Good morning. Hello and welcome to Adobe Max. This is our first East Coast and largest Max ever, and so I want to thank everyone joining us here in person and the hundreds of thousands of people around the world who are tuning in online. It's inspiring to be in Miami Beach, surrounded by its rich artistic culture as well as creative community. Our thoughts are with the people of Florida recovering at this time from the devastating effects of Hurricane Helene as well as Hurricane Milton, and we want to thank the local and state officials for their support, partnership, and diligence in ensuring everyone's safety as the situation unfolded. To help with the recovery, Adobe and the Adobe Foundation have donated to the American Red Cross as well as the World Central Kitchen, and we will match additional donations from Adobe Max attendees, sponsors, as well as all Adobe employees.
It's really incredible to reflect on the year since we last came together, and I really believe that 2024 will go down as the year that creativity changed forever. Again, over the past 12 months, advances in generative AI have become a reality. The pace and volume of AI innovation has absolutely exploded. We have breakthroughs in chip technology and cloud computing that have boosted processing power, enabling more complex and efficient AI models. The rise of AI assistants and conversational interfaces has transformed how we interact with applications as well as search for information. Generative AI models are certainly expanding the scope of creative possibilities and pushing our imaginations even further, and these developments are transforming our daily life. When you think about it, every individual, from the student to the creative pro, the knowledge worker to the marketer, the solopreneur, the professional in every organization, is grappling with the implications of AI, which is both exhilarating and disconcerting all at the same time.
And at Adobe, we've always been excited to understand the power and impact of major technology shifts. We see AI transforming the creativity movement across three dimensions: technology, responsibility, and the community that we all are part of. Our vision at Adobe has focused on unleashing creativity across every facet of digital experiences, starting with the ideation around a concept to the creation and development of all content and media to the personalized delivery across every channel and increasingly understanding the impact and reach. We've been leveraging computational power to infuse intelligence into our products for well over a decade. Neural filters in Premiere Pro, Liquid Mode in Adobe Acrobat, which takes creative power and precision to the next level while simultaneously challenging ourselves to make our products more accessible and fun.
And to bring the power of generative AI to all of you, we defined three layers of the Adobe technology stack and focused our innovations on data, models, and interfaces, because that's the only way to deliver AI in a way that enhances your work and creativity. We all know that AI is only as good as the data on which it's trained, and we took on the technical challenge of training our Firefly generative AI models only on licensed and public domain content so that we can design a commercially safe solution. The quality and controllability of these AI models is critical, and given we have the domain and AI and ML experience, we made the strategic decision to invest in creating foundation models in the core creative categories where we have deep domain experience, whether it's imaging, design, vector, and as you'll see today, video.
But the true value and magic of AI will only come from seamless integration into the workflows that all of you know and love. And we've been inspired and blown away by what you've been able to do and accomplish with Firefly integrated in apps like Photoshop, Illustrator, as well as Adobe Express. It motivates us to keep pushing the envelope and to deliver new innovations that you will see later today, like the new Firefly video model as well as GenStudio for performance marketing.
We know that AI also raises important questions around intellectual property, style ownership, bias, data privacy, and content authenticity and misinformation. And while we recognize the power and potential of generative AI is incredible, we understand that technology can have unintended consequences. It's why we took on the responsibility of understanding the implications of this technology for all of us. We focused on designing a commercially safe solution to make sure that we respect creator intellectual property rights. We're going to give you the choice to tag your content as not allowed for generative AI training. We're conducting rigorous and continuous testing of all our AI-powered features to mitigate against harmful biases and stereotypes. And we're enabling companies to train Firefly on their own IP for themselves with custom models so that they can scale their personalization with Firefly services.
And for example, Gatorade uses Firefly services to integrate and scale Adobe's Firefly capabilities into the Gatorade website to personalize water bottle designs. We're leading the development of industry standards for creator attribution through what we call Content Credentials. And since 2019, the Adobe-led Content Authenticity Initiative has been focused on promoting the widespread adoption of provenance tools like Content Credentials, and now we have over 3,700 members. And finally, we propose that governments around the world establish new federal anti-impersonation rights, enabling creators to take action against those who intentionally impersonate your style.
For us, the impact of AI on the creative community is deeply personal. As someone who's had the privilege of being part of this incredible community for over 30 years, what stands out is how you embrace and make every major shift of technology your own. Time and time again, your passion for the craft, your vision for design, and your commitment to solving problems through storytelling inspires us every day. We're thrilled to see your excitement using Generative Fill in Photoshop, Generative Recolor in Illustrator, Generative Remove in Lightroom, and Acrobat AI Assistant. And it's rewarding to enable you to focus on exploring more creative possibilities, refinements, and automation.
Take for example globally respected designer Norman Teague, who used the generative capabilities of Adobe Firefly to revisit well-known objects in the MoMA design collection from the perspective of Black history and inspiration. And his team, generative AI was the perfect 'what if' machine to riff on questions like, 'What would happen if a Bauhaus chair was reimagined for a user in central Africa?' Another incredible story is that of Steve Gleason, former safety for the New Orleans Saints, who turned to AI to rekindle his love for creative expression once ALS robbed him of his ability to move and speak.
And we're adopting this within Adobe as well, and our design teams are dramatically streamlining every part of their workflow. In fact, this year's Max theme, all the artwork that you see around you, was built through an iterative process with human ideation and human-created art at its core, but remixed with AI generations to produce the final graphics. It is a disruptive time for all of us as the tools we use continue to evolve. We're all evolving how we work and adjusting our approaches. We're acquiring new skills and new paths to get things done. But we believe that generative AI has the power to enhance and amplify human ingenuity, not replace it.
AI enables us to bring more of the stakeholders in the creative process together as well to collaborate, from individual designers, marketers to creative agencies as well as the largest corporations. As we define this next generation of technology to responsibly harness the tremendous potential, I want you to know that how we evolve this jointly is important to me. As a result of our engagement and explorations with so many of you, we recently updated and reiterated our North Star as a company and beliefs, and we look forward to the important conversations we'll all have here because Adobe has always been committed to unleashing creativity for all.
We want AI to further bridge the digital divide, not widen it. And today, we're delighted to announce that we have a new global initiative aimed at helping 30 million next-generation learners develop AI literacy, content creation, and digital marketing skills using Adobe Express to thrive in the modern workforce. We're expanding Adobe Digital Academy and working with education partners and schools, nonprofits, as well as online learning platforms to provide training, certifications, and career pathways. In fact, Adobe has committed more than $100 million this year through donations, scholarships, product access, and partnerships to empower people to tell their stories and unleash creativity for all.
Your capacity to create magic and realize what's in your mind's eye is limitless. We're excited to share all the innovations we're working on, and there is some seriously cool stuff. And look forward to some great conversations this week. It's a fantastic opportunity to reconnect, to learn, and to continue to inspire each other. Thank you again for joining us. Have a great Max. And now I'd like to welcome David Wadhwani, President of the Digital Media business.
Welcome to Max 2024. I'm going to try that again. Welcome to Max 2024! All right, we're not going to be that quiet today. Now, as some of you know, I've been attending Max for over 20 years, and it's one of my favorite times of year because it's always filled with some of the amazing technology that Shantanu talked about that's going to take your breath away, and we have plenty of that for you today. But more importantly, I always like to stress that it's an opportunity to gather with 10,000 of the most creative people in the world and hundreds of thousands more online to learn from each other.
One of the coolest things for me, though, is when we actually invite some of you up on the Max stage to share your stories. I still remember when Erik Johansson opened up Photoshop and showed us how he creates the fantastical images that he sees in his mind, and when Billie Eilish and Takashi Murakami discussed their collaboration to mix her music and her style with his art. And when Rob Legato walked us through his approach to how he developed the launch sequence in Apollo 13, how he merged eyewitness accounts with actual footage from the launch because the actual footage alone didn't capture the humanity of the moment like someone's technically flawed but incredibly rich and vivid memory did.
And after each of these conversations and conversations with thousands of all of you over the years, I'm always reminded that the color you bring to the world is a result of your creative vision, the tools you choose to use, and the processes that you develop for yourself. And this is what motivates us at Adobe. We wake up every morning thinking about how we can give you the best tools and services to support your creative process, how we can give you an even better brush to paint the world. Things like text-based editing in Premiere, the Dimension tool in Illustrator, selection and adjustment brushes in Photoshop, lens blur in Lightroom, and more recently, we've provided a slew of features powered by Firefly, our generative AI models: Generative Fill and Generative Expand in Photoshop, Generative Shape Fill in Illustrator, Generative Remove in Lightroom.
These generative AI capabilities have been, without a doubt, some of the most used features in the products. Now, I have the privilege of meeting with many of you when I travel, and I constantly hear that these features are literally giving you back hours each and every day by reducing or, in some cases, outright eliminating the tedious work and letting you focus on advancing your creative vision. And in many ways, this is what we've been doing for years: making you more productive so you can push the boundaries of your imagination and your creative vision.
But because some of these latest features are built with generative AI, we get asked a lot of questions, which is totally fair. So I want to make sure that our perspective is completely clear. First and foremost, I want to reiterate what I said last year at Max: we see generative AI as a tool for, not a replacement of, human creativity. That's why we're integrating Firefly so deeply into Photoshop and Illustrator and Lightroom and Premiere and Acrobat and Express. And that's why the majority, the vast majority, of the 13 billion Firefly generations to date were actually created in our tools by all of you, following your creative process.
Secondly, there are a lot of questions about how generative AI is going to impact creative jobs. For that, I just want to be as open as I can and share what we see happening in the industry. The demand for content has never been higher, and it's going to continue to grow because people are spending more time across mobile, desktop, and streaming platforms interacting digitally for education, for work, and for fun. And they're demanding that the content they interact with feels like it was designed just for them: videos that match their particular interests, art and artists that personally move and inspire them, and even the ads that they see, they want to have them speak to their interests and their tastes.
Now, the growing demand for content is not lost on businesses who are investing in their creative departments to stand out in the growing sea of content that we all live in today. A survey of our customers recently showed that the demand for content will increase 5x over the next two years. And this demand is already starting to have an impact. In fact, when we look at it, nine in ten creative teams are reporting that they're hiring. And according to the U.S. government's own projections, creative jobs will grow twice as fast as the economy overall in the decade ahead. But that doesn't mean the jobs won't change.
The amount of time you'll spend on repetitive tasks like resizing content will go down, while the amount of time you spend on things that only you can do—concepting new ideas, new campaigns, new ways of storytelling—will go up, because the need to create fresh new content that stands out is insatiable. But in another way, your creative vision, your content, has never been more valued. And as study after study suggests, what you do will evolve as employers are increasingly seeking people with creative vision and AI skills to bring everything in their head to life more quickly.
And the last thing I want to talk about is that every company building generative models has a choice on how they will train them. We only train when we have permission. We compensate creators for training. We do not train on customer content. We do not scrape the internet. And we optimize everything we build so that we can integrate it into the tools that you use. Firefly is the most creator-friendly approach in the industry.
And so with that, I'm really excited to share some big updates that we have in Firefly. Now, as a reminder, Adobe Firefly is our family of generative AI models. They're focused on high-quality output with rich creative control, integrated into our apps, and built for commercial and classroom safety in mind. We introduced Firefly Image model, Vector model, and Design model last year, and since then we've made a lot of progress on all of these. The Image 3 model now provides much higher quality image generation, richer controls like Style Match and Structure Match, with generations that are four times faster and incredible model customization for your specific needs. The Vector model now supports better-looking, more editable vector generations with fewer anchors and comes with the support for generating details inside shapes with perfectly harmonized style. The Design model, which is accessible within Express, now supports faster generations and more target formats like Instagram and Facebook and YouTube thumbnails and a lot more.
And today, we're so excited to introduce you to the all-new Firefly Video model. The Firefly Video model is the first publicly available video model designed to be safe for commercial use. Let me say that again: the Firefly Video model is the first publicly available video model designed to be commercially safe. It is really following everything we've done because, just like all the other Firefly models, it's only trained on content that we have the right to use. And everything you're looking at behind me was made with the Firefly Video model.
A few things to notice: amazing detail, real-world physics, accurate text rendering, realistic motion, and high-quality camera angles and movement. Now, in addition to text-to-video support, the Firefly Video model has world-class image-to-video support. Give it a static image, tell it what you want it to do, and it will turn it into a video for you. And finally, the model has exceptional prompt coherence, so you can write incredibly intricate prompts and the model will generate the clips, the B-roll, the visual effects, and more.
And as I mentioned, our primary focus with these model developments is integration into the tools and to augment your creative workflows. So, quick spoiler alert here: I think you're going to really like the Premiere demo that you're going to see later this morning. All right, so you've heard from Shantanu, you've heard from me. I think you guys want us off stage so you can see some demos. So let's talk about this morning and hand it off to the folks that are going to talk about the things that we're really doing. And we're going to break this morning up into three chapters. The first is how we're going to help you take the creative content and the way you build the creations that you make in our core apps to the next level. Then we'll show you how we can get the most out of the content you make by collaborating at scale with stakeholders and downstream teams like marketing, sales, and HR. And finally, as I shared earlier, your creative vision will become even more important in the years ahead. Teams are going to look to you for new ideas, campaigns, and new ways of storytelling. So we're going to close with a sneak peek into the future of concepting and what you can expect to see from us in the months ahead.
Now, a quick reminder: our product teams are sitting in the audience with you. So if you see something you like, make some noise. The more noise you make, the faster they'll work. So don't be shy. So with that, I'm going to turn it over to Ashley Still, who heads up our creative teams, to show you some amazing things. Ashley.
Thank you, David. I am thrilled to be here with you at the first ever Max in Miami Beach. Miami is the Magic City, a vibrant creative hub that buzzes with art, fashion, music, and innovation. There is such a diverse creative community here in Miami, with up-and-coming students and artists like Valentina Granello and Elizabeth Perez, filmmakers like Koton Fernandez, and photographers like Gian Orga. At Adobe, we believe that creativity is a uniquely human trait, and your work and talent matter more than ever. Our mission is to empower you, to give you the most powerful tools for creativity, to remove any limits to expressing your imagination, and to free up your time for exploration, learning new mediums, and building new creative skills.
Everything we do begins with you, with being part of the community by sharing and learning. You've told us that you value product performance and innovation that improves your daily quality of life. You want faster editing and richer control and expressiveness so you can spend less time on what you have to do and more time on what you want to do. You've told us that you want to expand your skills across creative mediums, and while you have a lot of questions about generative AI, you're clear that you want the choice of whether or not to use it. And when you do use it, you want it to complement, not replace, your skills and experience. And finally, you've told us that community is vital. You want to connect, share, learn, and be inspired by others. This is what shapes our strategy for Creative Cloud and what you will see on stage today.
First, power and precision is all about the tools that you use daily. It starts with giving you the foundation to create with performance and reliability and innovating on the features and workflows that you rely on with the Adobe magic that you expect from us and we love to deliver. And with all of our innovation, you are always in control of the creative process. Next, creativity requires you to constantly expand your toolbox, from creating new mediums to streamlining how you work on complex projects with team members, stakeholders, and clients. We're introducing new apps and workflows that make creating video, 3D, and animation approachable and collaborating on creative projects delightful. And finally, as you heard from Shantanu and David, community is at the heart of everything we do. We are in the privileged position of getting to serve the most creative community in the world. We welcome our responsibility to give back to the creative community and help ensure the next generation can be as successful as this one. We're excited to tell you today about how we're doing just that.
We have a ton to share with you today, so let's get started with Photoshop, where the creative journey begins for so many of us. Last year was one of the biggest years in Photoshop history with the integration of Adobe Firefly. Generative Fill and Generative Expand set a new state-of-the-art in image editing. You've generated over 7 billion images and made Generative Fill one of the top five features in Photoshop.
And we didn't stop there. This year, we updated to Firefly Image Model 3 in Photoshop, delivering huge gains in image quality and speed, and we added Reference Image to give you a new level of control. Of course, it's not all about AI. We've taken innovation in Photoshop to new heights with features like adjustment presets and adjustment brushes, accelerating common workflows and addressing your most requested features. To share what's new and how she incorporates the power of Photoshop into her work, please give a big Max welcome to artist and Adobe Creative Evangelist, Anna McNaught.
Thank you so much, everyone. I am an artist and Photoshop compositor, and I'm so excited to be back here on the Max stage to share my creative process with you all. I've been using Photoshop for 20 years, and today I want to create a vaporwave synthwave scene inspired by Miami using some classic Photoshop tricks paired with the brand new features. Let's jump right in. So I have my background image as well as some assets that I plan to use today, and the first thing I need to do is clean up this image. We got some cables in the way, some wires we need to get rid of these. Now, of course, I could use the Remove tool and paint that out, and that works great, but there's an even faster way to do this now with the brand new Find Distractions one-click removal: wires and cables. Check this out. This is awesome. Yeah, it's gone just like that.
But I know what you're thinking: that's so easy, anybody could do that with a clone stamp tool. That's simple. But what about something like this? Yeah, that's a mess. So let's run that again. We got cables going horizontally and crisscrossing, covering up the details of this beautiful building. I mean, oh yes, that is awesome. So that's our before and our after. Check that out again. That is Find Distractions inside of the Remove tool. This will save you so much time. It's incredible.
Okay, so let's start to build some art here. Zoom out a little bit. Now, the next thing I need to do is create my custom sky, and one of my favorite ways to do that is with a radial gradient. Now, you may remember this from last year: fully editable, no more swiping and deleting here, and it's now located in the contextual taskbar. So I can come in here and change this color. Let's bring this down to a midnight blue to create the look of our sky and drag this out to create our vaporwave sun. That looks awesome. Okay, so now I have a couple other assets to add in here. Let's put this like vaporwave classic sun in there, kind of adding to this effect a little bit, as well as some stars. Now, if you know and love Photoshop, you know and love blend modes. So let's go ahead and change that to Screen. Not the last time I'll be using blend modes today. These are so amazing.
All right, so now let's bring this road up on top here and do a little classic compositing. So we'll just mask this out, and again, in the contextual taskbar, all of these controls at your fingertips. So just mask that out and we're good to go. Now, the next thing I need to do is make this road match the sky, and you may remember we introduced adjustment presets last year, and these are super powerful for one-click color grading. So I have a bunch of my custom looks in here that I use quite often, but we'll go with the vaporwave look here. And then let's just drag our road up and clip this. There we go, clip that to the road. So in a couple of minutes here, my custom background is fully set up from scratch and ready to go.
Now, the next thing I want to do is add in some custom elements here, and normally that might mean going over to Firefly, but I'd have to open a new tab for every idea that I have, and that would take a ton of time. Well, no longer with the brand new Generative Workspace right here inside of Photoshop. And Generative Workspace is a place to ideate and to generate assets, and it's even a giant archive of everything you've been generating. So we got some butterflies here and a forest scene. So let's start to do some prompting. I want to do a vaporwave style. You know, let's do a dragon because that would be pretty sweet. If you know Firefly, you know that you have all these effects here. So we'll do Art and Synthwave and go ahead and generate that. Now, one of the really cool things here is you can continue working while this is generating. So let's go ahead and try some different things here. Now, I want to try a city scene. I want to try a palm tree look. Our dragon came in. That's pretty sweet. I like him. He's looking awesome.
So I want to test all these ideas. Now, normally I'd have to do these one by one and let them generate, but we've added this new feature here called Add Variable, and it adds brackets in, and I can simply type out all of the different options I want here: a mountain, my cities, my palm trees. And check this out: I can generate all 20 of these at once. So we'll go ahead and do that. And we've—yeah, that's really cool, right? It's amazing. Such a time saver. We've also added this fast mode for super, super quick ideation, so you can have these all come in right away. Look at that. We got our silhouette. I can definitely use that in my scene. Palm trees, the city, I love these mountains. And I think I want to add this in. So we've also added a search feature here. So let's go ahead and type in 'mountain.' And we have this detail view as well. So just like a film strip, I can click through and look at all of these different mountains that I've been generating over the past few months. Now, I really love this one. I made this in July, and I want to use it in my scene. And it's super easy to do that now. So just simply 'Add to Miami document' and put it as variations. And there we go.
So that's amazing. Whoops, we got to clip those. You guys know how this goes when you're clipping your layers. So that's Generative Workspace. It's perfect for generating assets and ideating, and again, a giant archive of everything you've been working on. So this comes in as a variation. So we have a couple options here: we can either generate similar or remove background. So let's go ahead and remove that background. That looks awesome. Drag that down, and again, in the contextual taskbar, all of your layer masking controls right here, making it super simple for you to just simply paint this layer mask, getting some of those mountains. Just a little compositing here. Oh yeah, that looks sweet.
Now, the next thing I want to do is add in some stock images. This is part of my workflow that I always do. I got kind of like a Miami city scene as well as a vaporwave grid. Now, I've composited these together for the sake of time, so we'll go ahead and turn that on. And again, using blend modes, let's put that on Screen. And we got our silhouette in there, composited from Generative Workspace. So this is coming together really nicely, and it's all looking super cool. And the next thing I want to do is just do a little bit of local color adjustments to bring your eye into the scene. Now, we introduced the Adjustment Brush tool recently, and this is so powerful for painting adjustment layers. So let's simply start to paint some curves right on our canvas here. So I want this to be darker, bringing this down. And as I'm painting, I get a layer mask added in here for me for fully non-destructive editing. I can continue to add to this. So let's do a new adjustment here, a little brightness contrast, and start to paint in the city scene. Now, one of the things I do most often is paint light and glow in my images, so this just makes it super intuitive, and I love this workflow. It just makes it so, so easy.
All right, so this is looking sweet. And the next thing I want to do here is just expand this canvas. I just feel like I want more vaporwave here, like more Miami. And Generative Expand, we introduced it last year, it's absolutely incredible, and now powered by Image Model 3, this just saves me so much time. Do you all remember the days of doing this from scratch and it took forever? Oh, that looks so good. Yeah, I really love that. That looks amazing. All right, I got to go with that first one. That is awesome. So that's Generative Expand. Again, saves me so much time here. Now, one more little icing on the cake for you all to finish this up. If you know vaporwave art, you know it has halftone bars and chromatic aberration. And so I wanted to take it super old school here with an action. How many of you know actions? Come on. Yeah, yeah, yeah. We love these actions. So let's go ahead and play that. And there we go. That looks so sweet. Brings it to life. So there you have it. We went from pretty much a blank canvas to a fully finished composite using some classic Photoshop tricks of the trade paired with the brand new features. I cannot wait to see what you all create. Thank you so much.
Thank you, Anna. That was amazing work as always. I love watching your creative process and how you use Generative Workspace to explore your ideas. Everything Anna showed is available today in Photoshop, and these are just some of the new features and improvements to Photoshop desktop and Photoshop web this year. Who wants to talk about Illustrator? Yeah. All right. Whether it's for digital, print, packaging, or fashion design, Illustrator is the standard in graphic design and illustration. Over the past year, we've worked closely with you to innovate where it matters most to your work. Let's start with performance. We've made pan and zoom 10 times faster and linked images five times faster. So whether you're working with massive files or detailed edits, Illustrator is faster than ever. And we've made your life easier with updates like automatically relinking missing files. In fact, we've delivered over a hundred of your top community-requested features and fixes this year alone. And we're going even further in making every tool and workflow in Illustrator multi-threaded and GPU accelerated.
We're also reinventing design workflows with tools like Mockup and Retype, and giving you new ways to quickly explore ideas from color to pattern and shapes with Firefly in Illustrator. We've talked about creative power, expressiveness, and speed, so now let's see it. To share with you the latest in Illustrator, please welcome designer and illustrator Michael Fuso.
Hey, thanks Ashley. What's up, homie? Please, my name is Michael Fuso. I'm a vector illustrator that likes to make space-themed stuff, turn them into professional-grade illustrations. Look at that right there. There's about a gazillion things happening in there, but I absolutely love this stuff. What I'd love to do now is share with you a few new quality-of-life tools in Illustrator that helps me out a ton, and it'll probably help you out a ton too. So first off, the Illustrator team has been super hard at work improving the performance to Illustrator. Look at my file. Look at this. I'm going to open up my layers here. Yeah, that's a ton of layers, right? I'm scrolling down here. I'm not even a quarter of the way through. There's about a thousand shapes, and a lot of these shapes have effects applied to them, right? So keeping that in mind, we have a five-times performance boost in panning and zooming. Look at this. I'm just going to zoom in there. It's buttery smooth. What's up? Hey, I'm going to move over. Yeah, I'm going to move over to the face right there. All right, if you have motion sickness, you might want to close your eyes because I'm about to do something. All right, I'm going to count to three just to make sure. One, two, three. Whoa! Whoa! Whoa! Whoa! Whoa! Whoa! Whoa! Performance enhancements, homies! All right, let's move over to the meat and potatoes.
So I made this illustration here. I'm almost done, right? I just feel like there's something missing. So I made these really cool icons to decorate my illustration with here. I'm going to zoom up on this one right here. All right, see these four fins right there? I want to align these four fins perfectly around this red circle. Now, we do that already, right? With Rotate tool, we put a center anchor point, another value, you know, just a little bit. We don't do any of that anymore, all right? We have this awesome tool here called Objects on Path. Check this out. I just click on this ring right here. Boom. Hey, hey, watch this. I'm going to rotate all these. What? What's up, homies? All right, I'm going to change the spacing between these right here. Hey, super useful. All right, let's go ahead and expand this right here. Sweet. And then I'm going to group my icons, or group this icon, I mean. Sweet. I'm going to zoom here. We're not done. We're not done with Objects on Path yet, right? Like I said, I want to decorate my illustration with these icons. Now, this is a bit more of a difficult task, right? These are grouped elements. They're not simple shapes. What will Objects on Path do with something this difficult? Let's see. Boom. What? Oh, what? What? Okay, I could do all the same exact stuff I could do before. Watch this. Hey, star, I want you to move down here. Okay, cool. Hey, moon, I want you up here, homie. No, I want you over here. Nice. That is Objects on Path. It's the main tool to align your objects on paths. Heck yeah!
All right, we're going to hop into the driver's seat of one of these rocket ships here. All right, so similar situation before. I am almost done. I just have this Saturn planet left. Go planets! Planets are either easy or difficult for me, at least, to pull off. So I need some really cool ideas to finish off this illustration. So we have this awesome tool here called Generative Shape Fill that fills in our shapes with really cool vector ideas. So check this out. I can sample any piece of my illustration to match the style. I don't want to match this cockpit area, right? I want it to match my background, right? I'm going to grab that here. So you see in my thumbnail, it grabbed a really cool color scheme, grabbed the really cool squiggly—the squiggles. What up, squiggles? Right. I'm going to hit Generate right there. No prompt needed. It's going to analyze my sphere, it's going to analyze the ring, and probably tell that it's a Saturn planet, and then it's going to put into account the really cool background element that I sampled there, match the style of everything, and boom. Hey, what's up, Saturn planet? Hey, we got the squiggles right there. We have two other options here. Boom, we just need to knock out that white. That's all good. Hey, what about this last one? Really cool. All right, let's check out one more example here. I made this really quick silhouette, right? What about character designs? I need some really cool ideas for characters, right? So I'm going to select this right here. This time, I'm going to type in a prompt. I'm going to type in 'a cute astronaut.' I already typed it in. 'Cute astronaut character,' right? I'm going to sample the style of my background here. Okay, so you see that in the thumbnail we got style selected right there. And I'm going to hit Generate. You know, I'm not very good at drawing characters. I'm more of a rocket ship illustrator. I like to draw the space environments and stuff. So it's really cool that we can generate vector ideas in here without even leaving the app. Hey, what's up, homie? We got two other options here. What's up, little cute little space friend? Hey, what about this one right there? How about this first one? No, I like that first one. Really cool. That is Generative Shape Fill. Just an awesome way to generate vectors with that extra level of control, giving us some really cool ideas. All right, I have one more for you all. Do you all want one more? Yeah, for sure. Okay, let's do it.
Okay, so I made this cute little homie for you all, right? I made this in Adobe Fresco. It's an amazing drawing and painting app, right? I'm going to zoom up right here. The thing is, I didn't use any of the vector brushes. This is all raster. You know, I want this to be in vector so I have the options for large-scale printing, but I don't want to start over, right? I don't want to do my line work all over again. All the gradients, doing the gradients over will take forever, right? Well, we have...
Thankfully, our Illustrator team has been super awesome, super hard at work giving us a new and improved enhanced Image Trace. Check this out. I'm going to select my artwork here. Yes, that's right. All right, I'm going to select High Fidelity Photo because I want all the fidelities. Okay, check out, boom. Okay, so first it did that pretty quick. Okay, but notice we have some color bending right there, we have some imperfections in the lines. It's all good because we just click on this right here. What up, gradients? Click on that, boom, smooth everything out. Heck yeah, heck yes, everybody. Let me expand this really quickly there. Let's zoom out really quickly here. So see, check out those clean vector lines right here. I can easily jump in, make some really cool edits, right? Very, very nice. One last thing here that I didn't show you, we're going to get in isolation mode. What's up, isolation mode? Come on, what's up? All right, look at this. It was able to detect every single gradient in there. We got live editable gradients. This is the first time ever a vector tracing tool is able to detect radiance. What's up? Hey, that is enhanced Image Trace. All right, it was awesome before, it's even better now. So we went over performance enhancements in Illustrator, objects on path, generative shape fill, and enhanced Image Trace. All these tools are available now for you all to make cool stuff. Thank you everybody for letting me have fun up here. Heck yeah, and thank you, Ashley.
Michael, that was incredible, thank you. Michael showed you objects on path, enhanced Image Trace, and a beta of the Firefly-powered generative shape fill. All of these, as Michael said, are available today in addition to dozens of new features and performance enhancements in Illustrator. Now let's talk about 3D. What we've heard from you is you want the flexibility of creating in 3D, but learning to use 3D tools is just too daunting. And while you can create 3D-looking artwork in Illustrator, even simple changes or just rotating an object can mean you have to start over from scratch. So we thought, what if there was a tool for creating 3D content designed from the ground up for designers? A tool designed to be approachable and fun. What if we focused it less on 3D modeling and more on 3D illustration? Well, we have done just that with Project Neo, a web-based 3D illustration tool built for graphic designers. To share more about Project Neo, I'd like to welcome Michael back to the stage.
What's up, homies? I'm back. An illustrator making space stuff, obviously. So I made these poster designs. They're really calling for a 3D-looking object, right? I'm thinking about making a 3D Saturn planet. The thing is, you know, I could build that in Illustrator, it'll take some time, but what I really want to do is build it in 3D, right? Be able to rotate this thing and change the lighting on the fly. The thing is, 3D is scary for me, homies. I'm a 2D illustrator and designer, right, that likes to make stuff with shapes, as you've seen in my work. Well, Adobe has this awesome new tool called Project Neo, an accessible way to create 3D for someone like me, maybe like you too. Let's check this out. All right, so to the left here we got a toolbar, nice. To the right we got a properties panel, some parameters to adjust. This is already looking a lot like Illustrator, which is really cool. I see some familiar-looking icons too. I see this like scale icon. What's up, scale icon? That's working exactly like I think it would. Nice. Okay, I bet you all that these nodes will round the corners out just like they do in Illustrator, and they totally do. Hey, this is looking a lot like a 3D version of Illustrator, which is awesome. I think you all think so. Nice. Let's go ahead and build my really cool poster. I'm going to grab a sphere really quick, okay, and populate that right there. Boom. Hey, look, I'm like halfway done, right? That looks like a planet to me, right? All right, let's go ahead and create the ring around the Saturn. So I see we have a donut preset here. It's called a torus. It's not a donut preset, homies, but it's all good. I'm going to hover over the sides of these, see how we can align to the center of any side of this sphere. Boom, it just populates right up there. And then I'm going to size this upwards. Sick. Okay, we're in a 3D space, homies, so I'm going to move this over to the side. Nice. Hold the option key and this sizes this down from the center just like it does in Illustrator, which is sweet. And then I'm going to roll this down over the sphere. Look how that lighting just rolls over that sphere. That is incredible. It's like, you know, light. Yes, lighting is so hard to do in Illustrator, so it's so awesome that it's doing it live in a 3D space. All right, check it out, we got a Saturn planet, everybody. So I'm going to grab this here and I'm going to decrease the negative space on that ring. So you know what, I could be done here, but I want to make this cool, cool, right? I was inspired earlier by Anna. Yeah, remember Anna in Photoshop? Yeah, heck yeah, she's my best friend, everybody. Anyway, she made those really cool vaporwave lines that go through the sun. I want to do the same thing. I want to be cool like my best friend, right? So I'm going to grab a cube here and populate a cube right up there. And then I'm going to size this down holding the option key from the center. Nice. And then size this upwards. Hey, yeah, you'll see, everybody. I'm going to overpromise and overdeliver to you. All right, now here I'm going to hit this over to carve and move this over on top of the sphere. Check this out, homies, when I move this over the sphere... oh, look how it just cuts through that sphere like butter, right? So we made that really cool vaporwave line. I'm going to shrink this down a little bit right there. And then I'm going to duplicate this a ton of times right over on my Y-axis. Whoa, sweet. And I'm going to decrease the spacing between those lines. Hey, nice. What you all think? Yeah, that looks pretty cool. We got the vaporwave lines. Hey, watch this. Oh, even a simple just moving this downwards just gives a really cool satisfying effect like that. Check out when I rotate this thing too. What? Very, very nice. I love it. All right, we're almost there. Okay, I'm going to go on quickfire mode because I want this to look even more cool. We're going to go Command C, Command V. Our trusty copy and paste works just like it does in all of our other Adobe apps. And then I'm going to decrease again the negative space in that ring right there. Boom. Okay, let's move this over like that. And then I'm going to move this over to the side because again, we're in 3D mode here. Satisfying just rotating objects around, honestly. Just rotate them around like that. Hold the Shift key and it constrains the angle just like it does in Illustrator. Again, Command C, Command V. Do that on the other side. All right, we are just about done, homies. Just the finishing touches. All right, we need to give our Saturn planet a little planet homie to hang out with. What up, planet homie? There you go, you got a little friend to hang out with there. We're going to shrink this down and move this over into orbit. Very nice, very, very nice. Okay, so we're really done with our really cool object here. The next thing I want to do is kind of match the style of my poster, right? So we can quickly do that because we have these really cool filters here. I can make it look like a video game. What's up, right? I can adjust the amount of pixels here. Hey, nice. So every time I change a filter too, I have the ability to adjust anything in editable 3D mode, right? Look, I can still do all the same exact edits here, right? Non-destructive editing, that's what we're all about here at Adobe. Heck yeah. And then the last one we got is this vector art mode. That's, I think, that's what I want. That's probably got to match my poster perfectly. Sweet. Boom. Hey, I think we're just about there. I'm going to center this right there. We're just about ready to download this thing. One last thing, you know, the lighting, right? I was talking about adjusting the lighting on the fly. In Illustrator, if you were to build this, you would have to do it with every single shape. Over here, all we got to do is move a lever down. Hey, now. Okay, lighting, homies. That's right. Okay, we're ready to download this thing. So let's go over to our download. So we got this option to export to MP4 video. We have turntable mode here. Let's see what that does. Okay, so this spins it around, gives us a really cool export to show off our really cool 3D creations, right? But what I'm really interested in here is to send this over to Illustrator as a vector. What? Let's go ahead and do that right now. So yes, so we do that. It's going to open this up in Illustrator. Oh, boom, look at that. Hey, let's delete this right there, the background. Look at this. I hit my Command Y. Boom, look at that. We got those super clean vector lines. So I built this thing in a matter of minutes, right? How sweet is that? I'm going to grab this thing, hit my Command G, and then let's paste this into my really cool poster here. How's this going to look like in my poster? Let's see. Command V. Very nice. Oh, matches that perfectly. Slides this downwards. Yeah, what you all think? That looks pretty cool in there. Looks pretty vector to me. Very nice. Okay, so you know, if I built this in Illustrator, say I wanted some new variations for my other posters here, right? I basically have to start over from scratch. But since I made this in Neo, I can just pop back in there, make some quick edits, and I made these two other variations for the other posters. Boom. This one over here, we have it flipped over to a 45-degree angle and it made it a bit more minimal. And we have the line art here to fit this poster. Heck yeah, everybody. That is Project Neo, homies. Accessible way to create 3D for someone like me, maybe like you. Thank you again, everybody, for letting me have fun up here. And thank you again, Ashley.
Thank you, Michael. So you've worked as a designer for over a decade. Have you tried to work with 3D before?
Yes, I have. Honestly, like, 3D has always been, you know, super—the learning curve has always been super hard for me, you know. And also, exporting to Illustrator, my end result is always Illustrator, so exporting to Illustrator, we never had a great solution for that until now.
So you've been playing with Neo for a couple of months and sharing some of your work with the community. What's your impression so far, and how has the community responded?
Well, for me personally, it's awesome because it reminds me a lot of Illustrator, which is great, in a 3D platform. The community, you all have been really great, all of you that use it. It's my most popular post on Instagram, second most popular post on Instagram. Check that out. It's a really cool tutorial too if you haven't seen it.
Nice. Thank you so much for your passion and sharing your art with us, Michael.
Yes, thanks. Thanks, Ashley. Thank you. Thanks, everybody.
And Michael's going to be giving away some of his posters that you saw on stage today, so go see him in the Community Pavilion and he's going to hand them out personally. We are so inspired what the community has already created in Project Neo, and you can join over 60,000 of your fellow designers who are creating in Project Neo on Adobe Labs today. We want your feedback, and we're working to make Neo widely available soon. So now let's talk about video. It just keeps accelerating. Who likes video? Awesome. From movies to TV to marketing and social video, the demand for high-quality, engaging video is truly insatiable. Premiere Pro is the standard in professional video, and we're innovating more than ever. We are reinventing pro workflows end-to-end across editing, audio, color, and effects, all in a single app so you can work faster and deeper. Whether your content is a 30-second social video or a 3-hour film, it all starts with performance. Playback is four times faster, exports three times faster, and we've added support for seven new cameras. For audio, we've delivered a revamped user experience, AI-powered enhanced speech, and filler word removal. Color: you asked to edit and color grade in the same app, and we've delivered a modern, comprehensive color management system that is simple enough for any video editor to use, whether you're a first-time Premiere Pro customer or a video engineer at a post house. And editing: David showed you the Firefly video model, the first video model designed to be commercially safe. We've talked with the pro video community to understand how generative AI can solve your biggest editing challenges, and we're excited to share with you today how we've integrated the Firefly video model into Premiere Pro. And that's not all. Video projects involve a myriad of creative assets: video clips, graphics, images, documents, and more, and tight coordination across editors, designers, and stakeholders. A successful video project means keeping track of, managing, and collaborating on all of these assets and feedback. Today we've released the biggest update of Frame.io ever that makes creative management for video projects seamless. Frame.io is a single source of truth for all of your video projects with rich new asset collections and content workflows. Gone are the days of needing to move assets and data across different tools to keep your projects on track. Let's see how this all comes together. Please welcome creative evangelist Paul and senior video quality engineer Dosia to the stage.
Thank you so much. Thank you, Ashley. I'm Paul, I'm a visual designer, but lately I've been creating a lot of video content, which is why I'm here in Frame.io. For those of you who don't know, Frame.io is the leading video review, collaboration, and platform for storing content, collecting feedback, and really organizes my life as a designer, right? Because I create a lot of visual designs, and here I am creating a lot of reels. You can see them right in here, scroll through these, see what they look like. I have them stored here. We could check them out, clicking through real fast. See what this looks like. How it's good. It's growing on me. I'm into it. Let's move on from there because it's not just about video. Because notice right next to it we have a PSD. So that PSD is what was used to create that video. And if that's any good at all, it's because I've collaborated with other awesome designers. It takes a village, and I'd say that's looking pretty good. So it's not just about video. It includes video, includes Photoshop, and all your video files and graphic files you'd expect. So I have InDesign in here, Illustrator, PDF, everything that you'd expect. Okay, but let's talk a little bit more about sort of organizing your workflow. Because if you take a closer look, I don't know if you're like me, you ever have files named something like this? I don't know, Daisy final, final, final. I mean it this time. Final version two. Just me? It's just me. All right, we could do better. In fact, let's click in here. Frame.io makes that easy. We could just say, hey, you know what, that needs review, just like that, right? So we have that marked. Easy. I don't have to hunt down all the files that need review because off to the side we have collections. We can see all the files that need review are organized right in here, handy for me to check out. And we can see those right there. Okay, but it's not just about organizing my life, do I need it as a creative, right? But also organizing and working with others. So I'm collaborating also with Dosia. We have this project that we're working on. We'll click into it and we can kind of quickly kind of check it out. This cool video. Yeah, I could probably do that. Probably not. But you get the idea. We can kind of click through this sort of beautiful quality playback, and it's frame-accurate. So as we dial into this, we can really see the frames we want to take a look at, right? So frame-accurate. And you know what? I actually really like what's going on here. We can add a comment. I love this chromatic aberration. We have annotations. We can get down to the pixel, down to the frame. Makes it super easy for me so we're on the same page. Okay, so that's tagged with that frame. It's looking good. We could check out more of this video. Cool spins, cool jumps. Checking out their shoes. Okay, not bad. They're all right. But right in here we could jump in and just add one more comment too, because it's a conversation is what we're having, right? So ultimately, like, what do we want to do in this case? Do we need to create graphics here, right? Is that part of my job? Can we find something that will go in this clip? Do I need to, I don't know, do we need to film something? I don't know, Dosia, but let's have that conversation. And that's the idea. It's like, Frame.io was perfect for me when it comes to reviewing my content, collaborating with others, sharing your awesome work with others. Thank you so much.
Hi, y'all. I'm Dosia, and I'm back to share my favorite tools in Premiere Pro. Okay, y'all, as you saw, Paul and I are collaborating on a fun dance video. Okay, we got some nice moves here. We're learning for MAX Bash, right? But hey, I just need to go over here to my new Frame.io panel, and right away I see that I can click on this comment. There's even markers on my sequence. Hey, thanks, Paul, for the shout-out. I appreciate that. But you guys, Paul is on to me. I have a glaring issue here. Let's just take a closer look. Okay, okay, okay. I am living for the beat drop. I'm loving my edits after that. But what is this? What is this about? Okay, here's the deal, y'all. It's only like two seconds worth of time. Thank you, Paul, for the offer to make a graphic, but that's honestly, that's not going to be enough time for people to read it. I don't want to find a shorter clip because I'm trying to cut those fast, quick cuts after the beat drop. Editing is all about spacing, timing. So yes, can we make this clip longer? Paul, I wish I could do that. There's just no more clip. I can't do it. You know, normally we might do something like slow-mo this shot, right? But it's already slow motion. That's not going to work. We've all used hold frames egregiously. That's definitely not going to work. But check it out. I got a fresh new tool today in today's beta called Generative Extend. Okay, check this out. Ready for this? Ooh, where there was nothing, now there is something. Okay, this is powered by the new Adobe Firefly video model. This is to extend video and audio. This is so incredible. And you know, with the magic of the Adobe MAX stage, boom, we're time traveling. Okay, so before I even play that back, let's just go over here to where the end of our clip actually was. Okay, I'm going to do a quick cut because I just want to put those new frames on a different track so that we can all be really clear where the new frames are and the old frames were. And let's start that jam again. Yes, y'all. Did y'all notice? No, that's the point. It's seamless. It's imperceptible. Most importantly, I don't have to edit. I don't have to do my edit again. I don't have to go find a new shot. Generative Extend is perfect for those moments. Just another tool in our post-production toolkit. Okay, check this out. I got another really fun reason to use Generative Extend. Okay, I like to be out in the world taking beautiful shots. I think I'm a really great DP. And then this happens. Why? Why? I borked it. I borked it. Why couldn't I just hold it a little longer every time? Okay, no problem. No problem. Check this out. We're going to erase that as though it never happened. Okay, again, grabbing my Generative Extend tool, we're going to make some magic. Let's skip ahead. We know how it works. This processing, it's thinking. Okay, check this out. Okay, y'all saw what it looked like before. Let's see the after. Wait for it. Oh, bonito. Look at that gorgeous pan. Let's see. Let me turn that off. Do you remember what I was really doing in real life? Oh my gosh, that was... no, no, no, no, no, no, no. I'm a professional, y'all. Look at this. Gorgeous. This is Generative Extend, available in today's beta. All right, but we're about to do something. Yeah, yeah, yeah, yeah. Shout-out to that Generative Extend team. They work real hard for this, y'all. I can't wait for y'all to try it. Okay, we're about to do something though we rarely do on the MAX stage, and that's give a sneak before the sneak. Okay, so we're time traveling to the future. We're jumping timelines, so to speak. Dad joke. Okay, here's the deal. I've got two of the scariest words in my language: mask tracking. Okay, if you know, you know. I get hives just thinking about it, y'all. It takes a long time to mask track. But check it out. We've heard your feedback. One of the top most requested features is coming to Premiere Pro: object selection. Yes, for video. Look, the lions can't even believe what I just said. If you use this in Photoshop or Lightroom, you know the magic I'm talking about. So check this out real quick. I'm going to grab my object select tool. Look at this, bonito. I just hover over my gorgeous cats, and object selection sees it all. And I just want to point out the complexity of this video, you guys. This is all very similarly toned, very demure, very similar hues. Object selection is on it, no problem. All right, let's get to work though. Back in my Frame.io panel, Jordan says, can you mask this space dancer out of the shot? I ask again. Normally I would be crying about it. You know why? Because I'd have to take a little pen tool and I'd have to go around and make clicks all around every single one of these edges. I need to go frame by frame, moving those little... it's going to take forever. I don't want to do that. Not today. Okay, I'm going to grab my object select tool. We're going to make two clicks, and we're going to start tracking live right now on the stage. And for my non-video folks out there, what am I talking about? I'm talking about making a mask that has to shape-shift with the object that you have selected. This takes a lot of time. I can't even explain it to you because it's already done. It's over. Here we go. So let's just go in. Look at that. Ooh, that's incredible. That's incredible. Here's the deal. Let's just get to work because we've saved so much time. So I've been working on this little number. Okay, that's looking fresh. I do have a love affair with space, as Michael does too. We all do. Okay, we're going to level this up though. First of all, I'm going to allow a little jam to it. I'm going to use these new beautiful audio crossfade handles in Premiere. I don't know if you've used them. They're gorgeous. And we're just going to take that mask that we just made. We're going to stack it on top. Hey, hey, bro. We're going to stack it on top. There we go. Uh-oh, hang on. I hit the wrong button, y'all. I'm nervous. Here we go. We're stacking it on top. We do a little compositing. All right, we're going to add a jam to that to celebrate. Here we go. Woo, that is looking so good. Y'all see that text behind the astronaut? I'm like a budding compositor up here. Okay, and because object selection has saved me so much time, I'm just going to go wild. Do more. We're going to do more. I'm going to put my space dancer in space. I'm going to put space in my space dancer. I don't care. Check this out. Kelly says, hear me out, three astronauts. Well, using the new properties panel, you got it, girl. We're going to make some quick backup dancers here. Check this out. I can just boom, boom. Look at this. We can multi-select. Boom, boom, boom, boom, boom. Y'all do go chasing waterfalls. We're living in vaporwave heaven. That's amazing. Makes me want to dance right now. Dang, that's cool. All right, but I know what you're thinking. Dosia, these astronauts don't even have hair. What's the big deal? I could do that in two hours. Cool. All right, well then what about this? I challenge you to mask track this clip out. Check out. I mean, let's talk about the complexity of this. Hair's flying around, dancers are in and out of the frame, the camera itself is moving around. This would be a very difficult shot to track in any app. But well, we got some magic in the works for you guys. Just going to click that, and again, we're going to do it live. Let's talk about those soon-to-be-over days where we would sit at our computer trying to mask track hair and tears would be falling and we would be getting all of the carpal tunnels. Oh my gosh, probably a lot of coffee breaks, which we're not going to be able to do those very much longer, y'all. That's a problem. Okay, it's done. Put your violins away. I can't cry for too much longer. And we're just going to real quick, we're going to do some boom, boom, boom. Let's see. We're going to take our dancers back to Miami 1965. We're going to put on a jam to celebrate. And let's go. Look at that. I just want to come back. Look at this. The audacity of this accuracy, y'all. How dare it? Look at that. It's so beautiful. And because object select is so quick, I can just literally make multiple looks just like this. Bam, bam, bam. We can put that in Frame.io, get some comment feedback, have those conversations. Y'all, this is object selection coming to a future Premiere Pro near you. Stay perfect, Miami, and come see me at the booth.
Thank you, Paul and Dosia. All I can say is wow. Dosia has showed you some dancing astronauts and Firefly-powered Generative Extend. We're just getting started on how we can solve real-world editing problems with Firefly and Premiere Pro. And because Adobe Firefly video model is designed to be commercially safe, you can use it in your projects with confidence. Generative Extend is one of the many new features and performance enhancements now available as a public beta in Premiere Pro. We're also always looking to give you more choice of platforms that you can create on. Today I'm excited to announce that in addition to Photoshop, Lightroom, and Acrobat, the latest version of Premiere Pro is now available on Windows Copilot+ PCs. And through the partnership with Microsoft and Qualcomm, Premiere Pro is the first Adobe app to leverage the NPU, which is a dedicated AI processor, to automatically tag audio files and assign presets. So when you open your content in Premiere Pro, you can just get started editing right away. You can learn more on adobe.com. Paul and Dosia also showed you the power of the all-new Frame.io that combines asset management, work management, and collaboration into a single source of truth for all your video projects and more. Support for Photoshop, Illustrator, and InDesign files means you can now work across video and design assets. The next generation of Frame.io is available today. Finally, Dosia gave you a sneak peek of the game-changing smart masking that will transform how you edit in Premiere Pro. Smart masking will be available in the coming months. Let's take a second to catch our breath. We've already seen a ton of innovation across Photoshop, Illustrator, Project Neo, Frame.io, and Premiere Pro. Creative Cloud also gives you amazing tools like Lightroom, the standard for photography, and Adobe Express, the create-anything app, to take your Photoshop, Illustrator, and Premiere Pro content even farther. To walk you through the latest innovation in these tools, I'd like to welcome Deepa Subramaniam, Vice President, Product Marketing for Creative Cloud.
Thank you so much, Ashley. Hi, Miami. That was incredible. It's kind of hard to have a favorite demo, but those smart mask dancers took my breath away. So we got to keep the excitement going and talk about Adobe Express, our simple and powerful web and mobile application that lets you create anything quickly and easily. And I mean easily. Whether you're a creative professional, a marketer, or a small business owner, you can create and edit all types of content in Adobe Express: images, video, animation, you name it. Now, many of you are creative professionals. You've invested time and energy in learning Photoshop, Illustrator, InDesign, Premiere Pro, and more. So the beauty of Express for you in particular is it expands the power of what you're able to create in those applications in an interface that lets you do more easily. Express unlocks workflows between creative professionals and the people they work with every day, like marketers. Express is also valuable when creating on your own too. It's like a creativity multiplier where for you to expand what your content can be and how it comes to life. And Express is seamlessly integrated into the platforms you rely on daily, like Box, HubSpot, Slack, and more. To share with you how Express is super easy to get started with and has a ton of headroom to do more advanced professional work, please welcome back designer Paul to the stage.
