeedGrade CC

The next release of SpeedGrade CC is focused squarely on the creative tools, including a significantly enhanced Looks workflow, Curve adjustments and awesome new Grading Layer Grouping capabilities.

Working with Looks in SpeedGrade CC has never been easier: Hover to preview Looks in the main image Monitor, and click to apply. Looks can be dragged into the grading layer stack where they will immediately appear as a new Grading Layer Group, making it easy to combine existing Looks and LUTs; just adjust the opacity of each group to get the result you want and… Voila! A real “Look mixer.” It’s also possible to create your own Grading Layer Groups, or copy and paste selected grading layers to apply them to new clips or save as new Looks.

SpeedGrade CC now offers Curve adjustments, including RGB curves familiar to Adobe Photoshop CC and Adobe Lightroom users, as well as Hue & Saturation curves, which allow you to boost or mute parts of the color spectrum. Use Curve grading layers on their own or in tandem with the other SpeedGrade CC color correction tools.


Improvements to existing features include audio support for Premiere Pro CC projects in Direct Link, faster tracking, better Autosave, improved performance with masks, and Enhanced Mercury Transmit, providing 4K output for 4K monitors and new support for Blackmagic video cards.

Adobe Prelude CC

Log metadata while an event is unfolding in front of you. Use keyboard shortcuts on your laptop together with your custom tags to prepare content efficiently—and without typos. Deliver media that gives your editor a running start for a faster turnaround in post-production. Add In and Out points more efficiently and apply transitions across clips in the Rough Cut timeline. Replace, or augment, camera audio with new support for multiple audio tracks.


Adobe Media Encoder CC

Render and deliver your work in one fell swoop with Destination Publishing: Add preset options for FTP sites, or your Creative Cloud folder. Send to multiple locations and track rendering and upload in the same panel. With new Watch Folder support for projects, you can automate transcoding of all of your project files at once by dragging Premiere Pro CC, After Effects CC, or Final Cut Pro XML projects into Watch Folders. Mux during encode for faster rendering of MPEG2 files with audio. Extended Match Source support now includes QuickTime and DNxHD formats.

Adobe Audition CC

Open virtually any video format, including RED, XDCAM, MXF, and others. Video files now load faster and play more smoothly. Minimize background noises while amplifying and leveling speech with a powerful new Target Dynamic Range parameter providing even better volume leveling for spoken content. Read and add notes to audio files with iXML metadata support, including information such as Scene, Take, or time code formats.


Adobe Story Plus CC

Screenwriters and writing teams can now Customize text boxes so that notes and comments stand out. Fine tune production planning and assign numbers to camera shots to align with scene order.

Adobe Anywhere

Adobe Anywhere for video adds robust collaboration support for After Effects CC users and brings refinements to the Adobe Anywhere app for iPad, including new scrubbing gestures and sorting options. A new streaming API allows facilities and broadcasters to integrate content from Adobe Anywhere into a variety of user experiences on the web or mobile devices.

“We’re excited to be showing another strong release at IBC 2014,” said Bill Roberts. “Constant refinements across all of our applications mean we’re always improving the tools, integration, and collaboration. The demands on video pros keep growing and our efforts are empowering our users to deliver better work, faster and more efficiently than ever.”


These updates to the Creative Cloud video apps and Adobe Anywhere for video are expected to be available in the coming weeks.

We’ll share even more amazing innovation coming to Creative Cloud—across desktop, mobile, services and community—at Adobe MAX, The Creativity Conference, October 4–8 in Los Angeles. To be among the first to know when these and other Creative Cloud updates are available, follow Creative Cloud on Twitter and Facebook.

Visit the Creative Cloud video page for links and news from Adobe at IBC 2014 from September 12–17. And if you can’t make it to IBC, please join us for a special, live from Amsterdam, Ask a Video Pro session on Friday, September 12 at 10:00am PT (7:00pm CEST) when Jason Levine will introduce the new features coming to the CC video apps.

12:01 AM Permalink