桃花期

Loupedeck照片编辑器控制器宣布支持Photoshop_我的网站

一 | 1月14日，据日本媒体报道。    

    Acrobat Bing Bing backstage at a scenic spot in Beijing Photo: Courtesy of Bing BingAt an amusement park in Beijing, a young female clown tossed an apple into the air several times, catching it each time and taking bites out of it along the way. The seemingly simple routine delighted visitors, many of whom pulled out their phones to film it. Videos of the act have garnered more than 6 million likes on Douyin, China's version of TikTok.
Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice." 
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said. 
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
    Acrobat Liza performs an aerial acrobatics routine. Photo: Courtesy of LizaBreaking the formula
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
。观看，1月10日，Loupedeck宣布其照片编辑控制设备“Loupedeck”将与Adobe Photoshop CC 2019兼容。Loupedeck是一个专用的照片编辑控制设备，可以连接到PC或Mac。为了直接操作和调整每个项目，如等曝光，色调和饱和度，它取代了传统的键盘和鼠标独立的旋钮，键和滑块。过去，该设备支持许多软件预设，如Lightroom Classic CC、Capture One、Skylum Aurora HDR，最近决定开始适应Adobe Photoshop CC 2019。在此背景下，公司创始人兼首席执行官Mikko Kesti表示：“我们的用户强烈希望能够在控制器上编辑photoshop，我们决定满足这一要求。”尽管这一次只对应于photoshop cc 2019，但据说它希望将来能够确保与premiere pro cc兼容。根据发布的内容，Loupedeck根据每个工人的工作流程有相应的可扩展性和定制性，可以直接操作层和工具，以及调整层的透明度。它的键和旋钮与移动、分组和连接操作相对应。它可以自定义智能滤波器的按钮（它可以应用和调整滤波器，而不改变原始图像的功能，即所谓的调整层）。

二 | 此外，还可以执行动作录制和执行按钮分配。从本公告的内容来看，虽然我们看不到与photoshop cc 2019新功能直接对应的内容，但我们强调，旋钮和按键可以通过多种方式进行定制。

三 | 因此，可以推断，即使未来出现新的功能，photoshop也可以根据其灵活性进行定制。Loupedeck于2018年7月宣布，以2600元的价格在中国推出了自己的照片编辑定制键盘Loupedeck产品。本产品主要针对专业用户，使图像编辑过程更加高效、快速、准确的调整。同时，它也是市场上唯一一款能够增强Adobe Lightroom操作体验的定制产品。现在编辑器支持photoshop，这无疑为专业用户提供了更多的便利。

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Published on:17:07:02