I’m paying for getting points and your system doesn’t work. I have been awaioting more than two weeksw to get renewed and nothing works
I already see Hindi. Which gets me hyped up
It automatically groups your photos into "Current Session", "Last 24 Hours", "This Week", etc. This stops old edits and exports from mixing with new ones when you return to a catalogue after a break. It saves time by letting you instantly isolate and export only your most recent work. To optimize workflow continuity for high-volume creators, Adobe should introduce a dynamic "Smart Session History" or “Recently Edited” filter within the primary catalogue navigation panel to isolate active work from historical adjustments. Currently, returning to a project after a break requires manual flagging because the native "Edited" status pools all historical data together. This proposed feature utilizes local application state logs to automatically segment edited assets into three real-time categories:Current Session: Isolates only the assets modified since launching the application for the current work block, providing an immediate view for targeted exports. Last 6/12/24 Hours: Bridges the gap across short operational breaks, ensuring project momentum is preserved even if the application was closed or system updates occurred. Active Window (7 Days): Combines multi-day project workflows, allowing users to instantly resume ongoing client batches without digging through unrelated archives.This will help photographers organize their clients’ galleries with more efficiency. Thank you for reading!
Poder hacer varias generaciones a la vez, no tener que esperar a que termine una para poder enviar la otra a generar, pierdo mucho tiempo esperando.
After Effects allows you to use Bicubic, bilinear, and nearest neighbor ("draft") for scaling. (Also known as "sampling" or "interpolation.")Premiere should absolutely have the option for the Motion effect to use Nearest Neighbor. (It would still be bicubic by default, as it is now.)This is very important for sprite art, screenshots, screen recordings, etc.Here is a forum thread on the issue from 2012, where most people unfortunately don't even understand what the problem is:https://forums.adobe.com/thread/1061901NOTE: The TRANSFORM effect currently has the option for bilinear and bicubic. It would be good to add nearest neighbor here, but that should not be the ONLY place where it is available. The Transform effect still has severe issues with buggyness, instability, and choppy movement. Again, it is important that the MOTION effect has the option for Nearest Neighbor.
I wanted to share an idea on integrating time sheets directly into Premiere Pro to streamline our workflow. By utilizing extensions (or markers/metadata panels within the workspace), we could track editing time per sequence or project automatically. This would eliminate manual entry and improve client billing.
題名通りです。以前は1日に5回だったのが3回に減ってしまい、不便さを感じています。10回に固定していただけないでしょうか?
Title:Strategic Pivot: Free Local "Human Use" Licensing Powered by High-Margin Firefly AI UpsellsMessage:Hi Adobe Product Team and Community,I want to propose a strategic evolution of the Photoshop licensing model that protects Adobe's market share against emerging free/open-source alternatives while unlocking a massive new revenue stream: The Free Local "Human Use" Tier.Instead of charging individual creators a flat subscription for basic local access, Adobe should make Photoshop free for non-commercial, local, manual human workflows, while shifting monetization heavily toward cloud-driven, AI-enabled features (Firefly) and tokenized compute.Here is why this is a highly profitable business decision for Adobe:• Securing the Future Pipeline: The primary threat to Photoshop in the indie and hobbyist spaces is the financial friction of the Creative Cloud subscription, which pushes users toward free or one-time-fee alternatives. By offering a free tier for local human workflows, Adobe captures 100% of the top-of-funnel student and indie ecosystem, ensuring they remain locked into the Adobe ecosystem when they enter the paid commercial market.• Zero Marginal Infrastructure Cost: Allowing individuals to utilize local hardware (CPU/GPU) for traditional pixel editing, vector paths, layers, and brushing costs Adobe $0 in server overhead. It turns passive non-customers into active ecosystem users at no extra infrastructure expense.• High-Margin AI Scaling: Users understand that AI generation requires massive server power. By gating Generative Fill, Generative Expand, Text to Image, and advanced cloud-based automation behind a consumption model (leveraging Generative Credits), Adobe can monetize on actual utility volume rather than access. A hobbyist doing manual clone-stamping pays nothing; the moment they hit an AI feature, they trigger a high-margin premium credit or microtransaction.This model successfully bridges the gap between protecting Photoshop's future user base and building a scalable, high-margin, cloud-monetized ecosystem. I would love to hear thoughts from the community and the product team on adapting this modern freemium strategy for the AI era. Too long didn’t read : Human-use local non-commercial licenses free. The time is now.
Why are all third-party image generation models unavailable, including GPT and Banana?
Adjunte una imagen, Le pedi que anime esa imagen sosteniendo la estetica de la imagen que adjunte y me realizo una animación con una imagen nueva de muy mala calidad
Our users are VERY frustrated with the removal of the direct print feature. It makes the application virtually useless for us. We needed something to replace MS Publisher, and we thought Adobe would be the answer. After subscribing 100 users we now are dealing with this feature removal. If Adobe wants to keep our business, we need this feature back. Thanks for your consideration.
This used to be a feature, so I am not sure what has recently changed, but I use adobe express mainly for social media templates, and when using shape crop, sometimes the image resizes to be very close to the crop margins.From here you have two options, resize the crop margin (changing the position on the template) or moving the image away from the crop margins to resize, and moving it back. You can no longer do this, images snap to the crop and wont move outside those bounds. I was previously using the rounded rectangle and using about half of the frame to create a clean line on one side, without having the rounded on both sides crop you get when you just resize the shape, and not being able to do this is really inconvenient. I just want the ability to move my images out of the crop margins back. Maybe an option for snapping that can be toggled on or off can help? The last time I used this feature was last week on monday 8/3 and it was normal, but today 8/10 it is no longer working and i can’t finish the weekly story post about our events.
Issue:I am using Adobe Acrobat Sign through the web browser to sign 100 separate sheets. After signing, Adobe automatically merges all files into a single PDF "binder."Problem:I need these signed files to remain 100% separate using their original, separate file names. Because the final PDF is digitally secured, I cannot use the "Split PDF" tool without breaking the security certificates.
Well title basically says it all. From camera raw I’d like to see a feature added to stack images into layers into photoshop. Sure there’s an option once u get into photoshop to stack, but it would be nice to have that option coming out of camera Raw as well
Why is there no Turkish language or audio? That is why I am not signing up.
first + last frame support for "gemini omni flash" in adobe firefly boards, video generation. and, resolution selector too.these can be added, they are supported in the api.
When Generative Remove was introduced to Lightroom Classic, it immediately became a game changer for me. Tasks that previously would have required importing an image into Photoshop and spending a significant amount of time removing background distractions, unwanted objects, or unexpected issues can now be handled directly within Lightroom Classic, from a workflow and time management perspective, it has been incredibly useful I have also found that Generative Remove can go beyond simply cleaning up a background. It has become surprisingly effective for refining subjects while still producing natural looking results. A few examples that come to mind are removing visible bobby pins from someone’s hair or correcting a distracting wrinkle in clothing while maintaining the natural shape of both the outfit and the person wearing it I have even experimented with using it for more detailed retouching. For example, I had a client who wanted some visible stomach lines reduced. Normally, that would be something I would handle in Photoshop, but purely as an experiment, I tried using Generative Remove instead. It produced almost exactly the result I had envisioned while still looking natural That made me start thinking about how the concept behind Generative Remove could potentially be expanded. I’m not sure how realistic this would be from a technical standpoint or how well it would fit within Adobe’s overall vision for Lightroom Classic, but I think an interesting addition would be a more limited version of Generative Fill I would not necessarily want Lightroom to become a full Firefly or Photoshop replacement. Instead, I imagine something focused specifically on photography, the ability to selectively add small elements, extend practical effects, enhance foreground or background details, or introduce minor environmental additions without having to leave Lightroom Classic There have been several situations where I have needed to move into Photoshop simply because I wanted to add a little more to an image. This could mean introducing an additional prop, enhancing an effect that was already created practically during the shoot, or adding another visual element to strengthen the final composition One recent example involved a photoshoot where I was working with water effects. We achieved most of what I wanted practically while shooting, but I went into Photoshop afterward to give the effect a little more impact. The process was manageable, but it made me wonder how useful it would be if I could simply mask the area in Lightroom Classic and use a restrained Generative Fill tool to enhance the existing water effect directly within my normal editing workflow For example, a photographer could potentially use it to add a few additional water droplets, extend smoke or fog, introduce a subtle practical light effect, add or replace a small background object, enhance environmental particles, or make minor additions to props and scener
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