[Music] [Richard Harrington] Thank you guys so much for coming. We have a fun interactive demo today to show you a Camera to Cloud in action, and I'm glad you guys were able to make it. It's a little weird because this is strange from a presenter point of view. It's really difficult to get feedback from you because you're all in your own world. It feels like I'm at home with my teenagers, so it's all good. I actually heard a laugh out of somebody. Okay, there's signs of life. This is good. Okay. So I'm really glad you guys could be here. We're going to be talking about Camera to Cloud and Real-time Collaboration. So Camera to Cloud is a feature set that is available from a lot of different camera makers that connects your camera to Frame.io. And I'm going to show you how at Fujifilm we use it with real world projects. We use it internally for all the media we produce, and it's a great way as we have crews spread out all over the place to participate in real-time to give people feedback. So we use it to collaborate and get feedback with each other during the event, and it's a lot of a great way to really just improve the creative process. So during the pandemic, I'm sure a lot of you experienced people being more displaced, or spread out, or work from home, and I've actually found that we've gotten better at getting through reviews and approval and commenting and everything else. So it's pretty cool. So officially, you're here and you're going to see how we use Frame.io to collaborate. And Fujifilm was the first camera manufacturer to get this built into their stills cameras. Although right now, lots of other camera manufacturers have either shipped it or have announced it. So I'll give you a list later of which cameras you can expect to find this in, but it's across the entire lineup of our current Fujifilm cameras. And the key things we'll walk you through is we'll show you how to set up a project and add people to it. And that's useful even if you're not using Camera to Cloud because the new version of Frame.io also works really well with stills and with PDF files. So it's very easy to put things up there to get feedback from folks. We'll show you how to connect the camera to Frame.io, how to then create there's a new connector to Lightroom where you can connect a single Lightroom library if you want to have automatic import. And we'll show you a little bit about the existing technology that works with Premiere and After Effects and how to gather feedback, okay? Now to help me out to know where everyone's at, this is a show of hands time. So how many of you would-- And these are the four choices in case you were waiting. The other day, I gave a presentation to a group of New Yorkers, and two-thirds of them didn't raise their hands. And their answer was, "Well, we needed to know all of the choices first." Okay. So I decided I'll put the choices up first. So how many of you identify as being primarily designer in your day-to-day job? Okay. How about a photographer? Okay. Video creator? Okay. And work in a management role? Taking teams. Okay. Great. Well, I'm glad you guys could all come. I think you'll all get something out of this. How many of you are really new to Frame? You've never used it before, even as a participant. Okay. That's great. And you've dabbled. You've looked at it. Maybe participated in projects. Okay. How about you've actually already used Camera to Cloud. Awesome. And you manage an account with lots of people in it. Okay. So we'll run through this whole spectrum. One of the things I'm also going to put up so we don't get bogged down in all the nitty-gritty details is I'll share with you links to the help centers and articles because I'll be brutally honest, things change all the time. And so when you log in, you'll be like, "Where the heck did that button go?" And so this way, you'll know exactly where to look things up. Even today, we're having to double-check, like, "Oh, where was that thing at?" There it is. Okay. Cool. So we're mostly going to be looking at Version 4, which is currently in beta, but it's a very functional beta. My name's Rich Harrington, so I get to work with the Fujifilm team. I really enjoy that. My background, I've had a chance to come to Adobe MAX for many years so I'm glad to be back. And I work with photography, video and AI. Through the years, easiest way I can explain it, my dad was a NASA engineer, my mom was a school teacher. So I got both sides of those brains. So my job has been a lot of times to take hard things and to try to make it easier. So as I like to say, I could speak and relate to engineers, but then I've always been tasked with trying to make that understandable to other people. I've been a hands-on creative. I've had my own production company for 25 years, and if I figure something out, I tend to write it down or publish it. I've worked on a lot of software projects and I enjoy that, and that's what I do. We also-- If you want to connect, you can find me on LinkedIn. I'll share the slide deck afterwards there so you can download it. I know MAX also makes it available. So everything that's on the screen, you will be able to download. Not a problem, okay? Cool. And also, we have a few other team folks here, and there's one that I didn't know was coming. I forgot to add to the slide. But Jackie is our head of production, so she's somewhere in the audience. She's in the back. So she manages all of our crews and video productions. Andrea's joining me on stage. She's our creative director and does UX design. Jason is one of our editors. Casper is also in back. And I think we also have a couple of folks. We've got Sergio and Brian who work on our social and our design team as well. So after the session, I'm going to put them on the spot. They'll all be around and you could talk to folks who have a similar role to you and ask them how they use Frame, their experiences, or anything you want to know. But this is something we use on a daily basis to do our job. And so we thought it would be important to bring the whole team in so you can see how that all works, okay? Cool. All right, SO we'll jump right in. I mentioned those reference materials. So at Fujifilm, we've built out a learning center all about how to use Camera to Cloud with our cameras. But there is good advice in there about connectivity, and what internet connection you need, and a little bit about working with the Frame.io project. So if your camera manufacturer hasn't put all the extra effort in to build a dedicated learning center, ours is pretty robust. Feel free to check it out. It should help you out. I made a short link for you, and again, you can download the deck. And then there's two help centers on Adobe's website. So help.frame.io is for the Version 4 Beta. So this is the newest version. And here at Adobe MAX, they've pretty much moved it to the forefront, so it's the version they encourage you to use. There are certain things that Version 4 Beta doesn't have yet that we're expecting will roll out across into next year. So I always suggest that anything within an organization, if you're using to set a company, you roll something out gradually. We run our Version 3 projects, which they now refer to as legacy, next to Version 4 for certain projects that we're trying it out on. So you can use those together, okay? Version 4 has a lot of nice new features though about sharing, and creating galleries, and really making things ready to share with a broader audience. There was a lot of emphasis and some real tremendous improvements on how photos are presented, which obviously makes us happy as well. And if you're using Version 3, then it's just support. frame.io So these two pages are great collections of articles, and you could just search and pull things up. And as I like to say to folks, there is no harm in opening up a manual or instruction page. We all use so many tools on a daily basis that it is what it is. Don't feel bad about having to open it up. Cool. So I'm going to show you how you get signed in and a little bit about the key interface of setting up a project, and then we're going to jump out to some of our creators who are out in the field doing a shoot for us today and show you how assets come in and how we can collaborate and give feedback. And I invite any of those of you who are here, you'll also be able to see the project in a moment. I'll give you a join code so you'll be able to log in, see the assets. We've warned them that they might see random comments from random people. So be kind and gentle. You're talking to fellow creatives. So don't say make it all black. No, I mean, white. Just avoid your deep inner art director moments. Just be kind to our crew, okay? All right. So you sign in across the board to your Frame.io project with an Adobe ID, and you may or may not have set up a Frame.io project, but you have this ability to create a free account. Currently, your Frame.io membership is different from your Adobe membership, but they can have the same Adobe ID. And you can set up a free account if you just want to dabble and experiment, or you can set up a smaller account for a small business or a very large account for an enterprise level business. They have different tiers, okay? And the legacy user interface looks a bit like this. It's very folder driven. And like many things, the Version 4 interface has a major visual uplift, including a lot of stuff to make it more presentable with templates, and projects, and galleries for showing.
And some of the key things you'll see is that the commenting tools have been vastly improved in Version 4. Like many things in life, it's now better with emojis. But that aside, you actually, and I say that seriously because sometimes when passing on feedback, we've all learned that you say something nice and someone doesn't take it that way. So an emoji plus a comment sometimes does legitimately cut down on misunderstanding when you're trying to pass on a feedback. 100%. But you can also attach things now. So if there's a sketch or a graphic or a reference photo or a document that you think would be useful, you could add an attachment and a comment, which is pretty cool. You'll also see improved playback on video devices, including with lower bandwidth devices, so they've improved the video playback quality. And a lot more ability to just really nicely lay out pages that are very easy to drop people into for experiences. So some companies are putting out press releases this way or creating galleries for people to participate in or open things up to a loyal group of customers for early feedback, like beta testing something to get input. So it works very nicely, okay? And you'll also see much easier time keeping all of the different assets open at once. So you can have a video player open with a gallery view. You can have side-by-side comparisons. The commenting tools have received a really nice visual overhaul, and you can even keep two images or two clips up side-by-side as you're reviewing if you want to keep something up for reference or an older version and a new version, for example. Sometimes when I'm doing a review, I want to look at the old version and the new version to see if my comments were interpreted correctly or what I had said before on the feedback. So those are some of the changes. And again, when you log in to Frame.io, you'll just go to Frame.io and click Sign In, and log in with your ID.
One thing of note, if you're going to use the Lightroom Connector that we mentioned earlier, your Frame ID and your Lightroom ID or Adobe ID have to be the same. This is a Version 3 project.
This is a Version 4 project, and you can switch between those as needed, okay? So right here, we've set up a new project right now, and we have two photographers out in the field creating assets. So here's the folder for today, and there'll be a folder for video and a folder for stills. And so we have a lifestyle photographer, creating some lifestyle images for our retail store.
And we have another photographer, working in a studio environment, creating some other types of shots for us about some of our patches and swag that we have for shirts and whatnot, okay? So you can see that these are things happening in real-time. Now what's great about this is that people can actually leave comments. So I'm going to invite you guys in to comment in a moment, but Andrea and some of the other creatives on the team are leaving comments for the people that are out in the field shooting, and we're going to drop in on them in just a moment for some of that feedback. So if you want to know what type of Frame.io plan you have, how many collaborators you have, who's on your plan, that's where you access it. So you can just go to your settings and tweak it there, okay? Now when we add people, there's a few different ways you can add people. Effectively, there's an owner, and there's only one owner. If you work at a company, that might be somebody in IT, might be your boss, depends. But you could have multiple content admins, and you don't want to be super loose with the content admins, but you don't want to be overly restrictive. These can invite new people. These can take care of controlling who can access what, and it's pretty important that you have team members with that control. Members are people that are paid that you have access to, and then reviewers are a little bit more basically free access. So without going too much into it, you go into your settings and you'll see everybody who's added, and this is where you can control it. Like a lot of other software services, you see a list of everyone. I've conveniently, for compliance, blurred everyone's names out, but those are all names and email addresses, and you could see their level. You can also see things pending if they haven't accepted a membership yet. So you're like, "Oh, are you going to give me feedback?" Yeah. No problem. I'll do that tonight. And you're like, "Still hasn't accepted invite." So you could follow-up and make sure that people are logged in. You could see if they're active, when they've lost logged in, when they joined, things like that, okay? So you invite people. This is the V3 interface or the V4 interface, and when you do, you can choose what you want them to be able to do. So the team has rethought this at Frame, and I like it. Instead of just putting these list of titles, they basically now summarize what can the person do. And so that's a little bit more sensitive. Can they go ahead and edit things, can they only comment, can they only view, etcetera. So again, when you download the deck, I pulled all of the official descriptions. I'm not going to read them to you. But basically, there's very little difference between an owner and an admin, except the account owner can deal with the billing. Members or employees or contractors that you work with all of the time who you really want to have access to pretty much most things. You can go in and restrict things. So if your organization has a lot of projects and you want certain people to be restricted to certain areas, you can restrict members to only have access to certain areas, which can be important if you have overlapping teams, or maybe you have contractors you've hired for a specific project that can't see everything.
So get your phones out, and you're going to join a project in a moment if you want. So you could scan this code. This is the actual real one, but I'll put it up in a moment. And if you have the Frame.io app on your device, it may prompt you. If not, go ahead and sign in with your Adobe ID or make a free one. If you're not able to participate, that's okay too. You can try it later. I'm going to put this code back up in just a moment. So a reviewer is what you guys are. And reviewers are free. So you can add as many reviewers as you want. If the QR code didn't work for you, you could type out that really fun URL. Did I mention Frame.io is built on the concept of security? So good secure, nice short links there. But a reviewer can see a project and can leave comments. So if you've got a lot of people within your organization who just need to review and comment, they don't have to be members. That way you don't have to pay for them. Or maybe you have clients or external stakeholders. This gives them that ability to be added, okay, So that they could participate. And generally, they just log in and they could see the content, but they don't have to create an account necessarily and they can participate. Okay, was anybody able to get in? Okay, good. We have some signs of life. So you could see the actual assets in there that our team's going to be uploading, and feel free if you want to leave any comments on pictures to do so. Cool. So that's the same thing. Okay. And then, once you're logged in to a project, if you want to add those reviewers, you just create a link for sharing. And what's really cool about it, like in the case here, when our producer Jackie set it up, she set up an expiration date a couple of days after MAX. So you can actually control the access, tell it when the project is going to wind down, and you could decide what people are allowed to do. Can they comment? Are they allowed to download? Can they see that they're reviewing a later version? Or do we hide the fact that creative people like to iterate and make changes, and they always just see the latest? I don't know if you've ever had that moment where the client's like, "Well, why didn't I see Version 3?" And you're like, "Because it wasn't for you." So this way you can hide that, and they just always see the most current version, okay? And pretty straightforward. But does this ability to add commenters make sense? It's really quite useful. And even normal clients can use this. They can mark up, they can leave notes, they could be very specific. Cool. Lastly, if you don't have an enterprise account, you could have up to three guest seats. So if you're a production company, or an individual, these are people that you temporarily add as guests, and these are loaner accounts. So let's say you're working on a production and you've got a DP or an art director. You can invite them both in under your account, and then when that project wraps up, take the guest user and remove them and free up that spot for a future collaborator on a different project. So that's just some flexibility that you might have. If you work for an enterprise, they want you to have everybody properly registered. So does this is the boring part, but do we get the boring part out of the way? Does everyone understand it's a site, you log in, you add people? Okay. Cool. Then let's-- We're going to then head out into the field. And so I'm going to launch a Zoom call so you can actually see them and we can talk to people. But let me just get Zoom open. One second.
Okay. And I'm hoping we won't have too bad of audio feedback here. So we're going to go to Kevin's camera. Is that right? Or to Michael first.
Michael. Sure. Let me pin Michael. All right. Hi, Michael. Can you hear us okay? Great. I think you might be on mute if you want to unmute now. - [Michael] I'm here. - Awesome. Great. Great. So Michael, you've been doing the studio shoot for us this morning. And just tell us a little bit about what you're working on today and how you're uploading.
Working on these are the film simulation patches and T-shirt that Fuji is doing here. So keep shooting my favorite Provia here. So shooting with the Camera to Cloud, it's actually pretty unique. It's the first time I've used it and back and forth with Lightroom. And it's actually we're working pretty well here. It's great. I'm able to bring stuff in, review it, have you guys look at it. I can crop, and then, hoping there's integrations in the future that will have it go both ways so that it automatically syncs from Lightroom, but it's actually really, really useful. Yep. Yep. So what Michael's been able to do is he's photographing for us today. I'm going to switch over to the project to bring up some of the visuals that you've been working on, and, let me just get logged in. And then I'll also bring up do you have it up? Perfect. Andrea's already got it up, so we'll just switch to her screen for a moment. Perfect. And Andrea, if you want to open your mic and explain a little bit what you've been doing with what the assets that have been coming in. Andrea is our art director. - Go ahead. - [Andrea Saloio] Hi. - Can you guys hear me? - Yeah. Awesome. So these are Mike's images that he's been porting and using C2C. I love this one. So I can comment right back to Michael and say, like, "This one's looking good." And then tag him, and then maybe ask him like, "You guys can do that too. I saw some of your comments come in, which is awesome. It's looking good." So we can ask him maybe to change it to make Velvia the center. But, yeah, all of his images are coming in. He's in New York.
I'm really liking a lot of these, especially the T-shirt shot he got. He set dressed it a little bit with some plants. I think the shadow's looking nice. So I'm going to go back to my settings and set this one as an approved image so he can see that that's one that I'm going to be potentially downloading.
Do you want me to go into how I'd continue to use it? - Yep. So I downloaded that image just a little bit earlier, and I dropped it into a template. So I'm just going to make a quick-- Brian actually created a nice template for us for our social team. So I just uploaded and reset this image into what I had previously so we can put a little design in.
Say we wanted to create one for a hat or a patch. He's got some great patch images. So I can just go back here, jump back over to Frame, maybe grab, this great patch image.
I'm going to download that really quick. So I just click here and then the download button's on the bottom. I put it right in the Adobe MAX folder.
And then come over here into where we're working, replace that image with the one that we just downloaded. Let's just make just check. Yeah, let's do this one.
And then it sets right into-- Let's move Rich over here. It sets right into the template that we created. It's just a simple interactive social. So yeah, that's how we would work directly with him. And if we wanted to change the angle or change the image, I could just write back to him in real-time. We can create posts and stories to send to our social team who's also in the front row. Yeah. Yeah. So, Michael, as you're working here, I'm going to put you back up on screen here so people can see you really quick. So with the Camera to Cloud integration, when Andrea marks it as approved, you see that so you know you can go on if there's any edits you want to do. We're just seeing the straight from camera JPEG. So she's given you feedback on things like composition, but you're still free to finish up the asset. You mentioned earlier that concept of a version. So when you finish editing, then you could, on Frame.io, log back in and publish that as Version 2, and then she would know that you have a new file. So what do you like about this ability to have back and forth with the people you're working with creatively so that you know their feedback? Or? what feedback is helpful? And then how do you control that process? I think it's great because with everybody in the remote workplace now, it used to be back in the day it was a little easier because everybody was on set. Now with everybody expected to work all over the world all at the same time, it's great that you guys are in Miami right now, and I can see something's approved, and I can get feedback on things and then publish it back to you. And it's for productivity wise, it's great.
It's a double-edged sword, but I really feel like once these tools everybody uses them and learns how to use them, it's going to be mind blowing just like what we can create-- Yeah, I think we all agree as designers that feedback is a gift, but sometimes we have enough gifts, - So-- - Yep. Exactly. Yeah, It's like the version control is nice especially because it does track your versions when you go back up and it's a V2. It's nice there because as designers, you can point to it and say, "No. You approve this. You approve this two hours ago, two days ago, two weeks ago, and then keep moving forward." I mean, that's what's tough about this stuff. It's just like it's our direction by committee is really not very fun, so. Yeah. Awesome. Great. Is there anything else you want to add to the group here? Otherwise, I'll let you get back to capturing, and I think people are starting to post some comments. So if you want to keep uploading some images, we'd love to see more. All right. Awesome. Yeah. No. I think I'm good, you guys. Thank you. This is really good. It's really fun to work collaboratively like this in real-time. It's awesome. Cool. We might come back to you at the end when we open up for questions. Thank you, Michael. - All right. Perfect. Thank you. - Cool. All right. So give me one second to unpin him. Let's see here. The fun of the Zoom UI. All right. I'll just hide this for now, and let me switch back. Cool. So what you saw there was some real world, normally, we wouldn't jump on a Zoom call. But for purposes here, we just wanted to let you actually talk to folks, you know that aspect. But what's happened is his camera is directly connected to Frame.io, and I want to show you how we do that connection type. So I'm going to explain to you the major steps. Each camera manufacturer is just a little bit different because there's the part of your camera's app or interface, and then there's the Frame.io part. But effectively, you connect your camera to the internet, and then you get a pairing code, and that pairing code is added to the Frame.io project, and that lets you connect the dots together. Does that make sense? Okay. So I'll walk you through what that looks like. So if you want to know more about just the Camera to Cloud aspect, the Frame.io C2C page is a nice overview page, walks you through, some of the major benefits and the different partners. And while we're talking about stills cameras, there's actually audio devices too for those who you are in production. So there's cloud connected audio devices, there's mobile phone apps. So this is a broad ecosystem so that everybody on set who's doing work can actually have their stuff getting uploaded so that the editors, the art directors, the creators can all be pulling things in, which can be quite useful because getting feedback at hour one of a shoot is a lot better than two days after you've sent the crew home, right? So he'd rather make a correction and get it on track quicker than have to go back and recreate something, okay? Cool. So I'm going to play you a short video that just explains how some of our team uses it and some of the photographers we work with, and then I'll walk you through the connection process.
[Music] [Petronella Lugemwa] In this day and age, people want photos fast. [Christopher Berry] I work really fast. I want to have as much done for me, so when I do go home, my files are backed up. They're in my camera. Now they're in Frame.io, and now they're in Lightroom.
[Navik Nanubhai] Camera to Cloud is an essential tool in a workflow that requires the ultimate streamlining of a production. [Dru Smith] It's easy to use and it's all in one spot. And I think that's what I like the most about it.
As a wedding and marriage proposal photographer, I'm packing my stuff, heading out, and clients are like, "Can I have a photo really quickly?" What I love about Fujifilm's Camera to Cloud integration with Frame.io, the files go up into the cloud, the JPEGs are beautiful straight out of camera. They go directly to the client, it's a huge wow, especially from friends and family. Since our client couldn't join us today, we use Camera to Cloud to upload the clips that we were filming in real-time. Within a few seconds, we were able to get feedback, and the best part is I can take these notes into post-production, knowing exactly what clips the client likes. [Natalie Woytko] It was simultaneous, as she was taking photos, I would comment on one image, and then I'd go back to Frame.io, and there would be 12 more to look at. I felt like I was able to contribute without physically being there. [Tom Baumgaertel] I love sharing physical art and photos, using my X-H2S connected to Camera to Cloud with Frame.io, I was able to upload all the JPEGs that I took, and I was able to connect my smartphone to my instax printer, print a quick instax print on the spot, and share them. Using Camera to Cloud would be a great asset for any event photographer.
With Frame.io's new integration to Adobe Lightroom, my image goes up to Frame.io, and then Frame.io sends my image right over to Lightroom. My clients are a husband and wife, and sometimes they're in two totally different places. With Camera to Cloud, they can look at the files, they can see the comments they each individually make. I can then check them, and I can make edits right on the fly.
The integration with SmugMug is wonderful because as those edited files go to the client, the client can also go into SmugMug. They can order print. It helps me grow my business. It's awesome.
Camera to Cloud is an essential tool when time and budget are at the forefront. Streamlining the production and having good communication is essential. It takes a step out of my whole workflow. Everything is happening simultaneously, and everything is seamlessly working together. Once I get home, everything is all done, good to go.
So you saw there some real world workflows, and I wanted to point out you might have heard one of the photographers mention SmugMug. So for example, SmugMug has an integration that allows event photographers, wedding photographers to have pictures going up right from the event so that while people are still in the mood, they could be at the event browsing pictures, ordering pictures while they're excited, cutting down on that conversion time, that wait. So one of the things we always try to do is have ready to share images we refer to it straight out of camera. So with our film simulations and our end processing, a lot of our photographers will upload the JPEG, which is ready to share and looks great, and then you still have the RAW file for further refinement later. With Frame.io, when you pair the camera, you could decide what uploads. Is it the JPEG? Is it the HEIF? Is it the RAW file? Is it the proxy movie? And then later, the full quality movie gets handed off. So this way, for example, onset, you could be uploading just proxy video files, which the editor can cut with and then connect to later. So this just really is a facilitated workflow. So usually, we're using the JPEG or the HEIF. HEIF is a newer file format. It's a 10-bit file. It's still file sizes like a JPEG. Some users stick with JPEG because they're more used to it. Either's fine. But those proxy video files are also quite useful. And right inside of our camera, we make all of those. You choose your shooting formats, but that lets you capture simultaneously both types of stuff. So you could be recording full quality, like on this camera, 8K video, but I could be uploading an HD proxy file so that we're not killing the bandwidth. Does that make sense? So that that way you can collaborate more quickly and then hand off cards as you do traditionally at the end of the day. So let me show you this process. I'm not going to go through all the steps, but it's pretty straightforward. Effectively, you need a camera. These manufacturers make cameras that work. Make sure your camera is up to date on firmware, and make sure that you have an account for Frame.io already set up, okay? You need a media card to record to, and a Frame.io project. So you connect the camera to a project. You don't connect a camera to an account, you connect it at the project level so it knows where to put the footage, okay? So RED and Fujifilm were the first two companies to bring this to life. RED has this in their V-RAPTOR and KOMODO line. Panasonic now has their shipping, so you can see them on the floor. And at the keynote, you might have heard that Canon and Nikon and Leica all announced that they have some compatibility coming. You can look at our camera list. You could tell we're pretty committed to this platform. So we have shipped this with every new camera since announcing it. And even some of our existing cameras have had backwards compatibility. So we've been able to include this on all of our cameras running on our current processor, so our newer cameras. So we try to make this accessible. And to put that into context as a high-end video creator, I might use the GFX because I want 8K video capture and ProRes HQ internal. But a social media producer might love the brand new X-M5, a really accessible, small, fits in your pocket, $800-camera, yet it still has Frame.io compatibility so that they can participate in that collaborative process. So we believe that this is a tool that people across the entire creative spectrum could use. So if you're an art director having a camera that you could just pick up and walk around capturing assets and inspiration and then have them in your Adobe projects, to a social media producer out in the field, to a high-end person on set, wanting, 10-bit video in 8K. So we've put this across our entire product line. Other companies are putting into certain niches more aimed at filmmaking. We believe that this is useful to everyone. And you'll see with all of the new improvements in Version 4 that there's a lot there for photographers and designers to be excited about. Cool. So when you connect, effectively, you're in a project and you just go to the Connections tab, and you choose to add a new C2C connection. You can also connect to Lightroom there. On your camera, you create a new Camera to Cloud connection, okay? And so effectively you go to your Menu, you join a Wi-Fi network, you enter your password, you then successfully join, and then you get a pairing code. And then you just enter that pairing code in. So I'll show you that real quickly.
So let me just bring this live here.
There we go.
Just open that up. So I'm not going to do all of the steps, but we just have it under our settings there as a dedicated option. And you choose it, and then you choose connect. And if you need to add a new network, you would. Otherwise, you could choose an existing network that you've already saved. Notice we let you save a bunch of networks. You could have, your office, your cell phone. That way, if you have different devices. Once you've connected, then it's pretty straightforward. Then you can get your pairing code, and the pairing code side just happens inside the project. So once you've logged in to your Frame project, in this case, here's that Camera to Cloud one we've all been working with, you see where it says cloud devices in the lower left corner? You just click there, and that shows you what's connected. Down here, we have C2C Connections, and I would just click to get a new connection, and then your camera would give you the pairing code. So I'm not going to actually connect right now, but if I chose get pairing code-- I can get that.
You've got two minutes to enter it in. I might as well do it, I guess, since I'm here.
It would help if I typed it, right? There we go. No pressure.
There you go. And then you connect it. And I would suggest that you name it. So instead of just naming it with the camera name, maybe put the name of the creator or their initials because it'll help you find the folder and know who's doing what. You also can set an expiration date, so if you wanted to time out, and even assign a time zone so that they know about the collaboration aspects. And then you're connected. And as we take new pictures, they upload. Now you have a choice. You could choose to upload everything, or a lot of users will map it so that they just press a button while reviewing clips and those upload. So it depends on the shooting environment you're in. Sometimes you might be working with creative folks who want to see everything. Sometimes it's just a little bit. But you would just do that there where you choose your upload, and then you let you choose what you're uploading. The proxy, the full quality, the compressed, JPEG, RAW, HEIF or TIFF. Does that make sense to everyone? And then as you take pictures, they just go up, which is what we've been seeing. So I think we should go back out into the field for a moment and talk with our other creator, and then we'll have Andrea share a little bit more. And if anybody else has been participating in the design process, that's awesome. Is Ryan ready for us, Jackie? Perfect. Thank you. All right. Let me make sure I connect then.
Get the mouse cursor to come back.
Okay. And am I talking to Kevin, I assume? Kevin's camera angle? Hey, Kevin. Can you guys hear us? Is that a thumbs up? I can't tell.
Okay. Cool. Okay. Great. Great. So you and Ryan are out in the field. Can you guys tell us a little bit about what you're doing? They have low bandwidth. They're out in the remote area, right? Yes. The weak link here is the cell signal. Because where are they, Jackie? Okay. They're up in the mountains. Okay. Well, their cell signal's a little weak, but, let's see. Go ahead when you guys are ready.
[Ryan Tuttle] Let's try those. - Can you hear me now? - Absolutely. Hey. How's it going, Ryan? Oh, awesome. Good. How are you? Good. Can you guys tell us a little bit about your shoot today? - What you're capturing? - Yeah. So we're out in Berkeley, California right now. We're taking some photos of the new patches, we got a shirt, cool hat here. Cool. Let me-- I'm going to mute Kevin's mic real quick. Yeah, we're uploading directly to the cloud. So it makes it super easy to see the comments that you guys are making. We absolutely caught. There's a sticker on so we were able to catch that before I had to spend some time in Photoshop later on, so that's super helpful. Awesome. Yeah. So there was a sticker on the jacket that, yeah. I always hate that you missed the price tag or something small, and then someone catches it.
Yeah. So yeah, thank you for catching that. So that happens a lot. And I was trying to mute all the things. Thank you. So who caught it? - Who do we have to give credit to? - Andrea. Awesome. The art director noticed the stickers, saving-- Good job, Andrea. So why don't you add to that part, though? So you've been collaborating with Ryan, and I'm going to bring your screen up. So, Ryan, your mic is still live, but we're going to switch screens so we can see what you've been capturing, okay? So and go ahead and add a little bit about what you're seeing. Sounds good. Yeah.
Yeah, so but now that you can see my screen, this is Ryan, which we just mentioned. We're talking with her. She's on the West Coast. So she's got a lifestyle shoot happening.
We've got a great model, and she's been trying on a lot of our stuff. So she's got a T-shirt, hats, patches. I think she also has one of our hats, or one of our patches that's our straight out of camera owl. So lots of gear happening over there. I've been leaving some comments, and I've seen you guys leave some comments about which ones you like and secretly approving or reviewing some, which I appreciate. So I really loved this one. I thought this was great. So I can also use this Lasso tool to tell her, this looks great. I like the blur here, keeps them coming with this setup. I also asked at one point for maybe an adjustment of the collar so I could circle this and say, can you adjust the collar here, and then right back to Ryan so she can see some others coming in with maybe a bit more of the nostalgic that I can see on the patch. But otherwise, there's a lot of options. So let's see if we can grab-- And what's the benefit of tagging the person specifically? Oh, then it gives them in their notification section, they can see where they've been tagged, and it also just queues them that they also get a notification and email to queues them that to the specific file with which I asked about. So if there's a bunch, I mean, she's been sending a lot as you can see. There's quite a few images in here. So it'll send her right to the file that I need help on. So secret tip, if you want somebody to specifically get your feedback or know you're talking to them, tag them, when you're giving feedback back to a crew person or a collaborator. - Yeah. - Cool. So I liked a few, and I downloaded them while Rich was going over some of the other bits. So I wanted to do another patch in this same template and maybe just replace it with a lifestyle image. So I'm going to go back to replacing the image that I have inside of Adobe Express and then go through the images that I pulled for her. Hold on, I might need to go back and grab the other one. So let's go back to Frame.
I liked this one, so maybe I'll download that.
And then I think I'm going to grab another one of the corner of the jacket where you can see all of them. So yeah, let's grab this one too.
So those will download into the Adobe MAX folder. Go back over to our setup.
I'm going to replace this image, and I think I'll try this one.
Yeah. That one looks good. - I like the blue. - Yeah. So I can I mean, if you've used Express before, this was just easy for us to demo because we've got some things built in it before, but you can adjust, you can add layers, you can animate it, you can add audio to it? And it's an easy way to send over, you can also lock some parts of it too. So if you want your team to be able to as an art director or a creative director, you're like, "Don't touch anything. It's perfect." - So we can lock something-- - Now you may not make the logo bigger. Yeah. Don't change anything. Just the photo. So we can lock some stuff to make sure that that it doesn't get changed. But, otherwise, yeah, it's good to go. I can send it right over. They can grab it right from Adobe Express. So it's an easy way to collaborate with our social team and create a bunch of different assets right away. - Can you go back to Frame for one second? - Sure. And there was a new button in the corner called Compare if you can take two photos that are similar and compare. So this is a-- - These are the two. - Yeah. So what's nice about that? - What would you use that for? - This is perfect. So I can basically pull up lighting measurement. I can look at composition. I can see adjustments that might be needed. And also, it might help because if I already see an image that's doing what the other commented image said to do, "adjust the collar," putting it right next to it, I can compare them and decide, I'm definitely going to go with the one on the right. It's the composition is great. The lighting is great. I can let Ryan know that maybe she doesn't need to make that adjustment. Cool. So we're going to head back to Ryan for one second, and so if she can hear us. Ryan, I popped you back up. Are you able to hear us? - Yep. I can hear you. - Awesome. So everyone's really liking the shots. We're really glad to have the lifestyle images. I know you've worked with Camera to Cloud with us on lots of projects before. Is there anything you want to share as a photographer that you find useful about the collaboration process? Yeah. I think for-- It's mostly helpful when we get that real-time comments, especially when you guys in the design area are adding text after the fact. It's super helpful to get those comments as I'm doing the photo shoot just so that I can change up the composition and the framing just to make sure that it fits the end product. Yeah, so the point being made there is that a lot of times, ads need open area for text and other content. So what feedback might you pass on, Andrea? Yeah, so when we're laying graphics on, we like to make sure that there's a rule of thirds that we have space for additional information, especially if it's used in a promotion or an asset where we know the graphic team is going to have to put terms and conditions and image credit. We always credit our photographers, so we need room for that. And also the needed information about maybe monetary changes or before it was priced at this and now it's this. So we'll make sure that we communicate back with the photographers to give us a little bit more room or maybe pull out the file a little bit and frame it a little bit bigger so we have time to adjust and we have area to work with. And keep in mind as an image company, as awesome as the Gaussian blur filter and Content-Aware expand is, it's a no-no when you make images and you're an imaging company, so we try to get it right in camera. So that feedback can get passed on to Ryan. Ryan, the shoots looks like it's going really nice. You guys have beautiful skies today. Is there anything else you'd like to add about the process or that you can share? And then we'll let you get back to work here in a sec.
Yeah. I mean, overall, it's just so seamless, and it just makes everything a lot easier. And it's great to have that communication with the client. Yeah. And I mean, everything is connecting great. - So yeah, I love it. - Awesome. Well, you guys are in the mountains connecting with a cell phone, so, obviously, our Zoom connection's low. But what's great is is that Frame will adapt to the bandwidth you have, and it can resume things. If there's data interruptions, it'll pick back up and keep resuming, which is great. You can set it that when you power down the camera, it'll complete the transfer. Just options like that. Great. Thank you so much, Ryan. I'm going to let you go back to the shoot. - And, we'll-- - Awesome. Thank you. Perfect. So we mentioned the Lightroom Connector. I just want to show you where that is. So the new Lightroom Connector right now is a one-way connector. It lets you bring things into Lightroom automatically. That could be really useful if you have a designer or someone who needs to collaborate. Currently, it's limited to a single connection, but you do that at the project level. So if I was in my project and all we have to do here is you see where it says Adobe Lightroom Connected. If I click, right now, Michael's currently connected. If I wanted to connect, I could disconnect. I'm going to leave him connected for now, but I'll show you what the steps were. Basically, it's pretty simple. You log in to the Frame.io project, and you go to the C2C Connections area. And then across the top, there's a little banner that says Adobe Lightroom. And you click that, and then you sign in with your Adobe ID. It needs to match your Frame.io ID, so you have to have the same email address in use. And then when you connect, you could tell it if you wanted to automatically send everything so they all import. Anything that comes comes in automatically. Or if you just want to connect it, then you can review and click on individual photos to send them to Lightroom. It's up to you. So some people wait until they get initial feedback, and then they send over the selects to pre-edit those or to do the edits. And then you can export, and then using the Frame web app, you can load that as a Version 2, and then everybody else will see that newer version. Andrea, in a second, I'm going to ask you about versions and version control if there's anything you want to add there. But this you have this ability to send now from Frame to Lightroom as a connector. If you want to go deeper into it as well, there is the way to connect new Lightroom to Lightroom Classic for those who need it. And if you just go to that same Frame.io Help Center I mentioned and you search for Lightroom, there's an in-depth article and FAQ section that goes through all of the exact things that work. And this is a tool that like all things will continue to evolve, but there's really good Q&A at the bottom that tells you how it works or how to connect it to Lightroom Classic. I'll also point out that there's lots of apps that have Frame.io connections. So it's not just an Adobe tool. So Final Cut Pro has a Frame.io connection. I do some work with a company called Mylio. They've got a tool that lets you log in and batch download and back up to your drive, your Frame projects, things like that. So Frame.io has a really extensive API, and lots of companies and apps have Frame connections. And even as a corporation, if you have a enterprise level tools that you use, you can build your own connections. So it's a very versatile tool, which is pretty cool. So, Andrea, I mentioned that idea of version control. What's helpful about that as we're going through? I know that frequently it's herding cats to get everybody to give feedback, and our team is spread out across the US, and then sometimes they have to travel to Japan and time zones. How do you use the comments and feedback to keep things moving forward? Yeah, so without having to get everyone in the same room to talk about these things, we can leave comments live in it. The greatest thing about that is how it we'll time stamp it. So if there's an edit above, you know that it's been caught. And also, you can comment back or select the comment to say that it's been finished or review has changed. So I can see the editors, especially if it's on a video or a trailer or some production that's not just stills, we can see the other comments in and make sure that those were selected and the editor got to that comment. So it just creates a more seamless experience because that version can then be re-uploaded and replaced the old one, and then new comments can be established on that new file. So we're never moving from one version to the next without everyone seeing it at the same time. Yeah. And for example, if the photographer knows that they want to do some edits and touch up on a photo or fine-tune the edit, they could do that and upload it as a Version 2, and it won't be a new asset that they have to communicate with everyone. Everyone who is using the Version 1 asset would see that there's a Version 2 available, and it's there. Or that if you're behind in the review schedule and you jump in, the worst thing in the world is to be commenting on a version of a video or a document layout that's two versions old, and everyone is talking about something new and your comments are almost all irrelevant. This way, you move forward to the current version. - Cool. - Yeah. There's another great thing is when we make selects on them, so we get batches and batches of images and we have to pull that down to about 30 selects. So we can do that automatically with the approve and review button and then give her comments right away about the things that we might need like touch ups on. So that's really helpful too to get those things done quickly. Awesome. So the last thing I'll mention before we wrap up is that you can also connect with Premiere Pro. Currently, there's two connectors available. One for the legacy version of Frame.io, and that one's a little more robust right now. That includes the option for ingesting media into Premiere Pro. Currently, the Version 4 plugin is limited really for commenting on stuff, but that's because Version 4 is still in beta. So as an organization, you might end up using both versions in parallel for a while here. Feel free to stop by the Frame team. But if you are using the Version 4 Beta, you'll head over to the Adobe Exchange and you can install the Version 4 commenting tool so that you can try the Version 4 out. And that gives you access to all of the additional-- The commenting stuff is really leveled up in Version 4, like attach comments, you attach file attachments, more robust commenting, real accurate commenting. So it's really expanded. But if you're using it as an ingest tool, you might also have a Version 3 project. Eventually, all these things will sync up. It takes time for all those to release. But you can download that and install it. But when you're in Premiere Pro, you can sign in. If it's the new extension, you'll find it under Extensions. Otherwise, you'll find it, there's a Frame.io panel or it'll be under Collaborate. And once you've signed in with your Frame ID, you'll be able to see all of the projects you have access to, and then you can browse. And you can also decide mark individual clips or entire folders. And you can decide when you bring stuff in, what quality do you bring in. So one of the things that's nice is that you could actually bring in proxy files and then re-link later. So if I'm working remotely or I just want to bring in a bunch of footage to scan through, I can bring it all in at a much lower quality and do my initial edit, and then reconnect and pull down the high quality footage later. So that works quite nicely. And so Frame will automatically make a low quality proxy and a high quality proxy for you so that you're not dealing with the bandwidth of having to pull down 4K, 6K video files. If you guys have anything you'd like to ask now, feel free. Otherwise, the rest of the team will stay here and answer questions afterwards.
Okay. Thank you, guys.
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