Adobe Mo­bile Apps

Animation Magazine - - Vfx -

Re­cently, Adobe an­nounced a li­brary of mo­bile apps that tie seam­lessly into your Cre­ative Cloud li­brary, which has also been up­dated to store pref­er­ences, li­braries and as­sets up to the cloud, which means it fol­lows you around to wher­ever you are work­ing. The new apps are clever and in­no­va­tive, and yet so sim­ple it seems crazy that they weren’t thought of be­fore.

The first app on the list is Adobe Color. For most artists and de­sign­ers, color is an im­por­tant and fre­quently mis­used com­po­nent of the cre­ative process. Com­ple­men­tary. Ter­tiary. What color schemes should you use? Well, they are all around you — thought of and de­lib­er­ated on by the best de­sign­ers in the world. Ar­chi­tec­ture. Cars. Consumerproduct ads. Movie posters. But when some­thing jumps out at you, how would you re­mem­ber the col­ors? Us­ing the cam­era on your phone, Adobe Color an­a­lyzes the col­ors and boils them down to a Kuler color pal­ette. You save the pal­ette. It gets stored in your Cre­ative Cloud li­brary for safe­keep­ing. Now when you need in­spi­ra­tion, you can tap into that li­brary and have the ex­act col­ors that orig­i­nally caught your eye. Neat, huh? Adobe Brush works in a sim­i­lar way but is a lit­tle more fancy schmancy. Say you like the look of a par­tic­u­lar pas­tel chalk or an oil paint stroke or a crack in the road. Just like Adobe Color, you use your cam­era to take a photo of that mark. From there, you can edit var­i­ous pa­ram­e­ters to get a look you like, and even setup the look of the head and tail of the stroke. Once you get some­thing you are happy with, save it to your li­brary and it be­comes a new brush avail­able to you in Pho­to­shop or Il­lus­tra­tor – again, any­where you lo­gin to your Cre­ative Cloud ac­count.

The third app also uses your mo­bile cam­era and it the most mag­i­cal of all. Adobe Shape lets you take a photo and it will process that photo into vec­tor art, ready and up­loaded to your li­brary for use and ma­nipu- dis­cussing the much hyped Bifrost. The rea­son be­ing that it’s a very am­bi­tious project be­ing led by in­cred­i­bly in­tel­li­gent peo­ple. But, in my hum­ble opin­ion, it was re­leased be­fore it had ma­tured. So, I’m go­ing to give it a lit­tle time to grow up be­fore re­ally dig­ging into it.

Now, on to more pos­i­tive things. In the 2015 re­lease, we saw a lot of new tools: some brand new, some that were re­leased in the pre­vi­ous ex­ten­sion pack. XGen is quickly find­ing its way into pro­duc­tions as well as the new Bul­let solver for Dy­nam­ics. And I adore the QuadDraw tool for re­topol­o­giz­ing. How­ever, in the re­cently re­leased ex­ten­sion pack, like its sis­ter, 3ds Max, Maya has a cou­ple new fea­tures that aren’t par­tic­u­larly shiny, but for the in­dus­try, I be­lieve they are muy im­por­tante.

Color man­age­ment is a dif­fi­cult topic to wrap your head around. I’ve been deal­ing with it for over a decade and I still have to oc­ca­sion­ally turn to peo­ple with a Ph.D. to an­swer some of my ques­tions. I can’t say that Maya’s lat­est so­lu­tion is the end all, be all in color — frankly, be­cause the de­bate about a color stan­dard still rages on be­hind closed doors. But it is mov­ing in the right di­rec­tion. Au­todesk could have sim­ply put

DreamWorks’ high-fly­ing, com­edy-fu­eled CG se­quel earned a spot as the sec­ond high­est-gross­ing an­i­mated film of the year, and now you can re­live all the scaly glory from the com­fort of your own lair. Writ­ten and di­rected by Dean De­Blois, the sec­ond out­ing takes place five years after Hic­cup and Tooth­less have

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.