As users update their Adobe Creative Cloud apps with the 2014 release they’ll be greeted with more than just new features… the splash screens for their favorite apps are also new and feature inspiring artwork from some talented designers. For anyone who hasn’t updated yet (or even for those who have) here’s a preview of a few of the new screens, along with the the inside scoop from the artists who created them:
Kylli Sparre—Adobe Photoshop CC
A self-taught designer, Kylli Sparre was attracted to Adobe Photoshop because of the endless options it gave her. According to Sparre, who describes her style as dreamlike, symbolic, and sometimes surreal, the limitlessness of image-making helped to open up her creativity. The image featured on the Adobe Photoshop CC splash screen is one of Sparre’s personal projects. She knew she wanted to combine the photo of the woman with the location shot, but none of the things she tried worked until she noticed an interesting connection between the two images. After adjusting the angle she was able to emphasize the connection with extraordinary results.
Geso/Pablo IA—Adobe After Effects CC
With a style that straddles art and design, Pablo Iglesias enjoys exploring all kinds of visual disciplines, most recently focusing on more live and video art that combines a range of creative disciplines. For the Adobe After Effects CC splash screen, he first created some graphic elements in Photoshop—a kind of digital illustration recreating a transparent prism with iridescent colors. Next, he generated some video loops with the image in Adobe Premiere Pro CC, using different movements and mirror effects. He then played the loops in a program he uses for live video performance, applied effects such as zoom, RGB delays, and 3D deformations, and captured it all with Syphon. The last step was to make the final edit and composition in Adobe Premiere Pro. The After Effects CC splash screen is one of the frames he captured from the final video.
Črtomir Just—Adobe Muse CC
The design for the Adobe Muse CC splash screen was the result of an experiment. Artist Črtomir Just typically begins all projects by sketching, but moves quickly into the digital realm, working with Adobe Illustrator, Photoshop, and InDesign CC. For this project, he was trying out some new things on his own time, working with abstract 3D shapes that started to remind him of real-world animals. He developed the idea into a series of abstract yet realistic forms.
Nick Taylor—Adobe Flash Professional CC
Nick Taylor’s generative projects tend to follow a similar pattern. He starts by creating several short snippets of code, and when the code produces an output he likes, he’ll flesh it out into a larger program. He often imports vectors from Illustrator or raster images from Photoshop and manipulates them with code. He’ll tweak parameters to adjust color, scale, and composition, save unique PDF files, and take those he likes back into Illustrator or Photoshop for additional adjustments.
The Adobe Flash Professional CC splash screen is one of a number of images spawned from a single program. The program began as a very basic experiment involving a pair of individually-rotating vectors, with the second vector attached to the end of the first. It was inspired by the motion of a double pendulum. Taylor connected a number of these vector-pairs and introduced mouse tracking, allowing him to “draw” unique compositions onto the canvas. He finished the piece in Photoshop with texture overlays and color correction.
Holger Lippman—Adobe Premiere Pro CC and Adobe Audition CC
German artist Holger Lippman’s likes to incorporate rhythm, repetition, and iteration into his projects and says that his artwork is heavily influenced by electronic music. His work process starts with simple code that grows over weeks, and months, even years. The piece of art that appears on the Adobe Audition CC splash screen was based on the simple Peter De Jong map equations: x’ = sin(a * y) – cos(b * x) and y’ = sin(c * x) – cos(d * y)
The artwork chosen for the Adobe Premiere Pro CC splash screen was created using Adobe Flash Professional and programming. Lippman used an iteration algorithm consisting of a three-sided pseudo cube within an X Y matrix. The algorithm is divided down by two on six to eight layers, with randomness in number, size, color, and on/off state. Each repetition of the process results in one iteration, which is used as the starting point for the next iteration. He also coded a slight force to cluster the cubes to create little cloud gatherings.
Patrick Seymour—Adobe Illustrator CC
When Patrick Seymour was four-years-old, his mother predicted that he would be an illustrator. Today, with a degree in graphic design, he primarily works on personal projects and likes drawing the same thing many times using different styles. He typically begins with a picture or hand drawing and traces his lines over it. The illustration selected for the Adobe Illustrator CC splash screen was created using this line style. Seymour drew five or six gorillas and three or four lions. The illustration Adobe selected came from experimenting with different colors rather than using his typical black and white style.
The Creative Cloud Splash Screen collection on Behance.
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.
Pioneering filmmaker Ryan Connolly shares his passion for Adobe’s pro video software.
After graduating from film school, Ryan Connolly started out in a fairly typical fashion: creating music videos and commercials for local clients. He then went on to run the video studio at PC game company Alienware. But rather than continue following the path of most aspiring filmmakers, Connolly came up with the idea to create Film Riot, an online show that would let him share how-to filmmaking tips, get feedback on his work, and ultimately build an audience and a community. His renegade style has earned him a loyal online following and his company Triune Films continues to produce weekly online video content as well as short films and other film projects.
Adobe: What makes you an industry rule breaker?
Connolly: My success with Film Riot lets me be my own boss and do less client work. Not that client work is bad, but at Triune Films we want to be a group of friends having fun, doing what we want to do. We’ve been fortunate enough to achieve that. We don’t have a typical day or week; it really depends on what we’re working on at the time. If things get too normal I get completely disinterested. That’s why Film Riot isn’t the same thing each time.
Adobe: Your name is associated with Triune Film and Film Riot. Can you tell us how they’re related?
Connolly: Triune Films is the parent company that produces Film Riot, along with our other programs and projects. Film Riot is an online training ground for how to make great effects, learn best practices for editing, and we also do video challenges and give out prizes to winners. For me, the big thing with Film Riot is that we’ve built an amazing community; it’s not mandatory, but it has become part of our DNA to be kind, helpful, and supportive of each other in our creative efforts—versus critical. We’ve also built a loyal following on social networks: Twitter, YouTube, and Facebook.
Adobe: Are there other aspects to the business?
Connolly: Yes, we’ve built a brand that caters to indie filmmakers, who are a passionate bunch. We sell T-shirts, color preset packs for Adobe After Effects, sound effects packs—all kinds of things that our audience wants. We’ve also started a weekly YouTube show called Variant that focuses entirely on comics.
Adobe: Which software have you chosen to use over the years?
Connolly: After Effects has always been our go-to for visual effects. For editing, I started using Adobe Premiere Pro right off, and then switched to Final Cut Pro when I went to film school. When Apple introduced Final Cut Pro X that was the end of that.
I’m now back on Premiere Pro CC and its integration with all the Adobe software is amazing. It saves me hours every week because I’m not spending time rendering out sequences and trying to put them back in the timeline and fuss with them. The first time I saw Dynamic Link, I was amazed. If an edit to an effect is required, I just Dynamic Link the change from After Effects CC and have it flow to Premiere Pro CC automatically. The integration among all the Adobe software programs just seems to get better and better.
Adobe: Now that you have Adobe Creative Cloud, which applications do you use most?
Connolly: My main four are Premiere Pro CC, After Effects CC, Audition CC, and Photoshop CC. Every now and again I use SpeedGrade CC for color correction and I’ve also started using Story Plus CC for collaborative scriptwriting, which I first tried because it was available to me through Creative Cloud; it’s the best collaborative scriptwriting software on the market, in my opinion. My designers also use Illustrator CC for title designs and so forth. I have to say, once I got Creative Cloud, I downloaded all kinds of software and kept thinking, “Wow, I can have this, too?” The choices were exciting.
Adobe: How big is your team and what volumes of content do you produce?
Connolly: Today, we have four full-time and two part-time employees. Two of us are editors and we have one VFX expert. The others are focused more on logistics such as shipping, customer service, and social networking. I’m the only all-around filmmaker. I focus on writing, producing, and editing—tossing the heavier visual effects stuff to our VFX artist. In terms of volume, we produce a lot of content between our weekly shows and other projects. We’re doing about three online episodes per week in addition to short films and miniseries-type work. We recently created a short film called Proximity. There’s always a ton going on.
Adobe: How can your team keep up?
Connolly: A lot of it has to do with Creative Cloud. It’s so important to have everyone on the same software versions and be able to bounce everything back and forth on Macs or PCs. There are fewer kinks and version control issues in the workflow and that makes it easier for our small team to stay incredibly productive.
Adobe: How has your audience grown?
Connolly: We’re always looking at our Twitter, Facebook, and YouTube numbers. When the numbers get stagnant, we know we need to switch gears and amp things up. We experienced gradual growth for many years, but over the past year-and-a-half our growth has accelerated. During that time we doubled what initially took us three or four years to grow. We now have 441,000 YouTube subscribers and more than 66 million views of our Film Riot videos.
Adobe: What’s next for you?
Connolly: We plan to get into more new media and online shows as well as publishing comic books. We’ll continue to create short films, but we really want to move into creating full-length feature films. For now, one of the things I find most exciting is to have the opportunity to be somewhat of an online presence. It has been exciting to build a community that is friendly, collaborative, and constructive for creative indie filmmakers.