Adobe Systems Incorporated

The Art of Making (Great) Videos

The penultimate installment of I Went to Adobe Creative Camp at SXSW 2015… And all I brought back is a series of blog posts, the firsthand account of a first-time Adobe SXSW Creative Camp attendee.

Make Social Media POP! with Video with Dave Werner

It’s easy enough to agree on the persuasive power of video, but how to actually make one? Dave didn’t have enough time to dive deep into his process, but he shared what he’s learned over the years—usually by doing the completely wrong thing and learning from his mistakes.

SocialVideo_1 When something moves, it catches the eye. And when someone tells a good story, there’s momentum. Photos and books tell stories for the eyes, but they’re static and silent; songs tell stories for the ears, with the element of time, with no visuals…

“Video combines the visuals of a photo (moving at 24fps), the storytelling of a book (being told through dialogue, acting and cinematography), and the forward momentum of music.”

 

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Take it up a notch

“Ninety-five percent of people are just going to shoot with an iPhone; your videos will really start to stand out and you’ll start to differentiate yourself if you develop a vocabulary of techniques.”

  • Edit ruthlessly. It takes a lot of time to pull-together a compelling video. Dave’s five-minute intro took him five days to make and he watched it over 50 times—changing bits at a time.
  • Overlay B-Roll. Particularly good for videos of people talking for long periods, Camera A focuses on whatever’s driving the main narrative and Camera B shoots action that amplifies it, then the B-Roll shots are overlaid to keep the video visually interesting. (Dave used the technique every two or three seconds in his intro video.)
  • Have a rough plan. I know when I get really excited about a project, I just want to jump up grab my camera, and shoot. But videos turn out better with planning. Then again, improvisation works too: The “tripod” Dave used for his intro video? A chair, with a cardboard box, a food storage bowl, and a tissue box… with his iPhone perched on top of it all.
  • Refine audio. Someone could have the flashiest, best looking video in the world, and if the talking begins and it’s impossible to hear… it’s a fail. Quite simply: There are a lot of tools to help make voices loud and clear. Use them.
  • Add a look. There are people in Hollywood whose jobs are to work on the color of films. So it’s probably worth it to spend just a few minutes on it; shadows, highlights, saturation create an enormous visual payoff.
  • Don’t use canned titles. Don’t use terrible fonts, drop shadows, or funky animation. Typography is every bit as important as actors. Get creative: a sticky note with writing, chalk on a sidewalk, sketches on napkins, magnetic letters, anything that connects to the theme of a video
  • Add explosions. OK, so it’s probably not necessary to add explosions to everything, but they do help keep things interesting. That’s the beauty of special effects: They aren’t expected. All of a sudden things just start exploding.
  • End with a call to action. Don’t lose people when the credits roll. Never finish with “The End,” always give interested viewers a next step.
  • Always tell a story. Add a narrative layer that takes people through the entire video. There’s a reason why people tell stories. They’re easier to remember. Don’t need a story? Try one anyway.
  • Learn from the masters. Developing an eye for video means getting inspired by every. other. video. everywhere. Emulate things that look cool. Try everything.

 

Sharing with the world

Dave recently released a three-minute cover of the Sesame Street classic I Don’t Want To Live on The Moon. It took him about nine months to complete, was filmed entirely with an iPhone 6 Plus, and was edited and composited with Adobe Premiere Pro CC and After Effects CC (watch The Making of I Don’t Want To Live on The Moon). Look for cameos by Iron Man, Sponge Bob Squarepants, Buzz Lightyear, Voltron, Optimus Prime, and Princess Unikitty.

For sure video is prominent in social media, but each platform treats it differently. In addition, social media changes constantly; what’s true today may be ancient history tomorrow (actually, since Dave’s session, Twitter introduced Periscope). Dave learned a few things when he social-shared I Don’t Want To Live on The Moon:

  • YouTube: The second most used search engine (after Google) is the best bet for crossing platforms (desktop, mobile, set-top boxes, game consoles) and creating a channel of content. Always make a custom thumbnail and add a title, description, and tags.
  • Facebook: Either a) upload the video directly to Facebook or b) post a picture with a link to the video in the description (embedding a video by linking to the URL makes a not-so-eye-catching and much smaller thumbnail).
  • Twitter: YouTube, Vine, and Twitter videos show up as embeds, Instagram and Facebook videos don’t. But, what seems to play best on Twitter, among all the words, is an image. With a link to the video.
  • Instagram/Vine: Best for short video messages and teasers. Also perfect places to experiment with new video techniques.
  • LinkedIn/Personal Blogs: Write a longer post and embed the video in it.

My Conclusion: Have a story to tell? In an era of short attention spans, video could be the best way to tell it. So… Look around. Frame the shot. Get things ready. Record.

Dave’s SXSW session in his words: Making Social Media POP! with Video and Making Your Videos POP!

 
Read the wrap-up of Session 7: Story Structure Secrets with Christine Steele

9:09 AM Permalink

Coming Next to Adobe Pro Video Tools

Creativity is about to get a lot more colorful: Updates coming to Creative Cloud pro video tools.

Adobe announced today a new wave of major updates for video pros coming soon to Creative Cloud. New versions of the video tools and services, including some brand new apps, will be presented next week at National Association of Broadcasters (NAB) tradeshow.

Visitors to the show will see a new Color workspace and a Lumetri Color panel in Adobe Premiere Pro CC, which offers an entirely new color workflow for editors; Adobe Character Animator, an amazing (and fun) interactive desktop animation tool; expanded scope for collaboration with Creative Cloud Libraries and Adobe Anywhere; “Project Candy,” an innovative mobile technology, currently under development for capturing and sharing Looks; and lots of cool new Adobe Magic that makes it easy to accomplish tasks that would have been difficult or impossible before.

Watch our NAB 2015 webcast shot live on the show floor. See Jason Levine demonstrate and explain the top features coming soon to the Adobe video tools.

 

Watch Al Mooney’s overview video introducing key video features in the next release:

Key themes of the upcoming release

  • New color workflows that make color an integral part of the creative process, including the Color workspace in the Lumetri Color panel and scopes in Premiere Pro CC and new Look support in Creative Cloud Libraries.
  • Mobile apps and integrations that extend the creative process, such as a streamlined workflow for opening Adobe Premiere Clip projects in Premiere Pro CC, and new mobile capture technology, Project Candy, for creating Looks to enhance the appearance of video footage.
  • Deeper collaboration for all—from small teams to large enterprises, including asset sharing via Creative Cloud Libraries for mobile-to-mobile and mobile-to-desktop workflows. And Adobe Anywhere, coming soon in two versions, offering collaborative editing workflows for teams of all sizes.
  • Tools and features that empower artists to create more and deliver faster: Adobe Character Animator, Morph Cut in Premiere Pro CC, Time Tuner in Adobe Media Encoder CC. Preview enhancements and Face Tracker in Adobe After Effects CC, and more.

Innovations like these are driving adoption of Adobe video workflows: recent Premiere Pro CC converts include the four-time Academy Award winning Coen Brothers, who are currently editing their film, Hail, Caesar!; and director Rhys Thomas and producer Lorne Michaels of NBC’s Saturday Night Live, with Staten Island Summer, a Paramount Pictures production, due out in 2015. In addition, MLB Network switched their editing and post-production environment to a complete Creative Cloud workflow.

“From script to screens, Adobe is delivering advanced workflows for every step of the creative journey. The industry is switching to Premiere Pro CC and our tightly integrated set of video tools because of the constant stream of innovation coming from our labs,” said Steve Warner, vice president of digital video and audio at Adobe.

“Our move to Creative Cloud, with deeply connected mobile-to-desktop workflows and services that make your assets available to you as you move from app to app, ensures our customers have the tools and services to create stunning videos, TV shows, films and commercials faster than before.”

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Adobe Premiere Pro CC

Editors have a lot to look forward to in the next release of Premiere Pro CC, starting with the all-new Color workspace and Lumetri Color panel providing powerful, yet easy-to-use, color tools inside Premiere Pro CC. Further extending their creative color workflows, Premiere Pro CC users will be able to apply Looks captured in the real world with Project Candy to add emotional impact and visual appeal to videos. Looks and graphics elements will be easily accessed in the application via Creative Cloud Libraries. Task-Oriented Workspaces organize the User Interface for the task at hand. Editors can also create and save custom workspaces to include the windows, tabs and tools that they use most.

It will be much easier to deliver polished interview content by smoothing out jump cuts in talking head shots with Morph Cut. Improved integration between Adobe Premiere Clip and Premiere Pro CC will offer a seamless transition from the mobile editing experience to the power of a professional desktop NLE. Other features coming in the next release include more streamlined audio workflows, caption burn-in, improved Mercury Transmit performance for external monitoring with third-party I/O hardware, support for Windows touch devices, new editing refinements, and even more file format support.

The ability to shape light and color is integral to the process of working with moving images,” said Al Mooney, senior product marketing manager. “Color tools should enable play and experimentation. They should be approachable, easy to understand, and easy to include in your post-production workflow.”

To learn more about what’s coming next, visit the Premiere Pro blog.

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Project Candy

“Project Candy” is the code name for an amazing new mobile technology, currently under development, that allows users to capture light and color from the things they see around them and save the results as Looks. Looks are like grading presets used to enhance the appearance of video footage, like those you can create in Adobe SpeedGrade CC or now in Premiere Pro CC.

“The brilliant thing about Project Candy, is that you don’t need to know anything about color grading to use it,” said senior product manager Patrick Palmer. “In the past you would need to be an expert colorist to match the Look of a scene in real-life. With Candy, you just need your phone.”

Looks saved in Project Candy are automatically available in Premiere Clip, Premiere Pro CC, and After Effects CC via Creative Cloud Libraries, where they can also be shared with colleagues.

Learn more about Project Candy on the Moving Colors blog.

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Adobe After Effects CC

The next release of After Effects CC will instantly feel faster for users, making it easy to explore their creativity while interacting with the software in new ways. Uninterrupted Preview allows users to explore design ideas, adjust properties, and even resize panels without stopping playback. Simplified Previews offers intuitive default behaviors to help new users get up and running faster while allowing experienced After Effects artists to customize their preview options to fit their preferred workflow.

“The preview enhancements in the coming release provide a more responsive and dynamic environment for motion graphics and visual effects work,” said Todd Kopriva, product manager for After Effects. “This allows artists to focus on the creative process and stay in the creative zone with fewer distractions or interruptions.”

Connected creativity takes a leap forward with Creative Cloud Libraries, putting assets right at the artist’s fingertips, including images, Looks, color swatches and vector graphics from other desktop and mobile apps like Adobe Shape CC.

Face Tracker is a new feature that makes it easy to map facial movements with exceptional accuracy, managing the level of detail you track. Users can use simple mask tracking for fast tracking (for example to blur out someone’s features) or use more detailed point or measurement tracking to apply precise effects, or export tracking data to Adobe Character Animator. Other enhancements in the new release include a more adaptable user interface and support for using touch controls to navigate between panels within the app.

Learn more about what’s coming next on the After Effects blog.

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Adobe Character Animator (Preview)

Adobe Character Animator offers a groundbreaking new experience for After Effects usersusing the computer’s webcam and microphone along with keyboard and mouse interaction allows users to animate characters created in Adobe Photoshop CC or Adobe Illustrator CC in real time, shaving many hours off the creative process.

“Character Animator makes it incredibly easy to bring life-like behavior figures and insert them into scenes including other actions like wind or snow,” said Kopriva. Users can record multiple takes and then stitch together the best performances for a great result. The best thing about it? It’s so much fun to use!”

Learn more about Character Animator on the After Effects blog.

Adobe Media Encoder CC

The next release of Media Encoder CC includes Time Tuner which lets editors and broadcasters automatically adjust the duration of broadcast deliverableswithout time-consuming micro-editing. Time Tuner will be available in the next release of Media Encoder CC. Video pros will also be able to output multichannel audio with new Dolby Digital and Dolby Digital Plus support in Media Encoder CC. And we’re adding support for encoding and decoding of JPEG 2000 in an MXF wrapper.

Learn more about what’s coming to Media Encoder CC on the Premiere Pro blog.

Adobe Audition CC

Editors and audio pros can get right to work, streaming native video formats inside the next release of Audition CC with Dynamic Link video streaming, and review full screen video on a separate monitor while editing audio. Live relinking allows users to replace assets within an open project and retain edits made to original clip.

Learn more about what’s coming next on the Adobe Audition blog.

More video updates

Record voiceover with your video capture as audio notes or for on-location reporting in Adobe Prelude CC. Bring editing projects into the Adobe SpeedGrade CC with Direct Link, now including support for the new Premiere Pro Lumetri color tools.

Adobe Anywhere

Adobe Anywhere is a breakthrough workflow platform that lets workgroups using Premiere Pro CC and Adobe Prelude CC collaborate with centralized media and assets across standard networks. Adobe Anywhere will soon be offered in two versions. A new, more cost-effective version of Adobe Anywhere will be available for teams of all sizes collaborating in a single location. Anywhere with Mercury Streaming Engines allows enterprise workgroups in multiple locations to work together on projects with shared access to all assets.

“The digital world is a connected world,” explained Bill Roberts. “Modern creative tools should reflect this and empower collaboration, whether in simple ways, like showing a client your work, or in complex remote production settings where artists around the world can work together on the same content even at the same time.”

Video professionals can get our best offer yet—40% off on Creative Cloud Complete

Join Adobe Creative Cloud Complete by May 29, 2015 and we’ll give you 40% off for your first year—that’s only US$29.99/month. Whether you’re moving up from Creative Suite, or moving over from Apple Final Cut Pro, Avid Media Composer, or Grass Valley Edius, there’s never been a better offer for joining Creative Cloud. Some conditions apply. Learn more.

“These new releases mark a significant step forward in our vision for a truly dynamic creative environment,” said Bill Roberts, senior director of product management. “In the past, production pipelines have tended to be strictly linear with functions such as VFX and Color Grading being relegated to the end of the process, but connected creativity is much more freeform and great ideas can come at any point in the production process. Creative tools should work the way creative people do, and not the other way around.”

Additional resources:

Creative Cloud’s pro video tools
NAB Overall Reveal Datasheet
What’s New Document
Character Animator Datasheet

Watch our NAB 2015 webcast shot live on the show floor. See Jason Levine demonstrate and explain the top features coming soon to the Adobe video tools.

8:45 PM Permalink

Stories Are Everything

The seventh installment of I Went to Adobe Creative Camp at SXSW 2015… And all I brought back is a series of blog posts, the firsthand account of a first-time Adobe SXSW Creative Camp attendee.

Story Structure Secrets with Christine Steele

“It doesn’t matter whether it’s short- or long-form, whether it’s fiction or non-fiction, whether I have 1 minute to build it or 90, whether I’m writing a screenplay in Microsoft Word, or a script program, or an application for video editing…. everything I create is a story.”

For Christine story is everything. For an hour, she shared her principles of storytelling and the story structures she uses when editing or writing or producing or directing… anything.

Story_1_Theme

From good to great

The generally accepted definition of a theme, is a central idea in a story or work of art. Christine takes it a step further: it’s not just the idea; it’s the unfolding and advancement of the idea. There has to be change. There has to be progression. And the material (the story) has to be effectively structured around it.

Audiences are engaged by compelling narrative. It’s true for commercials, promos, animation, feature films… Any writer has to identify the most powerful themes in a story, then use those themes to develop it.

But which themes are most powerful? And what makes a story great? Two words: Universal truths.

Story_2_UTruths

The heart of the matter

Universal truths are those things that any human in any place in the world can identify with:

Fairness. Justice. Fear. Jealousy. Love. Power. Loss.

Great storytellers look for elements that express universal truths. Then, they’re subtle in their depiction of them so viewers can experience them in the personal and unique ways that help them make sense of the world. Because, after all, stories are how people identify with the circumstances of others.

Story_3_OStrong

Build strong

How ideas are introduced and how stories are structured is key: Writers have to get readers to want to know more, to want to know what’s next. Quickly.

Right out of the gate writers present the most compelling issues—where and when. Then, they create pace and tension by spurring the audience to ask questions before deliberately and skillfully answering them. But… timing is everything: Wait too long and viewers could lose interest. Provide answers too quickly and there’s no anticipation.

So, decide on the questions. Write the material to get the audience to ask them. Then decide when to answer or when to provide the information they need to answer themselves.

Story_4_3Act

Unfold, then move on

“I usually use a three act story structure; it doesn’t matter what I’m writing because it’s possible to write an arc with emotion and story in 30 seconds.”

Act 1: Tell the audience what the journey will be
Act 2: Unfold/build the journey
Act 3: Tell the audience how the journey ended

Three minutes or three hours… each scene in a story serves  its progression. Writers can master its unfolding by determining the information viewers must comprehend from each scene to make sense of the story. Dole out that information. Then, move on from a scene when the questions have been answered.

Everything builds to the answer to the most important question of the film—the climax. How long it takes to get that information across is up to the writer. But once it’s out, good writers don’t drone on. They know that viewers are no longer listening.

My conclusion: Good storytelling helps people make sense of the world… it’s why we listen.

Christine tells stories with Adobe’s Pro Video Tools. Watch her Ask a Video Pro session to learn how she does it: Filmmaking Workflow with Premiere Pro and Creative Cloud

 
Read the wrap-up of Session 6: Going from Design to Code without Going Insane with Ryan Stewart and Sarah Hunt

7:02 AM Permalink

First Federal Savings Bank, Designing for The Future

A small, fast-growing bank builds an in-house creative group to create exceptional content with Adobe Creative Cloud for teams.

FirstFed_1 Century-old First Federal Savings Bank’s mission is to be the best bank in the seven-county Idaho region it serves by achieving excellence in everything it does. As a small, growing financial institution, outsourcing content production seemed like the natural choice. But the bank soon saw an opportunity to gain more control and boost efficiency by moving creative and design activities in house.

Producing content in house

Today, a small staff handles everything from designing brochures and billboards to producing radio and TV ads—with Adobe Creative Cloud for teams. “We knew that to build a successful in-house creative team, the creative software we used would have to keep pace with our growth,” says Cornelius Brackett, media specialist for First Federal Savings Bank.

FirstFed_2 Brackett, who previously worked in purchasing at the bank, but had a background in design and technology, created some ATM ads that resonated with customers. Soon, the bank was asking him to edit brochures and create newspaper ads. Brackett eventually found himself spending 20 hours a week creating marketing materials including a local television commercial. “Adobe is the standard for creative tools, so I knew it was a no-brainer to move to Adobe Creative Cloud for teams to meet our creative needs,” Bracket says. “Our print houses and video producer had already switched to Adobe Creative Cloud, and it was important to be compatible with our vendors to avoid potential workflow issues.”

Making the case for cloud

Currently, the team supports design needs for eleven branches, but soon, the bank expects to expand to other locations, and to enhance its marketing through online channels too. “We plan to do more online marketing, including an imminent website redesign,” says Brackett. Adobe Creative Cloud for teams will provide the flexibility to grow while managing costs predictably. “We can package the applications for different team members, so that we’re not wasting any Creative Cloud licenses.”

FirstFed_3The team uses Adobe After Effects CC and Adobe Premiere Pro CC to produce some videos such as television spots, and Adobe Illustrator CC, Adobe InDesign CC, and Adobe Photoshop CC to create print materials. Brackett is also experimenting with Creative Cloud mobile apps, including Adobe Photoshop Mix and Adobe Color CC, which he used to grab palettes from a unique color scheme in a new bank building to create materials that visually fit into targeted environments.

With interoperability between all of the apps in Creative Cloud continuing to streamline workflows, Brackett can work non-destructively, modifying background imagery or other elements up to the last minute. “The workflows among the Creative Cloud applications constantly become more integrated,” says Brackett. “This makes both learning and working with the applications more efficient. It just makes my job easier.”

Expanding horizons

By bringing design in house and moving to the cloud, the bank is conserving funds previously spent on outside vendors. Adding to the cost benefits, access to a wide array of creative software is spurring new ideas and opportunities. “We’re already creating a variety of content, and we see endless possibilities to do even more,” says Brackett. “Adobe Creative Cloud for teams really fosters productivity and creativity. I love nothing more than downloading a new piece of software and playing with it to get the creative juices flowing. It’s fun for me personally, and it helps us cultivate fresh ideas that genuinely benefit the bank.”

Read the First Federal Savings Bank case study.

8:34 AM Permalink

All Things Adobe at NAB 2015

2015 promises to be a memorable year for #TeamAdobe at #NABShow. In addition to all the exciting things that will be shown at the Adobe Booth SL5110 (check our booth schedule), including amazing presentations from top Adobe customers like YouTube megastar Devin Supertramp, Aaron Brenner of the LA Kings Kings Vision, and Dan Dome from Late Night with Seth Meyers, Adobe team members will be participating in all sorts of panels and presentations… AND the team is growing.

This post is your one-stop-shop for all things Adobe at NAB—mark you calendars and be sure to stop by and say hello!

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Broadening your NAB perspective—Social Media Insiders

There is so much to do, see and learn at NAB. With most of the Adobe team holding down the fort at the Adobe booth, we realized we needed help to bring all the exciting things going on at NAB to our community. So this year we’ve enlisted the help of two awesome Adobe NAB Social Media Insiders. They’ll be using Adobe tools to create video content highlighting some of the coolest, most fun, most pertinent events, topics and announcements going on at NAB 2015. Meet our Insiders:

AllThingsNAB_2_JesseJesse Averna (@Dr0id) is, for the last six seasons, the series editor for Sesame Street, for which he has won four Emmys and was just nominated for his fifth. Jesse also teaches Continuing Ed at the School of Visual Arts, recently directed a new children’s series Monica’s Mixing Bowl and is in active development on his own film. He also leads a weekly Twitter chat every Wednesday night for Post Professionals, called #PostChat. When Jesse’s not engaged in the above, or spending time with his family, he’s editing recap promo’s for SyFy’s 12 Monkeys. Basically, he’s a workaholic insomniac with a love for his daughter, Post Production, monsters and droids.

AllThingsNAB_3_KoKo Maruyama (@ninjacrayon) is a lead animator and creative director based in Los Angeles, California and teaches motion design and animation at Art Center College of Design in Pasadena, California. Maruyama has been using Adobe products for over two decades, but continues to seek out any tool that helps him realize animation. While teaching, Ko continues to work on many commercial, promotional, and film projects with clients in all major networks and film studios. His broadcast animation work has earned several awards and nominations, including Tellys and BDAs.  In addition Maruyama also manages the Digital Media Artists of Los Angeles, a user group for video creatives throughout the greater Los Angeles area.

Be sure to follow our Social Media Insiders at their handles, and follow along with #TeamAdobe at #NABShow on one or ALL of the following channels:

YouTube:

Twitter:

Facebook:

 

The schedule of events

Monday April 13

CREATIVE MASTERS SERIES | Adventures in Filmmaking: From Saturday Night Live Shorts to A Feature Film
When: 10:30am–11:30am
Where: S220
About: Saturday Night Live’s Adam Epstein will talk about his creative journey, from creating short films for Saturday Night Live to his feature film Staten Island Summer, as part of the NAB Creative Masters Series. Moderated by Meagan Keane, senior marketing manager, Adobe.

AllThingsNAB_4_GapPANEL / MIXER | Working Together to Close the Gender Gap in Post Production
When: 5:00pm–7:00pm followed by a mixer hosted by Adobe
Where: N252
About: Fifty percent of media education and training programs are female while only 18% of editors in Hollywood and beyond are women. The visibility of women in producing and coordinating roles is often cited, but there is an undeniable gender gap in technical roles—editing, visual effects, or sound design—and that gap has only widened since the 1970s. This panel will discuss the impact of gender equality in the post workplace, strategies for recognizing and un-learning our own internalized sexism, and how we can all work together to adjust hiring practices and erase gender biases in order to ensure the future of women in all post production roles.
Panelists: Kylee Wall, freelance editor and industry writer; Siân Fever, freelance editor; Megan McGough Christian, production manager for PBS Frontline; Ellen Wixted, senior product manager, Adobe. Moderated by Amy DeLouise, Amy DeLouise Consulting.

Tuesday April 14

PANEL | Update on Industry Cloud Tenants: Key Leaders Speak
When: 9:40am–10:30am
Where: S219
About: Panelists from each phase of the content chain will provide an overview of current cloud technologies and use in the M&E Industry. The panel will give thought leadership on where and how the industry will change over the next year.
Panelists: Bill Roberts, sr. director of professional video product management, Adobe; John Engates, CTO, Rackspace; Bill Neuman, VP of products, Avid; Brian Stevens, VP, cloud platforms, Google; Ben Masek, CTO, Sony Media Cloud Services. Moderated by Al Kovalick, founder, Media Systems Consulting.

AllThingsNAB_5_SuperLAS VEGAS SUPERMEET | Adobe Presentation by Al Mooney
When: 7:00pm–11:00pm
Where: Riviera Hotel, Royale Ballroom
About: Increasingly editors are expected to do more—from finessing audio to color correction and motion graphics work—earlier and earlier in the editing process. Adobe Premiere Pro has come to be known for its unparalleled innovation addressing the needs of editors through every step of the editing process. Al Mooney will demonstrate how, through Creative Cloud, new features and workflows will continue to make Premiere Pro CC the market leading NLE.

Wednesday April 15

PANEL | TV Everywhere: What Lies Ahead?
When: 10:30am–11:30am
Where: N234
About: The future for TV Everywhere depends upon successful business models. Learn about legal, technical and monetization efforts crafted by the broadband and wireless industries. Look at the lessons learned about live-linear OTT along with effective dynamic ad replacement and discuss how broadcasters will share in this future.
Panelists: Jack Perry, founder/CEO, Syncbak, Inc.; Paul Mears, senior vice president client engineering, The Nielsen Company; Campbell Foster, marketing director, Adobe Media & Ad Solutions. Moderated by Sam Matheny, EVP/CTO, NAB.

CREATIVE MASTERS SERIES | Breaking the Hollywood Mold: Finding Success on YouTube and Beyond
When: 11:45am–12:45pm
Where: S220
About: As more and more content is bypassing the traditional Hollywood filmmaking and distribution process and moving online, the defined roles in filmmaking have blurred. Today, “do-it-all” filmmakers are emerging to take the spotlight. Join the brightest upstarts in the industry as they discuss what it takes to produce, direct and edit high-production, thought-provoking content designed for online distribution.
Panelists: Seth Worley, filmmaker, Red Giant Films; Ryan Connolly, filmmaker, Film Riot; Sam Gorski, filmmaker, Corridor Digital; Niko Pueringer, Corridor Digital. Moderated by Dave Werner, Adobe.

7:12 AM Permalink

Translating Design… with Code

The sixth installment of I Went to Adobe Creative Camp at SXSW 2015… And all I brought back is a series of blog posts, the firsthand account of a first-time Adobe SXSW Creative Camp attendee.

Going from Design to Code without Going Insane with Ryan Stewart and Sarah Hunt

Adobe product managers Ryan and Sarah both have design and development in their blood. Ryan’s a front-end developer who codes design. Sarah’s a graphic designer and web developer. You could say they understand each other.

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Design. Code. They’re different. (Obviously.)

Designers finesse every detail (spacing, kerning, colors). Then they hand their work off to developers who, despite notes and explanations, don’t really seem to “get it.” It’s not that developers aren’t doing the best possible job interpreting; it’s because design doesn’t equal code. And because the transition—from design to code—isn’t always a smooth one.

“Photoshop Archaeology” is how Ryan refers to the time a developer spends inside of Photoshop looking at what’s there, trying to figure out properties, dimensions, colors, and fonts; using measurement tools; and ensuring that design decisions will translate to the web. There was no alternative to “doing it by hand.” Until now.

Enter Creative Cloud Extract. Where design is translated for coders. And, just like that, the designer developer collaboration improves.

Extracted from the content of the PSD is a style guide; used forever in print, they certainly aren’t a new concept, but it’s at this point that a designer can collaborate with a developer to determine which design decisions are most important and begin to understand the relationship between a final design and the code used to create it. And since Extract has been added to Brackets, an open source code editor, the style sheet can be opened and worked with inside Brackets in the browser—a place developers are very comfortable.

Also inside Brackets it’s possible to select a layer from a PSD inside the code editor to get contextual code hints to see how designs translate into CSS. In addition, developers can isolate individual layers and trim them. All in one step. Trying to go in and isolate individual layers, crop around them, and manually adjust the canvas used to be a super time-consuming process. Not anymore.

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Between the break points

It can be difficult for designers, who can get carried away with design perfection, to remember to design for the responsive mediums they’re targeting, and to create assets that can be used on different screens and still look right. Although there’s actually more control now over how things look on the web, developers are hyper vigilant of the capabilities of the medium and it’s critical that designers are too. Content needs to flow and design needs to stand up between standard break points (not just for desktop, tablet, and phones but for things like smaller browser windows).

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Who’s watching the assets?

Designers obviously create the assets, but it’s developers who have to be aware of how they’ll perform and make sure they’re as small as humanly possible. And, who’s responsible for updates? Actually making changes that get uploaded? Those things vary from team to team. So communicate. About everything. Use whatever works: Slack, Trello, GitHub Issues, Creative Cloud folder collaboration.

Then talk. And talk again. Have conversations. Walk someone through something. It’s the only way for everyone to be happy with the end result.

And designers… start learning about CSS. Look at the code. Try to determine what it means and how to communicate about it. It will enrich collaboration and the design work will be so much better because creative decisions will be made inside the box of the medium. Most importantly, though, it provides the technical knowledge to champion and defend design decisions.

My conclusion: Designing and coding. It’s a complicated collaboration. Extract makes it an easier one.

Read the wrap-up of Session 5: The Evolution of the Web with CJ Gammon

8:39 AM Permalink

From Extreme Sports to Sharknado 2: The 2015 NAB Speaker Line-up

Visit the Adobe booth (SL5110) and hear from some of the industry’s best.

Many of the greatest moments at the Adobe booth during NAB are when Creative Cloud users take the stage to speak about the remarkable work they’re doing. The Adobe theater is often packed into the hallways with huge crowds paying rapt attention to the stage and screen as filmmakers and broadcasters show what they’ve made and discuss how they made it. And, every year it just seems to get better.

At NAB 2015 we’re proud to feature an amazing line-up of speakers, including one of the biggest extreme sports filmmakers and YouTube stars; an art director who taught himself Adobe After Effects CC to create his first film; the film crew behind last year’s Stanley Cup champion; and (staying with the theme) a former pro hockey player who became a sought after editor; a late night comedy show production team director; the Saturday Night Live film crew editor who became a filmmaker; the woman who helped ABC make the switch to Adobe Premiere Pro CC and Creative Cloud; and many others. A quick introduction:

NABSpeaker_1_DavidLevyDavid Levy is an acclaimed art director and concept artist in the videogame and film industry. His credits include Avatar 2, Tron: Legacy, Ender’s Game, Prometheus, and Tomorrowland. He has now debuted his own short film, PLUG, which introduces the concept for a TV series he hopes to get off the ground. Levy not only funded, co-wrote, and directed PLUG, but also taught himself visual effects to finish it. He produced the fifteen-minute short from start to finish using Adobe Creative Cloud.


NABSpeaker_2_DevinGrahamDevin Graham, aka Devin Supertramp to his legions of fans, will speak about his 4K YouTube segment, where he currently has nearly three million subscribers and more than half a billion views. In his presentation he’ll talk about how he got started, the cameras he uses, including GoPro, Glide, and others, and where he’s headed with his work.


NABSpeaker_3_RandyShoreRandy Shore, information systems analyst at The George Washington University, is responsible for the first installation of Adobe Anywhere in a learning environment. Randy will talk about the decision to move to Creative Cloud and Adobe Anywhere; the overall implementation, and the success that students and faculty are realizing.


NABSpeaker_4_AaronBrennerAaron Brenner is director of production for the 2014 Stanley Cup Champion LA Kings and leads an in-house production team, oversees internal video needs, and is a driving force behind the LA Kings’s content strategy. Aaron will discuss how the group has evolved its use of Adobe Premiere Pro CC to deliver sports footage for the LA Kings, for live games and post-season content.


NABSpeaker_5_DanDomeDan Dome knows a thing or two about light night comedy. He’s second unit director on Late Night with Seth Meyers. Before that he was editor on Conan and on Saturday Night Live. Dan will speak about his editing career, and what led him to transition to an all Adobe workflow for the launch of Late Night with Seth Meyers. Dan and his team use Premiere Pro CC, Adobe Photoshop CC, After Effects CC, Adobe Illustrator CC, Adobe Prelude CC, and Adobe Audition CC on a daily basis to deliver the show.


NABSpeaker_6_RobbieCarmanRobbie Carman, co-owner of the color grading house Amigo Media LLC and Co-Founder of Mixing Light, a website that teaches digital color correction for video and film, will talk about his journey from editor to colorist. He’ll show color workflows in Premiere Pro CC and Adobe SpeedGrade CC and offer advice on how editors can work creatively with color to make their work stand out.


NABSpeaker_7_FreddieWongFreddie Wong went on from the University of Southern California School of Cinematic Arts to become an immensely popular YouTube content creator. Video Game High School now has millions of subscribers and more than one billion views. RocketJump, the production company Freddie co-founded, has secured content deals with Lionsgate and launched RocketJump Film School to teach aspiring filmmakers, all with the help of Creative Cloud.


NABSpeaker_8_ChristineSteeleChristine Steele of Steele Pictures works with leading film studios and broadcast networks, doing both short- and long-form editing as well as training and consulting. Christine is also a documentary filmmaker currently working on Take Me Home Huey. She is Promax Award winner for promos and commercials created for ABC’s Desperate Housewives and will be speaking about her experience creating promos for network TV. On Adobe Creative Cloud YouTube: Adopting a Fully Adobe Creative Cloud Workflow Anchored by Adobe Premiere Pro CC and Food Forward & Creative Cloud


NABSpeaker_9_VashiFormer pro hockey player Vashi Nedomansky has had a banner year as a professional editor and filmmaker. He is a great artist and a skilled editor and will discuss his recent projects, including Sharknado 2, That Which I Love Destroys Me, and Mary Did You Know?, all of which were edited with Premiere Pro CC.


NABSpeaker_10_AndrewKramerAndrew Kramer is the founder of Video Copilot, a collaborative resource for training, design tools, and artists. He has published more than 150 amazing tutorials, along with dozens of digital products and plug-ins used by professionals designers and will share some recent examples of motion tracking using After Effects CC. Last year at NAB: Andrew Kramer Discusses After Effects and The Evolution of the VFX Industry


NABSpeaker_11_AdamEpsteinAdam Epstein is currently in his sixth season of editing for the SNL Film Unit, where he’s been lucky enough to be a part of some of the most recognized and discussed comedy shorts of the last few years. He will discuss his evolution as a filmmaker from the SNL Film Unit to his work on director Rhys Thomas’ feature film debut Staten Island Summer.

We hope to see some of you at NAB 2015, but if you can’t make it this year, we’ll be presenting a special session on Thursday, April 16 to bring the show floor to you. Register to learn what’s coming next to the Adobe Pro Video tools.

8:38 AM Permalink

Pushing The Web Forward

The fifth installment of I Went to Adobe Creative Camp at SXSW 2015… And all I brought back is a series of blog posts, the firsthand account of a first-time Adobe SXSW Creative Camp attendee.

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The Evolution of the Web with CJ Gammon

“The web connects us globally and it’s hard to imagine a future where we aren’t more connected because of the foundation of it. Given that technology and the web changes so fast, it’s not difficult to imagine the web of the future looking very different from the web of today.”

CJ Gammon works at Adobe creating interactive experiences and applications focused on web technologies. His session posed the question: How do we simplify the creation of complex content, make it easier for everyone to create, and also raise the bar for developers who are pushing the web forward?

WebForward_2

Rich experiences and dynamic graphics

“When we think of native platforms, we often think of native games and the rich 3D experiences that are created on them. What if I want more, what if I want direct access to the GPU to create really amazing experiences?”

The web has consisted, for a long time, primarily of high-level extras and lower-level APIs (like CSS and SVG). But what about taking full advantage of the hardware?

  • WebGL Specifications: From the Khronos Group, it enabled developers to use canvas elements to create rich, complex 3D web graphics.
  • WebGL: For rendering the rich textures and effects of native consoles (unfortunately, difficult to write).
  • Three.js: One of the most popular cross-browser WebGL libraries for the display of animated and 3D graphics. It simplifies the code-writing process.
  • Leap Motion: Released with a JavaScript library, it enables people to gesturally interact with content and software. A unique experience right inside of the browser.
  • Hybrid applications: The web is getting really good at providing access to hardware (cameras, phones, and game pad APIs) that expands the potential for native-type experiences.

WebForward_3

“Peripherals offer experiences that we’re able to integrate using the web’s APIs.”

Thanks to devices like Oculus Rift and Google Carboard, it’s impossible to talk about the future of the web, without mentioning Virtual Reality (VR). It can be achieved on the web with WebGL and rendering in stereoscopic view, but it requires access to the application data (so the application moves along with someone moving their head).

WebVR makes that possible. The experimental API uses JavaScript to provide access to the data in VR devices through a browser. MozVR, Mozilla’s Virtual Reality team, is exploring how to bring WebGL and game-like experiences to VR and playing around with what traditional web experiences might look like through a VR headset.

What kind of experiences could these technologies enable in the browser? As an example, something like Google Street View might look VERY different: Right now, it’s mapped photos that create a 360-degree view. Very cool. But static. Although there are logistical issues, the technology exists to attach VR cameras to drones that capture images in flight that people can experience through VR headsets.

WebForward_4

Designers and their tools

“What about designers? How do designers create content for these more complex experiences. Not everyone is going to be able to write their own tools, so how do you tap into the tools that designers are already using?”

Designing is visual. And the tools designers are used to working with have rich GUIs that accelerate their ability to create:

  • 3D: The rich models, textures and animations of 3D applications can be combined with WebGL. A plug-in for three.js, packaged with the three.js library enables use of Blender, an open source 3D modeling and animation tool. Designers can work where they’re comfortable and developers can work where they’re comfortable.
  • Photoshop for graphics: Adobe Generator for Photoshop CC, essentially a node server running inside Photoshop; developers can write JavaScript scripts that actually tap in to the application.
  • Animation: Flash changed animation by enabling designers to easily create and share animation everywhere. With support for custom platforms, developers can write plug-ins that allow the export of anything in any format.

My conclusion: New workflows. Existing tools. Collaborations. Hybrid applications. A mass approach to simplifying the creation of complex content on the web.

Want to hear CJ’s talk in his own words? He recorded his session.

 
Read the wrap-up of Session 4: How to be a More Inefficient Designer with The Made Shop

5:50 AM Permalink

Adobe Comp CC, The Best Thing To Happen to Layout Ideation Since The Cocktail Napkin

The latest addition to our family of mobile apps is a powerful tool for visual thinking and a new connection between the mobile and desktop applications in Creative Cloud.

Announcing Adobe Comp CC, a free app for the iPad that enables the rapid creation of layout concepts for mobile, web, and print.

CompCC_1

The road to product launch

When we began adding connected mobile apps to Creative Cloud, we knew they would change the way people worked. We knew that enabling people to work (really work) away from their desks, capturing thoughts and ideas and concepts as they flew through their minds, that we could enhance the creative process.

Built on the Adobe Creative SDK, Comp CC couples intuitive iPad gestures, fonts from Typekit, and the personal assets stored in Creative Cloud Libraries to provide designers with the perfect mobile brainstorming and layout work surface. Then, with a single click, comps can be sent to Adobe InDesign CC, Adobe Illustrator CC, or Adobe Photoshop CC (where CC Libraries assets and fonts from Typekit are also synced) to fine-tune and finish the work. It’s this powerful connection back to the desktop, where designers do so much of their work, that makes Comp CC, and all of our mobile apps, so valuable.

The app made its first appearance at Adobe MAX in October 2014 when Khoi Vinh, former design director of the New York Times, revealed it, and his collaboration with Adobe, during the Project LayUp Sneak. He said of that collaboration, “The company’s deep expertise in creative software plus the comprehensive power of their Creative Cloud platform were essential to this product—only Adobe could have brought Comp CC to life.”

From brainstorm to layout

As energetic as sketching with pencil and paper, Comp CC, amps up the ideation phase of the design process. Then it enables designers to add polish to the quick-gesture comps with custom type and personal creative assets.

CompCC_4But the true beauty is in how those ideas, achieved rapid-fire no-holds-barred, are managed. No need to save ideas that may or may not make the cut. A single source file and a rich history feature mean that every iteration—that’s every single version of every single layout—is saved. No need to distinguish between creative genius and creative missteps; a quick drag of a few fingers left or right on the screen move through the file backward or forward in time, to view every comp.

What’s more, at any point it’s possible to pause. And export. Not just a .jpeg or .png, but an InDesign CC, Illustrator CC, or Photoshop CC file with live, native objects. So… Comp CC moves effortlessly between quick-sketching brainstorms on mobile, to our desktop application, to refined output. All without ever leaving Creative Cloud.

Scott Belsky, vice-president of products at Adobe sums up its power: “Comp CC takes advantage of the iPad’s advanced touch screen with an intuitive interface and makes the beginning of the design process integral to the finished result. Doing creative work on a mobile device is only useful if the results can be opened on the desktop, where the project can be perfected in a precise, professional-grade tool like InDesign or Photoshop.”

A family of connected apps

Comp CC joins Adobe’s family of Creative Cloud mobile apps: Adobe Illustrator Draw, Adobe Illustrator Line, Adobe Photoshop Sketch, Adobe Premiere Clip, Adobe Photoshop Mix, Adobe Shape CC, Adobe Brush CC, Adobe Color CC and Lightroom mobile for iPhone, iPad and Android.
 

Capture a layout wherever. Capture a layout whenever. Capture a layout now. Download Comp CC.

Adobe Creative Cloud. Where innovation is ongoing. Give it a try. It’s free.

9:01 AM Permalink

Show Marvel Your Best Work

 

Are you a student looking to showcase your talent, get advice from top-tier professionals, gain invaluable real-world experience, and build your portfolio? If so, Adobe has the perfect opportunity for you:

We’ve teamed up with Marvel to make comic book history and give you a chance to apply your cutting-edge skills.

CCMarvel_1

What’s the deal?

We’re looking for four (4) students with four (4) distinct styles to team up with Marvel pros to create a limited-edition Avengers comic, powered by Creative Cloud, to debut during San Diego Comic-Con.

If chosen, you’ll contribute to a new Marvel comic, get a ticket to San Diego Comic-Con, and a one-on-one portfolio review with the Marvel pros. Your comic will also be printed and distributed in comic stores across the United States. (You may also be featured on the Adobe Students social channels to help your portfolio stand out to future employers.)

Who we’re looking for

Students (in or outside the USA) aged eighteen (18) and over, who are passionate about illustration, digital media, animation, and comics. Since storytelling is crucial in comic books, we’ll be keeping an eye out for sequential samples, regardless of style.

How to be considered

Tag your best original non-Marvel work on your Behance portfolio with #madethis #Marvel. If you don’t have a Behance portfolio, you can make one by simply signing up on Behance and uploading your work.

Submission deadline

Work must be tagged on Behance no later than April 13, 2015 for consideration.

Some questions and answers

  • Who’s eligible to participate? Currently enrolled students from all majors and backgrounds. You must be over the age of eighteen (18).
  • I don’t live in the US, can I participate? Yes. The opportunity is available globally.
  • Will I be paid for my work? Yes. Each selected student will receive a cash payment.
  • Will hotel and accommodations be taken care of at San Diego Comic-Con? Yes. The selected students traveling to San Diego Comic-Con will have transportation and hotel accommodations planned and paid for by Adobe, as well as a daily stipend.
  • I’m from outside the US, will my visa be taken care of? If you’re chosen, you will be responsible for applying for your visa. It can be completed by visiting esta.cbp.dhs.gov/esta and following the application directions. We will reimburse you for any costs needed to obtain your visa.
  • Do I need Creative Cloud to participate? You will need a Behance portfolio and Creative Cloud skills.  If you aren’t already a Creative Cloud member, download free trials of the Creative Cloud apps.
7:53 AM Permalink