Results tagged “editing”
In a previous post, we interviewed Lars Borg, Principal Color Scientist at Adobe, about the intriguing field of color science. In this post, Lars shares a few things that everyone working in video ought to know about color science.
We learned from Lars that “color” is actually an interplay of available light, colors, and the context in which we see them – all of which makes color subjective to a lot of different variables. We wanted to know, with such a deep topic, what ground rules can filmmakers and video enthusiasts derive from color science when it comes to basic color correction and color grading?
Looks are essential in cinematic storytelling
In the past, the film stock played an integral role in creating the “look” or character of a film. In the transition from film-based movie making to digital video, our relationship to color has shifted too. “The concept of the look is integral to film-based photography. You’d pick your film stock, say Fuji Velvia or Kodachrome, because the resulting look was pleasing to you. Some of the ‘look’ stems from the fact that the film’s spectral sensitivities don’t match the eye’s.” For example, some film stocks are overly sensitive to red, resulting in richer skin tones. Now, digital systems can emulate the look of film stocks.
Morph cut is a very powerful new Video Transition in Premiere Pro CC 2015. It enables users to create polished interviews by smoothing out distracting jump cuts without cross-dissolves or cut away footage. To get the most out of this new and exciting feature, here are some best practice tips as well as some advice on what to expect when using Morph Cut in the real world.
Similar to Adobe Photoshop’s Content-Aware Fill feature, users will need to be selective and understand when Morph Cut may or may not work in an ideal way. There are three main requirements to get it to work properly
- A “talking head” interview shot with a single subject
- A fixed shot (minimal camera movement may be OK)
- A static background (includes avoiding subtle lighting changes)
New York based agency fuses music, story, and technology into a psychedelic immersive app using Adobe Creative Cloud for teams and Google Cloud Platform.
Rapper Azealia Banks’ latest single “Wallace” is as inventive as her music and her entire persona. To showcase this innovation, the brand agency COLLINS created an immersive app that lets viewers become part of the video and control Azealia’s movements. Custom software designed by COLLINS tracks the viewer’s facial movements through their web camera, allowing Azealia’s audience to physically interact with the webbased video. About halfway through, the viewer appears in the video behind Azealia. Fans are embracing the experience in droves and posting hundreds of “selfies” of their coappearances with Banks on social media.
Here, we talk with Director Nick Ace and Director of Experience Design Brett Renfer, both of COLLINS, about their roles in creating the unique app and music video experience, with help from Adobe Creative Cloud for teams.
Adobe: Tell us more about your backgrounds.
Renfer: I studied at the College for Creative Studies in Detroit and then went on to work at Rockwell Group, an architecture and design firm. As the Director of Experience Design at COLLINS, I have done everything from responsive architecture to interactive music videos. My job here is to create anything that one or more persons can experience in an immersive way. I love the convergence of physical and digital worlds and learning how people interact when the two come together.
From pitches to prototypes… The applications in Adobe Creative Cloud for teams support every stage of Senior Post’s award-winning projects.
Feathered jackets. Dancing presidents. And of course the ubiquitous tongue. In an electrifying five-minute video for the music video site VEVO, Miley Cyrus connects to audiences by introducing the people and ideas that make her live performances uniquely Miley.
For VEVO, this rare behind-the-scenes look needed to be as dynamic and eye-catching as Miley’s performances. The content channel turned to long-time collaborator, creative studio Senior Post, to give the video the energy it needed. The studio combined music, interviews, and backstage footage to create Miley Cyrus Bangerz (VEVO Tour Exposed). It earned the team a 2014 CLIO Award. With high energy and a keen eye for details, this award-winning video is typical of the work from Senior Post.
Expanding creative focus
Josh Senior began Senior Post with a simple goal: to raise the bar on digital services by providing clients with top-quality video editing and post-production work. Although the Brooklyn-based studio initially focused on the editorial side of video production, Senior Post quickly expanded into finishing services that deliver the crisp images and perfectly synced sound that turn a great video into an extraordinary one.
“We got our start working with brands like VEVO and VICE on music-related content and online videos,” says Senior. “We spent our first few years improving our work and making a name for ourselves for high-quality execution. Winning the CLIO Award was a real game changer, opening the door for production opportunities. We’re now able to offer a one-stop solution for branded content—handling production, editing, and finishing under one roof.”
Working with a team
As the studio’s workload grew and diversified, so did its workforce. The studio works with half a dozen people on an average week, with about fifteen people on set for a shoot. Rapidly scaling the team up and down gives Senior Post the ability to take on a large variety of work across a broad range of budgets.
“We never wanted to price ourselves out of opportunities, and the dynamic flexibility of our business model is the perfect parallel for Creative Cloud,” notes Senior. “We use Creative Cloud throughout our creative process, but our numbers have been growing dramatically,” says Senior. “Just a few years ago, we used two workstations. Now we have five. Adobe Creative Cloud for teams was the next step for our growing business.”
With Creative Cloud for teams, Senior can assign and reassign licenses to freelancers working anywhere. Working on the same Creative Cloud apps and versions keeps collaboration running smoothly. Team members can share assets quickly and easily, no matter where they’re located.
Since the Adobe apps work together seamlessly, different elements of a project can be worked on simultaneously and pulled together for a faster production workflow. Editors cut video in Adobe Premiere Pro CC while sound editors mix the audio track in Adobe Audition CC. Animators import assets created in Adobe Photoshop CC into Adobe After Effects CC to create smooth animations.
“Importing a Photoshop or After Effects file into Premiere Pro that automatically updates as we make changes in the original programs makes combining different types of media much simpler and more efficient,” says Joanna Naugle, Senior Post Lead Editor. “With Adobe Creative Cloud for teams, I can support my teams from anywhere to keep workflows running smoothly and deliver the best content for our customers,” adds Senior.
Adobe Creative Cloud for teams apps contribute to every stage of a project, starting from pitches and prototypes. Working with Adobe InDesign CC, Senior can pull together assets created in any Adobe app to develop an engaging pitch. The smooth workflows and easy integration with Adobe apps enables Senior to use Premiere Pro CC to add assets onto a timeline and quickly prototype video projects.
“Power windows in Premiere Pro CC enable us to quickly set looks and provide an idea of how the story will evolve in a visual way,” says Senior. “Being able to serve clients with moving prototypes helps us better convey our ideas compared to static storyboards. We can deliver more persuasive client presentations that accurately reflect our creative vision.”
Senior is looking at more ways to use mobile apps, such as Adobe Shape CC or Adobe Premiere Clip, to expand creative workflows. “I used Adobe Color CC to capture the color palette of a client’s office and bring that back into the project,” says Senior. “It was an amazing way to tie the video to the client’s brand. I love how the Adobe Creative Cloud mobile apps open up new possibilities for us creatively.”
Delivering original video
After spending years polishing skills on branded content, Senior Post now has the time and opportunity to focus on original works. “Long-form content, by nature, tends to involve very busy periods followed by lulls in activity,” says Senior. “This cycle is a huge asset for us, as we can use the downtime to work on our own projects.”
From narrative comedies like Eavesdropping to the documentary series Life on Mars, Senior Post’s original material has been as varied as its branded work. The studio also encourages its employees to pursue their own ideas, using company resources to help bring dream projects to life. “By reinvesting in our talent, we’re keeping employees engaged and building a team of highly experienced and creative staff,” says Senior. Projects are often featured on Instagram and Facebook, enabling the studio to control distribution to highly engaged audiences.
Looking to the future
For Senior Post, the next big project on the horizon involves a narrative feature entitled 5 Doctors. The studio will handle digital imaging and related workflows, which will require deep involvement throughout the filming process.
The studio is also working with VICE’s creative agency, Virtue Worldwide, to produce a series of pre-roll ad spots for SUBWAY, providing full production and post to a top tier client. By leveraging collaboration through Creative Cloud for teams to its fullest, Senior Post was able to deliver eight pieces of content back to Virtue Worldwide within two days.
“We’re closing the gap between post and production work,” says Senior. “Adobe Creative Cloud for teams is an essential piece to help us increase collaboration while keeping workflows efficient. The apps are allowing us to align more closely with the agencies that engage us, and present a unified package to our clients. Having that extra time to refine stories and beats really makes everything a lot more polished by the time clients’ lay eyes on the work.”
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.
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.
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.
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?
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.