Sundance Film Festival. Sundance is the largest and, arguably, the most important annual event for independent film in the United States. Over the last few years numerous films, including Precious, Winter’s Bone, and Beasts of the Southern Wild, which premiered at Sundance, have gone on to receive nominations for Best Picture at the Academy Awards. In addition to film, technology is a large topic of conversation at Sundance – filmmakers, aspiring hopefuls and enthusiasts alike share their opinions and preferences regarding the tools they’re using to produce their creative work.
Sundance 2013 was, once again, a huge success for the Adobe video team. There was strong Adobe presence all over the festival and numerous films in the festival were cut exclusively with Adobe video tools (through Creative Cloud!). Creative and technology panels boasted the strengths of Adobe video products and partnerships and festival attendees and filmmakers were proud to make known their plans to switch to Adobe Premiere Pro, if they haven’t done so already.
To learn more about everything Adobe at the Sundance Film Festival check out the videos created on the ground in Park City during the festival – they’ve already garnered over 8,500 views on Adobe TV!
Adobe & Sundance 2013 – Part 1: Sundance filmmakers share why they’ve decided to make the switch to Adobe Premiere Pro and Adobe Creative Cloud: http://adobe.ly/YvQlTH
Adobe & Sundance 2013 – Part 2: Adobe hosted a panel of industry luminaries – here they share how Adobe video tools are helping them and their colleagues succeed in a rapidly changing media industry: http://adobe.ly/111QyiN
Adobe & Sundance 2013 – Part 3: Adobe loves connecting with the community and is proud of our growing partner ecosystem: adobe.ly/XGhA7b
Filmaker Kyle Patrick Alvarez talks about his film C.O.G. The first and only film adaption of a David Sedaris story, for which he switched to Premiere Pro through Creative Cloud membership: http://adobe.ly/VdSaQu
Filmaker Jim Mickle discusses why he switched to Premiere Pro for his film We Are What We Are and why he thinks Adobe Creative Cloud is the best option for independent filmmakers: http://adobe.ly/11gHo19
Director Ross Ching has mastered the art of the time-lapse video and has recently done it in very innovative way. He has created an eerie video series, titled “Empty America,” by removing the hustle and bustle that normally is the heartbeat of major U.S. cities, using Creative Suite 6 applications, Photoshop, After Effects and Premiere Pro. Check out our exchange with Ross on his inspiration and some of his quick video tips.
Adobe: Can you give a quick description highlighting your creative process/creative workflow for Empty America?
Ross Ching: People really find connections with things they recognize in situations that they don’t recognize. It’s almost as if the viewer is in on an inside joke. It’s something that I always try to incorporate into my work, and that’s why time-lapse, super slow motion and stop motion are so prevalent on the Internet. So when deciding which cities to feature in this series, I wanted people who have never even been to the locations to be able to pick out landmarks that they’ve seen before.
What was your inspiration behind the project?
I live in Los Angeles. I drive in Los Angeles. I think about traffic a lot in Los Angeles. A couple years ago, I discovered Matt Logue’s Empty LA photographs. I didn’t think much about it at the time, but every time I was stuck in rush hour all-hour traffic, I found myself thinking, “What if tomorrow everyone’s car disappeared?” What would that scene look like? How would people react? How quickly would the atmosphere rebound from centuries of fossil fuel emissions?
So I took Matt Logue’s still photography concept and applied it to something that I do best — time lapse. That Los Angeles video was very successful, and so I pitched an expansion of it to Thrash Lab, a destination for digital filmmakers created by Ashton Kutcher’s Katalyst Network. They really liked it and believed in my work, and it’s now the biggest set of videos on the channel.
Do you have any useful tips or techniques to share with the community?
When creating something for the Internet, people’s attention span is VERY short. Think about how you look at other videos on YouTube and think about the how long it takes you to either skip through the video or click the back button. Our main goal as a video creator is to get the viewer to watch from beginning to end without skipping or hitting the back button. If they’re able to do that, they’re MANY times more likely to share the video with a friend — and that’s how seeds of viral videos are made. So let’s look at the elements to do that:
Must be short — 3 or 4 minutes or less. I’ve got many other tabs open and my pot of water on the stove is about to boil.
The 10 second hook — Probably the most important aspect. We need to WOW the viewer right off the bat. That means either showing them something they’ve never seen, or some kind of filmmaking technique that’s really unique. Whatever it is, if your friend doesn’t say WOW when you tell them the first 10 seconds of the concept, it’s back to the drawing board.
Sustainability — Once you have them hooked, you need to create a device that pulls them to the end. Some examples: a story, beautiful cinematography, creative art, exciting visuals that are rarely seen. Anything that will get them interested in seeing what happens at the end.
Check out more from the Empty America series on Thrash Lab’s Facebook Page.
Last week was quite the week for conferences. While Photoshop World was coming to a close, we had another team in Amsterdam for the International Broadcasting Convention (IBC). If you missed it, our Digital Video & Audio team has you covered with daily video highlight reels straight from the convention floor.
Friday, Sept. 7
Sunday, Sept. 9
On Sunday, the theme was all about workflow efficiencies, where we highlighted some of our industry partners’ workflow integrations showcased across the show floor.
Monday, Sept. 10
From video streams to revenue streams, Monday was about driving more revenue by getting your video to more viewers, on more devices, with Adobe Project Primetime.
Tuesday, Sept. 11
Tuesday was the last day at IBC, and it was all about collaboration without boundaries. We spent the day taking a closer look at the growing momentum behind Production Premium CS6 & Adobe Anywhere for video, which helps teams work together in real time, across virtually any network with shared media.
IBC 2012 was an action-packed event full of exciting releases and announcements. For more from IBC, check out our IBC Online hub.
For Final Cut Pro or Avid users, now is a great time to switch to the Adobe Creative Cloud and take advantage of our Switch. Save. Edit. promotion. You’ll get 40% off all Adobe pro video tools, including Premiere Pro, plus so much more with your Creative Cloud Membership. The offer ends November 30, 2012. Don’t miss it!
The 48 Hour Film Project is a weekend where filmmakers are challenged to create a short film with limited direction and a simple genre, all to develop a movie in just two days. One of our own employees here at Adobe, Kush Amerasinghe, accepted the challenge for the San Francisco, CA event and opted to use Creative Suite 6 and Adobe Touch Apps within the Creative Cloud in his team’s efforts to create a winning submission. Here’s Part I of our Q&A session with Kush and his film titled, The Bandit:
We change the way we work about once a decade. Back in the ’80s, the introduction of desktop publishing caused a profound shift in the way we communicated with each other. Ten years later, the web changed all that again. In the last decade, we’ve learned that the web isn’t just a publishing platform, but also a way to amplify our relationships with one another. We’ve embraced social networking tools as an organizing principle.
What will this decade hold? The recent wave of touch-based devices has opened our eyes to what’s possible when we step away from a keyboard and mouse. And it’s not just a new way of interacting with a screen, but a new way of thinking about technology. In a world driven by publishing, files and folders made a lot of sense. In today’s world, where we use multiple devices every day that are always connected, we have a new metaphor: the cloud.
To say that the Creative Cloud represents a big change for Adobe is a dramatic understatement. Every part of this company is rethinking what it means to solve problems for our customers and give them the tools and services to create amazing things. Although I’ve only been at Adobe a few months, it’s been remarkable to see so many people embrace so much change. (Honestly, I’m having a blast.)
So let me take a moment to explain what we’ve been up to and where we’re heading. Everything stems from two core beliefs. First, the way in which all of us acquire and manage our software is changing. Waiting a couple of years for updates to our tools is no longer tenable for many users. Our relationship to our software is more like that of a service: continuous improvements through frequent iteration. Second, it’s clear that devices like the iPad are not just for consuming content, but represent the next wave of tools for the creation of content as well. And these new capabilities need tools that have been completely reconsidered. Simple ports of desktop apps won’t do.
Everything you need
To support these new expectations from our customers, we’ve taken some dramatic steps.
A Creative Cloud membership starts with the complete Creative Suite 6 — full, installable versions of the desktop apps. We’ve added Adobe Muse, our new visual web design tool, and Edge, the HTML5 animation app. To this, we added a lot of services such as Business Catalyst for web hosting, Typekit for fonts, and up to 20 gigabytes of cloud storage for syncing and sharing your files. Then, we connected these pieces to help you go from idea to finished product, starting with web site creation and soon, we’ll add access to our iPad publishing service for making digital editions of things like magazines and catalogs via InDesign.
But perhaps the most exciting news is that we’ve made all of this available at an accessible monthly price. Yes, that gets you everything.
With so much software and so many services available to everyone, we took a step back and re-imagined the way we get that software to you. The Adobe Application Manager offers a single-click process for downloading and installing, which feels — frankly — a lot more like the app stores we use every day. And you can manage all of that software with your AdobeID: no more searching for serial numbers — just log in once with your email address and password.
Connected through the Web
All of this is tied together with the website at http://creativecloud.com/. We’ve built a clear overview of everything you get with your membership, as well as a central place to manage all your stored and shared files. But we didn’t just build a fancy file browser — there are plenty of services that let you store files online and view them on the web. Rather, we realized we could differentiate with our intimate knowledge of our file formats. Nobody knows Adobe software better than Adobe. Push a Photoshop file to the cloud, and we’ll parse the layers and color pallet, plus give you tools for sharing, leaving comments, and translating to other formats. Same goes for all our other files — easily page through large InDesign files, view the fonts in your Illustrator docs, and on and on.
We’re also rolling out a set of four touch apps for the iPad today: Photoshop Touch for pixel-level image editing and layering, Ideas for vector-based sketching, Proto for creating website wireframes, and Collage for moodboard layouts. Each of these is tightly connected with our cloud-based storage, meaning every file you create and every change you make is quickly accessible across other devices and the web. You can buy these touch apps at your device’s app store, and we’ll give you a free month of membership when you connect them to the Creative Cloud.
I hope I’ve given you a sense for the journey we’re on. It really is just the beginning, and I’ll be following up with a post on our immediate roadmap outlining all the new things that are coming in the next few weeks. If you’d like to keep up with it all, you can follow this blog, or connect with us on Twitter or Facebook. Of course, we’d like to hear from you as well, so please don’t hesitate to tell us what you think.
We’ve worked really hard on all of this, and we’re really happy with the results. I hope you are as well.
– Jeffrey Veen & the Creative Cloud Team
Jeff is the Senior Director of Products, Creative Cloud. He joined Adobe through the acquisition of Typekit, where he was co-founder and CEO. Read more about Jeff in his bio.
With the arrival of Creative Cloud and CS6 just around the corner, we wanted to give our Fans and Followers a first-hand look at some of the new features they can expect! We’ve put together a schedule of 10 Ask a Pro sessions with details below.
Whether you’re into graphic design, web design and development, video production and/or photography, there’s a little something for everyone! Just remember to register for the sessions of interest. (more…)
Our team is at NAB 2012 this week, where they’re revealing Creative Suite 6 Production Premium –which will be included in the Adobe Creative Cloud membership. There will be first looks and hands-on demos of the suite taking place at the show.
Ask a DV Pro: Jon Carr on using Adobe Production Premium CS 5.5 for Vincent Laforet’s short film, Möbius
Our digital video team hosted a great Ask a DV Pro session last week featuring Laforet Visual’s producer/editor Jon Carr. During the one-hour discussion, Carr shared how he and the team leveraged the Production Premium Suite – specifically Adobe Story, Premiere Pro, After Effects, and Photoshop – to create and deliver Vincent Laforet’s latest film, Möbius.
Hey, Creative Layer readers! Do you have a demo reel that needs a face lift? If so, we invite you to take the Adobe Reel Challenge. It’s easy – just start by downloading CS5.5 Production Premium or Premiere Pro’s free 30-day trial version if you don’t have it already. Then, update your demo reel and upload it to the Adobe Reel Challenge Vimeo page, and voila!