Making Social Media Videos: Quality Counts


I remember 3-5 years ago when the word was getting around to social media practitioners that video was the next big thing. Of course all big companies had customer spotlights, how-to videos and such — but it was the quick and nimble videos, the short and shareable snippets that was the unconquered frontier. In these initial discussions, there was a lot of talk about flip cams and smartphone cameras. Here at Adobe, we jumped right in. Some of the videos were good, some passable and some perhaps not as “watchable” even if the topic and theme were right on point.

So now it’s 2012 and I’m not afraid to go out on a limb to say: video quality matters more. Where before we were all pushing to get more vids out as fast as we could, ensuring we filled our Facebook streams and keeping the YouTube subscribers’ inboxes filled with ”There’s a new video!” emails, now I say objective 1 is to make ‘em good.

Simply put, there’s so much content out there now, so many people uploading videos and vying for our attention, that if the video is not well done and entertaining, who will watch?

Here’s how we do it on the Adobe Social Media team:

Bring in the Experts

  • At Adobe we have a video team who help us make gorgeous videos of customers and how-tos. Most of the videos you see on Adobe TV are created by this team. So we work with them as often as we can. There were some learnings that both teams needed to do, and that we’re still working on, in order to get the best videos we can. For example, in social media, we want immediate turn-arounds on edits. At Adobe Summit, for example, we turned 4 videos around in just 2 days. And we had them posted on TVs at the convention center within minutes of being completed. Our video team is used to longer lead times, and we need to ensure that whoever is editing our videos is OK working at the speed of social.

Know what’cha what’cha what’cha want, what’cha want*

  • You have to go into each video with a plan. You can start the process with a general idea, such as wanting a video of your next launch event, but you need to figure out beforehand what that means. Are you getting coverage of your execs during the event? Are you interviewing them after? Are you inside and outside? How long will it be? What will you do to set up the video so the audience knows what it’s about? Do you have music throughout the video? etc etc.

Pre-work is 3/4 of the Work

  • You must take the time to figure out the actual production. Who is your producer? You need one. And it can be you, but then that’s what you are doing that day. You can’t also be tweeting live and running metrics from the event and writing reports. You need to be with camera and crew all day. You need to make the vision happen.
  • Where will the interview be? Know before it starts. Don’t search for locations with your interviewees, for example. You need to know where the light will be best and where the sound will be good.
  • Do you need a mic on each person, do you have a “stick” mic, do you have a boom mic? Do you want your interviewer in the scene? These elements make for very different looking videos.
  • Do you have questions lined up? You better :) . Does your interviewee know the questions beforehand? Of course :) .
  • Who needs to review before it’s final? Make sure they know they are reviewing beforehand (!), and what time you expect them to have the files to look at as well as what you expect from them re: turnaround times.

Does this really work? We think so. Check out our latest:

If you have questions about this process or want some help with your video plans, leave a comment below!

The Flashy Side of Adobe Edge


I’ve been busy at D2W this year! Last night, I was able to do show off some of the cool new features in Flash Professional CS6 and Edge preview 6 at the Adobe CS6 Launch Party here in Kansas City. … Continue reading →

How Suite It Is


EchoSign Awarded NetSuite SuiteApp of the Year

We are excited to share some news hot off the press from the show floor at NetSuite World.

This week NetSuite recognized Adobe EchoSign as a Netsuite SuiteApp Partner of the Year. Adobe EchoSign for NetSuite brings all of EchoSign’s functionality to NetSuite users and is the only eSignature system with complete integration to NetSuite. For the full scoop on the news, check out the EchoSign blog, here.

Learn more about EchoSign for NetSuite.

China Tour Shows Enthusiasm for Adobe Gaming


Web games are hugely popular in China, and the vast majority of these games are Flash technology-based. According to Analysys International, the 2012 web game market will reach $1.2 billion USD with a growth of 50.13% compared to $830 million USD in 2011. With such a big market opportunity, China’s game development community is also asking itself a number of questions: how to improve gaming R & D, marketing and operations? What is the latest technology and how can it be used to attract new players and improve retention? What are the new trends for browser-based games?

Starting in mid-April, Adobe’s China evangelist team hosted the Flash Gaming Tour in Beijing (April 14), Shanghai (April 22) and Guangzhou (May 10). Almost 1000 developers, designers, operators, students, and teachers attended, representing over 400 gaming companies and 14 partners, including HP, Sohu, Baidu, China Joy, Epic Games, Gamegoo, Shanghai Terminus, Joyegame in Guangzhou, and Chongqing JinTian. Showcasing the latest developments in Stage 3D MMO game development in China, as well as peeks at future developments, the event also introduced Flash Player Premium Features to a gaming audience in China.

Among those new Stage 3D games, “The King of Fighter,” developed by SNGO networking entertainment design, is quite stunning. This game is based on A3D, a Stage 3D game engine independently developed by SNGO. The live demonstration at the SNGO booth, highlighting the 3D effects within the game (including light effects, normal maps, and motion blur, and air twist) became a hot topic among the developers at the event. The game scenes are beautifully rendered in real time with exquisite details and smooth performance, including an Indian Buddhist temple, the ancient city of Suzhou, and European cathedrals, along with Xbox-style fight action, like strokes, kill, and slash. The game is expected to be available as a public beta sometime in June.

The positive feedback during the tour was fantastic, and I was excited to hear many developers state that they believe Adobe Stage 3D technology will bring a needed revolution to web-based games. I’m looking forward to 2012 as the year of 3D Flash web games in China, and to seeing more games like “The King of Fighter” taking advantage of this technology to deliver great gameplay.

*Gary Zhu is an Adobe Gaming Evangelist based in China.

Day 2 at #AdobeSummit


Yesterday Adobe customers and partners, speakers and delegates descended on Battersea Park in London for day two of Adobe’s Digital Marketing Summit – which got started literally with a bang!

The Digital Future

Computers, TV’s and minds where blown by the future casting of Nils Muller, during the opening keynote, in which Muller took the audience on a time travelling journey to 2021. He explored the “web of things” – when technology takes on a social life of its own, and further on into the age of connectedness, when all human experiences may one day be augmented by digital technology and data, including contact lenses that recognise faces (and pull in social network updates!) to communication technology controlled entirely by the user’s thoughts!

Behind The Scenes @ Adobe.com

Once the audience was transported back to the present day, they had a chance to go behind the scenes of adobe.com – with a fascinating presentation of how personalisation, content and optimisation have helped the adobe.com - with a fascinating presentation of how personalisation, content and optimisation have helped the adobe.com make the most out of every visitor. The team behind the site run 8-10 tests every week, changing up style and content to find the perfect mix.

Throughout the day, seminars and breakouts took delegates into the depths of web experience management, social, mobile, privacy and personalisation – wrestling with the big issues of marketing in the age of the “digital self” (for more on that check out our blog wrap up from yesterday!).

The Future Of Digital Publishing

Delegates in the digital publishing track heard from Condé Nast, who have sold over 250,000 versions of their print magazines as digital versions, across titles such as Wired and Vanity Fair. Jamie Bill from Condé Nast walked through his vision of the future for digital publishing and magazines. He believes “a magazine is no longer a printed product – it is a brand”, something which the CN team are trying to support across all their titles, with social media content, online extras and tablet editions.

The day wrapped up with some exclusive sneak peeks of what’s coming soon to Adobe Digital Marketing Suite which we be sharing with you here on the blog soon, so stay tuned! You can keep up with all the reactions from Summit by following @AdobeUK and @AdobeSummit and join the conversation by leaving your comments here or on Twitter using #AdobeSummit.

Building a CID-keyed font with 64K glyphs & 256 FDArray elements


As mentioned at the end of the May 15, 2012 CJK Type Blog article, I will demonstrate in this article how to build a CID-keyed font with 64K glyphs (CIDs 0 through 65534) and 256 FDArray elements. These represent two limits that are inherent in CIDFont resources.

Again, the incredibly powerful AFDKO mergeFonts tool will perform most of the work.

The same name-keyed Type 1 font will be used, along with the same cidfontinfo file, provided below for convenience:

FontName        (UnicodeP01)
FullName        (Unicode P01)
FamilyName      (Unicode P01)
Weight          (Regular)
version         (1.000)
Registry        (Adobe)
Ordering        (Identity)
Supplement      0
XUID            [1 11 9273868]
AdobeCopyright  (Copyright 2012 Adobe Systems Incorporated. All Rights Reserved.)
Trademark       ()
FSType          8
isFixedPitch    true
Serif           false
IsBoldStyle     false
IsItalicStyle   false

Because there will be 256 FDArray elements, 256 mergeFonts mapping files will be required. But, before we worry about building the 256 mergeFonts mapping files, we need to build a name-keyed font that includes 257 glyphs. We do this by using mergeFonts to build a name-keyed fonts with 257 glyphs, the first of which is the required .notdef glyph, along with 256 instances of the same glyph, named P_zero_one. Of course, a mergeFonts mapping file is required, which I named font.map. The following command line produces a name-keyed font, named font-new.pfa, that contains the 257 glyphs:

% mergeFonts font-new.pfa font.map font.pfa

With this 257-glyph name-keyed font, font-new.pfa, whose glyphs are named .notdef and cid1 through cid256, we are now ready to build the CID-keyed font.

To aid in the creation of the mergeFonts mapping files, I wrote a short Perl script, named mk64k256fdarray.pl, that performs the following operations:

  1. Generates 256 mergeFonts mapping files, one for each FDArray element.
  2. Names each of the FDArray elements according to the FontName as specified in the cidfontinfo file, followed by an integer value from 0 to 255. This is done by specifying this string as the argument of “mergeFonts” that is the first line of each mergeFonts mapping file.
  3. Generates, as STDOUT, a shell script that executes three mergeFonts command lines.

It would be appropriate to ask why three mergeFonts command lines are necessary. The reason is simply because the current version of mergeFonts cannot handle 256 FDArray elements at once, so two mergeFonts command lines are used to build two interim CIDFont resources, each with 128 FDArray elements. The third mergeFonts command line combines the two interim CIDFont resources into a single one with 256 FDArray elements. The only duplicate CID in the two interim CIDFont resources is CID+0, which is mandatory.

Below are the two command lines, the second of which executes the shell script that was generated by the first one:

% mk64k256fdarray.pl UnicodeP01 > cidbuild.sh
% sh ./cidbuild.sh

Note that the command-line argument, UnicodeP01, is a string that is used as part of the names for the FDArray elements. The result will be a CIDFont resource named cidfont.ps that includes 64K glyphs arranged in 256 FDArray elements. The interim CIDFont resources with 128 FDArray elements, named cidfont.1 and cidfont.2, can be removed.

If you carefully examine the Perl script, mk64k256fdarray.pl, you will note that it special-cases the following three FDArray elements:

  • 0: The mandatory .notdef glyph is added to the corresponding mergeFonts mapping file, which serves as CID+0 in the first interim CIDFont resource, cidfont.1.
  • 127: A new mergeFonts command line begins, for FDArray elements 128 through 255. And, the mandatory .notdef glyph is once again added to the corresponding mergeFonts mapping file, which serves as CID+0 in the second interim CIDFont resource, cidfont.2.
  • 255: Because the maximum CID is 65534, the last FDArray element, which includes the number 255 in its name, must include only 254 glyphs, not 256. The end range of the foreach loop is adjusted accordingly.

This article should have demonstrated that the assignment of CIDs to FDArray elements can be easily controlled by carefully constructing mergeFonts mapping files, and that the entire process can be scripted, in whatever scripting language you prefer, whether it is awk, Perl, Python, or Ruby.

Illustrator CS6 | Use your mouse to work faster!


How do you usually change the value of an Illustrator artwork object’s attribute? For example, how do you traditionally change the opacity of an object in your artwork?

In Illustrator CS5.1 (three steps):

  1. Select the object, and click the arrow of the Opacity field in the Control Panel
  2. Click and hold the Opacity slider control, move the slider, and release slider to view the new opacity of the object
  3. If the opacity is not exactly the one you need, repeat the previous step until you get the right opacity.

In Illustrator CS6 (one step):

  • Select the object, position the mouse pointer over the Opacity field in the Control Panel, and scroll your mouse wheel.

That’s it! It really is that simple. The artwork is modified as you scroll, and you can keep scrolling until you get the desired effect. You will notice an amazing advantage right away – you don’t have to take your eyes off the artwork while you are modifying it!

Check out this video, for a short demo of the feature that I just described…

Also:

  • One step at a time too slow for your workflow? Press SHIFT while you scroll, and the value of the opacity increases or decreases in steps of ten.
  • Missing the slider? The opacity field now has a pop-out list, with increments in the tens (10%, 20%, etc.). It is much faster to set these values it with a pop-out list than with a slider. Pop-out lists containing standard increments are available for popular controls like font size or stroke weight. You’re not going to be missing that slider for too long :-) .
  • Prefer your keyboard to get the right value, right away? While this is a departure from what you have experienced in Illustrator earlier (the slider not being available), in addition to the two new ways of changing the value (scrolling and the pop-out list), the previous two methods of changing the opacity have been retained:
    • You can still manually type the exact value of the opacity you want
    • You can click the opacity field, and use your keyboards up and down arrow keys to change the value.

All fields in Illustrator CS6 that have numeric values, or have lists with standard values, can be manipulated with just your scroll mouse.

There actually is a lot more! Adobe Illustrator CS6 is different from previous versions in many ways. While the team has toiled away at making it faster, providing native 64-bit support, and adding and fine-tuning features, there are quite a bit of smaller changes that have been made it into this version. Many of these are GUI-related value-adds and tweaks that make it easier and faster to work with the Illustrator CS6 interface. While we compile a comprehensive list of the rest of the changes in Illustrator CS6, I wanted to draw attention to this one useful aspect of the GUI.

Watch out for the entire list – coming soon!

Augmented Reality T-shirt The t-shirt projects a 3D interactive…


Augmented Reality T-shirt The t-shirt projects a 3D interactive game of Rock, Paper, Scissors via your web camera using Augmented Reality.  Made in Flash (AS3.0 for Flash10) using FLAR Manager and Away3D. [ Play online ] [ Article source ]

InDesign CS6 | Online Help


I thought that I’ll compile a list of all the links at one place, and also try and explain the role each page plays. If you’ve installed the CS6, then you probably know this already; not sure how helpful this will be, but here it is.

  • Launching help from InDesign open the help content in your default web browser
  • The Adobe Help Manager lets you download offline help and notifies you when updated content is available.

See What’s new with Adobe Community Help for more detailed information.


Online Help

Help Hub page

The Help Hub page is a central page that contains information about getting started with the product and where to access the help from. Most of the links in this post can be accessed through the Help Hub page. It provides a single launch point from where you can access various resources.

Topics 

The Topics page is displayed when you press F1 or choose Help > Online Help.  This  page replaces the Table-of-contents page, and does away with the “Tree” navigation and multiple clicking that was necessary in the earlier versions. (If you have stubby fingers like mine, this works quite nicely on tablets and phones too)

 

 

  • All help articles are at the same level, and clubbed under Topics
  • Articles that fall under multiple topics, appear multiple times
  • Not all links are displayed under each topic. To view a complete list of the articles under each topic, click the More link next to the topic heading.
  • Clicking on the InDesign Help title/link (top-left of the page) will take you one level up to the Help Hub page.

Whats new in CS6  (HTML)

The What’s New in InDesign CS6 page lists the new features in InDesign CS6 in one place. Provides basic information about the features and helps you find the new features in the product. We have tried to add enough information so that you don’t have to look elsewhere to get started. However, hyperlinks take you to more detailed information for complex features.

  • Clicking on the InDesign Help title/link (top-left of the page) will take you one level up to the Topics page.

Getting Started (HTML)

The Getting Started page lists resources that you can use to quickly learn the product. Whether you’re completely new to InDesign or just moved to CS6, you’ll find links to videos, blog posts, help articles that will help you get started. This page is frequently updated with new information as and when it becomes available.


PDFs

The CS6 PDFs are not available yet. As soon as they are available, I’ll update this post to add the links.

Previous versions

If you need PDFs for the previous versions, such as CS5.5/5, you can access the PDFs for the previous versions from the Archives page.

InDesign Archive

InCopy Archive

Join us to Test the Web Forward


We are thrilled to announce a test-focused hackathon that Adobe is organizing along with support from the W3C and community partners called Test the Web Forward. This hackathon builds off the Move the Web Forward initiative in order to help get YOU more involved in contributing to the web platform we all work to define.

During this hackathon, attendees will be learning about certain CSS and SVG features that need more tests in order to progress through the standards pipeline. They will be armed with the right information in order to create more tests and file bugs against browsers (if needed). We will be joined by Adobe Web Platform members as well as community members who will conduct hands-on sessions about each CSS or SVG feature and teach about the inner-workings of the CSS and SVG automated test frameworks, including how to contribute tests. (We will be recording these sessions for playback online if you can’t make the event in-person).

Experts for each feature will be on-hand throughout the event to make hacking as easy as possible. All we require is that you are able to hand-code JS, HTML and CSS and have a passion for improving the web. And of course there will be prizes, demos, food, tasty beer and good fun so we really hope you can make it!

You can learn more about the agenda, speakers, testing features and more at our website Test the Web Forward and also by following us on twitter @testthewebfwd.

Registration will open on June 1st and space is limited, so bookmark the dates (June 15th and 16th at the Adobe San Francisco office) and we hope to see you there!