adobe generative ai 1
Grace Yee, Senior Director of Ethical Innovation AI Ethics and Accessibility at Adobe Interview Series
Adobe’s Claims Next Generative AI Features Will Be Commercially Safe
Speaking of “early access” features, Adobe introduced AI-powered Lens Blur as an early access tool last year. With today’s Lightroom ecosystem update, it is finally available to everyone, no strings attached. For those who want it, it’s available in all versions of Adobe Lightroom beginning today as an “early access” feature. While it’s easy to think about “generative AI” in terms of adding something to a scene, it also makes sense for removal, as to do so convincingly, new pixels must be made to replace what is taken out of the frame.
By being open about our data sources, training methodologies, and the ethical safeguards we have in place, we empower users to make informed decisions about how they interact with our products. This transparency not only aligns with our core AI Ethics principles but also fosters a collaborative relationship with our users. Adobe could improve the user experience dramatically by simply including the reason a generation gets flagged as a guideline violation. They request we use their feedback system when this happens, but don’t give us any feedback in return.
Make sure you’re running the right version
There, a user’s remaining number of generative credits is shown and it reloads in real-time. There is no indication inside any of Adobe’s apps that tells a user a tool requires a Generative Credit and there is also no note showing how many credits remain on an account. Adobe’s FAQ page says that the generative credits available to a user can be seen after logging into their account on the web, but PetaPixel found this isn’t the case, at least not for any of its team members.
The future of content creation and production with generative AI – the Adobe Blog
The future of content creation and production with generative AI.
Posted: Wed, 11 Dec 2024 08:00:00 GMT [source]
The Firefly Video Model (beta) is set to extend Adobe’s family of generative AI models and make Firefly one of the most comprehensive model offerings for creative teams. It is available today through a limited public beta with the goal of garnering feedback from small groups of creative professionals. Adobe is upgrading those existing capabilities to a new AI model called the Firefly Image 3 Model. According to the company, the update will improve both the quality and variety of the content that the features generates.
Adobe’s new AI tools will make your next creative project a breeze
By Jess Weatherbed, a news writer focused on creative industries, computing, and internet culture. To its credit, two of the three options Generative Remove suggested did provide usable alternatives. Unfortunately, the Bitcoin option was the first one, which (whether Adobe intends this or not) tells an editor that it is what the platform feels is the best result. While this kind of makes sense if you don’t think about it too hard, it also is completely counterintuitive to the concept of the name of the tool and the result an editor is expecting. “Select the entire object/person, including its shadow, reflection, and any disconnected parts (such as a hand on someone else’s shoulder). For example, if you select a person and miss their feet, Lightroom tries to rebuild a new person to fit the feet,” the article reads.
“It’s another way to penetrate and radiate the user base,” Gartner analyst Frances Karamouzis said. The new Media Intelligence tool in Premiere Pro follows the introduction of other AI-driven features including Firefly-powered Generative Extend. If I am selecting a body part and asking a tool to fill or remove that space, zero percent of the time would I want it to replace my selection with its eldritch nightmare version of that exact same thing. What I, and any editor doing this, want is for what is selected to be removed as seamlessly as possible. GPU-accelerated, AI-powered video retiming tool can now be used without a host app, for under half the price of a regular plugin license. Internally, IBM is also using Adobe Firefly to streamline workflows, leveraging generative art, Photoshop, Illustrator, and Firefly’s AI capabilities.
Generative Extend is coming to the Adobe Premiere Pro beta
That’s an existing Illustrator feature for creating scalable vector, or easily resizable, versions of an image. According to Adobe, its engineers have enhanced the visual fidelity of the feature’s output. Or perhaps someone likes the look of an image but wishes that the subject were somewhere else in the frame.
- Leading enterprises including the Coca-Cola Company, Dick’s Sporting Goods, Major League Baseball, and Marriott International currently use Adobe Experience Platform (AEP) to power their customer experience initiatives.
- “Dubbing and Lip Sync” can translate and edit lip movement for video audio into 14 different languages, and a new InDesign tool can automatically format text and images for print and digital media using predefined templates.
- One of the biggest announcements for videographers during Adobe Max 2024 is the ability to expand a clip that’s too short.
- Illustrator and Photoshop have received GenAI tools with the goal of improving user experience and allowing more freedom for users to express their creativity and skills.
My advice would be to begin by establishing clear, simple, and practical principles that can guide your efforts. Often, I see companies or organizations focused on what looks good in theory, but their principles aren’t practical. The reason why our principles have stood the test of time is because we designed them to be actionable.
Adobe Firefly Feature Deep Dive
Firefly is featured in numerous Adobe apps, including Photoshop, Express, and Illustrator, and with the introduction of the Firefly Video Model (beta), it is coming to Premiere Pro, Adobe’s venerable video editing software. At the heart of Adobe’s announcements is the expansion of its Firefly family of generative AI models. The company introduced a new Firefly Video Model, currently in beta, which allows users to generate video content from text and image prompts.
While the company was not proactive about alerting users to this change, Adobe does have a detailed FAQ page that includes almost all the information required to understand how Generative Credits work in its apps. As of January 17, Adobe started enforcing generative credit limits “on select plans” and tracking use on all of them. When it comes to generative artificial intelligence (AI), one company that has been at the forefront on the software side is Adobe (ADBE -0.43%). The company has added a number of AI-related features to both its Creative line of products, such as Photoshop, and its Acrobat-led Document Cloud business. Since many mobile devices shoot HDR photos, software has continually expanded its support for HDR image editing, Lightroom among them. With HDR Optimization, Lightroom users can achieve brighter highlights, deeper shadows, and more saturated colors in HDR photos.
For Creative Bloq, Ian combines his experiences to bring the latest news on digital art, VFX and video games and tech, and in his spare time he doodles in Procreate, ArtRage, and Rebelle while finding time to play Xbox and PS5. As some examples above show, it is absolutely possible to get fantastic results using Generative Remove and Generative Fill. But they’re not a panacea, even if that is what photographers want, and more importantly, what Adobe is working toward. There is still need to utilize other non-generative AI tools inside Adobe’s photo software, even though they aren’t always convenient or quick. As its name suggests, Generative Remove generates new pixels using artificial intelligence.
Adobe’s Claims Next Generative AI Features Will Be ’Commercially Safe‘
The new AI features will be available in a stable release of the software “later this year”. Generate Similar, shown above, automatically generates variations of a source image, making it possible to iterate more quickly on design ideas. Users can guide the output by entering a brief text description, with Photoshop automatically matching the lighting and perspective of the foreground objects in the content it generates. In Photoshop 25.9, they are joined by the ability to create entire images from scratch, in the shape of new text-to-image system Generate Image.
“Think of these ‘controls’ as the digital equivalent of the paintbrush in Photoshop,” says Alexandru. If you’re a digital artist fed up with hearing prompt jockeys tell you to get over generative AI art’s impact, then Alexandru Costin, Vice President of Generative AI and Sensei at Adobe, has some good news for you as we begin 2025. Get the latest information about companies, products, careers, and funding in the technology industry across emerging markets globally. I suspect this may be for similar reasons, that Stable Diffusion XL (SDXL) works best in 1024 pixel aspect ratios. I’ve found that limiting the expand or fill areas to 1024 pixels improves results.
The company sees this tool as helpful in creating storyboards, generating B-roll clips, or augmenting live-action footage. Labrecque has authored a number of books and video course publications on design and development technologies, tools, and concepts through publishers which include LinkedIn Learning (Lynda.com), Peachpit Press, and Adobe. He has spoken at large design and technology conferences such as Adobe MAX and for a variety of smaller creative communities.
- Even if the company isn’t enforcing these limits yet, it didn’t tell users that it was tracking usage either.
- “I think Adobe has done such a great job of integrating new tools to make the process easier,” said Angel Acevedo, graphic designer and director of the apparel company God is a designer.
- At Sundance 2025 in Utah, the creative tech giant has announced a new AI-powered Media Intelligence tool that automatically analyses visuals across thousands of clips in seconds.
- In Q4 of last year, the company generated $569 million in new digital media ARR, so this would be a deceleration and could lead to lower revenue growth in the future.
Further, Firefly offers a variety of camera controls, including angle, motion, and zoom, enabling people to finetune the video results. It’s also possible to generate new video using reference images, which may be especially helpful when trying to create B-roll that can seamlessly fit into an existing project. Adobe is one of several technology companies working on AI video generation capabilities. OpenAI’s Sora promises to let users create minute-long video clips, while Meta recently announced its Movie Gen video model and Google unveiled Veo back in May. It is available today through a limited public beta to garner initial feedback from a small group of creative professionals, which will be used to continue to refine and improve the model, according to Adobe.
They utilize AI to significantly speed up and improve image editing without taking control away from the photographer. To address this, Adobe founded the Content Authenticity Initiative (CAI) in 2019 to build a more trustworthy and transparent digital ecosystem for consumers. The CAI implementsour solution to build trust online– called Content Credentials. Content Credentials include “ingredients” or important information such as the creator’s name, the date an image was created, what tools were used to create an image and any edits that were made along the way.
The Generate Similar tool is fairly self-explanatory — it can generate variants of an object in the image until you find one you prefer. Adobe is upgrading its Premiere Pro video editing application with a generative AI model called the Firefly Video Model. It powers a new feature called Generative Extend that can extend a clip by two seconds at beginning or end. These latest advancements mark another significant step in Adobe’s integration of generative AI into its creative suite.
This upcoming tool takes the power of everything seen in Adobe Firefly AI functions and applies it to generative video. It works incredibly well, even tracking objects that move against similarly toned or colored backgrounds. Photoshop’s latest AI features bring in more precise removal tools, allowing you to brush an area for Photoshop to identify the distraction and remove it seamlessly.
Adobe’s CFO: Agentic AI is a ‘natural evolution’ for the company – Fortune
Adobe’s CFO: Agentic AI is a ‘natural evolution’ for the company.
Posted: Fri, 24 Jan 2025 11:58:00 GMT [source]
Its Content Credentials watermarks are applied to whatever the video model outputs. In Firefly Services, a collection of creative and generative APIs for enterprises, Adobe unveiled new offerings to scale production workflows. This includes Dubbing and Lip Sync, now in beta, which uses generative AI for video content to translate spoken dialogue into different languages while maintaining the sound of the original voice with matching lip sync.
In addition, he is the founder of Securities.io, a platform focused on investing in cutting-edge technologies that are redefining the future and reshaping entire sectors. As generative AI continues to scale, it will be even more important to promote widespread adoption of Content Credentials to restore trust in digital content. For those seeking more control, consider exploring tools like Stable Diffusion and ComfyUI. While they have a steeper learning curve and require a GPU with at least 6-8GB of VRAM, they can easily blow Photoshop out of the water.
While a lot of the focus has been on generative AI, Adobe continues to roll out workflow-focused AI features across its Creative Cloud suite too. I’d argue this increase is mostly coming from all the generative AI investments for Adobe Firefly. But speak to serious photographers who use Lightroom and Photoshop for editing their photos, and I’d be willing to wager that most of them don’t need any of the generative tools that Adobe wants to sell to us via this price increase.
Posted: June 3, 2026 7:15 am
According to Agung Rai
“The concept of taksu is important to the Balinese, in fact to any artist. I do not think one can simply plan to paint a beautiful painting, a perfect painting.”
The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.
A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.
As a through discussion of Balinese and Indonesian arts is beyond the scope of this catalogue, the reader is referred to the books listed in the bibliography. The following descriptions of painters styles are intended as a brief introduction to the paintings in the catalogue, which were selected using several criteria. Each is what Agung Rai considers to be an exceptional work by a particular artist, is a singular example of a given period, school or style, and contributes to a broader understanding of the development of Balinese and Indonesian paintng. The Pita Maha artist society was established in 1936 by Cokorda Gde Agung Sukawati, a royal patron of the arts in Ubud, and two European artists, the Dutch painter Rudolf Bonnet, and Walter Spies, a German. The society’s stated purpose was to support artists and craftsmen work in various media and style, who were encouraged to experiment with Western materials and theories of anatomy, and perspective.
The society sought to ensure high quality works from its members, and exhibitions of the finest works were held in Indonesia and abroad. The society ceased to be active after the onset of World War II. Paintings by several Pita Maha members are included in the catalogue, among them; Ida Bagus Made noted especially for his paintings of Balinese religious and mystical themes; and Anak Agung Gde Raka Turas, whose underwater seascapes have been an inspiration for many younger painters.
Painters from the village of Batuan, south of Ubud, have been known since the 1930s for their dense, immensely detailed paintings of Balinese ceremonies, daily life, and increasingly, “modern” Bali. In the past the artists used tempera paints; since the introduction of Western artists materials, watercolors and acrylics have become popular. The paintings are produced by applying many thin layers of paint to a shaded ink drawing. The palette tends to be dark, and the composition crowded, with innumerable details and a somewhat flattened perspective. Batuan painters represented in the catalogue are Ida Bagus Widja, whose paintings of Balinese scenes encompass the sacred as well as the mundane; and I Wayan Bendi whose paintings of the collision of Balinese and Western cultures abound in entertaining, sharply observed vignettes.
In the early 1960s,Arie Smit, a Dutch-born painter, began inviting he children of Penestanan, Ubud, to come and experiment with bright oil paints in his Ubud studio. The eventually developed the Young Artists style, distinguished by the used of brilliant colors, a graphic quality in which shadow and perspective play little part, and focus on scenes and activities from every day life in Bali. I Ketut Tagen is the only Young Artist in the catalogue; he explores new ways of rendering scenes of Balinese life while remaining grounded in the Young Artists strong sense of color and design.
The painters called “academic artists” from Bali and other parts of Indonesia are, in fact, a diverse group almost all of whom share the experience of having received training at Indonesian or foreign institutes of fine arts. A number of artists who come of age before Indonesian independence was declared in 1945 never had formal instruction at art academies, but studied painting on their own. Many of them eventually become instructors at Indonesian institutions. A number of younger academic artists in the catalogue studied with the older painters whose work appears here as well. In Bali the role of the art academy is relatively minor, while in Java academic paintings is more highly developed than any indigenous or traditional styles. The academic painters have mastered Western techniques, and have studied the different modern art movements in the West; their works is often influenced by surrealism, pointillism, cubism, or abstract expressionism. Painters in Indonesia are trying to establish a clear nation of what “modern Indonesian art” is, and turn to Indonesian cultural themes for subject matter. The range of styles is extensive Among the artists are Affandi, a West Javanese whose expressionistic renderings of Balinese scenes are internationally known; Dullah, a Central Javanese recognized for his realist paintings; Nyoman Gunarsa, a Balinese who creates distinctively Balinese expressionist paintings with traditional shadow puppet motifs; Made Wianta, whose abstract pointillism sets him apart from other Indonesian painters.
Since the late 1920s, Bali has attracted Western artists as short and long term residents. Most were formally trained at European academies, and their paintings reflect many Western artistic traditions. Some of these artists have played instrumental roles in the development of Balinese painting over the years, through their support and encouragement of local artist. The contributions of Rudolf Bonnet and Arie Smit have already been mentioned. Among other European artists whose particular visions of Bali continue to be admired are Willem Gerrad Hofker, whose paintings of Balinese in traditional dress are skillfully rendered studies of drapery, light and shadow; Carel Lodewijk Dake, Jr., whose moody paintings of temples capture the atmosphere of Balinese sacred spaces; and Adrien Jean Le Mayeur, known for his languid portraits of Balinese women.
Agung Rai feels that
Art is very private matter. It depends on what is displayed, and the spiritual connection between the work and the person looking at it. People have their own opinions, they may or may not agree with my perceptions.
He would like to encourage visitors to learn about Balinese and Indonesian art, ant to allow themselves to establish the “purity in the connection” that he describes. He hopes that his collection will de considered a resource to be actively studied, rather than simply passively appreciated, and that it will be enjoyed by artists, scholars, visitors, students, and schoolchildren from Indonesia as well as from abroad.
Abby C. Ruddick, Phd
“SELECTED PAINTINGS FROM THE COLLECTION OF THE AGUNG RAI FINE ART GALLERY”
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