Results tagged “After Effects”
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.
If you’re attending the 2015 NAB Show, don’t miss Dan Dome’s presentation “Creative Cloud and the Daily Delivery of Late Night with Seth Meyers” in the Adobe theater on Monday, April 13th at 11:30 am and Tuesday, April 14th at 1:00 pm.
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.
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?
Entire production process for digital release completed in six months with help from Adobe Creative Cloud
Video game aficionados are no doubt familiar with Dead Rising, a third-person action video game franchise that has sold more than 7.6 million copies worldwide. In 2014, Contradiction Films, which specializes in finding properties in the video game world that can become good feature films, secured the film rights to Dead Rising: Watchtower. The company then locked in Legendary Entertainment’s Television and Digital Media division as a co-producer and Crackle, Sony Pictures Television’s streaming service and television network, for distribution.
With an extremely short production schedule, Zach Lipovsky, the film’s director, began shooting in October 2014 and finished just a few weeks later in early November. Lipovsky brought in former colleagues Andy Levine, who served as post-production supervisor, and Mike Jackson who edited the film in less than eight weeks. To accomplish the aggressive goal to deliver the film in just six months for its March 27, 2015 premiere on Crackle, the team relied on an integrated Adobe Creative Cloud workflow.
MLB’s 24/7 cable TV network helps support 20% year-over-year growth in production demand with Adobe Creative Cloud workflow
MLB Network prides itself on delivering the most comprehensive coverage of baseball anywhere. Since its launch in 2009, the popularity of MLB Network has soared, spurring 20% year-over-year growth in production demand. In 2014, the network adopted all-new editing and post-production technologies to accommodate expansion, boost efficiency, and further raise the bar on quality.
Adobe Creative Cloud for enterprise, particularly Adobe Premiere Pro CC and After Effects CC, are central to the network’s success in staying on the cutting edge of TV production. The network’s ongoing transformation is largely driven by Tab Butler, Director of Media Management and Post-Production; Clive Hayes, Engineering and Post-Production manager; and Chris Schiro, Post-Production Technical Supervisor.
Adobe: What content does MLB Network produce?
Butler: We basically have two seasons, the regular season and off-season. In the regular season we have the job of recording all of the games and creating a highlights factory workflow that produces our content for shows like MLB Tonight, The Rundown, Intentional Talk, MLB Now, and Quick Pitch, which focus on the day’s activities and give a snapshot of what’s going on around the league.
In the off-season we are focused on headlines around free agency and longer-form programming. We have daily news shows such as Hot Stove, as well as High Heat with Christopher Russo and MLB Tonight, and we produce several countdown shows, individual player profiles, and other programming that goes behind the daily game and into more of the storytelling about baseball.
Adobe: Tell us about your new environment.
Butler: Our production needs and volume are growing so rapidly that we really wanted to build a foundation for the future. We are rolling out 50 high-performance Cisco UCS C-240 computers as editing stations—all equipped with NVIDIA cards for GPU acceleration. We are now at 38 HD editing stations and are expanding to 50 HD edit workstations, running the Adobe Creative Cloud suite of products. We also will deploy 250 concurrent licenses for Adobe Premiere for desktop editing. We use a wide range of applications, including Premiere Pro, After Effects, Audition, Media Encoder, Prelude, Photoshop, and SpeedGrade.