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Top studios ITV Studios and Pukeko Pictures reimagine classic British sci-fi TV series using Adobe Creative Cloud
In 1965, Gerry and Sylvia Anderson introduced the world to adventure, excitement, and a whole new aesthetic look with the classic television series, Thunderbirds. Audiences gathered around their televisions to follow the adventures of International Rescue, led by the Tracy family and their fleet of advanced Thunderbird machines. Combining marionette puppetry and scale-model special effects, Thunderbirds is still one of the best examples of “supermarionation” ever seen on screen.
Fifty years after Thunderbirds debuted, the Tracy brothers are coming back to the small screen in the brand new series, Thunderbirds Are Go. Produced by ITV Studios and Pukeko Pictures, the new series replaces its well-known marionettes with CGI, but combines the animated characters with live-action miniature models developed by Weta Workshop. Producer Stuart McAra and Series Editor Anthony Cox help Thunderbirds Are Go balance modern technologies with retro feel.
Adobe: Tell us about Thunderbirds Are Go.
McAra: Thunderbirds Are Go is a reimagining that is definitely full of love for both the original Thunderbirds and Gerry Anderson’s legacy. A lot of us working on this project grew up watching Thunderbirds, so we’re trying to keep the heart of the story. Even though we’re updating the characters to CGI, the movements are more stylized than naturalistic, which should remind fans of the show’s puppet roots. We’re also mixing the computer animation with lots of fantastic miniature and model work that pays tribute to the original show.
Filmmakers attract 3.2 million YouTube subscribers with high-energy content crafted with Adobe Creative Cloud
When Sam Gorski and Niko Pueringer first started shooting videos together in middle school, they never imagined that their hobby would lead to successful careers as filmmakers. Together with producer Jake Watson, they founded Corridor Digital in 2010. The company’s focus on fast action and amazing special effects has earned it more than 3.2 million YouTube subscribers. In addition to original short-form content, Corridor Digital frequently teams with corporations to bring its unique perspective to branded content.
Adobe: How did you get started making films?
Gorski: Niko and I started making videos back in middle school. We were just making fan films of things that were interesting to us—Star Wars, video games, and that sort of thing. With the rise of online media, we found we were able to make a living at it. If you’d have told us in high school that making two-minute films about video games and putting them on the internet could be our job, it would have blown our minds.
University provides media students with Adobe Creative Cloud for creativity, Adobe Anywhere for collaboration and remote access
It’s an exciting time to be a media student at the George Washington University (GW), particularly for those who enjoy working in their pajamas. In 2014, GW became the first university to deploy Adobe Anywhere in the classroom. Adobe Anywhere is a workflow platform that offers remote streaming video capability, collaborative editing functionality, and version control. The university also acquired Creative Cloud for enterprise to provide individual subscriptions for students at the Columbian College of Arts and Sciences (CCAS), along with GW faculty and staff. CCAS information system analyst Randy Shore has taken a leading role in the project, and is working with Adobe to bring these powerful tools to the world of higher education.
If you are attending NAB 2015, Randy Shore will be giving a presentation entitled “George Washington University: Creative Cloud and Adobe Anywhere for Next Generation Filmmakers” in the Adobe theater on Wednesday, April 15th at 4:30 pm and Thursday, April 16th at 12:30 pm.
Adobe: Tell us about your background and what brought you to GW.
Shore: I got my BBA and M.S. from GW’s School of Business, concentrating in information systems. After I got my bachelor’s degree, I was looking in the field for IT positions. I found a position at GW that offered tuition for grad school, which was very interesting to me! I started working in the CCAS IT department in 2011. GW’s IT system uses a decentralized model; there’s a central division of IT, and each school has its own IT group. CCAS accounts for 70% of the university, and includes the School of Media and Public Affairs (SMPA). read more…
Real-world experience with Adobe Creative Cloud and Premiere Pro CC fuels training expertise
Steele Pictures Studios is based in Los Angeles, California but its Founder Christine Steele works all over the world. Together with other directors, producers, and editors she creates broadcast television content, feature films for theatrical release, and web content. Documentary work is one of her main passions, and luckily it is also the bread and butter of much of her professional work. In addition to producing content, she also loves teaching and training others in the field on how to get the most from the video apps in Adobe Creative Cloud.
Adobe: How has working in the industry influenced your training and consulting services?
Steele: Providing boots on the ground, real-world content has been a spring board for me in terms of teaching, training, and sharing knowledge of how I use Adobe Creative Cloud to create content. When I train, consult, or teach I try to relate my real-world experience to the audience or attendees so they understand that I really get what they are doing. That provides a really balanced experience for them because I’m not just looking at these tools from the perspective of someone who makes software or teaches from a book. I’m actually sharing my personal experience with the tools.
Adobe: What have you been doing recently?
Steele: This last year I helped approximately 120 editors and producers at ABC transition to Premiere Pro from Final Cut Pro. I also went to Sydney, Australia and helped the BBC edit teams transition to Premiere Pro on Adobe Anywhere. That was really exciting because it was the first time that I got to spend days working with people creating content using Anywhere and it was a really cool experience.
Talented artist, rock climber, and activist brings his soulful hand-drawn illustrations to short films, graphic arts, and lifestyle gear using Adobe Creative Cloud
Jeremy Collins gives new meaning to the term “hybrid profession.” He’s a successful artist and filmmaker. He’s also a professional athlete and expert rock climber who has ascended some of the world’s most remote rock walls. His beguiling hand-drawn illustrations and his daring climbs are inextricable: the stuff of his expeditions—maps, mountains, nature, and courage—is the stuff of his art.
Collins uses Adobe Creative Cloud to translate his artwork for multiple uses, from magazine covers and outdoor retail catalogs; to his short films and Meridian Line brand of lifestyle gear. His latest film, Drawn, combines documentary and animation in a globe-spanning story. In all his efforts, Collins strives to inspire people to do good things for the environment and for one another.
Collins will be in the Seattle area on April 20, 2015 for a live performance, film, and book signing at the Neptune theater. Tickets are available through STG in Seattle.
Adobe: How did you get started on this combination of art, filmmaking, and rock-climbing?
Collins: People often ask how long I’ve been an artist. Like anyone else, I started with crayons. I just kept going with it. As I fell in love with mountains and rock climbing, I was able to understand myself more clearly as an artist and became the climber that I am.
Professional colorist maximizes the power of video using Adobe Creative Cloud
Robbie Carman is passionate about color and the power it brings to storytelling. So much so that he established a boutique company, Amigo Media, to focus solely on color correction. His single-mindedness paid off. Washington, D.C.-based Amigo Media has graded hundreds of hours of television, documentary, feature film and political programming. But people looking to glean ideas and information about color need not trek to Washington D.C. Carman gladly and enthusiastically shares his knowledge in multiple venues, from online classes and training videos to books and seminars.
If you are attending the 2015 NAB Show, you’ll have an opportunity to see his presentation entitled “Work Like An Editor Think Like A Colorist” in the Adobe theater, on Monday, April 13th and Tuesday, April 14th at 12:30 p.m., Wednesday, April 15th at 12:30 p.m., and Thursday, April 16th at 10:30 a.m.
Adobe: What’s your background as colorist?
Carman: When I started out, I fell in love with the aesthetic and technical side of editing, solving problems and making shots look better. As NLE tools became more sophisticated, I found myself doing more and more color work in the context of being an editor. Clients kept coming and I realized I wanted to do color full time. In 2005 I founded Amigo Media, and started calling myself a colorist rather than editor.
I’m lucky. A lot of one-man shops do a little of everything: filming, editing, audio, and so on. I’ve been successful doing the one thing I love, focusing on color to enhance video content and help people tell their stories.
One year ago Devin Graham aka Devin Super Tramp was busy traveling the globe, making amazing extreme sports videos for clients. Today, his success, and his YouTube subscriber numbers, continue to skyrocket. Graham now has an established audience, deals with equipment manufacturers, and high profile clients, but he’s not the kind of person who rests on his laurels. In 2015, he’s setting his sights on longer-form content while he continues to inspire others to follow their passion.
Adobe: What have you been up to this past year?
Graham: Our biggest focus has been on growing our audience. In just the past year we’ve expanded from three to seven full-time employees. We have almost three million subscribers and over half a billion views of our videos. The more exposure we get the bigger the brands that contact us.
Experienced editor helps design workflow for daily late night comedy show using Adobe Creative Cloud
After being introduced to the business by his father Dan Dome started working as a tape operator at a post-production house when he was 20 years old. By age 21 he was editing professionally at a time when computer-based editing was just coming on the scene. He learned all facets of editing, from creating promos and editing shows to cutting music videos and creating flashy highlight reels, by working with many clients, including Broadway Video, MTV, VH1, MSNBC, NBC, and NBC Sports.
When the HD buzz started he was working at NBC and landed a position as an editor on Late Night with Conan O’Brien and Saturday Night Live. After a stint in Los Angeles with Conan O’Brien, he returned to New York to launch Late Night with Seth Meyers, the first late night comedy show to launch using Adobe Premiere Pro CC.
Adobe: Tell us about your time working for NBC in the early 2000s.
Dome: It was an eye opening and fun time. I was lucky to have a diverse foundation to draw from to help with all of the facets of post production. I cut remote packages for Late Night with Conan O’Brien, put together pre-taped bits for Saturday Night Live, and did show composite work for both shows. Everyone wanted to work on those shows; I think having a diverse foundation to draw from set me apart from the rest of the pool of editors.
Webby-award winning film team entertains and educates with short films created using Adobe Creative Cloud and Red Giant plug-ins
Red Giant specializes in tools and plug-ins that make filmmaking faster, easier, and just more fun. Red Giant plug-ins are used in Hollywood films, television shows, and national commercials, but they’re just as helpful to independent and aspiring filmmakers. Red Giant’s Head of Marketing Aharon Rabinowitz came up with an innovative new way to reach these diverse audiences. Working with director Seth Worley, the company creates exciting short films that showcase Red Giant plug-ins used in an Adobe Creative Cloud workflow.
Adobe: Tell us how you got involved with Red Giant.
Rabinowitz: I was at Viacom working on production, writing, animation—a little bit of everything. Then in 2004 Creative COW invited me to do an online weekly tutorial podcast on Adobe After Effects. This was before YouTube, so there was really nothing like it at the time. The tutorials were much more popular than I thought they would be. I was able to use that experience to get a job with Red Giant creating training and online content.
Worley: During the last season of Lost, ABC had a contest that challenged fans to create a promo for the series. I used the Red Giant Trapcode Particular plug-in for After Effects to recreate the infamous “smoke monster” from Lost for the promo. Aharon found my promo, took a look at my portfolio, and asked me to work with them. Honestly, my first thought was that I could get some free Red Giant software, which sounded like a great deal to me.
LA Kings production team edits second season of Emmy Award-winning Stanley Cup Moments using Adobe Premiere Pro CC
Only two years after becoming Stanley Cup Champions in 2012, the LA Kings reclaimed the title, winning the 2014 Stanley Cup. With these championship wins, fans of the LA Kings have only become more vocal in their support of the team. Kings Vision, led by Director of Production Aaron Brenner, helps fans gain a better appreciation for their team and relive the highlights with spectacular video content.
After the 2012 championship, Kings Vision used Adobe Premiere Pro CC software to wow fans with a series of video highlights called Stanley Cup Moments, which received three nominations and a win for Sports Feature at the Los Angeles Area Emmy Awards. Brenner and his team have just wrapped up a 2014 edition of the well-received mini-series.
If you happen to be attending the 2015 NAB Show, Brenner will be delivering a presentation entitled “LA Kings: Producing Championship Content with Creative Cloud” in the Adobe theater on Tuesday, April 14th at 9:30 am and Wednesday, April 15th at 2:00 pm.
Adobe: How was the reception to Stanley Cup Moments?