Adobe updates Lightroom for iOS with Apple Pencil and 3D Touch support

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Adobe pushed out some pretty substantial updates to its Photoshop Lightroom iOS apps today that contain support for Apple’s Pencil stylus and 3D Touch finger editing. Now, if you’re using Lightroom on an iPad Pro with the Pencil, you can apply pressure with the tip of the device to selectively apply changes to brightness, exposure, and other settings. Adobe is calling this the Brush Selection tool, and it also works on iPhones with 3D Touch. Just press harder with your finger on the screen over the desired area to achieve the same effect.

Lightroom is also getting a few design tweaks to make it easier to use. You can now change sharpness and noise reduction more easily from the detail tab, and the app has been redesigned to have a more sensible layout on the iPad. For iPhones, Lightroom now features an in-app camera mode that will automatically tell you which parts of an image are over-exposed so you can compensate with changes in exposure in-frame before you capture. On top of these iOS improvements, Adobe also announced a fully redesigned Android version of Lightroom out today, with an Android-native interface.

Wacom Unveils Strategy To Launch Digital Stationery Consortium

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Connected Ink Event To Include Samsung, Montblanc, E Ink and Wacom

BERLIN — Sept. 5, 2016 Wacom announced today its strategic plan to establish theDigital Stationery Consortium in October 2016. The objective of consortium is to establish digital ink as universal, open and smart content format by promoting and managing digital ink formats based on the Wacom Ink Layer Language (WILL™). WILL’s digital ink technology ensures cross-compatibility of ink data, allowing businesses and consumers to freely communicate and collaborate across digital devices, operating systems, hardware platforms and cloud services. WILL is a universal inking engine and ink layer frameworkthat connects hardware, software and applications.
“Unifying various digital stationery solutions under the WILL framework will reduce complexity and produce a richer user experience by creating a seamless digital ink experience across every mobile device and ecosystem,” said Masahiko Yamada, President & CEO of Wacom. “We received very positive feedback about launching this consortium while conducting our initial industry outreach at Connected Ink events in Las Vegas and Shanghai recently.”

Thought Leadership Event at Connected Ink, Berlin 
Hosted by Wacom, the Connected Ink event in Berlin, Germany, on September 3, 2016, will gather leading industry advocates to present on recent developments in the digital ink and pen ecosystem. Connected Ink is the platform for industry leaders in hardware, software, cloud telecommunication and stationery to push ideas, technologies and mass market adaption around digital ink and pen.

Companies presenting and/or participating in the product showcase include: Samsung Electronics, Montblanc, Simplo GmbH and E Ink Corporation, as well as CenterDevice GmbH, Moka Studio and WeKast. Below is the list of presentations:

• “Samsung’s Strategic Vision for Digital Handwriting.” Keynote address by Peter Koo, senior vice president and head of technology strategy, Samsung
• “The Beauty of Handwriting in a Digital Space.” Felix Obschonka, associate director for new technologies, Montblanc
• “Novel Note-Taking Experience. Paper-like eNote.” Jim Chang, senior director, Strategic Integration Center, E Ink
• “Vision of the Creative World.” Masahiko Yamada, president and CEO, Wacom
• “WILL: Universal Ink for the 21st Century.” Heidi Wang, vice president, Portfolio Management and Technology Marketing, Wacom
• “Universal Pen Experience.” Nobu Ide, senior vice president, Technology Solutions, Wacom

Product Showcase includes:
• CenterDevice will provide a B2B eSignature technology.
• Moka Studio will demonstrate its “MoSketch” app
• WeKast will demonstrate a real-time collaboration leveraging the WILL digital ink technology.

A panel discussion exploring the future of digital ink is also planned and will include executives from Samsung, E Ink, CenterDevice and Wacom.

Wacom Introduces Most Full-Featured and Flexible Signature Pads with the STU-540

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September 13, 2016 Tokyo, Japan – Wacom Co., Ltd. today announced the addition of the STU-540, its most advanced and robust signature pad, to its industry leading family of signature capture devices. Combining the broadest range of connectivity options, user conveniences and top-level encryption, the STU-540 is the premier choice for organizations looking to implement handwritten electronic signature into their workflow.
Wacom’s newest signature pad expands support for signature capture in a variety of environments. In desktop environments, it utilizes standard USB. For virtualized desktop configurations, there are several options – giving users a range of choices to best fit their requirements. The STU-540 is natively supported in Citrix v7.6.3 and newer. For Citrix v6.5 and other virtualized desktop environments, the new model can be set up to emulate a serial connection over USB. In addition, the STU-540 offers the option, via a separate accessory kit, to add a physical serial connector instead of USB.

Wacom also increased the utility and ease of use of these signature pads by incorporating frequently needed features and functions directly into the STU-540. The color screen can be utilized for a variety of uses beyond just signature capture without the user needing to create and implement their own applications. Instead, these built-in functions can be accessed by a simple utility. When not in signing mode, the color screen on the signature pads can display high-quality images for advertising and marketing without a separate application continuously running in the background. Instead, the images run directly from the signature pad. Additionally, a customizable keypad feature lets an administrator set up configurable on-screen keypads or soft keys that can be used to collect a myriad of different types of information to support different workflows.

The STU-540 continues Wacom’s tradition of providing strong encryption to protect signature data transmitted between the signature pad and workstation or terminal. The STU-540 features proven and secure AES256 / RSA2048 encryption.

“With the launch of the STU-540 signature pad, Wacom brings our customers state-of-the-art features to support their integration of handwritten electronic signature into their workflow as part of their move toward paperless processes. We offer industry-leading encryption options for our signature pads to meet our customers’ high expectations for a secure eSignature process. The available connectivity options ensure users in different environments are able to deploy these pads, and if their needs change the STU-540 can adapt with them,” said Shigeki Komiyama, Executive Vice President of Wacom Co., Ltd. “Beyond that, we have introduced innovative features that allow our customers to expand how they use this product in their business.”

The STU-540 features a 5-inch, high-resolution color LCD displays with an anti-glare surface that provides an enhanced viewing experience in all lighting conditions and also provides better tactile feedback while signing. It also incorporates Wacom’s digital inking technology – WILL (Wacom Ink Layer Language) – to produce an on-screen signature that looks clean, crisp and visually replicates pen on paper signatures.

Wacom’s patented cordless and battery-free pen technology provides users with the best signing experience. It also delivers an industry-leading 1024 levels of pressure sensitivity capable of capturing a signer’s pressure profile as part of the unique biometric profile during the signing process. Each unit also has a unique hardware ID that can be used to determine the exact unit that was used for a particular signature.

The STU-540  joins the STU-300B, STU-430, STU-430V and STU-530 in Wacom’s portfolio of signature pads. The entire family is supported natively in Citrix v7.6.3 and later. In addition, the STU-540 and STU-430V support older versions of Citrix as well as other terminal server environments.

Wacom’s Signature SDK (Software Development Kit) and STU SDK are available to integrate support for Wacom’s signature devices into native applications.

Availability and Pricing
For pricing and availability information on the STU-540, please contact your local sales representative.

Adobe upgrades Photoshop, Premiere Pro, adds stunning Fuse CC 3D character-creation tool

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Adobe is certainly living up to its side of the implied bargain with Creative Cloud subscribers that it would continue to add value to its tools on a regular basis. Once again this year, Adobe has not only updated its Creative Cloud applications with some cool new features, but added an amazing new application — Adobe Fuse CC. We’ll give you a round up of the most significant new features, with a focus on Photoshop and Fuse.

Adobe Photoshop Update November 2015

While not as dramatic as the Photoshop update earlier this year, the new version does bring one major user interface improvement — fully customizable tool palettes. I suspect no one uses all the tools in the palette, but everyone has to hunt through the complete set of them to pick out the ones they want. Now you can easily drag and drop the tools you use most into fly-out sets of your own creation, or simply hide the ones that get in the way. The customization dialog even provides real time preview of your changes which, while hardly necessary, is pretty cool. As with almost everything you customize in Photoshop, you can save multiple different tool palette layouts for different purposes.

Toolbar customization is a great new feature for Photoshop power users

Toolbar customization is a great new feature for Photoshop power users

Workspaces can also be customized now. The new Design Space capability places an HTML5-based layer over the Photoshop engine, for easy design of artboards — especially useful for faster creation of layouts usable on mobile devices. SVG-format files can also now be used directly in Photoshop. The UI has also been cleaned up a bit, with improved support for touch — including an option to display larger tabs and a soft keyboard for modifier keys, as well as additional touch gesture support. These new capabilities will be especially useful for users of Microsoft Surface tablets.

For those preparing a lot of images for the Web, or for clients, the Export As… command continues to get faster and more feature rich. Adobe intends it to completely eliminate the need for the Save for Web… command over time, although the old version is still there for now.

For graphic artists and designers, many of the same usability improvements are echoed in updated versions of Adobe Illustrator and Adobe InDesign. In addition InDesign now features (in Preview) a tool for instantly converting print layout documents to an online format. There is also an interesting new tool, Adobe Portfolio (in Preview), that allows photographers to quickly create websites for themselves.

Adobe Fuse CC: Awesome Character Generator

It has been a long time since I’ve reviewed a product as fun to use as Adobe’s Fuse CC. You can create fairly-lifelike 3D characters from scratch with almost no work. You can pick different looks for different parts of the body, the hair, and clothes simply by pointing and clicking. That’s not incredibly novel, but the simplicity of customizing just about every aspect of your character by selecting it and then changing properties (often through direct manipulation) lets you create just about any person you can imagine without knowing much about either anatomy or drawing.

3D Character animated in Photoshop showing skeletal movements and fully rendered image

Tight Photoshop integration

Previously, animating characters required either the use of an online service (like Mixamo, which was acquired by Adobe) or a separate application. Now, Photoshop users can make direct use of the characters created in Fuse. Simply save them to your Adobe Library from Fuse, and then drag them into a Photoshop document. The character appears as a new layer, along with the rest of your content. The best part is that Adobe has taken all the very cool animations from Mixamo and put them into Photoshop itself, so you can have a guitar-playing rock star, or kick-boxing action hero, with just a few clicks of the mouse.

Like any 3D object in Photoshop, your character can be moved around in a variety of ways, for tight integration into your overall design. Photoshop’s lighting tools are also available for you to customize the final look of your scene, along with the ability to move the virtual camera around. Now, I’m definitely not a 3D designer, or animator, so I can’t claim to compare this solution with others already on the market. But as a heavy-duty Photoshop user, I know that if I needed to incorporate a 3D character into one of my projects, this would be by far the easiest (and most fun) way to do it. I created this simple character, animated it, and placed it on a background photo in just a few minutes:

Video-handling updates throughout the Creative Cloud suite

Users of Adobe’s increasing number of other tools shouldn’t feel left out. There are lots of goodies across the board, with a particular emphasis on capabilities for UX designers and those who edit video. For example, Adobe Stock now has over a million HD video clips in addition to still images and graphics. It also features tighter integration with Adobe’s Library feature for a more-streamlined workflow.

As promised, Premiere Pro now has additional support for Ultra HD and HDR video, and has been optimized for use with touch-enabled devices. It has also added an Optical Flow Time Remapper that allows smoother fast-and-slow motion special effects and frame rate conversions.

Adobe clearly wants every creative's workflow to revolve around an essential core of Adobe cloud services anchored by its Creative SuiteAdobe’s mobile video editing app, Premiere Clip, has also been updated to version 2.0, and made available on Android. It lets you not only edit traditional video clips, but quickly make a “Ken-Burns-style” slideshow — complete with automatically-selected or your own music — from your images. I was able to select a folder of my Lightroom Mobile images, arrange them, set them to music, and produce a video slideshow — like this one I made from some images from a trip to Myanmar — in just a few minutes.

More still to come

Adobe still has more to come from the list of features it promised at MAX — some later this year, and some next year. One of the coolest new tools — Project Comet — is still in the “teaser” stage, but it promises to be a very powerful UX design system when it comes out in 2016. In the meantime, there is something for everyone in this update for Adobe’s Creative Cloud suite of tools. The updated versions are available for download to Creative Cloud subscribers through the App Update feature in Adobe’s Creative Cloud application.


Adobe Creative Cloud and Primetime Take Center Stage at NAB 2015

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SAN JOSE, Calif.–(BUSINESS WIRE)–At the National Association of Broadcasters (NAB) Show, Adobe (Nasdaq:ADBE) is showcasing advances to its complete lineup of video technologies and services that radically improve how broadcasters, filmmakers and video professionals create, collaborate, deliver and monetize content across multiple screens. NAB will mark the first public preview of major updates to Adobe Creative Cloud video tools, including a revolutionary new color panel in Adobe Premiere Pro CC for instant color corrections and Morph Cut, which easily removes unwanted pauses and jump cuts for a more polished edit sequence as well as new Adobe Character Animator capabilities for Adobe After Effects CC that bring two-dimensional characters to life. In addition, the company is previewing Project “Candy,” a mobile CC Capture app, which is the latest addition to the growing set of Create Cloud enabled mobile apps. It is connected to a user’s Creative Cloud Profile and therefore lets anyone using their smartphone camera capture amazing production quality lighting schemes and then apply them to video footage in Premiere Pro CC.

Innovations like these are driving rapid adoption of the company’s video workflows: recent Premiere Pro converts include the four-time Academy Award winning Coen Brothers, who are currently editing their film, Hail, Caesar!; and director Rhys Thomas and producer Lorne Michaels of Saturday Night Live, with Staten Island Summer, due out in 2015. In addition, MLB Network switched their editing and post-production environment to a complete Creative Cloud workflow.

At NAB, Adobe is announcing significant enhancements to Adobe Primetime, which has emerged as the global leader in powering TV content across screens including over-the-top (OTT) devices such as Apple TV® and Roku®. Specifically, Adobe is unveiling innovations in video delivery, monetization and personalization to enable new OTT business models for content owners, programmers and pay-TV providers. The company is partnering with service solution providers, including industry pioneer MLBAM, to offer innovative OTT programming for live, linear and video-on-demand services across TVs and screens everywhere. Adobe is working with MLBAM to power live streaming of the Major League Baseball season, providing playback and delivery capabilities for all games. Also, several of MLBAM’s sports, news and entertainment partners have introduced the first direct-to-consumer TV apps leveraging Adobe Primetime technologies. Additionally, Turner Broadcasting is using Adobe Primetime for ad insertion on Apple TV and other OTT devices.

Adobe is also previewing a new configuration for Adobe Anywhere, a collaborative workflow platform that enables distributed teams using products such as Premiere Pro CC and Adobe Prelude CC to work together — utilizing centralized media and shared projects to efficiently shoot, log, edit and finish video productions. Adobe will demonstrate its new solutions at its booth #SL5110, South Hall in the Las Vegas Convention Center April 13 – 16. Adobe professional video and broadcast tools will also be presented at over 100 partner booths throughout the NAB exhibition.

Unveiling the Next Wave of Innovation in Adobe Creative Cloud

Adobe will soon release significant updates to the video tools and technologies that are a key component of Creative Cloud. Key innovations include:

  • The new Lumetri Color panel in Premiere Pro CC, a color workflow that combines the power of Adobe SpeedGrade CC technologies with Adobe Lightroom’s ease-of-use, allowing editors to quickly achieve great results for simple color corrections or complex looks.
  • Capture inspiration anywhere with Project “Candy,” a new mobile CC Capture app that provides an easy way to capture and share production quality lighting and color schemes by using the camera on a mobile phone and then applying them to a project in Premiere Pro CC.
  • Bring two-dimensional characters to life with the new Character Animator capabilities for Adobe After Effects CC. Adobe Character Animator solves the time-consuming process animators face by eliminating frame-by-frame adjustments. By acting out a character’s movement in front of a webcam, Character Animator tracks the movement of the user’s head, mouth and eyes and can trigger bodily movements using a keyboard to ensure characters are as lifelike as possible.
  • Immediate access to creative assets with new Creative Profile support in Premiere Pro CC, After Effects CC and a growing set of Creative Cloud enabled mobile apps.
  • Adobe Magic made possible by groundbreaking research to make everyday tasks easier and faster with new features such as Morph Cut in Premiere Pro CC that takes out unwanted pauses and jump cuts; Face Tracker in After Effects CC that tracks facial gestures for greater masking accuracy; and Time Tuner in both Premiere Pro CC and Adobe Media Encoder CC, automatically adjusts the duration of your video to a pre-set length while maintaining high quality results.

Advancing TV Delivery and Monetization

More and more consumers are watching live and on-demand TV on tablets, smartphones, OTT and other devices. According to the latest Adobe Digital Index data, 13 million viewers accessed their favorite TV Everywhere content quarterly last year, more than twice as many as in 2013. The growth across OTT devices is even more impressive with the number of viewers watching premium video increasing by 350 percent year over year. To help broadcasters and pay-TV providers scale video delivery across screens with closed captioning, robust content protection, and ad insertion instantly across TV apps and operating systems, Adobe is introducing the latest version of Adobe Primetime. The platform is able to authenticate 2.25 million viewers per minute, three times more than just a year ago, and deliver dramatic performance improvements with videos launching instantly – up to four times faster than before. Additionally, Adobe Primetime now supports all major third-party DRM technologies to address the challenge of content protection in closed playback environments.


  • Steve Warner, vice president, Digital Video and Audio, Adobe

“From planning to playback, Adobe is delivering advanced workflows for every step of the creative journey. The industry is switching to Premiere Pro CC and our tightly integrated set of video tools because of the constant stream of innovation coming from our labs. Our move to Creative Cloud, with deeply connected mobile-to-desktop workflows combined with continued innovation in Adobe Primetime ensures our customers have the tools and services to create, deliver and monetize stunning videos, TV shows, films and commercials across any screen faster than ever before.”

  • Joe Inzerillo, executive vice president and CTO, MLBAM

“Since MLB.TV was born as the internet’s first OTT product 13 years ago, we have remained focused on building reliable, highly engaging live TV viewing experiences at true broadcast scale. Adobe Primetime, with its support for DRM, the industry-standard authentication capability and robust HD video playback allows us to offer consistent video experiences across more than 400 devices, including the latest breed of OTT products.”

  • Tab Butler, director, Media Management & Post Production, MLB Network

“This season At MLB Network, we are rolling out Adobe Premiere Pro as our editing platform for both HD Edit and desktop workstations. For the 2015 baseball season, we are deploying the Premiere Pro 2014 release, and we’re looking forward to taking advantage of the new features available in the next release of Premiere Pro. The enhancements within the new color tools, such as Lumetri support, and sharable CC Libraries, along with enhanced video scopes, are all appealing. We are also very interested in the advancements being made to help us work more efficiently with audio in Premiere Pro. The next release of Premiere Pro will be an excellent addition to our Creative Cloud solution.”

  • Robbie Carman, vice president, Colorist, Amigo Media LLC

“Project Candy gives anyone involved in production and post a new way to think about and capture color. If you see light or color that inspires, simply capture it with Project Candy on your mobile device and sync the look with Creative Cloud automatically. The captured look can then be applied to shots as a starting point for color correction in Adobe Premiere Pro and other Adobe video applications. It’s an amazing tool that will inspire the way you think about color and that’s great for everyone.”

  • Brian Maffitt, Animator, Photographer, Videographer, Total Training, Inc.

“Adobe Character Animator solves an age-old problem of how to quickly rig and animate characters that hasn’t really been addressed in this space before. This will allow me to include character work where I didn’t include it before, either due to budget or time restrictions. With Adobe Character Animator the economics of animation change dramatically.”


Helpful Links

Pricing and Availability

At NAB, Adobe is previewing the next major updates to Creative Cloud, Primetime and Adobe Anywhere. These updates are expected to ship in the coming months. The company is offering a special offer aimed at video professionals who switch to Adobe Creative Cloud, for US $29.99 a month for the first year. The offer is valid through May 29, 2015. For more information, visit

About Adobe Creative Cloud

Creative Cloud features the world’s leading creative desktop apps, a growing family of mobile apps that are seamlessly integrated with desktop tools and creative assets, expert training and access to a dynamic creative community where creatives can discover inspiration and opportunity. At the heart of Creative Cloud is a Creative Profile, the member’s creative identity. The Creative Profile connects users to their Creative Cloud Libraries — assets such as photos, colors, brushes, shapes, fonts, text styles and graphics. With a Creative Profile, this library is always at the designer’s fingertips because their Creative Profile moves with them, across apps and across devices.

Creative Cloud is transforming how creatives find inspiration and produce their best work — and the value of Creative Cloud is increasing all the time through product updates and new capabilities. A major update to Creative Cloud is expected in the coming months that will introduce new ways for creatives to connect their creativity across mobile and desktop, accelerate their productivity and work more efficiently.

About Adobe Systems Incorporated

Adobe is changing the world through digital experiences. For more information, visit

© 2015 Adobe Systems Incorporated. All rights reserved. Adobe, the Adobe logo, Creative Cloud, Premiere Pro, After Effects, SpeedGrade and Lightroom are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.


Adobe Systems Incorporated
Sandra Nakama, 415-832-4053
Frank Bauch, 650-762-2818

Wacom has reached 100 million units of pen component .

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Wacom has reached 100 million units of pen component . production demonstrating the potential of the digital pen as a primary tool in the age of “digital stationery”


April 17, 2014 (Tokyo, Japan) — Wacom Co., Ltd. today announced that cumulative production of its unique digital pen components reached 100 million units as of April 16th, 2014.  Called “Wacom® feel IT technologies (branded feel),” the pen components are optimized for use in mobile products such as smartphones and tablets.  Out of the 100 million, 90 million have been manufactured in the last three years, illustrating the accelerating demand for digital pens as a speedy, high-precision input tool on mobile products.

Wacom’s component business took off in 1991 on an OEM basis, supplying key components to leading overseas and domestic PC manufacturers. This followed the trend to incorporate pen input features into operating systems such as Windows 3.1 by Microsoft and “Pen Point” by GO Corporation in the USA.

The business grew to an annual production of 100,000 units by 2002, increasing to 1 million units by 2006.  Adoption of feel by Samsung Electronics for their “Galaxy Note” flagship smartphone in 2011 accelerated this growth, building momentum.  The annual volume in fiscal year 2013 reached 43.5 million units thanks to the growing smartphone market and diversifying customer base to include tablets and e-books on Windows and Android OS.

In addition to the current EMR (Electro-Magnetic Resonance) technology, Wacom will be adding two new types of electrostatic pen technologies — “Active ES” and “Passive ES” — to achieve further growth. With this “Multi-Technology Strategy” covering a wide range from heavy to light user needs, Wacom will drive the penetration of digital pens as a key interface tool on mobile products, and demonstrate its long term commitment to its partners worldwide. (For more details see Wacom’s press release on March 11, 2014.)  It is also possible to assign a dedicated ID to each pen, identifying individual users who can then collaborate, share and edit handwritten content via the cloud.  Security features can also beadded to the ink data exchanged on the cloud.

In February this year, Wacom announced “WILL (Wacom Ink Layer Language)” which makes “digital ink“ compatible across multiple operating systems and hardware platforms. The Wacom Ink Layer Language paves the way for “digital stationery” in which people can use digital pens with mobile products and share content over the cloud.  This combination of WILL, the evolution in our pen technologies, and the growth in how people use technology means that Wacom is in a uniquely strong position to lead the movement towards the age of “digital stationery” in collaboration with our industry partners.


About Wacom

Founded in Japan in 1983, Wacom is now a global company with offices around the world supporting marketing and distribution in over 150 countries. For more than 30 years, Wacom has worked with the most creative people and organisations to inspire and equip them to make the world a more creative place.

Wacom’s products have been used by loyal customers to create some of the most exciting digital art, films, special effects, fashion and product designs. They have also played a significant role in making technology accessible in a natural and intuitive way through pen tablets, interactive pen displays, digital interface solutions, stylus products and creative companions. These all make it possible for everyone to express their creativity in digital media, whether artists, business executives or people enjoying everyday creativity.

Wacom’s interface technologies are offered as OEM solutions to leading manufacturers with Wacom feel IT technologies found integrated into the PC, tablet and smart phone products of many strategic partners around the world.

*Wacom, feel are trademarks and/or registered trademarks of Wacom Co., Ltd.
*All other trademarks and product names are property of their respective companies.

<Contact Information>
Public Relations, Wacom Co., Ltd
E-mail: Wacom-pr(at)

Components Business Unit, Wacom Co., Ltd
E-mail: comp-info-jp(at)


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We are very happy to announce the Infant Vision team is growing once again.  We are officially opening up a new position in our studio for a Senior Retoucher.  We could not be more excited to find our next team member to collaborate with.  It’s gonna be a lot of fun!  If you are a talented retoucher, or know someone who is, we hope to hear from you.  The full job listing and application process is below.

Looking for a Senior Retoucher to work at Infant Vision Studio

Location: Our new Downtown Atlanta Studio.

About us: We are a commercial post-production studio that focuses on advertising, celebrity portrait and high end fine art photography, both locally and internationally.  Our business has steadily grown over the past twelve years, and Infant Vision’s work has been recognized by multiple national and international contests and awards.  He has photographed International advertising campaigns for multiple major brands, award winning personal work, and many of the most recognizable celebrities in the world.  Editorially his work has appeared in Time, Vogue, Elle, and Rolling Out, and Cosmopolitan to name a few.  We consist of one full-time photographer, a full time creative producer, a part-time bookkeeper, interns, and frequently work with freelance artists on a per-project basis. We highly value creativity and collaboration, and can assure you that working here will not be dull.  Neither will the photography you will be retouching.  See further proof at

About you: First and foremost, we are looking for a Photoshop master who can hit the ground running.  Someone who is persistent, motivated, organized, creative, and passionate about retouching.  This position offers the opportunity to make your mark on an exciting business and help it grow.  Skills that are required for this job: self-motivated/driven, detail-oriented, organized, relational, flexible, strong retouching skills, looks at the big picture, committed/responsible, an appreciation for creativity, always trying to improve, and a sense of humor.  Your job duties will immediately include: Retouching, compositing, image prepping, color correction, digital asset management, digital tech on shoots, production, organizing and maintaining the photo archive.  This job is a full time position.

The ideal candidate, would be someone who is a dreamer, and can make ideas into reality.

Are you the person who always has the urge to create, experiment, and collaborate with others?  Then you are the person we want because that’s exactly what you will be doing.

Are you the first among your friends to get the flu shot when winter approaches?  Then you are the person we are looking for, who is always ahead of the curve and has gotten things done before others even realize it needs to be done.  Organization is important!

Are you the person who brings doughnuts to work every Friday?  Great!  We like Krispy Cream

You will be a key contributor and play a pivotal role in the success of this business.  Although we are a small business, we are involved in some really big projects with far reaching impact.  We hope your role in this work will give you great personal satisfaction.  We are looking for someone who will bring their own ideas and vision to the table.  We want you to grab hold of opportunities and find ways to explore and improve upon already existing ideas with your own.


College degree is preferred, but not required.
Employment or volunteer experience that can demonstrate and highlight your work ethic and ability to get things done.
Must be flexible, dependable, and a hard worker.

How to Apply:

Send an email to containing your resume (inline or attached as a PDF) and short cover letter.  A link to your website or a site with your retouching work.  You may also attach jpg images of your work if necessary.  Also, answer four (4) of the following five (5) questions in your response (your pick).  A short paragraph on each should be sufficient.  All inquiries will be replied to and kept in confidence.  In your email, please also provide your desired compensation.

  • Location: Atlanta, Georgia
  • Compensation: Depends on qualifications
  • This is a full-time job
  • Please, no phone calls about this job!
  • Please do not contact job poster about other services, products or commercial interests





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Guest Artists to Present CINEMA 4D R15 Feature Enhancements and CINEWARE, the New Live 3D Pipeline for Adobe After Effects CC; Tim Clapham to Reveal 3D Content from Launch Trailer of “Tom Clancy’s The Division”


Friedrichsdorf – August 30, 2013 – MAXON Computer, leading developer of professional 3D modeling, painting, animation and rendering solutions, is pleased to announce details of its presence at IBC2013, the premier annual conference and exhibition for professionals engaged in the creation, management and delivery of entertainment and news content taking place September 13-17 at the Amsterdam RAI. During IBC expo hours, MAXON welcomes members of the press and convention attendees to stop by its exhibitorStand/Booth Number 6.C19.

IBC2013 marks the European debut of MAXON CINEMA 4D Release 15 (R15), the next generation release of its award-winning CINEMA 4D software suite, marked by powerful enhancements to modeling, text creation, rendering and sculpting. CINEMA 4D is renowned by artists worldwide for its ease of use, quick workflow, fast rendering and unmatched integration into leading compositing applications, providing broadcast motion graphics artists, filmmakers, game developers, designers and others an ideal, production-proven 3D solution for unparalleled performance.[Editors’ note: R15, announced on July 23, is scheduled for official worldwide availability in early September, just days before IBC. R15 announcement press release. Additional details will be announced before IBC.]

MAXON PRESS CONFERENCE at IBC2013 MAXON kicks off its presence at this year’s show with a press conference and light luncheon on Friday, September 13 at 13:45 p.m. (1:45 p.m.) in Room F 004 at the RAI Convention Center.

Harald Egel, MAXON co-founder and CEO, will host the event and be joined by his team and special guests to celebrate the release of CINEMA 4D R15 and provide journalist attendees with exclusive demonstrations. He will also be joined by Steve Forde, senior product manager for After Effects at Adobe, to talk about the strategic alliance between the two companies and showcase the powerful new features of CINEWARE, the fully integrated Live 3D pipeline between CINEMA 4D and Adobe After Effects CC now available for motion graphics and visual effects artists. [Click here for related press release] Tim Clapham of Luxx, one of today’s most visionary motion graphics artists, will also treat guests to a behind-the-scenes reveal of how CINEMA 4D was used to create 3D content for the launch trailer of Tom Clancy’s The Divisionthe highly anticipated new online multiplayer video game developed by Ubisoft Massive; scheduled for release in 2014. [Editors’ Note: Clapham will also make presentations at the MAXON stand.]

The press conference is an invitation-only event. Members of the press interested in attending please contact Vicky Gray-Clark, Ambient PR,, indicating name and media outlet for consideration.

MAXON at IBC 2013 Highlights (Stand/Booth #6. C19) Throughout the show, MAXON will be providing attendees with demonstrations of CINEMA 4D R15 and its latest 3D software solutions.

The MAXON booth at IBC promises to be the place for convention attendees to gain insight from some of today’s most acclaimed 3D creative professionals who will reveal tips, techniques and successes using CINEMA 4D in production that emphasize innovation and demonstrate the software’s performance on complex broadcast motion graphics, feature film visual effects, video games and multimedia projects.

Guest artists scheduled to present at time of writing include: **

Robert Hranitzky is a Munich, Germany-based motion graphics designer known for a wide range of projects from showroom trailers to film projects and opening titles. He is credited with creating the video trailer for MAXON’s new CINEWARE pipeline between CINEMA 4D and After Effects and will show off the benefits of the new workflow as he creates several scenes that include the compositing of 3D objects on 3D tracked footage.

Angie Taylor, based in Brighton, UK, is a widely acclaimed CINEMA 4D and Adobe After Effects artist, animator, author and instructor. Angie brings over twenty years experience in the broadcast industry and will delight IBC attendees with presentations that demonstrate proven production tips and techniques between CINEMA 4D and Adobe After Effects CC that foster performance and speed up workflow between these two powerhouse software applications.

Marc Potocnik, owner/founder of renderbaron, based in Düsseldorf, Germany, has spent the past 16 years producing high-quality 3D animation, visual effects and visualizations for renowned customers such as ZDF, BMX, Audi, Nokia, Siemens, and others. At IBC he will present behind-the-scenes examples and techniques from recent projects that show how to improve creativity with lighting and rendering using CINEMA 4D.

Helge Maus works with his German company pixeltrain as a producer, consultant and trainer in the areas of 3D, VFX and compositing. At the MAXON IBC booth, he will use various VFX shots to demonstrate the interconnectivity between CINEMA 4D and NUKE as well as other VFX tools and practical applications for improving production workflows.

** Additional guest artists will be announced as show nears.

Visit MAXON’s dedicated IBC2013 website page for expanded information on guest presenters, presentation schedules, CINEMA 4D product news, and more. For MAXON enthusiasts unable to attend the convention, MAXON will also make IBC guest artist presentations available online after the show has ended on MAXON’s homepage and Youtube channel.

MAXON Around the IBC2013 Convention MAXON demo artists will participate at the Adobe Systems (Stand/Booth 7.G27) to provide public demonstrations of CINEWARE and CINEMA 4D Lite that exemplify the tight integration and workflow performance between CINEMA 4D and After Effects. MAXON will also highlight key partner-focused initiatives with NVIDIA, BlackMagic, and others, to demonstrate advances in its 3D software technology that enable artists to deliver engaging content.

MAXON IBC2013 Booth Location and Hours    

MAXON will display its 3D software technology solutions during IBC2013 expo hours at Stand/Booth Number 6.C19, located in Hall 6, as follows:

RAI Exhibition and Congress Centre
NL-1078 GZ Amsterdam

Exhibit Hall Hours:

Friday, 13 September: 10:30 – 18:00
Saturday, 14 September: 09:30 – 18:00
Sunday, 15 September: 09:30 – 18:00
Monday, 16 September: 09:30 – 18:00
Tuesday, 17 September: 09:30 – 16:00

Members of the Press

To schedule a one-on-one briefing at the MAXON stand/booth (or alternate briefing opportunity for those not attending IBC 2013) with Harald Egel, please contact Vicky Gray-Clark, Ambient Public Relations, 1(408) 318-1980,, or feel free to stop by the MAXON IBC stand/booth, number, #6.C19.


We have uploaded the content of this media alert as well as testimonial quotes from leading CINEMA 4D artists about the new release as Microsoft Word documents for your convenience:

IBC 2013 Media Alert (Download)

Artist Testimonial Quotes (Download)

Additional information on MAXON can be obtained as follows:

MAXON IBC information page


All trademarks contained herein are the property of their respective owners.


Source: Click Here


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3D Software Solution Animates CG Graphical Displays That Guide Iron Man’s Vision

NEWBURY PARK, CA  — (May 22, 2013) —  MAXON, leading developer of professional 3D modeling, painting, animation and rendering solutions, today announced that Cantina Creative, the design and visual effects studio located in Culver City, Calif., relied on its popular CINEMA 4D software to generate more than one hundred 2D and 3D visual effects shots that appear throughout the blockbuster Disney/Marvel Studios superhero sequel, Iron Man 3.

Iron Man 3 pits star Robert Downey Jr. (Tony Stark/Iron Man) the “…brash-but-brilliant industrialist against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible…” (source Marvel Studios).  In its opening weekend on May 3, the film earned the second-best box-office opening weekend in the U.S. of all time behind The Avengers and continues to ‘wow’ audiences worldwide.

The Cantina Creative VFX team members, including Cantina Co-founder and Creative Director Stephen Lawes, Co-founder and VFX Producer Sean Cushing, and Cantina VFX Supervisor Venti Hristova, worked directly with Marvel Studios’ Iron Man 3 Visual Effects Supervisor Chris Townsend and Visual Effects Producer Mark Soper. Cantina Creative was tasked with designing the elaborate 3D head-up displays (HUDs) – a virtual graphical interface that Iron Man sees from within the helmet environment of his armored suits that communicate essential data and statistics ranging from his physical condition to weapon and navigational diagnostics – with an emphasis on the new ultra-high-tech Mark 42 suit.

Lawes explains that Cantina Creative designed HUD and interface graphics using  CINEMA 4D for Iron Man 2 and for Marvel’s The Avengers. Due to major engineering advances in the Iron Man 3 suits, including the ability for Stark to access the suits via remote control coupled with delivering shots in 3D stereo, the VFX team needed to step up the evolution of the HUD 3D graphics to augment Stark’s on-screen identity and action-packed performance.

Townsend provided creative input and suggested aiming the new HUD design towards a more 3D photo-real, holographic approach as opposed to the design language of the previous films – 2D graphic elements in 3D space. This new design direction emphasized the beauty of the volumetric lights projected into space using optical flares (a design motif drawn from the ‘External HUD’ hologram in the movie) and the textured reflections generated by the light interaction of the HUD widgets from the ambient environment. This took the graphics away from a purely text-functional level to a more organic holographic world,” Hristova says.
To meet the sheer technical complexities and stereo workflow requirements in the film head-on, Cantina Creative developed an advanced stereo rig, similar to the one used in The Avengers, built in Adobe After Effects, and then exported into CINEMA 4D for animating 3D objects such as the suit, helicopters, and dimensional navigation graphics seen within the HUD.

Marvel provided us with VFX plates of Robert Downey Jr.’s performance as Iron Man in the suit,” Lawes adds.  “His head movements were motion tracked to help define the motion and action beat needed in each sequence and then composited into all our graphics sequences so that we could mirror Downey’s moves as accurately as possible.

The beauty of using CINEMA 4D is that its built-in stereo capabilities let us work fully in three-dimensional space so that we always knew how far the HUD graphics needed to be from Stark’s head to successfully push the boundaries of his point-of- view (POV) beyond the helmet,” Lawes says. “We were able to import left and right eye cameras from After Effects into CINEMA 4D and create multi-layered lighting and textural HUD effects that could be rendered out quickly in various passes. CINEMA 4D’s powerful Sketch and Toon non-photorealistic rendering tools also gave us creative latitude to do things like vary line weights in space to communicate more depth and dimensionality than in the previous Iron Man films.

For Hristova, one of the most significant creative challenges was the initial Mark 42 boot-up sequence. “Many of the elements, including a miniature version of the suit and the holographic helmet, were generated and rendered from CINEMA 4D. These graphics had true 3D depth, which heightened the stereo viewing experience as well as the interactive light qualities that are both photo-real and immersive.
Other artists and designers working with Cantina Creative on Iron Man 3 included Alan Torres, Leon Nowlin, Matt Eaton, Aaron Eaton, Lukas Weyandt, Jon Ficcadenti, Johnny Likens and Jayse Hansen.

All trademarks contained herein are the property of their respective owners.



Wacom’s New 13-Inch Multitouch Tablet Won’t (Quite) Break the Bank

By | General, Uncategorized | No Comments

Wacom's New 13-Inch Multitouch Tablet Won't (Quite) Break the Bank

If you love the idea of pretending to be a hipster graphic designer with one of Wacom’s beautiful Multitouch Cintiq tablets but can’t quite stretch to the $3,7o0 price tag, good news. The company has just announced a cute—and much more wallet-friendly—13-inch version.

The Cintiq 13HD offers up a 13-inch HD pen display and a new Pro Pen. Fine details aren’t fully confirmed yet, but the pen provides 2,048 levels of sensitivity and tilt recognition, and the display provides the same ExpressKeys and Rocker Ring as its bigger brother. Perhaps most importantly, it costs $1,000—making it a little more accessible for the hobbyists of this world. It’s also worth noting that its size actually makes the Cintiq platform vaguely portable, so it’ll no doubt be tempting for those who travel a lot, too.

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