Commercial television editor delivers stunning spots using an Adobe Creative Cloud workflow
Our friend Adam Pertofsky at Rock Paper Scissors has been busy these last few months. Since we last spoke with him, he’s completed the third part of the Captain Morgan series of commercials and cut three additional spots, one of which aired during the Super Bowl. We took a few minutes to catch up with him on his recent projects and use of Adobe Creative Cloud:
Adobe: Tell us about the Super Bowl commercial you worked on.
Pertofsky: It is the 60-second “Going All The Way” Coca-Cola spot that aired during the second half of the game. We worked on it with Wieden+Kennedy. I did all of the editing in Premiere Pro CC, as well as some color correction for the client presentation. It is a really sweet, classic spot that a lot of people will be moved by and enjoy.
Adobe: What other projects have you worked on?
Pertofsky: I cut a simple, funny commercial for Chevy that will air during the Winter Games. It was an easy process of working in Premiere Pro to do cuts and throw in some graphics using the Luma Key. I also used the title tool in Premiere Pro to set up a string of options for the creative director to look at and it was amazing and super simple.
Adobe: Did you use any other Adobe tools on this project?
Pertofsky: I’ve been using a lot of Adobe Media Encoder, which I find really fast and terrific. Recently, I was at my daughter’s volleyball practice and I needed to do some unexpected cut downs for the Chevy spot. I jumped into the back of my car, set up the project, did the cut downs, threw them into Media Encoder and was able to upload them using my phone.
Adobe: What’s the biggest project you’ve worked on recently?
Pertofsky: I cut a four-and-a-half minute commercial for Samsung with R/GA San Francisco. In the spot, aliens take over the earth and challenge the world to a game of football (soccer). It is a massive spot with a lot of variations and the version I worked on ties everything together. I used a lot of tools within Premiere Pro and a lot of After Effects CC, which was terrific. Reframing things and putting them in the right position before sending everything to the post house for final finishing was so easy and fast in Premiere Pro.
Adobe: How do you feel about the Captain Morgan series you completed?
Pertofsky: The last Captain Morgan spot came out great and I’m really proud of it. The project involved heavy use of After Effects and Premiere Pro. I love knowing that when I have a big effects gig going I have powerful programs that I can work with to make the offline presentation look good. For the Captain Morgan spot I used After Effects to create a garbage matte around an object that let me move things around easily and quickly, which was a huge help. Moving elements around and reframing is much easier and faster thanks to Dynamic Link; I can line everything up in Premiere Pro, quickly jump into After Effects, and then easily go back and open the project in Premiere Pro again with all of the moves applied.
Adobe: Now that you’ve been working with Adobe Premiere Pro CC for a while, have you made any new discoveries?
Pertofsky: One of the tools that works great in Premiere Pro is mixing on the fly. I can set it up, mix the spot, and it leaves keyframes behind that I can manipulate further later. A lot of times as I’m showing a rough cut to a client I’m actually mixing it in Premiere Pro at the same time. Then when they ask to watch it again, I’m just fixing the mix and it speeds up the whole process. This is also useful because clients don’t have the appetite to look at rough cuts, they want to see it as close to finished as possible without paying for it to be finished. We have to do as much as possible in the cutting room to make it look good. All of the LUTs that are in Premiere Pro are terrific for doing quick color changes.
Adobe: Are there any other tools that help speed your workflow?
Pertofsky: I have an NVIDIA Quadro K5000 and it makes me completely forget about rendering. With everything going in and out of After Effects and adding effects in Premiere Pro, it never slows me down.
A remote team uses laptops equipped with Adobe Premiere Pro CC to edit and package athlete stories
Since the beginning of the Winter Games, Hearst Television has been on site in Sochi delivering general coverage, as well as profiles of individual Team USA athletes. Hearst relies on a tapeless workflow and reporters in the newsroom and out in the field use Premiere Pro, part of Adobe Creative Cloud, to assemble and edit their stories.
The broadcaster moved its news operations to a file-based pipeline four years ago. As part of the transition, it partnered with Adobe for its editing platform combined with a Bitcentral production system.
“We brought people from the stations into the transition process very early, so it worked out well and they were really pleased with it,” says Joe Addalia, director of technology projects for Hearst Television. “In our creative services group the team immediately wrapped their arms around the Adobe workflow; when the creative people start saying how much they love Adobe tools the news people hear them and start becoming champions too.”
Today, 19 of the 25 Hearst stations that produce news use Premiere Pro for day-to-day cutting of news stories. In the field crews are equipped with HP or Dell laptops running Premiere Pro and sometimes Prelude.
This month, the remote workflow is being put to the test: A team of eight people, including a mix of photojournalists, reporters, producers, and a technical lead are working on-site in Sochi putting together human interest stories about athletes who live in the communities where Hearst broadcasts. The team is covering U.S. athletes in their local markets, with additional material delivered to Hearst’s ten NBC affiliates.
“It’s my job to make sure everyone’s laptop does what it is supposed to do in a foreign environment,” says Larry Vancini, Hearst’s technical lead on the project. “Once the crews and teams acquire the news and create a package, I get the finished packages back to the stations and handle any necessary embargoing. If something is shot only for NBC, and only for Louisville, the correct metadata must be present when that package is uploaded.”
Vancini uses Media Encoder to output the proper file formats, including presets he has created for standard definition and high definition H.264. Of the nineteen stations that have Premiere Pro, seventeen of them also use Bitcentral as their production system. Metadata is entered within Bitcentral whenever content is uploaded. Once the material is ready, the network of Bitcentral stations are alerted that the content is available and the remaining stations have access to it via a web browser.
In order to handle the amount of content it’s tasked with creating in Sochi, the Hearst team pre-writes most stories—which helps the team organize their time and gives them the ability to jump on stories that develop in the moment. Reporters may use previously shot content of local athletes and combine it with fresh Sochi footage. Producers laying out the plans have a seven hour time difference in their favor so they can work a day ahead and get direct feedback from the stations, when necessary.
While reporters don’t have the luxury of working a story right until the moment it goes to air, in Sochi only one news package each day is date- and time-sensitive, all other stories can be completed and uploaded a day ahead of time, so the stations have plenty of time to bring them to air. Despite distance and bandwidth constraints, the team is excited to be working on site at The Games and delivering high-quality content back to local stations hungry for coverage.
“We’ve dabbled with the system since the election and also used it for localized coverage of the Zimmerman trial,” says Vancini. “In that case we were in the same time zone and all content was edited locally with Premiere Pro and encoded using Media Encoder. We pushed the files back on a high speed pipe and it worked flawlessly. We’ve taken this model and applied it to our Sochi workflow and it’s going well.”
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Art directors are becoming animators. Print designers are becoming web designers. Illustrators are also photographers and editors who also shoot film. They are the New Creatives, and we are celebrating their work.
With the Creative Cloud our product teams have removed the barriers to creative expression: Designers can build parallax HTML5 experiences. Illustrators are making EPUBs. Photographers are using their cameras and Adobe technology to become filmmakers. And coders have the tools to make beautiful design.
It’s an amazing and interesting time in our industry; people have the ability to self-express, in any discipline, without boundaries. I Am The New Creative promotes the amazing work our community is producing and marks this moment in time as a movement and a celebration of creativity.
One of the most incredible aspects of this program has been watching creative professionals merge their mediums and their portraits to produce “New Creatives” versions of themselves.
There’s something magical about the compositions. As a designer there’s always a part of me in my work, but to personalize my work in this way, to make my work more representative of me, presents an alternative perspective. All of the artists we’re working with are enjoying this experience and are appreciative of our desire to promote their amazing creative output.
Our new site highlights the New Creatives, their disciplines, their work, and their stories.
Visitors to the site can join us and become New Creatives (submissions are made through Behance and curated by our team); we’ll be choosing a number of artists and celebrating them and their work throughout our social properties and on Adobe.com during the coming year.
Be sure to check out the work of the New Creatives, get inspired, and join us.
Animated short film leverages tools in Adobe Creative Cloud
Drew Christie is a new kind of multimedia artist, as comfortable with pen and ink as he is with computers and creative software. Allergy to Originality, which will be shown at this year’s Sundance Film Festival, is a case in point, demonstrating how fluidly he moves between natural media and digital image manipulations.
Combining illustration with animation, the short film riffs on the theme of originality and plagiarism with long passages lifted verbatim from Wikipedia. The piece maintains a natural hand-drawn feel along with the uneven, slightly jumpy cinema of the old silent movies.
“I started creating animation before I knew what animation was,” recalls Christie. “When I was a young child I filmed my Star Wars figures using my dad’s video camera. It just went on from there.”
Creative Cloud is always evolving and ongoing updates are one of the most popular benefits for users. In a fast-changing industry, Creative Cloud members always have the latest versions of the pro video tools as soon as they are available, including feature enhancements and optimized performance.
This morning updates for Adobe Premiere Pro CC, SpeedGrade CC, Prelude CC, and Adobe Media Encoder CC will begin rolling out. The new video updates will become available to Creative Cloud members over the next 24 hours. A new After Effects CC update will follow soon.
Adobe Premiere Pro
Adobe Premiere Pro CC has seen four new releases in this year (June , July , October, and now, December) – all within the 6 months since the CC version was announced. Guided by user requests, the Adobe Premiere Pro CC December 2013 release adds Open CL performance enhancements, media management improvements like multiple Media Browser tabs, new editing enhancements for even greater workflow efficiency, and delivers more intuitive voiceover recording.
“Adobe is committed to delivering the best professional NLE in the industry,” said Al Mooney, senior product manager for Adobe Premiere Pro. “Video pros need tools that keep up with ongoing developments in film and broadcast. That’s exactly what Creative Cloud gives them.”
After Effects CC, the leading motion graphics and visual effects application, is evolving faster than ever with Creative Cloud. “Our team turned around this release in a matter of weeks based on direct feedback from our users,” said Steve Forde, senior product manager for After Effects. “With regular Creative Cloud updates, we’re able to continually evolve and enhance our feature set. Your tools just keep getting better.”
The After Effects CC December 2013 release will offer customizable output of file name and path templates, improved snapping behavior, enhanced scripting options, and the ability to migrate user settings when updating to newer versions.
More updates for video pros
Creative Cloud offers video pros an integrated workflow across the video production applications. The December 2013 releases also includes updates to SpeedGrade CC , Prelude CC, Adobe Media Encoder CC, and Adobe Anywhere for video. Along with performance enhancements, SpeedGrade also offers expanded camera format support in Direct Link mode. Prelude CC has added support for the latest Adobe Anywhere protocols. Adobe Media Encoder now includes Sony XAVC format support, and Adobe Anywhere introduces performance improvements and diagnostic tools for monitoring system status.
Creative Cloud: one million strong and growing
There are already over one million Creative Cloud members with more joining every day. Already a Creative Cloud member? Launch the Creative Cloud application to get started using these great new features. The new updates will be available there within 24 hours.
Not yet a Creative Cloud member? Sign up for a free membership and get access to 30-day trials of every Adobe creative desktop application, including the latest versions of all the video tools.
Want to learn a new creative app? Both free and paid members also have access to cool new training videos, including sample work files, in Creative Cloud Learn to help you get up and running fast.
We’re making Adobe MAX (May 4-8) bigger and better this year. For those who are wondering, “What’s MAX?” – it is THE conference for creative pros. It’s an opportunity for designers, developers, video professionals, photographers, and more to come together to learn about the latest technologies, techniques, and strategies for delivering your best creative work – not to mention the idea exchange and networking opportunities that exist. And it doesn’t stop there.
We have an agenda packed full of amazing speakers, tracks, sneak peeks (yes – you don’t want to miss this!) and more. Choose from over 300 sessions and labs taught by industry leaders and Adobe experts to maximize your creative experience, and even customize your MAX agenda by mixing and matching sessions from all five MAX tracks:
If that’s not enticing enough, we’re throwing a cherry (or two) on top to get you to L.A. Register today using this special promo code: MXSM13, to receive $300 off AND get your hands on a free 1-year Creative Cloud membership.
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!
If you happened to miss any of the sessions, not to worry! Below are recordings of each for your viewing pleasure! Once you’ve had a chance to check out the sessions, be sure to let us know what CS6 and/or Creative Cloud features you’re most looking forward to working with below in the comments, or on Facebook and Twitter. (more…)
We never cease to be amazed by the stunning work created by artists around the world, using Adobe products to help make their art a reality. For our new Creative Suite 6 imagery, we searched across the globe for artists who value creativity above all else, and tapped into their skills and vision to create a humanized interpretation for each of our products. To give back to these artists who devote themselves to their craft, we captured their stories in our Creative Suite Artist Spotlight video series.
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…)