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TV Plus entertains and educates television viewers in northern Germany

From nature conservation to corporate promotions, Adobe Premiere Pro CC helps tell stories

Based in Hanover, Germany, TV Plus GmbH is a production house that creates programs for public television, but also for commercial broadcasters and corporations. Since its founding in 1997, TV Plus has produced hundreds of live shows, fictional dramas, children’s entertainment, late night programming, and documentaries.

Editor and videographer Manuel Sanchez has been a major contributor to numerous productions, including BINGO!, Germany’s first and only environmental lottery game show, Recht So!, and many corporate image films. Today, Sanchez uses Adobe Creative Cloud to produce a variety of video projects for the company.


Hosts of Bingo!

Adobe: How did you start your career and how did you come to work at TV Plus?

Sanchez: I was educated as an editor and camera operator and have enjoyed a steady career of both for ten years. I’ve been with TV Plus since 2008. We have broad-based production experience for online and offline media. We also excel in other areas, including placement, search engine optimization, and evaluation of audiovisual content. TV Plus produces television series for the international market and builds advanced image campaigns and commercials for clients.


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Harvey brothers produce stunning videos for Seattle Seahawks

Video production pros gain clients and recognition for amazing video production work using Adobe Creative Cloud and Premiere Pro CC

For twin brothers Phillip and Kevin Harvey, having grown up in Moscow, Idaho, it was hard to imagine they would one day be standing on top of the Space Needle in Seattle, Washington with Dave Matthews, or in the middle of CenturyLink Field during the NFC Championship celebrations. The path that led them there was paved with both luck and hard work.

After moving to Seattle and starting their own video production company, the two were tapped by the Seattle Seahawks to make videos chronicling the run up to Super Bowl XLIX. Combining creativity and the video applications in Adobe Creative Cloud, the resulting videos successfully channeled the excitement that gripped the northwest.

Harvey Brothers #121729-X3

Adobe: Tell us about your background and how you got into the video production business.

Phillip Harvey: My brother actually moved to Seattle 10 years ago to study acting. He and some fellow students had the idea to start filming videos as a platform for their acting. That’s when I decided to make the move as well, and I joined the group. I wasn’t very interested in being in front of the camera, so I concentrated more on writing and shooting at the time.

Our group made several films and eventually Kevin and I made our first commercial, which we sold on spec, and that was probably the first time we thought, “Hey, we can actually make money doing this?” After that, things just kept progressing. We did a few more on-spec commercials, including one for Pepsi, and even worked with some local musicians like Sir Mix-A-Lot and The Presidents of the United States of America. One video even ended up on MTV.

Adobe: What kind of content are you working on today?

Phillip Harvey: Our projects today are pretty varied. We’re working with Macklemore and Ryan Lewis, we recently did a lot of work for the Seattle Seahawks, and we’ve done videos and exhibits for the EMP Museum, where Kevin is a producer. We also work on our own narrative projects on the side.

Harvey Brothers #121905-2-X3

Adobe: How did you get involved with the Seahawks?

Phillip Harvey: During the regular football season the team needed a couple of promotional videos done for a contest they were running. I’d never been to a professional football game before, so it was quite the jump to suddenly be on the field. Eventually, when the playoffs came around we got a call asking if we wanted to make two videos a week leading up to the Super Bowl XLIX. What followed was a whirlwind of hard work and unique opportunities, including going onto the top of the Space Needle for the raising of the 12 flag.

Seahawks – Dave Matthews Raising the 12 from Harvey Brothers on Vimeo.

Adobe: What was your process for producing those videos?

Phillip Harvey: Kevin and I would try to develop original concepts that fit with what the Seahawks were looking for. On game days we would assemble a team and try to execute the approved concepts. We used a variety of cameras including RED Epics and Scarlets, sometimes using a Movi rig. We tried to get non-broadcast material, things you don’t tend to see when you’re watching a game on TV. We tried to think cinematically. During the NFC Championship game one of our guys was right there for the game winning catch and was buried by the entire team as they celebrated. He got some great footage up until the camera goes down!

Seahawks – I’m In Again from Harvey Brothers on Vimeo.

After the game we had very little time to go through all the footage so we used Prelude to sort it quickly and select good shots. It was also extremely helpful that the Seahawks used Creative Cloud and Prelude to attach metadata to their game footage, so if we needed shots from them we could easily look up a specific clip, such as QB Russell Wilson making a pass. The NFL Films guys are great at capturing the on-the-field action footage, so we often needed to supplement our material with what they shot.

Our workflow usually involved me cutting the video in Premiere Pro while Kevin designed effects and motion graphics assets in After Effects, and depending on which area was falling behind we could jump in and help each other out. We would bounce drafts back and forth with the Seahawks until we finally shaped it into the best video we could. Usually we were refining and re-cutting right up until the video posted. It was an intense pace.


Adobe: What other Creative Cloud applications do you use?

Phillip Harvey: For the Divisional game video we did some work in Photoshop. The big wide shot of the field was initially a timelapse of the CenturyLink Field filling up, shot by F-Stop Seattle. Kevin used Photoshop to make the stadium look empty and then finished it in After Effects to achieve the opening shot in the I’m In Again video, which is probably my favorite video that we did.

We also use Audition, but more for our filmmaking work, and we’ve done a bit of color correcting in SpeedGrade as well. We’re pretty excited about the recent upgrades to the color space in Premiere Pro. Adobe Creative Cloud has enabled our livelihood, and it’s really amazing to think about how much the software has grown over the years.

Seahawks – Still Alive from Harvey Brothers on Vimeo.

Adobe: What are some of the things you like about working with Creative Cloud?

Phillip Harvey: We switched from Final Cut Pro to Premiere Pro around the time Final Cut Pro X was released. We were doing so much work in After Effects at the time that it made sense to switch to Premiere Pro. We really haven’t looked back since.

Adobe: Tell us about your other projects.

Phillip Harvey: We’ve been doing some work for Macklemore and Ryan Lewis, organizing and adding metadata to almost all of the footage that they’ve ever shot, which is quite the task. For that I pretty much live inside Prelude. We’ve also done much of the video content for the exhibits at the EMP Museum in Seattle. We worked on the We Are 12™, Indie Game Revolution, Fantasy: Worlds of Myth and Magic, Star Wars™ and the Power of Costume, and most recently, Infinite Worlds of Science Fiction.

Adobe: What’s next for you?

Phillip Harvey: These past few months have been pretty amazing. Being involved with the Seahawks during the Super Bowl XLIX run, something that’s such a big part of the Northwest, was a great experience. This past year we also won Best in Seattle at the 48 Hour Film Festival for the second year in a row, and film went on to take third place internationally out of 4,500 total films and about 125 city winners.

We were nominated for Best Writing, Best Directing, and we won an award for Best Acting Ensemble. Our film will also be involved in a special screening at the Cannes Film Festival in May. We are also developing our first feature film concept. We’ve been really excited about the opportunities that have come our way, and we look forward to what’s next!

Harvey Brothers award

I, Charon, the 48-Hour Film Festival winner:


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Documentary feature explores the journey of pregnancy in 40 Weeks

Director and Editor Christopher Henze creates his first feature film using Adobe Creative Cloud and Adobe Premiere Pro CC

Christopher Henze learned the ropes of documentary filmmaking from veteran Jeff Gibbs, Co-Producer of Michael Moore’s film Fahrenheit 9/11. When Gibbs challenged Henze to decide what movie to make, he advised him to focus on something personal. At the time, Henze’s wife was pregnant, and it hit him that he could make a documentary that would honor the journey of pregnancy.

40 Weeks includes interviews with women that touch on a variety of physical and emotional topics throughout their pregnancy journeys. In creating the film, Henze ultimately wanted to help women have safer pregnancies and healthier babies. He chose to work with Adobe Creative Cloud, taking advantage of the editing flexibility offered by Adobe Premiere Pro CC. In addition to completing his first documentary feature film using Adobe Creative Cloud apps, Henze and his wife have also launched the website to continue providing resources for pregnant women and new mothers.


Adobe: When did you first become interested in filmmaking?

Henze: I realized I was supposed to be a film director when I was 10. My dad is a still life photographer who at one time wanted to become a director of photography. I spent time around movie sets with him and remember asking about the person who was telling everyone what to do. My dad described what a director does and I said, “That’s what I’m supposed to do!” I feel like I’ve been on a path my whole life to reach this point of directing a film.

Adobe: How did you get to the point of realizing your dream?

Henze: Early in my career I worked in marketing and advertising, which led me to create my own company. I met Jeff Gibbs shortly after the release of Fahrenheit 9/11 and started working with him on his next project. He took me under his wing and taught me how documentary films were made and how to tell a story. I applied this knowledge to my film, 40 Weeks, which I saw as a way to give back to my wife and all women.


Adobe: Why did you switch to Adobe Premiere Pro?

Henze: I was an Apple Final Cut Pro 7 user and when Final Cut X came out I was really excited, but quickly realized it wasn’t ready for anything professional. The logical switch for me was Adobe Premiere Pro. It wasn’t a big leap to go from Final Cut Pro 7 to Premiere Pro, which was great.

Initially, I wanted to see if Premiere Pro was robust enough to handle the workload of a major movie. I used it to edit some commercials, industrial films, and music videos and was immediately comfortable with it. Adobe’s integration with RED cameras became the tipping point for me. It was thrilling to have something I could believe in after abandoning all of my years of experience with Final Cut Pro.

Adobe: What was the benefit of working with Premiere Pro to edit 40 Weeks?

Henze: I knew I wanted to have a lot of spontaneity with the footage. I love how Premiere Pro lets you bring any type of footage into your timeline in its raw form. I had 600 hours of footage for the movie, mostly recorded raw with RED 6K and 5K cameras so I could unobtrusively capture a wide frame. I also incorporated footage from other cameras, including iPhone shots from the mothers. The movie has a feel that is very natural and the tools I used for capture and post-production had a lot to do with that.

With the ongoing Creative Cloud updates, Premiere Pro kept evolving into exactly what I needed to accomplish my film. If I had the green light to do this project six or seven years ago none of this could have happened. Technology has crested so we can edit this quantity of footage efficiently, with high cinematic quality, and put out something that is really good.


Adobe: What other Adobe Creative Cloud apps did you use?

Henze: I used Premiere Pro for assembly, SpeedGrade to color correct, Illustrator for graphics, Audition for my voice over recording, and Photoshop to look at shots in detail to make sure colors were correct. All of the Creative Cloud apps worked together to allow me to make the movie.

Framing and color can really change the emotion, especially when people are talking about very intimate and profound subjects. Shooting wide let me push in and reframe shots in Premiere Pro to help tell the story. I think the way something looks changes the way you edit it, so the closer you can have your footage to how it will look when it is final the better editing decisions you can make. I really like how SpeedGrade is integrated with Premiere Pro via Direct Link, making it easy to apply color adjustments early in the process. Even if changes are needed after the color correction is done, it’s easy to conform.


Adobe: What is Big Belli?

Henze: When we realized the untapped opportunity that 40 Weeks represented my wife suggested creating a community that puts high-quality information in front of women to help modernize the way they are being supported in pregnancy. The website focuses on the incredibly important 1,001 days from conception to two years. Our sponsors were happy to have us use part of their investment to create the community because it keeps their voice in front of their target audience.

Adobe: How does Creative Cloud help you with content for the website?

Henze: We weren’t able to include all of the interviews in the film, but we can include them on the website. We’re going through the Premiere Pro timeline for each interview and adding metadata related to what each interviewee is talking about. We have editors working simultaneously, with one adding markers and another grabbing footage. This makes it easy for us to make a short webisode about a particular topic, such a stretch marks. Premiere Pro is the hub that helps us tell different stories.


Adobe: How many people worked on this project?

Henze: We probably had 20 people working on the film, from editors and producers to casting and crew. I purchased Adobe Creative Cloud for teams, which made it easy to administer the software, especially for one of our editors who worked off site. Big Belli also has full team focused on social networking, sales, and administration, working flat out to move this forward.

Adobe: What’s next for you?

Henze: Our focus is still on advertising 40 Weeks, which is available on iTunes, Amazon Prime, and our website. People all over the world are buying it. We’re also ramping up to make a sequel to 40 Weeks called One, which covers the first year of a child’s life. We’re exploring creating it as a 13-part series.

Watch the 40 Weeks trailer

Visit Big Belli


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Dado Valentic blurs the lines between still and motion imagery

Master colorist and artist bring magic to cinema and fashion with Adobe Creative Cloud

Dado Valentic worked as a producer and DJ before discovering the world of color grading 10 years ago. The industry looked very different at that time, with only four color grading studios in London, so getting started was challenging. He learned his craft in Los Angeles before moving to London and opening his own company called Mytherapy.

Today, he holds the status of master colorist and teaches other colorists specific methods for working with color and color science. Valentic has worked on 60 feature films, hundreds of commercials, and actively engages with fashion industry clients to develop everything from online brand videos to billboards. In addition to his London facility, he recently opened a small studio in New York City, both of which employ a full Adobe Creative Cloud workflow.

Dado Valentic

Adobe: What is your ultimate goal when you are commissioned to work on a film or commercial?

Valentic: I strive to understand the story the cinematographer is trying to tell and what mood needs to be created, and then develop color recipes that convey the story’s essence. This often means adopting a more analog way of rendering and displaying digital imagery so that it looks like film.

Adobe: You have a unique color aesthetic. Can you tell us more about it?

Valentic: I see my job as bringing the soul back to digital imagery. Digital images are crisp, detailed, and clean, but there is often an issue because viewers do not feel an emotional connection to the still or video images. There’s a whole group of people who prefer to listen to music on vinyl records or tapes or play music through old amplifiers because the music sounds richer. The need to experience more richness and depth is true of imagery, too.

Adobe: How are you using Adobe SpeedGrade CC in your work?

Valentic: SpeedGrade over the years has been our secret weapon and inspiration. We love the ability to create stylized color looks in SpeedGrade or Photoshop and bring them directly into the Premiere Pro timeline.

On set

Adobe: You are known mostly for color correction in cinematography, but have branched out into other areas that span both still and motion imagery. Can you tell us more?

Valentic: Everyone here at Mytherapy loves to explore the gray area between still imagery and cinematography. We have created many innovative cinemagraphs, or still photographs with subtle animated movement. Cinemagraphs are an emerging art form that really captures people’s attention. Imagine receiving an email from a brand that includes high-end still imagery with motion. It’s something unexpected that delights consumers. The disciplines of still and motion imagery are converging, and this trend really inspires us.

Adobe: What do you see happening as your clients expand into a variety of new digital media?

Valentic: Take a brand such as Vogue or GQ. They are now hosting videos online and attracting huge and exponentially growing numbers of viewers. Video content is expected today; it really isn’t optional. Brands also are repurposing assets into everything from cinemagraphs to 15-second Instagram videos, blogs, and billboards. Every visual or video has to have the same quality, look, and feel. That is where we come in. We serve clients at the crossroads of multiple media types, and it is a very exciting place to be.


Adobe: Tell us more about your workflow.

Valentic: We used to take images after a shoot and start working on them, but now our work starts on set. We start creating assets on the set, manage the look and color and feel on the spot, and match video to still imagery coloring and styles provided by photographers. We can typically provide a great-looking proof showing the look we’re striving for and obtain sign-off on the direction before we leave the shoot.

Adobe: How does Creative Cloud help with your ability to serve clients faster and more effectively?

Valentic: Creative Cloud helps us collaborate much better as a team. We do a job on set and upload it to Creative Cloud and the team in the studio can open it straightaway and start working. Especially in the fashion industry, we can work with clients who may be in New York, Paris, or London—they are typically not located in the same place. We can log in no matter where we are and get access to all of the settings and profiles of our color science, which is amazing.

Adobe: What are your mainstays in Creative Cloud?

Valentic: We use Photoshop, Premiere, and SpeedGrade day in and day out. After Effects and Photoshop are our main tools for creating cinemagraphs and we also use Prelude for data wrangling. The unsung hero for us is Media Encoder. The importance of compression for delivery of images and footage to the right devices cannot be overstated. We have to resize media files and make sure the color is perfect for viewing across a wide variety of outlets—all while maintaining metadata. Without Media Encoder, we literally would not be able to complete most of our work.

Adobe: Can you tell us more about your use of Premiere Pro?

Valentic: One of the main advantages for us is its integration with RED, our primary digital camera. It’s amazing that we can throw 6K RED files right onto the timeline without transcoding. After a client shoots a scene, we can play it and start working with it in real time on a laptop without stutters or delays. That capability was science fiction just a few years ago.

Adobe: How are you using Photoshop in your video workflow?

Valentic: We rely heavily on Photoshop to apply curves and select colors, then export files and load them onto the Premiere Pro timeline. I can apply the same transformations and color looks created in Photoshop to the world of motion imagery. The stills and motion files match exactly.

Adobe: Photoshop just celebrated its 25th anniversary. How has the software affected your work as a creative professional?

Valentic: Adobe has grown very large and could have easily fallen into the trap of being a company that does not need or want to innovate. But Adobe continues to deliver so many great breakthroughs that I typically take days off work to play with and learn new features that inspire and empower me. Adobe gives us mind-blowing features, especially in the case of Photoshop. New features in Photoshop make us want to explore. In fact, I don’t think the whole idea of the cinemagraph would have been realized without support for video in Photoshop.

Adobe: What cool projects have you worked on recently?

Valentic: We just launched a new TV screen for Panasonic in a campaign involving still and motion images. We created several motion loops for outdoor advertising, including content for a 30-meter-wide screen in a train station and large screens in airports. The challenge was interesting, because we had to create an immersive experience worthy of the screen we were promoting.

Additionally, our New York office is working on a new series of brand videos for Ralph Lauren that we’re enthusiastic about. We’re also working on an amazing feature film, Absolutely Anything, a British comedy/sci-fi that’s due out in May 2015. It is Robin Williams’ last performance, and the Monty Python team is behind it. This is a monumental film project for us, and we couldn’t be more excited.


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OK Go takes music videos to new heights

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.”

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“Thunderbirds” blasts back to the small screen

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.

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Corridor Digital delivers action and intensity

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.

Corridor-Digital-1Sam Gorski and Niko Pueringer

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.

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The George Washington University adopts remote access model with Adobe Anywhere

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.GW-5

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…

Christine Steele: practitioner and trainer extraordinaire

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.

Adopting a Fully Adobe Creative Cloud Workflow Anchored by Adobe Premiere Pro CC


Christine Steele


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.

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Jeremy Collins fuses passion for art and athleticism

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.

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Creatives all over the world are producing amazing work with Premiere Pro -

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Ask a Video Pro Webinars

What’s Next for Adobe Pro Video Tools - webcast presented by Jason Levine from NAB Show 2015

Thursday, April 16th | 11amPT

Recent Sessions

Managing Video Formats with Adobe Media Encoder - presented by Joost van der Hoeven

The Filmmaking Workflow with Premiere Pro & Creative Cloud - presented by Christine Steele

Secrets to Running a Great Wedding Video Business - presented by Summeyah & Jawad Mir

Blurring the Line Between Indie & Hollywood - a panel discussion featuring Rob Legato, Dave Ginsberg, Kyle Alvarez & Meagan Keane at Sundance Film Festival 2015.

After Effects for (almost!) Everyone - presented by Joost van der Hoeven.

Bring Color Grading to Your Editorial Workflow - presented by Patrick Palmer.

LOG and RAW Workflow & Adobe Tools presented by Robbie Carman

Boost Your Career with a Killer Reel presented by Rod Harlan