Creative team behind OK Go’s viral music video “I Won’t Let You Down” uses Adobe creative tools to visualize ambitious project
Alternative rock band OK Go is not only known for its catchy songs, but also for its highly creative music videos. Since the music video for Here It Goes Again—a single shot of the band dancing on treadmills—became a viral hit and won a 2007 Grammy Award, OK Go’s videography has continued to win fans around the world. Many of the band’s music videos involve single camera shots and precision choreography with inspiration taken from Rube Goldberg machines, animation, and optical illusions.
For the song I Won’t Let You Down, OK Go put together a top Japanese creative team to develop a video inspired by mass games, classic Hollywood musicals, and robotics. The band first brought on Morihiro Harano, founder of Mori, Inc. and a well-known name in innovative advertising and product design, to act as creative director for the video. Harano selected Jun Nishida from Drill, Inc. as the art director and Japanese pop music video director Kazuaki Seki from creative agency ooo.
“OK Go is known for complex videos that require extensive and accurate planning,” says Harano. “Adobe creative software is the foundation for our crucial previsualization process.”
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.
With Creative Cloud, your creative toolset is constantly evolving. Today, we’ve very excited to be able to reveal all-new versions of our digital video and audio desktop apps, coming soon, including Prelude, After Effects, Audition, Adobe Media Encoder, SpeedGrade, and of course Premiere Pro, alongside the introduction of a brand new animation app, Adobe Character Animator, that brings 2D characters to life, and new mobile technology codenamed Project Candy, to create Looks on your phone. Learn more about the other video and audio releases coming to Creative Cloud here.
Watch the overview video, introducing key video features in the next releases:
Adobe will present a special webcast on April 16 showcasing all the upcoming features. Shot right on the NAB show floor, the webcast will provide a chance to see highlights of the release and chat in real-time with presenter Jason Levine and #TeamAdobe. Register now to join us online.
NAB is just around the corner and it’s time to show you what we’ve been working on in Media Encoder, our powerhouse encoding and rendering application.
Our marquee feature for the next release is Time Tuner, which lets you adjust the duration of content without painstaking micro-editing, something that has become more and more important in the age of multiple broadcast deliverables. We sometimes use the term “Adobe magic” to describe those features that really make you go wow – and Time Tuner is definitely one of them.
Set the target duration and Time Tuner gets right to to work, automatically adding or removing frames at scene changes, in sections with still images or low visual activity, or during quiet audio passages. You can change the duration by up to 5% with predictable results, but even up to 10% in some cases.