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Scott thought about it for a minute.

I was like, “Do I know Banksy?”

It was very telling.

There was that time in a British pub… but anyways, no, I think that it’s about making sure that people can get attribution if they want it. And in a way that is very consistent with the decentralized notion of no one single player, no single source of truth, but people just should have this form, and that’s why we made it open source. And we tried to get as many other folks involved as we can and listen, it’s early days, but I do believe it’s a problem that needs to be solved.

It’s knowing these are people who grew up in the age of Google Docs, they expect to be able to just share by clicking an icon. They don’t want to have to send an email and have a version control issue from day one.

There’s an elephant in the room. You keep talking about the other companies that have gotten there first.

Obviously Figma is right there, they’re a very successful company. They’re a startup, they were web-based from the start, they now have a $10 billion valuation. Adobe’s a big company, do you wait for the small company to come and prove out the idea? Was that, oh man, we got to get there? Was that a competitive pressure for you? Or was it, man, I had this idea, but we had to serve the customers first, and now we can get there because customers are using Figma and they’re saying, “Why aren’t you doing this?”

Well, listen, Dylan’s a friend.

I don’t directly oversee. And the document cloud, which is the PDF, Acrobat business. So I don’t know the exact numbers, but we have quite a large product engineering and design organization at Adobe.

When you talk about the difference between things you have to do in the future, trying to find the next turn, and then Photoshop — because when I say entire industries are organized around some of your software, entire industries are organized around Photoshop. How do you manage the split between making sure that product does what it needs to for its existing customers versus pivoting to what the next generation of customers might want?

You’re getting into my everyday drama right now that I have to deal with.

This is the heart ofDecoder.

Het systeem is een gedecentraliseerde manier om bestanden te hosten op een netwerk dat verantwoordelijk is voor het veilig en beschikbaar houden van gegevens.

Adobe beweert dat marktplaatsen NFT als OpenSea, Rarible, KnownOrigin en SuperRare kunnen worden geïntegreerd met Content Credentials om Adobe-attributiegegevens weer te geven.

De NFT-boom stimuleerde de opkomst van fraude

Fraude is big business geworden in het NFT-universum na recente verkopen van meerdere miljoenen dollars. er zijn veel voorbeelden van mensen die kunst hebben geslagen die ze niet hebben gemaakt of waar ze geen rechten op hadden.

Dat komt omdat iedereen een NFT kan minten, zelfs als ze niet de auteursrechten op de inhoud bezitten, en er is niets dat het tegenhoudt.

And we squeezed it into just about an hour.

This transcript has been lightly edited for clarity.

Scott Belsky, you’re the chief product officer at Adobe and the executive vice president of Creative Cloud. Welcome toDecoder.

Thanks for having me.

It’s been a while since we’ve talked, I’ve always enjoyed our conversations. We have a lot to talk about. This episode of the podcast is coming out alongside Adobe Max, your big conference, and you’re announcing a ton of new products there, including big features for Creative Cloud on the web.
There’s news about the Content Authenticity Initiative.


You’re very bullish on NFTs, which I really want to talk to you about, and I have some big questions about the future of computing.

What is the architecture of Photoshop on the web? Are you running that on your data centers? Is it the same sort of x86 app that we’re used to with the web front end? How does that work?

No. So it’s all native in the browser. I mean, the client side work and the technologies we’ve leveraged are the latest for web apps, as you would see anywhere else. And the team can give you more specifics, but we have really tried to make sure that as much is done on the client side as possible, because performance is crucial.

This is one reason why I’ve been trying to get the loading times down with the team — really the initial load, because there’s just so much. The first time you ever use Photoshop on the browser, we’ve got to bring a lot local for you to be successful and be nimble.

An NFT can either be one-of-a-kind, like a real-life painting, or one copy of many, like trading cards, but the blockchain keeps track of who has ownership of the file.

NFTs have been making headlines lately, some selling for millions of dollars, with high-profile memes like Nyan Cat and the “deal with it” sunglasses being put up for auction. There’s also a lot of discussion about the massive electricity use and environmental impacts of NFTs. If you (understandably) still have questions, you can read through our NFT FAQ.

Art theft has been a Big Deal in the NFT world.

There have been many examples of people minting art they didn’t create or don’t have the rights to on the blockchain. The reason is that anyone can mint an NFT, even if they don’t own the copyright to the content, and there’s not really anything the blockchain can do to stop that.

But before I do that, that has a big implication for Adobe’s business, right? Adobe’s business right now is expensive; Creative Cloud subscriptions, I’m assuming CIOs are some of your biggest customers at big companies and they’re buying corporate enterprise licenses. As all those people move and they become freelance, or they start doing it themselves at smaller businesses, how are you thinking about Adobe’s model changing?

It’s funny. I mean, I always think about our business as, our customers are creative professionals, the IT department will buy whatever tools they want to use.

That’s an optimistic read on the relationship between creative professionals and IT, but I buy it.

But they do.

No one’s going to tell their designer that we’re not going to pay for the tool you want to use — and that hurts us and helps us.

If I can wait five seconds for this to be done instead of three minutes, all day, every day, I’m desktop, desktop, desktop. And to the metal. I want to make sure I get all the juice.

But again, this is the insight on the web side, is that there is a new generation of people that are achieving better productivity as much through collaboration as they are through performance. And the web is just ruling the world there. I do think that the companies that win will be able to bridge both, and that’s very much our strategy.

Sometimes you just want Photoshop, Photoshop, Photoshop on desktop. And you just want to have all the optimized capabilities for your chipset as possible. And then you may want to open that on the web and do something with somebody else.

Apple makes different GPU decisions than the Intel side.

Famously, they do not support the very popular Nvidia GPUs.

And that lets you bring that app to many more kinds of devices than you would otherwise have. So I know a lot of designers use Figma, they literally work on Chromebooks, pretty midrange Chromebooks all day because it’s just a web app and they don’t need a ton of local processing power. Are you saying that Photoshop will still need a bunch of local processing power?

Well, Photoshop is being made to be able to take advantage of local processing power, right? But I think “need” is a good question.

We want to bring Photoshop and some of these capabilities to everyone. We have tested on some Chromebooks, certainly the higher-end Chromebooks, and are pretty satisfied with some of the initial results.

Is that your lane? That huge market of people with small businesses who see the marketing opportunity with social platforms? And if they want to make great content, it’s worth it for them to pay for the tools? In a way that, I don’t know, teenagers might not think it’s worth it to pay for the tools?

Well, as I imagine the Adobe of tomorrow, I think that every student who’s making a history report, it’s not going to be a printed Word doc anymore, it’s going to be a visually compelling, animated or narrated, and video type of experience. And millions and millions of small businesses were started during the pandemic as people left their old day jobs and said, “Okay, I want to pursue my passion now.” From day one, it’s all about the content you’re representing across all these different platforms and different formats.

There are much higher-stakes examples I could use. There’s an election coming up. Do you think this stuff is going to be ready for the next election?

That’s a good question. What I do think will happen, unfortunately, is that there will be some specific things that happen that really diminish trust.

I think we’ve seen a few of these examples before, but fortunately, countries haven’t gone to war yet. People haven’t been really traumatically affected yet by fake media on a large scale. And I just fear that it’s a when, not if, sort of scenario.

And when that stuff happens, I think that everyone’s going to be grasping for ways to distinguish between true and false.

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