Scaling 3D Content Production with Adobe Substance 3D Assets

How do you scale 3D content production without compromising quality or speed? 🤔 Discover how Adobe rebuilt its Substance 3D Assets pipeline with OpenUSD and automation — generating more than 55,000 renders in just three months while improving rendering speed by 10x. From scalable digital twin workflows to multi-engine rendering pipelines, this is a great example of how open standards like OpenUSD and OpenPBR, combined with substance automation, are reshaping industrialized 3D content production. Read the full blog 👉 https://lnkd.in/dPpGePVK

On my way back to Norwich, feeling inspired after the Adobe Next Gen event in London, a brilliant look at where creative tools are heading and how quickly design is shifting into more dynamic, fluid systems. I’ve already started applying some of these new features to the pollen-inspired branding for Bold Voices — boldvoices.uk Using the new turntable feature in #AdobeIllustrator, I’m pushing the identity beyond static vectors into 3D, movable forms that shift and rotate, bringing a whole new energy to the system. Thanks for the tips and the great talk Eloïse Rouet 🔥

Last year, we had the pleasure of imagining and defining the brand identity system for Adobe Summit, in close collaboration with the amazing Adobe design team. The brief was to create an identity that could reveal the endless creative possibilities AI would bring. Our idea started with a simple insight: every breakthrough begins with a blank canvas. It’s where every product starts, every campaign begins, and every creative leap takes shape. From there, the system unfolds: prismatic plates shape a precise grid, structure emerges, and Adobe’s signature red comes to life. From a blank canvas to completion.

In case you missed it — we were at Adobe Summit last week showcasing something we've been heads-down building for a while, and the response was amazing! I'm excited to share a demo of Firefly Creative Production for Enterprise, walking through how marketing teams can now assemble production-ready video content — motion graphics included — without a single new photoshoot. Here, we're using Dynamic Graphic Render and our latest partner models (including Google Veo 3.1) to turn static assets into motion video, complete with audio, all inside one governed workflow. What this means: • No new photography. No new locations. No delays. • Brand guidelines baked directly into the workflow • Review and approval accelerated via Frame.io • Publish workflows as integrations and for others to use Summit was an incredible moment to celebrate this with customers and partners — but we're just getting started. So proud of all our Adobe and Adobe for Business teams that made this possible. The late nights showed up on stage. 🙌 🎥 Watch the demo below. #AdobeSummit #AdobeFirefly #FireflyCreativeProduction #ContentSupplyChain #GenerativeAI #MotionGraphics #EnterpriseAI

Adobe's NAB keynote was the most editor-focused update Premiere has had in years, and if you only saw the press-release summary you probably missed why. Four moves: Color Mode launched in public beta today, GA later this year. It isn't a color panel bolted on. It's a mode, built for how editors think when they grade. First direct run at DaVinci Resolve from inside the app you already pay for every month. Firefly Video Editor now routes to Kling 3.0 and Kling 3.0 Omni, plus more than thirty other models. Enhance Speech moved out of Premiere's walled garden into Firefly. Audio tooling broadened. Firefly AI Assistant was announced as "coming soon to the Firefly app." A natural-language agent orchestrating multi-step edits across Premiere, Photoshop, Lightroom, Illustrator, Express, and Firefly itself. Frame.io Drive mounts cloud projects as a local drive. Enterprise access is live today. Other plans follow. The thing to sit with: Adobe stopped announcing incremental AI features bolted onto existing tools. They announced a reorganization of what the tools are. Color Mode is a mode, not a panel. AI Assistant is an agent across Creative Cloud, not a feature inside one app. Kling in Firefly is routing, not a partnership. For working editors, this is the story of the week. The thing you pay for every month just became a different thing.

How I Develop and Execute Creative Concepts: Part 3 Sketches and References Here’s how my sketches became finished images and how AI tools like Adobe Firefly took that process even further. Part 4 drops tomorrow — follow so you don’t miss it! #creativedirector #conceptdevelopment #creativeprocess #artdirector #surreal #adobe #adobefirefly

Not at NAB this year, but I'm definitely keeping an eye on what comes out of it 👀 Adobe’s updates are a good reminder of where this is all heading... More capability. Faster turnaround. Tighter integration. But what stands out to me isn’t the features—it’s how much this depends on the workflow underneath. Tools are getting better. That part is clear. 🎬 The real question is whether teams are set up to actually use them at scale. #InHouseCreative #InHouseAgency #CreativeOperations #AIWorkflows #VideoAtScale #CreativeTechnology https://lnkd.in/ekNuaXZk

Biggest news out of the annual NAB show in Las Vegas this week was Adobe’s complete rethinking of the color correction process and workflow. It’s only available in the Premiere Pro beta at the moment but shows what a fresh approach can achieve when you are not locked into old paradigms: https://lnkd.in/gFZz9h9m

Jordan Hall shows off all of the insane tech we're working with using an Adobe Firefly Foundry model, he connects the dots across Adobe Firefly, Adobe Workfront, Frame.io, and Adobe Experience Manager, making it easier to move from planning to activation. Instead of juggling separate tools, teams can flow naturally from creating to reviewing, managing, and delivering their work. It simplifies the process so ideas move faster and come together with more clarity. https://lnkd.in/gXj-rC4K

These past few days have been very exciting for creatives. Like me, many people no longer want to rely entirely on a single subscription-based software. After Effects used to be the hardest piece to replace when looking for alternatives to Adobe...until now. We don’t just have options anymore; Cavarly became free after Canvas’s acquisition, Autograph is now free for individuals, and DaVinci Resolve can import layers from Affinity. More than ever, we finally have real choices, and that’s great.