MacDirectory magazine is the premiere creative lifestyle magazine for Apple enthusiasts featuring interviews, in-depth tech reviews, Apple news, insights, latest Apple patents, apps, market analysis, entertainment and more.
Issue link: https://digital.macdirectory.com/i/1488864
Experience Manager (who proved she can provide a live audience with quite an experience) and Kevin Hart, actor, comedian and, as we were frequently reminded that evening, entrepreneur. This year’s theme was “A Multiverse of Sneaks,” echoing the Premiere Pro-edited hit, Everything Everywhere All at Once. The Sneaks traditionally feature a lot of energy and a lot of laughs (though quite politely not at any of the presenting developers’ expense). All the pent-up energy from the past two lonely years was released at 2022’s MAX Sneaks as the co-hosts took the session far enough over the top to limit the appropriate audience to those old enough to indulge in the beverages that made Hart so successful in business. But as usual, the work Adobe’s brilliant developers and computer scientists was the centerpiece of the event and drew the most gasps of awe, applause, and cheers from the audience. As has been the case in recent years, their work was rich in AI and saving a ton of work. And hopefully we’ll hear about some of these great ideas again when they make it into the production versions of Adobe’s products. Sneaks led with what we think was one of their best shots of the night, Zheife Zhing’s Clever Composites (#CleverComposities). First, it adds a new layer of intelligence to Adobe Stock: click on a location in an image and Stock will search out an image that has the appropriate view and perspective. For the demo, he started out with a scenic of a highway and clicked on the road. With the prompt “car,” the search pulled up rear views of cars on a road. Transferring it to his road image automatically matted it out from the its background and onto his. No big deal. But it was all out of proportion. He then called up the Auto-compose function he dreamed up and it expanded to the correct size and moved to the right place. On top of that, it can use some GAI tech, letting him select an area of an image and the Clever-Composites search will look for something appropriate the fill the space, like a moon in an empty night sky. It can also automatically adjust the lighting in a composited element to match the background, going so far as day into night. Adobe Senior Research Engineer/Scientist Yannick Hold Geoffroy combined several of Adobe’s newest technologies to create Behind the Seen (#BehindTheSeen). Starting out with a still image of a potential background (indoors or out) imported into Substance Stager, a GAI algorithm extrapolates it into the surrounding 3D scene. Place a reflective 3D object on the stage and it will mirror the scene that was created. And, of course, the entire 3D scene can be rendered into a full, interactive panorama.