Brilliantly inept. 😝
Reply to @mcdonalds easy
These can be made with any still photo and will animate the head while other parts stay static and can’t have replaced backgrounds. Still, the result below shows how movements and facial expressions performed by the real person are seamlessly added to a still photograph. The human can act as a sort of puppeteer of the still photo image.
What do you think?
I used to relish just how much Lightroom kicked Aperture’s butt when it came to making selective adjustments (for which, if I remember correctly, Aperture needed to rely on generating a “destructive” bitmap rendition to send to an outside editor). There’s no point in my mentioning this, I just like to live in the glorious past. 😉
But here’s some glorious future: Lightroom (both new & classic) plus Camera Raw are getting all kinds of AI-enhanced smart masking in the near future. Check out the team’s post for details, or just watch these 90 seconds:
I’m incredibly excited to say that my team has just opened a really rare role to design AI-first experiences. From the job listing:
Together, we are working to inspire and empower the next generation of creatives. You will play an integral part, designing and prototyping exciting new product experiences that take full advantage of the latest AI technology from Adobe research. We’ll work iteratively to design, prototype, and test novel creative experiences, develop a deep understanding of user needs and craft new AI-first creative tools that empower users in entirely new and unimagined ways.
Your challenge is to help us pioneer AI-first creation experiences by creating novel experiences that are intuitive, empowering and first of kind.
By necessity that’s a little vague, but trust me, this stuff is wild (check out some of what I’ve been posting in the AI/ML category here), and I need a badass fellow explorer. I really want a partner who’s excited to have a full seat at the table alongside product & eng (i.e. you’re in the opposite of a service relationship where we just chuck things over the wall and say “make this pretty!”), and who’s excited to rapidly visualize a lot of ideas that we’ll test together.
We are at a fascinating inflection point, where computers learn to see more like people & can thus deliver new expressive superpowers. There will be many dead ends & many challenging ethical questions that need your careful consideration—but as Larry Page might say, it’s all “uncomfortably exciting.” 🔥
If you might be the partner we need, please get in touch via the form above, and feel free to share this opportunity with anyone who might be a great fit. Thanks!
It’s odd to say “no spoilers” about a story that unfolds in less than three minutes, but I don’t want to say anything that would interfere with your experience. Just do yourself a favor and watch.
The fact of this all having been shot entirely on iPhone is perhaps the least interesting part about it, but that’s not to say it’s unremarkable: seeing images of my own young kids pop up, shot on iPhones 10+ years ago, the difference is staggering—and yet taken wholly for granted. Heck, even the difference made in four years is night & day.
Literally! I love this kind of minimal yet visually rich work.
It’s always cool to see people using tech to help make the world more accessible to everyone:
This research inspired us to use Jacquard technology to create a soft, interactive patch or sleeve that allows people to access digital, health and security services with simple gestures. This woven technology can be worn or positioned on a variety of surfaces and locations, adjusting to the needs of each individual.
We teamed up with Garrison Redd, a Para powerlifter and advocate in the disability community, to test this new idea.
Okay, I still don’t understand the math here—but I feel closer now! Freya Holmér has done a beautiful job of visualizing the core workings of what’s a core ingredient in myriad creative applications:
I hadn’t heard of Disney’s Gallery: The Mandalorian, but evidently it revealed more details about the Luke Skywalker scene. In response, according to Screen Rant,
VFX team Corridor Crew took the time to share their thoughts on the show’s process. From what they determined, Hamill was merely on set to provide some reference points for the creative team and the stand-in actor, Max Lloyd-Jones. The Mandalorian used deepfake technology to pull together Hamill’s likeness, and they combed through countless hours of Star Wars footage to find the best expressions.
I found the 6-minute segment pretty entertaining & enlightening. Check it out:
I keep meaning to pour one out for my nearly-dead homie, Photoshop 3D (post to follow, maybe). We launched it back in 2007 thinking that widespread depth capture was right around the corner. But “Being early is the same as being wrong,” as Marc Andreessen says, and we were off by a decade (before iPhones started putting depth maps into images).
Now, though, the world is evolving further, and researchers are enabling apps to perceive depth even in traditional 2D images—no special capture required. Check out what my colleagues have been doing together with university collaborators:
Although I can’t believe it’s already 10 years old, this podcast (available in video form below) really holds up. Stephen is just so sharp, and it’s fun to see what’s changed & what mostly hasn’t.
By now you’ve probably seen this big gato bounding around:
I’ve been wondering how it was done (e.g. was it something from Snap, using the landmarker tech that’s enabled things like Game of Thrones dragons to scale the Flatiron Building?). Fortunately the Verge provides some insights:
In short, what’s going on is that an animation of the virtual panther, which was made in Unreal Engine, is being rendered within a live feed of the real world. That means camera operators have to track and follow the animations of the panther in real time as it moves around the stadium, like camera operators would with an actual living animal. To give the panther virtual objects to climb on and interact with, the stadium is also modeled virtually but is invisible.
This tech isn’t baked into an app, meaning you won’t be pointing your phone’s camera in the stadium to get another angle on the panther if you’re attending a game. The animations are intended to air live. In Sunday’s case, the video was broadcast live on the big screens at the stadium.
I look forward to the day when this post is quaint, given how frequently we’re all able to glimpse things like this via AR glasses. I give it 5 years, or maybe closer to 10—but let’s see.
What a great (and efficient!) love letter to the incredible craftsmanship—including tons of practical effects and miniatures—that went into this epic production:
Check ’em out!
Adobe is looking for a product manager to help build a world-class mobile camera app for Adobe—powered by machine learning, computer vision, and computational photography, and available on all platforms. This effort, led by Adobe VP and Fellow Marc Levoy, who is a pioneer in computational photography, will begin as part of our Photoshop Camera app. It will expand its core photographic capture capabilities, adding new computational features, with broad appeal to consumers, hobbyists, influencers, and pros. If you are passionate about mobile photography, this is your opportunity to work with a great team that will be changing the camera industry.
Adobe is looking for a product manager to help build a world-class community and education experience within the Lightroom ecosystem of applications! We’re looking for someone to help create an engaging, rewarding, and inspiring community to help photographers connect with each other and increase customer satisfaction and retention, as well as create a fulfilling in-app learning experience. If you are passionate about photography, building community, and driving customer success, this is your opportunity to work with a great team that is driving the future of photography!
Adobe is looking to hire a QA Technical Artist (contract role) to work with the Product Management team for Adobe Stager, our 3D staging and rendering application. The QA Technical Artist will analyze and contribute to the quality of the application through daily art production and involvement with product feedback processes. We are looking for a candidate interested in working on state-of-the-art 3D software while revolutionizing how it can be approachable for new generations of creators.
Kinda OT, I know, but I was intrigued by this attempt to use gibberish to let English speakers hear what the language sounds like to non-speakers. All right!
Of it the New Yorker writes:
The song lyrics are in neither Italian or English, though at first they sound like the latter. It turns out that Celentano’s words are in no language—they are gibberish, except for the phrase “all right!” In a television clip filmed several years later, Celentano explains (in Italian) to a “student” why he wrote a song that “means nothing.” He says that the song is about “our inability to communicate in the modern world,” and that the word “prisencolinensinainciusol” means “universal love.” […]
“Prisencolinensinainciusol” is such a loving presentation of silliness. Would any grown performer allow themselves this level of playfulness now? Wouldn’t a contemporary artist feel obliged add a tinge of irony or innuendo to make it clear that they were “knowing” and “sophisticated”? It’s not clear what would be gained by darkening this piece of cotton candy, or what more you could know about it: it is perfect as is.
Sounds like an interesting opportunity to nerd out (in the best sense) in October 4-5:
Adobe Developers Live brings together Adobe developers and experience builders with diverse backgrounds and a singular purpose – to create incredible end-to-end experiences. This two-day conference will feature important developer updates, technical sessions and community networking opportunities.
There’s also a planned hackathon:
Hackathon brings Adobe developers from across the global Adobe Experience Cloud community with Adobe engineering teams to connect, collaborate, contribute, and create solutions using the latest Experience Cloud products and tooling.
A few months back, I mentioned that my teammates had connected some machine learning models to create StyleCLIP, a way of editing photos using natural language. People have been putting it to interesting, if ethically complicated, use:
Now you can try it out for yourself. Obviously it’s a work in progress, but I’m very interested in hearing what you think of both the idea & what you’re able to create.
And just because my kids love to make fun of my childhood bowl cut, here’s Less-Old Man Nack featuring a similar look, as envisioned by robots:
FaceMix offers a rather cool way to create a face by mixing together up to four individually editable images, which you can upload or select from a set of presets. The 30-second tour:
Here’s a more detailed look into how it works:
This is glorious, if occasionally a bit xenomorph-looking. Happy Friday.
The plants featured in Neil Bromhall’s timelapses are grown in a blackened, window-less studio with a grow light serving as artificial sunlight.
“Plants require periods of day and night for photosynthesis and to stimulate the flowers and leaves to open,” the photographer tells PetaPixel. “I use heaters or coolers and humidifiers to control the studio condition for humidity and temperature. You basically want to recreate the growing conditions where the plants naturally thrive.”
Lighting-wise, Bromhall uses a studio flash to precisely control his exposure regardless of the time of day it is. The grow light grows the plants while the flash illuminates the photos.
Lots of cool-sounding roles are now accepting applications:
Seeking an experienced software engineer with expertise in 3D graphics research and engineering, a passion for interdisciplinary collaboration, and a deep sense of software craftsmanship to participate in the design and implementation of our next-generation 3D graphics software.
Seeking an experienced Senior Software Engineer with a deep understanding of 3D graphics application engineering, familiarity with CPU and GPU architectures, and a deep sense of software craftsmanship to participate in the design and implementation of our next-generation collaborative 3D graphics software
We’re hiring a Senior 3D Artist to work closely with an important strategic partner. You will act as the conduit between the partner, and our internal product development teams. You have a deep desire to experiment with new technologies and design new and efficient workflows. The role is full-time and based in Portland or San Francisco. Also open to other west coast cities such as Seattle and Los Angeles.
We’re looking for a Principal Designer to join Adobe Design and help drive the evolution of our Substance 3D and Augmented Reality ecosystem for creative users.
Click on the above links to see full job descriptions and apply online. Don’t see what you’re looking for? Send us your profile, or portfolio. We are always looking for talented engineers, and other experts in the 3D field. We may have a future need for contractors or special projects.
Last year I was delighted to help launch ultra-detailed 3D vehicles & environments, rendered in the cloud, right in Google Search:
Although we didn’t get to do so on my watch, I was looking forward to leveraging Unreal’s amazing Quixel library of photo-scanned 3D environmental assets. Here’s a look at how they’re made:
On the reasonable chance that you’re interested in my work, you might want to bookmark (or at least watch) this one. Two-Minute Papers shows how NVIDIA’s StyleGAN research (which underlies Photoshop’s Smart Portrait Neural Filter) has been evolving, recently being upgraded with Alias-Free GAN (which very nicely reduces funky artifacts—e.g. a “sticky beard” and “boiling” regions (hair, etc.):
Side note: I continue to find the presenter’s enthusiasm utterly infectious: “Imagine saying that to someone 20 years ago. You would end up in a madhouse!” and “Holy mother of papers!”
This is why I’m glad that the Sacramento delta (where we lived in a van down by the river last night) remains, to the best of my knowledge, gator-free: otherwise my drone might’ve met this kind of colorful fate:
The New York Public Library has shared some astronomical drawings by E.L. Trouvelot done in the 1870s, comparing them to contemporary NASA images. They write,
Trouvelot was a French immigrant to the US in the 1800s, and his job was to create sketches of astronomical observations at Harvard College’s observatory. Building off of this sketch work, Trouvelot decided to do large pastel drawings of “the celestial phenomena as they appear…through the great modern telescopes.”
As I obviously have synthetic faces on my mind, here’s a rather cool tool for finding diverse images of people and adding them to design layouts:
UI Faces aggregates thousands of avatars which you can carefully filter to create your perfect personas or just generate random avatars.
Each avatar is tagged with age, gender, emotion and hair color using the Microsoft’s Face API, providing easier filtration and sorting.
Here’s how it integrates into Adobe XD:
Hmm—I’m not sure what to think about this & would welcome your thoughts. Promising to “Give people an idea of your appearance, while still protecting your true identity,” this Anonymizer service will take in your image, then generate multiple faces that vaguely approximate your characteristics:
Here’s what it made for me:
I find the results impressive but a touch eerie, and as I say, I’m not sure how to feel. Is this something you’d find useful (vs., say, just using something other than a photograph as your avatar)?