Results tagged “After Effects”
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.
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.
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.
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.
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.
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!
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.
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!
I, Charon, the 48-Hour Film Festival winner:
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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.
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.