Results tagged “music”
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.
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.
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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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.”
In-house video team brings fans closer to the action than ever using Adobe Creative Cloud
From athletes to rock stars, Rockstar Energy Drink is made for people who live active lifestyles. Available in more than 30 countries, Rockstar has sold billions of cans worldwide. Like its name suggests, Rockstar is a brand built on excitement and action, and the company reaches its audience by sponsoring a wide range of sports and music events all over the globe. Rockstar’s video team delivers intense videos that capture the thrill of speeding around the BMX track or hurtling down snow-covered peaks.
Travis Valtierra on Switching to Premiere Pro:
Editor Andrea B. Scott cuts hip-hop fashion documentary using Adobe Premiere Pro CC
Hip-hop is more than a musical genre, it is an entire subculture that includes unique musical and vocal styles, dance moves, and distinctive fashion. Director Sacha Jenkins created Fresh Dressed, screening at the 2015 Sundance Film Festival, to document the history of hip-hop fashion from its birth in the South Bronx to its rise as a billion-dollar industry. The film is produced by CNN Films and accomplished editor Andrea B. Scott cut the film using Adobe Premiere Pro CC.
Adobe: What is Fresh Dressed about?
Scott: Fresh Dressed outlines the evolution of hip hop fashion, featuring in-depth interviews with people crucial to its evolution, supported by a lot of great archival materials. The vibe is thought-provoking while still being fun and energetic. Viewers will recognize familiar faces and musical tracks.
Multi-platform media company produces premium sports, culture, and lifestyle content with help from Creative Cloud
From its start selling energy drinks, Red Bull has expanded into an international brand with streaming video through Red Bull TV, the Red Bull Records independent music label, and sponsorship of dozens of athletes, teams, and events. For the past seven years, Red Bull Media House, a subsidiary of Red Bull, has overseen all of the company’s communications and media, taking Red Bull to the next level as a full-fledged lifestyle brand. Andreas Gall, the chief technology officer at Red Bull Media House, gives wings to emotional content that connects people with the international Red Bull brand.
Adobe: How did Red Bull Media House get started?
Gall: About seven years ago, I met with the CEO of Red Bull, Dietrich Mateschitz, and he asked me to be part of Red Bull Media House. The idea was that we would pull together the print, video, audio, and digital projects across Red Bull and concentrate all of that fantastic creative energy in one location. I have a lot of experience in broadcast media, so I understand how to bring stories to life. From the way I see it, my job is to keep on top of technology and technological strategies to push the envelope on how we explore people, stories, and ideas.
Adobe: What does Red Bull Media House do?
Gall: We handle all of the communications for the entire Red Bull family of companies. That includes especially coverage of Red Bull’s events, from sports to music and more. We’re much more than just TV commercials and magazine ads. We produce exciting short and feature-length films, engaging video magazines, and even deliver live coverage of international events through Red Bull TV. If you look at the Red Bull Content Pool, we have a massive online archive of more than 120,000 assets produced by Red Bull Media House—and we’re adding new content every day.
Much of our content covers high-action sports, which has been the core of the Red Bull DNA for years. We’re always looking for new ways to find really emotional content and bring our audiences closer to the athletes’ experiences.
Adobe: Why did you make the switch to Adobe Creative Cloud?
Gall: If there’s anything we know at Red Bull, it’s the importance of pushing the limits. We have a lot of great ideas that we’d love to see—like enhanced visualizations and biometrics—that don’t have a solid technological answer yet. That’s why it was much less important for us to find a system that worked for where we are now, and more important to find a motivated partner who was willing to work with us to change the media world.
I really like how open Adobe is to exploring with us. Adobe comes from a very creative background, so the product development teams are very interested in ideas and concepts that will lead to new creative expressions. We’ve had meetings with Adobe about working with Premiere Pro and XMP, and we’re starting to paint a picture of how we want to evolve together.
Adobe: What Adobe applications are you using?
Gall: We’ve had people working with Adobe Photoshop and Adobe After Effects for years, but the biggest change has been our switch to Adobe Premiere Pro CC. It’s going to be central to the architecture that we’re planning with fast edits and fast production. Once we’re fully switched over, we’ll standardize on Adobe Prelude CC to streamline production even further. With everything going through Prelude, we’ll reduce ingest and make edits considerably faster.
We’re starting to dive into the rest of the applications available in Creative Cloud as well. There’s been a lot of interest in Adobe Story CC and Adobe Anywhere to encourage creative collaboration around the globe.
Adobe: What is the future for Red Bull Media House?
Gall: We’ve got some ideas for how we want to move forward. For example, we think it would be fantastic if we could really connect athletes with fans by giving athletes the ability to create and upload their own media. This is just one of many ideas we’re exploring, and Adobe is with us every step of the way.
Check out the video interview with Andreas (Andi) Gall of Red Bull Media House:
For the past decade, Jason Harvey has lived the life that many video engineers would envy. After developing his skills and expertise in video production for corporate, trade, and live events, he landed a spot on with Cher on “The Farewell Tour.” Since then, he’s traveled with many high profile artists, including Lady Gaga, Bon Jovi, Christina Aguilera, Pink, Paul McCartney, and Madonna, managing the video systems, cabling, and cameras involved in their massive concert productions.
Over the years, Harvey has been given some freedom that allows him to work with artists on playback and even create some content for the shows. For the past year and a half, he’s worked with PRG Nocturne as a video engineer on the Bruno Mars tour, while managing his production company Short and Spikey on the side.
The Bruno Mars show is 100% pre-made by a variety of content providers who work on different elements of the show before the tour begins. After a tour has been on the road for a while, it’s not uncommon for the artist to want to change or add content. When Bruno Mars recently decided to add some new elements to his show, Harvey was selected to create a new piece of content for the song “Show Me.”
“The project was made up of ink drops and shockwaves from Video Copilot,” explains Harvey. “I used Adobe Premiere Pro CC to track lay the images in time with the audio, and then exported the timeline to After Effects CC for all of the color correction, repositioning, and sizing.”
Harvey used bright colors for the drops and waves. The reference from the artist was the colors of red, yellow, and green to match the Rastafarian feel of the song. The colors were added to the drops and waves in After Effects CC to complete the look. After exporting and showing the content to Bruno Mars for approval, Harvey only had to make minor changes to the sizes of some objects before re-rending the project for the final master.
“I used Adobe Premiere Pro for 90% of the project and it played an essential role in getting all of the timing for the music correct,” says Harvey. “I was very lucky to have the opportunity to work with Bruno and his management on this content and it’s great to see it playing in the show every night!”
Harvey continues to work with Adobe Creative Cloud and looks forward to exploring more of what the video applications have to offer when the tour concludes in September. “Adobe continues to innovate and it’s always great to explore the new features that are regularly available through Adobe Creative Cloud,” he concludes.
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Workflow based on Adobe Prelude, Adobe Premiere Pro, and MediaSilo speeds content distribution to more outlets
With the CMT Music Awards airing tonight, we thought you might be interested in learning about how the production team behind these award shows captures, edits, and distributes all the great supplemental content. From red carpet interviews to show promos, the content needs to move quickly and reach a range of media outlets. Here, Jason Pattan, director of content production and technology management for MTV Music Group, talks about how that workflow has evolved to include Adobe Prelude, Adobe Premiere Pro, and MediaSilo, and has improved both accessibility and speed of delivery.
Adobe: What do you do as director of content production and technology management?
Pattan: My title is a really long winded way of saying I’m a workflow guy. I find different tools to make production life easier, try them out, and do real world testing before rolling them out to our general production community at MTV. My job is to figure out what works and what doesn’t before deciding to do a live show with it.
Adobe: How does MTV Music Group work with MediaSilo?
Pattan: We’ve been working with MediaSilo from a review and approval standpoint for a while. We were initially using it for basic production – getting rid of DVDs in our workflow, sending clips out, and getting people working in a collaborative space that they could access anywhere they have an internet connection. During this time, we noticed that there was a lot of functionality available through the MediaSilo platform that we could exploit for different types of production needs. We started wondering how we could work it into our live shows and big events.
Adobe: Tell us about the live shows and “red carpet workflow” needs.
Pattan: Every quarter we have what we call tentpole events, which may be a large show such as the CMT Music Awards, Video Music Awards, the Woodies, VH1 Divas, and more. We know how to make the TV part of these productions, we’ve been doing it for years, but there is also a lot of ancillary production that goes into those shows and there’s a lot of work we can do to make it better. At all events we have press areas where people go after they’ve won the awards. We do basic interviews and our goal is to use the interviews internally and distribute to press outlets as well.
In the past, our team would shoot a red carpet event, run to the satellite truck to upload the footage, do some editing, and then have the feed grabbed by whoever needed it. This worked well for television programs and broadcasts, however it wasn’t effective in getting content on websites and social channels quickly. We also encountered problems with the uploads not reaching the correct satellite feeds and it could take more than three hours post-show to get two hours of footage uploaded. I’ve spent many nights sitting in a satellite truck at 2 a.m. trying to upload content.
Adobe: Why did you feel you needed to make changes to the red carpet workflow?
Pattan: Our red carpet workflow made sense 10 years ago when we were just sending content to media outlets with the right infrastructure to download it from the satellite. But today, we need to get content to blogs, websites, and other outlets that aren’t going to pay to download the content from the satellite.
Adobe: How did you start to modify this workflow?
Pattan: We wanted to create a faster, more accessible solution. Our first step in this direction, was capturing the footage digitally, rather than on tape, and using firewire to transfer it to a laptop. We still fed it into the satellite and played it out, but we also posted a proxy on the MediaSilo site. We put the proxies up and embedded a MediaSilo player in the MTV press page. Our audiences could view the content, but they still had to be on the satellite if they wanted to grab the footage. It didn’t solve the problem, but it helped everyone start thinking about online distribution.
Adobe: What was the next step in modernizing your workflow?
Pattan: We still wanted a way to get content out to everyone in a way that didn’t involve sitting in a satellite truck at 2 a.m. Every year, we cover the MTVU Woodie Awards at SXSW. Everyone important to college music is there, and we interview all of them. From there, the team took the content from the file-based camera and fed it into a laptop. We then ingested the clips into Adobe Prelude and entered basic metadata that the team wants on MediaSilo and that also tied back to the internal asset management system. Interviews contained content for a variety of outlets, including press, internal teams, international audiences, etc. The need to deliver content for multiple stakeholders increased the need to move quickly and efficiently in a small mobile location.
With Adobe Prelude, we were able to make subclips for each stakeholder, tag them appropriately, and transfer the footage to Adobe Premiere Pro. From there, it was edited and uploaded to MediaSilo using Adobe Media Encoder. The MediaSilo content distribution portal is where all of the press outlets and internal teams went to fetch the broadcast-quality content that was ready for distribution. In this way, all departments that weren’t being serviced were now able to secure content. By the time the last interview was done, the upload was completed within 20 minutes.
Adobe: What is the advantage of using Adobe Prelude?
Pattan: Adobe Prelude is a separate logging tool, accessed through Adobe Creative Cloud, with a simple interface for logging quickly without worrying about a full NLE. In Adobe Prelude, we can do a transcode on ingest, make the proxy, rename files, and move them to a different destination. In addition, when content is ingested in Adobe Prelude we can set up metadata profiles with pre-set values. Basic fields correspond to the clips being ingested. When creating subclips, Adobe Prelude gives an entire view of the asset and the subclip within the media file. It also makes it easier to add comments and organize. Once this is done, sending content to Adobe Premiere Pro is a more efficient process.
Adobe: How is the workflow between Adobe and MediaSilo?
Pattan: Adobe Media Encoder allows you to set up an FTP destination, which can be set to MediaSilo’s Amazon S3 account, where files are automatically imported along with embedded XMP. MediaSilo accepts direct FTP with embedded metadata, so it is extremely efficient. The XMP support in MediaSilo is key to this workflow. We can capture all metadata at the point of ingest in Prelude, and it is automatically carried through into MediaSilo through the automatic XMP import, and then published on the Portal. It’s great because it reduces the number of times the video and metadata has to be touched, and allows us to decide which items are published to the portal, as well as deciding what information is displayed on the portal, all from the point of ingest.
We used MediaSilo’s open API and portal sample to set up our own media portal for distribution and video sharing, internally and externally. In combination with Prelude and XMP support, the full end to end solution provides maximum efficiency from shooting the video to publishing it online.
Adobe: What does this new workflow mean to outlets that want this content?
Pattan: This enhanced workflow enabled us to distribute a large amount of content in a very short amount of time. Anyone can access what they need simply by going to the portal and downloading the XDCAM footage. When a show is live to tape, which means it is airing a few days later, making the content available quickly means that people can begin cutting additional promos and do other work that will help drive viewers to the show. From a press perspective, content can appear on third party press sites hours after the show has aired. Previously these outlets would have only been able to include written content, or posted the video interviews days after the event.
What I like most is that I can show up at an event with just hand-luggage, instead of a satellite truck. Time from red carpet to air is minimized, and labor and manual steps are minimized. Plus, with the time I saved, I got to go to the SXSW after party!
Adobe: What are the future plans?
Pattan: This new workflow has really changed the way we work with these events. What started out as a trial program has been proven and is now our standard workflow and the one we’ll be using for the CMT Music Awards. End users now expect to receive a link they can use to download content. We have plans to enhance the workflow with more search functionality and more detail.
Right now, the audience for the portal is primarily Viacom’s press outlet partners. That said, there are plans to grow this solution into a lightweight dailies solution, and to grow the audience of the portal to internal and external on-air distribution channels.