>> Announcer: Live from Las Vegas, it's theCUBE. Covering NAB 2017. Brought to you by HGST. >> Welcome back to The Cube, we are live from NAB 2017 on day three, live from Las Vegas. Excited to be joined by my next guest from Adobe, Laura Williams Argilla. Welcome to The Cube. >> Thank you so much for having me. >> You are the director of Product Management for Professional Video. >> Laura: Yes, I am. >> And you've been, you are focused on digital video and storytelling. It sounds like that's been a long-time passion of yours. >> Yes, I actually was raised in a family, my dad was a video person as well. He worked with educational technologies and helping connect people in remote areas with more populated areas for educational purposes. And he always had video gear around the house and was very passionate about watching movies and making television. And so he got me indoctrinated pretty young. And by the time I graduated from high school, I knew that I wanted to do something with media. And so I went to school for broadcasting. >> Wow, that's fantastic. So speaking of connectivity that your dad was able to facilitate, tell us about what Adobe is doing here at NAB 2017. What's the Creative Cloud? >> So the Creative Cloud is the suite of Adobe tools. And it is a collection of all of the tools that enable creativity from digital imaging to motion pictures to Photoshop and all of the core creative tools, and a collection of services that help enable the connection between those tools. At NAB this year, we're announcing the Creative Cloud additions, or updates to the video products including After Effects, Premiere, Premiere Pro, AME, Audition, and Speedgrade Prelude. The whole bundle. >> The whole bundle. So talk to us about the target audience for Creative Cloud. Is it the wannabe YouTube star? Or are we talking about broad spectrum or is it more focused on the kind of like the individual filmmaker? >> With the Creative Cloud, we actually have a really broad range of customers who we target. We target everybody from the aspiring YouTube creator who's just starting their channel, all the way up to some of the major motion pictures. Deadpool was edited in Premiere Pro, Hail, Caesar! by the Cohen Brothers was also edited in Premiere Pro, as was Gone Girl. And we continue to just see amazing adoption. Also, Premiere is broadly used in broadcasting environments, but that doesn't preclude us from also being incredibly functional for individuals or small groups. >> So if we look at kind of those target audiences as maybe the large and the small separately for a second, walk us through for the aspiring YouTuber, what are some of the benefits that person is going to get in comparison to the benefits that a creator of Deadpool would get for example? >> Sure, so I think, in general, there's a lot of overlap because they're both trying to tell stories, right? So you both start with raw footage and shape that into the story that you're trying to tell, and those tools work whether you're working on a motion picture or you're working on a YouTube channel. But I think there's certain things that we've introduced, like this year at the show, motion graphic templates, which give the opportunity to work with really powerful motion graphic effects in Premiere using simple sliders, the essential sound panel which also dramatically simplifies some of the most common audio corrections that a YouTuber or anybody would make, but especially for someone who maybe doesn't have the technical depth of being able to jump into Audition and figure out all those parameters. This is a single slider for adjusting multiple parameters to increase the overall quality of their audio with one quick move. For the broadcast and the high-end motion picture end, one of the things that we're really proud of with Adobe is that we work well with partners. We have a huge ecosystem of third-party partners, everything from asset management systems to audio enrichment systems, that you can access directly through Adobe through system panels that they can create to give direct access in our tools. And it really makes the workflow so much easier because you're not having to pop in and out of a system to get work done. >> One of the things that kind of popped up when you were talking about the commonality of benefits from the aspiring individual to a studio is how they gain efficiencies from this. Talk to us a little bit more about, with respect to the partner ecosystem, how the partnering with Adobe helps enable efficiencies across this whole production process. >> Absolutely. So one of the best examples that I can give for efficiency is the asset management systems that we can enable to have direct access for users inside of Premiere. So if I'm working with any number of asset management systems, instead of having to go and use a web interface or a client interface to access my files, that can be presented as though it is part of Premiere. So it feels like I'm getting just a panel, like a window that has a view directly into my asset management system, which makes it feel like a much more cohesive part of that workflow, and also it saves me the time. And as a former editor, I know that you lose thought process when you have to jump out of what you're doing to go get that asset and come back. With this process, the interface doesn't change. You get to stay right in Premiere and go pull the assets that you need for that. And it just makes it so much easier and so you end up spending a lot less time with the jumping between, getting back to the good state and remembering what you were doing also. >> That's a really interesting point that you bring up about how we look at technology as this facilitator, as this enabler, but also the cognitive process that an individual is responsible for whatever part of it has to go through is also facilitated by offloading some of these tasks and making it automated and simpler. That's not something that I think we've heard this week or kind of talked about it in that context, but that's quite important. >> It's very important, and I think as a creative person, you want to remain in your creative space as long as possible and you don't want to go into the administrative space of asset management. You want that to be handed to where you're working. And I do think that that constant shift of focus is really difficult to manage and stay in that productive space. So I think, to me, that's one of the biggest benefits of having these interconnected tools. >> Speaking of other benefits within Adobe from a content volume perspective, you guys are providing access to over 75 million stock images, videos, 3D assets, graphics. What does Adobe's cloud look like to be able to facilitate this quick access to things like that? >> So we have a really powerful architecture behind our cloud. Each part of the system is established to best serve that type of use, and the acquisition of Adobe Stock has been one of our prides and joys because it is, again, the direct access to millions of images and videos and you can access those directly through your product. So if I'm in Premiere and I need a stock image, I can search for stock images inside of Premiere and I can place that image and test it, it'll be watermarked. I can show it to you, say does this work? You say yes, and I can buy it without having to go through the process of replacing that image. I just click, buy, and it changes the image in place, letting me know that I've now purchased it or licensed it, which is, again, a huge time saver. But the infrastructure behind the cloud is really, wow, (laughs) it's large and scalable and we have incredible uptime service. We're very, very fortunate with the way that we've been able to manage that architecture. >> Do you find any of, is security a concern for, or are you finding it now that there's so much proficiency in, not only cloud technologies, but cloud users, that it's really not nearly as big of a concern as it was before? >> I think there used to be a lot more concern about it, and Adobe has made security a first priority for cloud assets, especially when we understand that your creative material is so much a part of your income, and it's yours, it's proprietary. You don't want other people to have access to it unless you choose to share it. So we have a full security team focused on making sure our assets remain safe. But in the past few years, we've seen an enormous shift in people's willingness to put assets in the cloud and data in the cloud. And I think as people become more comfortable with it because of the known quantity of what internet security looks like, what data security looks like, they're more comfortable with it and then they're able to reap the benefits of having that connective workflow, that they are not forced to manage, upgrade, maintain. >> Exactly. >> Yeah. >> Offloading that is always fantastic. Well Laura, thank you so much for stopping by theCUBE and sharing your wisdom of all your years of expertise at Adobe, and also before when you were kind of groomed by your dad. It was great to have you on the program today. >> Thank you so much for having me. It was a pleasure. >> Good. And we thank you for watching. Stick around, we're live from NAB 2017 on day three. I'm Lisa Martin. We'll be right back. (calm and smooth electronic music)