Introduction

How does Adobe Kuler work? What do I need? The only requirements, for using Kuler, are a Web browser with an enabled Flash Player 9 or higher, since it is Flash based. Additionally, you can access the Kuler extension from any Creative Suite 4 product or use the Desktop Air Kuler application.

Flash Player required

Kuler Website (go there)

Desktop Air Widget

Kuler Extension

Kuler – Creating, Sharing, and Using Color Themes!

Whether you are a design professional or a beginner, there will always be a situation, where it’s hard to find the right color theme for a project. This is where Kuler comes in. Kuler not only provides a huge number of color themes, it’s also build on an active community, which creates and publishes the color palettes we are talking about. Let’s learn how to set up an Adobe ID, to log in to the Adobe Kuler website, to browse, save, create and publish your own color variations.

Setting up an Adobe ID account for access to Kuler

Well, you can use Kuler to experiment with colors and copy & paste the color values, but after signing in, you’ll get access to download the Adobe Swatch Exchange files, which contain the color themes. It’s always stressful setting up all these different accounts on different websites and keeping everything in mind, but Adobe did a good job on this one.

If you already have an Adobe ID, then you can easily login, using the Sign In button located at the top-right corner. You can also click on Register. Adobe will redirect you to their website and guide you through the registering process. After creating an account, come back to continue and login to Adobe Kuler.

Login

Go to the top-right-corner. Click on Sign In and insert your AdobeID and password, then click Go.

Register

Go to the top-right corner and click on Register. You’ll be redirected to the Adobe.com website. Click on Create an Adobe account. Fill out the required information and come back to Kuler to Sign In the way described above.

Different Menus and Sections on kuler.adobe.com

Adobe Kuler is split into different sections. These sections allow you to add or retrieve certain information. Below you can see the single sections with short descriptions, accompanied by images.

Explore

• Menu
  Explore color themes by either browsing or searching the Kuler database. You can sort listed themes by Newest, Most Popular, Highest Rated or other random options. By setting a time frame for your results, Kuler will only list themes, uploaded in that time span.
• Search
  You can narrow down your search results by using the Search bar. You can search by tags, titles, creators or colors. To make it easier for everybody to find the themes you create, you should always choose proper tags.

Community

• Details
  Color themes, found on Kuler, are submitted by the Community. By creating, saving and publishing your themes on Kuler you make them accessible to everybody. In this section other users can retrieve information about the creator, title, different tags and more.
• Comments
  To give or get some feedback for your themes, add comments. Like on many other websites, you can read comments, but posting comments is only available after Log-In.

MyKuler

• MyKuler
  The MyKuler section in this image is empty, that’s because I’ve set up a new account, but after creating the first themes, you’ll be able store, view, and retrieve all your saved and favorite themes here. You can save themes as favorites, while you are browsing through the database by clicking on the proper button in the details section. You can later import your saved themes to Photoshop.

Extras

• News and Features
  This section lists information about the current products using or featuring Kuler.

Kuler – Features

Download a color theme as an Adobe Swatch Exchange file

After signing in, you can download the themes you like by clicking on the download Adobe Swatch Exchange file in the details section.

.ASE Files

This is how the downloaded files will look like. All Creative Suite 4 products support the exchange of colors via ASE files. For example, you can easily exchange single colors or themes you’ve created in Illustrator to a Photoshop project. In our case we want to import the files we’ve downloaded from Kuler.

Load Swatches

Go to your Swatches Panel, click on the little triangle in the top-right corner. Next Choose Load Swatches, then Select the proper File type and import it. That’s it!

Post Comments

As mentioned above, being a member of the community not only gives you access to the color themes, but also provides commenting and rating which will later help Adobe organize the themes. To leave a comment, go to Add comment. Type in your text, then click submit.

Rate Themes

The five-star rating system shows you what the community thinks about the theme. High ranked themes will be listed and ordered when choosing Sort by Highest rated/Most Popular and will be featured on the home page.

Edit/Create Themes

So far, we’ve learned how to browse and download themes, but now we want to create our own color theme. Either click on the button you can see below to edit the current theme or click on Create in the menu to create a theme from scratch. Both will redirect you to the Create page. You can then choose between creating a theme from colors or an image.

Create theme from a Color

Create theme from an Image

Creating Your Own Theme

Kuler provides very efficient tools to quickly create new color themes. You can choose different harmony rules, use the interactive color wheel and different sliders for brightness and angle, extract colors from an image or simply input color values.

Base Color and Related Colors

Like the name says, you can choose a Base color and build the color theme around it. After setting the Base color, four other colors are available to choose. Harmony rules will apply to the base color and affect the colors around it. By dragging and dropping on the color wheel, you can adjust the base color. The other colors will then move simultaneously.

Color Rules

The color rules are based on color theory. If you are interested in the theory behind Kuler, check out the links provided below. After selecting the base color, select one of the following rules to quickly create harmonious themes. I think the best way to understand what any single rules does is to experiment with each of them. By selecting Custom, Kuler gives you the freedom to select colors individually.

• Analogous
• Monochromatic
• Triad
• Complementary
• Compound
• Shades

Color Wheel

Move the markers on the interactive color wheel to choose the colors in your theme. Do this by either using a color rule or individually selecting colors. Below the color wheel is another Slider, which adjusts the brightness of the colors.

Color Values

If the color wheel is imprecise, you can additionally adjust the colors in your theme by inputting numeric values for the HSB, RGB, CMYK, LAB, or HEX color models. If you only want to change a single color, make sure Custom is selected, since entering a new value will adjust all the other colors in the theme. If you want to experiment with the theme, use the color sliders under each color swatch. For those of you who are not logged in, you can easily create themes and copy & paste the values to Photoshop or any other Software.

Color from an Image

A very neat feature of Kuler is the extraction tool which generates themes from an image. You can upload images from your desktop or use images from Flickr. Just as the harmony rules, Kuler provides different Moods: Colorful, Bright, Muted, Deep, Dark, and Custom. The moods you can choose from, will automatically generate appropriate colors. By moving the markers around, Kuler picks the color of the current position and displays it, below the image, in the color theme preview. Kuler supports TIFF, JPEG, GIF, PNG, and BMP image formats.

Saving and Publishing

Before saving your themes, you should always give it a proper title and tags to make it easier for other users to find. You can choose to save your themes in private mode to your MyKuler section or share them with other members, who can rate them and add comments. Tags and comments are displayed in the details section. Popular tags are displayed in a certain text size. The larger the size, the more popular the tag word. Creator’s can set an avatar or personal color swatch as their default picture. Other members can click on avatars to view all the themes created by that member.

Using the Kuler Extension in Photoshop

Downloaded Adobe Swatch Exchange files can be used as color swatches in all Adobe CS4, CS3 and CS2 products. We’ll take a look at Photoshop CS4.

Find and Open the Kuler Extension

With the new CS4 version, Adobe integrated Kuler right into Photoshop. You can find it by going to Window > Extensions > Kuler. The Kuler Panel will appear. In case you still don’t know what Kuler is or how it works you can read the information, by clicking on the About tab. You can additionally read the Terms of Use and Privacy Policy if you are interested.

This extension provides access to Kuler via RSS feed’s. The extension loads the themes directly from the online database. You can also log in to your Adobe account by clicking Window > Extensions > Connections, which will create a connection to Adobe services, while you are using Photoshop or any other Creative Suite 4 product.

Features: Browse and Create

Browse

The Browse tab reveals a list of currently uploaded and available color themes. To use this feature an Internet connection is required, since the extension uses a RSS Feed to read and list the color themes in Photoshop. You can browse, search and sort themes the way we did on the Kuler website. At the bottom of this section, you can see the arrows pointing up and down. These help you to view the previous or next sets of themes.

Create

The create tab reveals a smaller version of the Create Page on kuler.adobe.com. As you can see, these are the same functions like choosing a harmony rule, adjusting the single colors or brightness, setting the base and related colors and retrieving the values. At the bottom of this section there are additional buttons, which let you upload your theme directly to your account or download/save the current theme.

Swatch Panel

This is how the standard Swatch Panel looks like in Photoshop. You can open it via Window > Swatches. In a previous step we’ve learned how to import ASE files to our Swatch Panel. The extension makes it a lot easier for us. We can easily browse and directly add themes to our Swatch Panel though without downloading and importing ASE files from the Kuler website.

Directly Add Themes to Swatches

The button on the bottom-right-corner, adds the theme directly into your Swatches Panel. You can now select single colors as your Foreground or Background color and apply them to your project. You can reset or delete the colors by clicking on the little triangle in the top-left corner.

Using the Adobe Air Kuler Application

Download and Installation

So far, we’ve used the website and extension in Photoshop CS4, but as I mentioned before, there’s a cool Air application which runs on your desktop. The only requirements for using it is having Adobe Air installed on your computer.

• Download Kuler Desktop here (PC).
• Download Kuler Desktop here (Mac)
• Download Adobe Air here.

You can start the installation by double-clicking the Installer. The setup will guide you through the single steps. After you’ve successfully installed the widget, open it. You should see something similar to the widget in the following image. This Air application works exactly the same way the extension does, providing some extra features. Themes downloaded via the application will be directly added to your Swatch Panel.

Features

You can now browse, search, and save themes directly from your desktop. You can drag individual themes to your desktop, where you can scale them to any size you want, copy swatch values directly from the application or visit the selected theme at kuler.adobe.com to retrieve additional information or comments. I recommend playing with it to get to know the application. It’s a really helpful tool to have on your desktop when working with any Adobe Product.

Additional information

Kuler Links

• Kuler Help
• Kuler Forum
• Kuler Developer Resources

Other websites which provide color themes and palettes

• Colourlovers.com
• Colorschemedesigner.com
• Colorcombos.com

source: tutplus author: kajik

Click each image for full size PNG or you can save/use the resized versions shown here.

 
Finally the Mask:

The work was finished in Flame by Freestyle Collective sister visual effects company, Guava.This open is Freestyle’s most artistically and technically complex work to date, and plunges the player directly into the centre of an epic battle between good and evil. A handheld-camera-feel gives the open drama, immediacy and a sweeping finish that introduces many of the game’s main characters.

ABOUT FREESTYLE COLLECTIVE
Freestyle Collective is a collaborative design and production studio recognized for its distinctive artistic sensibility. Specializing in exploratory and innovative design, Freestyle Collective delivers creative advertising, and branding solutions to a broad range of commercial, broadcast and corporate clients.

CREDITS
Client: Cartoon Network New Media
Production Company: Freestyle Collective
Creative Director: Victor Newman
Director: Nicholas Weigel
CG Director: Entae Kim
Storyboard Artist: Ben Chan
Matte Painters: Andres Rivera, Erik Fokkens, Sookyoung Choi
3D Animators: Nicholas Weigel, Entae Kim, Cedrick Gousse, Dylan Maxwell, Ian Brauner, Richardo Vicens, Stanislav Ilin, Jedidiah Mitchell, Christina Sidoti
3D Artists: Roger An, Russell Paul, Steven Kellam, Andres Rivera, Jim Collins, Patricia Heard-Greene, Steve Dahler, Zeth Willie, David Lobser
Lighting/Compositing: Joshua Harvey, Eric Concepcion, Ylli Orana
Flame Artist (Guava Visual Effects): Aaron Baxter
Executive Producer: Linda Powledge
Producer: Javier Gonzalez

RELATED LINKS
www.fusionfall.com
www.freestylecollective.com

Files you will need:

Original Source File: http://www.moo2u.com/blog-uploads/seamless-set/seamless-textures-source-file.jpg

Project File Completed: http://www.moo2u.com/blog-uploads/seamless-set/seamless-textures-project-file.jpg

OK! Lets start out by opening photoshop. Now open your source file and save your new project in .psd file format. You should note that in this tutorial we will be working on making a 512×512 seamless tiling texture. The image size of your current project should be 1000×625.

We will need to adjust the canvas to 512×512. You can do this by locating “Image” under the menu bar and choosing “Canvas Size.” Now lets adjust our width and height to 512 for both. Now click OK. You will get a message popup asking to proceed or to cancel since the new canvas size will be smaller then the original. You may choose proceed.

Now we have our canvas size set to 512×512. Now we will need to get our underlying image to crop at 512×512 from 1000×625. We can do this by doubling the layer simply by dragging the grass layer to the “Create NEw Layer” icon just next to the trashcan icon in the layers tab. This will double the layer. Now we will choose “Flatten Image” from the “Layer” menu.

Ok now we can start working on the texture edges. To get to them we will now need to offset our project by half. You can find “offset” under the “Filter” menu and choosing “other.”

Since our project is 512×512 we will want to make the offset +256 for horizontal and vertical. The Undefined Area should be set to “Wrap Around.” Press OK. Next, from your tool bar, choose the “Clone Stamp” tool (Highlighted in red below).

Next, right click inside of the project area to show the Master Diameter and Hardness settings. A good size for this project is around 50px and 0% for Hardness. Also for a better look in this project I changed my Opacity and Flow settings. You don’t have to do this step but doing so can give you a more realistic look with this project and future projects. My settings are 72% Opacity and 42% Flow.

The Opacity controls the intensity/blending of the clone tool and Flow controls the pressure applied.

Now press your Alt or command key and left click on an area in your project you wish to start the cloning from. Now once you release the Alt or Command key you will be able to left click over an area and “stroke” the area with the a clone from the area you chose. Doing this repeatedly over hard edges will make your texture tile seamlessly. You may at this time want to cover up dark or light spots in your texture with cloned areas to help reduce any pattern effects which may be seen later on in your project. Below is what I got after a few strokes with the clone tool. Remember to keep changing your clone start point to keep it realistic and to help reduce patterns from forming during the cloning.

Now we will want to change the offset back to the original (you may skip this process if you like your result).

We do this by choosing from the “Filter” menu, “Other” and then “Offset.” Change the Horizontal and Vertical to -256 and click OK.

Now we should have a perfect seamless tiling texture.

Make sure to save your project and then you may export as your favorite image type and quality. See what it looks like: http://www.moo2u.com/blog-uploads/seamless-set/seamless-textures-project-file.jpg

I Hope you’ve enjoyed this tutorial. More to come!

Written by Digital4D

In 2003, Underworld made a strong impression on horror fans around the world with a fancy cast (Kate Beckinsale and Scott Speedman), an intriguing storyline (Romeo and Juliet among vampires and werewolves), brilliant direction by Len Wiseman and innovative creature work by Patrick Tatopoulos. Three years later, the same team brings us Underworld: Evolution, a sequel for which Tatopoulos served as creature designer/fabricator and production designer. Also returning was overall visual effects supervisor James McQuaide, who recently oversaw the effects work on The Cave.

As always with sequels, Underworld: Evolution was far more ambitious than the original movie, especially when it came to vfx. “Going into production, we were budgeted for roughly 225 visual effects shots,” McQuaide recounts. “However, this is a fraction of the total number in the final cut of the picture. The cost of the extra shots was covered, to a large degree, by Lakeshore and Screen Gems allocating more money once the picture was in post.” It also helped that, as an exec producer, McQuaide had access to all of the lines in the budget. This provided for some very important financial flexibility. For example, when it became clear that the picture was going to be shorter than the 120 minutes that had originally been budgeted for, McQuaide was able to save money on digital intermediate, IPs, INs, etc., and invest it into new visual effects shots. “It may not sound like a very large savings but, on a picture as tightly budgeted as this one was, it really made a world of difference. In the end, there are 553 digital effects shots in the picture, plus about 800 ‘opticals’ [speed ramps, re-pos, camera shakes, fades and dissolves].”

In the end, McQuaide had to tackle the intimidating challenge of having to produce more than 500 highly complex digital effects shots for less than $7 million. “We were fortunate enough to collaborate with a group of smaller visual effects houses who could work within our budgetary limitations, and still deliver shots on a quality level equal to anything out there. Also, because there was a great deal of wire work and simple compositing required for the picture, vfx co-supervisor Gary Beach and I set-up a small vfx company in my office — Sub/Par Pix — that ended-up delivering 122 shots. While it did increase the day-to-day workload a bit, the net savings was very significant: it probably paid for most of the shots featuring CG William, the picture’s main werewolf. Most importantly, Len Wiseman was both pragmatic and decisive: everything we had to work with ended up on the screen. There were only three vfx shots that didn’t make it into the final cut.”

The shots that couldn’t be done at Sub/Par Pix were spread among eight vendors, with Luma Pictures leading the pack. In some cases, multiple houses worked on a single shot, which was especially true with the miniature work (ship, helicopter, dungeon):

• Luma Pictures: 195 shots
• Ntropic: 79 shots
• Furious FX: 78 shots
• Company 3: 42 shots
• Cafe FX: 23 shots
• Krypton: 15 shots
• Framestore CFC: 12 shots
• Fantasy II Film Effects: 73 miniature effects shots, plus insert elements

Defining CG Creatures in ZBrush
Almost all of the shots involving 3D work were done by Luma Pictures, and supervised by co-founder Payam Shohadai. With almost 200 CG-heavy shots on its workload, Underworld: Evolution was the largest project that the company had ever tackled. Shohadai took this opportunity to implement a pipeline shift that he had initiated on The Cave: “We use Maya for animation and creation of our base cages/low res models. But our modeling pipeline is more and more heavily relying on ZBrush for etching out the definition of the models, including the creatures and the CG environments. As a matter of fact, for this movie, we had characters that needed to be able to transform into multiple different characters. So our base character mesh was shared across many of them. Then, all of the detail that was painted into the creature with ZBrush was applied as displacement at render time.”

Luma’s CG supervisor, Vince Cirelli, oversaw this innovative use of ZBrush: “At the beginning of production, we experimented with different techniques that would allow us to push the characters range of motion and skin deformation beyond most CG creatures,” Cirelli says. “Using ZBrush, we painted displacements to simulate muscle flexing, tendon bulging and skin wrinkling for each muscle group. These maps were separated into color and displacement. Once this was done, we needed a way to trigger and blend between specific displacements and surface textures based on how the creature was animated. For this, we developed a system of animating and blending localized displacement maps using a custom shader. The shader evaluates where and what has translated or rotated on the rig. It then sends this information to the blender which determines how much of each displacement to use and where to use it. So when the werewolf rolls his shoulders, muscles flex, tendons bulge and veins become visible on the surface of the skin.”

While CG elements were mainly rendered with mental ray, proprietary tools generated all of the separate passes and created a default script, which pre-composited all of the passes into a “beauty” composite in Shake. The compositor had the option to use templates as a starting point of the comp, or to use a completely different approach.

As expected, the director wanted the transformations to be more spectacular and detailed than in Underworld. To this purpose, the crew went back to many of the ideas that had been developed for the first movie, but never realized because of a lack of resources. The concepts were based on making the transformations seem as “real” as possible. For example, as the bones began to pop and shift into place, blood vessels beneath the skin burst, and the resulting bruising caused the skin to change to the blue/black color of the werewolf. In the first movie, this change had been handled as a color wash; for the sequel, the effect would be much more developed.

Crafting Foldable CG Wings
All of the creature transformations were handled by Luma Pictures. Every humanoid character that underwent transformation had to have a CG double for the so-called “digital handshake,” the moment where effects artists swap out the live actor for his CG counterpart. After modeling and texturing the character based on the provided reference, Luma’s artists chose a “match frame,” the frame at which the CG actor had to look identical to the live actor. “The CG character was then hand animated to match the motion around the frames of the ‘digital handshake,’ and to be in an identical pose at the ‘match frame.’“ Shohadai explains. “We would add any additional details from this frame, such as blood and dirt to the texture maps of the CG actor. Then, we would light the 3D scene to match the actor as closely as possible and render with buffer frames to allow a bit of wiggle room in the comp. In the end, the audience shouldn’t be able to see where we transitioned from live actor to CG. The creatures were then created using two techniques. For shots that didn’t require any significant action from the creatures, the production used performers in animatronic suits. But every time a shot necessitated rapid movement or dynamic action, such as a werewolf running or tackling a guy on a horse, the characters were created in CG at Luma. There’s also a transformation shot in which Marcus’ face is coming right into the camera and it’s all CG. The level of textural and model detail painted into the character is amazing: you can see the fine wrinkles and pores of his face…”

The lead antagonist in the movie is Marcus, an impressive character whose wings turned out to be one of the most complicated effects. Early on, it was decided that Marcus would always be portrayed by the real actor, with the wings always being added in CG. Not that much of a deal, apparently, except that the character was designed with the ability to fully retract his wings into his back — a typical product of Tatopoulos’ fertile imagination. The designer had based his concept on butterflies emerging from their cocoon, and pumping blood into their wings to deploy them into full span. Easy to design, much tougher to realize!

“Since his wings had to be large enough to convincingly carry his weight while flying, the major challenge was the simple logistical matter of where to put all that wing when it did retract, while keeping it real and believable — let alone the typical challenges that come along with a prominent winged character, such as membrane dynamics and geometry penetration,” Shohadai observes. “During the wing transformations, we had to pull a lot of tricks to reduce the overall volume of the wings to a size that could believably fit into Marcus’ back, without giving an obvious appearance of scaling geometry. For this, we had to custom create a volume deformer for Maya, which allowed us to trigger a series of animated displacement maps and targets controlled by a complex rig. Animation supervisor Cameron Gray and his team of animators could then move the deformer through the wing and watch the membrane retract and wrinkle, which helped in creatively reducing the wing volume, without getting the look of linear scaling.” The fully rendered wings were then integrated into the shots under compositing supervisor Justin Johnson’s guidance.

Last-Minute Headaches
Although the creature work logically ended up being the most “visible” effects work in the movie, it was not the most demanding for the effects team. Indeed, the most challenging sequence in the entire picture didn’t include any creature at all. It featured a helicopter approaching an island and circling the decrepit fortress located at the top of it. Approved very late in post-production, the shots involved a full-on 3D approach and were rushed through Luma’s pipeline. “The construction of the all-CG fortress, island, water, mountains, fog and helicopter was an enormous task,” McQuaide acknowledges. “The team at Luma did a tremendous job of catching-up, getting elements like the textures of the stone walls and water to look photoreal in a remarkably short period of time.”

For Shohadai, the sequence was the film’s most challenging in terms of photorealistic visual effects: “While the CG creatures and transformations were very creatively and technically challenging, they were ultimately fantasy and, in some ways, simpler than making the CG fortress a believable setting for the ending of the film. Part of the reason the fortress was so challenging was the fact that it was a complete CG fabrication, with no reference and very minimal design guidance to go off of. It is much harder to create something photoreal when you don’t have a specific reference (as we did for the creatures). And our primary guide for right or wrong had to be derived from a mix of dissimilar castle photos we found online, none of which looked anything like what we were supposed to create. Just achieving the base scale and realism of this dilapidated fortress, compounded by the additional environmental elements, made this one of the most challenging and satisfying undertakings in my career.”

The fortress was created using Maya, ZBrush and Photoshop. All the effects for the sequence, including the fog and the water, were created using Maya. Texture/matte painting supervisor Christopher Sage oversaw the process of creating the fortress, which involved modeling of a low resolution mesh of the fortress in Maya, and painting all the texture maps — except the bump and displacement — with Photoshop. Surface relief details were then created in ZBrush, down to the individual stones of the walls. “Using ZBrush, we were able to achieve an incredible amount of detail, so rendering those scene files proved to be a monumental task in itself,” Shohadai notes. “We created the fortress in self contained chunks, which allowed the individual structures to go through refinement without waiting for massive renders to see progress. As different areas progressed, they would automatically be updated in the master scene. Since certain shots required the fortress to displace at a per brick level, there was no way to render the fortress traditionally. So we created a tool that allowed us to render the fortress in sections, and then merge those sections together while maintaining the integrity of reflections, shadows and holdouts.”

As post-production was nearing completion, Luma and McQuaide ran into an unexpected scale problem with a small portion of the fortress sequence. Once fully rendered, the approach toward the compound didn’t look as large as it was supposed to be, simply because the helicopter appeared to circle it way too fast. “While the block animations looked good enough for us to sign off on the speed of a particular shot, when all the elements were rendered, textured and lit, there were a few shots involving the fortress that suddenly felt as if we were traveling much too fast in relation to the size of the fortress we had imagined,” McQuaide recalls. “Because this realization occurred just days before delivery, there was only time to re-animate a couple of the shots; the rest were run thru Furnace, a series of plug-ins for Shake — the specific plug-in we used was Kronos. It did a remarkable job of saving those shots in a pinch. As last-second icing on the cake, Luma was able to add CG crows circling the fortress towers and, at Len’s suggestion, to increase the spec on the water, so there would be some visual clues in the frame for the audience to reference for scale. We were re-working those shots literally until a few days before the premiere, and we’ll probably keep on refining those shots for the DVD release. While there will always be room for improvement on visual effects as demanding as these, in the end the shots truly look epic.”

Alain Bielik is the founder and editor of renowned effects magazine S.F.X, published in France since 1991. He also contributes to various French publications and occasionally to Cinéfex. Last year, he organized a major special effects exhibition at the Musée International de la Miniature in Lyon, France.