YouSaid · the spoken record

Gavin Miller

lines on the record: 86
first: 2019-06-10
most recent: 2019-06-10
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“I'd have to say at the moment it's a twinkle in my eye. I think the more likely thing is that we will bring virtual objects into the physical world through augmented reality. And many of the ideas that might take five years to build a robot to do, you can do in a few weeks with digital assets. So I think Really intelligent robots finally become commonplace, they won't be that surprising because we'll have been living with those personalities for in the virtual sphere for a long time. And then they'll just say, oh, it's Siri with legs or Alexa on hoofs or something. So I can. And for now it's still an adventure, and we don't know quite what the experience will be like. And it's really exciting to sort of see all of these different strands of my career converge.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“As you get more and more elaborate behavior, it's like, why did you decide to do that? How do you know that? I think the robots really are my muse for helping me think about the future of AI and what to invent next.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“And one of the things that I'm trying to do in the sample audio that will play you is beginning to get towards the point where the reasoning system can explain why it knows something or why it thinks something. And that again creates the sense that it really does know what it's talking about, but also Debugging.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Absolutely. And then ultimately give it a personality, which is where the intelligent agent research will converge with the vision and voice synthesis to give it a sense of having not necessarily human level intelligence. I think the Turing test is such a high bar. A little bit self defeating, but having one that you can have a meaningful conversation with, especially if you have a reasonably good sense of what you can say. So not trying to have it so a stranger could walk up and have one, but so is a pet owner or robot pet owner, you could know what it thinks about and what it can reason about.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm thinking, how does that snake move? Can I copy it? I look at the trails that side winding snakes leave in sand and see if my snake robots would do the same thing”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“And I gave a series of lectures at girls who code to encourage people to take an interest in technology. And at the moment, I'd say they're still more expensive than the value that they add, which is why they're a great hobby for me, but they're not really a great product. It makes me think about doing that very early thing I did at Alias with changing the muscle rest lengths. If I could do that with a real artificial muscle material, then the next snake ideally would use that rather than motors and gearboxes and everything. It would be lighter, much stronger, and more continuous and smooth. I like to say being in research is a license to be curious, and I have the same feeling with my hobby. It forced me to read biology and be curious about things that otherwise would have just been a national geographic special.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“But this one can have onboard compute. And then where my hobby work and my work are converging is, you can now add vision accelerator chips which can evaluate neural nets and do object recognition and everything. So both for the snakes and more recently for the spider that I've been working on, having desktop level compute is now opening up a whole world of true autonomy with onboard compute, onboard batteries, and still having that sort of biomimetic quality that people that appeals to children in particular, they are really drawn to them. And adults think they look creepy, but children actually think they look charming.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“It was on YouTube and it got its own conspiracy theory where people thought that it wasn't real because I work at Adobe, it must be fake graphics. And people would write to me, tell me it's real. So the background doesn't move. And it's like, it's not a tripod, you know. So that one, but you can see the real thing. So it really is true. And then the latest one is the first one where I could put a Raspberry Pi, which leads to all sorts of terrible jokes about Pythons and things.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“I've been building S9, which is a much better engineered version of S3 where the motors wore out and it doesn't work anymore. And you can't buy replacements, which is sad given that it was such a meaningful one. S5 was about twice as long and looked much more biologically inspired. Unlike the typical roboticist, I taper my snakes. There are good mechanical reasons to do that, but it also makes them look more biological, although it means every segment's unique rather than a repetition, which is why most engineers don't do it. It actually saves weight and leverage and everything. And that one is currently on display at the International Spy Museum in Washington, D.C. None of it has done any spying.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Autonomously on board, right? And so the very first one I actually built the controller from discrete logic because I used to do LSI circuits and things when I was a teenager. And then the second and third one, the 8-bit microprocessors were available with like a whole 256 bytes of RAM, which you could just about squeeze in. So they were radio controlled rather than autonomous and really were more about the physicality and coordinated motion. I've occasionally taken a sidestep into if only I could make it cheaply enough, make a great toy, which has been a lesson in how clockwork is its own magical realm that you venture into and learn things about backlash and other things you don't take into account as a computer scientist, which is why what seemed like a good idea doesn't work. So it was quite humbling. And then more recently,”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Building things in real life makes you honest about the friction. The thing that appeals to me as I love creating the illusion of life, which is what drove me to animation. And if you have a robot with enough degrees of coordinated freedom that move in a kind of biological way, then it starts to cross the uncanny valley into see me like a creature rather than a thing. And I certainly got that with the early snakes by S3, I had it able to sidewind as well as go directly forward. My wife to be suggested that it would be the ringbearer at our wedding, so it actually went down the aisle carrying the rings and got in the local paper for that, which was really fun. Was all done as a hobby, and then I, at the time, the onboard compute was incredibly limited. It was sort of.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Came out of simulation and graphics When I moved from alias to Apple, we actually did a movie called Her Majesty Secret Serpent, which is about a secret agent snake that parachutes in and captures a film canister from a satellite, which tells you how old-fashioned we were thinking back then, sort of classic 19 sort of 50s or 60s bond movie kind of thing. And at the same time, I'd always made radio-controlled chips when I was a child and from scratch. And I thought, well, how hard can it be to build a real one? And so then started what turned out to be like a 15-year obsession with trying to build better snake robots. And the first one that”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it actually came out at my work in the 80s on computer animation where I started doing things like cloth simulation and other kind of soft body simulation. And you'd sort of drop it and it would bounce and then it would just sort of stop moving. And I thought, well, what if you animate the spring lengths and simulate muscles? And the simplest object I could do that for was an earthworm. So I actually did a paper in 1988 called The Motion Dynamics of Snakes and Worms. And I read the physiology literature on both how snakes and worms move and then did some of the early computer animation examples of that.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Emerging technologies, and when these all come together, you're sort of basically be dancing with light, right? Where you'll have real time shadows, reflections, and as if it's a real world in front of you, but then with all these magical properties brought by AI where it sort of anticipates or modifies itself in ways that make sense based on how it understands the creative task you're trying to do.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“I think internally we have a sensei platform which is a way in which we're pooling our neural nets and other intelligence models into a central platform which can then be leveraged by multiple product teams at once. So we're in the middle of transitioning from a, you know, once you have a good idea, you pick a product team to work with and you sort of hand design it for that use case to a more sort of Henry Ford standard up in a standard way which can be accessed in a standard way, which would mean that the time between a good idea and impacting our products will be greatly shortened. And when one product has a good idea, many of the other products can just leverage it too. So it's sort of an economy of scale. So that's more about the how than the what. But that combination of this sort of renaissance in AI, there's a comparable one in graphics with real-time ray tracing and other really exciting.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“So, I think the creative or the analytics assistants that we talked about where they're constantly trying to figure out what you're trying to do and how can they be helpful and make useful suggestions is a really hot topic. And it's very unpredictable as to when it'll be ready, but I'm really looking forward to seeing how much progress we make against that. I think some of the core technologies generative adversarial networks are immensely promising and seeing how quickly those become practical for mainstream use cases at high resolution with really good quality is also exciting. And they also have this sort of strange way of even the things they do oddly odd in an interesting way. So it can look like dreaming or something. So that's fascinating.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Some of them pay off, and some of them sort of were a nice paper, but don't turn into a feature. Others turn out not to be as novel as we thought, but they'd be a great feature, but not a paper. And then others. We make a little bit of progress and we realize how much we don't know, and maybe we revisit that problem several years in a row until it finally we have a breakthrough and then it becomes more on track to impact a product.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“And then people reinterpret X through the filter of things they want to do and they're interested in. And miraculously, it usually comes together very well. One thing that really helps is Adobe has a really broad portfolio of products. So if we have a good idea, there's usually a product team that is intrigued or interested. So it means we don't have to qualify things too much ahead of time. Once in a while, the product teams sponsor an extra intern because they have a particular problem that they really care about, in which case it's a little bit more, we really need one of these. And then we sort of say, great, I get an extra intern. We find an intern. He thinks that's a great problem. But that's not the typical model. That's sort of the icing on the cake as far as the budgets are concerned. And all of the above end up being important. It's really hard to predict at the beginning of the summer. We all have high hopes of all of the intern projects. But ultimately,”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Pressing problems. And so it's a little bit of a trickle down and filter up meets in the middle. And so you don't tell people you have to do X, but you say X would be particularly appreciated this year.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“One of the questions for research labs is who's deciding what to do and then who's to blame if it goes wrong, who gets the credit if it goes right. And so in Adobe, we push the needle very much towards freedom of choice of projects by the researchers and the interns. But then we reward people based on impact. So if the projects ultimately end up impacting the products and having papers and so on. The alternative model just to be clear is that you have one lab director who thinks he's a genius and tells everybody what to do, takes all the credit if it goes well, blames everybody else if it goes badly. So we don't want that model. And this helps new ideas percolate up. The art of running such a lab is that there are strategic priorities for the company and there are areas where we do want to invest in”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“We thought about it. There's this other project, or it's already been done, and we found this paper, we were scooped, but we have this other great idea. So it's pretty, pretty flexible at the beginning.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Question I ask at the beginning of every summer. What will happen is we'll send out a call for interns. We'll have a number of resumes come in. People will contact the candidates, talk to them about their interests. They'll usually try to find somebody who has a reasonably good match to what they're already doing or just has a really interesting domain that they've been pursuing in their PhD. And we think we'd love to do one of those projects too. And then the intern stays in touch with the mentor as we call them. And then they come in the at the end of two weeks they have to decide. So they'll often have a general sense by the time they arrive and we'll have internal discussions about what are all the general ideas that we're wanting to pursue to see whether two people had the same idea and maybe they should talk and all that. But then once the intern actually arrived, sometimes the idea goes linearly and sometimes it takes a giant left turn and we go, that sounded good, but we're...”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Builds a bridge to university departments so we can get to know and build an enduring relationship with the professors and we often do academic gift funds too as well as an acknowledgement of the value the interns add and their own collaborations. So it's sort of a virtuous cycle. And then the long-term legacy of a great research lab hopefully will be not only the people who stay, but the ones who move through and then go off and carry that same model to other companies. And so We believe strongly in industrial research and how it can complement academia and we hope that this model will continue to propagate and be invested in by other companies which makes it harder for us to recruit of course but you know that's a sign of success and a rising tide lifts all ships and that's in that sense”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“You end up investing a lot in a particular idea. And if you're not careful, people can get too conservative in what they choose to do next, knowing that the product teams will want it. And interns let you explore the more fanciful or unproven ideas in a relatively lightweight way, ideally leading to new publications for the intern and for the researcher. And it gives you then a portfolio from which to draw which idea am I going to then try to take all the way through to being robust in the next year or two to ship? So it sort of becomes part of the funnel. It's also a great way for us to identify future full time researchers. Many of our greatest researchers were former interns.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, absolutely. Couple of reasons As you see looking at my personal history, there are certain ideas you bond with at a certain stage of your career and you tend to keep revisiting them through time. If you're lucky, you pick one that doesn't just get solved in the next five years and then you're sort of out of luck. I think a constant influx of new people brings new ideas with it. From the point of view of industrial research because a big part of what we do is really taking those ideas to the point where they can ship as very robust features.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“History doesn't record where the Anne was pleased, but I think she was pleased not to be married more than a day or something. So, I mean, this has gone on for a long time, but I think it's just part of the magnification of human capability.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Balance is a good thing. I think there are abuses. We definitely take them seriously and try to discourage them. I think there's a parallel side where the public needs to know what's possible through events like this so that you don't believe everything you read in print anymore. And it may over time become true of images as well. Or you need multiple sets of evidence to really believe something rather than a single media asset. So I think it's a constantly evolving thing. It's been true forever. There's a famous story about Anne of Cleves and Henry VIII where Luckily for Ran, they didn't get married, right? So, or they got married and it.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“To know what it would look like when you got there. And I think now we have such good graphics for knowing, for visualizing the experience before it happens that I slightly worry that it may take the edge off actually wanting to go. You know what I mean? Because we've seen it on TV. We kind of, oh, you know, by the time we finally get to Mars, we'll go, yeah, yeah, so it's Mars. It's what it looks like. But then, you know, the Alta exploration, I mean, I think Pluto was a fantastic recent discovery where nobody had any idea what it looked like and it was just breathtaking in a varied and beautiful. So I think expanding the ability of the human toolkit to imagine and communicate.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“But I think the ability to imagine and visualize an alternate reality, which sometimes you then go off and build later, can be a wonderful thing too. People can imagine architectural styles, which they then, you know, have a startup make a fortune and then build a house that looks like their favorite video game. Is that a terrible thing? I think I used to worry about exploration actually that part of the joy of going to the moon when I was a tiny child, I remember it in grainy black and white.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“The 19th century were very much a text based culture. People would read long tracks, political speeches were very long. Nowadays everything's very kind of quick and visual and snappy. I think it depends on how harmless your intent. It's a lot of it's about intent. So if you Have a somewhat flattering photo that you pick out of the photos that you have in your inbox to say this is what I look like. It's probably fine. If someone's going to judge you by how you look, then they'll decide soon enough when they meet you whether the reality. I think where it can be harmful is if people hold themselves up to an impossible standard, which they then feel bad about themselves for not meeting. I think that's definitely can be an issue.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“So, human desire to put your best foot forward has always been true. I think it's interesting you sort of framed it in two ways. One is if we can imagine alternate realities and visualize them, is that a good or bad thing? In the old days, you do it with storytelling and words and poetry, which still resides sometimes on websites. But we've become a very visual culture in particular.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it's an interesting question you asked sort of historical bent on this. I actually wonder if 18th century aristocrats who commission famous painters to paint portraits of them had portraits that were slightly nicer than they actually looked in practice.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“And then some things are sort of on demand, like help, right? I'm stuck. I need to know what to look for. I'm not quite sure what it's called. And something that was proactively making helpful suggestions or. You can imagine a make a suggestion button where you'd use all of that knowledge of workflows and everything to maybe suggest something that to go and learn about or just to try or show the answer. And maybe it's not one intelligent to halt, but it's like a variety of defaults. And then you go, I like that one.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Targeted very differently in terms of users and the experience. And ideally, people would go, if I'm feeling like doing Premiere, big project, I'm doing four-part television series, that's definitely a premiere thing. But if I want to do something to show my recent vacation, maybe I'll just use Rush because I can do it in the half an hour I have free at home rather than the four hours I'd need to do it at work. And for the use cases, which we can do well, it really is much faster to get the same output. But the more professional tools obviously have a much richer toolkit and more flexibility in what they can do.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“If there's a fundamental breakthrough, like a single click is good enough to select an object rather than having to do lots of strokes. That actually fits in quite nicely to the existing tool set, either as an optional mode or as a starting point. I think where we're looking at radical simplicity where you could encapsulate an entire workflow with a much simpler UI, then sometimes that's easier to do in the context of either a different device like a mobile device where the affordances are naturally different. Or in a tool that's targeted at a different workflow where it's about spontaneity and velocity rather than precision. And we have projects like Rush which can let you do professional quality video editing for a certain class of media output that”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think if you have to trade off control for convenience, then our existing user base would definitely be offended by that. I think if there are some things where you have more convenience and just as much control. May be more welcome. We do think about not breaking well known metaphors for things. So things should sort of make sense. Photoshop has never been a static target. It's always been evolving and growing. To some extent, there's been a lot of brilliant thought along the way of how it works today. So we don't want to just throw all that out.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“The frontier for us, they think, is whether that same medium can be used to do fine grain design tasks, like very accurate constraints on, say, a CAD model or something that may be better done on a desktop, but it may just be a matter of inventing the right UI. So we're hopeful that because there will be this potential explosion of demand for 3D assets driven by AR and more real-time animation on conventional screens, that those tools will also help with those devices will help with designing the content as well.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Applications. Literally, a simple one would be laying out objects, right? So on a conventional screen, you'd sort of have a plan view and a side view and a perspective view, and you'd sort of be dragging it around with the mouse. And if you're not careful, it would go through the wall and all that. Whereas if you were really laying out objects In a VR headset, you could literally move your head to see a different viewpoint. They'd be in stereo, so you'd have a sense of depth because you're already wearing the depth glasses, right? So it would be those sort of big gross motor move things around kind of skills seem much more spontaneous just like they are in the real world.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, we have shown a few demos of sort of taking a Photoshop layer stack and then expanding it into 3D. That's actually been shown publicly as one example in AR. We're particularly excited at the moment is in 3D. 3D design is still a very challenging space, and we believe that it's a worthwhile experiment to try to figure out if AR or immersive makes 3D design more spontaneous”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it may depend on the characteristic of the media if it's a famous celebrity, then it may be that you want to catch every nuance and they don't want to be reanimated by some algorithm. It could be that if it's... Really, you know, a lovable frog telling you a story. And it's about a princess and a frog, then it doesn't matter if the frog moves in a different way. I think a lot of the ideas that have sort of grown up in the game world will now come into the broader commercial sphere once they're needed.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Exactly reproduced, and maybe all you could do is scale it down. Whereas somebody telling you a story might be walking around the room doing some gestures, and that could adapt to the room in which they were telling the story.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Digital assets off the screen and putting them in context in the real world on the table in front of you on the wall behind you. And that has the corresponding need that the assets need to adapt to the physical context in which they're being placed. I mean, it's a bit like having a live theater troupe come to your house and put on Hamlet. My mother had a friend who used to do this at Stately Homes in England for the National Trust, and they would adapt the scenes and even they'd walk the audience through the rooms to see the action based on the country house they found themselves in for two days. And I think AR will have the same issue that, you know, if you have a tiny table in a big living room or something, it'll try to figure out what can you change and what's fixed. And there's a little bit of a tension between fidelity where if you captured, say, Nurayev doing a fantastic ballet, you'd want it to be sort of”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“I think the market seems to be bifurcating into things for consumers and things for professional use cases, like for architects and people designing where your product is a building and you really want to experience it better than looking at a scale model or a drawing, I think, or even than a video. So I think for that, where you need a sense of scale and spatial relationships, it's great. I think AR holds the promise of sort of taking”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“No, that's a great question. We think about this a lot too. So I think. VR and AR serve slightly different purposes. So VR can really transport you to an entire immersive world, no matter what your personal situation is. To that extent, it's a bit like a really, really widescreen television where it sort of snaps you out of your context and puts you in a new one. And I think it's still evolving in terms of the hardware I actually worked on VR in the 90s trying to solve the latency and sort of nausea problem, which we did, but it was very expensive and a bit early. There's a new wave of that now, I think. And increasingly those devices are becoming all-in-one rather than something that's tethered to a box.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Unlike a sort of screen door post filter effect that you sometimes see online, it really looks as though it's sort of somehow attached or reflecting the motion of the face. And so that's a case where even to do a 2D workflow like stylization, you really need to infer more about the 3D structure of the world. And I think as 3D computer vision algorithms get better, initially they'll focus on particular domains like faces where you have a lot of prior knowledge about structure and you can maybe have a parameterized template that you fit to the image. But over time, this should be possible for more general content. And it might even be invisible to the user that you're doing 3D reconstruction, but under the hood, but it might then let you do edits much more reliably or correctly than you would otherwise.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, you covered the number. I think you mentioned Project Puppetron. I think that one is interesting because it's... You might think of Adobe as only thinking in 2D. And that's a good example where we're actually thinking more three-dimensionally about how to assign features to faces so that we can, you know, if you take, so what PopperTrum does, it takes either a still or a video of a person talking, and then it can take a painting of somebody else and then apply the style of the painting to the person who's talking in the video.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“You know, we go and visit somebody and ask them to try the tool, and we human observe what they're doing. In the future, to be able to do that enough, to be able to train an algorithm, we'd need a more systematic process, but we'd have to do it very consciously because one of the things people treasure about Adobe is a sense of trust and we don't want to endanger that through overly aggressive data collection. So we have a chief privacy officer, and it's definitely front and center of thinking about AI rather than an afterthought.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Nice for you to say that. I mean, I think there are some professional workflows where people might be very protective of what they're doing, such as if I was preparing evidence for a legal case, I wouldn't want that phoning home to help train the algorithm or anything. There may be other cases where people are, say, having a trial version or they're doing some, I'm not saying we're doing this today, but it's a future scenario where somebody has a more permissive relationship with Adobe where they explicitly say, I'm fine, I'm only doing hobby projects or things which are non-confidential and in exchange for some benefit, tangible or otherwise, I'm willing to share very fine-grained data. So another possible scenario is to capture relatively crude high-level things from more people and then more detailed knowledge from people who are willingly participate. We do that today with explicit customer studies where”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“Are technologies for looking at learning without necessarily storing all the information permanently so that you can sort of learn on the fly but not keep a record of what somebody did. So we're definitely exploring all of those possibilities.”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source
“All right, absolutely, and this is a big topic in the whole world of AI is what data can you gather and why. At one level, a way to think about it is we not only want to train our customers in how to use our products, but we want them to teach us what's important and what's useful. At the same time, we want to respect their privacy. Obviously, we wouldn't do things without their explicit permission. And I think the modern spirit of the age around this is you have to demonstrate to somebody how they're benefiting from sharing their data with the tool. Either it's helping in the short term to understand their intent so you can make better recommendations or if they're friendly to your cause or you're tool or they want to help you evolve quickly because they depend on you for their livelihood. With the data set to be then trained”
2019-06-10 · Lex Fridman Podcast · Gavin Miller: Adobe Research · IDENTIFIED FROM THE TRANSCRIPT · source