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Touring the exhibit floor also gave us the opportunity (with a little help from Adobe) to talk to some of the people behind their newest releases and updates. There were a slew of new Adobe app we consider to be its most fun, Fresco. We had a chance to talk to with Adobe CC’s Product Management Director, Bryan O’Neil Hughes and Fresco’s gifted Lead Experience Designer, Jinjin Sun, to dig a little deeper. Bryan reminded us that this year’s MAX celebrated Fresco’s third birthday, coming out just in time for all of us to be locked in and gaining over a hundred feature updates in its short lifetime (more than any other Adobe product, in fact). The program has become, something for painters what Lightroom is for photographers. Thanks to layers, a non-destructive workflow, and the ability to realistically mix physically unmixable media, it’s opened up a whole new world for artists and illustrators. Along with a new $9.99/month plan for the iPad app, the latest batch of updates add a bunch of easy-to-use animation tools that came to life under Jinjin’s pen (um, Apple Pencil) as we talked. What was most impressive was the animated vector jiggle-brush. With all the recently added animation features, Photoshop integration, and export options, Fresco is making its mark in video production. The motion tools and a little imagination can go a long way, not only in social media, but training and product promotion. Literally in the shadow of one of RED’s new 8K V-RAPTOR XL cameras, we spoke with with Frame.io’s Michael Cioni. He told us that the idea first came about when he was working with David Fincher on The Social Network, one of the first feature films shot with RED cameras, when everyone else was still using tape or film. Fincher asked, “Why can’t I view this on my iPad.” With a bunch of wire, a couple of routers and a gun case, he had a prototype working. It took eleven years to get it out of prototype (and the gun case). Another early problem, he added, was that “A lot of the tech that we thought would make it easy hadn’t been invented yet.” Emory Wells, Frame.io’s CEO, saw the potential and brought Michael onboard in 2019. Working with both Frame.io and Adobe, the goal became to be the media cloud for every product, a step away from what he alluded to as proprietary clouds. The breakout applications for C2C are news and sports, where the goal is no longer to post as soon after it’s over as possible but before. Though the broadcasters own the licensing for the broadcasts, the teams have control