Leah Earle and Phanta Media deliver brilliant work with Adobe Creative Cloud and Adobe Premiere Pro CC.
Leah Earle loves her job. As a video editor for Phanta Media in Toronto, she looks forward to going to work. Founded by Mark Drager in 2006, Phanta Media is a rising star in the corporate video universe, known for delivering great work on real-world timelines. Earle describes the ten-person company as cozy but rapidly growing, with a staff comprising business development representatives, producers, motion graphics, and video editors. Earle often works late and sometimes on weekends—and can’t get enough of it.
Adobe: What makes Phanta Media unique compared to other corporate video production companies?
Earle: We’re extremely passionate, even if we’re working on what some might consider a mundane corporate training video. We work hard and collaborate as a team. No one here is interested in being second best. This can lead to frustration, because I may get criticism from eight other people on my one great idea for an edit. But in the end it gives the client the best possible product. We’re a small company, and every client has a personal and highly creative experience with us. We “bring it,” every time to create beautiful projects on tight deadlines.
Adobe: What’s it like working with Mark Drager?
Earle: Mark is the reason I took this job and also the reason I’m still here. He’s 31-years-old and started this company when he was only 23. He had the confidence to know that he could make better videos than the next guy, and his enthusiasm is infectious; it motivates us to push ourselves. He promises clients that we will blow them away with our skills—and we always do.
Adobe: How did you get into this line of work?
Earle: I always wanted to do something technical, but I went to school for English literature because I was uncertain about what path to take. A few people guided me toward journalism. That led me to a video journalism postgraduate program at Conestoga College. I really liked shooting, and I didn’t mind being on camera or reading a teleprompter, but what I loved right away was editing.
Adobe: When did you start using Adobe Premiere Pro CC?
Earle: I had never used Premiere Pro before I came to Phanta Media. Previously, Phanta Media was a Final Cut Pro shop, but like many in the industry, the company started looking for other options as soon as Final Cut Pro X came out. Premiere Pro is very “editor-friendly,” and that’s been a huge plus in growing my career.
Adobe: How would you compare Premiere Pro CC to other editing software?
Earle: For starters, you don’t have to log and capture footage. The scrubbing and playback in Premiere Pro is much faster than Final Cut, and not having to render something just to to watch it is a dream. I find the program makes it really easy to adjust my shortcuts and organize my workspace and projects. I like being able to save things such as title templates to use throughout projects, because I do a lot of subtitle work. Even the addition of the tiny window at the top left where you can preview your clip when you click once is helpful. I need to sort through mountains of footage fast. I like being able to export using Media Encoder CC as I work, because no one wants to have to stop and wait to export.
Adobe: What else do you use in your pipeline?
Earle: I use Photoshop CC and After Effects CC for most graphics. I can bring graphics files straight into the Premiere Pro CC timeline, without having to export them every time I change the file, which is so great. I can click on something and edit it on the spot, rather than having to look for the file and open it in another program. This saves so much time on projects, especially those with hundreds of After Effects files that you’d normally have to re-time.
I sometimes edit in Adobe Audition CC when I am facing a complex audio problem or when I’m tasked with voiceovers. When I first started I was in charge of setting up new DVD templates and Adobe Encore was so easy to learn and use to burn DVDs. Now, I use Adobe Media Encoder a lot to create files for various media: the Internet, PCs, or DVDs—whatever clients want.
Adobe: What was your experience moving to Adobe Creative Cloud?
Earle: My favorite thing about the switch to Adobe Creative Cloud, was the new finding and re-linking function in Premiere Pro. It’s crucial, because a few of us may be working on the same project and files often reside in different places and get moved around a lot.
All in all, the interfaces, shortcuts, and other commands among Adobe’s creative software apps are so uniform that I grow more familiar with the tools and the workflows every day. This makes me increasingly more efficient and gets rid of that frustrating gap between what the technology can do and what you think it should be able to do. With Creative Cloud, I can take greater advantage of each program’s full potential to realize any creative ideas we dream up.
Mark Drager and Kyle Wilson of Phanta Media recently presented the Ask a Video Pro session How to Build a Successful Corporate Video Business.
We are thrilled to announce a full shelf of new releases at Typekit today. You can now get your hands on new fonts, extended families, and added desktop availability from two longtime Typekit foundry partners: TypeTogether and Rui Abreu. Let’s get to it:
The lovely Essay Text by Stefan Ellmer is a serif text face comprised of an upright and an italic. Drawing from the historical context of the Renaissance, the italic can act as a complement to the upright, or stand on its own as a text face. Both carry a calligraphic slant, more comparable to each other than is typical of this pairing. Don’t miss the stylistic alternates and other typographic and ornamental goodies hidden within. Both styles are available for desktop sync for Creative Cloud subscribers.
Welcome the newest addition to the Abril family: Abril Titling. A well-stocked font family in its own right (eight styles in four different widths), the letterforms, contrast, and spacing are revisions of Abril Text—sturdier than Abril Display, while more suitable than Abril Text for larger sizes, and more varied in available widths. All 32 styles are available for desktop sync!
Also new to Typekit is Signo from Rui Abreu. Signo’s reverse contrast letterforms (the horizontal strokes are heavier than the vertical strokes, contrary to most type designs) stand out when set in headlines and in editorial environments. The heavier horizontals also help the visual continuity of characters in lines of text. Aided by a high x-height, open counters, and TrueType hinting for some older Windows browsers, Signo also performs well in body copy. Select styles are available for desktop sync.
Rui’s warm, inviting Grafolita Script has an easy fluidity achieved by careful design of glyph-connecting finials and contextual alternates where connections make less sense. Grafolita Script comes in three weights, with alternate superscript underlines and special ligatures for “and” and “or” to lend it a touch of sign-painted whimsy. Grafolita Script Medium is available for desktop sync.
Azo Sans Uber is the ultra heavy display weight of Rui’s Azo Sans (shown in the last line of the sample above). It’s packed with personality, with contextual alternates like the R and Ys above that give the chunky sans serif an air of playfulness. Some styles of Azo Sans are also now available for desktop sync.
Font families mentioned in this post, and their availability for web and desktop at Typekit:
This post ran on the Typekit blog on Thursday May 29, 2014.
Video playback and graphics team uses Adobe Creative Cloud and plugins from FxFactory to create period-specific news content.
To make the set of GNN, the 24-hour news channel featured in Anchorman 2: The Legend Continues, as realistic as possible required one essential element: content. It was the job of the video playback and graphics team to fill the dozens of screens throughout the fictional studio with realistic, period-specific news.
Rather than filling the screens in post production and using archived news reports, the team produced nearly all original content and fed it to the screens in real time. News reports were shot and composited with stock footage using an Adobe Creative Cloud video workflow and plugins from FxFactory, which offers a broad range of VFX tools for editors and compositors.
Playback Supervisor, Todd Marks, worked closely with his hand-picked team, designers Perry Freeze and Jeb Johenning to create the functioning 1980s GNN studio and news-office that helps set the stage for the blockbuster comedy. Todd and Jeb have worked together on many projects over the last twelve years; Perry was added to the team when they worked on The Internship in 2012.
Adobe: What were your roles on Anchorman 2?
Marks: I was the playback supervisor, responsible for overseeing all of the content creation and playback. In this case, my team put together and ran the functioning GNN studios, and we created all of the content, some which was story-specific and some was just background imagery to add to the reality of the time period and the set. We call it “bg” (background) footage and we created a lot of it.
Freeze: I worked as a designer on the film and also helped coordinate the data asset management, which involved keeping track of all of the moving pieces and approvals. On this movie we had a fairly short development cycle. We had to get up-and-running with a graphics package for the studio, and within the studio we wanted to have up to ten channels on air featuring news from around the world.
Johenning: I was also a designer, working with Perry on the content. When we initially looked at the breadth of content it was enormous. We had in excess of 100 different videos and one or more ways to create them, without actually knowing how they would be used.
Adobe: How does it all start?
Marks: We get a script and have to breakdown what’s written, which involves meetings with the production designer, set decorator, director, and even the props and construction people. We make recommendations and try to push beyond what most people think can be done. With the story-specific content, we needed to help tell the story in a short amount of time in a visually accurate, period-specific manner. Each film has different needs. For this movie, we needed to recreate a news studio look (we referenced CNN’s style during its launch in 1980). GNN starts with a simple graphics package at launch, as they are on the air longer, we had the look mature by increasing the complexity of the font and graphics package.
Adobe: How did you go about creating the content?
Freeze: We couldn’t possibly get clearance from actual archived material or we would have had to stick to a very narrow, stock footage type of content. So very early on we decided to make all of the content.
Johenning: In the GNN studio office, there is a big wall with fifteen different monitors that show everything happening around the world. Every piece of footage had to look local to its environment. We hired actors to be our period reporters and then filmed “man-on-the-street” interviews. I’m a videographer, so Perry and I worked with our video team and shot most of the unique footage for this project. The wardrobe people put the actors in period costumes and we filmed them against a green screen in both interior and exterior locations.
Later, we composited them into different locations, such as in front of the Pyramids in Egypt, the slums in Kenya, or farmland in Iowa. Each one had a different graphic look and feel. We created fake names for the people and used different fonts that would be local to each region. The backgrounds were sourced from stock footage or public domain sources. We also went around Atlanta, Georgia and filmed b-roll elements that we later used as content in our news reports, in addition to the composited green screen shots.
Adobe: Was it easy to integrate the new and old footage?
Johenning: All of the new footage was shot on a Sony F3, so it was beautiful HD quality. The stock footage backgrounds were 10-, 15-, even 20-years-old, standard-definition video and film, so the look of the two formats was completely different. We had to dumb down the foreground shots to make them look believable with the background stuff. We used an array of Adobe tools, including Premiere Pro, After Effects, and Photoshop, to make everything look authentic.
Marks: The PHYX products from FxFactory were used extensively. We used PHYX KEYER tools, PHYX CLEANER, and PHYX DEFOCUS to create composites, match the look of different footage, and add depth to the shots to make them look realistic. Using the PHYX filters with After Effects and Premiere Pro really helped to streamline our workflow.
Johenning: In some cases, we could stay entirely in Premiere Pro, and in other cases we would take footage into After Effects for more specialized compositing. We would ultimately always end up in Premiere Pro, where we would up-res the SD to HD so we could have the cleanest keys, edges, and color correction. The last step was to down-res and use the link to Media Encoder to output a piece of SD footage for playback on an SD monitor.
Adobe: Did you use any other plugins from FxFactory?
Marks: In addition to the PHYX filters, we used FxFactory Bad TV filters to add static hits and signal degradation, just as you would see with a normal satellite feed. Using these plugins adds a sense of reality and gives us the opportunity to do cuts that aren’t perceived by the audience. We used about ten different FxFactory plugins throughout the film. For news elements, there are specific plugins that add realism to the feel and look.
Adobe: What was the most challenging part of the data asset management?
Freeze: Films don’t shoot chronologically, so it’s important to keep track of what media needs to be on air and how it needs to look at that point in the movie. We used Adobe Bridge to keep track of revisions, star approved artwork, and manage all folders. Bridge is universally tied into Photoshop and Illustrator, making it easy to create contact sheets of all of our work, print them out and post them, or show the top ten revisions on an iPad to the director while on location, for quick approval.
Marks: The studio had about 150 CRT monitors, and we were able to route from 14 different feeds to each monitor at any time. It requires keeping track of what’s on each monitor in what scene, which involves lots of logistics in addition to the technical aspects. Some of first scenes we did in the studio were in Linda Jackson’s office, where there were three monitors on a far wall. We thought they would just be in the background, but the actors were placed right in front of them. You never know whether something you work on for days or weeks will be shown for just seconds or be featured prominently in a scene. This makes it even more important to keep track of shots so you don’t see the same footage in more than one scene.
Adobe: Have you started using Adobe Creative Cloud?
Johenning: I was already using Adobe Master Collection CS6, but when Creative Cloud came out I jumped on the bandwagon. An added benefit of CC included Adobe Muse. I was a user of Muse for my own business website and having that part of the Adobe CC collection was a real bonus! I had switched to Premiere Pro after Apple introduced Final Cut Pro X, and it’s the only editing program I use right now.
Freeze: I’m using Creative Cloud as well. The thing about using Creative Cloud is that when we’re working with teams everyone is on the same current, updated release. We used to deal with people not installing updates, or being on a different version all together, which created problems in our pipeline.
Adobe: What was the process like when you were on set?
Freeze: As prepared as we were, it was very much like a live news broadcast. We were using an AJA IO system to connect After Effects and Premiere Pro directly into our video switcher that was going out to the studio floor. It wasn’t what you would typically do in a TV production situation. We were creating content for the movie on the fly by tying directly into a switcher that was taking live camera feeds of Will Ferrell’s character, and then using After Effects to quickly apply lower thirds and over the shoulder graphics.
Marks: Because we were using standard definition CRTs, to make them look like they came from the right period, the set dressing department created plastic bezels that made the screen sizes even smaller than typical CRTs. This made the normal safety area even smaller, couple that with each old TV monitor’s slightly different scaling, and often I would actually have to be on the studio floor talking the control room through the proper positioning of the graphics on a featured screen.
Freeze: We would run around on the floor with cameras and take pictures of our work on the older TVs, go back to Photoshop or Illustrator and create a matte, and save it as a new title or action safe that could then be applied in After Effects or Premiere Pro when we were working so we knew how something would look when we put it on the period monitors. When you’re on a movie set and you have an entire crew, including all of the actors, waiting for you to finish something or change something it’s a lot of pressure.
Adobe: How is it different than the visual effects in other films?
Johenning: None of what we do is done in post production. A lot of visual effects in movies involve after-the-fact effects. I’m not diminishing the importance of that approach to moviemaking, but in our case rather than filling a monitor with a solid green image and creating, tracking, and coloring the content after a scene is shot, we have to do it as if it’s live TV and make it look real and believable.
Adobe: Why was this approach useful in the Anchorman 2 production?
Freeze: We ultimately helped make a better movie because the content was live. The actors could see themselves on the monitors and ad lib, and we made changes to things like titles on the fly.
Marks: We surprised the crew with our capabilities, and it freed the post production people up a lot. There was one scene where we were able to use Photoshop to quickly build a full map of the United States, with temperatures throughout the country, and then overlay satellite imagery using Premiere Pro. Because they were able to use the map in the scene instead of just having a green screen, Steve Carrell was able to see himself on the monitor and play off of what was happening. The director was also able to give him direction based on what he saw evolving. It was some of the most hysterical stuff we shot and it wouldn’t have happened if it was done in post production.
Adobe: Can you give an example of how After Effects was used?
Marks: One of the scenes in the movie shows the characters covering a car chase. Production was quite concerned about the cost of staging the chase, but the stock footage we had wasn’t long enough. Through some creative editing, Perry made it happen.
Freeze: We had chase footage of two cars, one grey convertible with a closed black canvas top on the freeway and one larger grey car primarily going through neighborhoods. We used the Roto Brush in After Effects to track the roof of the larger car and then darken the roof to match the other vehicle. By using tools in Premiere Pro to flip the footage and slow down and speed up shots, we were able to edit together a longer scene, with four different segments for playback.
Adobe: Were there any other benefits to working with Adobe video tools?
Marks: With Adobe tools being so portable we were able to take the same laptop we used on stage back to our hotel room and still have the same powerful workflow. It was especially useful when we were working late on graphics that were needed for the next day of shooting. Doing our job would be nearly impossible without Adobe’s powerful software.
Twenty-five years after Adobe Originals were introduced, they’re still setting the standard for typographic excellence.
In 1989 Adobe Garamond and Utopia, the first type designs from Adobe, were released and the Adobe Originals program was born. With Utopia, an original design, and Adobe Garamond, a historic revival that captured the essence of its models while offering all the advantages of contemporary typography, the release signaled to the design and type community that Adobe was serious about typography. Many of the typefaces released over the years have become timeless classics: Myriad, Minion, Trajan, Lithos, and Adobe Caslon are just a few examples that have withstood the test of time and will likely be widely used and respected for many years to come.
To celebrate 25 years of original type design at Adobe, later this month the newly combined Typekit and Adobe Type team will be launching a new blog series that will run throughout the summer. The series will share the history of type design at Adobe; showcase some of Adobe’s typefaces and designers; talk about how new technologies have, in recent years, changed type design at Adobe; and ask designers such as Stephen Coles, Marian Bantjes, and Jessica Hische to share their perspective on Adobe Originals.
But what celebration about type design would be complete without a new typeface? Beginning today, Adobe’s 100th typeface family, Source Serif, is available free as a thank you to our customers. Source Serif, designed as the companion to Adobe’s popular Source Sans typeface, lends itself to extended text on paper and on screen. For desktop and web use through Typekit’s free plan, it’s available to all Creative Cloud members, including trial users.
Read the Typekit blog to Learn more about today’s announcements, how to keep up with this summer’s Adobe Originals series, and where to get Adobe’s new open source typeface. And, to keep up with the upcoming Adobe Originals series, bookmark the RSS feed.
Lucas Doerre, a 20-year-old designer from Hamburg, Germany was recently chosen to take part in Shutterstock’s Designer Passport tutorial series, to unveil the process behind his recent project—Singularity.
Lucas’s broadly-scoped representation of what it means to be human was created in Adobe Photoshop CC, with images from Shutterstock’s library. It defines the evolution of the human spirit, its transformation, evolution and growth. It’s a multi-tiered look at the process of growing into society while also maintaining singleness and individuality.
We asked Lucas to join us at HOW Design Live. He’ll be deconstructing Singularity in the Adobe booth on Wednesday May 14 at 12:30pm. We caught up with him a few days ago to get advance insight into what he’ll be talking about at HOW; read what he has to say about Photoshop CC’s Perspective Warp feature, Shutterstock’s “Find Similar Images” function, and the difficulty of visually defining human adaptability.
How were you selected to be a part of Designer Passport? Philippe Intraligi, design director at Shutterstock, was looking for a German designer for the Passport series. He found me through the Behance network, emailed me, and we chatted on Skype.
Have you ever thought of your digital project Singularity as an installation? Of actually building it? I was thinking of 3D printing it but there were some color issues—and unfortunately I don’t have access to a 3D printer. But it’s given me some ideas for future 3D printing projects that I definitely want to try, especially since Photoshop CC has 3D printing capability now.
Why or how did you choose the materials that the figure is passing through–the wood, the fire, the water? What do they symbolize? What do they mean to you? I chose them randomly, but they are intended to express the different phases and possibilities in a person’s lifetime.
Shutterstock has a huge (35 million+) image library, how did you choose the images in Singularity? I started with keywords that described the visual or the mood I was looking for and made good use of the “Find Similar Images” function.
Was this your first time using Photoshop CC’s Perspective Warp feature? Do you forsee using it in future projects? I had actually been experimenting with it prior to this project. It offers such a range of possibility; there’s so much that can be created with it.
What was the most difficult part of creating this project? The most difficult part was the beginning, I had an extremely detailed idea and was trying to realize it in so many ways but unfortunately no way seemed the “right” way. After some tries I got this idea to divide the whole image into sections. It became the foundation for the final artwork.
When you began documenting your process for Shutterstock did you see things in Singularity that you wish you’d done differently? Actually no. After so many attempts at starting this project I finally had a composition and a look that I really liked.
Have you experimented with other apps in Creative Cloud? Has having access to a variety of apps in Creative Cloud allowed you to experiment more? I’m loving the Typekit integration; it allows me to search new fonts in a extremely convenient way. And the ability to sync all my work to Behance and to have access to all my files in Creative Cloud are also very helpful. I’ve also started using Adobe Illustrator CC; the features enable the creation of really interesting stuff.
We know project was created with Photoshop CC, but if you could use just one Creative Cloud application, which would it be? Why? It would be Photoshop CC. I love it. Some of my first works were created with Photoshop. It allows me to recreate and modify my images, type, whatever. And that’s what I’m doing… creating and modifying my ideas and visions. On a computer.
An ambitious content delivery goal will be met with a workflow featuring Adobe Premiere Pro CC.
Pulling off the broadcast of the largest sports show on earth, spanning nearly a month’s worth of content, is no small task. HBS, the dedicated host broadcaster for one of the largest sporting events in the world, has contracted EVS and MoovIT. EVS will provide for the central Media Asset Exchange Server located at the International Broadcast Center (IBC) and all editing workstation will be supplied by MoovIT. Central to the editing workflow is Premiere Pro CC, which will help editors quickly turn around content for distribution to multilateral production facilities and Media Rights Licensees (known as MRLs).
The central media server is the hub for the production operation during the competition. All material generated by HBS will be uploaded and logged onto the server and users connected to the system will be able to search and browse via dedicated browsing stations and transfer content into their system for unilateral programming requirements. All multilateral editing workstations required for post-production and multimedia will also be connected with the large SAN storage as part of the central server based on EVS technology.
MoovIT was brought on board to provide the 54 workstations with Premiere Pro CC for editing live content and creating features, promos, and all other components required for multimedia production. This new workflow will enable editors to turn content around more quickly than ever before. The central media server, acting as a shared storage, integrates with Premiere Pro CC by using the EVS IPLink interface.
Editors using Premiere Pro CC and the IPLink interface will be able to directly connect to the server, making it easy to create final edits of updates, promos, and multimedia packages. In addition, external media from various sources will come in from the ENG crews and be combined on the workstations without any transcoding to quickly produce the content.
For multimedia clients a wide selection of Video on Demand (VOD) clips will be provided by the host broadcaster. These clips need to be provided quickly so they can be immediately featured on websites, through mobile subscription sites, or by sponsors and broadcasters. After an event happens, such as a goal or a red card, a clip should be available online within minutes and available in various languages.
MoovIT and EVS will both help HBS to meet this enterprising goal so that fans in multiple countries will be able to experience the action in near real-time. With a customized workflow that includes Premiere Pro CC, HBS, through this service, will keep fans around the world on the edge of their seats as they follow the action and relive key moments from their favorite teams and players.
A web services firm enhances design production, efficiency, and client service, while reducing licensing costs by more than 20% with Adobe Creative Cloud for teams.
Maximizing creativity and efficiency, minimizing overhead
South Korea-based Gabia Inc. specializes in Internet infrastructure services. The company provides its clients with everything from domain name registration and web hosting solutions to website design, image and video hosting, and e-learning solutions.
Marketing all of these services requires large volumes of brochures, sell sheets, event signage, customer case studies, and other materials with targeted messaging and eye-catching, effective design. As a vital part of the company’s operations, the design team’s task is twofold: On a day-to-day basis, they generate marketing materials that assist the company in winning new business; and focus on keeping existing customers loyal and up-to-date with new products and services.
“Effective, vibrant design is a part of everything we do to support our clients, our marketing and sales, and our overall brand,” says Kwangyoon Won, director of Gabia’s sales division. “We make it a priority to create innovative products and to support them in the marketplace by rigorously and continuously up-leveling our design and creative capabilities.”
Empowering creative teams
Because Gabia has an inherent and constant need to design and produce creative content, such as e-commerce sites for clients, as efficiently as possible, it’s a priority to equip teams with the right creative tools for the job. For years, Gabia has used Adobe creative software to enable a skilled staff of designers to maintain high standards for generating beautiful, professional materials—both to market their own products and create websites for clients. Adobe creative software has been the standard at the company due to its flexibility, power, integration, and rich feature sets.
As Gabia’s growth and innovation continued, the importance of staying current on the latest version of software and services became critical for delivering large amounts of design work. For the IT team, streamlining the management associated with software licensing and deployment would help eliminate the time-consuming task of managing individual license numbers and installing the necessary programs on the team’s desktops.
“Adobe creative tools are at the heart of our operation,” says Won. “Because we are efficiency-driven and Adobe software is so central to our business, we began looking at the different licensing models and options for the software.”
Collaborating in the cloud
After evaluating new licensing options from Adobe that would provide teams with the best solutions
while increasing efficiencies, Gabia chose Creative Cloud for teams. “With Creative Cloud for teams, our designers can download the software they need to either create marketing materials or design websites for clients. Constant updates are provided by Adobe so everyone can stay on the latest versions of software with ease,” says Won. “Creative Cloud for teams also offers 100GB of storage, so team members can exchange ideas on designs, regardless of location. Employees no longer need to email files or send drives back and forth because the current files are available to everyone on the team in the cloud.”
Creative Cloud for teams has streamlined collaboration and file sharing and virtually eliminated communication delays. The workflow has been greatly improved because fewer handoffs are required to accomplish tasks and individuals can accomplish more on their own with access to all of the intuitive new software available in Creative Cloud for teams.
Gabia can execute projects faster because contributors can simultaneously share the same files in Adobe Photoshop CC, Dreamweaver CC, or Illustrator CC, as they are working on them in the cloud. Each time layouts, typography, or images are revised, everyone on the team is apprised and working with the same versions of files.
More creative control, less coding
Speed and efficiency is necessary in streamlining production of marketing materials for Gabia products, but it is equally essential when accommodating client needs for new or revised materials. To meet this need, Gabia was able to try new creative tools available within Creative Cloud for teams (all at no extra charge with a Creative Cloud membership) including new creative tools that weren’t available previously in Creative Suite.
“It’s wonderful to be able to try new software that we probably would not have before,” says Won. “It has given us new creative functionality that is expanding our repertoire and removing some of the limitations of purchasing packaged software.”
Gabia’s designers have adopted Adobe Muse CC and Adobe Edge Tools and Services, both available in Creative Cloud for teams. With Muse CC, graphic designers can stretch their capabilities by publishing websites, that work well on virtually any device, without writing code; with Adobe Edge Animate CC, the team can add interactivity and animation to client websites. Both products extend the capabilities of Gabia’s design teams and accelerate delivery of customer requests for new websites or ongoing updates.
With Creative Cloud for teams, designers can save images directly from a layout for use on the web, or can quickly create responsive websites or animation effects without requiring special code development. “With Creative Cloud for teams, we now can perform small jobs, such as video coding or image resizing, without having to rely on a specialized designer, code developer, or video producer,” says Kim Sooyeon, assistant manager of Gabia’s creative division. “It results in faster turnaround time for our clients and a lot more creative autonomy for everyone.”
Easier on IT, significantly reduced costs
In addition to designers, the IT team is more efficient as well. With Creative Cloud for teams, Gabia can assign licenses to users through email using a web-based console to easily distribute the programs. Designers then download the software they need. An administrator no longer needs to manually check each serial number to install the necessary programs on individual desktops, freeing up IT time to spend on more strategic activities.
Gabia as a whole has also experienced greatly reduced licensing costs. “With Creative Cloud for teams, our licensing costs were cut by more than 20% in comparison to desktop software,” says Won. “At Gabia, we will continue to use Creative Cloud for teams; it’s now a part of our core infrastructure for inventing and delivering new creative businesses and catering faster and better to our clients.
Read the Gabia Inc. case study.
In one week, HOW Design Live—the largest annual gathering of creative professionals anywhere—kicks off. And again, Adobe’s part of it.
The five-day conference provides us a great opportunity to connect with the designers who include our products in their professional toolsets. And this year, now that Creative Cloud has been available for two years, we want to hear what’s working for everyone and what we need to do to exceed everyone’s expectations.
Hang out at our booth
Not only will we give you a T-shirt that professes your profound love of design (opening night Tuesday May 13 8:00pm – 10:00pm) but just for visiting, and letting us scan your badge, you’ll be entered to win a one-year Creative Cloud membership.
There will also be some hands-on fun with the latest in digital drawing technology: Learn how our mobile tools make it easier to incorporate sketching as part of the concept process, enable the capture of ideas and inspiration whenever and wherever they strike, and then make it easy to bring them into your designs.
Want a deeper understanding of the features that have been released to Creative Cloud applications in the past year? We’ll have in-booth theater demos that focus on the new features in Adobe Photoshop CC, Illustrator CC, InDesign CC and Muse CC. And since we also want to hear what you have to say, and to answer all your questions, there will be Ask an Expert stations for print and digital publishing, and web design, along with dedicated stations for learning what’s new in the world of print and web fonts, available from Typekit, and designing for 3D printing with Photoshop CC. And, for fun… Every Creative Cloud question you ask enters you in a drawing (two each day) for a three-month Creative Cloud membership.
Finally, Lucas Doerre, an emerging designer from Germany, will deconstruct Singularity his 3D illustration for the Shutterstock’s Designer Passport series. Hear about his inspiration, Photoshop CC techniques, and get a signed poster of his unique project.
Attend some sessions
We’ve asked Terry White and Brian Wood to come along to teach people about Creative Cloud, how to create websites without writing code, and how to turn Photoshop CC mockups into responsive web design. Get re-inspired, and pick up some new ideas:
Wednesday 7:30–8:30am Responsive website design made easy. With Brian Wood. Improve communication with your developer and take advantage of the latest web trends. Learn how to turn Photoshop mockups into responsive layouts using simple tips and techniques for Adobe Photoshop CC and Adobe Edge CC Tools and Services.
Wednesday 12:45–1:45pm Adobe Creative Cloud Time-saving Tips. With Terry White. Save hours of design time with tips for Adobe Photoshop CC, Illustrator CC, and InDesign CC.
Two more things…
Future Media Concepts (FMC) will be leading Adobe HOW2 Trainings throughout HOW Design Live. Check the schedule.
Pixels of Fury. It wouldn’t be a design conference without Shutterstock’s real-time on-the-fly design showdown (with Creative Cloud applications). Be there on Wednesday after sessions end.
We’ve got a lot going on. So register. Come be a part of the conference for creative professionals: Five days of design; one extraordinary experience. #AdobeHOW
I’m always looking for new ways to exploit my creativity through technology—video, interactive, and mobile—but 3D printing is on an entirely new level. The fact that I can now do it in Adobe Photoshop CC is a huge bonus (watch this video to learn how). We’re able to create physical objects that never existed before; we’re inventors, a sculptors, and artists. It’s enough to give someone a god complex. If you’re anything like me, the ideas have already started flooding in; before you jump in let’s take a step back and get a general understanding of how it all works.
3D printing is considered additive manufacturing. It’s an amazingly simple process that consists of layers of material (plastic, wood, metal, sand, sugar, or even chocolate) being laid down in a pattern, one layer at a time, until the 3D object is created. There are three major types of 3D printing: Fused Deposition Modeling, Stereolithography, and Laser Sintering. Each method has its advantages and disadvantages.
Fused Deposition Modeling (FDM)
The most common type of additive manufacturing, FDM is easy, affordable, and can be used with many different materials. The process involves feeding a spool of filament into an extruder where it’s melted down (like a hot glue gun) and “drawn,” one layer at a time, to create a 3D shape.
$1,000 – $5,000
Low cost with affordable filament
Large variety of materials
Fairly easy to maintain and replace parts
Nozzle clogging is common
Supports can be tough to clean
Layers can be visible (striping)
Stereolithography is a fascinating process in which a beam of UV light draws a pattern over a photosensitive pool of liquid resin. When the light hits the liquid it hardens. Once that layer is complete the base then moves to make room for the next layer, until the 3D object is made. SLA can be really good for designers looking for extra detail, with the potential for mass production, or for anyone who wants to cast their art in bronze or some other metal.
$3,000 – $7,000
Detail down to 25 microns (thinner than a sheet of paper)
Smooth surface details
Great for casting/molding and models
Nozzle clogging is common
Resin can be messy
Materials are limited and more brittle
3D printers are more expensive
Laser Sintering (SLS)
SLS works much like Stereolithography, but with a powder instead of a liquid. When the laser hits the powder, it hardens; the powder surrounding the object being printed acts as a support so there are no additional supports or scaffolding to break off as with the other processes. The powder is then removed leaving just the solid object, which can be plastic, metal, ceramic, or even full-color sandstone (the metal and full-color sandstone options are particularly exciting). Although there’s not a consumer printer option available, objects can be sent to Shapeways.com for printing.
Detail down to 16 microns
No support structures
Higher model flexibility since parts can be completely suspended
Working mechanical parts can be printed with no assembly required
Powder requires some work to remove
No desktop printer options
Aluminum / Steel
Which is best?
SLS is the best option—despite the $50K cost of a printer—because from within Photoshop CC you can send your models directly to Shapeways.com who will print them and send them to your house. Curious about cost? A fancy iPhone case like this one cost me about $25.
Interested in buying your own? Well right now the FDM printers are the most widely available and their quality is getting really good. I personally like the Makerbot Replicator, 5th generation. Makerbot was one of the first companies to make 3D printers commercially and they are arguably the industry standard, with profiles built into Photoshop CC. I also like the Ultimaker 2 because it just feels more designer/Mac friendly and it’s open source. But what I REALLY want is the Formlabs Form 1 Stereolithography printer. It provides lots of detail, and you don’t see any of the layering lines. Plus the objects just look cool coming out of the liquid resin
We’ve had a busy spring at Typekit; here’s a wrap-up of what’s new from the team:
Portfolio Plans with single-app Creative Cloud subscriptions
Many of you have decided that a single-app plan suits your needs better than the full Creative Cloud membership package, and that’s great—we don’t want that decision to limit your ability to use fonts from Typekit. So, Typekit’s excellent Portfolio Plan is now included with your single-app subscriptions, too; in our April 8 blog post we explain a few details about eligibility and getting started. We’re delighted to introduce even more of you to some great type!
Customers with free plans can now sync desktop fonts
We’ve made a lot of noise about our feature for syncing Typekit fonts to your desktop, because, well, we’re pretty proud of it. We also feel that it’s become an essential part of the Creative Cloud service, and as such, want to give people the same risk-free chance to try it out before committing to a paid plan on Creative Cloud. So we’ve put together a selection of fonts that will be available for anyone to sync to their desktop—regardless of plan level. We took our time pulling this collection together; it includes winners like League Gothic and Chaparral, and will give you the ability to fully explore what font syncing can do.
The Typekit blog is brighter and broader
We’ve refreshed the look of our blog, and are also taking the occasion to publicly welcome our new team members from the Adobe Type and CoreType groups. We’re looking forward to hearing these new voices in future posts, with their expert-level commentary on topics like type technology and typeface design.
Stay sharp with Typekit Practice
We’ve introduced a new resource to help people learn about typography. We call it Typekit Practice. We’ve just gotten started with a couple of lessons, but we’re excited to add to it and see how people use it. Have a look, and let us know what you’d like to learn about next.