Adobe Systems Incorporated

Adobe at Sundance Film Festival 2015

We’re at Sundance Film Festival 2015; check out what we’re up to:

A panel streaming LIVE: Blurring The Lines between Indie And Hollywood

On Friday January 23, Adobe will host a discussion on how technology is blurring the lines between indie and Hollywood filmmaking. Panelists include Rob Legato (Misery Loves Comedy, Sundance Film Festival 2015; The Wolf of Wall StreetHUGOAVATAR), Kyle Patrick Alvarez (The Stanford Prison Experiment, Sundance Film Festival 2015, C.O.G. Sundance Film Festival 2013, and Easier with Practice), and Dave Ginsberg, CTO of the Sundance Institute. Learn more and register for the LIVE streamed event: http://bit.ly/1tGTXNx

AdobeSundance_1

A #SundanceSpotlight: Shining a light on the Sundance journey

Attendees are invited to create a quick video showing:

  • The moment you knew you wanted to be a filmmaker
  • What inspires you creatively
  • What brings you to Sundance

Include #SundanceSpotlight when sharing (publicly of course!) for a chance to be featured on Adobe social media channels. #SundanceSpotlight videos published from Adobe Premiere Clip may also be shown on special screens around Park City, and the in-app Community Feed.

The first 50 videos shared using #SundanceSpotlight will get a free 3-month Creative Cloud membership—so get started ASAP.

And films: Highlighting Adobe Creative Cloud workflows

Adobe is proud to report that 21 films debuting at Sundance Film Festival this year were edited with Adobe Premiere Pro CC. Find the complete list below & stay tuned for more blog posts and video interviews with these filmmakers during the festival.

AdobeSundance_2

Misery Loves Comedy (Special Events)—Kevin Pollak, director; Kevin Pollak and John Varhous, screenwriters
Do you have to be miserable to be funny? Children cry, “Hey, look at me,” but who turns that into a profession? Over 50 funny people, like Tom Hanks, Larry David, Jimmy Fallon, Judd Apatow, and Amy Schumer share pain-filled insights from a life in pursuit of laughter. World Premiere. Cast: Tom Hanks, Larry David, Amy Schumer, Jimmy Fallon, Judd Apatow, Jim Gaffigan.

The Stanford Prison Experiment (US Dramatic Competition)—Kyle Patrick Alvarez, director; Tim Talbott, screenwriter
Based on the actual events that took place in 1971, when Stanford professor Dr. Philip Zimbardo created what became one of the most shocking and famous social experiments of all time. Cast: Billy Crudup, Ezra Miller, Michael Angarano, Tye Sheridan, Johnny Simmons, Olivia Thirlby.

Advantageous (US Dramatic Competition)—Jennifer Phang, director; Jacqueline Kim and Jennifer Phang, screenwriters
In a near-future city where soaring opulence overshadows economic hardship, Gwen and her daughter, Jules, do all they can to hold on to their joy, despite the instability surfacing in their world. Cast: Jacqueline Kim, James Urbaniak, Freya Adams, Ken Jeong, Jennifer Ehle, Samantha Kim.

Being Evel (US Documentary Competition)—Daniel Junge, director
Millions know the man, but few know his story. Academy Award-winner Daniel Junge (Saving Face) and actor/producer Johnny Knoxville take a candid look at American daredevil and icon Robert “Evel” Knievel while reflecting on our voracious public appetite for heroes and spectacle.

Fresh Dressed (Documentary Premieres)—Sacha Jenkins, director
The history of hip-hop fashion from its birth in the South Bronx to its rise as a billion-dollar global industry, Fresh Dressed is supported by rich archival materials, in-depth interviews with individuals crucial to the evolution, and the outsiders who study and admire them.

Things of the Aimless Wanderer (New Frontier)—Kivu Ruhorahoza, director and screenwriter
A white man meets a black girl, then she disappears. The white man tries to understand what happened to her while also trying to finish a travelogue. Things of the Aimless Wanderer is a film about the sensitive topic of relations between “locals” and Westerners, and about paranoia, mistrust, and misunderstandings. Cast: Justin Mullikin, Grace Nikuze, Ramadhan Bizimana, Eliane Umuhire, Wesley Ruzibiza, Matt Ray Brown. World Premiere

Cop Car (Park City at Midnight)—Jon Watts, director; Christopher D. Ford and Jon Watts, screenwriters
Two ten-year-old boys steal an abandoned cop car. World Premiere. Cast: Kevin Bacon, James Freedson-Jackson, Hays Wellford, Shea Whigham, Camryn Manheim.

Short films

Every Day—Gabe Spitzer, director

Followers—Tim Marshall, director

Greenland—Oren Gerner, director

Hotel 22—Elizabeth Lo, director

Making it in America—Joris Debeij, director

OM Rider—Takeshi Murata, director

Palm Rot—Ryan Gillis, director

Papa Machette—Jonathan David Kane, director

Russian Roulette—Ben Aston, director

Symphony no. 42—Réka Bucsi, director

Storm hits jacket—Paul Cabon, director

The Sun Like a Big Dark Animal—Christina Felisgrau and Ronnie Rivera, directors

The Face of Ukraine: Casting Oksana Baiul—Kitty Green, director

The Collectors: Beekeeper—Steven Cantor, director
The Sundance Film Festival takes place January 22–February 1 in Park City, Utah. Check the Sundance Film Festival website for the schedule and theatre listings.

Learn more about the Pro Video Tools in Adobe Creative Cloud.

11:20 AM Comments (1) Permalink

The 4K Production Workflow of Nippon Television Network

Japanese broadcaster, Nippon Television Network, implements a cost-effective solution based on Adobe Creative Cloud to create a dynamic and efficient workflow for ultra-high definition 4K broadcasts.

Nippon_1

When the first 4K channel in Japan, Channel 4K, began test broadcasts, it started by airing live musical performances, travelogues, and sports broadcasts provided for free by members of the Next Generation Television & Broadcasting Promotion Forum. Since then, broadcasters have started to produce their own 4K programming , but the equipment remains costly. In addition, transcoding and outputting programs takes a great deal of time.

Originally a format developed for feature-length films, 4K was not intended for television programming where high volume production is valued. To begin introducing original 4K content in the broadcast space, Nippon Television Network Corporation (Nippon TV) developed a 4K programming production workflow using Adobe Creative Cloud for enterprise.

The benefits of enterprise licenses

Since 1953, when Nippon TV became the first commercial television broadcaster in Japan, Nippon TV has entertained audiences with excellent programming, from professional sports to scripted dramas. Nippon TV first deployed Adobe Creative Cloud for 4K productions in the technical operations department of the engineering & technology division. This department handles a wide variety of operations, including CG, data broadcasts, media conversion, and remote subsystems. The department’s office space is filled with computers—some loaded with Autodesk Softimage to create CG infographics, while others are used to develop other graphics displayed within programs.

Nippon_2

When deciding between teams or enterprise licensing, the technical operations department chose to work with Creative Cloud for enterprise. “For security reasons, our work computers are not connected to the Internet so the enterprise license was a better fit for us,” says Ayato Fujii, CG designer for the technical operations department, engineering & technology division. “Adobe Creative Cloud for enterprise includes all of the design tools we need: Adobe Photoshop CC, Illustrator CC, and After Effects CC.”

“We have always used Adobe creative software, and now Adobe Creative Cloud for enterprise offers us a cost- effective way to provide everyone with the applications they need,” adds Toru Fujihara, associate managing director of the technical operations department, engineering & technology division. Yasuo Tsutsumi, CG designer in the graphic design department at the Nippon Television Art Media Design Center adds, “With Adobe Creative Cloud, we can install a full range of creative software onto all of our designers’ computers, which has everyone very excited.”

Developing high-quality 4K content

The technical operations department deployed Creative Cloud for enterprise on the workstations of all designers. The Creative Cloud implementation provided an opportunity to also switch from EDIUS editing systems to Adobe Premiere Pro CC to reduce costs, add integration with After Effects CC, and support the Grass Valley HQ/HQX codecs. “We do a great deal of CG work for our TV broadcasts,” says Fujii. “By using the Grass Valley HQ codec with Adobe Premiere Pro CC, we can attach 4K monitors to our work computers to create true 4K machines that leverage Adobe’s support for cutting-edge hardware and standards.”

Designing a new environment

One of the first 4K programs Fujihara worked to develop for Nippon TV using Creative Cloud was a video art exhibit across three 4k screens recreating the famous stone garden at Ryoanji Temple in Kyoto. The video was displayed in the “Kyoto from Inside and Outside: Scenes on Panels and Folding Screens” special exhibit at Tokyo National Museum. Nippon TV designers used Premiere Pro, After Effects, and Photoshop CC to pull the footage together and give visitors a taste of Ryoanji Temple across four seasons.

Four Seasons of the Ryoanji Temple Rock Garden in 4K, from the special exhibition, “Kyoto from Inside and Outside: Scenes on Panels and Folding Screens."

Four Seasons of the Ryoanji Temple Rock Garden in 4K, from the special exhibition, “Kyoto from Inside and Outside: Scenes on Panels and Folding Screens.”

Shooting at Ryoanji Temple started one year before the exhibition. At the time, Nippon TV did not have an environment that could view 4K footage so the team decided to implement a turnkey system that supported 4K in native resolution. One of the deciding factors for the system was that it also needed to support 60 frames per second.

“We produced the Ryoanji Temple footage in 30p, so there was no need for 60p support for that project,” says Fujihara. “However, we knew that we would need 60p support for future broadcasts that may involve fast motion, such as sports programming. By deploying Creative Cloud on Windows workstations loaded with Epoch 4K Supernova cards from BlueFish, we achieved a system similar to turnkey systems.”

Pitching live baseball broadcasts

Another project driven by Nippon TV was a broadcast of the October 2013 professional baseball match between the Yomiuri Giants and the Yakult Swallows in Tokyo Dome recorded using four 4K cameras and one high-speed camera. Unlike other types of content, baseball broadcasts fill a very long slot in the schedule.

Nippon_4

First, Nippon TV shot the action in Tokyo Dome using five cameras, four of which recorded in SR-Lite mode on Sony’s Simple Studio Profile (SStP) codec. Next, the team edited the 4K footage on the Premiere Pro CC timeline and exported the final program in XAVC format. “When we started on our programs, Premiere Pro CC was one of the only applications that could output in XAVC format,” says Fujihara. “We knew we wanted to use XAVC output from the start, but being able to use Premiere Pro CC through final delivery really helped our workflow. We could not have produced the two 4K videos without Premiere Pro CC.”

Fujii concludes, “From a creator’s point of view, it’s a chance we couldn’t pass up. We’re glad to have Adobe Creative Cloud for enterprise to help us continue to push the creativity limits of our production broadcasts.”

Read the Nippon Television Network case study.

9:59 AM Permalink

At Sundance Film Festival ’15, A 130% Increase in Films Edited with Adobe Premiere Pro CC

Adobe is proud to report that 21 films debuting at Sundance Film Festival 2015 were cut with Adobe Premiere Pro CC, more than doubling the number of films, edited on Premiere Pro CC, at last year’s festival.

Sundance_1

A hub of creativity, Sundance Film Festival features filmmakers who aren’t afraid to break new ground. While much attention is paid to how the stories unfold in front of the camera, filmmakers continue to innovate and push creative boundaries after filming wraps. The seamless integration with Adobe After Effects CC—as well as the native editing, speed, and affordability of Premiere Pro CC—make it an ideal choice for both up-and-coming and experienced filmmakers.

“There’s been such a change in terms of how Premiere Pro CC is perceived between when I cut C.O.G. on it in 2012 and today,” says Kyle Patrick Alvarez, whose film The Stanford Prison Experiment will premiere at the festival. “It’s exciting to see that change. It was alien to cut on Adobe Premiere Pro CC two years ago, but today it’s fairly commonplace.”

Bill Roberts, senior director of product management for video at Adobe, applauds the filmmakers who’ve put in the hard work to make it to Sundance. “We are thrilled to provide tools that independent filmmakers use to bring their stories to the screen,” he says. “Adobe is committed to providing filmmakers with a tightly integrated set of creative tools that offer the most productive workflow regardless of how big or small their production budget is.”

Additionally, Adobe will be hosting a panel at the Sundance Film Festival discussing how technology is blurring the lines between indie and Hollywood filmmaking. The panel features Rob Legato (Misery Loves Comedy, Sundance Film Festival 2015, The Wolf of Wall Street, HUGO, AVATAR) and Kyle Patrick Alvarez (The Stanford Prison Experiment, Sundance Film Festival 2015, C.O.G., Sundance Film Festival 2013, and Easier with Practice). Learn more about the panel and register to watch it streamed live online.

Below is a list of the films edited with Adobe Premiere Pro CC that will premiere in Park City. During the lead up to the festival, we’ll be talking with many of the films’ directors and editors to learn about their projects and the role Adobe software played in bringing them to the big screen.

Misery Loves Comedy (Special Events)—Kevin Pollak, director; Kevin Pollak and John Varhous, screenwriters
Do you have to be miserable to be funny? Children cry, “Hey, look at me,” but who turns that into a profession? Over 50 funny people, like Tom Hanks, Larry David, Jimmy Fallon, Judd Apatow, and Amy Schumer share pain-filled insights from a life in pursuit of laughter. World Premiere. Cast: Tom Hanks, Larry David, Amy Schumer, Jimmy Fallon, Judd Apatow, Jim Gaffigan.

The Stanford Prison Experiment (US Dramatic Competition)—Kyle Patrick Alvarez, director; Tim Talbott, screenwriter
Based on the actual events that took place in 1971, when Stanford professor Dr. Philip Zimbardo created what became one of the most shocking and famous social experiments of all time. Cast: Billy Crudup, Ezra Miller, Michael Angarano, Tye Sheridan, Johnny Simmons, Olivia Thirlby.

Advantageous (US Dramatic Competition)—Jennifer Phang, director; Jacqueline Kim and Jennifer Phang, screenwriters
In a near-future city where soaring opulence overshadows economic hardship, Gwen and her daughter, Jules, do all they can to hold on to their joy, despite the instability surfacing in their world. Cast: Jacqueline Kim, James Urbaniak, Freya Adams, Ken Jeong, Jennifer Ehle, Samantha Kim.

Being Evel (US Documentary Competition)—Daniel Junge, director
Millions know the man, but few know his story. Academy Award-winner Daniel Junge (Saving Face) and actor/producer Johnny Knoxville take a candid look at American daredevil and icon Robert “Evel” Knievel while reflecting on our voracious public appetite for heroes and spectacle.

Fresh Dressed (Documentary Premieres)—Sacha Jenkins, director
The history of hip-hop fashion from its birth in the South Bronx to its rise as a billion-dollar global industry, Fresh Dressed is supported by rich archival materials, in-depth interviews with individuals crucial to the evolution, and the outsiders who study and admire them.

Things of the Aimless Wanderer (New Frontier)—Kivu Ruhorahoza, director and screenwriter
A white man meets a black girl, then she disappears. The white man tries to understand what happened to her while also trying to finish a travelogue. Things of the Aimless Wanderer is a film about the sensitive topic of relations between “locals” and Westerners, and about paranoia, mistrust, and misunderstandings. Cast: Justin Mullikin, Grace Nikuze, Ramadhan Bizimana, Eliane Umuhire, Wesley Ruzibiza, Matt Ray Brown. World Premiere

Cop Car (Park City at Midnight)—Jon Watts, director; Christopher D. Ford and Jon Watts, screenwriters
Two ten-year-old boys steal an abandoned cop car. World Premiere. Cast: Kevin Bacon, James Freedson-Jackson, Hays Wellford, Shea Whigham, Camryn Manheim.

Short films

Every Day—Gabe Spitzer, director

Followers—Tim Marshall, director

Greenland—Oren Gerner, director

Hotel 22—Elizabeth Lo, director

Making it in America—Joris Debeij, director

OM Rider—Takeshi Murata, director

Palm Rot—Ryan Gillis, director

Papa Machette—Jonathan David Kane, director

Russian Roulette—Ben Aston, director

Symphony no. 42—Réka Bucsi, director

Storm hits jacket—Paul Cabon, director

The Sun Like a Big Dark Animal—Christina Felisgrau and Ronnie Rivera, directors

The Face of Ukraine: Casting Oksana Baiul—Kitty Green, director

The Collectors: Beekeeper—Steven Cantor, director

 
The Sundance Film Festival takes place January 22–February 1 in Park City, Utah. Check the Sundance Film Festival website for the schedule and theatre listings.

Learn more about the Pro Video Tools in Adobe Creative Cloud.

9:30 AM Permalink

Changes Ahead for Video and Audio Social Channels—A New Year, A New Name

In the early days of 2015, you’ll notice a fresh take on so​me of Adobe’s Pro Video social channels. In order to deliver the most current, informative posts on a daily basis, we’ll create an integrated feed on Facebook and Twitter featuring news, tutorials and more for ALL of the Adobe video applications. Excited? So are we! No action required on your part at the moment. Stay tuned for more details to come in January.

Don’t miss the latest enhancements to Adobe Pro Video tools, including Adobe Premiere Pro CC, Adobe After Effects CC, Adobe Audition CC, Adobe SpeedGrade CC, Adobe Story CC Plus, Adobe Prelude CC, and Adobe Media Encoder CC.

10:31 AM Permalink

Adobe Video Applications Updated

Creative Cloud offers pros performance and compatibility with the latest technologies.

VideoUpdates_1
Adobe released updates today for its pro video applications including Adobe Premiere Pro CC, Adobe After Effects CC  , Adobe Media Encoder CC, Adobe SpeedGrade CC, Adobe Audition CC, Adobe Prelude CC, and Adobe Story CC Plus. The 2014.2 release offers feature enhancements and updates, including YouTube and Vimeo uploading via Destination Publishing in Media Encoder CC for an easier, more integrated workflow when sending video content to these destinations.

The Premiere Pro CC 2014.2 update includes a number of feature enhancements for editors, including support for Arri Open Gate media, the ability to set transitions and still image default durations in either seconds or frames, and improved GoPro CineForm export. In addition, QuickTime and GoPro CineForm codecs can now be used as sequence preview file formats on Windows

The 2014.2 update of After Effects CC provides more control over text through scripts and expressions. Additionally, based on customer feedback, the team made visual tweaks to the UI such as making the keyframe icons a bit brighter to stand out better against the background.

Along with Destination Publishing to YouTube and Vimeo, the Media Encoder CC update includes updated Vimeo and GoPro CineForm presets, the option to automatically append preset names to output file names, the ability to export audio channels as separate WAV files, and more. Audition CC, Prelude CC, Story CC Plus, and SpeedGrade CC offer a number improvements as well.

Premiere Pro CC was used to edit David Fincher’s thriller Gone Girl, which has been enjoying considerable success at the box office this fall. “When it came down to it, Premiere Pro CC was faster than anything else in the market, said Jeff Brue of Open Drives who served as post-production engineer on the film. “That speed meant more iterations, more time to work on a shot, and more time to perfect an edit.” Many of the features introduced in Premiere Pro and After Effects CC were born of the collaboration with David Fincher’s post-production team on Gone Girl, including new project management capabilities and usability enhancements.”

“2014 has been exciting for us,” said Bill Roberts, senior director of product management. “We kicked things off with Sundance last January and ended strong with Gone Girl. Along the way we’ve been able to add great new features, like tighter workflows between Premiere Pro and After Effects CC, an integrated editing and grading pipeline, and our all-new Adobe Premiere Clip app for making great videos quickly and easily on your iOS devices. We’re happy to round off the year with these new updates adding more functionality, refinements, and an improved overall user experience.”

Learn more about the 2014.2 updates on the product blogs for Premiere Pro CC, After Effects CC, Media Encoder CC, Audition CC, Prelude CC, Story CC Plus, and SpeedGrade CC.

Join Creative Cloud. Or, try it free for 30 days.

12:01 PM Permalink

PLP Architecture: An Innovative Practice and Creative Growth

A leading architecture studio equips its design professionals with Adobe Creative Cloud for enterprise.

Print

PLP Architecture’s, team of architects, designers, and thinkers value the transformative role of ideas and the capacity for architecture to inspire. The latest digital technologies, including parametric design, are integral to the creative process and the collaborative and enquiring design approach of the studio.

PLP Architecture has long worked with Adobe creative software as part of the varied range of creative software helping its design teams and specialist groups to evolve ideas and deliver successful presentations; from visualization artists who specialize in renderings and animations to 3D modelmakers and graphic designers who realize a wide range of communications material.

“Adobe software, particularly Photoshop CC, is at the center of our multiple creative workflows,” says Mark Shattock, IT manager at PLP Architecture. “Adobe software is an important tool used at all stages of the design process and to effectively present our innovative designs to existing and potential clients, consultants, planning authorities, and to both the architectural profession and the wider community.”

Imperial West Technology Transfer Building; White City, London, UK. Client: Imperial College London and Voreda Capital

Imperial West Technology Transfer Building; White City, London, UK. Client: Imperial College London and Voreda Capital

Mainstay software for an expanding design studio

Having typically purchased traditional Adobe creative software packages, PLP Architecture was faced with the issue of making sure everyone had the relevant software solutions to successfully fulfill their design activities.

The studio, limiting the number of software installations in relation to the number of licenses, had to track licenses for the software that moved from machine to machine while remaining aware of the specific applications to which the architects, interior architects, landscape architects, and urban designers had access. At the same time, the practice, having grown significantly since its inception in 2009, repeatedly acquired additional licenses that also needed to be tracked and managed.

Following a period of momentous growth in relation to a number of new UK and international commissions, Shattock considered this need for further software licenses as the opportune time to introduce a concurrent license model with Adobe Creative Cloud for enterprise, rather than continuing to purchase earlier versions of the desktop software.

“The launch of Adobe Creative Cloud offers multiple advantages such as the ability to give everyone access to the necessary software,” says Shattock. “We upgraded the entire practice, at a key time, to Adobe Creative Cloud for enterprise.”

Customizable creative software packages

PLP Architecture realized that Creative Cloud for enterprise would provide the organization with simple and easy access to a broad range of creative desktop applications and services, along with license management tools and enterprise-level technical support. Creative Cloud for enterprise also allowed flexible license true-ups to simplify software-tracking and financial management tasks.

The Creative Cloud Packager allows the IT department to customize and make available software for various design groups depending on their requirements, responsibilities, and tasks while maintaining centralized control of and transparency into software licenses.

“The ability to use Creative Cloud Packager to customize software packages for different groups based on their needs is very convenient,” says Shattock. “From an IT perspective, Adobe Creative Cloud for enterprise makes managing our practice systems much simpler.”

Broad access fuels creative success

Nova, Victoria; Westminster, London, UK.

Nova, Victoria; Westminster, London, UK.

At PLP Architecture, Adobe InDesign CC, Illustrator CC, and Photoshop CC are go-to tools for illustrating projects and design proposals and are used by the graphic design team to present project-specific and communications material, combining a wide range of digital and print media.

The visualization team frequently finishes renderings using Photoshop CC, and produces and edits videos and rendered animations using Adobe Premiere Pro CC (noted by Richard Woolsgrove, head of visualization, for the seamless referencing of After Effects CC files, which makes working with the two products particularly efficient) and Adobe After Effects CC.

Additionally, the software is immediately available through the enterprise license when individuals or a design team wish to explore new applications for particular activities, for example Adobe Photoshop Lightroom CC. “When our graphic design team recently requested to work with Adobe Muse CC, we were able to provide the program without having to negotiate a new purchase or manually install the software,” says Shattock.

Nova, Victoria; Westminster, London, UK. Client: Victoria Circle Limited Partnership (Land Securities and Canada Pension Plan Investment Board)

Nova, Victoria; Westminster, London, UK. Client: Victoria Circle Limited Partnership (Land Securities and Canada Pension Plan Investment Board)

Promoting growth, controlling costs

The enterprise agreement has made it easier to set current costs and to forecast future expenditure on software. New members of staff may be equipped with the most suitable package and costs reconciled at the end of the financial year.

Everyone uses the same version of software, so there are no issues with collaborating and exchanging files, adding to the benefits. “The flexible license model provided with Adobe Creative Cloud for enterprise helps the studio respond to the different requirements of our projects and is much easier for the IT group to manage than traditional desktop software,” says Shattock. “With Adobe Creative Cloud, we always have the most current software versions and no longer have to purchase a piece of software and upgrade later. Ultimately with our enterprise agreement, we know what we spend on Adobe software each year and are able to budget in accordance with the studio’s current and projected workload and activities.”

Read the PLP Architecture case study.

5:01 PM Permalink

Creative Cloud for Desktop: Powerful Design Using Fonts from Typekit

Typography can make or break a design. While many apps provide precise typographic controls, it’s important to start with the perfect font. Adobe Typekit opens the door to thousands of fonts for use on the web or in desktop applications.

SyncFonts_1

Every paid Creative Cloud complete membership includes the Typekit Portfolio plan, which provides access to the full library of web and desktop fonts. (If you have a free Creative Cloud subscription, you still get a selection of fonts as part of the Typekit trial plan.)

To access Typekit fonts, you just need to sign in to your Typekit account with the same Adobe ID and password you use for your Creative Cloud membership.


SyncFonts_2

Quick syncing

The Creative Cloud for desktop app syncs desktop fonts to your computer effortlessly. If the Creative Cloud for desktop app is not installed, you will be prompted to download it when you sync fonts using the Typekit account.

In the Creative Cloud app, navigate to the Assets tab and select the Fonts tab to see your current synced fonts and search for new fonts to add. While browsing the fonts library, you can narrow down the fonts for desktop use by enabling the Desktop Use filter in the filtering panel. You can then sync fonts and use them in any application installed on your computer. For more information, see Browse and add fonts from Typekit.

For information about how to use synced fonts in various Creative Cloud applications, see Work with fonts from Typekit in Adobe Photoshop CC, Adobe Illustrator CC, Adobe InDesign CC, Adobe Premiere Pro CC, and Adobe After Effects CC.


SyncFonts_3

Offline use

Synced desktop fonts are available for use even when you’re offline, as long as the Creative Cloud for desktop app is running and you’re signed in. If you quit the Creative Cloud app, synced fonts become temporarily unavailable; signing out from the Creative Cloud app removes synced fonts from your computer. When you sign in again, the fonts are automatically re-synced from Typekit.


SyncFonts_4

Easy font management

You can view synced desktop fonts in the Fonts panel of the Creative Cloud for desktop app, or manage them through your Typekit account. You can also turn font sync on or off from the Preferences panel of the Creative Cloud for desktop app. For more information, see Manage synced fonts.


Go ahead, sync some fonts, and let us know how it goes. For additional help with Typekit and syncing Creative Cloud fonts, you might find the following helpful:

11:23 AM Permalink

MTunes, Delivering A Unique Viewing Experience in High Def

India’s music channel standardizes on Adobe Creative Cloud workflow to deliver superior quality HD video content.

mTunes_1_Logo

MTunes is India’s first and only high definition (HD) music channel showcasing Bollywood, India’s Hindi-language film industry, music around the clock. A technically superior channel compared to its contemporaries in the music genre, it features the latest blockbuster hits and the most trending tracks of Bollywood in sparkling high definition colors and crystal clear Dolby Digital sound. Launched in 2011, MTunes promises a unique viewing experience and superior audio and video quality.

The channel previously used Final Cut Pro to edit the HD video content received from multiple producers as well as from its in-house shoots. Many of these file formats were incompatible with Final Cut Pro and required conversion to ProRes format. This made the process of video editing and broadcasting tedious and time consuming.

“Besides our in-house shoots, the media we get comes from different external sources and in different formats such as HDCAM 50, P2, or R3D,” says Kalpesh Mehta, head of technical/broadcast operations, MTunes. “We were not able to work natively as Final Cut Pro is incompatible with many of the video output formats.”

In cases when the channel received media files that are incompatible with Final Cut Pro, it either had to ask the sender to resend the file after re-encoding or transcode it before being imported into the editor’s timeline. The loss of visual quality and time was considerable. “We used to spend as much as three hours transcoding the media files and the loss of quality of such transcoded media files was significant,” says Mehta.

With its existing video and audio editing tools, MTunes was facing severe challenges in managing the workflow for large projects. The channel had to use third-party software for multiple tasks such as inserting graphics, processing audio, and exporting the final media files to the HD playout server. It needed a streamlined and efficient workflow for editing the audio and video HD content and for generating the final media files in a format accepted by its HD playout server. “We were looking for an integrated system that would work natively with different file formats to help ensure that a superior quality HD video is broadcasted efficiently,” says Mehta.

Standardizing on an all-Adobe workflow

mTunes_2_Trend
After careful deliberations, MTunes decided to replace Final Cut Pro with Adobe Premiere Pro CC software and standardize on an all Adobe workflow. The channel adopted Adobe Creative Cloud for teams including Adobe Premiere Pro CC, Adobe After Effects CC, Adobe Photoshop CC, and Adobe Audition CC. “We realized that the video apps in Adobe Creative Cloud for teams offer incredible integration, more robust features, enhanced media management, and a greatly advanced, yet familiar user interface in which our editing team can work with higher efficiency,” says Mehta.

For MTunes, Premiere Pro CC is primarily used to import HD media into the system and edit natively without any transcoding with the help of wide range of codecs available. After Effects CC and Photoshop CC link to Premiere Pro CC in a transparent and seamless manner so that graphics can be directly superimposed on the media files. The audio is processed by Audition CC and the final media exported to the playout server.

“When we started really putting Adobe Premiere Pro CC to use, we were pleasantly surprised,” says Mehta. “The Dynamic Link capability between Premiere Pro CC and After Effects CC dramatically speeds our workflow as we can insert multiple graphic elements seamlessly into our songs or shows.”

The channel uses multiple features of Premiere Pro CC, from enhanced multicam editing and support for more native camera formats to multi-format exporting and delivery. MTunes can now export media content to various formats suitable for broadcasting to its playout server, hosting on the website, or sending preview quality clips to clients.

Broadening the expertise of the editing team

The migration to a Creative Cloud workflow went smoothly without any work disruption. Intuitive features such as the ability to use Final Cut Pro 7 shortcut keys while working in Premiere Pro CC helped to smooth the transition. Adobe also held multiple training sessions to train the MTunes team on Creative Cloud apps, specifically on Premiere Pro CC and Audition CC.

Now, with simplified access to all of the components in Creative Cloud, the editing and creative teams are always prepared and updated. Adobe Creative Cloud for teams gives the MTunes team upgrades of the software upon release of new versions, plus exclusive features between releases, enabling them to stay up to date on the video editing tools integral to their daily workflow.

Significant time savings, efficient project execution

mTunes_3_Buzz

The ability of Premiere Pro CC to ingest almost any raw camera format without transcoding has enabled the channel to migrate media from any DSLR and professional video cameras or hard disks into Premiere Pro CC much more easily. One program, Star Of The Week, was shot on XDCAM HD 422 and could be imported directly into Premiere Pro CC for editing without transcoding, preserving quality and saving time.

The amount of time saved with Creative Cloud applications is considerable. “On an average, we save about three hours per project using the video applications in Adobe Creative Cloud for teams—quite significant considering our stringent timelines,” says Mehta.

Raising productivity while lowering cost of ownership

Adopting Adobe Creative Cloud for teams proved to be an incredibly cost effective measure for MTunes. The large capital expense associated with upgrading software licenses often meant such expense was moved down the budget priority list, resulting in outdated software. Further, uninstalling and reinstalling software to move licenses around to different users was tedious and time-consuming.

The Admin Console has helped MTunes eliminate many manual processes, such as installing packaged software or maintaining version consistency. “Adobe Creative Cloud for teams has helped us raise our productivity by simplifying software administration with license management, automatic tracking, and version upgrades,” says Mehta.

For MTunes, membership of Creative Cloud for teams has significantly reduced the total cost of ownership of Adobe solutions by creating a standardized model for purchasing and deploying the most current versions of Creative Cloud applications and services. “We like paying a monthly fee for Adobe Creative Cloud for teams because it’s a much more effective approach to budgeting, especially for small- to medium-size businesses, and it eliminates lump-sum software purchases,” says Mehta. “With access to the latest Adobe applications via Creative Cloud for teams, we can take advantage of new features and support collaboration among users without cost being a barrier.”

Adobe Creative Cloud for teams helps support the channel’s rapid growth and efficiently manage the workflow of large and complex projects. “As the digital world is transitioning from SD to HD and now to 4K Ultra HD formats the need for integrated software with multiple capabilities will continue to expand,” says Mehta. “The video and audio editing tools in Adobe Creative Cloud are perfectly suited for such an environment.”

Read the MTunes case study.

2:14 PM Permalink

Video Production in An Ultra HD World

Adobe Premiere Pro CC and The GoPro CineForm Codec

UltraHD is here to stay as more and more consumers demand content that makes them feel like they are part of an experience. Some analysts think that by the end of 2018, 10% of American households will have 4K capable TVs and by the end of 2024, that number could reach 50%. That means that it’s up to us, as content creators, to start getting comfortable with editing in 4K and 5K—or even 6K—to create Ultra HD content to meet this increasing demand.

The tools we need to shoot, edit and distribute this content are more important than ever. And, because it is not uncommon for a project that just took a few days of shooting to result in one or two terabytes of hard drive space, these big files need powerful software—not to mention bigger hard drives—that can edit the footage without choking.

Compressing Ultra HD with the GoPro CineForm Codec

Although Adobe has been a leader in the ability to edit Ultra HD footage natively within Premiere Pro CC, we realize, when it comes time to working with Ultra HD, that compressing your file format can help your workflow.

GoPro_1

The CineForm codec has been around for a long time and I’ve used it for years. It’s a great finishing codec that provides faster editing without sacrificing image quality. In 2011, GoPro made a camera that supports small formats yet delivers high resolutions. They later acquired CineForm and its codec, known as the GoPro CineForm Codec; with the most recent release of Premiere Pro CC, Adobe After Effects CC, and Adobe Media Encoder CC we’re making it available to you as part of your Creative Cloud subscription.

Learn how the CineForm codec offers Premiere Pro CC users a cross-platform intermediate codec with full support for alpha and large frame sizes of 4K and beyond. We also have an extensive overview on our Premiere Pro CC help website.

On the technical side, the GoPro CineForm codec is a true 12-bit color codec, though it actually has two pixel formats: YUV 4:2:2 at 10 bits per channel, or RGBA 4:4:4:4 at 12 bits per channel. Media Encoder CC will render frames internally at a color depth that may be higher or lower, as appropriate for the incoming source, but it will encode at the true 10-bit or 12-bit color that GoPro CineForm is known for.

It’s interesting to note that the GoPro CineForm Codec has been standardized by the Society of Motion Picture and Television Engineers (SMPTE) as the SMPTE ST 2073 VC-5 video compression standard—the new open codec standard for video acquisition and post production.

You can access this codec easily for projects in Premiere Pro CC: From the FILE > EXPORT >MEDIA menu,  select “Quicktime” as the format. We wrap the finished product in a “.mov” wrapper for both Mac and Windows environments, but it still has all the quality and attributes of the GoPro CineForm Codec. Under the VIDEO tab select the codec you want and among the many familiar ones associated with Quicktime, you will find GoPro CineForm Codec listed. You can watch my YouTube video and see exactly how this is done.

It’s important to note that in a Mac environment, the resulting clips have to use Quicktime 7 for playback. In the example I used in my video for a 3-day video shoot, our 1.1 terabyte project was reduced to 43.69 gigabytes! Playback is outstanding and the quality is there.

Also, my colleague, Tim Kurkoski, wrote a blog post for the After Effects blog on GoPro CineFrom code settings.

I hope you enjoy using this excellent codec.

Visit the Creative Cloud video page for more information about all of our post-production products such as Premiere Pro CC, After Effects CC, and SpeedGrade CC.

10:18 AM Permalink

Really Creative Media: Bringing Events to Life

Media production company, Really Creative Media, uses the integrated software in Adobe Creative Cloud for teams to work with top talent and bring stunning high-tech visuals to live events.

Print

Today’s biggest events and musical acts entertain audiences from all angles, often combining audio and video for exciting spectacles. With backgrounds in theater and video production, Really Creative Media’s co-founders Nick Dew and Jack James are perfectly suited to oversee events that marry live and virtual experiences. The two directors work with teams of expert designers, animators, technicians, and more to bring visual productions to life.

For Really Creative Media, every project is unique with different requirements. “We primarily work with freelancers, so we can combine the best skillsets for each job,” says Dew. “Working with freelancers enables us to work flexibly, but it also means that we need to invest more time and energy to keep everyone on the same page, encourage collaboration, and deliver consistent results—and Creative Cloud does that for us.”

Working as a team

Adobe creative software forms the core of every step of Really Creative Media’s workflow. Whether working on runway shows, touring musical acts, or movie premieres, Really Creative Media relies on Creative Cloud to produce the videos, animations, and intense visual effects that bring shows to life.

Working with Adobe Creative Cloud for teams, Really Creative Media provides its freelancers with access to the latest versions of industry-standard Adobe creative software. “With Creative Cloud for teams, everyone works on the same version, so we don’t need to worry about incompatibilities slowing us down,” says James. The company further enhances collaboration by creating sharable settings and templates that help freelancers adhere to the project requirements.

The Admin Console in Creative Cloud for teams enables Really Creative Media to centralize deployment and manage all licenses from a single location. The company gains visibility into who is using what software, making it easy to reclaim licenses when a project ends and to assign seats to new team members for short-term projects. Once licenses are provided, users can download or update any assigned software without assistance—in the office or on the road.

“To produce truly complementary content for an event, we often need to be on location to fine-tune the timing and effects, so we spend quite a bit of time traveling,” says James. “Previously, we would physically remove hard drives from our work computers and fly them to new locations. With Adobe Creative Cloud, we can log in from a remote computer and sync our work so that we’re accessing the same files, software, and settings that we had in London.”

Backing up a legendary rock band

For a recent project, Really Creative Media supported the world tour of Queen + Adam Lambert with large LED light and video projections.

Queen + Adam Lambert World Tour stage

Queen + Adam Lambert World Tour stage

The creative team used Adobe Illustrator CC for drawing and arraying objects before moving assets into Adobe After Effects CC to prototype visuals, while Adobe Photoshop CC was used to open videos and extract stills and batch TIFF sequences with a specific effect. “With the deep integration among Adobe software applications, edits that we make in Photoshop CC are automatically updated in After Effects CC,” says Dew. “We can spend more time pushing ourselves further creatively and less time exporting files.”

The video portions of the show used significant amounts of archival footage, creating the illusion that legendary Queen vocalist Freddie Mercury was on stage with the rest of the band. “We were working on all types of archival footage—film, tape, you name it,” says Dew. “Adobe Premiere Pro CC supports any file format, so we could just drop footage on the timeline without waiting to transcode hours of video at a time.”

Queen + Adam Lambert World Tour stage with large LED light and video projections

Queen + Adam Lambert World Tour stage with large LED light and video projections

Queen + Adam Lambert World Tour stage with video projections

Queen + Adam Lambert World Tour stage with video projections

Once finalized, Really Creative Media rendered the footage using Adobe Media Encoder CC. Not only did Media Encoder CC render quickly, but it also worked in the background so that creators were able to continue working on the project and make the most out of their time.

Integration and flexibility

Through deep integration with third-party plug-ins and software, including Trapcode and Cinema 4D, especially Cinema 4D integration with After Effects CC, Creative Cloud for teams provides creators with the flexibility to use any specialty programs within the Adobe workflow. In future projects, Really Creative Media looks forward to leveraging the built-in support for 4K resolution footage in Premiere Pro CC to push their presentations visually and provide a better experience for the audience.

“We work with large stage screens, so the ability to work with high resolutions will enable us to deliver sharper and more detailed images for clients,” says Dew. ” Creative Cloud for teams gives us the tools we need to work effectively and push our limits creatively to provide audiences with unforgettable events.”

Read the Really Creative Media case study.

9:53 AM Permalink